Mikhail Ivanovich Glinka is a classic of Russian music. Glinka as the founder of Russian secular music

Source: Karamiang M., Golovan S. History of the Grand Academic Dictionary of the Russian Language // in. V. Vinogradov, XXXIII. § 43 Pushkin and Lermontov are the founders of the Russian literary language, page 331, σίγμα: London, 2012.

"I don't know the language better than Lermontov ... I would do it: I took it a story and disassembled, as you understand the schools," according to suggestions, in parts of the offer ... so I learned to write. " (Anton Chekhov)

"In Pushkin's language, the entire preceding culture of the Russian artistic word has not only reached its highest bloom, but also found a decisive transformation. Pushkin's language, reflecting directly or indirectly the whole history of the Russian literary language, starting from the XVII century. until the end of the 1930s of the XIX century, at the same time, determined in many directions of the path of the subsequent development of the Russian literary speech and continues to serve as a living source and unsurpassed samples of the artistic word for the modern reader.

In an effort to the concentration of the living forces of the Russian national culture of speech, Pushkin, first of all, produced a new, original synthesis of those different social and linguistic elements, of which the system of Russian literary speech historically develops and which entered into conflicting relationships in various dialectological and stylistic clashes and mixing to The beginning of the XIX century. These were: 1) Church-Slavs, which were not only a remnant of the feudal language, but also adapted to the expression of complex phenomena and concepts in different styles of modern Pushkin literary (including poetic) speech; 2) Europeanisisms (mainly in French Chip) and 3) elements of the living Russian national-household speech, a wide stream of Pushkin who flown into the style of Pushkin from the mid-20s. True, Pushkin has somewhat limited the literary rights of Russian spaciousness and a common language, especially different regional loving and adverbs, as well as professional dialects and jargons, considering them from the point of view deep and peculiarly understood by them "historical characteristics" and "nationality", subdued by their ideal Representation of the common language of the "Good Society". However, the "good society", according to Pushkin, is not frightened by any "living oddity" of a common syllable, ascending mainly to the peasant language, nor the "Nagida simplicity" of the expression free from any "scoffsy", from the Meshchansk primacy and provincial chemistry.

Pushkin sought to create a democratic national-literary language on the basis of the synthesis of the noble culture of the literary word with a lively Russian speech, with the forms of people's poetic creativity. From this point of view, there is a deep socio-historical interest to the assessment of the Pushkin of the Krylovy Pushkin, recognized in the advanced criticism of the 20-30s of the XIX century. quintessence of Russian nationality, but with a sharp petty-bourgeois and national poetic, folklore flavor. "

Pushkin completed the process of creating a Russian national literary language. Throughout the XV century. From Lomonosov to Radishchev and Karamzin in the development of the Russian literary language, the trend towards the rapprochement of the book literary speech with the people's language is gradually increasing, with domestic spaciousness: however, only Pushkin finally completes this process and develops a literary language to perfection, which lay down in expressiveness and wealth The basis of all the further development of Russian literature and the modern Russian language, the path of which Sholokhov determined the words "from Pushkin to Gorky".

"With the name of Pushkin immediately autames the thought of the Russian national poet, - wrote Gogol in the life of Pushkin. - In it, as if in Lexicon, all wealth, the strength and flexibility of our tongue were concluded. He is most, he further spread him borders and showed all his space more "(" a few words about Pushkin "). Since then, the borders of the Russian language and the scope of its influence expanded unusually. The Russian literary language not only became one of the most powerful and rich languages \u200b\u200bof world culture, but in the Soviet era, he dramatically changed and raised his internal ideological quality. The language of the Great People, the language of the Great Literature and Science, he became in our time a bright expressive of the socialist content of the new Soviet culture and one of her living distributors. The increasing world importance of Soviet statehood and Soviet culture is also found in the fact that modern Russian language is the most important source from where the international vocabulary is updated, where the concepts and terms of Soviet culture and civilization are applied to all the languages \u200b\u200bof the world. In the era of these indigenous historical shifts and in the meaning of the Russian literary language, and in his world meaning, the name of Pushkin is high, more than ever, it is honored with us, and more than a non-negative minority of Russian society, but by the whole Soviet people. The name of Pushkin is surrounded by nationally love and popular recognition as the name of the Great Russian National Poet, the founder of the new Russian literary language and the generic team of new Russian literature. We needed a grand socialist coup, so that his great works became really the property of everyone. "

The source of the poet was a living Russian speech. Describing the features of the Pushkin language, Academician V. V. Vinogradov writes: "Pushkin seeks to create a democratic national-literary language on the basis of the synthesis of a book cultural literary dictionary with a living Russian speech, with the forms of peopetic creativity ... In the language of Pushkin, the entire preceding culture of the Russian artistic word is not Only reached its highest flourishing, but also found a decisive transformation. "

"BUT. S. Pushkin accompanies us all his life. " He enters our consciousness since childhood, captive the soul of a child wonderful fairy tale. In his youth, Pushkin comes to us through school - lyrical poems, "Eugene Onegin". It awakens the desire for the sublime, love for the "holy library", an indomitable desire to devote the schism of the "souls of beautiful gusts." Mature years are coming, and they are addressed to Pushkin on their own. Then the opening of his Pushkin occurs.

The world of the poet is implained, everything was the subject of his poetry. He responded to everything that constitutes the inner life of the personality. By touching his work, we do not just learn the unique features of nature and Russian life, not only enjoy the harmony and beauty of the verse - we discover their homeland.

We are the road in Pushkin, his love for Russian history. The power of Pushkin imagination, we become accomplices of the Poltava battle and the immortal "thunderstorm of the twelfth year", witnessed the rebellious force of the people in the "Captain daughter" and the scene of the scene of the Terrible "Silence of the People" in the final of Boris Godunova.

The world of Pushkin is not only Russia. From his youth, his acquaintance began with antique poets, at the time of maturity with Shakespeare. He appreciated the great poet Saadi and the original poetry of Muslims, was fond of Bairon's poems; I read V. Scott, the writings of Goethe. Of all the cultures of the world, French was to him closest. Still in his youth discovered Voltaire and Rousseau, Racina and Moliere; fond of poetry Andre Shhenie; At the end of life he studied historians of the French revolution. The fate of mankind has always worried Pushkin. The most important feature of the creative appearance of the poet is his globacy, it manifested every way. The best achievements of the human genius the poet made the property of the Russian people. His globacy is not only in amazing ability to reincarnate and understand the spirit of different peoples and times. Recall the "imitation of the Quran", the "stingy knight", the "stone guest", the "Songs of Western Slavs", but, above all, in the historically determined need to solve universal issues from the standpoint of national experience. In the proclamation of the Russian word, Russian thought on the forum of Western European thought.

In the center of Pushkinsky creativity - the life of his contemporaries. The poet knew all the suffering of a man of his era, wrote about the terrible and beautiful, painful and shame in his life. He told everything about himself: about the joys of creativity and devotion to the ideals of freedom, about bitter doubts and hobbies, about grief, love and spiritual flour. The poet in tragic minutes did not fall into despair, believed in a person. Therefore, the artistic world of the poet is filled with light, good and beauty. In the lyrics, the Pushkin ideal of an excellent person was fully revealed.

N.V. Gogol wrote with love and gratitude: "Pushkin is an emergency phenomenon, and maybe the only phenomenon of the Russian spirit; This is a Russian man in his development, in which he may be, will appear in two hundred years. " Almost two centuries ago, the Russian people gave the world a light talent of Pushkin. His creativity was a new stage in the artistic knowledge of life. The legacy of Pushkin enriched the spiritual heritage of the nation, the national character of the Russian man imagined the Pushkin beginning.

"In the name of Pushkin immediately autames the thought of Russian national poet. In it, Russian nature, Russian soul, Russian, Russian character ... ". N.V. Gogol, speaking of Pushkin, as the national Russian poet, emphasized that he was more and further spread the border with the Russian language and showed all its space. The largest writers of all the merits of the poet in front of Russia, the transformation of the Russian literary language was allocated before the Russian people. I.S. Turgenev in speech about the opening of the monument to Pushkin said: "There is no doubt that he created our poetic, our literary language, and that we and our descendants remain only to go along the path laid by his genius."

The link language with a national character, with the national identity and its expression in the literature was obvious. In the work of Pushkin, the Russian language was fully embodied and completely. The very idea of \u200b\u200bRussian has become inseparable from the idea of \u200b\u200bthe language of the works of the Great Writer. A.N. Tolstoy wrote: "Russian is, first of all, Pushkin."

The early notes of Pushkin are evidenced by the search for sources of development and improvement of the Russian literary language, among which the sources of folk, folklore are put forward on the first place. In the outline "On French Literature" (1822) We read: "I will not solve which literature to give preference, but we have our own language; Breeway! - customs, history, songs, fairy tales - and so on. " Appeal to the folk sources of Pushkin considers a sign of mature literature. In the note "About the poetic Word" (1828) he writes: "In the mature literature, the time comes when the minds, the masculine of monotonous works of art, a limited circle of the language of the considered, elected, turn to fresh folk fiction and to the strange surprise, first contemptuous." If Pushkin's predecessors and urged writers to turn to a spoken language, it was the language of the "fair company", "Higher Society". Pushkin definitely talks about the conversational language of the simple people, that is, about the conversational language of the majority of nation, not underwent clogging and distortion.

