The title of the poem is symbolic. It reflects the feelings, experiences and thoughts of the poet about his life. The ongoing events excite and torment the lyrical hero, which is emphasized in the work with the help of such rhetorical figures as a rhetorical exclamation (“Desires! ..”) and rhetorical questions (“To love ... but whom? ...”). It is worth noting that these rhetorical figures are used together with the stylistic device of default, which ends the first and second stanzas. What can such a detail say? Such a combination may indicate a complex internal state of the lyrical hero: inside him, heavy spiritual sadness with despair, resentment and regret about the past and a sense of hopelessness are united. This state of mind is emphasized by the stylistic device of polyunion (“Both joy and torment, and everything there is insignificant ...”). A clear underestimation of the number of tropes also speaks of the state of spiritual emptiness of the lyrical hero. His mood changes throughout the poem: high notes of sounds in the first stanza are replaced by lower ones in the second stanza and completely deaf in the third. What is happening around the lyrical hero convinces him of the meaninglessness of life. The eternal philosophical questions of love, friendship and the meaning of life are by no means resolved in the work, but, on the contrary, seem even more confusing and insoluble. The poem gives the impression of a cry from the soul, unanswered and unnoticed, like an exclamation crying in the wilderness.

Philosophical lyrics

In terms of content

What is life? What is the heart (feelings) and mind? Why is life dreary and aimless? Can anyone with wise advice, an example, completely replace the inner work of the soul, personal responsibility? Striving for the ideal (Zion heights). Is it possible to achieve the ideal? What is human nature? Sin pursues a person as inevitably as a lion "follows a fragrant deer's run." Christian motives. Human and nature. Time, memory, fate. The renewal of man and the renewal of nature. From an aesthetic point of view. The perfection of poetry. Mirror construction of poems. Semantic and syntactic parallelism. Soul yearning for God. Landscape. Epithets.

Before the reader of a lyrical work, the question cannot but arise, but with whom is he talking, into whose speech he listens, about whom he learns so many unexpected and intimate things? Of course, the author's voice is heard in any work, regardless of its generic affiliation. From this point of view, there is no particular difference between the epic "War and Peace", the drama "Three Sisters" and Fet's lyrical miniature. Something else is important. In lyrical poetry, the author's voice becomes the semantic center, it is he who holds the poem together, making it an integral and unified statement.

The lyrical “I” in different poems sounds differently, means different things: sometimes it is important for a poet to give a feeling of complete fusion of the “I” that exists in literature and the “I” of the real. But it happens otherwise. In the preface to the reissue of the Ashes collection (1928), Andrei Bely wrote: “... the lyrical “I” is the “we” of sketched consciousnesses, and not at all the “I” of B. N. Bugaev (Andrey Bely), in 1908 year, who did not run around the fields, but studied the problems of logic and poetry”. Recognition is very serious. Andrei Bely saw in his poems the “other”, and yet it was this “other” that was the center of perhaps the most important book of the poet. How should such a phenomenon be called?

A few years before Bely's preface, Yu. Tynyanov's article "Blok" was written; here, sharply separating Blok the poet from Blok the man, the researcher wrote: "Blok is Blok's biggest theme ... This lyrical hero is what they are talking about now." Further, Tynyanov tells how a strange image, familiar to everyone and, as it were, merging with the real A. Blok, is formed in Blok’s poetry, how this image passes from poem to poem, from collection to collection, from volume to volume.

Both observations are connected not with poetry "in general", but with specific poets belonging to the same creative system - Russian symbolism. Neither Bely, nor Tynyanov, nor the serious students of the latter were going to extend the term to the entire world's lyrics. Moreover, the "theory of the lyrical hero" assumed that most texts are built according to other laws, that the lyrical hero is a specific concept. Let's try to find out what is its specificity?

