Analysis of the poem “Who Lives Well in Rus'” (Nekrasov). Scientific work Folklore motifs in the poem by N.A. Nekrasov “Who can live well in Rus'? Relevance of the work who can live well in Rus'

Nikolai Alekseevich Nekrasov is a wonderful Russian poet, whose works are dedicated to the people. Since childhood, we have been reading his poems about peasant children, Russian women, the urban poor, and nature. Years go by, we grow up, but Nekrasov remains a poet, to whose works we return again and again, discovering poems, poems, songs of our favorite author that we have not yet read.

In Nekrasov's works we hear sad notes of hopelessness and melancholy. They disturb the soul and force us to look more closely at ourselves and the world around us.
The Yaroslavl land, which became the “small Motherland” for the poet, left its mark on all of his work. Nekrasov spent his childhood in a village on the banks of the Volga, on the estate of his serf-owner father. Communicating with peasants, he absorbed the kindness, sincerity, and breadth of soul of the Russian people. Knowing well the life of ordinary people, the poet was imbued with their pressing problems. And then he sincerely and honestly told in his works about the difficult fate of the people. His poems were a protest against the unrest reigning in the country. Honestly and openly in the poem “Who Lives Well in Rus',” Nekrasov declares about lawlessness, about atrocities, about the outrage against human life.

The beginning of the work reminds me of an ancient Russian epic in its beginning. Indeed, what is not a fairy tale:
In what year - calculate
In what land - guess.
On the sidewalk
Seven men came together...

But this impression only comes from reading the prologue. The further we move with the seekers of happiness, the more often we encounter the harsh reality of Russia in the second half of the nineteenth century. What are our travelers' views on well-being? Some consider the priest, the official, happy, others - the landowner, the tsar... The dispute between the men shows that they do not have a single concept of happiness. The very first meetings bring confusion into the souls of our wanderers: the clergyman does not live better than them, although he eats more satisfyingly:

...In the dead of autumn night,
In winter, in severe frosts,
And in the spring flood
Go where you are called!..
What's the peace like?..

A series of new disappointments follows. There were so many “happy” people here: Ermil Girin, Matrena Timofeevna, and Yakim Nagoy. But their life seems serene only to an outside observer. Who better to tell about themselves than themselves? But there is no joy in their stories, life is full of adversity common man, the human soul hides a lot of grief within itself.

Nekrasov talks with sympathy about people who mistakenly consider themselves happy and are ready to tell passers-by about their lives for a “glass of vodka.” How many of them are “prosperous”! But what is their happiness? In death, which did not touch the narrator, but took away those close to him from life, in remarkable strength, which a cunning person uses, and squeezes all the juice out of a hero, or in vodka, which gives oblivion from worldly affairs:

And that, firstly, is happiness,
What's in twenty battles
I was, and not killed!

The story about Ermil Girin shows wanderers that they are not looking for happiness there. Some bright images stand out against the background of the peasant world.

vivid images. This is, for example, Yermil. Everything he does and lives is aimed at seeking the happiness of the people. Girin is honest with the peasants and honors ancient Russian customs. It seems that this fairy tale hero, acting among the people in difficult times for them. All the best that is in Ermil Girin attracts the attention of others, makes them fall in love with this person:

He had everything he needed
For happiness...
... An enviable, true honor,
Not bought with money,
Not with fear: with strict truth,
With intelligence and kindness!

Gradually, the wanderers develop a unified concept of happiness and a happy person. You shouldn’t look for well-being in your personal life, it’s not there: Nekrasov leads us to this idea. Only in the respect of the people can true bliss be found, although this does not bring any material benefits to a person, except for the name " people's defender", consumption and Siberia. The author's position gradually becomes the worldview of wanderers.

Nekrasov paints the image of an intellectual who devotes his life to serving the people:

Go to the downtrodden
Go to the offended -
Be the first there!

In the struggle for people's happiness, Grisha Dobrosklonov will find the meaning of his life. The author brings us to this idea at the end of the work. Only in selfless service to the people did the poet see the meaning of life and the true purpose of man. He endows Grisha with the best traits of a fighter for people's happiness. The road of the “people's defender” is difficult, but:

... they walk along it
Only strong souls
Loving,
To fight, to work...

Any honest person can be in Dobrosklonov’s place, you just need to love your Motherland and respect the people: With love for your poor mother

Love for all the wahlacina
Merged - and about fifteen years old
Gregory already knew for sure
What will live for happiness
A wretched and dark native corner.

Nekrasov’s work “Who Lives Well in Rus'” is still relevant today. Years pass, times change, months, weeks, days fly by, but a person living on earth strives for happiness, wants to find it, but does he find it? We do not have the balance of soul necessary for this state, and happiness is increasingly associated with the word “money”. However, I believe that someday we will know true bliss. For me, the concept of “happiness” consists of several components - the ability to find one’s place in life, to do what one loves and interesting thing, live a rich life and realize that you are a part of our world, in harmony with the surrounding nature. And my favorite poet supports me in this conviction:

The son cannot look calmly
On my dear mother's grief,
There will be no worthy citizen
I have a cold heart for the Fatherland,
There is no worse reproach for him...
Go into the fire for the honor of the Fatherland,
For conviction, for love...

When studying writers of the nineteenth century, one cannot ignore Nikolai Alekseevich Nekrasov. He dedicated most of his works to the common people; he strove to understand and reveal the Russian soul, and often touched on the topic of liberating peasants from serfdom. The epic poem “Who Lives Well in Rus'” - the poet’s most ambitious work - was no exception.

The plot of the poem begins when seven men, seven temporary peasants from different villages, begin to argue about “who lives a fun, free life in Rus'?” So, not agreeing on opinions, the main characters go in search of the “lucky ones”, abandoning all their affairs.

It is noteworthy that Nekrasov uses folklore and many fairy-tale elements in his work. I think this allowed the author not only to build a logical composition of the poem, but also to show the eternal desire of the people for truth, the belief that good always triumphs over evil.

The first person on the way for wanderers is a priest. He sees happiness in “peace, wealth, honor,” and recalls with longing the serfdom past. At that time, the church was maintained by wealthy landowners, but with the advent of the new reform they went bankrupt, which could not but affect the financial condition of the clergy. The heavy burden of maintaining the clergy fell on the shoulders of the peasant, who “he himself is in need, and would be glad to give, but there is nothing.”

The landowners Obolt-Obolduev and Utyatin, who appear in the poem, have similar concepts about happiness. They mourn the abolition of serfdom, the loss of their former idleness and luxury of life. Now, everything that was so dear to them was taken away from the landowners: obedient slaves and land, but most of all they regret the loss of their power:

I will have mercy on whomever I want,

Whoever I want, I’ll execute.

The law is my desire!

The fist is my police!

And among the common people, seven men are trying to find happiness. Thus, those who want to drink a free glass talk about their happiness: the old woman is happy that “up to a thousand turnips were born on a small ridge,” the soldier is happy that “in twenty battles ... he was killed, and not killed,” the yard man is happy because he has “an illness honorable,” the mason is proud of his extraordinary strength. But none of the narrators truly convinces our wanderers that he is happy. Their joy is rather based on material values, amazing chance, or simply the absence of misfortune. No wonder the chapter “happy” ends with the following lines:

Hey, man's happiness!

Leaky with patches,

Humpbacked with calluses,

Go home.

At the fair, the main characters are told a story about Yermil Girin. “He had everything he needed for happiness: peace of mind, money, and honor.” That honor was earned by intelligence, honest work and kindness; Yermil enjoyed great respect among the people. It would seem that the men found a happy one, but even this character cannot be considered as such, because he ended up in prison for supporting a peasant uprising.

In his poem Nekrasov pays special attention to female image, the difficult fate of Matryona Timofeevna. But you can call her happy only before marriage (“I was lucky in the girls: we had a good, non-drinking family”). Matryona had to endure many difficult trials, which she endured with enviable fortitude and bravely withstood: she lay down under the rod instead of her son, saved her husband from conscription, and survived hunger. One cannot help but admire the image of a Russian woman who is a double slave: a slave of her husband and the peasantry, but who has retained her honor and dignity. The people consider her happy, but Matryona Timofeevna herself does not agree with this: “It’s not a matter of looking for a happy woman among women.”