By developing the idea of \u200b\u200bcommunicating a literary language with a conversational language of a simple people in his history, Pushkin at the same time was clearly realized that the literary language could not and should not disappear from the historical traditions of the "book" literature. In the "letter to the publisher" (1836), he compressed and clearly outlined his understanding of the literary language relations with "lively use" and his own history. In the statements of Pushkin, the idea of \u200b\u200ba historical approach to the problem of the nationality of the Russian literary language, which was embodied in his work. A.N. Ostrovsky is once a deep truth: "Pushkin admired and smartly, admire and clever. Our literature is obliged to him with his mental growth. " Literature and now needs mental growth, and Pushkin at the turn of its third century again turns out to be a wiser interlocutor.

Pushkin, with his impeccable feeling of excellent and surprisingly clear thinking, found it necessary to clearly determine his attitude to the literary "taste." He offered a completely new understanding of the essence of taste. The feeling of proportionality and complicity is that the true taste is. The desire for simplicity of expression permeates the entire stylistry of the poet. The language of his works is aimed at the ideal of the true taste in the unity of the three of its manifestations: the proportionality and contumeial, noble simplicity, sincerity and accuracy of the expression. Pushkin seeks to prove that only the "syllable decorations" do not solve things, but also wanted to show that high poetry can do without them. Human feelings are not exhausted by the despondency and joy in conditional transmission, and the poetic world is not limited to roses, pouring tears and languid-eyed. To strongly depict the feeling, is it necessary to resort to coupling turns? Was it impossible to describe the feeling with words simple but depicting this feeling truthfully and causing live associations? And the same words to portray objects, the situation awakened this feeling? Responding to these questions with his work, Pushkin creates masterpieces of Russian and world lyrics. In their row there is a poem "I remember a wonderful moment" (1825). Some expressions can be attributed to the conditionally poetic: fleeting vision, in the sadness of the sadness hopeless, the storms of plowing the rebellious. They organically combine with turns that carry new, unconventional images, with words sincere and natural. The poem "I loved you ..." (1829) is a classic example of "ugly imagery". Poetic imagery, generalization, are born from the artistic justification of each word and the location of all words. There is not a single excess word that could break the harmony, "commensurateness and the suggestion" of the whole. New, unusual to the previous literature, the combination of words appear at the poet because words he chose not by their origin, style, social affiliation, but according to their correspondence, the "replication" of the infected reality. This, quite natural for us, the principle of typing contemporaries Pushkin was not always understood and took.

A man of high culture and wide education, Pushkin was alien to any national limitations, closetness. The interaction of Russian culture with Western European was the fact as the fact that was the orientation of a part of Russian writers into French literature, French. The consequence was the "bilingualism" of a significant part of the nobility, whichowed French no worse than the Russian. Under these conditions, lexical borrowing, the literal translations were natural and inevitable. He did not think Russian isolated from other languages. Evaluating the language of Russian literature as having "indisputable superiority to all European", proceeded not from the national vanity, but from the specific historical circumstances of the development and properties of the literary language. Particularly allocated the ability of the Russian language to live interaction with other languages, the Russian language was the first to be the world, expressing the essential national peculiarity. It was Pushkin who became a school of world spiritual life for Russia, the World Encyclopedia, who was in private Ovid and Horace, Shakespeare and Goethe. When we talk about the world responsiveness of Pushkin, then, first of all, we think about classical antiquity, about Italian revival or English romanticism. In the "monument" the poet called along with the "Gordy grandson of Slavyan", everything, deepening to the extreme points of reference, the most then small and ridiculous: "And now Wild Tungus, and friend of the steppes Kalmyk." "And I will call me any language in it ..." - Pushkin uses the word "language" in the meaning of "nationality", "people". And it's not by chance that he calls "nationality", "people" by the word "language". In other words, the language is equal to the nation, the people. The Russian language with Pushkin became the "language ingenious, the language of the world."

"Pushkin's upbringing" continues, the readership audience is rapidly expanding, it grows its influence on all areas of culture.

Pushkin's world - lyrical, spiritual, intellectual. Pushkin's poetry is an expression of universal values. In the face of Pushkin, poetry was first and an expressant of "public opinion", and an educator of an artistic, aesthetic taste (5, p.100). The block called the Pushkin era of the cultural era in the life of Russia.

In the inimitable art of the classical realism created by him, Pushkin synthesized and developed all the achievements of Russian and world literature. Pushkin's art was prepared by all previous development of Russian literature. Pushkin, as it were, summed up and inherited all the valuable, which was created in the XV - early XX century. The predecessors of the poet belong to Him, "like small and great rivers to the sea, which is filled with their waves," wrote Belinsky. Pushkin's poetry appeared for all subsequent Russian literature a clean and inexhaustible spring, the source of its powerful and full flows. Most Russian writers XX century. Tested his fruitful influence. While the poet's life of the poet around him there was a whole Pleiad of talented poets of the 20s and 30s: Baratynsky, Ryleev, Languages, Venevitinov, Delvig. Many of them well understood the meaning of Pushkin and looked at the poet as a brilliant expressant of the spiritual forces of Russia, whose work was exalted and glorified his homeland.

The mighty effect of Pushkin traditions experienced Lermontov and Gogol, Turgenev and Goncharov, Ostrovsky and Nekrasov, Tolstoy and Chekhov, Gorky and Mayakovsky. "All I have good, I owe to him," Gogol said. Turgenev called himself a student of Pushkin "with young nails." "At that time I was in chading charm from his poetry; I fed on her like mother's milk; The verse brought me to the shiver of delight, "says Goncharov about the days of his youth." For me, as a beneficial rain, the stanza of his creatures ("Eugene Onegin", Poltava, etc.). His genius, and all the then young men who were fond of poetry, are obliged to direct influence on our aesthetic education. " The influence of Pushkin prose on their work also noted Lion Tolstoy.

Developing the principles of Pushkin realism, wonderful victories of Russian realistic literature XX century. The human image method becomes a versatile, deterministic, historical, objective. The intellectual and psychological appearance of their realistic characters of Lermontov associates with the monthly generation of the 30s. The development of groovers in "Oblomov" excellent traces gone. In thickness, his characters are in a continuous development process, in the struggle of moral with sensual, in constant change in their ideas about life, about people. The use of the principle of development in the image of a man Tolstoy brought to such perfection, which Chernyshevsky very accurately determined the words "Dialectics of the Soul". This method is also inherent in Dostoevsky, especially emphasized the influence of the social environment on the inner world of man. In their work, classic realism triumphs the greatest victories in the artistic recreating the inner world of a person in his relationship with the environment, the process of his life.

There was a huge influence of Pushkin on the creative life and other peoples of our country. Ukrainian poet Shevchenko, such outstanding representatives of Georgian literature, as Chavchavadze, Tukai, the founder of Tukai's Tatar poetry and many others experienced fruitful impact of Muse Pushkin.

Translate Pushkin to foreign languages \u200b\u200bbegan during the lifetime of the poet, and within the XX century. His creations became known to the whole world. The works of the poet knew and appreciated Marx and Gorky. "Pushkin belongs to the ever-living and moving phenomena, not stopping at that point, on which their death found, but continuing to develop in the consciousness of society," wrote Belinsky. - Each era utters his judgment about them, and no matter how true she understood them, but will always leave the next epoch for her to say something new and more faithful. "

In the works of Pushkin, the literary language was freed from the preemptivity previously characteristic of it in one way or another from a living nationwide language and became one of the most important forms of the nationwide language, organically connected with it. The development of Pushkin style is the painting of diverse ways and means of rapprochement of the language of fiction with the language of nationwide. From "Ruslan and Lyudmila" to the fairy tales and "Captain Daughter", the path of the appeal of Pushkin to folk poetry as a national source of artistic language is traced. But this source needs a poet not only for the stylization workshop. Pushkin turned to fairy tales then, "to learn to speak Russian and not in a fairy tale." He carefully listened to the "spoken language of a simple people," defending his right to introduce into the language of literature. The poet introduces elements of the living, colloquial speech and in dialogue, and in the tale, and in the author's speech.

Such a stylistic orientation allowed Pushkin to remove the "partitions", which existed between the various spheres of the artistic language and the constrained development. Pushkin finally destroyed the system of three styles. Without refusing to the stylistic differentiation of the artistic language and, on the contrary, discovering new perspectives for her, Pushkin rejected the inviolability of the boundaries between the individual styles from once the "attached" to them with genres. Recall, for example, the failure of Pushkin from the "fourth unity", that is, from the unity of the syllable, in Boris Godunov, where we meet all gradation of styles. A kind of laboratory, where the "compound" was made of various stylistic elements, appeared for Pushkin a poems novel "Eugene Onegin".

The same trends manifested themselves in erasing the stylistic faces between poetry and prose in the work of Pushkin. The idea of \u200b\u200bthe poem as the "Language of the Gods" did not admit to the poecoming speech of the simple, "low" words and expressions used in prose. Pushkin spoke "despicable prose" not only in the humorous poem "Count Nulin", but also in the works of "serious". Such, for example, in the "copper rider" many lines associated with the way Eugene.

Relying in his creative activity on a national language, Pushkin did not discard the values \u200b\u200bof the literary and book language, as he developed in the centuries-old development of Russian writing and literature. For the artistic language, there was a particular importance to the question of Slavs (no wonder he caused controversy). Good understanding the erroneous position of Shishkova's position and ironically translating the Russian expression to kiss me to "Shishkovsky" language: yes lubble with the bulb, - Pushkin, however, admits that "many words, many turns happily be borrowed from church books." Therefore, we should not be surprised that the poet himself could write: "Lobzay me: Your lobcania I will be sweetering Mirra and Wine."

