Poetry of the 19th century. Russian Poetry of the 19th Century
The nineteenth century is called the golden age of Russian poetry. During this period, the classicism beloved by writers was replaced by romanticism and sentimentalism. A little later, realism arose, gradually replacing the idealization of the world. It was in the nineteenth century that literature reached its peak, and the contribution that Russian poets of the 19th century made to this is invaluable. The list of them is really large; among such famous names as Alexander Pushkin, Mikhail Lermontov, Afanasy Fet, there are also little-known but talented Vladimir Raevsky, Sergei Durov and many, many others.
Nineteenth century in literature
The nineteenth century was far from an easy period for Russia: a series of wars over trade routes erupted, Napoleon’s military campaign began, which was then followed by more wars. All this became a huge shock for the country. It was against the backdrop of such events that literature developed. The great Russian poets of the 19th century wrote in their works about love for the motherland, the beauty of Russia, the difficult fate of the common man and the idleness of noble life, they talked a lot about the place of man in this world, about the opposition of the individual to society. Classicism created an image, romanticism elevated it above the dullness of life, sentimentalism surrounded the lyrical hero with stunning landscapes - poetry of the early nineteenth century sought to idealize the world. They used a huge number of tropes, played with foreign words, perfected rhyme - everything to reflect the ideal. Later, realism began to appear, within the framework of which classical poets no longer disdained colloquial expressions and experiments with the form of a poem: the main task was to demonstrate reality with all its shortcomings. The nineteenth century is a century of contradictions; it amazingly combined the ideality and imperfection of the world in which the poets lived.
Ivan Andreevich Krylov (1769-1844)
Krylov laid the foundation for fables in Russian literature. His name is so strongly associated with this genre that it has become something like “Aesop's fables.” Ivan Andreevich chose this form of poetry, unusual for that time, to demonstrate the vices of society, showing them through the images of various animals. The fables are so simple and interesting that some of their lines have become catchphrases, and the variety of topics allows you to find a lesson for any occasion. Krylov was considered a role model by many Russian poets of the 19th century, the list of which would be far from complete without the great fabulist.
Ivan Zakharovich Surikov (1841-1880)
Nekrasov is most often associated with realism and the peasantry, and few people know that many other Russian poets glorified their people and their life. Surikov's poems are distinguished by their melody and simplicity. This is what made it possible to set some of his works to music. Here and there the poet deliberately uses words characteristic not of lyricists, but of peasants. The themes of his poems are close to every person, they are far from being as sublime as the idealized poetry of Pushkin, but at the same time they are in no way inferior to it. An amazing ability to demonstrate the life of ordinary people, show their feelings, talk about some everyday situations so that the reader is immersed in the atmosphere of peasant life - these are the components of Ivan Surikov’s lyrics.
Alexey Konstantinovich Tolstoy (1817-1875)
And in the famous Tolstoy family there were Russian poets of the 19th century. The list of eminent relatives was supplemented by Alexei Tolstoy, who became famous for his historical plays, ballads and satirical poems. His works convey love for his native land and praise of its beauty. A distinctive feature of the poems is their simplicity, which gives the lyrics sincerity. The poet’s source of inspiration was the people, which is why his work contains so many references to historical themes and folklore. But at the same time, Tolstoy shows the world in bright colors, admires every moment of life, trying to capture all the best feelings and emotions.
Pyotr Isaevich Weinberg (1831-1908)
Many poets in the nineteenth century were engaged in translating poetry from other languages, Weinberg was no exception. They say that if in prose the translator is a co-author, then in poetry he is a rival. Weinberg translated a huge number of poems from German. For his translation from German of Schiller's drama "Mary Stuart", he was even awarded the prestigious Academy of Sciences Prize. In addition, this amazing poet worked on Goethe, Heine, Byron and many other famous writers. Of course, it is difficult to call Weinberg an independent poet. But in his transcription of the poems, he preserved all the features of the lyrics of the original author, which allows us to speak of him as a truly poetically gifted person. The contribution that Russian poets of the 19th century made to the development of world literature and translations is invaluable. The list of them would be incomplete without Weinberg.