The poet's life does not merge with his poems, even if written on a biographical basis. To almost anyone fact of life turned out to be inextricably linked with poetry, drawn into the orbit of verse, and a lyrical hero is needed. This is not the hero of one poem, but the hero of the cycle, collection, volume, creativity as a whole. This is not a purely literary phenomenon, but something arising on the verge of art and being. Faced with such a phenomenon, the reader suddenly finds himself in the position of the unlucky editor of Akhmatov's "Poem Without a Hero", unable to figure out "who is the author and who is the hero." The line between the author and the hero becomes unsteady, elusive.

The poet mostly writes about himself, but poets write in different ways. Sometimes the lyrical "I" strives for identity with the "I" of the poet - then the poet dispenses with the "intermediary", then there are verses like "Do I wander along the noisy streets ..." by Pushkin, "I sleep at the sea" by Tyutchev or "August" Pasternak.

But it happens otherwise. Lermontov's early lyrics are deeply confessional, almost a diary. And yet, not Lermontov, but someone else, close to the poet, but not equal to him, passes through his poems. Texts live only in one row, one pulls the other, calls to mind a third, makes you think about what was “between them”, dates, dedications, omissions of the text, difficult to decipher hints take on a special semantic role. The poems here are not self-sufficient, closed worlds (as in the cases just cited), but the links of a chain, in the limit - infinite. The lyrical hero appears as the focus and result of the development of a kind of "dotted" plot.

The lyrical hero can be quite unambiguous. Let us recall the poetry of Russian romanticism. For most readers, Denis Davydov is just a dashing hussar poet, young Yazykov is a student poet, Delvig is an “idle sloth”. The mask is superimposed on the biography, but it also turns out to be artistically built. For a holistic perception of poetry, the reader does not need to know about Davydov's works on military theory, about the bitter fate and serious illness of Delvig. Of course, a lyrical hero is inconceivable without a "biographical subtext", but the subtext itself is poeticized in accordance with the main spirit of creativity.

It must also be understood that the lyrical hero is not a "permanent value", he appears in those cases when life is poeticized, and poetry breathes fact. No wonder V. Zhukovsky wrote in the final poem for the romantic period:

And for me at that time it was
Life and poetry are one.

With romantic culture, which is characterized by a kind of lyrical "explosion", when the very life of the poet became almost artwork, - the appearance of a lyrical hero, a strange “double” of the author, is connected; with the symbolist era - his second birth. It is by no means accidental that there was no lyrical hero in the mature work of Baratynsky or Nekrasov, who grew up in a deep and serious dispute with romanticism, or among poets who argued with symbolism - Mandelstam, Akhmatova, the late Pasternak and Zabolotsky. Nor is it accidental that the latter dislike everything that is playful in literature. Pasternak's strict words sound like an unexpected answer to Zhukovsky:

When a line is dictated by feeling.
It sends a slave to the stage,
And this is where the art ends.
And the soil and fate breathe.

We will not compare the great poets, whose dialogue over the centuries organizes the complex whole of the Russian poetic tradition, it is important to understand something else: the lyrical hero gives a lot to the poet, but also requires no less from the poet. The lyrical hero of the great poet is reliable, concrete to the point of plasticity. Such is it with Blok, going a long way "through three volumes." Block did not say anything, calling them a "trilogy". The “trilogy” also has a “lyrical plot”, commented on more than once in the poet’s letters: from the insights of “Poems about the Beautiful Lady” through irony, skepticism, snowy and fiery bacchanalia of volume II - to a new, already different acceptance of life, to the birth of a new person in volume III. It has long been known that it was not pure chronology, but the logic of the whole that guided Blok in composing cycles, in developing the final compositional solution. Many of the verses of the third volume are in time in the second, but the inner history of the “lyrical hero” dictated to the poet their rearrangement.