But Pushkin used the Slavs not to preserve the old style and the old ideology, but as one of the expressive means where it was appropriate, where it was without stylistic interruptions in context. Near the comparison "Sweat Mirra and Wine" expressive Slavs Lobzay, Lobzanya contributed to the creation of an "eastern" style. Recall other "high" words and turnover from the poem "The fire burns in the blood ...": "The soul is visible to you", "Governing gentle", "and so I sincere", "the night shadow" moves. The innovation of Pushkin was, according to his own expression, "in the sense of proportionality and duty", which allowed him to select Slavs, to inform them a deep meaning and subtle expressiveness, combine them with the words and expressions of other stylistic layers. And all this diversity of richestics of fiction united on the basis of a nationwide language.

The stylistic system, folded in the work of Pushkin, discovered a direct dependence on the most important creative principle for him - realism. More precisely, realism as an artistic method is deeply and diverse manifested itself in the system of speech - fine-expressive - funds of the Pushkinsky artistic language. Without appeal to this specific form of fiction, judgments about the realism of Pushkin will be incomplete, one-sided. The main stylistic principle for Pushkin-realista is becoming immediate, direct, accurate typing of objects and phenomena.

■ There was an evening. Sky Merclo.
■ Water flowed quietly.
■ Beetle buzzed.
■ dance dances;
■ Over the river, smoking,
■ Fire Fishing ...

As this is a scoop and accurately drawn picture of nature in Evgenia Onegin, the Zhukovsky stencil of a sentimental evening landscape or the romantic paintings of the upcoming night in the Type of Elegy Batyushkova "on the ruins of the castle in Sweden" is unlikely. "Accuracy and brevity are the first advantages of prose," Pushkin said. "It requires thoughts and thoughts - without them brilliant expressions do not serve anything" ("The beginning of the article on Russian prose").

"Soviet science in its research on the history of the Russian literary language relies on the principle of dialectical unity of the language and thinking, the development of which is determined by the material living conditions of society. The socio-political development of the Russian people and the Russian state has created by the beginning of the XIX century. All the necessary social prerequisites for the formation of uniform solid norms of the National Russian language. According to the Soviet historian: "Russian culture at the end of the XVIII and early XIX century developed in the conservation of our country from feudalism to capitalism ... The national consciousness of the Russian people grew rapidly, and his love for Fatherland became more conscious. It was imbued with a passionate desire to transform Russia and turn it into an advanced country. The struggle for enlightenment has become a common program of all advanced people in Russia. "

In the field of Russian fiction, in the field of Russian language culture, the ingenious leader was a brilliant Pushkin in this era. He deeply felt the need for a conscious and systematic impact of the progressive public into the Russian literary language, the need for language normalization and language reform. "Now, the Academy prepares the 3rd edition of his dictionary, which is becoming necessary for the spread of an hour from the hour," writes Pushkin in 1826 - the perfect our tongue under the pen writers and unaccustomed and inexplicable will quickly tear to fall. Words are distorted, grammar fluctuates. Orpography, Sia Heraldry language, varies on the arbitrariness of everyone and everyone. "

The work of Pushkin sets the line between the tongue of old and new Russia. According to Belinsky, "Common Voice is made by his Russian national, folk poet." Pushkin was a great converter of Russian language and Russian literature.

In the language of Pushkin, the nationwide norm of the new Russian literary language was vividly designated. Pushkin creativity allowed all major controversial issues and contradictions that arose in the history of the Russian literary language of the Doshkinsky era and not eliminated by literary theory and practice by the first decade of the XIX century. In the Pushkin language, there was a merger of all the viable elements of the Russian literary language of the previous period with nationwide forms of living spoken speech and with styles of oral folk literature, folklore; Their creative interpenetration was achieved. Pushkin brought Russian literary language to a wide and free path of democratic development. He sought to ensure that Russian literature and Russian literary language absorb the main cultural interests of the Russian people, the Russian nation and reflected them with the necessary latter and depth. At the same time, Pushkin did not want a gap with Russian cultural and linguistic tradition. He sought a qualitative transformation of the semantic system of the Russian literary language. "Written language," according to him, "the expressions that are born in a conversation, but should not be denied from them during the centuries." The separation of the Russian literary language was dominated by Pushkin into three stylists: high, mediocre, or medium, and simple. "

The formation of a national literary language is a long and gradual process. This process, according to the thoughts of V. I. Lenin, is composed of the three main historical stages, relying on three public prerequisites: a) the cohesion of territories with the population speaking in the same language (for Russia it was already carried out by the XVII century); b) elimination of obstacles in the development of the language (in this regard, a lot was done during the XVIII century: Peter I reforms; the stylistic system of Lomonosov; Creation of a "new syllable" Karamzin); c) consolidation of the language in the literature. The latter is finally completed in the first decades of the XIX century. In the work of Russian realist writers, among which I. A. Krylov, A. S. Griboedov, must be called, and first of all A. S. Pushkin.

The main historical merit of Pushkin and is that they completed the consolidation of the Russian national spokeswoman in the literature.

Language "Hero of Our Time"

In the "Hero of our time", Lermontov finally rummates with a romantic style in the language. The lexica "Hero of our time" is free from archaisov and church-satelms. Focusing on the vocabulary and syntax of the outbraulic language, Lermontov subtlyly uses the stylistic role of each of the phenomena of this overhang.

Lermontov reached the "Hero of our time" of the difficult simplicity in the language, which did not succeed in anyone of the preceding prose writers, except Pushkin.

In Roman Lermontov, the language of Russian prose reached such a point of development, starting with which it was possible to use language tools for the finest psychological characteristics, - an unattainable task for all previous literature, with the exception of Pushkin. At the same time, Lermontov lasted the road for the "big" psychological novel Turgenev and Tolstoy.

The "Hero of Our Time" is simple at first glance, but all this difficult simplicity perfectly understood the Chekhov, who wrote: "I don't know the language better than Lermontov. I would have done it: I took it a story and disassembled, as you understand in schools, - by proposals, in parts of the offer ... so I learned to write "(" Russian thought ", 1911, kN. 10, p. 46).

For example, with all its apparent simplicity, the story "Bal" is quite complex both in composition and style and in the language.

The story is framed by the story by the story, traveling from Tiflis in Kobe. The author's story interrupts the narrative Maximich's narration and divides it into two parts. The central kernel of the story is the story of Maxim Maxim. In turn, the Kazbich's story was included in the first part of the narration of Maxim Maxims about how he was saved from the Cossacks; In the second part, Maxim Maximach transmits the story-reading of Pechorin. This compositional complexity of the narrative corresponds to its stylistic complexity. Each of the actors of the storytellers makes their speech style, and all these speech styles are fused to one complex integer. The individual speech features of the narrator seems to be erased in the subsequent transmission, but many of them remain as stating Lermontov. Thus, the story of Azamat, transmitted at first Maxim Maximes, is accompanied by the next comment: "I sat down at the fence and began to listen, trying not to miss a single word" (p. 194-195).

To the song that Kazbich sing in response to Azamatu, Lermontov makes a substitution note: "I apologize to the readers in the fact that Casbich shifted in poems, transplanted to me, of course; But the habit is the second nature "(p. 197).

The transfer of the peculiarities of Pechorina Lermontov's speech motivates Maxim's remarks: "His words hit me in my memory, because for the first time I heard such things from a 25-year-old man" (p. 213).

And, finally, about the whole story "Bal", transmitted by Maxim Maximić, Lermontov specifically notices: "I, for entertainment, I decided to record the story of Maxim Maximich about Bale" (p. 220).

Thus, Lermontov emphasizes that Maximich's speech style passed through its author's transposition.

The speech characteristic of Maxim Maximich is a sample of the high language ownership that Lermontov has achieved in prose. Already Belinsky noted this feature of the tongue of the story "Bal":

"Good Maxim Maximich, he himself, not knowing, became a poet, so in every word, in each expression the endless world of poetry is. We do not know what is more surprised here: whether the poet, forcing Maxim Maximy, to be only a witness to the talked event, so closely merged his personality with this event, as if Maxim Maximich himself was his hero, or that he managed so poetically , so deeply take a look at the event with the eyes of Maxim Maximich and tell this event with the tongue with simple, rough, but always pictorial, always touching and stunning even in the mercenary of your own "(V. Belinsky, full. Sch. Op., Ed. S. A . Hungarian, t. V, p. 304-305).

From the first moment of the introduction of Maxim Maximsch Lermontov emphasizes its characteristic speech features, it is finely giving a psychological characteristic through speech.

So, at first, the silence of Maxim Maximich is emphasized - the lack of replicas:

"I approached him and bowed; He silently answered me on a bow and let the huge club of smoke.

WE WILL WE HAPPY HAPPENKERS HEEDS?

He, silently, bowed again "(p. 187).

In further replicas Maxim Maximich, there are some turns characteristic of a military language:

"So-with exactly" (p. 187); "Now I am in the third linear battalion" (p. 188); "At night, anxiety was made; So we came out in front of the Fruntee Copher "(p. 191).

Maxim Maximich's story itself is almost free from such military phraseology. Lermontov gives it to the minimum degree - for the professional characteristics of Maxim Maxim.

Similarly, the vocabulary in the initial replica is the coarseness of the speech of Maxim Maxim. Lermontov simultaneously transfers the rippled character of his speech with exclamation, calling and incomplete offers:

"Do you think they help you shout?" And Chort will figure them out that they scream? Bulls understand them; Farming at least twenty, so if they shrink in their own way, the bulls are all any ... terrible plows! And what will you take them? Love money to dream with passing ... spoiled scammers! " (p. 188).

From the very beginning, Lermontov's story emphasizes the speech features of Maxim Maxims, comparatively with the author's speech:

"- Clean people! - I said the headquarters.

Proglpy people! - he answered ...

Have you been to Chechnya for a long time?

Yes, I was ten years standing there in the fortress with a mouth "(p. 190).

So the thinnest linguistic means gives Lermontov, the psychological characteristic of Maxim Maxim.

