What image of the muse creates Nekrasov. Analysis of the poem "Muse" (N. A. Nekrasov). List of used literature

Topic: "Muse in the work of N. A. Nekrasov"

Goals:

1. to show the originality and social conditionality of Nekrasov's muse, comparing it with the image of the muse in the work of other poets;
2. develop the ability to analyze poetic works;
3. compare, prove, fully and competently express their thoughts;
4. instill a sense of citizenship and patriotism.

During the classes:

I. Introductory speech of the teacher on the interdependence of the era and the work of the poet. The teacher invites tenth graders to recall the characteristic features of the time in which N.A. Nekrasov entered the literature:

The era in which Nekrasov's literary activity began almost completely determined the nature of his work. Free personal self-expression - the meaning and purpose of art - faded into the background, social problems came to the fore. Among the problems that Russia was "rich" at that time, the most acute problem, long overdue, was the need to free the people from serfdom. Moral, social and economic aspects are intertwined here; every year the knot tightened more and more tightly, the burden of unresolved problems became ever heavier - and hindered the development of the suffering country. The government did not dare to carry out democratic reforms, and the "new people" saw the meaning of their lives in achieving these reforms.

Art in this situation becomes not an end, but a means. It is mobilized for the service of society. The poet's work requires social benefit, accessibility, simplicity.

The humane goal of the struggle for the disadvantaged allows the "new people", the democrats, to feel their historical destiny. Their youth came at a time when life was fettered by register and dogma. Therefore, the death of Nicholas I in itself became a liberation for them, betrayed confidence that changes were not far off. They were infinitely glad at the very opportunity to do something for their people: they felt the need to work for the good of the nation as happiness. Their urged , and after the torment and reflection of the meaningless existence of the 40s, they felt theirdemand.

The main and only becomes for them service , which takes a person entirely, leaving no time for a private, ordinary human life.

This ideal was chosen by Nekrasov. He was a man of obsession and passion. He devoted his whole life to serving the humanistic idea, took on the role of a people's defender - and this became his "lifelong role".

Nekrasov, like Pushkin in his time, was an innovator in the field of poetic content and form. He expanded the boundaries of poetry, believing that its object could be any subject, any feeling or feeling

Telling, the teacher draws the attention of students to the scheme of his lecture, depicted on the blackboard. Students write it down in their notebooks. According to this scheme, it will be easy for them to restore in memory everything said by the teacher:

(Free personal expression - the purpose and meaning of art - is in the background.

The first is social issues.

Therefore: art is not a goal, but

reference material:

Muse Calliope. Appeal to her in antiquity is a ritual. In the period of classicism, which imitated antique models in everything, the same thing happens. For romantics, the Muse is ethereal, she is a creature of another world, a “pure genius”, a “beautiful maiden”. In the middle of the 19th century, the appeal to the Muse loses its popularity. Only in the second half of the 19th century did the Muse have a special place. This is especially evident in the work of N. A. Nekrasov.

III. What is innovationNekrasov in the image of the Muse?

We answer this question gradually, compiling a comparison table with students:

IV. Poems that can be analyzed in the lesson, given the image of Muse Nekrasov:

- "Oh Muse, I'm at the door of the coffin ...";

- "Yesterday...";

- "Muse";

- "I'll die soon...",

- "The enemy rejoices, yesterday's friend is silent in perplexity ...";

- "Celebration of life - years of youth ...".

V. The teacher sums up the lesson.

VI. Homework.

Analysis of one of the poems at the choice of the teacher, as well as the poem "Yesterday ..." - by heart.

EPOCH

the nature of N.A. Nekrasov

art is a tool

means of what?

Democratic reforms

Development of the people

Fight for the underprivileged

Nekrasov and the Democrats felt their historical destiny

service motive, therefore:

1st half of the 19th century.

The protagonist is a “suffering egoist”, “an extra person”.

2nd half of the 19th century.

The main character is a man of action. His life does not depend on historical circumstances, but on himself, so the main motive of their work is the motive of responsibility.

innovation of form and content

1. Any object, any feeling can be an object of art.

2. You can put an equal sign between the prosperous and the humiliated.

3. Art can be subordinated to social necessity. (A poem by N. A. Nekrasov dedicated to Muravyov, the hangman.)

For example, a lot can be said about the heroine of Troika. Neither her romantic portrait, nor the naturalistic description of her fate in themselves carried poetry with a pronounced national significance. But Nekrasov surrounded this early image of himself with such lyrical motifs, in which the immediate subject content was almost obscured by the symbolism of national life. It was in this sense that road motifs and the image of a troika were included in Nekrasov's poem. The light of this symbolism gave the heroine of "Troika" a poetry immeasurably higher than that which could be contained in romance lyricism or in social drama. IN female image poet, a national personification was born, which was subsequently approved by the entire figurative world of Nekrasov's poetry.