Note that the relationship of the poet with his own creation is not always idyllic, the poet can get away from the old mask, already familiar to the reader. This is what happened to Yazykov. His later poems do not fit in with the appearance of the drunken Derpt bursh, the transition to a new style, to a new type of poetic thinking required a categorical break with the old role as a form of contact with the reader. The rejection of the lyrical hero is a clear line between the "old" and "new" Yazykov. Thus, the antithesis "Lyrical hero" - the "direct" voice of the author turns out to be significant not only for the history of poetry as a whole, but also for the creative evolution of one or another (not every!) poet.

Thinking about the problem of the lyrical hero, one should be careful, any "quick conclusion" here leads to confusion. It is very easy to see him in a modern poet. The very situation of the century mass media extremely brought, of course only externally, the poet to the audience, pulled him out of his former "mysterious remoteness". The stage, on which not only “pop” poets perform, but then television made the face of the poet, his manner of reading and behavior “public property”. But let us recall once again that an objective assessment requires a perspective, a look at all creativity, a temporal distance, and their contemporary critic is deprived. The lyrical hero exists as long as the romantic tradition is alive. The reader clearly sees the tense-strong-willed hero of I. Shklyarevsky's lyrics, and the "book boy", whose image is created by A. Kushner, and the melancholy-wise "singer" B. Okudzhava. There is no need to explain that the real appearance of poets is multidimensional and more complex. It is important that these images live in the reader's mind, sometimes experiencing poetic reality.

Of course, no one is ordered to use the term in other meanings: for some it seems to be a synonym for the "image of the author", for others - an incentive prize, for others - a way of severe reproach. A poet does not get better or worse depending on whether he has a lyrical hero or not. And the term “tool” is very fragile, so you need to use it carefully.

The inner state of the lyrical hero waiting for the Beautiful Lady is not difficult to describe. He sees himself as a knight who has vowed eternal service to his beloved. The lyrical hero is so excited that from the mere thought that She will appear now, a shiver runs through his body:

In the shadow of a tall column

I tremble at the creak of doors.

The hero of A. A. Blok is far from reality: he is immersed in his “fairy tales and dreams”. Obediently bowing his knee to his beloved, he is ready to meekly carry out the will of the “Majestic Eternal Wife”, whose earthly image is inseparable from the one that flickers on the icons in the radiance of lamps.

Thus, I can conclude: the state of mind of the lyrical hero of the poem can be characterized by several phrases: romantic delight, unquestioning admiration, divine reverence for the Beloved.

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What is the inner state of the lyrical hero waiting for the Beautiful Lady? A. A. Blok I enter the dark temples

15. What is the internal state of the lyrical hero of Pushkin?

The inner state of the lyrical hero in A. S. Pushkin's poem "The daylight went out" is saturated with heavy and depressing memories of the past. The lyrical hero recalls the abandoned native lands with longing and pain: "Fly, ship, carry me to the distant limits ... but not to the sad shores of my foggy homeland." The lyrical hero is haunted by painful memories of a past unhappy love: although the "young traitors" are forgotten, "nothing has healed the deep wounds of love."

However, the past no longer plays such a significant role in the life of the lyrical hero, because his whole soul is directed to the future: "I see the distant shore, / The land of noon magical lands; / I strive there with excitement and longing ...".

In the finale, the hero comes to an inner balance, which is typical for the elegy genre: he comes to terms with the natural laws of time and the loss of youth, accepts both the experience of the past and the inevitable uncertainty of the future.

16. What poems by Russian poets are close to Pushkin's elegy in their subject matter, and how does this closeness manifest itself?

In many poems by Russian poets, the theme of memories of the past finds expression.

For example, in M. Yu. Lermontov’s poem “No, I don’t love you so passionately,” the lyrical hero, with sadness and bitterness, plunges into memories of past love. As in the poem by A. S. Pushkin, the lyrical hero of Lermontov remembers his chosen one, is still vividly experiencing the events of his youth. However, in his image there is no Pushkin's aspiration for the future and inner balance.

