Hello student. Characteristics of the concept “lyrical hero” Typology of lyrical subjects
The title of the poem is symbolic. It reflects the poet’s feelings, experiences and reflections about his life. The events that take place excite and torment the lyrical hero, which is emphasized in the work with the help of such rhetorical figures as a rhetorical exclamation (“Desires!..”) and rhetorical questions (“Love… but who?...”). It is worth noting that these rhetorical figures are used together with the stylistic device of silence, which ends the first and second stanzas. What could such a detail indicate? This combination may indicate the complex internal state of the lyrical hero: within him, heavy spiritual sadness with despair, resentment and regrets about the past and a feeling of hopelessness are combined. This state of mind is emphasized by the stylistic device of polyunion (“And joy, and torment, and everything there is insignificant...”). The obvious understatement of the number of tropes also speaks of the state of spiritual emptiness of the lyrical hero. His mood changes throughout the poem: high notes of sounds in the first stanza are replaced by lower ones in the second stanza and completely dull ones in the third. What is happening around the lyrical hero convinces him of the meaninglessness of existence. The eternal philosophical questions of love, friendship and the meaning of life are by no means resolved in the work, but, on the contrary, seem even more confusing and insoluble. The poem gives the impression of a cry from the soul, unanswered and unnoticed, like a cry crying in the desert.
Philosophical lyrics
In terms of content
What is life? What are the heart (feelings) and mind? Why is life dreary and aimless? Can anyone wise advice, an example to completely replace the inner work of the soul, personal responsibility? Striving for the ideal (Zion Heights). Is it possible to achieve the ideal? What is human nature? Sin pursues a person as inevitably as a lion “follows the odorous run of a deer.” Christian motives. Human and nature. Time, memory, fate. Renewal of man and renewal of nature. From an aesthetic point of view. The perfection of poetry. Mirror construction of poems. Semantic and syntactic parallelism. A soul striving for God. Scenery. Epithets.
Introduction
The development of Russian culture took unprecedentedly complex paths. literature of the 19th century- XX centuries It was a time of both great discoveries and tragic losses.
The 19th century clearly showed how deeply and inseparably interconnected the spirit of the writer’s world is, his perception and interpretation of the eternal questions of existence - life and death, love and suffering - and the time in which the artist lives and creates and which is openly or latently reflected in his works. The lyrical hero is, according to Boris Pasternak’s definition, “a hostage to eternity, a prisoner of time.” This definition is still relevant today.
A work of art is not a closed world. The writer is connected with his era, with the art that preceded and contemporary to him.
Until modern times, literature was the only mirror of human evolution. It is depicted by the emergence of new types of social behavior, depicting “new people”, new heroes in whom they focus character traits man, (hero) of his time.
Time determines the direction of the poet’s artistic searches, their attitude not only to eternal, but also to topical issues that are constantly and persistently posed to us by an era full of acute conflicts and dramatic events.
Purpose my work is to study how the shocks and turns of history were reflected in the fate (image) of the lyrical hero in the work of Mikhail Yuryevich Lermontov and my vision, impression of modern life, the life of the lyrical hero.
1. The image of a lyrical hero in the works of Mikhail Yuryevich Lermontov.
2. Time, era, lyrical hero through the eyes of the younger generation.
Time. Epoch. Lyrical hero
The image of a lyrical hero in the works of Mikhail Yuryevich Lermontov
“And throughout our lives we carry in our souls the image of this man - sad, strict, gentle, powerful, modest, brave, noble, caustic, shy, endowed with powerful passions and will and a penetrating, merciless mind. A poet of genius who died so early. Immortal and forever young." (Irakli Andronnikov, professor, doctor of philological sciences)
We know that Lermontov lived in scary time. The Nikolaev reaction persecuted everything progressive, everything honest and free-thinking. High society was in a hurry to renounce all human feelings, all humane thoughts. The basis of Mikhail Yuryevich’s creativity was a clash of passionate aspirations the best people era to life and struggle with the bitter awareness of the impossibility of their implementation. The older he became, the more often he correlated subjective experiences and sensations with the experience and fate of an entire generation, and more and more often he “objectified” contemporary life. The world of romantic dreams gradually gave way to the depiction of reality. The era of the 30-40s with its contradictions, deep ideological interests and deadening stagnation in public life.
The mental conflicts of the people of his time generated by this state, Lermontov, like no one else, was able to express this state in the image of a lyrical hero.
Having picked up the banner of Russian poetry from the hands of the murdered Alexander Sergeevich Pushkin, Mikhail Yuryevich Lermontov, turning to his contemporaries, raised before them “the question of fate and human rights, personality” in one or another era.