Raising the picture of life to the highest poetic generalization, Nekrasov at the same time retains an intimate tone. There are no barriers between the “young peasant woman” and the Muse, they are equally dear and close to the poet. Their commonality is emphasized, firstly, by the fact that the verses about the peasant woman and the Muse close the quatrains and clearly correlate with each other, and secondly, by the equally inverse structure of the phrase (“a young peasant woman” - “your dear sister”). Finally, the drama of the second part contrasts sharply with the routine of the first, and this strikes a new poetic spark, giving rise to many completely non-traditional real and poetic associations. Nekrasov in a short poem was able to say that his Muse is the sister of a humiliated and suffering peasant woman, that she is saddened by people's sadness, that she is also subjected to torture, censorship and other persecution, physical violence, that she is just as deprived of rights as a peasant woman, that he, Nekrasov, is the poet of the people, because the peasant woman symbolizes the whole people.

First time at Nekrasov this paradoxical image appears as early as 1846 in a poem “Yesterday at six o’clock I went to the Sennaya ...”. The "sister" of his Muse turns out to be a peasant woman - humiliated, disgraced, beaten with a whip. This sounded unexpectedly and wildly for the Russian reader, who until then knew the Muse - "Bacchante", "county lady" "with a sad thought in her eyes" - the divine inspirer of poets.

Who else among the Russian poets could admit that his Muse is a slave?! From that time until the days when the poet completed "Last Songs", his dying collection, the image of the Muse in his work is unchanged - unhappy, defeated, the Muse of revenge and sadness, proud, steadfastly enduring her fate, and at the same time fallen, “humbly asking” - all this is merged in the image that Nekrasov ceases to be a symbol, the embodiment of high creativity, but becomes a completely visible character that has acquired flesh, character and destiny. The museum has been given the features of a folk character: the people speak through its lips - they ask for mercy, they demand justice. Depriving the Muse of the halo of mystery, he (in the literal sense of the word) lowers her from heaven, from the inaccessible Olympus to earth ("Muse", 1852). And she showed him "dark abysses of violence and evil, labor and hunger" - the artist was given the task of proclaiming to the world about the people's suffering, about those abysses into which a person falls.

The main feature of the complex image of the Muse is always the same long-suffering torment, in which at the same time the suffering of the people has merged. (“I was called to sing of your sufferings, amazing people with patience”), and the suffering of the author himself - from dissatisfaction, from the fear of death, from a sense of the aimlessness of the cause to which he devoted his life. Muse Nekrasov- sometimes angry, sometimes patient - an eternal sufferer. And this applies not only to main topic his work, the theme of the people. The poet has no rest either in love or in nature (“When tormented by rebellious passion ...”, “Here the soul is embraced with despondency”, “Return”). For him, moments of peace of mind, liberation from pain are too rare. Therefore, poetry - his second life - is also filled with the torment of a sick soul.

The former lofty goal of serving art Nekrasov replaced by another: the subordination of art to social necessity. Such a goal could only be inspired by the Muse of revenge and sorrow. Muse - a guide in a great cause, the service of which brought the poet not only a sense of civic satisfaction, but also the agony of renouncing the freedom of creativity (in the usual, Pushkinian, understanding), is unchanged in Nekrasov's lyrics. Subordinating his gift to "conscious necessity" and affirming this goal as the highest, he killed his verse and suffered, feeling it.

And yet, in spite of everything, it was precisely such a Muse - harsh, sad - that seemed Nekrasov a guarantee of his inseparable connection with the people and with the motherland, for everything inspired by it, he did for the good of Russia. Sadly, but with inescapable hope, the poet says goodbye to his Muse in his dying poem. ("Oh Muse! I'm at the door of the coffin!", 1977)

Lyric Hero:

Nekrasov's lyrical hero, possessing many features of the author (citizenship, democracy, passion, honesty), embodies the features of the time, advanced ideals and moral principles of the "new people".

If the poet himself was a landowner in his village, then his lyrical hero is cleansed of these weaknesses inherent in man. If Nekrasov believed that he “walked towards the goal with a hesitant step, He did not sacrifice himself for it,” then the lyrical hero of his poems, suffocating with the people “without happiness and will”, rightly rejecting these thoughts, calls for a storm.