Lermontov, during the entire narration, notes the oral, conversational character of his story about Bale and about Pechorin. Story all the time is interrupted by the author's replicas:

"What is Kazbich? - I asked impatiently at the headquarters "(p. 197).

"How boring it! I exclaimed the unwittingly "(p. 204).

In the narration, introductory proposals addressed to the listener and emphasizing the installation on oral speech are: "I've seen to see, I then stood in the fortress for the Terek" (p. 191); "The nice was small, I dare to assure you" (p. 192); "And what do you think? On the other night she dragged him for the horns "(p. 192).

All these characteristics of Lermontov's narration focuses in the story of "Bal" on oral speech.

Lermontov All events in Bale transmits through the prism of Maxim's perception prism, a simple headquarters-captain. That is why the linguistic features of his speech consistently conducted through the entire story.

The narration is not objective, and the tone of the story of the storyteller will fall on it. Maxim Maximach in the introductory offers, exclamation proposals, the vocabulary of an emotional nature is assessed by the reported to them. But all this is given in emphasized by colloquial form, deprived of no matter how the rhetoricity characteristic of early prose Lermontov:

"He hung (Pechorin) I have trouble, not be remembered" (p. 192); "So they simulated this case ... It is truth to say, no good thing" (p. 199); "That was the man, God knows him!" (p. 204); "It was called ... Grigoriam Alexandrovich Pechorin. Nice was small "(p. 192); "And the deft is, the deft was (Kazbich), like the demon" (p. 194).

In the narration of Maxim Maximich, all the time are used both colloquial vocabulary and conversational phrases: "But sometimes it will start to tell, so the tumors will spend from laughter" (p. 192); "Sinishko his, a boy of fifteen years old, having fallen to us to ride" (p. 192); "Wait!" - I answered, smiling. I had my mind "(p. 193); "Azamat was a convertible boy and nothing happened, he could not choose a tears" (p. 196).

Spoken vocabulary, spoken phraseology prevail in the story of Maxim Maximich - with the complete absence of a book metaphor, a book metaphorical epithet.

Comparisons that are given in the narration of Maxim Maximich are mainly distinguished by a conversational character, common in colloquial speech.

"As I look at this horse now: Voronaya as Smin" (p. 194); "Azamat is pale as death" (p. 199); "He (Pechorin) became pale as a canvas" (p. 218); "She (Bal) was trembling like a sheet" (p. 211); "He (Kazbich) ... lying on himself as dead" (p. 200).

Characteristic to speech Maxim Maximsome Household comparisons: "After all, all the statomes, as a sieve, bayonets" (p. 198). Particularly interesting, household comparison in the landscape: "All the mountains were visible as on a saucer" (p. 211).

Although the action of "Bali" and occurs in the Caucasus, although the glows are described, but Lermontov is very scoop using foreign language vocabulary. It is characteristic of the motivated replacement of foreign language words by Russian equivalents:

"The poor old man is branded on the three-string ... forgot how in their own way ... Well, yes, like our balalaika," (p. 193); "Girl for sixteen years ... lost to him how to say? .. like a compliment" (p. 193).

The same conversational character that the vocabulary syntax has the syntax of Maxim Maxim's narration. Particularly often encounter such phenomena characteristic of a spoken language, like nonsense, the predominance of compounded complex proposals over subordinates, incomplete sentences, consumption of particles, etc.:

"Sinichko, a boy of fifteen years old, chased to ride us: every day happened that, then after another. And I certainly spoiled him with Grigoriam Alexandrovich. And what a threshing was, prompt what you want: whether to raise the cap on everything, whether to shoot from the gun. One thing was not good in it: the terribly Fall was for money "(p. 192); "We began to chatting about the seven ... suddenly I look, Casbich shuddered, changed in the face - and to the window" (p. 199).

The same installation on oral speech is also explained by a fairly frequent use of the facility to be subject to: "Azamat arrives in four days ... A conversation has come about horses ... Challenged the eye of the Tatarchonka", etc. However, there are no extremes of Toma who wrote Dal. The conversational nature of the whole story is also affected by the continuous use of the present time of the verb, while all the narrative is underway. Not touching the various functions of this consumption of this time, it should be noted that it in some cases is associated with a stressed action, a rapid change of events (cf. also incomplete proposals and their compliance with the dynamic of narration):

"We drove nearby, silently, dissolving the reins, and were almost at the fortress; Only shrubs closed it from us. - Suddenly a shot. We looked at each other: We were struck by the same suspicion ... We grumbled on the shot, "We look: the soldiers gathered on the shaft on the tree and point to the field, and there flies away the rider and holds something white on the saddle. Gregory Alexandrovich screamed no worse than any Chechen; a rifle from the case - and there; I'm behind him "(p. 214-215).

We note a similar use of inter-doxy fags:

"Here Kazbich crept up, - Her Dumpup" (p. 216); "Finally, the damned boar was found at noon: - Paf! PAF! Not there was something "(p. 214).

The entire story of Maxim Maximich is written in a truly popular, spoken language, but there are no phenomena in it, sharply different from the outbraulic language. At the same time, this language retains the individual features of the narrator - Maxim Maxim. Lermontov brilliantly mastered the expressive means of a spoken language, bringing him into the literature.

Such a convergence of the literary language with conversational opened new means of expression. The liberation of the language from romantic bag was one of the manifestations of realism.

The innovation of Lermontov, in particular, was that the tragic, romantic essentially his topic is the death of Bail - he told the conversational language, deprived of any romantic "beautiful".

Spoken elements, lexical and syntactic, are characteristic not only for the narrative of Maximich Maxim. Lermontov all the time makes these conversational moments both in the author's speech and to the journal of Pechorin.

"Ossetian-cab driver ... in all the throat sowed songs" (p. 187); "For my truck, the fourth of bulls dragged another, as if nothing had happened." (P. 187).

"Maxim Maksimach":

"He scorching out a cup" (p. 222); "I saw Maxim Maxima Running What was urine" (p. 225); "Staffs-captain for a minute toolbhelel" (p. 225).

"Pechistan Journal":

"From the Seine crawl a boy of 14 years old" (p. 230); "Someone immediately ran past him and disappeared God knows where" (p. 231); "He (Cossack) has reached her eyes" (p. 237); "I am curious to see him with women: then he, I think, tries" (p. 243).

Similar to syntax:

"I look around - no one circle; Listen again - sounds as if falling from the sky "(p. 234); "To which the hives will not come up - occupied" (p. 230); "I have no pistol for the belt" (p. 238).

Thus, rapprochement of the language of prose with a spoken language is not only the stylization of the speech of Maxim Maxim. The same trends in the spoken language detects the entire prose of the "Hero of Our Time".

The "Hero of Our Time" language is not free from emotional vocabulary that makes an assessment of the described one. But the vocabulary is deprived of the book - she is spoken:

"This valley is nice place!" (p. 187); "I had to hire bulls to drag my cart on this damn mountain" (p. 187); "The sick leg interfered with him. Poor! How he managed, relying on the crutch "(p. 245).

Continuing to develop those trends that were laid out in the language "Princess of Ligovsky", Lermontov introduces reduced household details, expressed by household, unacceptable in high-style, vocabulary. This phenomenon is especially characteristic of describing representatives of secular society, serving for ironic characteristics:

"I stood at the back of one thick lady, autonated with pink feathers; The pomp of her dress resembled the times of Fijm ... The biggest wart on her neck was covered with Fermoir "(p. 262); "At eleven o'clock in the morning ... Princess Ligovskaya will usually sweat in the Ermolovskaya bath" (p. 280); "Suddenly, Mr. in Thrake with long mustes and red burns separated from their environment (men's men on the ball) and sent his wrong steps straight to the princes" (p. 263-264).

The language of the "Hero of Our Time" undoubtedly experienced a strong influence of the language of Pushkin Prose. Laconicity, accuracy in the use of the word, the lack of metaphor, the predominance of simple proposals - all this is characteristic of the Pushkin language. The same phenomena are characterized in some cases for Lermontov prose. But Lermontov, having learned the Language and Stylistic Manera of Pushkin's prose, in some cases retreats from her, making his, Lermontovskoe, attitude to the language.

In the descriptions of life, Lermontov finally refuses any metaphor, comparisons; Epitheet is accurate, deprived of metaphoricity. It is also characteristic of the exact realistic language, the use of numeric. In the realistic description of Lermontov, it does not use local, dialectical or foreignate words, but by overcattering vocabulary:

"Sakla was stripped by one side to the rock; Three slippery, wet steps led to her door. I got a touch and came across a cow (the kelp of these people replaces Lacées). I did not know where to go: the sheep blew, the dog grieves there. To happiness, the dull light flashed aside and helped me find another hole like the door. The picture has opened quite entertaining: a wide sack that the roof relied on two wrapped posts, was full of the people. In the middle, the light cracked, unfolded on Earth, and smoke, energized back by the wind from the hole in the roof, was spread around such a thick pellena that I could not look around for a long time; The fire was sitting two old women, many children and one slender Georgian, all in rags "(p. 189-190).

Laconic accuracy in the description has developed at Lermontov under the influence of the prose-language Pushkin.

This is quite clearly visible from the comparison of the following, close on the topic of descriptions:

Lermontov:

- Tomorrow will be glorious weather! - I said. Headquarters-captain did not answer a word and pointed me a finger on a high mountain, rising right against us.
- What is it? - I asked
- Gud-mountain.
- Well, so what?
- Look at how smoking.
And in fact, Hood-Mount smoked; On the sides they were crawling clouds, and on top lay a black cloud, such a black that she seemed spot in the dark sky.