Conclusion
Russian poets have always been an integral part of literature. But it was the nineteenth century that was especially rich in talented people, whose names forever went down in the history of not only Russian, but also world poetry.
At the beginning of the 19th century, both classicists and sentimentalists continued to create in Russian poetry, and the most diverse phenomena coexisted on equal terms. By the end of the 10s and the beginning of the 20s, on the wave of national-patriotic upsurge caused by the Patriotic War of 1812, Russian romanticism took shape. Many Russian romantic poets were participants in the Patriotic War; they understood the soul of the people, their high morality, patriotism, selflessness and valor.
Great start. That is why Russian romanticism, pioneered by V. A. Zhukovsky and K. N. Batyushkov, brought to the fore the interests of a free personality, not satisfied with reality.
The pathos of Zhukovsky's poetry is the sovereignty of the inner, spiritual life of an independent and independent person. His hero is not satisfied with social, official morality, he is disappointed in it. He is repelled by indifference, selfishness, lust for power, and vain earthly concerns.
Zhukovsky's great merit is that, according to Belinsky, he enriched Russian poetry with deeply moral, truly human content.
Next to Zhukovsky in the history of Russian poetry stands K. Batyushkov. The leading genres of his poetry were elegies, epistles, and later historical elegies. The motto of K. Batyushkov’s work was the words: “And he lived exactly as he wrote...” And the poet lived with a dream of a simple, modest and at the same time elegant, graceful and harmonious world, in which he lived open to nature, art, earthly joys and enjoyment of a mentally healthy person. With the power of poetic imagination, K. Batyushkov created ideal existence in visible images, in festive colors, in the energy of movement, in sounds that caress the ear. But Batyushkov’s fictional harmonious world is fragile and fragile, so his person does not find harmony in real life.
And yet, noting the high achievements of the early Russian romantics, it must be admitted that the people's life, the spirit of the people were not comprehended by them in sufficient detail and they took only the first steps towards depicting the people's character.
A significant shift in the understanding of the people, their morality, and character traits in Russian poetry of the 19th century occurred thanks to the powerful talent of I. A. Krylov. He breathed new life into the genre of fables associated with folk culture and elevated them to the rank of works of high literary merit. The fable written by Krylov contained great philosophical, historical and moral content and was filled with deep and poignant meaning. In Krylov's fables, all classes of Russia found a voice. That is why Gogol called his fables “the book of wisdom of the people themselves.” The great fabulist advanced the nation's self-awareness and enriched the literary language. After Krylov, all styles - “high”, “medium” and “low” - had not yet been united into an organic whole, but were already inclined to do so.
Civic passion. P. A. Katenin is a talented Decembrist poet, playwright, and critic. He was one of the first to feel that the reflection of national life in poetry rests on the problem of language. His position was supported by V.K. Kuchelbecker, for whom the essence of romantic poetry consisted in a strong, free and inspired presentation of the feelings of the writer himself.
But the poet does not glorify every feeling of his, but one that is caused in him by the “exploits of heroes”, by the fate of the Fatherland. The early Russian romantics of the civil movement, the Decembrists, extended their views to all areas of the spiritual life of the society of that time, including private and family relationships. K. F. Ryleev, the most prominent Decembrist poet, wrote accusatory and civil odes, political elegies and messages, thoughts and poems. The poet, in Ryleev’s view, considers poetry to be his life’s work. The Decembrists, with unprecedented acuteness before them, spoke about the national character of literature, put forward the demand for nationality, extending it to themes, genres, language, and advocated for the ideological richness of Russian literature.
The sun of Russian poetry. The task of expressing national life, national character was solved by A. S. Pushkin. And this happened as a result of a fundamentally new attitude to the word. From this point of view, his poems are indicative:
It's a sad time! Ouch charm!
Your farewell beauty is pleasant to me -
I love the lush decay of nature,
Forests dressed in scarlet and gold...