It is the lyrical hero that tells us what a mighty revolutionary spirit lived in Nekrasov, made his muse "a muse of revenge and sadness", what a thirst for struggle burned in him, what honesty, purity, exactingness this man was!

In the work of N. A. Nekrasov, certain themes can be distinguished: the image of the hard working life of the Russian people, the satirical exposure of all kinds of oppressors, the creation of sublime images of “people's defenders”, the themes of love, nature, the purpose of the poet and poetry. The lyrical hero of each of the cycles deeply sympathizes with the people, sees life through their eyes, calls for struggle.

Thus, the lyrical hero of all Nekrasov's works is a citizen. Therefore, many poems are so full of pain for the oppressed and unjustly offended. Nekrasov saw glaring injustice everywhere, when everyone in power tries to deceive the peasant. And the people, the Russian peasants, in whom one finds such daring and resourcefulness with a complete absence of boasting, such industriousness, kindness, responsiveness, wit and, most importantly, courage, - this people endures

The lyrical hero and the author are united in the cycle of poems dedicated to Belinsky, Dobrolyubov, Pisarev, Chernyshevsky, Shevchenko. The poet bowed before those who went "into the fire for the honor of the fatherland, / / ​​For conviction, for love." The image of the "people's protector" always inspired Nekrasov, his lyrical hero was like that. "Teacher" for him was Belinsky, who "taught many to think humanely."

Nekrasov, a representative of civil lyrics, had a difficult relationship with his muse. In many poems she appears to him, she lives her own separate fate, exhausted, cut with a whip, a companion of all the poor and peasants, singing about injustice and a terrible fate.

The muse of Nekrasov “taught me to feel my suffering, and blessed the world to announce them ...”

Nekrasov's childhood was spent on the road with his tyrant father, who worked as a police officer - he beat out debts from the peasants. From childhood, Nikolai saw terrible pictures of hunger, poverty and death. Therefore, his poetry is so far from "pure art", because he dedicated the lyre to "his people." For this, he was mercilessly scourged by his contemporaries, who, being wealthy and privileged people, did not understand and did not want to see the suffering of workers and peasants.

In many poems he talks about his muse - not singing and beautiful, but "the sad companion of the sad poor." In a poem written in 1852, the life periods of the poet are clearly traced. Difficult childhood, difficult youth, a miserable existence (the father deprived his son of maintenance because he found his field in literary work).

Genre, direction, size

Genre of the work: civil-philosophical lyrics. The author talks about his mission - to help ordinary people, to tell exactly their story.

Direction: realism. The poet talks about what is really happening around: about hunger, poverty, injustice and lack of rights of a person whose work keeps the country.

Poem size: iambic.

Images and symbols

Nekrasov's muse is not an ephemeral young lady, but a young peasant woman. We can meet such a definition of it in the poem "Yesterday, at six o'clock ...". This poem dates from 1848 and is considered to be Nekrasov's first mention of his muse. “There they beat a woman with a whip, a young peasant woman” - we meet in this poem. The whip is a symbol of autocracy in Russia, it turns out that she, Nekrasov's muse, was tormented by the regime that prevails in Russia.

That Muse weeping, grieving and aching,
Always thirsty, humbly asking –

It is this image of the muse from the poem of the same name that runs like a leitmotif through all of Nekrasov's work. In her face, we see the features of all Mother Russia, which suffers from poverty and humiliation, from terrible working conditions and life itself. This is the peculiarity of the muse of the peasant poet.

Nekrasov's muse ceases to be the embodiment of high creativity, she is a completely visible character, she is all the pain of the Russian people, she is the muse of revenge and sadness, she is the one who taught Nekrasov to feel the suffering of the peasants in early childhood.

Topics and issues

The problems and themes of the work are typical of Nekrasov's work: these are the social and political questions that the liberal intelligentsia addressed to the authorities: why is life so difficult for the peasantry? How long should he endure oppression and injustice?

• The main theme is the purpose of the poet. "Muse" is dedicated to the global theme of Russian writing - the poet and poetry. Nekrasov shares with his readers the difficulties of communicating with a very special muse that torments the poet, instead of singing "sweet-voiced songs."
• The problem of slavery and tyranny. If we identify the ugly muse with the Russian people, we see that she, like the people, is "silent under the scourge" (a line from "Yesterday, at six o'clock"). Blind obedience is the mystery of the Russian people. Why are calls for revenge (“vengeance! And with a violent tongue//The thunder of the Lord called on the heads of enemies!”) Are still replaced by a bowed head, accepting lawlessness and enslavement?

main idea

As we said earlier, Nekrasov is far from “pure art” and does not consider himself a real poet; in many poems dedicated to the muse, he seems to “justify himself” for his work, talking about the culprit of his suffering.