I think it is no coincidence that at the end of the poem Nekrasov introduces the image of the “people's defender” Grisha Dobrosklonov. And although fate was preparing “consumption and Siberia” for the hero, from childhood he decided to devote his entire life to ensuring that “every peasant would live a free and joyful life in all of holy Rus'.” In my opinion, it was in the image of Grisha Dobrosklonov that Nekrasov reflected the main idea of the work: true happiness is to make all the people around happy, and this can only be achieved when thoughts about revolutionary transformation enter the people's consciousness.

The works of Nikolai Alekseevich Nekrasov are always distinguished by their social orientation; he created his poems and poems “about the people and for the people,” describing their problems, thoughts and interests, life and customs. “Who Lives Well in Rus'?” is no exception. This is all famous work reflected difficult situation, which developed in Russia after the abolition of serfdom.

At the very beginning of the poem, in the prologue, seven men gathered and started an argument, trying to find out “who lives happily and freely in Rus'.” And for this they set out on a journey, meeting along the way and listening to stories about people completely different in their position in society. This is a priest, a landowner, and a peasant woman. Matryona Timofeevna, and Yermil Girin, and a soldier who returned to his homeland and sees his happiness in this, and seminarian Grisha Dobrosklonov, and many others. We can call few heroes truly happy, from the author’s point of view, and not a single one, according to the men. After all, what is happiness for them? A clear definition of this is given by the sexton who appears at the very beginning of their journey, who said:

What do you think is happiness?

Peace, wealth, honor?

Isn't that right, dear friends?

They said: “Yes.”

You can try to apply this “formula” to the destinies of different heroes and understand why the wanderers did not find happy ones among everyone who met them on the way.

The first person with whom the men started a conversation about a subject that interested them was the priest. From his very first words (“Orthodox! It’s a sin to grumble against God…”) we understand that the story will not be joyful, that the clergy do not live freely and cheerfully, that everything that is said about them is the invention of ignorant people. After all, the priest has no wealth, no honor, no peace. And where would they come from if the priest lives only on donations from parishioners and money earned from weddings and funerals, not having the opportunity, unlike peasants, to cultivate his own land. If at any hour, on any day of the week, in any weather, be it frost, thunderstorm, severe heat or flood, he must go to a dying person, confess him, perform the necessary rituals, and then serve the service and deal with his pressing problems. If people “make up jokey tales and obscene songs” about the clergy, call his wife and children names, then what kind of happiness can we talk about? The priest has no peace, no respect, no money.

The situation is no better for landowners. After the abolition of serfdom, they turned out to be completely unadapted to the new conditions; they do not know how to do anything, because their parents and teachers prepared them for a quiet life based on the exploitation of the labor of serfs, because they were not taught the things necessary for the new time. And the image of the “ruddy, handsome, stocky” landowner evokes pity in us, because maybe he would like to start all over again now, but he cannot. “The great chain broke, it broke and sprang apart. One end for the master, the other for the peasant!..”

A little closer to the “ideal” is Ermil Girin. He has two components of happiness: respect from others and wealth. With his honesty, decency, nobility and high morality, he earned the trust of all the people around him, and was chosen as the headman. But, despite all this, Ermila has no peace, which means she has no complete happiness. Having once stumbled, he cannot forgive himself for this, although from the point of view of those around him, the action is completely justified and does not cause indignation or contempt and anger. And in fact, what is wrong with the fact that instead of his brother, he gave another person as a recruit, and not by vile deception and betrayal, but by paying him and his mother a lot of money for it. Girin's conscience cannot withstand such a test: he wants to hang himself, and when he is literally taken out of the noose, he retires and decides to take care of the mill. Moreover, both when purchasing at an auction and when using it, we can again be convinced of the honesty and decency of this person, of his incorruptibility and nobility. Unfortunately, people like Yermil really cannot find peace, because a truly honest person is honest in everything. And in the end, when Girin refuses to take part in suppressing the rebellion, he is imprisoned.

But these are all male characters, and Nekrasov also addresses a woman in his work - Matryona Timofeevna, whose fate is described in an entire chapter. Heavy female share in Rus', the heroine had a hard time in life. First, she is forced to endure the constant nagging of her mother-in-law and sister-in-law, the harassment of the “lord’s manager”, then she experiences the death of her first-born, Dyomushka, brings shame upon herself by accepting caning instead of her son Fedotushka, and hunger. Then a new misfortune comes: Matryona’s husband is recruited, and here the brave woman is ready to fight for her happiness: she goes to the city and makes her way to the governor’s wife, who helps her restore justice. She has neither wealth, nor honor, much less peace. All her life she must work to feed and provide for her family, endure humiliation and numerous losses, but she also has joy in life - she loves and is loved. And this means a lot, because not many Russian women have been so lucky with their husbands. In conclusion, Matryona Timofeevna says very meaningful words to the wanderers: “And what you started is not a matter of looking for a happy woman among women!”

So, according to the author, among these heroes there is not a single happy person. So who is the person who lives “at ease in Rus'”? This is Grisha Dobrosklonov, who appears in the poem only in the last chapter. He was a sympathetic and loving son, and “in the boy’s heart, with love for his poor mother, love for all the Vakhlachina merged,” he dreamed of going to Moscow and studying at the “novorsity.”

Of the two roads, which the author designates as “the rough road, the slave of passions” and “the narrow road, the honest road,” he chooses the second. And he follows it to the end. What lies ahead for him? “Fate had prepared for him a glorious path, a great name as a people’s intercessor, consumption and Siberia.”

It's not easy life path, fate is harsh. He has no money, no peace, no universal respect, but he decided to devote his life to the struggle for the people's happiness, for their liberation from the chains of serfdom.

"...And about fifteen years

Gregory already knew for sure

What will live for happiness

A wretched and dark native corner."

And it is precisely good deeds for the people, it is zeal for the “humiliated, offended”, the desire for general well-being that Nekrasov sometimes considers true human happiness at the cost of his life. You don't need money, you don't need family and honor. The lofty goal of living and possibly dying for one’s Motherland and the Russian people is a person’s destiny, this is the meaning of his whole life.

In the poem “Who Lives Well in Rus'?” The concept of happiness is multifaceted and somewhat unusual. It does not include love and friendship, that is, those feelings without which it is difficult for a person to live in the world, but the social orientation is clearly indicated: the people, their liberation from serfdom, which Grisha calls a snake.

Who can live well in Rus'? This question still worries many people, and this fact explains the increased attention to Nekrasov’s legendary poem. The author managed to raise a topic that has become eternal in Russia - the topic of asceticism, voluntary self-denial in the name of saving the fatherland. It is the service of a high goal that makes a Russian person happy, as the writer proved with the example of Grisha Dobrosklonov.

“Who Lives Well in Rus'” is one of Nekrasov’s last works. When he wrote it, he was already seriously ill: he was struck by cancer. That's why it's not finished. It was collected bit by bit by the poet’s close friends and arranged the fragments in random order, barely catching the confused logic of the creator, broken by a fatal illness and endless pain. He was dying in agony and yet was able to answer the question posed at the very beginning: Who lives well in Rus'? He himself turned out to be lucky in a broad sense, because he faithfully and selflessly served the interests of the people. This service supported him in the fight against his fatal illness. Thus, the history of the poem began in the first half of the 60s of the 19th century, around 1863 ( serfdom canceled in 1861), and the first part was ready in 1865.

The book was published in fragments. The prologue was published in the January issue of Sovremennik in 1866. Later other chapters were published. All this time, the work attracted the attention of censors and was mercilessly criticized. In the 70s, the author wrote the main parts of the poem: “The Last One,” “The Peasant Woman,” “A Feast for the Whole World.” He planned to write much more, but due to the rapid development of the disease he was unable to and settled on “The Feast...”, where he expressed his main idea regarding the future of Russia. He believed that such holy people as Dobrosklonov would be able to help his homeland, mired in poverty and injustice. Despite the fierce attacks of reviewers, he found the strength to stand for a just cause to the end.