Another example is S. Yesenin's poem "I do not regret, I do not call, I do not cry ...", where the lyrical hero reflects on his life and recalls the happy and lively time of his youth. The lyrical hero thanks fate for all the events of the past and reconciles with memories, the passage of time, which makes the poem related to the work of A. S. Pushkin. However, Pushkin's hero aspires to the future, awaits the beginning of a new life, while the hero of S. Yesenin recognizes the finiteness of his own existence.

Updated: 2018-08-09

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Introduction

The development of Russian literature of the 19th and 20th centuries proceeded in unprecedentedly complex ways. It was a time of great discoveries and tragic losses.

The 19th century clearly showed how deeply and inseparably interconnected the spirit of the writer's world, his perception and interpretation of the eternal questions of being - life and death, love and suffering - and the time in which the artist lives and creates and which is openly or implicitly reflected in his works. The lyrical hero is, according to Boris Pasternak's definition, "a hostage of eternity, a prisoner of time." This definition is still relevant today.

A work of art is not a closed world. The writer is connected with his era, with the previous and contemporary art.

Until modern times, literature was the only mirror of the evolution of mankind. It captures the emergence of new types of social behavior, depicting "new people", new heroes, in which specific traits man, (hero) of his time.

Time determines the direction of the poet's artistic searches, their attitude not only to eternal, but also to topical issues that are constantly and persistently put before us by a sharply conflicted era full of dramatic events.

aim my work is to study how the upheavals and turns of history were reflected in the fate (image) of the lyrical hero in the work of Mikhail Yuryevich Lermontov and my vision, the impression of modern life, the life of the lyrical hero.

1. The image of a lyrical hero in the work of Mikhail Yuryevich Lermontov.

2. Time, era, lyrical hero through the eyes of the younger generation.

Time. Epoch. Lyrical hero

The image of a lyrical hero in the work of Mikhail Yurievich Lermontov

"And through our whole life we ​​carry in our souls the image of this man - a sad, strict, gentle, powerful, modest, courageous, noble, caustic, shy, endowed with powerful passions and will and a penetrating merciless mind. A poet of genius and who died so early. Immortal and forever young." (Irakli Andronnikov, Professor, Doctor of Philology)

We know that Lermontov lived in terrible time. The Nikolaev reaction persecuted everything advanced, everything that thought honestly and freely. High society hastened to renounce all human feelings, all humane thoughts. At the heart of Mikhail Yuryevich's work was a clash of passionate aspirations the best people era to life and struggle with the bitter realization of the impossibility of their implementation. The older he got, the more often he correlated subjective experiences and sensations with the experience and fate of a whole generation, more and more often he “objectified” the life of his day. The world of romantic dreams gradually gave way to the depiction of reality. The era of the 30-40s. With its contradictions, deep ideological interests and deadly stagnation in public life.

The spiritual conflicts of the people of his time, generated by this state, Lermontov, like no one else, managed to express this state in the form of a lyrical hero.

Picking up the banner of Russian poetry from the hands of the murdered Alexander Sergeevich Pushkin, Mikhail Yuryevich Lermontov, addressing his contemporaries, raised before them "the question of the fate and rights of a person, a person" in one or another time era.

At the same time, the poet did not become a gloomy denier of life. He loved her passionately, with inspiration. The lyrical hero of his notebooks is a poetic diary full of thoughts about life and death, about eternity, about good and evil, about the meaning of being, about the future and the past. What is he - a lyrical hero?

In his life, creativity, Lermontov endured torment, of course, he, as a prophet, foresaw exile, slander, and humiliation. It is usually said that Mikhail Lermontov's poetry was born from a timeless period. But his lyrical hero enriched both his contemporaries and subsequent generations with a truly new breath. He comprehended spiritual cataclysms both of his own and of any other era of suppression of the personality. Therefore, the significance of Lermontov's conquests, the sample of his lyrical hero, does not dry out in time.