At the same time, the poet did not become a gloomy denier of life. He loved her passionately, with inspiration. The lyrical hero of his notebooks is a poetic diary full of reflections on life and death, eternity, good and evil, the meaning of existence, the future and the past. What is he like - a lyrical hero?
In his life and work, Lermontov suffered torment, of course, he, like a prophet, foresaw expulsion, slander, humiliation. They usually say that the poetry of Mikhail Lermontov was born from a timeless period. But his lyrical hero enriched both his contemporaries and subsequent generations with truly new breath. He comprehended the spiritual cataclysms of both his own and any other era of personality suppression. Therefore, the significance of Lermontov’s conquests and the example of his lyrical hero do not dry out in time.
The frank confessions of the lyrical hero reflect the mood of the author, the progressive people of that era far from us. An image emerges of a disappointed generation, poisoned by empty light. Loneliness in the poem "The Cup of Life", a familiar state of the lyrical hero:
"Then we see that it is empty
There was a golden cup
That there was a drink in it is a dream,
And that she is not ours."
The theme of a devastated life is associated with another - the self-knowledge of the lyrical hero, the thirst for authentic life. The lyrical hero’s aspiration towards her always wins.
In his terrible age, extinguishing reason and will, Lermontov possessed a proud heart, courage to fight, and ardor of feelings. The poet tried to return to the world the harmony, beauty, and freedom that he had lost. Lermontov intensely searches for sources of ideals for the lyrical hero and finds them in spiritual closeness with people, both close, related, and not with them. The tragedy of public life in the 19th century left a deep mark on Lermontov’s work. At the heart of his work was the clash of the passionate aspirations of the best people of the era for life and struggle with the bitter awareness of the impossibility of their implementation. Belinsky believed that the entire work of Mikhail Yuryevich is devoted to resolving one question: “the moral question of destinies and morals human personality". And the poet has, in fact, one hero: the same image passes through poems, dramas, novels, incarnating now in a lyrical hero, now in the Demon, now in Pechorin... Lermontov is a very subjective poet. He had the right to be subjective, for, like all great poets, in his heart, in his blood, he carried the life of society, suffered from its enemies, was tormented by its suffering, blissed by its happiness...
From adolescence, the process of forming the future poet’s ideas about the essence of poetry and the search for a poetic ideal begins. The poet believed that poetic inspiration is always akin to the inspiration of an artist in the broad sense, that is, a creator. Lermontov, more than anyone else during his lifetime, understood his own significance and the role that he was destined to play in Russian literature and - moreover - in the life of Russian society! The mournful and harsh thought of a generation that, as it seemed to him, was doomed to go through life without leaving a trace in history, crowded out the youthful dream of a romantic feat. Lermontov now lived to speak to modern man the truth about the “deplorable state” of his spirit and conscience, about a cowardly, weak-willed generation living without hope for the future. And this was a more difficult feat than the willingness to die on the scaffold in the name of the Motherland and freedom. For not only his enemies, but also those for whose sake he spoke this truth, accused him of slandering modern society. The poem "Duma" is a reflection alone with oneself, and not an appeal to anyone:
"I look sadly at our
Generation!
His future is either empty or
In the image of the lyrical hero, we see the indifference with which his generation treats life, even its fate, which turns out to be a double-edged sword. Reflection alone with oneself is nevertheless brought before the judgment of the generation, and this is an expression of the poet’s hope that he will awaken the inactive generation. But still, Lermontov does not wait for the judgment of his descendants, but judges himself, pronounces a verdict with his own verse. He considered the dead soul, sleepy will and slave psychology to be the most terrible enemy of his time. The civic pathos of "Duma" is beyond doubt, and it has an internal echo not only with the innermost thoughts of the lyrical hero about himself, but also with works of open social protest.
Mikhail Yuryevich Lermontov argued that in a world where there is no honor, no love, no friendship, no thoughts, no passions, where evil and deception reign, intelligence and strong character already distinguish a person from the secular crowd. " Yes, this person has fortitude and willpower that you don’t have - wrote Belinsky, addressing critics of Lermontov, - in his very prophets something great flashes, like lightning in black clouds, and he is beautiful, full of poetry even in those moments when human feeling rises up against him... He has a different purpose, a different path than you. His passions are storms that cleanse the sphere of spirit..." For us who are to live in the new century, it is certainly important to learn from the lessons of the past. The world is changing, ideas about the values of this world are changing. In the era of Lermontov there were only values, today other priorities are moving to the center with its moral guidelines, deep spirituality and humanism, philosophical understanding of the world.