“Crimson” and “gold” are accurate, real, objective colors of autumn nature. At the same time, these are not only autumn colors, the usual colors, these are also the colors of royal clothes, ceremonial decoration and vestments. These are also emotional signs of “pomp,” which is especially bright and impressive in one’s declining years with its sudden and irresistible brilliance. The pathos of Pushkin’s poetry, according to Belinsky, is “soul-nurturing humanity.” The focus on emotional experiences does not prevent Pushkin from including reflection on reality into the sphere of personal feelings.
In Boris Godunov, Pushkin switched to a historical point of view, which served as the basis for his realistic method. Initially, the realistic method wins in drama, poems, ballads and lyrics. The final novel for Pushkin, and at the same time opening up new horizons of creativity, was “Eugene Onegin,” in which realism triumphs. Pushkin was not only a great poet, but also the spiritual leader of a remarkable galaxy of Russian lyricists... None of them repeated Pushkin, but all of them in one way or another united around him. There were many things that brought them together. All the poets of the galaxy experienced deep disappointment in reality; they were characterized by the pathos of personal freedom, they shared humane ideas about life.
Pleiades stars. Dreaming of a perfect man and a perfect society, A. A. Delvig turned to antiquity to embody his ideal of harmony between man and nature. Recreating it, he thought about Russia, about how the simple young men and women who became the heroes of his songs suffer and yearn for will and happy love.
N. M. Yazykov, not finding spiritual space in the official atmosphere of Russian life, expressed the natural protest of his free youth in elegies, songs, hymns, glorifying bacchanalian pleasures, the heroic scope of strength, the enjoyment of youth and health. P. A. Vyazemsky in his own way contributed to the merging of civil and personal themes, explaining elegiac feelings by social reasons.
The poetry of thought also rose to a new level in Pushkin's era. Her successes are associated with the name of E. A. Baratynsky, the greatest poet of Russian romanticism, the author of elegies, epistles, and poems. Instead of illusions and “dreams,” the poet prefers calm and sober reflection. Baratynsky's poems in an extremely pointed form captured the death of the noble impulses of the human heart, the withering of the soul, doomed to live in monotonous repetitions, and, as a consequence, the disappearance of art that brings reason and beauty to the world.
High Duma power. The poetic era, the spokesman of which was M. Yu. Lermontov, is distinguished, according to Belinsky, by “lack of faith in life and human feelings, with a thirst for life and an excess of feelings.” The central image of Lermontov's early lyrics becomes the image of a lyrical hero who openly confronts the hostile outside world. In mature lyricism, the objective world, external to the hero, begins to occupy an increasingly prominent place. Accurate everyday realities appear in the poems. In the last years of his work, Lermontov thought about a way out of the tragic situation in which he and his entire generation found themselves.
prophetic soul. For Lermontov, the philosophical theme was not dominant. But Russia's long-standing tradition of philosophical lyricism, mainly the poetry of thought, has not died. It was continued not only by Baratynsky, but also by the “lovingly wise” poets D.V. Venevitinov, S.P. Shevyrev, A.S. Khomyakov. Their lyrics suffered from a certain rationality, since poetry was deprived of independent tasks and served as a means for conveying philosophical ideas. This significant drawback was decisively overcome by the brilliant Russian lyricist F.I. Tyutchev. The imagery of Tyutchev's poems contains philosophy. His method is based on the identity of external and internal in nature and in man. He perceives nature holistically: as an organism, as something living, in perpetual motion.
The conjugation of the majestically beautiful and the solemnly tragic gives Tyutchev’s lyrics an unprecedented philosophical scale, enclosed in an extremely compressed form. Each poem depicts an instantaneous state, but is also addressed to the whole of existence, carefully preserving its image and meaning. Later, in the 50-70s, the principles of Tyutchev’s poetics, although stable, were supplemented with new qualities. Tyutchev always felt uncomfortable and lonely in a modernity that did not satisfy him. He dreamed of a bright and intense spiritual life. Sympathizing with the suffering of the Motherland with all his soul, Tyutchev summarizes his thoughts (“Russia cannot be understood with the mind ...”, “Russian woman”, “Tears”). Tyutchev's love lyrics are experiencing a real flourishing, in which the feeling of compassion for the beloved woman exceeds selfish desires and rises high above them...