We distinguished the postal station, the roofs of her saclay surrounding her, and brought back lights flashed, when the raw, cold wind smelled, the gorge thickened, and got a small rain. I barely managed to throw the burku, how snow fell.

Pushkin:

Suddenly, the rod began to look towards and finally, removing the hat, it was blurred to me and said: "Barin, do not tell whether to grind?"
- What is this for?
"Time is unreliable: the wind slightly rises; - You see how it sweeps powder. "
- Well for trouble!
"And you see what?" (The bar pointed the whip to the east).
- I see nothing but a white wall and a clear sky.
"And Won-Won: This is a cloud."

I actually saw on the edge of the sky. White cloud, which took it first for the remote hollyk.

The jammer has explained to me that the cloud foreshadowed Buran.

Zamchchchch rocked; But everyone looked east. Horses fled together. The wind between the hour from the hour became stronger. The cloud appealed to the white cloud, which was seriously risen, grew and gradually fucked the sky. Small snow went - and suddenly fell in flakes. The wind has overwhelmed: a bump made. In one instant, the dark sky mixed with the snowy sea. Everything disappeared.

Leaving aside some lexical coincidences, it should be noted similarity in the construction of these two single-month passages. Characterized for Pushkin and for Lermontov dialogue preceding the author's description. In both cases, the dialogue is complicated, almost complete absence of the author's remark. The dialogue is not deprived of some lexical locality ("sweeps powder" - Pushkin; "smokes" - Lermontov).

In the description of the blizzard in Pushkin, due to the presence of non-prolonged members of the proposal ("Wind overlap"), thanks to a small number of secondary sentences, the verb acquires (cf., for example, in a sentence: "The cloud appealed to the white cloud, which was seriously rising, grew and grew Gradually felt the sky ").

In the same way, Lermontov verb carries a large semantic load, but Lermontov's proposals are more common in secondary members of the proposal, in particular the category of quality ("crude, cold wind", "black cloud, such black"). The language of the Pushkin Description, as it is characteristic of its prose, is deprived of metaphoricity. But this metaphoricity can be noted to some extent to Lermontov ("the light ridges of the clouds crawled on her sides").

Lermontov studied the "harsh" simplicity of Pushkin's prose, but did not copy it literally, making his own characteristics, in particular some metaphoricity, less significance of the verb, a large role of the quality category. The "accuracy" of the language of Pushkin prose, opposed metaphoricity of romantics, and was the point of realistic style to which Lermontov followed.

In the "Hero of our time" with a small relative to the role of the description, a special breakdown on the scene can be marked. With all the thematic diversity of such scenes, there may be general features in building and language.

This separate scene begins and ends with a simple non-prolonged proposal or a simple proposal with a minimum amount of secondary sentences. Due to this, such a proposal is characterized by conciseness, serving at the same time an indication of the turn in action. In this case, Lermontov followed the syntactic simplicity of supply, which was characterized by Pushkin. Next, Lermontov gives narrative text (often a complex proposal). Then follows the dialogue and text, its commenting, and, finally, the final statement expressed by a simple proposal.

"Mazurka began. Pereshnitsky chose alone only by the princess, other cavallers were remembered by her: it was clearly a conspiracy against me; "The better: she wants to talk to me, it is bothering her," she will walve more.

Two times shook her hand; For the second time she pulled it out, not to say a word.

I will feel bad to sleep this night, "she said to me when the Mazurka was over.

It's guilty to this sad.

Oh no! - And her face has become so thoughtfully, so sad that I gave myself a word on this evening you certainly kiss her hand.

Began to drive around "(p. 279).

Belinsky highly appreciated the Lermontov prose language; He, for example, wrote about the preface language to the "Hero of Our Time":

"What is the accuracy and certainty in every word, like in place and as an indispensable to others each word! What a compression, brevity and at the same time meaningful! You read these lines, read and between the rows: Understanding everything that said by the author, you also understand what he did not want to speak, fearing to be multi-dimensional "(V. Belinsky, full. Coll. Op., Ed. S. A. Vengerova , T. VI, p. 312-313).

Belinsky gave a very clear characteristic of Lermontov language. The structure of individual scenes disassembled by us is complicated and dynamic. The dialogue incorporating the required component into separate scenes is almost deprived of its remarks. Replicas in the predominant majority consist of one sentence. Lermontov transmits a replica often by incomplete conversational suggestions, realistic reproducing household speech:

"- Will you dance? - he asked.
- I do not think.
- I am afraid that I will have to start Mazurka with the prince, - I do not know almost a single figure ...
- Did you call her on Mazurka?
- No more ... "(p. 277).

This brief replica, the absence of remark gives the dialogue of that laconicity, which is characteristic of the "Hero of Our Time" language as a whole.

Due to the small number of adjectives, the semantic center of gravity offers lies in the verb. In this regard, Lermontov follows the paths laid in the Pushkin language.

The word, in particular the verb, Lermontov is multi-valued. The verb serves not only for the narrative, but also has a second, psychological, meaning, for commenting remarks from the author is not a few:

"" I will tell you all the truth, "I answered the princess; - I will not justify nor explain your actions. - I do not love you.
Her lips lightly pale ...
"Leave me," she said barely clearly.
I shrugged, turned and gone "(p. 288).

"I did a few steps ... She straightened in chairs, her eyes sparkled" (p. 281).

The predominance of the verb, its significantness, but not metaphoricity testified to the refusal of romantic style in the language, the style in which the quality category prevained over other categories in the language.

If already in the "Princess of Ligovskaya" Lermontov, heronically referred to romantic phraseology, then in the "Hero of our time" this ironic interpretation of romantic phraseology with a special force affects the speech of the Pereshnitsky. Lermontov, as it were, gives the characteristic of the style, which was characterized by his own early prose:

"He says soon and persecuted: he is from those people who have ready-made magnificent phrases for all cases of life, which just does not touch and which are important to be draped into unusual feelings, sublime passions and exceptional suffering. Make effect - their enjoyment; They like the romantic provincials to madness ... The Pear Passion was to declerate "(p. 242).

In the speech of the Pereshnitsky Lermontov, it is just ironically emphasized by these romantic traits of the language: "My soldier's chinel is like a pressing of the rejection. Participation that it excites is hard as alms "(p. 243); "The soul was shining on her face" (p. 246); "It's just an angel" (p. 246); "I love her to madness" (p. 266).

Lermontov introduces a similar romantic phraseology ironically and in the descriptions related to the pears: "When the tragic mantle resets, Pretty Mil and Funny" (p. 243). Grushnitsky threw it one of those murderless views "(p. 246); "Grushnitsky watched her like a predatory beast" (p. 252); "Some funny delight shone in his eyes. He firmly shook my hand and told the tragic voice "(p. 266).

So in the realistic language of Lermontov, romantic "high" phraseology turned into its opposite, serving for the ironic characteristics of the hero.

Very subtle, individual elements of the language, characteristic of romanticism, used Lermontov when the appearance of the girl's image in Tamani. Lermontov shows the charm, which causes the girl in Pechorin. But Pechorin, as it were, heronically refers to their fleeting passion. And in the household context there are comparisons, epithets, phraseological speeds, syntactic inversion characteristic of the romantic style language:

"Listen again - sounds as if falling from the sky. I raised my eyes: they stood on the roof of the hut in a striped dress with loose braids, real mermaid "(p. 234).

The same household, conversational context and in subsequent poetic comparisons of the girl: "And I see, my Undine is running again ... I imagined that I found Gothev Mignon" (p. 235-236) (cf. words of the Cossack, opposed to this "poeticization" : "ECI Bes Girl").

Similarly, in a number of places, there are engaged elements of a language associated with a romantic style:

"She sat against my eyes quietly and silently and rushed her eyes on me, and I don't know why, but this gaze seemed to me wonderfully, gentle" (p. 236); "She jumped up, wrapped my neck, and the wet, the fiery kiss sounded on my lips" (p. 237).

This combination of romanticized, lyrical language with everyday caused a high rating of Belinsky. Belinsky wrote:

"We did not decide to make discharge from this story (Taman), because she strongly does not allow them: it's like some kind of lyrical poem, all the beauty of which is destroyed by one released or modified by a poet himself: it is all in shape; If you write, then it should write it all from the word to the word; The retelling of its content gives her the same concept as a story, at least the enthusiastic, about the beauty of the woman, whom you did not see. This story is distinguished by some special color: despite the prosaic reality of its content, everything in it mysteriously, the faces are some fantastic shadows, flashing in the evening dusk, in the light of dawn, or month. Particularly charming girl "(V. Belinsky, full. Coll. Op., Ed. S. A. Vengova, T. V, p. 326).

In the "Hero of Our Time" Lermontov, as mentioned above, refused the romantic landscape, from the romantic expression in the language. Caucasian landscape was a particularly grateful theme for writers and poets - romantics.

This refusal of Lermontov from the romantic landscape was formulated at the beginning of the story "Maxim Maximych": "Pulling up with Maxim Maximych, I was visible to the Terek and Darialya gorge, I had breakfast in Kazbek, I drank tea in Lars, and I had a dinner in Vladikavkaz" (p. 219 ). Instead of a landscape - domestic details and further ironic author's explanation: "I save you from the description of the mountains, from the exclamations that do not express anything, from paintings that do not depict anything, especially for those who were not there, and from statistical comments, which are decisively No one will read "(p. 219).

The landscape of the "Hero of Our Time" is characterized by the realistic accuracy of typing. But some features of romanticism, though to a weak degree, can be marked in Lermontov's landscape.

