Motive of the path and tradition of spiritual literature. The motive of the path in literature

LYRICAL TEXT

Chapter 2. EXPERIENCE OF READING "ROAD" LYRICS. RESULTS

2.1 Typology of understanding as a basis for evaluating interpretations

2.2 Motive of the road in solving a lyrical problem

2.3 Motive of the road in disclosing collisions man - history "," man - civilization "

2.4 Poetological interpretations of the road motive

Chapter 3. GENRE-STYLE COMPOSITION OF THE PARADIGM OF MOTIVE

3.1 Allegories

3.2 Messages

3.3 Satirical and propaganda verses

3.4 Comic-parody poems

3.5 Biography Poems

3.6 Meditations

3.7 Confession Monologues

3.8 Role Lyrics

3.9 Literary songs

3.10 Imitations and literary portraits

3.11 Genre diffusion in the road motive paradigm

Chapter 4. Sense ambiguity and its meaning

FOR THE DEVELOPMENT OF THE PARADIGM OF THE ROAD MOTIVE

4.1 Negative meanings as leading

4.2 Positive meanings as leading

Dissertation introduction (part of the abstract) on the theme "The motive of the road as a paradigm of Russian lyric poetry of the XIX - XX centuries"

Conclusion of the thesis on the topic "Russian Literature", Shakirov, Stanislav Maelsovich

List of dissertation research literature Candidate of Philology Shakirov, Stanislav Maelsovich, 2001

Please note that the above scientific texts are posted for review and obtained by means of recognition of the original texts of dissertations (OCR). In this connection, they may contain errors associated with the imperfection of recognition algorithms. There are no such errors in PDF files of dissertations and abstracts that we deliver.

The motive of the road and its philosophical sound in the works of classics
The road is an ancient symbolic image. In language, the expression "life path" is a spatio-temporal metaphor. The road symbolizes life in its development. The motive of the road has a long tradition in Russian literature. This tradition goes from medieval pilgrim travel novels and novels about wandering knights to Radishchev's "Journey from St. Petersburg to Moscow". In A. Radishchev's story, travel is a means of depicting a wide panorama of Russian life.
In the works of Russian writers of the 19th century, the motive of the road becomes not only plot-forming, but also filled with new symbolic meanings, and the interpretation of the motive of the road in romantic and realistic works is different.
The motive of the road in romantic works. The theme of wandering, exile and the theme of freedom.
For Pushkin of the “southern” period, the motive of the road is associated with the ideology of romanticism, one of the main themes of which was the theme of exile or voluntary flight. The reasons for this flight, traditional for romantic poetry, were the hero's dissatisfaction with his relationship with society.
The romantic hero is an eternal wanderer, his whole life is roads, and any stop means for him the loss of freedom. In romantic poetry, the theme of freedom with the motive of the road is very closely connected. It is no coincidence that Pushkin began the poem "Gypsies" with a description of a nomadic gypsy life:
Gypsies in a noisy crowd
They roam around Bessarabia.
They are over the river today
They spend the night in tattered tents.
As liberty, their lodging for the night is cheerful
And a peaceful sleep under the skies.
If the theme of prison and prisoner appeared in a romantic work, then it was always associated with the motive of escape, with the desire for freedom:
We are free birds; it's time, brother, it's time!
There, where the mountain turns white behind the cloud,
There, where the sea edges turn blue,
Where we walk only the wind ... yes I am!
("The Prisoner", 1822)
The mention of the wind here is not accidental: in romantic literature he has become an enduring symbol of freedom.
V romantic poem M.Yu. Lermontov's "Mtsyri" the desire for freedom of the hero is also associated with his escape. But Mtsyri's path to the free land of his ancestors turns out to be a circular path: Mtsyri again comes to the monastery. The road to the dream has not been found. The path in a circle symbolizes in the work the hopelessness of life and the impracticability of striving for freedom.
The motive of the road in realistic works.
The heroes of the works of Russian literature of the first half of the 19th century traveled a lot (Pechorin, Onegin, etc.). The journey itself has become to some extent a sign, a kind of characteristic of a bored, restless, restless person. This is reflected in the connection between Russian literature and the romantic tradition. "The hunt for a change of place" is a state of mind of a person who feels his opposition to the world, the society in which he lives.
If in a romantic poem the motive of the road was associated with constant movement, with nomadic life, and it was such a life that was considered the closest to the ideal - complete freedom of man, then in 1826 Pushkin interprets this topic in a different way.
A demonstrative departure from the romantic tradition in the development of the road motif was manifested in Eugene Onegin.
The differences between the journey in the romantic poem and in Eugene Onegin were clearly visible. Onegin's journey occupies a special position in the novel: here the past of Russia and its present were compared. Onegin drives through historical places, but in Nizhny Novgorod, he sees that
Everything fusses, lies for two,
And everywhere a mercantile spirit.
Thus, the journey in the novel acquires a new meaning in comparison with the “southern” poems.
But the motive of the road in Eugene Onegin is not only Onegin's journey, but also the Larins' journey from the village to Moscow. Here Pushkin uses emphatically “base” vocabulary, which is unacceptable in a romantic poem: Booths, women, boys, shops, lanterns, palaces, gardens, monasteries, Bukharians, sleighs, vegetable gardens flash past ...
The image of the road in lyrical works acquires many specific everyday features, is more closely associated with the theme of native nature, homeland, without losing its symbolic meaning.
Poem " Winter road ”(1826) was built on the antithesis of a house - a road. The motive of the road here is associated with “wavy fogs”, “sad meadows” and “one-sounding” bells, and the road itself is called “boring”. This long and tedious journey is contrasted with the comfort of home:
Winter road
Through the wavy mists
The moon is making its way
To the sad glades
She sheds a sad light.