Gifts of Life. After Pushkin and Lermontov, Russian poetry seemed to freeze, although original talents appeared in it - A. Pleshcheev, P. Ogarev, An. Grigoriev, Y. Polonsky, A. Tolstoy, I. Turgenev, A. Maikov, N. Nekrasov. Gradually, in response to social upsurge, Russian poetry mastered contemporary life. A feature of the 50s was the deepening of realism. Moreover, the accuracy and at the same time generality of expression concerned primarily the inner world of a person. The folk principle in Russian poetry also does not fade away. It lives in the poetry of N. Nekrasov, in the poems of F. Tyutchev, A. Fet, Ap. Grigoriev, Y. Polonsky, A. Maykov, A. Tolstoy.
The desire to express the “inexpressible”, to inspire the reader with the mood that has gripped the poet, is one of the fundamental properties of A. Fet’s poetry. He appeals to a person’s sensual, emotional abilities (“look”, “hear”) and activates them to the utmost. The poet appreciates sound and color, plasticity and aroma. But it imitates not sounds, not melodies, not rhythms, but the musical essence of the world. The central theme of the work of the poet and prominent critic An. Grigoriev became a conflict between contemporary man and the prosaic world.
The work of the remarkable and subtle lyricist Ya. P. Polonsky is imbued with genuine humanism. The poet sympathizes with the poor man, carefully peers into his experiences, being able to convey them by hint, through random impressions and fragmentary memories. Polonsky's heroes dream of bright love, of simple happiness, they have an impulse for a pure life, but they are constrained by conditions, environment...
Another poet, A.K. Tolstoy, does not see harmony in modern life. He idealized Ancient Rus' from the times of Kyiv and Novgorod. Its main theme is nature and love. The best aspects of the Russian character merge in his poetry with endless space (“You are my land, my dear land...”), the true value of the national character manifests itself, in his opinion, spontaneously and freely (“If you love, then without reason... "), his ballads bear traces of stylization, but retain the legendary plot, fatal coincidence of circumstances, irreconcilability of characters leading to a bloody denouement ("Vasily Shibanov", "Prince Mikhailo Repnin").
The main lyrical hero of the poetry of A. N. Pleshcheev, N. P. Ogarev, N. A. Nekrasov becomes a man from the nobility or commoners, who stood up to defend the people, the peasants. Let us remember Pleshcheev’s poem “Forward! without fear and doubt...”, “We are brothers according to feelings...”, Ogareva - “Tavern”, “Prisoner” and the inescapably sad poems and poems of N. Nekrasov, I. Nikitin.
Ministry of Health and Social Development
Volgograd State Medical University
Department of History and Cultural Studies
Abstract on the topic: “Russian poetry of the 19th century”
Completed by: 1st year student of the Faculty of Dentistry
Gamayunova A.A.
Checked by: Bushlya A.A.Volgograd, 2015
Content
Introduction
1. The Golden Age of Russian poetry: general characteristics of the period
2. Golden age of Russian poetry: main representatives
Conclusion
Bibliography
Introduction
In the history of the thousand-year culture of Russia, the 19th century is called the “Golden Age” of Russian poetry and the century of Russian literature on a global scale. This was the rise of the Spirit, a cultural upsurge that can rightly be considered the great Russian Renaissance.
The 19th century fully expressed the synthesizing, philosophical-moral, conciliar-collective character of Russian culture, its patriotic-ideological character without which it loses its soil and destiny. It manifests itself everywhere - from universal-cosmic quests to almost practical “instructions” for answering eternal Russian questions: “Why? Who is to blame? What to do? Who are the judges?”
Literature in the 19th century was the most influential form of national culture. This is the time when its largest representatives worked, who gave spiritual food to two centuries of all mankind! Thus, Paul Valery called Russian literature of the 19th century one of the three greatest wonders of human culture.