Such, for example, the widespread use of epithets with the color value, the usual romantics, but the Lermontov acquires already realistic in nature:

"This valley is nice! From all sides of the mountain of impregnable, reddish rocks, frightened by green ivy and cooked chinar, yellow cliffs, stacked by promoters, and there is a highly high gold fringe of snow, and at the bottom of Aragva, embracing with another unspecified river, noisy-escaped from black, full of Mole Gorge, stretches in silver thread and sparkles as a snake of his scales "(p. 187).

In the landscapes sometimes meet words in a figurative meaning ("hugging", "fringe snow", "The branches of blooming are crystant to me in the windows"), sophisticated, "poetic" comparisons ("the air is clean and fresh, as a kiss of a child"; " The West is a five-key BESTTU shines as the "last cloud of scattered storm" (p. 240).

So Lermontov gives the lyricity of the landscape, bringing some elements of romanticism into the harsh simplicity of Pushkinsky.

If we consider that the landscape, this Lermontov, was perceived against the background of the previous experiments of Marlinsky, it should be noted the realistic accuracy of the landscape language in the "Hero Time".

This recognized even Shevyrev, who negatively believed to the work of Lermontov.

"Marlinsky," Shevyrev wrote, "he taught us for brightness and motion of the paints, as he loved to draw pictures of the Caucasus. Toastful imagination of Marlinsky seemed little only to obediently observe this magnificent nature and transfer it to the faithful and member word. He wanted to rape images and language; He threw paints with his palette of Gurth, no matter how much it fell, and thought: what will be the bottle and color, the more similarities from the list with the original.

Therefore, with a special pleasure we can see in the praise of the new Caucasian painter, that he did not get carried away the varicinal and brightness of the paints, and, the faithful taste of the graceful, conquered a sober brush his paintings of nature and wrote them off without any exaggeration and cloister cleansing ... But, however, should notice that the author does not like to stop in the paintings of nature, which only flashes episodically from him "(S. Shevyrev, O" Hero of Our Time "," Moskvatik ", No. 2 for 1841).

It should be especially high in the language of lyric deviations that are available in the "Hero of Our Time". These lyrical retreats end a number of leads ("Maxim Maximach", "Taman", "Princess Mary").

In these lyrical devices, language means were used, the ownership of romanticism, but they are given in the domestic realistic context language, and this changes their quality: "And why was the fate to throw me into a peaceful circle of honest smugglers? As a stone, thrown into a smooth source, I alarmed their calm, and how the stone hardly did not go to the bottom! " And then the household language with the exact meaning of words: "I returned home. In the Seine, the cautious candle was cracking in a wooden plate ", etc. (p. 239).

Not only vocabulary, but the syntax of such lyrical deviations changes. Instead of simple sentences, Lermontov uses complex: "It's sad to see when the young man loses his best hopes and dreams, when the pink Fleur is pulling him down, through which he looked at the affairs and feelings of human, although there is hope that he will replace old erroxies new, not less transient, but not less sweet ... "This is a lyrical retreat, however, is closely associated with the whole content of the story:" But what to replace them in the summer Maximich? Injecting the heart outreast and the soul closes. " And finally, the final proposal, devoid of all the lyrity, creating interruption in style: "I left one" (p. 228). The ending of the story "Princess Mary" as unexpectedly contributes a lyrical jet into the image of Pechorin; The metaphorical vocabulary of this ending is typical of romantic writers with their love for the images "Sea":

"I, like a sailor, born and grown on the deck of a robbing brig: His soul was dressed with storms and battles, and, who, sheltered ashore, he misses and languishes, like mani his shady grove, no matter how peaceful sun light him; He goes to himself a whole day along the coastal sand, listens to the monotonous rope of the incoming waves and peers in a foggy distance: Does not flasher in a pale drawing, separating the blue bay from the gray tuckers, the welcome sail, first like the wing of the marine seagull, but little Male boulders separated from foam and smooth running approaching to the desert pier "(p. 312).

This lyrical ending-compared at the same time, excessive metaphoricity is not peculiar ("Blue Bay", "Foggy Dal"); Images of this comparison are invited thematically. All this distinguishes a similar ending from the stylistic manner of romanticism with its journey of different comparisons and metaphor.

To certain extent metaphoric and aphorisms that are constantly included in the text "Hero of our time". Belinsky highly appreciated the aphoristic style of Lermontov.

For the prefaces to the "Hero of Our Time", Belinsky wrote:

"How to form and original phrases, each of them is suitable to be an epigraph to a large poem" (V. Belinsky, full. Coll. Op., Ed. S. A. Wengerova, t. Vi, p. 316). These Aphorisms are a peculiar philosophical and political Credo Lermontov. They are directed against the modern society. That is how the aphoricity of the language of the reactionary of the Burachek considered the aphoristicity of the language, when he wrote that "the entire novel - an epigram made up of continuous sophisons" ("Lighthouse of modern education and education", Part IV for 1840, p. 211). Aphorism metaphor is closely related to the specific value of the preceding text. That is why Aphorisms in the "Hero Time" are organically related to the context, do not create dissonance:

"He (Dr. Werner) studied all the living strings of the Heart of the Human, as the corpse's veins study, but he never knew how to use his knowledge: so sometimes a great anatomic does not know how to cure from fever" (p. 247).

"We soon understood each other and became friends, because I am unable for friendship: one of two friends is always one servant of another, although often none of them admit to this" (p. 248).

Prose Lermontov had vast national importance for the development of Russian literature. Like Pushkin, Lermontov proved the possibility of the existence of the Russian national story, the Russian national novel. Lermontov showed the possibility of using the Russian language tools for the transfer of complex psychological experiences. Lermontov, refusing a romantic style, climbed the language of prose with a spoken overhang.

That is why contemporaries noted Lermontov's language as a huge achievement of Russian culture.

Even the hostile Lermontov reactionary S. Burachek leads the following typical "conversation in the living room":

"- You read, madam," hero "- what do you think?
- A, unmatched thing! In Russian, nothing was like that ... so it's all alive, cute, new ... Sign so easy! Interest is and lures.
- And you, madam?
- I did not see how I read it: And so it was so sorry that soon ended - why only two, and not twenty parts?
- And you, madam?
- Read ... well, charm! From the hands do not want to release. Now, if everything was written in Russian, we would not read a single novel of French "(S. B.," The Hero of Our Time "Lermontov," Lighthouse of Modern Enlightenment and Education ", Part IV for 1840, page . 210).

The "Hero of Our Time" language was a new phenomenon in Russian prose, and no wonder Contemporan Lermontov Sushkov noted: "Language in the" Hero of our time "is almost higher than the language of all former and new leads, stories and novels" (Sushkov, Moscow University Noble Pension , p. 86).

Gogol claimed: "No one has yet written with us right and prone procure."

______________________
1) See in my book "Pushkin's Language", ed. "Académie", 1935.
2) Vinogradov V. V., Pushkin and Russian, p. 88 // Bulletin of the Academy of Sciences of the USSR, No. 2-3 P. 88-108, Moscow & Leningrad, 1937.
3) Vinogradov V. V., A. S. Pushkin - the founder of the Russian literary language, p. 187 // Izvestia Academy of Sciences of the USSR, Branch of Literature and Language, 1949, Volume, Vol. 3.
4) Natalia Borisovna Krylova, head. Sector of the rare fund of the department of reading rooms of the Central Bank. A.S. Pushkin, graduate student of the Dzhakaki.
5) Gogol, N.V., full. Cathedral op. T. 8 / N.V. Gogol. - M.-L., 1952. - P. 50-51.
6) IBID.
7) Pushkin, A.S., about the French Literature // Sovar. op. In 10 tons. - M., 1981.- T. 6.- P. 329.
8) Pushkin, A.S., about the poetic word // Sovar. cit. B 10 T.- M., 1981.-T.6.-S. 55-56.
9) Pushkin, A.S., Letter to the publisher // Syb. op. B 10 T. - M., 1981. - T. 6. - P. 48-52.
10) Skatov, N., Anything in it in it / N. Skatov // Renal Dates 1999: Univers. Il. the calendar. - Sergiev Posad, 1998. - P. 278-281.
11) Volkov, G.N., Pushkin's world: Personality, worldview, surroundings / G.N. Wolves. - M.: Mall. Guard, 1989. S. 100. - 269 C.: IL.
12) Pankratova A., Great Russian people. Oziz, 1948, p. 40.
13) A. S. Pushkin, ed. GIHL, 1936, T. V, p. 295.
14) Vinogradov V. V., A. S. Pushkin - the founder of the Russian literary language, p. 187-188 // News of the Academy of Sciences of the USSR, Branch of Literature and Language, 1949, Tom ѵSh. 3.
15) 1. Perlmutter L. B., prose language M. Yu. Lermontov, p. 340-355, Moscow: Enlightenment, 1989.
2. L. B. Pearlmutter, about the language "Hero of our time" Lermontov, "Russian language at school", 1939, No. 4.

Quotes: 1. Easy work obstacles overcomes. 2. The science of young men feed, the older is served ... 3. In communication, our all days pass, but the art of communicating - the lot is a little ... 4. Explore it everywhere, that there is great and fine. 5. Nature is very simple; What contradicts this should be rejected. 6. Nothing happens without a sufficient basis. 7. Eupatic work all obstacles overcomes.