The frank confessions of the lyrical hero reflect the mood of the author, the progressive people of that era far from us. There is an image of a disappointed generation, poisoned by an empty light. Loneliness in the poem "The Cup of Life", the familiar state of the lyrical hero:

"Then we see that it is empty

There was a golden cup

That there was a drink in it - a dream,

And that it is not ours."

The theme of a devastated life is associated with another - the self-knowledge of the lyrical hero, the thirst for true life. The aspiration of the lyrical hero to it always wins.

In his terrible age, extinguishing the mind, the will, Lermontov possessed a proud heart, the courage to fight, the ardor of feelings. The poet tried to return to the world the harmony, beauty, liberty he had lost. Lermontov is intensely looking for sources of ideals for the lyrical hero and finds them in spiritual closeness with people, both close, related, and not with them. The tragedy of public life in the 19th century left a deep mark on Lermontov's work. At the heart of his work was the collision of the passionate aspirations of the best people of the era for life and the struggle with the bitter realization of the impossibility of their implementation. Belinsky believed that all the work of Mikhail Yuryevich is devoted to resolving one issue: "the moral question of the fate and morals of the human person." And the hero of the poet, in fact, is one: the same image passes through poems, dramas, novels, embodied either in a lyrical hero, or in a Demon, or in Pechorin ... Lermontov is a very subjective poet. He had the right to be subjective, for, like all great poets, in his heart, in his blood, he carried the life of society, was sick of its enemies, tormented by its sufferings, blissed by its happiness...

From adolescence begins the process of forming the ideas of the future poet about the essence of poetry, the search for a poetic ideal. The poet believed that poetic inspiration is always akin to the inspiration of an artist in the broadest sense, that is, a creator. Lermontov, more than anyone else during his lifetime, understood eigenvalue and the role he was destined to play in Russian literature and - more than that - in the life of Russian society! The mournful and harsh thought of a generation that, as it seemed to him, was doomed to go through life without leaving a trace in history, crowded out the youthful dream of a romantic feat. Lermontov now lived to speak modern man the truth about the "deplorable state" of his spirit and conscience, about a cowardly, weak-willed generation that lives without hope for the future. And this was a more difficult feat than the readiness to perish on the scaffold in the name of the Motherland and freedom. For not only enemies, but also those for whose sake he spoke this truth, accused him of slandering modern society. The poem "Duma" is a reflection alone with oneself, and not an appeal to anyone:

"Sadly I look at our

Generation!

His future is either empty or

In the image of the lyrical hero, we see the indifference with which his generation relates to life, even to their own destiny, it turns out to be a double-edged sword. Reflection alone with oneself is nevertheless brought to the judgment of the generation, and this is the expression of the poet's hope that he will wake up the inactive generation. But still, Lermontov does not wait for the judgment of his descendants, but judges himself, pronounces a sentence with his own verse. He considered the dead soul, sleepy will and slave psychology to be the most terrible enemy of his time. The civic pathos of "Duma" is beyond doubt, and there is an internal echo not only with the innermost thoughts of the lyrical hero about himself, but also with the works of open social protest.

Mikhail Yuryevich Lermontov argued that in a world where there is no honor, no love, no friendship, no thoughts, no passions, where evil and deceit reign, intelligence and a strong character already distinguish a person from a secular crowd. " Yes, in this person there is strength of mind and power of will, which you do not have, - wrote Belinsky, addressing the critics of Lermontov, - in his very prophets something great flashes, like lightning in black clouds, and he is beautiful, full of poetry even in those moments when human feeling rises up against him ... He has a different purpose, a different path than you. His passions are storms that purify the realm of the spirit…". It is certainly important for us who are to live in the new century to learn from the lessons of the past. The world is changing, ideas about the values ​​of this world are changing. In the era of Lermontov, there were some values, today other priorities are put forward in the center with its moral guidelines, deep spirituality and humanism, philosophical understanding of the world.