On the winter road, boring
The three greyhound runs
One-sounding bell
Thunders tiresomely.

Something is heard native
V long songs coachman:
That revelry is daring,
That heart's melancholy ...

No fire, no black hut ...
Wilderness and snow ... towards me
Striped only versts
Come across one.

Boring, sad ... Tomorrow, Nina,
Tomorrow, returning to sweetheart,
I will forget by the fireplace
I’ll look in without looking.

Sonorous hour hand
It will complete its measuring circle,
And, removing the annoying ones,
Midnight won't part us

Sad, Nina: my path is boring,
My driver fell silent asleep,
The bell is one-ringing
The lunar face is cloudy.
1826
Pushkin about the side of the road always has a philosophical and symbolic perspective but at the same time it is quite realistic.
The motive of the road acquires a philosophical significance in The Possessed (1830), the story The Snowstorm and the historical work The Captain's Daughter. The off-road motive is updated. And if the road in these works denotes the life of the hero, then the motives of the blizzard, blizzards symbolize the element of life, in which, although it is difficult for the heroes, they need to be determined.
The traveler is caught in a "open field" by a blizzard, and, having lost his way, he is completely at the mercy of dark, hostile forces. A person turns out to be helpless in the face of the elements, he cannot cope with this cruel force.
In the story "Snowstorm" (1830), the elements abruptly change the fate of the heroes against their will: because of the snowstorm, Marya Gavrilovna is forever parted from her groom; after a failed escape, she returns home, and her parents are not even aware of the events that have taken place; after the fateful night, Vladimir goes to the army and dies in the Patriotic War of 1812. Finally, due to a snowstorm, Burmin accidentally falls into the Zhadrino church and accidentally becomes the husband of Marya Gavrilovna.
But even more than with "Blizzard", the poem "Demons" echoes the second chapter of "The Captain's Daughter" - "Leader". Here, as in "Demons", a traveler caught by a storm loses his way and his horses stop in the "clear Field". But Grinev meets a man in the field who stands “on a firm path” and shows him the way. Thus, the “road” indicated by Pugachev turned out to be saving for Petrusha and disastrous for others.
The motives of the road, the path were included by Pushkin in works of a wide variety of topics and acquired new symbolic meanings.
The motive of the road acquires a philosophical sound in the poems "Traffic Complaints", "Elegy", "The Cart of Life"
Poem "The cart of life" built on the principle of a parable. It provides a detailed metaphor. The cart is a reduced image. It is associated primarily with the people, the village. In such a prosaic form, the image of the road passes into the poetry of Lermontov (Motherland), where the polemic with the romantic tradition is felt even more strongly. "Riding in a cart", "dreaming of an overnight stay" is an allusion to "The Cart of Life", like a hidden oath of allegiance to the Pushkin tradition.
N.V. Gogol, continuing the traditions of A.S. Pushkin in the poem "Dead Souls" uses the motive of the road both as a plot-forming and as a symbolic image.
Russia-troika and other numerous metaphors are associated with the road and refer to an individual person (“Take away with you on the way, leaving the soft youthful years in severe hardening courage, take with you all human movements, do not leave them on the road, do not pick up later ! ") Or to all of humanity (reasoning about" curved "roads).
(For comparison: Gogol also has symbolic aspects of the image of the road, among them one that Pushkin did not have: Russia is a troika, opposed to the Western states.
The main character Chichikov Pavel Ivanovich, buying up dead souls from the landowners, moves from one estate to another. The compositional significance of the road image is obvious: a road plot allows the writer to "string" a variety of life impressions on top of each other, achieving an encyclopedic effect,
This is how Gogol's poems "Dead Souls" and Nekrasov's "Who Lives Well in Russia" are constructed.
The image of the road in N. V. Gogol's poem "Dead Souls"
“On the road! on the road! .. Suddenly and suddenly we will plunge into life with all its silent rattles and bells ... "- this is how Gogol ends one of the most heartfelt and deeply philosophical lyrical digressions in the poem" Dead Souls ". The motive of the road, path, movement appears more than once in the pages of the poem. This image is multi-layered and highly symbolic.