Achievements:

Professional, social position:Russian scientist, chemist, physicist, mathematician and poet.
The main contribution (than known):He was the founder of Russian science, the creator of the first laboratory based on Western scientific traditions, as well as scientists who made a significant contribution to the development of the Russian language.
Deposits:Mikhail Vasilyevich Lomonosov - Russian Polymat, scientist and writer who made an important contribution to literature, education and science.
The science
It is considered the founder of Russian science. He committed many important discoveries and founded scientific laboratories based on Western scientific tradition.
Its chemical and physical work is characterized by focusing on the use of atomic and molecular species of explanation. He published the work criticizing the theory of phlogiston and proposed the law of preserving the masses. In his experiments, he anticipated the modern principles of the mechanical nature of heat and the kinetic theory of gases.
In 1748 Lomonosov opened the first scientific chemical laboratory in Russia.
The versatile scientific interests of M. V. Lomonosov included the theories of electricity and light, the creation of optical instruments, mineralogy, meteorology and astronomy. Among his scientific discovery was the opening of the atmosphere of Venus.
Literature
Lomonosov was also a poet who laid the foundations of the modern Russian literary language.
He also made a significant contribution to the study of the Russian language, including in the development of scientific terminology, and also wrote the dispute history of Russia.
Later he wrote a Russian grammar and adopted the tonic poems, thus changed the nature of the Russian poems.
In the reform of the Russian literary language, he chose a language that is an average option between the Old Slavonic language and the spoken Russian speech.
In 1748, he wrote "rhetoric", which became the first in Russia of the advantage of world literature.
Art mosaic
In 1753, he founded the first mosaic factory for the production of stained glass and beads in Ust-Rudnitsa. He created several and outstanding works of art from mosaic, one of which is the best portrait of Peter the Great and Poltava battle, measuring 4.8 x 6.4 meters.
Organizational activity
He also reorganized the Academy of Sciences and created a higher education system in Russia. In 1755, he founded Moscow University, which in 1940 was renamed Moscow State University. M.V. Lomonosov.
Honorary titles, awards: Valid member of the St. Petersburg Imperial and Honorary Member of the Royal Swedish Academy of Sciences.
Main works:Shoten Oda (1739), rhetoric (1748), glass benefit of glass (1752), Russian grammar (1755), Russian language (1757), reflection on strength and uniformity of telecommunications (1760), Russian history (1766), Conversation with Anacreon (1759 - 61), Anthem Beard (1757).

A life:

Origin:Lomonosov was born in the village of Denisovsk located on the island near Holmogor at the Far North of Russia. His father, Vasily Lomonosov, was a successful fisherman in the peasant, and the mother is the first wife of Vasily, the daughter of Dyakon Elena Sivkova.
Education:He studied at the Slavic Greco-Latin Academy, in the Kiev-Mogilyan Academy and abroad at the University of Marburg (1736-1739) and in Freiburg, at the Mining School (1739-1741).
Influenced:Christian Wolf
The main stages of professional activity:In 1741, he returned to Russia and became a lifelong member of the Russian Academy of Sciences. In 1761, he was elected by a foreign member of the Swedish Royal Academy of Sciences.
In 1764 Lomonosov was elected an honorary member of the Academy of Sciences of the Bologna Institute. He became a professor at Chemistry at the University of St. Petersburg and, ultimately, became his rector, and in 1764 by the Secretary of State.
The main stages of personal life:When he was 10 years old, his father took the boy to work so that he helped him in his craft. But young Lomonosov realized that his main passion was the doctrine and that his desire for knowledge was endless. In 1730, 19 year old Lomonosov was on foot from north of Russia to Moscow. He entered the Slavic-Greek-Latin Academy, faithfully arguing that he was the Son of the Priest.
There, despite the mockery of other students who were much younger, he received extremely widespread education. He completed a 12-year course for only five years, having finished learning as the best student.
In 1736, Lomonosov received a scholarship for training at St. Petersburg State University. He deepened into his research and was awarded a grant for learning abroad, in Germany.
There he studied at University in Marburg (1736-1739) and in the Freiberg Mining School (1739-1741). At the University in Marburg Lomonosov became a personal student of Wolf - a prominent leader of German enlightenment.
In 1739, in Marburg, he married the daughter of the apartment hostess Elizabeth-Christine Tsilch.
Although Lomonosov was a man of a huge talent, his creative forces were somewhat upset with his own and conflict character.
Lomonosov died in 1765 in St. Petersburg at the age of 53 years.
He was buried in the Alexander Nevsky Laurel, in St. Petersburg, Russia.
Raisinka: While studying in Moscow, Lomonosov lived on 3 kopecks per day and eats only with black bread and kvass, but despite this, he achieved significant success in his studies. According to some sources, on the road from Marburg, he was forcibly recruited in Prussian soldiers, but managed to flee from the fortress.

short biography

Ushinsky Konstantin Dmitrievich was born in 1824 in Tula. Rose in the noble family. When his mother died, then he was eleven years old, and the thrill memories of life with her he carried through his whole life. Later he handed over to women and mothers to the responsible and honorable position of the education of children.

Konstantin studied in the Tula gymnasium. From the young age, he was distinguished among the peers with a clear reason and strong will, stable faith in his own strength and perseverance to cope with obstacles.

In 1840, he entered Moscow University. In the course of study, he has proven himself perfectly, many students considered a great friend. In addition, he began to give private lessons.

After graduating from the University in 1844 with honors, he was invited as a professor in the Demidov Lyceum in the city of Yaroslavl. There he gained great popularity among students and teachers. Ushinsky was trapped with each, easily and simply confused complicated information. After six years, he decides to leave the professorship from the lyceum for personal reasons.

Since 1852, Konstantin Dmitrievich began to devote his time to the study of foreign languages \u200b\u200band engaged in literature.

In 1855, he was offered to be a teacher of the subject "Literature and Legal State" of the Gatchina Institute. Having worked there for several months, he becomes an inspector in this institution. Somehow Ushinsky discovered 2 huge cabinets, in which there was a complete collection of all editions of pedagogical literature. This collection has changed the principles of Ushinsky related to upbringing and learning.

In 1859, Konstantin Dmitrievich receives the post of inspector in Smolny Institute. In those days, the formation was considered useless for women, however, he supported the opposite position, understanding the significant role of women for family and society. His lectures were great recognition, all students, their parents and relatives, officials and teachers came to lectures to hear a new look of the professor.

Note 1.

Since that time, K. D. Ushinsky became popular in all cities of Russia, he was perceived as a gifted teacher - innovator. Then he was even offered to express his idea of \u200b\u200bthe upbringing and development of the heir to the throne.

It was then that his book "Children's World" was born. She quickly began to be used in many educational institutions, her popularity grew up, and in the same year the book was released three times.

Despite the fact that the fame of the Ushinsky grew, at the same time, unfriendlies began to compose denunciations with false accusations. Konstantin Dmitrievich wrote answers to these denunciations a few days, he was very worried because of these insults and very seriously fell ill.

Soon a trip to Heidelberg took place, he met the famous Dr. Pirogov. He restores his health and grows in spirit, continuing his scientific work. At that time, he does not occupy any official posts.

In 1870, he began to feel not very good and decided to go to the Crimea, to restore the shameless health. There, at school, he accidentally met the application in the practice of his textbook, which was called "native word".

During the recent years of life, Ushinsky suffered very difficult times - the death of his son and a complex disease, having having his health. At the end of 1870, he dies.

Contribution to the education system

The influence of K. D. Ushinsky applies far beyond the pedagogy and the school program.

In the epoch in Russian schools, heartlessness and bunning were often attended, so school years were for most children a very difficult period. Actually, thanks to the ideas of the Ushinsky, the Russian school changed - it began to appear humane attitude to all students, as well as respect for every child.

Merit

• Nowadays, literary readings dedicated to the name of Ushinsky are held in our time;
• In 1946, the Medal K. D. Ushinsky was established for distinguished teachers and teachers;
• Published a complete collection of obscenities in 11 volumes;
• In the city of Yaroslavl, Named Street in honor of his name;
• Also in Yaroslavl, the Pedagogical University is named after it.

Note 2.

Konstantin Dmitrievich Ushinsky is considered a popular teacher, just as, Lomonosov is called People's Scientists, Suvorov - People's Communist Party, Pushkin - Popular Poet, and Glinka is a popular composer.

Who is the founder of Russian classical music you will learn in this article.

Who is the founder of classical music?

- This is a Russian composer, which is the founder of the classic Russian music school.

Interestingly, the first Russian classic abroad was born. Here and his musical education was becoming - he studied the game on piano, tools, vocals and compositions in German and Italy countries.

Also abroad, Mikhail Glinka has a musical idea of \u200b\u200bnational music. He made several musical those, and they later entered the opera called "Life for the king".

In the Russian version "Life for the king" has another name - "Ivan Susanin". Opera was put on November 27, 1836 and inscribed forever in the history of the culture of Russia. The work of Glinka summed up in the development of the musical theater, and opened new horizons and vertices of the art of music in Russia. From this date of production begins the countdown of the Glory of the Russian Opera.

Russian symphonic classical music as an absolutely independent phenomenon also begins with Mikhail Glinka. He is also considered the father of the Russian classical romance.

Glinka in his opera harmoniously connected the universal and European start. Having received an excellent education abroad, it successfully combines deep Russian pages with great paintings of Poland in the Opera "Life for the Tsar", magnificent exotic oriental numbers in Ruslan and Lyudmila, and bright Spanish Opports for the Symphony Orchestra. His musical works perfectly reflect the flavor of those places where the Glinka Italy, Poland, Spain, the Caucasus and Finland loved to be.