Poets A.S. Pushkin, V.A. Zhukovsky, K.N. Batyushkov, D.V. Davydov, F.N. Glinka, P.A. Katenin, V.F. Raevsky, K.F. Ryleev, A A. A. Bestuzhev, V. K. Kuchelbecker, A. I. Odoevsky, P. A. Vyazemsky, A. A. Delvig, E. A. Baratynsky, N. M. Yazykov, I. I. Kozlov, D. V. Venevitinov and others. Their poetry left a noticeable mark on Russian literature.
Thus, this topic is still quite relevant today.
1. The Golden Age of Russian poetry: general characteristics
The engine of development of Russian literature of the 19th century, which continues to “work” to this day, was poetry.
The beginning of the “Golden Age” can be called 1808, because already in some of the first mature works of Zhukovsky, the individual intonation so characteristic of poetry that has become “higher” is very clearly visible. In the early 20s, Byron's influence was noticeable, and such a form of expression as the poetic story became popular.
What was the peculiarity of the Russian "golden age"?
Firstly, the breadth and enormity of the tasks we have set ourselves. Secondly, the high tragic tension of poetry and prose, their prophetic effort. Thirdly, the inimitable perfection of form.
Another feature of the “golden age”: the tragic, prophetic tension of poetry and prose is expressed even more strongly by his direct heirs than Alexander Pushkin himself. The poems of this time are very original, in contrast to the fact that earlier eras borrowed more.
Most of what was written by our classics in the 19th century has long become a literary anthology. Today it is impossible to imagine a person who would not know and have not read such a cult novel in verse by Pushkin as “Eugene Onegin” or Lermontov’s great poems “The Demon” and “Mtsyri”. Dozens of poems memorized since school still evoke feelings of warmth and joy in our hearts; these poems, just like many years ago, continue to breathe and live in our souls. They continue to warm us, give us hope, help us not to lose heart; they are always ready to become our guiding light.
"Golden age"...
Was illuminated by two literary trends - classicism (M. Lomonosov, G. Derzhavin, D. Fonvizin) and sentimentalism (A. Radishchev, N. Karamzin), then romanticism (K. Ryleev, V. Zhukovsky) is already preparing the transition to realism, to the greatest masterpieces of Russian literature of the new century. When approaching this special period for Russian literature, it is important for the teacher to prepare a short introductory story about these directions, designed to make a transition from repeating information about the literature of the 18th century to characterizing the golden age of Russian poetry with the names of the largest Russian poets - Pushkin, Lermontov, Tyutchev, Fet.
Remember Pushkin’s words about V. A. Zhukovsky:
His poems are captivatingly sweet
Centuries will pass the envious distance -
and the words of V. G. Belinsky that Zhukovsky discovered the “America of Romanticism” in Russia. Let us draw the attention of schoolchildren to the fact that Zhukovsky, a wonderful translator, the greatest poet of romanticism, the author of numerous elegies, messages, romances, songs, ballads, an exponent of emotional experiences (longing and sadness, the joy of love, compassion), sought to live as he wrote. “Life and poetry are one,” the poet asserted.
Schoolchildren at this age can already understand Zhukovsky’s judgment that for the poet, the more humane the people, the more humane and happier the state; A person’s happiness is in his soul, and everything beautiful and sublime must conquer, but for this one must despise petty interests, vanity, and strive for the sublime. It is useful to give the task of comparing two works, revealing how the objective world of Derzhavina is replaced by a description of emotional signs and shades in Zhukovsky:
G. Derzhavin. "Nightingale"
On a hill, through a green grove,
At the shine of a bright stream,
Under the roof of a quiet May night,
In the distance I hear a nightingale...
V. Zhukovsky. "Evening"
A stream winding through the light sand,
How pleasant is your quiet harmony!
With what sparkling you roll into the river!..