The movement of the protagonist of the poem in space, his journey along the roads of Russia, meetings with landowners, officials, peasants and urban inhabitants form in front of us into a broad picture of the life of Russia.
The image of a tangled road, running in the wilderness, leading nowhere, only circling the traveler, is a symbol of a deceiving path, the unrighteous goals of the protagonist. Next to Chichikov, sometimes invisibly, then going to the first plane, there is another traveler - this is the writer himself. We read his remarks: "The hotel was of a certain kind ...", "what these common rooms are like - everyone who passes through knows very well", "the city was in no way inferior to other provincial cities", etc. With these words, Gogol not only emphasizes the typicality of the depicted phenomena, but also lets us know that the invisible hero, the author, is also well acquainted with them.
However, he considers it necessary to emphasize the discrepancy between the assessments of the surrounding reality by these heroes. The poor furnishings of the hotel, receptions by city officials, and lucrative deals with landlords are quite satisfactory for Chichikov, and they cause undisguised irony in the author. When events and phenomena reach the peak of ugliness, the author's laughter reaches the peak of ruthlessness.
The reverse side of Gogol's satire is the lyrical beginning, the desire to see a person perfect, and the Motherland - powerful and prosperous. Different heroes perceive the road differently. Chichikov feels the pleasure of driving fast (“And what Russian doesn’t like driving fast?”), He can admire a beautiful stranger (“opening a snuff box and sniffing tobacco”, he will say: “Glorious babeshka!”). But more often he notes the "boosting force" of the pavement, enjoys a soft ride on a dirt road, or dozes. The magnificent landscapes that sweep before his eyes do not evoke any thoughts in him. The author is also not deluded by what he saw: “Rus! Russia! I see you, from my wonderful, beautiful far away I see you: poor, scattered and uncomfortable in you ... nothing will seduce and enchant the eye. " But at the same time for him there is "something strange, and alluring, and carrying, and wonderful in the word: road!" The road awakens thoughts about the Motherland, about the writer's destiny: "How many wonderful ideas, poetic dreams have been born in you, how many wonderful impressions have been felt!"
The real road along which Chichikov drives turns into the author's image of the road as a path of life. "As for the author, in no case should he quarrel with his hero: there is still a long way and the road will have to go hand in hand ..." nation and interconversion.
Chichikov's road, passing through different corners and nooks of the M-province, as if emphasizes his vain and false life path. At the same time, the path of the author, which he takes together with Chichikov, symbolizes the harsh, thorny, but glorious path of the writer, preaching "love with the hostile word of denial."
The real road in "Dead Souls" with its bumps, bumps, mud, barriers, unrepaired bridges grows to a symbol of "enormous rushing life", a symbol of the great historical path of Russia.
On the pages that conclude the first volume, instead of the Chichikov troika, a generalized image of the bird-troika appears, which is then replaced by the image of rushing "God-inspired" Russia. This time she is on her true path, and therefore the filthy Chichikovsky crew was transformed into a bird-three - a symbol of the free Russia, which has acquired a living soul.
Compositional (plot-forming) role of the road image.
The traveler usually has a goal, this organizes the work, does not allow it to disintegrate into separate episodes: this is exactly what happens in Dead Souls or in the poem "Who Lives Well in Russia", where many individual episodes are organized around the main task of the pilgrims.
The motive of the road is one of the leading in the work of Nekrasov "Who Lives Well in Russia?" To answer this exciting question, which is included in the title of the work, "strange" people are sent on the road, ie. wandering - seven men. The peasant is a settled person, tied to the land. And they start wandering, and even in the hardest time. This strangeness is a reflection of the upheaval that the entire peasant Rus is going through. The peasants travel, and the whole of Russia moves with them, she set in motion, rejecting the old way of life after the reform of 1861. The motive of the road allows you to go through all of Russia, to see it as a whole, from the inside. On their way, the wanderers meet with representatives of all classes: priest, landowners, peasants, traders. These characters make the men understand that there is no happiness that should be.