Mikhail Ivanovich Glinka - Classic of Russian Music

Pyanova Yana.

class 6 specialization "music theory", Maudo "Children's School of Arts No. 46",
RF, Kemerovo

Zaigraeva Valentina Afanasyevna

scientist, teacher of theoretical disciplines Maudo "Children's School of Arts No. 46",
RF, Kemerovo

Introduction

Mikhail Ivanovich Glinka is often called "Pushkin Russian Music." Just as Pushkin opened his creativity a classic era of Russian literature, Glinka became the founder of Russian classical music. Like Pushkin, he summed up the best achievements of his predecessors and at the same time rose to a new, much higher step, showed Russian life in all its manifestations. From this time, Russian music has firmly taken one of the leading places in world musical culture. Close to Glinka Pushkin and the bright, harmonious perception of the world. He says to his music about how the man is handsome, how much elevated in the best gusts of his soul - in heroism, loyalty, dedication, dedication, friendship, love. This music chants life, approves the inevitability of the victory of mind, good and justice, and the epigraph could be put on the famous Pushkin lines to her: "Long live the sun, and the darkness will hide!"

Glinka seriously treated the professional side. Integrity, harness form; clarity, accuracy of the musical language; The thoughtfulness of the slightest details, equilibrium of feelings and mind. Glinka is the most classic, strict and honest, among all composers of the XIX century.

In his work, Glinka turned to various musical genres - opera, romance, symphonic works, chamber ensembles, piano plays and other essays. His musical language, absorbing his peculiar features of the Russian People's Song and Italian Belkanto, Vienna Classical School and Romantic Art, became the basis of the national style of Russian classical music.

Mikhail Ivanovich Style Glinka

1. The melody is characterized by a pronounced mission. It has a special smoothness, coupling, taking her beginning in Russian folk songs

3. A bright sign of the national style serves as a composer of interval and melodic development techniques associated with the principle of variability

4. The peculiar approach of Glinka to the musical form in large sizes: in the methods of symphonic development, it was for the first time masterfully carried out, characteristic of the Russian classical school, synthesis of hencenity and variationality, permeating a seen form of a variational development.

The founder of the Russian classic school

Russian music classic was born in the works of Glinka: operations, romances, symphonic works. The Epoch of Glinka in Russian music to come to the noble period of liberation movement in Russia. His historical role of the navigator of the new classic period of Russian music, Glinka fulfilled, above all, as an artist absorbing the advanced ideas of the Decembrist era. "Creates the music of the people, and we, artists, only we arrange it" - Glinka's words about the idea of \u200b\u200bnation in his work.

The widespread dissemination of Russian music at the world level began with Glinka's creativity: foreign trips, dating with musicians of other countries.

In 1844, Glinki concerts were successfully held in Paris. With patriotic pride, Glinka wrote about them: "I am the first Russian composer who introduced the Paris public with his name and his works written in Russia and for Russia."

Figure 1. M.I. Glinka

The creativity of Glinka marked new, namely, the classic stage of the development of Russian musical culture. The composer managed to combine the best achievements of European music with the national traditions of domestic musical culture. However, his work did not belong to any classicism, not to romanticism, but only borrowed some features. In the 30s, Glinka's music has not yet been widely popular, but soon it was understood and appreciated. The basis of the copyright style of Glinka is:

· On the one hand, a combination of romantic musical and linguistic expressive tools and classical forms;

· On the other, the basis of his creativity is the melody as a carrier of generalized sense.

Through persistent quest, Glinka came to the creation of a national style and the language of classical music that were the foundation for its future development.

Creative principles of Glinka

· For the first time, the people represent a multifaceted, not only from the comic side, as in the XVIII century (the people in Ivan Susanin)

· Combining a common and private started in the figurative sphere (realizing the overall idea in specific images)

· Appeal to the origins of folk art (epics "Ruslan and Lyudmila")

· Use of quotation ("Camarinskaya", "Ivan Susanin", "down in Mother, along the Volga ...")

· Writing in folk style ("walking")

· Floor base of Russian folk songs (the choir of rowers from Ivan Susanin)

· Plagality

· Use of ritual scenes (wedding scenes from operas)

· Akkapel filing of music ("My Homeland")

· A variant method of development of melody (from Russian folk song)

The main creative principle of Glinka was to enable the subsequent generations of Russian composers to be equal to his work, which enriched national musical style with new content and new expressive means.

Words of PI Tchaikovsky about "Kamarinskaya" M.I. Glinka can express the value of the composer's creativity as a whole: "Russian symphonic essays are written a lot; It can be said that there is a real Russian symphony school. And what? All of it in the "Camarinskaya", just like the whole oak in the judder "

Types of Simphonism Glinka

The symphonic works of Glinka are not a few. Almost all of them in the genre of one-room overturer or fantasy. The historical role of these works is very significant. In Kamarinskaya, "Waltz Fantasy" and Spanish Overtures are original principles of symphonic development, which served as the basis for the development of Simphonism. By artistic meaning, they can stand with the monumental symphones of Glinka followers in one row.

The symphonic creativity of Glinka is relatively small in volume, but is extremely valuable and important to the value of his heritage. The greatest interest of his symphony works represent "Camarinskaya", Spanish Overtures and Waltz Fantasia, as well as symphonic numbers from music to the tragedy "Prince Kholmsky"

Music Glinka marked the following ways of Russian Simphonism:

· National genre

· Lyric epic

· Dramatic

· Lyric psychological

In this regard, it is especially worth noting the "Waltz fantasy". Waltz genre turns out to be at Glinka not just a dance, but a psychological sketch, expressing the inner world.

Figure 2. "Waltz Fantasy"

Drama symphonism in foreign music is traditionally connected with the name L. Beethoven, and in Russian music, he receives the most bright development in the work of P.I. Tchaikovsky.

Orchestral letter Glinka

High advantages are characterized by Glinka orchestration, based on carefully designed and deeply thought-out principles.

An important place in the work of Glinka is occupied by plays for the symphony orchestra. Glinka from childhood loved the orchestra, preferring orchestral music by any other. The orchestral letter of Glinka, combining transparency and the impression of sound, has a bright imagery, glitter and rich paints. Master of Orchestral Colorite - He made the most valuable contribution to world symphonic music. The workshop of the orchestra versatile revealed in scenic music. For example, in an overture to the opera "Ruslan and Lyudmila" and in his symphonic plays. Thus, the "Waltz fantasy" for the orchestra is the first classic sample of the Russian symphonic waltz; "Spanish Overtures" - "Aragon Hunt" and "Night in Madrid" - marked the beginning of the development of Spanish musical folklore in world symphonic music. The wealth of Russian folk music and the highest achievements of professional skills are synthesized in Kamarinskaya orchestra.

The specifics of the letter of Glinka - deep originality. He expanded the capabilities of the copper group, the special colorful nuances are created by applying additional tools (harp, piano, bell) and the richest drum group.

Figure 3. Overture to Opera Ruslan and Lyudmila

Romances in the work of Glinka

Throughout his creative path, Glinka turned to romance. It was in his own diary, in which the composer described personal experiences, tomtoms separation, jealousy, sadness, disappointment and delight.

Glinka left behind over 70 romances in which he described not only love experiences, but also portraits of various persons, landscapes, scenes of life and pictures of distant times. In the romance there were not only intimate lyrical feelings, but also those that are common and understandable for everyone.

Glinka's romances are divided into early and mature period of creativity, covering in general, 32 years old, from the first romance to the last.

Glinka's romances are not always melodious, sometimes they contain retractative and visual intonations. Piano Party in mature romance - draws a background of actions, gives the characteristic of the main images. In the vocal parties, Glinka fully opens the possibilities of voting and full mastering them.

Romance - like the music of the heart and should be executed from the inside, in full harmony with him and the outside world.

The riches of the genres of Glinkovsky romances cannot do not affect: Ellogia, Serenade, also in the form of household dance - Waltz, Mazurki and Polka.

In the form of romance are also different: and simple tweak, and three-part, and Rondo, and complex, so-called through shape.

Glinka wrote Romance to verses of more than 20 poets, while maintaining the unity of his style. Most of the society remembered the romances of Glinka to verses A. S. Pushkin. So accurately convey the depth of thought, a bright mood and clarity - no one else was able to succeed and no longer long years!

Conclusion

Mikhail Ivanovich Glinka played a special role in the history of Russian culture:

· In his work, the process of formation of the national composer school was completed;

· Russian music was noticed and appreciated not only in Russia, but also beyond

· It was Glinka who gave the common content of the idea of \u200b\u200bRussian national self-expression.

Glinka appears in front of us not only a great master who owns all the secrets of composer skill, but above all the great psychologist, a connoisseur of the human soul, who can penetrate into its innermost corners and tell the world about them.

The inexhaustibility of Glinkian traditions is the stronger than the more time from the noble personality of the Great Russian artist, from his creative feat, his quest. The brilliant opera Glinka is still waiting for their new readings; still waiting for the opera scene of new, beautiful singers of the Glinka school; There is still a big future in the development of the chamber vocal tradition laid - a source of high and pure artistry. Long-held classics, the art of Glinka is always modern. It lives for us as an eternal update source. Harmoniously merged into it, truth and beauty, sober wisdom and courage of creative jesters. And if it was destined to open a "new period in the history of music", then this period is also far from its completion.

Bibliography:

1. Glinka M.I. To the 100th anniversary of death / ed. EAT. Gordeeva. - M., 1958.
2. Glinka M.I. Research and materials / ed. A.V. Osovsky. - L.-M., 1950.
3. Glinka M.I. Collection of materials and articles / ed. So-called Libanova. - M.-L., 1950.
4. Levacheva O. M.I. Glinka / O. Levacheva. - M., 1987, 1988.
5. Livanova T. M.I. Glinka / T. Livanova, V. Protopopov. - M., 1988.
6. Glinka's memory. Research and materials. - M., 1958.
7. Serov A.N. Articles about Glinka / A.N. Serov // Selected articles: in 2 tons. / A.N. Serov. - M.-L., 1950 - 1957.
8. Stasov V. M.I. Glinka / V. Stasov // Evim. So.: In 3 tons / V. Stasov. - M., 1952. - T. 1. - M., 1952.