In Zhukovsky’s descriptions, as in ballads, feeling prevails (remember “Lyudmila”). It is important that schoolchildren understand that Zhukovsky creates a national-historical flavor, folk legends, customs, and a call for humanism and moral beauty prevail.
For the review lesson after the final classes on the 18th century on the topic “Russian poetry of the 19th century,” schoolchildren prepare messages:
About Konstantin Nikolaevich Batyushkov - one of the founders of Russian romanticism, author elegies, messages (“certainty and clarity are the first and main properties of his poetry,” according to V. G. Belinsky), whose poetry is based on the dream of a perfect man;
- about Wilhelm Karlovich Kuchelbecker, the essence of whose romanticism lies in the glorification of heroes who are capable of instilling high civic feelings, as well as about what is interesting about his fate and work;
- about Kondraty Fedorovich Ryleev, the essence of accusatory odes, elegies, messages, poems, whose “thoughts” are in the statement “I am not a poet, but a Citizen” (an expression of civic feelings with the help of broad historical pictures using heroic examples - Susanin, Ermak);
- about the galaxy of Russian lyricists: Baratynsky, Maikov, Fet and etc.
Evgeny Abramovich Baratynsky is the author of poems (“Feasts”, “Ball”, “Gypsy”, etc.), critical articles, but most importantly - lyrical poems. It is important to explain to schoolchildren that according to Baratynsky, “a person is doomed to eternal disappointment”:
The years change us
And with us are our morals;
I love you with all my heart,
But your fun is alien to me...
Ninth-graders are already familiar from previous classes with the poems of Tyutchev and Fet, Maykov and Polonsky, Pleshcheev and Ogarev, so it will not be difficult to prepare short essays and reading one or two poems for such review lessons. Invite them to be creative, think through lessons dedicated to A. S. Pushkin, M. Yu. Lermontov, N. A. Nekrasov.
Students begin their story about Tyutchev by answering the questions: when was the poet born and died? What is especially characteristic of his poetry?
Fedor Ivanovich Tyutchev.
His poetry is characterized by a philosophical understanding of the world. Nature appears before us in constant motion, majestically beautiful and solemnly tragic. Man is involved in the cosmos.
Poet dissatisfied with modernity, in his poems there is a dream of spiritual life, a desire to comprehend Russian reality (“Russia cannot be understood with the mind ...”, “Russian woman”, “Tears”). We read Tyutchev's works, lines of love lyrics, imbued with universal ideas, we see landscapes of our native nature- all these are unsurpassed masterpieces that you always want to return to...
Apollon Nikolaevich Maikov
- “this is a poet-artist, a plastic poet, but not lyricist; a writer remarkable for the masterful finishing of his poems, from his first appearance before the Russian public he became a poet of thought and fearlessly took upon himself all the endless work associated with this title” (A. Druzhinin). The author of poems whose heroes are ordinary people - fishermen, artists, cheerful girls. A close look at the natural world and an accurate transfer of impressions distinguish the most famous works: “Spring! The first frame is being exhibited...", "Oh my God! Yesterday there was bad weather...”
Afanasy Afanasyevich Fet
Poet of direct experiences and impressions. “...In his best moments he goes beyond the limits indicated by poetry and boldly takes a step into our region” (P. Tchaikovsky). The desire to express the “inexpressible” tension of hearing and vision, the instantaneity of perception, the change of colors and sounds (“Quiet under the forest canopy...”, “Oh, how it smelled of spring!..”).
Apollo Alexandrovich Grigoriev
Poet, literary and theater critic. Graduated from the Faculty of Law of Moscow university. Began publishing in 1843. He published his only book of poems (1846). Then he turned to large poetic forms. Subsequently he became the leading critic of the Moskvityanin magazine. In the early 1860s, he published critical articles in the magazine of the brothers F. M. and M. M. Dostoevsky “Time”. Known as a memoirist. Author of poems about the conflict of modern man with the prosaic world.