Genre, kind, direction

N.A. Nekrasov called his creation “the epic of modern peasant life” and was precise in his formulation: the genre of the work is “Who can live well in Rus'?” - epic poem. That is, at the heart of the book, not one type of literature coexists, but two: lyricism and epic:

Epic component. In the history of the development of Russian society in the 1860s there was turning point, when people learned to live in new conditions after the abolition of serfdom and other fundamental transformations of their usual way of life. This one is heavy historical period and the writer described it, reflecting the realities of that time without embellishment or falsehood. In addition, the poem has a clear linear plot and many original characters, which indicates the scale of the work, comparable only to a novel (epic genre). The book also incorporates folklore elements of heroic songs telling about the military campaigns of heroes against enemy camps. All these are generic signs of the epic.
Lyrical component. The work is written in verse - this is the main property of lyrics as a genre. The book also contains space for the author's digressions and typically poetic symbols, means of artistic expression, and features of the characters' confessions.

The direction within which the poem “Who Lives Well in Rus'” was written is realism. However, the author significantly expanded its boundaries, adding fantastic and folklore elements (prologue, beginning, symbolism of numbers, fragments and heroes from folk legends). The poet chose the form of travel for his plan, as a metaphor for the search for truth and happiness that each of us carries out. Many researchers of Nekrasov’s work compare the plot structure with the structure of a folk epic.

Composition

The laws of the genre determined the composition and plot of the poem. Nekrasov finished writing the book in terrible agony, but still did not have time to finish it. This explains the chaotic composition and many branches from the plot, because the works were shaped and restored from drafts by his friends. He himself is in recent months life was unable to strictly adhere to the original concept of creation. Thus, the composition “Who Lives Well in Rus'?”, comparable only to the folk epic, is unique. It was developed as a result of the creative development of world literature, and not the direct borrowing of some well-known example.

Exposition (Prologue). The meeting of seven men - the heroes of the poem: “On a pillared path / Seven men came together.”
The plot is the characters' oath not to return home until they find the answer to their question.
The main part consists of many autonomous parts: the reader gets acquainted with a soldier, happy that he was not killed, a slave, proud of his privilege to eat from the master's bowls, a grandmother, whose garden yielded turnips to her delight... While the search for happiness stands still, depicts the slow but steady growth of national self-awareness, which the author wanted to show even more than the declared happiness in Rus'. From random episodes, a general picture of Rus' emerges: poor, drunk, but not hopeless, striving for a better life. In addition, the poem has several large and independent inserted episodes, some of which are even included in autonomous chapters (“The Last One,” “The Peasant Woman”).
Climax. The writer calls Grisha Dobrosklonov, a fighter for people's happiness, a happy person in Rus'.
Denouement. A serious illness prevented the author from completing his great plan. Even those chapters that he managed to write were sorted and designated by his proxies after his death. You must understand that the poem is not finished, it was written by a very sick person, therefore this work- the most complex and confusing of Nekrasov’s entire literary heritage.
The final chapter is called “A Feast for the Whole World.” All night long the peasants sing about the old and new times. Grisha Dobrosklonov sings kind and hopeful songs.

What is the poem about?

Seven men met on the road and argued about who would live well in Rus'? The essence of the poem is that they looked for the answer to this question on the way, talking with representatives of different classes. The revelation of each of them is a separate story. So, the heroes went for a walk in order to resolve the dispute, but only quarreled and started a fight. In the night forest, during a fight, a bird's chick fell from its nest, and one of the men picked it up. The interlocutors sat down by the fire and began to dream of also acquiring wings and everything necessary for their journey in search of the truth. The warbler turns out to be magical and, as a ransom for her chick, tells people how to find a self-assembled tablecloth that will provide them with food and clothing. They find her and feast, and during the feast they vow to find the answer to their question together, but until then not to see any of their relatives and not to return home.

On the road they meet a priest, a peasant woman, the farcical Petrushka, beggars, an overworked worker and a paralyzed former servant, honest man Ermila Girin, the landowner Gavrilo Obolt-Obolduev, the deceased Last-Dutyatin and his family, the servant Yakov the faithful, God's wanderer Jonah Lyapushkin, but none of them was a happy person. Each of them is associated with a story of suffering and misadventures full of genuine tragedy. The goal of the journey is achieved only when the wanderers stumbled upon seminarian Grisha Dobrosklonov, who is happy with his selfless service to his homeland. With good songs, he instills hope in the people, and this is where the poem “Who Lives Well in Rus'” ends. Nekrasov wanted to continue the story, but did not have time, but he gave his heroes a chance to gain faith in the future of Russia.

The main characters and their characteristics

About the heroes of “Who Lives Well in Rus'” we can say with confidence that they represent a complete system of images that organizes and structures the text. For example, the work emphasizes the unity of the seven wanderers. They do not show individuality or character; they express common features of national identity for all. These characters- a single whole, their dialogues, in fact, are collective speech, which originates from oral folk art. This feature connects Nekrasov’s poem with the Russian folklore tradition.

Seven wanderers represent former serfs “from adjacent villages - Zaplatova, Dyryavina, Razutov, Znobishina, Gorelova, Neelova, Neurozhaika and also.” They all put forward their versions of who should live well in Rus': a landowner, an official, a priest, a merchant, a noble boyar, a sovereign minister or a tsar. Their character is characterized by persistence: they all demonstrate a reluctance to take someone else's side. Strength, courage and the desire for truth are what unites them. They are passionate and easily angered, but their easygoing nature compensates for these shortcomings. Kindness and responsiveness make them pleasant interlocutors, even despite some meticulousness. Their disposition is harsh and harsh, but life did not spoil them with luxury: the former serfs always bent their backs working for the master, and after the reform no one bothered to provide them with a proper home. So they wandered around Rus' in search of truth and justice. The search itself characterizes them as serious, thoughtful and thorough people. The symbolic number “7” means a hint of luck that awaited them at the end of the journey.
Main character– Grisha Dobrosklonov, seminarian, son of a sexton. By nature he is a dreamer, a romantic, loves to compose songs and make people happy. In them he talks about the fate of Russia, about its misfortunes, and at the same time about its mighty strength, which will one day come out and crush injustice. Although he is an idealist, his character is strong, as are his convictions to devote his life to the service of truth. The character feels a calling to be the people's leader and singer of Rus'. He is happy to sacrifice himself to a high idea and help his homeland. However, the author hints that a difficult fate awaits him: prison, exile, hard labor. The authorities do not want to hear the voice of the people, they will try to silence them, and then Grisha will be doomed to torment. But Nekrasov makes it clear with all his might that happiness is a state of spiritual euphoria, and you can only know it by being inspired by a lofty idea.
Matrena Timofeevna Korchagina – main character, a peasant woman whom her neighbors call lucky because she begged the military leader’s wife for her husband (he, the only breadwinner of the family, was supposed to be recruited for 25 years). However, the woman's life story reveals not luck or fortune, but grief and humiliation. She experienced the loss of her only child, the anger of her mother-in-law, and everyday, exhausting work. Her fate is described in detail in an essay on our website, be sure to check it out.
Savely Korchagin- grandfather of Matryona’s husband, a real Russian hero. At one time, he killed a German manager who mercilessly mocked the peasants entrusted to him. For this, a strong and proud man paid with decades of hard labor. Upon his return, he was no longer fit for anything; the years of imprisonment trampled his body, but did not break his will, because, as before, he stood up for justice. The hero always said about the Russian peasant: “And it bends, but does not break.” However, without knowing it, the grandfather turns out to be the executioner of his own great-grandson. He did not look after the child, and the pigs ate him.
Ermil Girin- a man of exceptional honesty, mayor in the estate of Prince Yurlov. When he needed to buy the mill, he stood in the square and asked people to chip in to help him. After the hero got back on his feet, he returned all the borrowed money to the people. For this he earned respect and honor. But he is unhappy, because he paid for his authority with freedom: after peasant revolt Suspicion fell on him regarding his organization, and he was imprisoned.
Landowners in the poem“Who lives well in Rus'” are presented in abundance. The author depicts them objectively and even gives some images positive character. For example, governor Elena Alexandrovna, who helped Matryona, appears as a people's benefactor. Also, with a touch of compassion, the writer portrays Gavrila Obolt-Obolduev, who also treated the peasants tolerably, even organized holidays for them, and with the abolition of serfdom, he lost ground under his feet: he was too accustomed to the old order. In contrast to these characters, the image of the Last-Duckling and his treacherous, calculating family was created. The relatives of the old cruel serf owner decided to deceive him and persuaded the former slaves to participate in the performance in exchange for profitable territories. However, when the old man died, the rich heirs brazenly deceived the common people and drove him away with nothing. The apogee of noble insignificance is the landowner Polivanov, who beats his faithful servant and gives his son as a recruit for trying to marry his beloved girl. Thus, the writer is far from denigrating the nobility everywhere; he is trying to show both sides of the coin.
Serf Yakov- an indicative figure of a serf peasant, an antagonist of the hero Savely. Jacob absorbed the entire slavish essence of the oppressed class, overwhelmed by lawlessness and ignorance. When the master beats him and even sends his son to certain death, the servant humbly and resignedly endures the insult. His revenge was consistent with this humility: he hanged himself in the forest right in front of the master, who was crippled and could not get home without his help.
Jonah Lyapushkin- God's wanderer who told the men several stories about the life of people in Rus'. It tells about the epiphany of Ataman Kudeyara, who decided to atone for his sins by killing for good, and about the cunning of Gleb the elder, who violated the will of the late master and did not release the serfs on his orders.
Pop- a representative of the clergy who complains about the difficult life of a priest. The constant encounter with grief and poverty saddens the heart, not to mention the popular jokes addressed to his rank.