15. What does it feel like internal state lyrical hero Pushkin?
The internal state of the lyrical hero in A. S. Pushkin’s poem “The Daylight Has Gone Out” is saturated with difficult and depressing memories of the past. The lyrical hero remembers with longing and pain his abandoned native land: “Fly, ship, carry me to the distant borders... but not to the sad shores of my foggy homeland.” The lyrical hero is haunted by painful memories of a past, unhappy love: although the “young traitors” are forgotten, still “nothing has healed the deep wounds of love.”
However, the past no longer plays such a significant role in the life of the lyrical hero, because his whole soul is directed towards the future: “I see a distant shore, / The magical lands of the midday; / I rush there with excitement and longing...”.
In the finale, the hero comes to internal balance, which is characteristic of the elegy genre: he comes to terms with the natural laws of time and the loss of youth, accepts both the experience of the past and the inevitable uncertainty of the future.
16. Which poems of Russian poets are close to Pushkin’s elegy in their themes and how is this closeness manifested?
The theme of memories of the past is expressed in many poems by Russian poets.
For example, in M. Yu. Lermontov’s poem “No, it’s not you I love so passionately,” the lyrical hero, with sadness and bitterness, plunges into memories of past love. As in the poem by A. S. Pushkin, Lermontov’s lyrical hero remembers his chosen one and still vividly experiences the events of his youth. However, his image lacks Pushkin's aspiration for the future and internal balance.
Another example is S. Yesenin’s poem “I don’t regret, I don’t call, I don’t cry...”, where the lyrical hero reflects on his life and recalls the happy and lively time of his youth. The lyrical hero thanks fate for all the events of the past and comes to terms with memories, the passage of time, which makes the poem similar to the work of A. S. Pushkin. However, Pushkin’s hero strives for the future, awaits the beginning of a new life, while S. Yesenin’s hero recognizes the finitude of his own existence.
Updated: 2018-08-09
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Useful material on the topic
- Which poems of Russian poets are close to Pushkin’s elegy in their themes and how is their closeness manifested?
Before the reader lyrical work The question cannot help but arise: who is he talking to, whose speech is he listening to, about whom is he learning so many unexpected and intimate things? Of course, the author's voice is heard in any work, regardless of its gender. From this point of view, there is no particular difference between the epic “War and Peace”, the drama “Three Sisters” and Fet’s lyrical miniature. Something else is important. In lyrical poems, the author's voice becomes the semantic center; it is he who holds the poem together, making it an integral and unified statement.
The lyrical “I” sounds differently in different poems, different things mean: sometimes it is important for the poet to give a feeling of complete unity of the “I” that exists in literature and the real “I.” But it also happens differently. In the preface to the reissue of the collection “Ashes” (1928), Andrei Bely wrote: “... the lyrical “I” is the “we” of the sketched consciousnesses, and not at all the “I” of B. N. Bugaev (Andrei Bely), in 1908 for a year he did not run through the fields, but studied the problems of logic and poetry.” The confession is very serious. Andrei Bely saw “another” in his poems, and yet it was this “other” that was the center of perhaps the most important book of the poet. How should such a phenomenon be called?
Several years before Bely’s preface, Yu. Tynyanov’s article “Block” was written; here, sharply separating Blok the poet from Blok the man, the researcher wrote: “Blok is Blok’s biggest theme... They are talking about this lyrical hero now.” Next, Tynyanov tells how a strange image is formed in Blok’s poetry, familiar to everyone and seemingly merging with the real A. Blok, how this image passes from poem to poem, from collection to collection, from volume to volume.
Both observations are connected not with poetry “in general,” but with specific poets belonging to the same creative system - Russian symbolism. Neither Bely, nor Tynyanov, nor the latter’s serious students intended to extend the term to the entire world of poetry. Moreover, the “theory of the lyrical hero” assumed that most texts are constructed according to different laws, that the lyrical hero is a specific concept. Let's try to find out what its specifics are?
The life of a poet does not merge with his poems, even if written on a biographical basis. In order for almost any fact of life to be inextricably linked with poetry, drawn into the orbit of verse, a lyrical hero is needed. This is not the hero of one poem, but the hero of a cycle, collection, volume, creativity as a whole. This is not a strictly literary phenomenon, but something that arises on the edge of art and existence. Faced with such a phenomenon, the reader suddenly finds himself in the position of the unlucky editor of Akhmatova’s “Poem without a Hero”, unable to figure out “who is the author and who is the hero.” The line between the author and the hero becomes unsteady and elusive.
A poet mostly writes about himself, but poets write differently. Sometimes the lyrical “I” strives for identity with the “I” of the poet - then the poet does without an “intermediary”, then poems appear like “Am I wandering along the noisy streets...” by Pushkin, “Sleeping at sea” by Tyutchev or “August” Pasternak.