The leitmotif of the road can be seen in the work of Turgenev "Fathers and Sons". At the heart of the tragedy is the hero's struggle with superior forces, and the road is, as it were, a test tape for him. The novel has a closed circular composition, and the image of the road is also closed. The hero's convictions are tested throughout the entire work. On the one hand, the aristocracy presses on him, on the other, the love of a woman.
The first circle of the hero's movement reveals Bazarov's confidence and superiority. In the first part of the novel. The hero emerges victorious from all collisions. Before the reader is a man of deep mind, confident in his abilities and in the business to which he has dedicated himself, proud, purposeful, having the ability to influence people (4 ch. - laughs at the old romantics; negative attitude to poetry, art, recognizes only practical application nature; 6 chap. - comes out the winner in a dispute with Pavel Petovich, teaches Arkady).
The second circle of the hero's movement is doubts, contradictions, an ideological crisis, a passionate unshared feeling, the hero's illness and death.

The creativity of S.A. Yesenin
The poem "The road was thinking about the red evening ..." (1916) is dedicated to the love of native land... Already in the first lines, the image of the road, characteristic of Russian lyrics, appears. In Yesenin's work, he is inextricably linked with the theme of his home. In this poem, the poet describes late autumn, cold, when you so want to be in a warm hut, smelling of homemade bread. But here the image of the "yellow-haired youth" also appears, looking with interest "through the blue glass ... at the ticking game."
In the second part of the poem, the motive of longing for the past, for the irretrievably gone country childhood, sounds distinctly:
Someone's heels no longer crumple through the groves
Chipped leaf and grass gold.
In the last lines of the poem, the image of the road reappears as a symbol of the return to the native hearth.

In "The road is thinking about the red evening ..." the poet actively uses personifications: the road "thinks", the cold "creeps", the wind "whispers", the straw "groans", etc. They symbolize the inextricable connection of the lyrical hero with the living, eternally renewing world nature and testify to the poet's ardent love for the fatherland, for native nature, folk culture.
The poem "The hewn groves sing ..." (1916)
http://www.a4format.ru/pdf_files_bio2/478bc626.pdf

The poem is dedicated to the central theme of Yesenin's work is the theme of the homeland. The first line introduces the motive of the road and movement. Plains and bushes are running past the lyrical hero, a gentle breeze is blowing. But the theme of the brevity of human life and the fragility of happiness is immediately introduced: behind the chapels one can see "memorial crosses".
Most of the poem is a declaration of love for the native land. This feeling overwhelms the lyrical hero:
I love to joy, to pain
Your lake melancholy
It is not easy to love Russia ("Cold sorrow cannot be measured"), but the hero's love for her is unconditional:
But not to love you, not to believe -
I cannot learn.

A. Block "Russia". “On the Kulikovo field”. The motive of the road.
The motive of the road in A. Blok's lyrics sounds when the poet reflects on the path of Russia and the Russian people.
Russia, surrounded by rivers
And surrounded by wilds
With swamps and cranes,
And with the dim gaze of a sorcerer.
Such is the mysterious, extraordinary, witchcraft Russia of Blok in the poem "Rus". This is a country "where all paths and all crossroads are exhausted with a living stick." Here, in Blok Russia, everything is in motion, in a whirlwind:
Where the blizzard sweeps violently
Up to the roof - fragile housing,
Here the whirlwind whistles "in the bare rods", here "diverse peoples from one edge to another, from valley to valley, lead night dances."
One gets the feeling that the country is swirling, turned into a bunch of energy. It is impossible to unravel the mystery in which Russia rests, it is impossible to touch the mysterious veil of "extraordinary" Russia.
But the feeling that Russia is in motion, that it seems to be ready for flight, does not leave the reader.
Fatherland on the road, in perpetual motion - appears in the poem "Russia":
Again, like in golden years,
Three worn out straps are fluttering,
And painted knitting needles bite
In loose ruts ...
With happy pride, the poet confesses his love for impoverished Russia:
Russia, impoverished Russia,
I have your gray huts,
Your songs for me are windy
Like the first tears of love.

He is glad that "the impossible is possible, the road is long and easy", because Russia is immense, it has everything - forests and fields and "patterned boards up to the eyebrows."
A. Blok turns to the historical past in order to understand the present through the past in the cycle “On the Kulikovo Field”. And here is the first stanza of the poem:
The river spreads out: flows, sad lazily
And washes the shores
Over the scanty clay of the yellow cliff
The haystacks are sad in the steppe.

Something frozen, sad in her. But already in the next stanza, the image of Russia acquires a sharply dynamic character. A different rhythm begins. As the personification of the peak of the frantic movement of Blok's Russia, a metaphorical image of a "steppe mare" emerges, flying "through blood and dust":

Our path is steppe, our path is in boundless anguish:
In your longing, oh, Russia!
The "steppe mare" gallops forward, in restlessness, because the future of Russia is seen by the poet as unclear, distant, and the path is difficult and painful, the fatherland awaits "an eternal battle":
And an eternal battle! Rest only in our dreams
Through blood and dust ...
The steppe mare flies, flies ...