The characters in the poem “Who Lives Well in Rus'” are diverse and allow us to paint a picture of the morals and life of that time.

Subject

The main theme of the work is freedom- rests on the problem that the Russian peasant did not know what to do with it, and how to adapt to new realities. National character is also “problematic”: people-thinkers, people-seekers of truth still drink, live in oblivion and empty conversations. They are not able to squeeze slaves out of themselves until their poverty acquires at least the modest dignity of poverty, until they stop living in drunken illusions, until they realize their strength and pride, trampled upon by centuries of humiliating state of affairs that were sold, lost and bought.
Happiness theme. The poet believes that a person can get the highest satisfaction from life only by helping other people. The real value of being is to feel needed by society, to bring goodness, love and justice into the world. Selfless and selfless service to a good cause fills every moment with sublime meaning, an idea, without which time loses its color, becomes dull from inaction or selfishness. Grisha Dobrosklonov is happy not because of his wealth or his position in the world, but because he is leading Russia and his people to a bright future.
Homeland theme. Although Rus' appears in the eyes of readers as a poor and tortured, but still a beautiful country with a great future and a heroic past. Nekrasov feels sorry for his homeland, devoting himself entirely to its correction and improvement. For him, his homeland is the people, the people are his muse. All these concepts are closely intertwined in the poem “Who Lives Well in Rus'.” The author's patriotism is especially clearly expressed at the end of the book, when the wanderers find a lucky man who lives in the interests of society. In the strong and patient Russian woman, in the justice and honor of the heroic peasant, in the sincere good-heartedness of the folk singer, the creator sees the true image of his state, full of dignity and spirituality.
Theme of labor. Useful activity elevates Nekrasov's poor heroes above the vanity and depravity of the nobility. It is idleness that destroys the Russian master, turning him into a self-satisfied and arrogant nonentity. But the common people have skills and true virtue that are really important for society, without them there will be no Russia, but the country will manage without noble tyrants, revelers and greedy seekers of wealth. So the writer comes to the conclusion that the value of each citizen is determined only by his contribution to the common cause - the prosperity of the homeland.
Mystical motive. Fantastic elements appear already in the Prologue and immerse the reader in the fabulous atmosphere of the epic, where it is necessary to follow the development of the idea, and not the realism of the circumstances. Seven eagle owls on seven trees - the magic number 7, which promises good luck. A raven praying to the devil is another mask of the devil, because the raven symbolizes death, grave decay and infernal forces. He is opposed by a good force in the form of a warbler bird, which equips the men for the journey. A self-assembled tablecloth is a poetic symbol of happiness and contentment. “The Wide Road” is a symbol of the open ending of the poem and the basis of the plot, because on both sides of the road travelers are presented with a multifaceted and authentic panorama of Russian life. The image of an unknown fish in unknown seas, which absorbed “the keys to female happiness,” is symbolic. The crying she-wolf with bloody nipples also clearly demonstrates the difficult fate of the Russian peasant woman. One of the most striking images of the reform is the “great chain”, which, having broken, “split one end over the master, the other over the peasant!” The seven wanderers are a symbol of the entire people of Russia, restless, waiting for change and seeking happiness.

Issues

In the epic poem, Nekrasov touched on a large number of pressing and topical issues of the time. The main problem in “Who can live well in Rus'?” - the problem of happiness, both socially and philosophically. She is connected with social issue abolition of serfdom, which greatly changed (and not in better side) traditional way of life of all segments of the population. It would seem that this is freedom, what else do people need? Isn't this happiness? However, in reality, it turned out that the people, who, due to long slavery, do not know how to live independently, found themselves thrown to the mercy of fate. A priest, a landowner, a peasant woman, Grisha Dobrosklonov and seven men are real Russian characters and destinies. The author described them based on his rich experience of communicating with people from the common people. The problems of the work are also taken from life: disorder and confusion after the reform to abolish serfdom really affected all classes. No one organized jobs or at least land plots for yesterday’s slaves, no one provided the landowner with competent instructions and laws regulating his new relations with workers.
The problem of alcoholism. The wanderers come to an unpleasant conclusion: life in Rus' is so difficult that without drunkenness the peasant will completely die. He needs oblivion and fog in order to somehow pull the burden of a hopeless existence and hard labor.
The problem of social inequality. The landowners have been torturing the peasants with impunity for years, and Savelia has had her whole life ruined for killing such an oppressor. For deception, nothing will happen to the relatives of the Last One, and their servants will again be left with nothing.
The philosophical problem of searching for truth, which each of us encounters, is allegorically expressed in the journey of seven wanderers who understand that without this discovery their lives become worthless.

Idea of the work

A road fight between men is not an everyday quarrel, but an eternal, great dispute, in which all layers of Russian society of that time figure to one degree or another. All its main representatives (priest, landowner, merchant, official, tsar) are summoned to the peasant court. For the first time, men can and have the right to judge. For all the years of slavery and poverty, they are not looking for retribution, but for an answer: how to live? This expresses the meaning of Nekrasov’s poem “Who can live well in Rus'?” - growth of national self-awareness on the ruins of the old system. The author’s point of view is expressed by Grisha Dobrosklonov in his songs: “And fate, the companion of the Slav’s days, lightened your burden! You are still a slave in the family, but the mother of a free son!..” Despite the negative consequences of the reform of 1861, the creator believes that behind it lies a happy future for his homeland. At the beginning of change it is always difficult, but this work will be rewarded a hundredfold.

The most important condition for further prosperity is overcoming internal slavery:

Enough! Finished with past settlement,
The settlement with the master has been completed!
The Russian people are gathering strength
And learns to be a citizen

Despite the fact that the poem is not finished, Nekrasov voiced the main idea. Already the first of the songs in “A Feast for the Whole World” gives an answer to the question posed in the title: “The share of the people, their happiness, light and freedom, above all!”

End

In the finale, the author expresses his point of view on the changes that have occurred in Russia in connection with the abolition of serfdom and, finally, sums up the results of the search: Grisha Dobrosklonov is recognized as the lucky one. It is he who is the bearer of Nekrasov’s opinion, and in his songs Nikolai Alekseevich’s true attitude to what he described is hidden. The poem “Who Lives Well in Rus'” ends with a feast for the whole world in the literal sense of the word: that’s what it’s called final chapter, where the characters celebrate and rejoice at the happy conclusion of the quest.

Conclusion

In Rus', it is good for Nekrasov’s hero Grisha Dobrosklonov, since he serves people, and, therefore, lives with meaning. Grisha is a fighter for truth, a prototype of a revolutionary. The conclusion that can be drawn based on the work is simple: the lucky one has been found, Rus' is embarking on the path of reform, the people are reaching through thorns to the title of citizen. The great meaning of the poem lies in this bright omen. It has been teaching people altruism and the ability to serve high ideals, rather than vulgar and passing cults, for centuries. From the point of view of literary excellence, the book is also of great importance: it is truly a folk epic, reflecting a controversial, complex, and at the same time the most important historical era.