Nekrasov's muse is "unkind and unloved", she is full of everything that Nikolai saw in his childhood and youth - poor villages and St. Petersburg slums. These pictures robbed the poet of his carefree adolescence, plunging him into all of Russia's darkness. Muse taught him to hate and avenge the entire Russian people. This message is the meaning of the work.

One of the key moments of the poem is the line: "Forgive your enemies!". This is whispered by the muse, but in fact the whole people are whispering. Why is that?! Why do the peasants grovel before a handful of landowners and officials? This riddle will torment Nekrasov until his death. And after the long-awaited abolition of serfdom, the poet will write: “The people have been liberated, but are the people happy?” The Russian people are very complex and multifaceted, sometimes they themselves do not understand what will be best for them. Such is the Nekrasov muse. The main idea of ​​the poet is to show not only pain, but also the bright moral image of people who suffer, but still forgive the offenders their recently shed tears. This is the beauty and greatness of Rus'.

means of expression

The text is extremely rich in epithets with a negative connotation - unkind, unloved, sad, crying, grieving, aching, thirsty all the time, humbly begging, wretched, bent ...

To emphasize the sadness of the current situation, the author uses the repetition of the "sad companion of the sad poor."

Frequent inversions of “suddenly she cried” create dynamics, a feeling of an incessant suffering muse. For the same purpose, the author uses the omission of the subject “she played frantically with my cradle”, “taught me to feel my suffering”.

There are many gradations in the poem: “calculations of petty and dirty fuss<. .. >curses, complaints, impotent threats. They create the poignant atmosphere of the poem.

Nekrasov's paths complement and color his thoughts with emotions, and although he himself modestly refused the title of a poet, we see that his works are characterized by the charm of belles-lettres.

Nekrasov's link between the poet and the people is the Muse. This image is just as conventional and literary as the others that make up the poet's mythology in the lyrics of the early 19th century.

In ancient mythology, the Muses were originally nymphs of the springs (in the views of the ancients, water had a healing and inspiring power). Muses began to attribute the gift of creativity and the ability to bestow talents on people. The ancient Greek poet Hesiod has nine sisters of the Muses (daughters of Zeus and the goddess of memory Mnemosyne) who sing at the feasts of the gods and inspire poets.

Pushkin's Muse is a symbol of man's contact with the divine principle. In the first stanzas of the eighth chapter of Eugene Onegin, Pushkin comprehends his own work through the history of his Muse: she awakens a creative gift in the young poet, becomes his faithful friend, accompanies him at all stages of his life. The muse changes her appearance, symbolizing the change of places and new themes of poetry: she is either a frisky “Bacchante” at the feasts of youth, then a brave horsewoman in the mountains of the Caucasus, then a savage among gypsy tents in Moldova, then a “county lady”, “with a sad thought in her eyes, with a French book in her hands, ”the poet’s companion at a social event. Pushkin's muse is an individualized image: she is charming, feminine, changeable, sometimes playful, sometimes timid. She is beautiful in her simplicity, and the poet feels for her that tender, that jealous feeling, he is proud of her:

And I was proud among friends

My windy girlfriend

…

On the charms of her steppe

I look with jealous timidity.

In other works of Pushkin, the Muse replaces the poet himself, she is part of his creative personality. Therefore, the poet refers to her as to himself ("By the command of God, O Muse, be obedient ..."). The image of the Muse is needed by the poet as one of the methods for self-characterization: the Muse is his second "I", the expression of his creative program, his understanding of poetry.

The image of the Muse in Nekrasov's lyrics is fundamentally different. He directly borrows it from the poetry of the early 19th century, but gives this image a completely different meaning, thereby emphasizing his break with the classical tradition. The 1852 poem "Muse" begins with a negative:

No, Muses tenderly singing and beautiful

I don’t remember sweet-voiced songs above me!

Nekrasov boldly risks comparing himself with Pushkin, correlating his Muse with his own. The starting point in this comparison is the motive of childhood (“I didn’t forget the flute in my diapers ...”), which, like Pushkin in the poem “Muse” (1821) and in the eighth chapter of “Eugene Onegin”, outlines the theme of the formation of the poet from childhood to adolescence and youth. It is remarkable that the “diapers” in Nekrasov’s poem are “Pushkin’s”, they are taken from the poem “The confidante of magical antiquity ...” (1821):

You, rocking the cradle of a child,

My youthful ear captivated me with melodies

And between the sheets she left a flute,

Which she herself enchanted.