Yakov Petrovich Polonsky
Poet, prose writer. He graduated from the Ryazan gymnasium and studied at the Faculty of Law of Moscow University. He began publishing poetry in 1840. A recognized master of psychological lyrics, who conveyed the inner world of man in its constant inconsistency and variability. He is also known as a prose writer who with all his soul perceives the commoner, the working man, his sorrows, needs, joys (“Reapers”, “Road”, “Challenge”, “Prisoner”).
Alexey Konstantinovich Tolstoy
Poet, playwright, prose writer. He was brought up by A. A. Perovsky (his pseudonym is Antony Pogorelsky). He passed the exam for rank at Moscow University and served as a diplomat. Then he was brought closer to the court. He began to publish as a prose writer. He gained fame for his lyrical poems, historical ballads and the novel “Prince Silver”. The lyrics of A.K. Tolstoy, affirming the value of the earthly world, are imbued with longing for the beautiful and infinite, spilled in nature. He is known as the author of poems, satirical poems, and a wonderful dramatic trilogy (“The Death of Ivan the Terrible,” “Tsar Fyodor Ioannovich,” “Tsar Boris”). The main themes of his poetic works are nature and love (“My bells...”, “You are my land, my native land...”, “If you love, so without reason...”), ballads occupy a special place in his work. (“Vasily Shibanov”, “Prince Mikhailo Repnin”).
A short story can be told about Nikolai Platonovich Ogarev (poems “Prisoner”, “Tavern”). We can briefly talk about Alexei Nikolaevich Pleshcheev - poet, translator, prose writer, memoirist and theater critic. He studied at the school of guards ensigns and cavalry cadets, and then at St. Petersburg University. In his youth, he became close to the circle of M.V. Butashevich-Petrashevsky and, together with F.M. Dostoevsky and other members of the circle, was exiled. He gained literary fame with the publication of his first collection of poems (1846) and until the end of his life he retained his reputation as a poet with a noble and pure direction. Pleshcheev, in addition to poems (“Forward! without fear and doubt...”, “We are brothers according to feelings...”), owns stories, short stories, translations, plays and critical articles.
So, review lessons on the topic “Russian poetry of the 19th century” are preceded by thematic lessons dedicated to Pushkin or Lermontov, Nekrasov, they can be conducted as a montage lesson, or a conference lesson, or a concert lesson (short messages and reading poems). The presenter, naturally, will be the teacher, who has previously distributed the material of stories about poets and poetic texts for reading. The teacher begins the montage, then takes on short comments designed to tie together all the parts, as well as the overall result of such a double lesson; It is appropriate to provide answers to the following sample questions and tasks:
What are the distinctive properties of the poetry of Zhukovsky and Batyushkov?
- What are the features of the creativity of Tyutchev and Fet, Ryleev and Pleshcheev?
- Remember and name the greatest poets of Pushkin’s era.
- Tell us about the life and work of one of the poets of the 19th century.
- Prepare the story “Poetry of the 19th Century.”
Bukhshtab B. Russian poets. - L., 1970.
Gorodetsky B. Russian lyrics: Historical and literary essays. - L., 1974.
Korovin V. Poets of Pushkin’s era. - M., 1980.
Korovin V. Russian poetry of the 19th century. - M., 1987, 1997.
Semenko I. Poets of Pushkin’s era. - M., 1970.
Russian poets: Anthology / Ed. V. I. Korovin. - M., 1990. - Part I.
V. Ya. Korovina, I. S. Zbarsky, V. I. Korovin, Literature 9th grade. Methodological advice - M.: Education, 2003. - 162 p.: ill.
Russian poetry of the 19th century experienced at least three genuine upsurges in its development. The first, relatively speaking, dates back to the beginning of the century and is marked by the name of Pushkin. Another long-recognized poetic rise occurs at the turn of two centuries - the nineteenth and twentieth - and is associated primarily with the work of Alexander Blok. Finally, the third, in the words of a modern researcher, “poetic era” is the middle of the past so far, the 60s, although it is in poetry that the so-called “sixties” chronologically shift more noticeably to the early 50s.