Of course, the poem would not be so valuable if it only taught lessons in history and literature. She gives life lessons, and this is her most important property. The moral of the work “Who Lives Well in Rus'” is that it is necessary to work for the good of your homeland, not to scold it, but to help it with deeds, because it is easier to push around with a word, but not everyone can and really wants to change something. This is happiness - to be in your place, to be needed not only by yourself, but also by the people. Only together can we achieve significant results, only together can we overcome the problems and hardships of this overcoming. Grisha Dobrosklonov tried to unite and unite people with his songs so that they would face change shoulder to shoulder. This is his holy purpose, and everyone has it; it is important not to be lazy to go out on the road and look for it, as the seven wanderers did.

Criticism

The reviewers were attentive to Nekrasov’s work, because he himself was an important person in literary circles and had enormous authority. Entire monographs were devoted to his phenomenal civic lyricism with a detailed analysis of the creative methodology and ideological and thematic originality of his poetry. For example, here is how the writer S.A. spoke about his style. Andreevsky:

He brought out the anapest abandoned on Olympus from oblivion and for many years made this rather heavy, but flexible meter as common as the airy and melodious iambic remained from the time of Pushkin to Nekrasov. This rhythm, favored by the poet, reminiscent rotational movement barrel organ, allowed one to stay on the boundaries of poetry and prose, joke around with the crowd, speak fluently and vulgarly, insert funny and cruel joke, express bitter truths and imperceptibly, slowing down the beat, in more solemn words, move into ornateness.

Korney Chukovsky spoke with inspiration about Nikolai Alekseevich’s careful preparation for work, citing this example of writing as a standard:

Nekrasov himself constantly “visited Russian huts,” thanks to which both soldier and peasant speech became thoroughly known to him from childhood: not only from books, but also in practice, he studied the common language and from a young age became a great connoisseur of folk poetic images and folk forms thinking, folk aesthetics.

The poet's death came as a surprise and a blow to many of his friends and colleagues. As you know, F.M. spoke at his funeral. Dostoevsky with a heartfelt speech inspired by impressions from a poem he recently read. In particular, among other things, he said:

He, indeed, was highly original and, indeed, came with a “new word.”

First of all, his poem “Who Lives Well in Rus'” became a “new word”. No one before him had understood so deeply the peasant, simple, everyday grief. His colleague in his speech noted that Nekrasov was dear to him precisely because he bowed “to the people’s truth with all his being, which he testified to in his the best creatures" However, Fyodor Mikhailovich did not support his radical views on the reorganization of Russia, however, like many thinkers of that time. Therefore, criticism reacted to the publication violently, and in some cases, aggressively. In this situation, the honor of his friend was defended by the famous reviewer, master of words Vissarion Belinsky:

N. Nekrasov in his last work remained true to his idea: to arouse the sympathy of the upper classes of society for the common people, their needs and wants.

Quite caustically, recalling, apparently, professional disagreements, I. S. Turgenev spoke about the work:

Nekrasov's poems, collected into one focus, are burned.

The liberal writer was not a supporter of his former editor and openly expressed his doubts about his talent as an artist:

In the white thread stitched, seasoned with all sorts of absurdities, painfully hatched fabrications of the mournful muse of Mr. Nekrasov - there is not even a penny of her poetry.”

He truly was a man of very high nobility of soul and a man of great intelligence. And as a poet he is, of course, superior to all poets.

Interesting? Save it on your wall!

Kurganova Dina Yurievna

This work is due to increased attention to the work of N.A. Nekrasova. Researchers have been turning to him for many generations. But each “generation” has its own approach to a seemingly long-studied problem. For example, the topic of using folklore motifs in the poem “Who Lives Well in Rus'” is relevant to this day. folk art helps to better understand the way of life of peasants in the 19th century, their life, thoughts and moods.

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MUNICIPAL STATE EDUCATIONAL INSTITUTION "SADOVSKAYA SECONDARY SCHOOL" BYKOVSKY MUNICIPAL DISTRICT OF VOLGOGRAD REGION

Research work on literature

on the topic

"Folklore motives in the poem

N.A. Nekrasova “Who Lives Well in Rus'.”

Completed by: 11th grade student

Kurganova Dina Yurievna

Head: teacher of Russian language and literature

Zhivak N.N.

Introduction……………………………………………………………………………………2 p.

Chapter 1.

The history of the creation of the poem “Who Lives Well in Rus'”………………………………..4 pp.

Chapter 2.

Folklore motifs in the work of N.A. Nekrasov “Who Lives Well in Rus'”..7pp.

Conclusion……………………………………………………………………......18 p.

References……………………………………………………………………………………….19 pages.

Introduction

The topic “Folklore in the works of Nekrasov” has repeatedly attracted the attention of researchers. Nevertheless, I think it would be useful to return to it again. In numerous studies, the attention of researchers was drawn mainly to the study of textual or stylistic matches between folklore texts and texts belonging to Nekrasov, to the establishment of “borrowings” and “sources,” etc. Until now, however, the topic has not been addressed in literary terms. After all, we are dealing with a master artist. It goes without saying that this master artist, a major poetic individual, is at the same time a social figure. Nekrasov is a poet of revolutionary democracy, and this determines the nature of his poetry. And naturally, it would be interesting to explore how Nekrasov uses folklore material? What goals does he set for himself? What kind of folklore material does Nekrasov take (not in the sense precise definition sources, but in the sense of quality-artistic and social characteristics this material)? What does he do with this material (i.e. what compositional techniques introduces it, how much and how does it change)? What is the result of his work? This remains to be determined in the course of the study.

Relevance This work is due to increased attention to the work of N.A. Nekrasova. Researchers have been turning to him for many generations. But each “generation” has its own approach to a seemingly long-studied problem. For example, the topic of using folklore motifs in the poem “Who Lives Well in Rus'” is relevant to this day. It is folk art that helps to better understand the way of life of peasants in the 19th century, their way of life, thoughts and moods.

In this regard, it was put forwardworking hypothesis, which consists in the fact that N.A. Nekrasov’s inclusion of folklore motifs in the poem is ambiguous and requires a comprehensive consideration of the language of the poem.

Research topic:“Folklore motives in N.A. Nekrasov’s poem “Who Lives Well in Rus'.”

Object of study:poem by N.A. Nekrasov “Who Lives Well in Rus'.”

Purpose of the work: identify and classify folklore motifs in the work of the Russian poet N.A. Nekrasov “Who Lives Well in Rus'.”

To achieve this goal, it is necessary to solve the following

Tasks:

Consider the history of the creation of the poem “Who Lives Well in Rus'.”
Note the goals of Nekrasov’s use of folk art in his works, his attitude towards it
Understand what methods and methods the author uses to introduce folklore into the narrative and what result he is trying to achieve.
Classify folklore motifs in the poem “Who Lives Well in Rus'.”

Object of study are the motives of oral folk art in the poem by N.A. Nekrasov “Who Lives Well in Rus'”.

During the study, methods such as observation, description, and comparison were used.

Practical significance.The results of the study can be used in studying the creativity of N.A. Nekrasov in school course literature, both in lessons and in elective classes, as well as for further research in this area.

CHAPTER 1

The history of the creation of the poem “Who Lives Well in Rus'”

The crowning achievement of Nekrasov’s creativity is folk poem“Who Lives Well in Rus',” written in the 60s and 70s of the 19th century. The poem can be called a panorama of peasant Russia. “I decided,” said Nekrasov, “to present in a coherent story everything that I know about the people, everything that I happened to hear from their lips, and I started “Who Lives Well in Rus'.” This will be an epic of modern peasant life.”