As you can see, Nekrasov takes material not so much from life as from literature, and at the same time sharpens it polemically. Instead of poetic "shrouds", Nekrasov puts emphatically everyday, vitally specific "diapers". He rethinks the classical mythology: his Muse is not a young girlfriend, not a goddess, she is poor, unloved, unkind, harsh, something like a nanny-peasant, tortured by hard work (“bent by labor, killed by grief”). The muse is called "the sad companion of the sad poor", born for "labor, suffering and fetters." The cradle of an infant, the future poet, stands in a "wretched hut" lit by a "smoky torch".

The semantic center of Nekrasov's poem of the same name is the singing of the Muse. D. S. Merezhkovsky remarks about Nekrasov's Muse that she "does not have a lyre at all, but only a voice." She “does not play, but sings; not singing but crying<...>this is not the singing of strings, but the melodiousness of sobs. The muse cries over the cradle, echoing the children's "sobbing", or sings a "riotous song", in which a "mournful groan" is also heard. The voice of the Muse, “weeping, grieving and aching,” sometimes sounds menacing, vengeful, she does not shake the cradle, but in a fit of rage “furiously” plays it.

In the image of Nekrasov's Muse, love and hatred, the desire to fight and forgiveness are combined. “The Muse of revenge and sadness” he will call his patroness in a poem of 1855 (“Shut up, Muse of revenge and sadness!”).

In the poem "Muse" the intrusion into the text of another purely prosaic motive - money, calculation, "dirty fuss" - is striking. This is how the low, unpoetic side of life is defined - the lot of the poor, for whom wealth is an impossible dream. Nekrasov's Muse is also humiliated by this dream of wealth. She is depicted not only as "grieving and aching", but also "begging humbly, for whom gold is the only idol".

In Pushkin's poem "The Conversation of a Bookseller with a Poet" poetry and money (calculation) already came into contact. However, there the poet was not at all humiliated by the need to sell the creations of his work; it was understood as a natural necessity. The poet and the bookseller could calmly "agree", agree on a price. Nekrasov's Muse is obsessed with a thirst for money, and the poet is ashamed of this - ashamed that his "wonderful dreams of his youthful years" are mixed with petty worldly fuss. Poverty, humiliation, anguish, thirst for money, shame - these are Dostoevsky's motives; it is no coincidence that after Nekrasov's death Dostoevsky wrote about his closeness to him, and it was he who delivered the funeral speech at the poet's grave.

In the analyzed poem, the Muse turns out to be the poet's guide "Through the dark abysses of Violence and Evil, Labor and Hunger"; in an earlier text (1848), the poet himself brings his Muse - and not to the “secular reception”, as in Pushkin, but to Sennaya Square (here again, the closeness with Dostoevsky is obvious: the image is “the sixth hour”, “Sennaya” is the future “ Crime and Punishment").

... Not a sound from her chest,

Only the whip whistled, playing ...

And I said to the Muse: “Look!

Your own sister!"

In this early poem, the poet teaches a lesson to his Muse, who still does not know grief and evil, he teaches her to see a “sister” in a humiliated peasant woman. In a poem written 30 years later (in December 1877, on the eve of the poet's death), the Muse herself is already "cut with a whip." This is how the circle of Nekrasov's texts about poetry closes:

O Muse! I'm at the door of the coffin!

Let me blame a lot ...

…

Do not Cry! our lot is enviable,

They don't abuse us...

The muse does not replace the poet here, she stands next to him, shares his fate, they have a common fate. Both stand at the pillory. And this "pillar" replaces the "monument" to the poet. The suffering poet bequeaths to his eternal companion, the immortal Muse, to keep the union with “honest hearts”, and her suffering is declared close to the Russian heart. As in other poems by Nekrasov, the poetic statement here represents an “energetic and bitter explosion” (words by I. S. Turgenev), in which contradictory feelings are dramatically intertwined - guilt and pride, intonations of prayer and sobbing. Pushkin idolized his Muse: he either deified or commanded her. Nekrasov's relationship with the Muse is more complicated - this is both compassion and severity, she is both a protector, and a tormentor, and the last friend. In the dying “Last Songs”, the poet, in a difficult hour of suffering, calls the Muse for help. In the poem “Calm down, my perky Muse ...”, written in 1876, an appeal to her is combined with an appeal to her mother and Motherland - with a request to bury and protect after death, not to condemn in vain. Muse - sister - mother - Motherland merge in Nekrasov's dying lyrics, they are united with the poet by a common thing - suffering and compassion.