Sunset in blood! Blood flows from the heart!
Cry, heart, cry ...
There is no peace! Steppe mare
Running at a gallop!

"Blood flows from the heart!" - only a poet who realized his fate, his life, vitally connected with the fate and life of the Motherland, could say so.
For the Bloc, Russia is, first of all, distance, space, “path”. Having started talking about Russia, the poet himself feels like a traveler, lost in perilous but beloved spaces, and says that even at the last minute, on his deathbed, he will remember Russia as the sweetest in life:
No ... more forests, glades,
And country roads and highways,
Our Russian road
Our Russian fogs ...
Blok's Russia ... This is the road without end ... This is the road from the past through the difficult present to the harsh future!

Ticket 2

Moral problems in Ostrovsky's plays.

In The Thunderstorm, A. N. Ostrovsky raises not so much social as moral problems. The playwright shows us how feelings that were not yet known before suddenly wake up in a person and how her attitude to the surrounding reality changes.

Conflict between Katerina and " dark kingdom", Shown by the playwright, is the opposition of the laws of Domostroi and the striving for freedom and happiness. The thunderstorm in the play is not just a natural phenomenon, but a symbol of the heroine's state of mind. Katerina grew up and formed as a person in the terrible conditions of Domostroi, but this did not prevent her from resisting the Kalinov society. For Ostrovsky it was important to show that where any manifestation of freedom is ruined, a strong character may emerge, striving for his own happiness. Katerina strives for freedom with all her heart. This is especially evident thanks to her story to Varvara about her childhood, when she lived in an atmosphere of love and understanding. But Katerina still does not fully understand that new attitude to the world, which will lead her to a tragic end: “Something in me is so extraordinary. It’s as if I’m starting to live again. ” Having fallen in love with Boris, she considers her feelings to be sinful. Katerina sees this as a moral crime and says that she has “already ruined” the soul. But somewhere inside, she realizes that there is nothing immoral in the pursuit of happiness and love. In The Thunderstorm, the problem of repentance is most acute. The main heroine of the tragedy - Katerina - is experiencing terrible pangs of conscience. She is torn between her lawful husband and Boris, a righteous life and a fall. She cannot forbid herself to love Boris, but she herself executes herself in her soul, believing that by this she rejects God, since a husband is for a wife like God is for a church. Therefore, by betraying her husband, she betrays God, which means that she loses all possibility of salvation. She considers this sin unforgivable and therefore denies the possibility of repentance for herself. Katerina is a very devout woman, from childhood she used to pray to God and even saw angels, which is why her torment is so intense. These sufferings bring her to the point that, fearing the punishment of God, embodied in the form of a thunderstorm, she throws herself at her husband's feet and confesses everything to him, giving her life into his hands. People react to this confession in different ways, revealing their attitude to the possibility of repentance. Kabanova offers to bury her alive in the ground, that is, she believes that there is no way to forgive her. Tikhon, on the other hand, forgives Katerina, that is, he believes that she will receive forgiveness from God.

The motive of the road in the works of Russian writers of the 19th century.

In Russian literature of the late 18th century, the theme of the road can be traced even in the titles of some works. Sentimental writers (sentimentalism developed in Russia at that time) often used such a genre of works of art as travel: impressions of visiting Germany, Switzerland, France and England formed the basis of N.M. Karamzin's "Letters of a Russian Traveler", and the road from St. Petersburg to Moscow shocked A.N. Radishchev, which eventually led to the creation of his most famous book - Travel from St. Petersburg to Moscow.

The motive of the road sounds in a significant work of the 19th century. This is "Dead Souls" by N. V. Gogol. In Dead Souls, N. V. Gogol set himself the task of showing all of Russia. But he shows only a small piece of it - the county town and its environs. The main active class is the small landed nobility. Here, too, the connecting thread between the stages of the story is the road. Thus, the poem "Dead Souls" begins with a description of a road carriage; the main action of the protagonist is a journey. After all, only through the traveling hero, through his wanderings, it was possible to fulfill the set global task: "to embrace the whole of Russia." The theme of the road, the journey of the protagonist has several functions in the poem. Of course, this is a purely compositional technique, linking the chapters together. Also, descriptions of the road leading to a particular estate precedes the description of the landowners themselves, sets the reader in a certain way.

In this lyrical digression, the theme of the road grows to a deep philosophical generalization: the choice of a field, a path, a vocation.

The road is the compositional pivot of the piece. Chichikova's chaise is a symbol of the monotonous whirling of the soul of a Russian person who has gone astray. And the country roads along which this chaise travels are not only a realistic picture of Russian off-road, but also a symbol of a crooked path. national development... The "Bird-Troika" and its swift years are opposed to Chichikov's chaise and its monotonous spinning off-road from one landowner to another.