From 1963 to last days Nekrasov worked on the poem. He sought to show in it as fully as possible the main features of modern reality. The writer accumulated material for his “brainchild,” as he admitted, “by word of mouth for twenty years.” Death interrupted this gigantic work. The poem remained unfinished. Shortly before his death, the poet said: “The one thing I deeply regret is that I did not finish my poem “Who Lives Well in Rus'.” The manuscript of the first part of the poem is marked by Nekrasov in 1865. This year the first part of the poem was already written, but it was obviously begun several years earlier. The mention in the first part of the exiled Poles (chapter “Landowner”) allows us to consider 1863 as a date before which this chapter could not have been written, since the suppression of the uprising in Poland dates back to 1863-1864. However, the first sketches for the poem could have appeared earlier. An indication of this is contained, for example, in the memoirs of G. Potanin, who, describing his visit to Nekrasov’s apartment in the fall of 1860, conveys the following words of the poet: “I... wrote for a long time yesterday, but I didn’t finish it a little, now I’ll finish...” These were sketches of his poem “Who can live well in Rus'?” Thus, it can be assumed that some images and episodes of the future poem, the material for which had been collected over many years, arose in the poet’s creative imagination and were partially embodied in poems earlier than 1865, when the manuscript of the first part of the poem is dated. Nekrasov began to continue his work only in the 70s, after a seven-year break. The second, third and fourth parts of the poem follow one after another at short intervals: “The Last One” was created in 1872, “The Peasant Woman” - in July-August 1873, “A Feast for the Whole World” - in the fall of 1876. Nekrasov began publishing the poem soon after finishing work on the first part. Already in the January book of Sovremennik for 1866, a prologue to the poem appeared. The printing of the first part took four years. Fearing to shake the already precarious position of Sovremennik, Nekrasov refrained from publishing subsequent chapters of the first part of the poem. Nekrasov was afraid of censorship persecution, which began immediately after the release of the first chapter of the poem (“Pop”), published in 1868 in the first issue of Nekrasov’s new magazine “Otechestvennye zapiski.” Censor A. Lebedev gave the following description of this chapter: “In the said poem, like his other works, Nekrasov remained true to his direction; in it he tries to present the gloomy and sad side of the Russian person with his grief and material shortcomings... in it there are... passages that are harsh in their indecency.” Although the censorship committee approved the book “Notes of the Fatherland” for publication, it still sent a disapproving opinion about the poem “Who Lives Well in Rus'” to the highest censorship authority. Subsequent chapters of the first part of the poem were published in the February issues of Otechestvennye zapiski for 1869 (“Country Fair” and “Drunken Night”) and 1870 (“Happy” and “Landowner”). The entire first part of the poem appeared in print only eight years after it was written. The publication of “The Last One” (“Otechestvennye zapiski”, 1873, No. 2) caused new, even greater quibbles from the censors, who believed that this part of the poem “is distinguished by... extreme ugliness of content... has the character of a libel on the entire noble class.” The next part of the poem, “The Peasant Woman,” created by Nekrasov in the summer of 1873, was published in the winter of 1874 in the January book of “Notes of the Fatherland.” Nekrasov never saw a separate edition of the poem during his lifetime. IN last year Nekrasov’s life, having returned seriously ill from Crimea, where he had basically completed the fourth part of the poem - “A Feast for the Whole World,” with amazing energy and persistence entered into combat with censorship, hoping to publish “The Feast...”. This part of the poem was subjected to particularly violent attacks by the censors. The censor wrote that he finds “the entire poem “A Feast for the Whole World” extremely harmful in its content, since it can arouse hostile feelings between the two classes, and that it is especially offensive to the nobility, who so recently enjoyed landowner rights...” However, Nekrasov did not stopped fighting censorship. Bedridden by illness, he stubbornly continued to strive for the publication of “The Feast...”. He reworks the text, shortens it, crosses it out. “This is our craft as a writer,” Nekrasov complained. - When I began my literary activity and wrote my first piece, I immediately encountered scissors; 37 years have passed since then, and here I am, dying, writing my last work, and again I am faced with the same scissors!” Having “messed up” the text of the fourth part of the poem (as the poet called the alteration of the work for the sake of censorship), Nekrasov counted on permission. However, “A Feast for the Whole World” was again banned. “Unfortunately,” Saltykov-Shchedrin recalled, “it’s almost useless to bother: everything is so full of hatred and threat that it’s difficult even to approach from afar.” But even after this, Nekrasov still did not lay down his arms and decided to “approach”, as a last resort, the head of the Main Directorate for Censorship V. Grigoriev, who back in the spring of 1876 promised him “his personal intercession” and, according to rumors that reached through F. Dostoevsky, allegedly considered “A Feast for the Whole World” to be “completely possible for publication.” Nekrasov intended to bypass censorship altogether, having secured the permission of the Tsar himself. To do this, the poet wanted to use his acquaintance with the minister of the court, Count Adlerberg, and also resort to the mediation of S. Botkin, who was at that time the court doctor ("A Feast for the Whole World" was dedicated to Botkin, who treated Nekrasov). Obviously, it was precisely for this occasion that Nekrasov inserted into the text of the poem “with gnashing of teeth” the famous lines dedicated to the tsar, “Hail, who gave freedom to the people!” We do not know whether Nekrasov took real steps in this direction or abandoned his intention, realizing the futility of the efforts. “A Feast for the Whole World” remained under a censorship ban until 1881, when it appeared in the second book of “Notes of the Fatherland”, however, with large abbreviations and distortions: the songs “Veselaya”, “Corvee”, “Soldier’s”, “ The deck is oak..." and others. Most of the censored excerpts from “A Feast for the Whole World” were first published only in 1908, and the entire poem, in an uncensored edition, was published in 1920 by K. I. Chukovsky. The poem “Who Lives Well in Rus'” in its unfinished form consists of four separate parts, arranged in the following order, according to the time of their writing: part one, consisting of a prologue and five chapters; "Last One"; “The Peasant Woman,” consisting of a prologue and eight chapters; “A feast for the whole world.” From Nekrasov’s papers it is clear that according to the plan for the further development of the poem, it was planned to create at least three more chapters or parts. In one of them, tentatively called “Death” by Nekrasov, it was supposed to be about the stay of seven peasants on the Sheksna River, where they find themselves in the midst of a widespread death of livestock from anthrax, about their meeting with an official. Citing several verses from the future chapter, Nekrasov writes: “This is a song from the new chapter “Who Lives Well in Rus'.” The poet began collecting materials for this chapter in the summer of 1873. However, it remained unwritten. Only a few prose and poetic draft passages have survived. It is also known that the poet intended to talk about the arrival of peasants in St. Petersburg, where they were supposed to seek access to the minister, and to describe their meeting with the tsar on a bear hunt. In the last lifetime edition of “Poems” by N. A. Nekrasov (1873-1874), “Who Lives Well in Rus'” is printed in the following form: “Prologue; Part One" (1865); “The Last One” (From the second part “Who Lives Well in Rus'”) (1872); “Peasant Woman” (From the third part “Who Lives Well in Rus'”) (1873).

CHAPTER 2.

Folklore motives in the poem “Who Lives Well in Rus'”

In “Who Lives Well in Rus',” the artistic principles of folk art are especially widely used. Not only the song rhythm of the entire poem is clearly visible, but also numerous inclusions of songs, both processed folklore ones and those belonging to Nekrasov himself. An illustration of this can be compared with at least two songs from this part. In the chapter (“Bitter times - bitter songs”) there is the following song (“Corvee”):

Kalinushka is poor and unkempt,

He has nothing to show off,

Only the back is painted,

Yes, you don’t know behind your shirt... Etc.

In Chapter IV you can take one of Grisha’s songs:

In moments of despondency, O motherland!

My thoughts fly forward.

You are still destined to suffer a lot,

But you won’t die, I know... Etc.

Two different style Nekrasov (relatively speaking, “people’s” and “civil”), it seems to me, are manifested here quite clearly. However, the poem is mainly written in a “folk” style. Both the language and the very structure of the images go entirely back to folk poetry. Folklore and fairy tale motifs are included in the plot basis of the poem. Thus, a talking warbler who intervenes in a dispute between men and promises a ransom for a chick is a fairy-tale image, or, for example, a self-assembled tablecloth. Although her use in Nekrasov’s poem is completely original: she must feed and clothe the men during their wanderings.