But it also happens differently. Lermontov's early lyrics are deeply confessional, almost a diary. And yet, it is not Lermontov, but someone else, close to the poet, but not equal to him, who passes through his poems. Texts live only in one row, one pulls another, brings to mind a third, makes one think about what happened “between them”; dates, dedications, omissions of text, and difficult to decipher hints acquire a special semantic role. The poems here are not self-sufficient, closed worlds (as in the cases just cited), but links in a chain that is ultimately infinite. The lyrical hero appears as the focus and result of the development of a kind of “dotted” plot.
The lyrical hero can be quite unambiguous. Let us remember the poetry of Russian romanticism. For most readers, Denis Davydov is just a dashing poet-hussar, young Yazykov is a poet-student, Delvig is an “idle sloth.” The mask is superimposed on the biography, but it also turns out to be artistically constructed. For a holistic perception of the poems, the reader does not at all need to know about Davydov’s works on military theory, about the bitter fate and serious illness of Delvig. Of course, a lyrical hero is unthinkable without “biographical subtext,” but the subtext itself is poeticized in accordance with the basic spirit of creativity.
We must also understand that the lyrical hero is not a “constant figure”; he appears in those cases when life is poeticized, and poetry breathes fact. No wonder V. Zhukovsky wrote in the final poem for the romantic period:
And for me at that time it was
Life and Poetry are one.
The appearance of a lyrical hero, a strange “double” of the author, is associated with the romantic culture, which is characterized by a kind of lyrical “explosion”, when the poet’s life itself became almost a work of art; with the Symbolist era - its rebirth. It is by no means accidental that there is no lyrical hero in the mature work of Baratynsky or Nekrasov, who grew up in a deep and serious dispute with romanticism, or in the poets who argued with symbolism - Mandelstam, Akhmatova, the late Pasternak and Zabolotsky. The hostility towards everything playful in literature, which is characteristic of the latter, is also not accidental. Pasternak’s stern words sound like an unexpected answer to Zhukovsky:
When a line is dictated by a feeling.
It sends a slave to the stage,
And this is where the art ends
And the soil and fate breathe.
Let’s not compare the great poets, whose dialogue over the centuries organizes the complex whole of the Russian poetic tradition; it is important to understand something else: the lyrical hero gives a lot to the poet, but also demands no less from the poet. Lyrical hero great poet reliable, concrete to the point of plasticity. This is how Blok writes, going a long way “through three volumes.” Blok did not say anything, calling them a “trilogy”. The “trilogy” also has a “lyrical plot”, which has been commented on more than once in the poet’s letters: from the insights of “Poems about To the beautiful lady"through irony, skepticism, snowy and fiery bacchanalia of Volume II - to a new, already different acceptance of life, to the birth of a new person in Volume III. It has long been known that it was not pure chronology, but the logic of the whole that guided Blok when composing cycles and when developing the final compositional solution. Many poems in Volume III have a place in Volume II, but the internal history of the “lyrical hero” dictated their rearrangement to the poet.
Note that the poet’s relationship with his own creation is not always idyllic; the poet can move away from the old mask that is already familiar to the reader. This is what happened with Yazykov. His later poems do not fit in with the appearance of the intoxicated Dorpat bursh; the transition to a new style, to a new type of poetic thinking required a categorical break with the old role as a form of contact with the reader. The rejection of the lyrical hero is a clear line between the “old” and “new” Yazykov. Thus, the antithesis “Lyrical hero” - the “direct” voice of the author turns out to be significant not only for the history of poetry as a whole, but also for the creative evolution of this or that (not every!) poet.
When thinking about the problem of the lyrical hero, one should be careful; any “quick conclusion” here leads to confusion. See him at modern poet very easy. The very situation of the age of mass media brought the poet extremely close, of course only externally, to the audience, and tore him out of his previous “mysterious remoteness.” The stage, on which not only “pop” poets perform, and then television made the poet’s face, his manner of reading and behavior “public property.” But let us remind you once again that for an objective assessment, perspective, a look at all creativity, and time distance are necessary, and a contemporary critic is deprived of them. The lyrical hero exists as long as the romantic tradition is alive. The reader clearly sees the intensely strong-willed hero of I. Shklyarevsky’s lyrics, and the “book boy” whose image is created by A. Kushner, and the melancholy-wise “singer” B. Okudzhava. There is no need to explain that the real appearance of poets is more multidimensional and more complex. It is important that these images live in the reader’s consciousness, sometimes experiencing poetic reality.
Of course, no one is ordered to use the term in other meanings: for some it seems synonymous with the “image of the author”, for others - an incentive prize, for others - a way of severe reproach. A poet does not become better or worse depending on whether he has a lyrical hero or not. And the term “tool” is very fragile, so it must be used carefully.
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