"Bird Troika" is a symbol of the national element of Russian life, a symbol of the great path of Russia on a global scale. But this road is no longer the life of one person, but the fate of the entire Russian state. Russia itself is embodied in the image of a bird-three flying into the future: “Oh, three! bird three, who invented you? to know, you could only be born to a lively people, in that land that does not like to joke, and scattered across the globe ... Is it not you, Russia, that a lively, unattainable troika is rushing? .. and all inspired by God is racing !. Russia, where are you rushing? Give an answer. Does not give an answer ... everything that is on the earth flies by ... and other nations and states give it the way. "

In his poems, N.V. Gogol decided to give an overview of the life of all Russia. In Dead Souls, the theme of the road is the main philosophical theme, and the rest of the story is just an illustration to the thesis “the road is life”.

No less bright and important is the road motif of another Russian writer - A.S. Pushkin. In the story "The Captain's Daughter" in the description of Petrusha Grinev's trip to Orenburg and to the fortress, we see the same Russia, but at a different historical time and through the eyes of a different author. Now our attention is attracted by a strange counselor, as a representative of the people, with whom both Grinev and readers are just beginning to get acquainted. It is impossible not to say about the blizzard as a symbol of the popular movement. If the road symbolizes the course of development of Russian history, then this snowstorm is fermentation in the minds of the people, their discontent, from which (this is also very symbolic) this leader appears. The culminating moment of this first meeting is the conversation between the "muzhik" and the owner of the courtyard, a Cossack. The inn is also like a part of the road, all passing people stop there. And a mysterious conversation full of incomprehensible meaning between two Cossacks implies the mystery, cunning and even danger of the Russian soul. This evening remains in the memory of both Petrusha and the readers, from which Pushkin begins his story about the people. In "Eugene Onegin" the image of the road is not so vividly expressed, but this does not detract from its significance. Pushkin ironically talks about the state of roads in Russia, describing the Larins' journey to Moscow: "... forgotten bridges rot, at the stations, bugs and fleas do not give a minute to fall asleep ...". However, at the same time, Pushkin describes Russia, traveling with Onegin, from the other side. He admires its diversity, saddens about the landscapes dear to his heart.

Plan

Introduction

Ι. Main part

1. The role of the road in the works of Russian classics

1.1 Symbolic function

1.2 Compositional and semantic roles

2. Evolution of the road image

2.1 Pre-Pushkin period

2.2 The Golden Age of Russian Literature

2.2.1 Pushkin road - "carnival space"

2.2.2 Lermontov's theme of loneliness through the prism of the road motive

2.2.3 Life is the people's road in the works of N.A.Nekrasov

2.2.4 The road - human life and the path of human development in the poem

N.V. Gogol "Dead Souls"

2.3 Development of the road motive in modern literature

3. "Enchanted Wanderers" and "Inspired Tramps."

3.1 "Unhappy wanderers" by Pushkin

3.2 "Wanderers-Sufferers" - The Righteous

Conclusion

Bibliography

Introduction

In the life of every person there are such moments when you want to go out into the open and go “into the beautiful far away,” when suddenly the road to unknown distances beckons you. But the road is not only a path to follow. In the literature of the 20th century, the image of the road is presented in various meanings. This diversity of the concept of the road helps the reader to better understand and understand the greatness of the classics' creations, their views on life and the surrounding society, on the interaction of man and nature. Landscape sketches associated with the perception of the road often carry the ideological orientation of the entire work or a single image.

The road is an ancient image-symbol, therefore it can be found both in folklore and in the works of many classic writers, such as A.S. Pushkin, M. Yu. Lermontov, N.V. Gogol, N.A. Nekrasov, N.S. Leskov.

The topic of the essay was not chosen by chance: the motive of the road contains a great ideological potential and expresses the various feelings of the lyrical heroes. All this determines the relevance of this topic.

Purpose of the work: to reveal the philosophical sound of various shades of the road motif in the literature of the 20th century, to trace the evolution of the road motif, from Russian folklore to modern works.

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

Get to know in detail the works of the declared writers;

Reveal the variety of meanings of the concept of "road" in the works of the authors;

Study the scientific and critical literature on the research topic;

Describe the role of the road in the disclosure of ideas in the works of the classics;

Imagine artistic techniques images of the road in the works of writers;

Correct and conduct a detailed comparative analysis of the material.

Hypothesis: the philosophical sound of the road motive contributes to the disclosure ideological content works. The road is an artistic image and a plot-forming component.