The fairy-tale form of plot development chosen by Nekrasov opened up the broadest possibilities for him and allowed him to give a number of vivid realistic pictures of Russian reality; “fabulousness” did not interfere with realism in essence and at the same time helped create a number of sharp clashes (otherwise it would have been very difficult to carry out, for example, a meeting between the peasants and the tsar). Subsequently, Nekrasov used folklore material especially widely in the part “Peasant Woman”. However, various folklore genres are not used to the same extent. Particularly widely used here are, firstly, funeral lamentations (based on Barsov’s collection “Lamentations of the Northern Region”), secondly, wedding lamentations of the bride, and thirdly, lyrical family and everyday songs. Nekrasov takes mainly works of a lyrical nature, because it was in these works that the moods, feelings and thoughts of the peasantry were most clearly and effectively reflected. But Nekrasov often turns these lyrical works into an epic narrative, and fuses them into one whole, creating such a complex complex that does not and cannot exist in folklore. Nekrasov inserts some songs into the narrative precisely as songs and sometimes presents them with absolute accuracy. Thus, Chapter I (“Before Marriage”) is built almost entirely on wedding lamentations from Rybnikov’s collection. In this regard, it is appropriate to give the following parallel, which allows us to draw some conclusions.

Nekrasov’s chapter ends like this:My dear father ordered.

Blessed mother

Set by parents

To the oak table,

With the edges of the spell poured:

“Take the tray, stranger guests

Take me with a bow!”

For the first time I bowed -

The frisky legs trembled;

I bowed second -

The white face has faded;

I bowed for the third time,

And the wolf rolled down

From a girl's head... From Rybnikov: My sir father commanded,

May my mother bless you...

Set by parents

To the oak table in the capital,

To green wine in the bottle.

I stood at the oak table, -

There were gilded trays in the runes.

There were crystal glasses on the trays,

Intoxicating green wine in a glass

To the villains of strangers,

These guests are strangers.

And I conquered my young head: The first time I bowed, -

My wolf rolled off her head,

Another time I bowed, -

My white face has faded,

The third time I bowed, -

The moth's frisky little legs trembled,

The red girl put her family-tribe to shame...

Undoubtedly, Nekrasov used this particular text, since the proximity

We see in Nekrasov an extreme compression of the entire text in terms of the number of lines. Except

Moreover, each line in Nekrasov is shorter than the corresponding folklore line

(for example, in Rybnikov - “To the oak table in the capital”, in Nekrasov - “To

oak table"). This gives Nekrasov’s verse great emotional

tension (folklore meter is slower and more epic) and greater

energy (in particular, male monosyllables are important in this regard

clauses used by Nekrasov, whereas in folklore

there are none in the text). The rearrangement made by Nekrasov is characteristic: in the folklore text, at the first bow, the willow rolled away, at the second, the face faded, at the third, the bride’s legs trembled; Nekrasov rearranges these moments

(first “the playful legs trembled”, then “the white face faded”, and,

finally, “the vollyushka rolled off the girl’s head”) and thus gives the presentation

great strength and logic. In addition, Nekrasov has the words “And the Volushka”

rolled off a girl’s head” (with a strong masculine ending) complete

Matryona Timofeevna’s narrative about a girl’s life, while in folklore

this motive. This is how the master artist gives great power and significance

the material he is referring to.

In Chapter II (“Songs”), song material is presented precisely in the form of songs,

illustrating the situation married woman. All three songs (“Stand at the court

aches my legs”, “I sleep as a baby, dozes” and “My hateful husband

rises") are known from folklore records (in particular, analogies to

The first and third are in Rybnikov’s collection, the second - in Shane). First

the song is apparently based on Rybnikov's text, but significantly

shortened and sharpened. Nekrasov gave the second song, apparently, completely

exactly (or almost exactly), but without the last verse, in which the husband affectionately

addresses his wife: thereby Nekrasov no longer softens the topic. Third

the song is again given very accurately, but again without the last part, in which

the wife submits to her husband; and here Nekrasov avoids a softening ending. Except

Moreover, this song in the recordings is called a round dance and is a game song: guy,

pretending to be a husband, jokingly hits his girl-wife with a handkerchief, and after the last

verse lifts her from her knees and kisses her (the game ends with the traditional

round dance kiss). Nekrasov gives this song as a household song and

She reinforces Matryona Timofeevna’s story about her husband’s beatings. This is clear

Nekrasov’s desire to show precisely the difficult situation is manifested

peasantry and, in particular, peasant women.

In the same chapter there is a description of Demushka’s beauty (“How written Demushka was”)

relies on the text of glorification of the groom; and here Nekrasov produces

significant reduction of the text. Chapter IV (“Demushka”) is largely built on the basis of 9 funeral lamentations of Irina Fedosova (from Barsov’s collection). Often Nekrasov uses a specific lamentation text; but what is important here is the text, which in itself allows you to expand the picture peasant life. In addition, we learn in this way about the fact of the existence of funeral lamentations among the peasants. This use of folklore, in turn, has a double meaning: firstly, the author selects the most powerful and artistically striking data and thereby increases the emotionality and imagery of his work, secondly, the folklore nature of the work makes it more accessible to the peasantry (and in general

democratic) audience, namely this orientation towards a democratic

audience is typical for Nekrasov. Particularly significant here

borrowing from “Lament for the Elder,” one of the most poignant in social

respect. At the same time, Nekrasov freely handles the material and, together with

thus slightly modifying it. Particularly revealing is the comparison

Nekrasov and Irina Fedosova cursed the judges. Irina Fedosova

ends “Lament for the Elder” like this:

You will not fall on the water, not on the ground.

You are not in God's church, in a construction site,

You will fall, my tears will burn,

You are adversarial to this villain,

Yes, you go straight to the zealous heart,

Yes, please, God, Lord,

So that decay comes on his colorful dress,

Like a crazy woman would have a head in a riot.

Give me more, God, Lord,

He wants a stupid wife for his house,

Produce foolish children,

Hear, Lord, my sinful prayers

Accept, Lord, you tears of small children...

From Nekrasov:

Villain! Executioners!

Fall my tears,

Not on land, not on water,

Not to the Lord's temple.

Fall right on your heart

My villain!

Please, God, Lord,

So that decay comes on the dress,

It's crazy

My villain!

His wife is stupid

Let's go, holy fool children!

Accept, hear, Lord,

Prayers, mother's tears,

Punish the villain!..

And here Nekrasov, following his rule (“so that words are cramped”),

significantly shortens the folklore text without, however, reducing the number

lines: each line is much shorter than that of Irina Fedosova, so

how freed from “ballast” words. As a result, the rhythm changes:

Irina Fedosova, with great inner strength, the presentation is given slowly and

therefore it is relatively little tense, while Nekrasov has short lines with

numerous exclamations create a great emotional

tension (and here masculine clauses have the same meaning). Except

Moreover, picking up the word “villain” from Irina Fedosova’s lamentation, Nekrasov

repetition of this word four times turns it into a leitmotif

the whole curse, especially since this word sounds at the very beginning, and then in

the end of each semantic segment. So here it is emphasized and intensified

social significance of the text.

In Chapter V (“She-Wolf”), in addition to some minor borrowings, you can

note the following parallel: In Nekrasov:

At Demina's grave

I lived day and night.

Prayed for the deceased

I grieved for my parents:

Are you afraid of my dogs?

Are you ashamed of my family? -

Oh, no, dear, no!

Your dogs are not afraid.

Your family is not ashamed.

And it’s forty miles to go

Tell your troubles

Ask about your troubles -

It’s a pity to drive the drill!

We should have arrived a long time ago

Yes, we thought that thought:

We'll come - you'll cry,

Let's leave - you'll roar!

A song quite similar in motives and in some details was recorded by Shane in the Pskov province:

The sun walks low,

Ride close brother

Don't come visit me.

Al yon don't know the roads?

Al yon can't stop the paths?

Can't you control a good horse?

Is Al Yong ashamed of my family?

Is Al Yong afraid of my dogs?

Hey you, sad sister!

I'm not afraid of your dogs

I am not ashamed of your family.

I'll come, and you cry,

I will go, and you will cry

Matryona's lamentation, highlighted by Nekrasov in a special meter (trochaic)

Timofeevna (“I went to the fast river”), not being an adaptation of any

or one text, echoes the funeral lamentations for parents, which are found both in Rybnikov and in Barsov’s collection.