In the 40s, significant and fundamentally important phenomena took place in Russian poetry. Thus, in the mid-40s, Nekrasov’s original creativity took shape, and in the 40s, Fet began to create. And yet, in this decade, in general, poetry fades into the background, which is confirmed by the external picture of literary life: a limited number of published poetry collections, the modest place occupied by poetry in magazines. And the reasons must be sought not only in the arbitrariness of publishers or the lack of aesthetic sense among critics - one CAN point out, for example, a very restrained attitude towards poetry in the second half of the 40s, even among Belinsky. In the literature, analytical tendencies characteristic primarily of prose prevailed. Meanwhile, the attempt made at the very end of the 40s by such a sensitive editor and publisher as Nekrasov to revive interest in poetry seems symptomatic. A whole series of articles devoted to the poetic phenomena of the era is being planned in Sovremennik. Nekrasov’s famous article “Russian minor poets” was written within this framework.
All this was a foretaste of a new rise in poetry, signs of which were already visible from the beginning of the 50s and which by the mid-50s acquired unusual swiftness. Poetry again receives its citizenship on the pages of magazines, becomes a full-blooded and independent participant in the literary process, the subject of critical analysis and theoretical debate. The best critics again write a lot and with interest about it: Chernyshevsky and Dobrolyubov, Druzhinin and Botkin. Poetry collections come out and often become truly outstanding events in literary and social life. First of all, this applies to Nekrasov’s collection of 1856. Books by Fet, Nikitin, Ogarev, Polonsky, Ap. Maykova and others. The era called specifically to poetry, and not to poetry, of which there was never a shortage. The very character of poetry also changes qualitatively. Quite a few new poets are appearing: Sluchevskin, for example, or Nikitin. What is happening, however, is not just an ordinary generational change. The process of becoming poetry looks much more complicated. Characteristic is the revival to a new life of poets who had long been established, but were almost silent in the “non-poetic” 40s. Perhaps the most characteristic in this sense is the fate of a poet like Tyutchev, his kind of double revival: firstly, attention to his very work, which already existed, its revival in the reader’s perception and, secondly, his very extraordinary creative activity . We can talk about a kind of revival even of Nekrasov, who in the 1940s was experiencing a clear creative crisis, wrote little or no poetry (throughout 1849) and directly stated that he was no longer writing poetry. On the other hand, a writer like Turgenev, who created many poetic works in the “prosaic” 40s, completely parted with poetry in the “poetic” 50s.
Russian poetry after Pushkin, it carried opposing principles, expressed the increased complexity and inconsistency of life. Clearly defined and polarized, two directions are developing: democratic and “pure art.” When we talk about two poetic camps, we need to keep in mind the great diversity and complexity of relations both within each of the camps and in the relations between them, especially if we take into account the evolution of social and literary life, “Pure” poets wrote civil poetry: from liberal- accusatory (Ya. Polonsky) to protective (Ap. Maikov). Democratic poets experienced a certain (and also positive) influence from the poets of “pure art”: Nikitin, for example, in his poetry of nature. The flourishing of Khatir poetry is mainly associated with the democratic movement. Nevertheless, “pure art” put forward a number of major satirical talents: N. Shcherbina and especially A.K. Tolstoy, who wrote many satirical works - both independent and within the framework of collective authorship, creating the famous Kozma Prutkov. And yet, in general, there is a fairly clear divide between poetic movements. In the confrontation and confrontation of these two trends, intensified social struggle often manifested itself. The poles could perhaps be designated by two names: Nekrasov and Fet. “Both poets began to write almost simultaneously,” the critics stated, “both experienced the same phases of social life, both made a name for themselves in Russian literature... both, finally, are distinguished by far from ordinary talent, and for all that in poetic there is almost not a single common point in the activities of each of them.”
More often, the Nekrasov school - and here we are talking about just such a school - means poets of the 50s - 70s, ideologically and artistically closest to him, who experienced the direct influence of the great poet, even organizationally united in essence due to that circumstance that most of them were grouped around a few democratic publications: Nekrasov’s Sovremennik, Russian Word, Iskra.