In the work on the abstract, critical articles were used by such authors as S.M. Petrov, Yu.M. Lotman, D.D.Blagoy, B.S.Bugrov. The analysis of the road motive based on the work of N.V. Gogol "Dead Souls" is presented most fully in the literature. In my essay, I mainly relied on the works of J. Mann, presented in the books "Comprehending Gogol", "The Courage of Invention" and "In Search of a Living Soul".

To analyze the motive of the road in the works of N.A. Nekrasov, I used the development of Irina Gracheva (article "The secret writing of Nekrasov's poem" Who lives well in Russia ") and Nina Polyanskikh (article" Nekrasov's poem "Railway"), published in the journal Literature at school ...

B. Dykhanova's works based on the novel "The Enchanted Wanderer" by Leskov are very interesting. The analysis of this work is also widely presented in the journal Literature at School.

1. The role of the road in the works of Russian classics

1.1 Symbolic function of the road motive

The road is an ancient image-symbol, the spectral sound of which is very wide and varied. Most often, the image of the road in a work is perceived as the life path of a hero, people or an entire state. "Life path" in language is a spatio-temporal metaphor, which many classics resorted to in their works: A. Pushkin, N. A. Nekrasov, N. Leskov, N. V. Gogol.

The motive of the road also symbolizes such processes as movement, search, testing, renewal. In N. A. Nekrasov's poem "Who Lives Well in Russia" the path reflects the spiritual movement of the peasants and all of Russia in the second half of the 19th century. And M. Yu. Lermontov in the poem "I go out on the road alone" resorts to the use of the road motive to show the lyrical hero's acquisition of harmony with nature.

In love lyrics, the road symbolizes separation, separation, or pursuit. A striking example of such an understanding of the image was the poem by Alexander Pushkin "Tavrida".

For N.V. Gogol, the road became an incentive to creativity, to the search for the true path of mankind. It symbolizes the hope that such a path will become the fate of his descendants.

The image of the road is a symbol, so every writer and reader can perceive it in their own way, discovering more and more new shades in this multifaceted motive.

1.2 Compositional and semantic role of the road image

In Russian literature, the theme of travel, the theme of the road occurs very often. One can name such works as "Dead Souls" by N. V. Gogol, "A Hero of Our Time" by M. Yu. Lermontov, or "Who Lives Well in Russia" by N. A. Nekrasov. This motive was often used as a plot-forming one. However, sometimes it itself is one of the central themes, the purpose of which is to describe the life of Russia in a certain period of time. The motive of the road follows from the way of storytelling - showing the country through the eyes of heroes.

The functions of the road motif in Dead Souls are varied. First of all, it is a compositional technique that connects together the chapters of the work. Secondly, the image of the road serves as a characteristic of the images of landowners, which Chichikov visits one after another. Each of his meetings with the landowner is preceded by a description of the road, the estate. For example, this is how N.V. Gogol describes the way to Manilovka: “Having traveled two versts, we met a turn onto a country road, but already two, three, and four versts, it seems, we did, but there is still no stone house with two floors. was seen. Then Chichikov remembered that if a friend invites him to his village fifteen miles away, it means that there are thirty miles to it. "

As in "Dead Souls", in Nekrasov's poem "Who Lives Well in Russia" the theme of the road is connecting. The poet begins the poem "with a pillar path", on which seven men-truth-seekers converged. This theme is clearly visible throughout the entire long story, but for Nekrasov, only an illustration of life, a small part of it, is dear. The main action of Nekrasov is a narrative unfolded in time, but not in space (as in Gogol). In "Who Lives Well in Russia" all the time, pressing questions are heard: the question of happiness, the question of the peasant's share, the question of the political structure of Russia, therefore the theme of the road is secondary here.

In both poems, the motive of the road is a connecting, pivotal one, but for Nekrasov the destinies of people connected by the road are important, and for Gogol the road that connects everything in life is important. In "Who Lives Well in Russia" the theme of the road is an artistic device, in "Dead Souls" it is the main theme, the essence of the work.

Another characteristic example of a work in which the motive of the road plays a compositional role is the story "The Enchanted Wanderer" by NS Leskov. The most prominent critic of literary populism, NK Mikhailovsky, spoke of this work: “In terms of the richness of the plot, this is perhaps the most remarkable of Leskov's works. But in it, the absence of any center is especially striking, so that there is no plot in it, but there is a whole series of plots strung like beads on a string, and each bead itself can be very conveniently taken out, replaced by another , or you can string as many beads as you like on the same thread ”(“ Russian wealth ”, 1897, no. 6). And the road-fate of the protagonist Ivan Severyanovich Flyagin connects these "beads" into one whole. The symbolic and compositional roles of the road motive are closely intertwined here. If the connecting link in "Dead Souls" and in "Who Lives Well in Russia" is the road itself, then in "The Enchanted Wanderer" it is the life path along which the hero walks, like on a road. It is the complex metamorphic interweaving of the roles of the road that determines the multifaceted perception of the work.