In Chapter VI (“Difficult Year”), depicting the situation of the soldier, Nekrasov uses funeral lamentations from Barsov’s collection, thus changing the use of the text. This change does not create implausibility, however, since the position of the soldier was essentially similar to that of the widow.

From Nekrasov:

Hungry

Orphan children are standing

In front of me... Unkind

The family looks at them.

They are noisy in the house

There are pugnacious people on the street,

Gluttons at the table...

And they began to pinch them,

Beat your head...

Shut up, soldier mother!

From Barsov:

Little orphans will be orphaned,

There will be stupid kids on the street,

In the huts, orphans are troublesome,

There will be children riding at the table;

After all, the uncles will begin to walk around the hut

And it’s not fun to look at kids,

They are rude to talk to them;

They will begin to twitch the victorious children,

In a riot the head of the orphans and beating...

The principles of processing, as we see, are the same as above.

Thus, “The Peasant Woman” (especially some of its chapters) is

a kind of mosaic of song materials that Nekrasov handles

very freely, at the same time, however, very carefully treating individual

elements. This whole mosaic is subordinated to one main task - to show

the severity of the woman’s situation: where the material turns out to be sharp enough,

the poet uses it almost exactly, where this sharpness is not enough, he

resorts to processing and change. At the same time, Nekrasov modifies

folklore material and in artistic terms: using

means of folklore, he at the same time strives to organize the material and to

enhancing his artistic expressiveness. In other chapters (“The Last One” and “A Feast for the Whole World”) such folklore

we will no longer see the song mosaic. In particular, in the chapter “A Feast for the Whole World”

Nekrasov takes a different path. Here we will find a whole series of “songs”, but these songs

not folklore, but created by Nekrasov himself according to the folklore type. Just

Nekrasov gives these songs a particularly poignant social character, and them

can be called propaganda. These are the songs “Veselaya” (“Eat the prison, Yasha!

There’s no milk”), “Covee” (“Poor, unkempt Kalinushka”), “Hungry”

(“The man is standing, swaying”), “Soldatskaya” (“The light is sick, there is no truth”),

“Salty (“Nobody like God!”). In part, perhaps, this may also be the case

one of Grisha’s songs is attributed - “Rus” (“You are both wretched, you are also abundant”);

the rest of Grisha's songs are obviously literary character, “Rus” is different

comparative simplicity. It is impossible to pinpoint a direct folklore source for any of these songs; There are not even relatively close analogies. Only in the most general terms can we say that among folk songs there are songs depicting the severity of serfdom, the severity of soldiering, etc. However, Nekrasov’s songs differ from folk songs in their greater clarity and sharpness of image. Nekrasov’s task was not to follow folklore, to reproduce folklore samples, but to, using folklore techniques and thereby making his works accessible to the peasantry, influence the peasant consciousness, awaken and clarify it, create new works that could enter into song use and thus become a means of propaganda

revolutionary ideas (it’s not for nothing that these songs were subject to censorship cuts and

direct prohibition).

The songs “Veselaya”, “Corvee” and “Pakhomushka” are dedicated to the image

serfdom. These songs can be compared with, for example,

folk songs:

That our heads are gone

For the boyars, for the thieves!

They persecute the old, they persecute the little one

Going to work early

And sir, work is a little late...

How to take father and mother across the Volga,

Forge a big brother into a soldier,

And the middle brother should be cut into a lackey,

And the younger brother is a guard...

Ruined our side

Villain, boyar, master,

How did he choose, the villain,

Our young guys

To the soldiers

And us, red girls,

To the maids,

Young girls

To feeders,

And mothers and fathers

To work...

We'll come early in the morning.

Made by whip;

Let us become the vindicator

They tell us to undress;

The shirts were taken off the shoulders,

They started to beat us painfully...

The songs “Hungry” and “Salty” depict in extremely sharp terms

extreme poverty and hunger of the peasantry. The theme of poverty and hunger also appears

in folk songs, but the images used are different from those of Nekrasov.

Finally, “Soldatskaya” evilly depicts the situation of a retired soldier,

walking “in the world, in the world.” Soldiering is often depicted in folk songs

in the darkest colors (in particular, in recruit lamentations).

Because of the forest, the dark forest,

Because of the green garden

The clear sun came out.

What a white king behind the sun.

Leads a strong man, not a small one,

He is neither small nor great -

One hundred and fifty thousand regiments.

They walked and passed, they cried,

Got on my knees:

“You, father, are our white king!

He starved us to death.

Hungry, cold!..”

Thus, the themes and moods of Nekrasov’s songs were close and

understandable to the peasantry; in particular, they are characteristic of the peasant

folklore In the design, Nekrasov also gives his songs character,

close to folk songs (partly living peasant speech). So,

“Merry” is built on the repetition at the end of each stanza of the words: “It’s nice to live

Saint to the people of Rus'!” In "Corvee", "Hungry" and "Pakhomushka" there is a lot

diminutive and affectionate forms (Kalinushka, spinushka, mother,

Pankratushka, Pakhomushka, little cow, little head), inserted into “Soldatskaya”

verse about the three Matryonas and Luke and Peter (cf. Pushkin’s “Matchmaker Ivan, how to drink”

we will become"). Small types of folklore are quite richly represented in the poem.

creativity - riddles, proverbs, signs and sayings. Saturation of these

works gives the poem a particularly clear folkloric flavor. All

Nekrasov’s riddles are given, however, not in the form of riddles themselves, but in the form

metaphors or comparisons, with the names of the clues (“the castle is a faithful dog”, etc.)

p.). Proverbs, as a rule, have a brightly colored social character -

“Praise the grass in the stack, and the master in the coffin,” “They (gentlemen) are boiling in the cauldron, but

We’ll add wood.” Also noteworthy is the abundance of folklore in the text.

will accept and believe.

parallelism in the chapter “Demushka” - mother swallow; negative comparisons -

“It is not the wild winds that blow, it is not mother earth that sways - makes noise, sings, swears,

people are swinging, lying around, fighting and kissing at the holiday,” etc.;

constant epithets - “frequent stars”, “red girl”, etc.; repetition and

folklore formulas - “Did they walk long, did they walk short, did they walk close, did they walk far.”

Overall, “Who Lives Well in Rus'” really takes on character

“people's book”, as Nekrasov wanted according to Gleb

Uspensky. This is a poem about the “people” and for the “people”, a poem in which the author

acts as a defender of “people's (peasant) interests.

Conclusion

Analysis of the material revealed that N.A. Nekrasov uses folklore material for various purposes. On the one hand, folklore, as an integral element of peasant life, is included in Nekrasov’s works for a more complete depiction of the life of peasants in the 19th century. On the other hand, weaving motifs of oral folk art into the poem makes it more accessible to a peasant audience.

In the poem “Who Lives Well in Rus'” folklore material is used

Nekrasov in various ways. He either includes a specific

text of lamentations or songs taken from book sources, or

modifies folklore material, increasing its emotionality and

figurativeness, or creates his own works, using

only folklore style.

Various folk genres are not used equally

Nekrasov. He has a particularly rich representation of wedding and funeral

lamentations and everyday lyrical songs, which made it possible to show the most vividly and effectively the difficult aspects of the life of peasants.

Also presented in the poem are small types of folklore (riddles, proverbs and sayings), which gives the poem a special folk flavor, while epics and historical songs, fairy tales and legends are represented relatively little.

Thus, all of Nekrasov’s work on using folklore material is subordinated to the task of providing the strongest text in artistic and ideological terms. Nekrasov strives to give a vivid and emotionally effective image

peasant life, to evoke sympathy for the peasantry, to awaken the desire to fight for peasant happiness. This task determines the selection of the most valuable material in artistic and social terms and its processing.

References

1. Library of world literature for children. Moscow, ed. "Children's

literature", 1981

2. Eleonsky S.F. Literature and folk art. Teacher's Guide

high school. Moscow, 1956

3. Besedina T.A. Study of the poem by N.A. Nekrasov “Who Lives Well in Rus'” in

school. Vologda, 1974