The motive of the road is the pivotal plot-forming component of such works as "Dead Souls" by N. V. Gogol, "Who Lives Well in Russia" by N.А. Nekrasov and "The Enchanted Wanderer" by NS Leskov.

2. Evolution of the road image

2.1 Pre-Pushkin period

Russian roads. Endless, tedious, calming and disturbing. That is why the image of the road has taken a special place in Russian folklore: it is present in songs, fairy tales, epics, and proverbs:

Already on the same path along the wide

The newly recruited soldiers still walked, passed,

Walking, they are soldiers crying

In tears, they do not see the path.

How grief went along the path,

It is bast, grief, connected

And girded with a washcloth ...

The road in the minds of the Russian people was associated with grief and suffering: on the way, young guys were hijacked into recruits; on the way the peasant carried his last belongings to the market; on the way there was a mournful journey to exile.

It is with folklore that the history of the development of the road motif begins, later picked up by the writers of the 15th century. A striking example of a work with a clearly traceable motive of the road was "Travel from St. Petersburg to Moscow" by A.N. Radishchev. The main task of the author was to "look" into Russian social reality. It should be noted that NV Gogol set himself a similar goal in his poem "Dead Souls". The genre of travel was the best suited for solving the problem. At the very beginning of his journey, listening to the mournful song of the driver, the traveler speaks of "spiritual sorrow" as the main note of Russian folk songs. The images used by A.N. Radishchev (coachman, song) will also be found in the works of A.S. Pushkin and N.A. Nekrasov.

2.2 The Golden Age of Russian Literature

2.2.1 Pushkin road - "carnival space"

Pushkin - "the sun of Russian poetry", the great Russian national poet. His poetry was the embodiment of love for freedom, patriotism, wisdom and humane feelings of the Russian people, its mighty creative forces. Pushkin's poetry is distinguished by a wide range of themes, but the development of individual motives can be very clearly traced, and the image of the road stretches like a red ribbon through all the poet's work.

Most often there is an image of a winter road and the traditionally accompanying images of the moon, the coachman and the troika.

On the winter road, boring Three greyhound runs ...

("Winter Road", 1826)

I drove to you: living dreams

A playful crowd followed me,

And the month on the right side

Zealous accompanied my run.

("Signs", 1829)

Clouds rush, clouds curl;

Invisible moon

Illuminates the flying snow;

The sky is cloudy, the night is cloudy.

("Demons", 1830)

In the poem "Winter Road" the main image is accompanied by accompanying motives of sadness, longing, mystery, wanderings:

Sad, Nina: my path is boring,

My driver fell silent asleep,

The bell is one-ringing

The lunar face is cloudy.

("Winter Road", 1826)

And the road itself appears to the reader monotonous, boring, which is confirmed by the following poetic lines:

One-sounding bell

Thunders tiresomely.

No fire, no black hut ...

Wilderness and snow ...

Traditionally, the motive of the road is accompanied by images of a troika, a bell and a driver, which in the poem carry an additional color of sadness, melancholy, loneliness ("One-sounding bell rattles wearily ..." )

The dynamics of the winter landscape in the poem "Demons" is emphasized by the size - chorea. It was Pushkin who felt the whirling of a blizzard in this size. The road in "Demons" is accompanied by a storm, which symbolizes the uncertainty, the uncertainty of the future, which is also emphasized by the off-road motive ("All the roads are skidded").

Analyzing the system of images of the poem "Demons", one can notice that the same four images are present here as in the poem "Winter Road": a road, a troika, a bell and a coachman. But now they help to create not feelings of sadness and longing, but confusion, premonitions of changes and fear of them. One more image is added to the four images: a storm, which becomes the key one that determines the poetic coloring of the road. Images, motives, intertwining into a whole, form one - evil spirits:

The demons are different,

How many there are! where are they being driven?

Why are they singing so plaintively?

Do they bury the brownie,

Is a witch given out in marriage?

As a conclusion on the expression set of motives, poetic lines sound: "The sky is cloudy, the night is cloudy."

The variety of roads creates one "carnival space" (M. Bakhtin's term), where you can meet Prince Oleg with his retinue, and the "inspired magician" ("Song of the Prophetic Oleg, 1822), and the traveler (" Tavrida ", 1822," Imitation of the Koran ", 1824). At the crossroads, a "six-winged seraphim" ("The Prophet", 1826) will suddenly appear, an unknown wanderer enters the Jewish hut from the road ("An icon lamp in a Jewish hut", 1826), and the "poor knight" "on the road by the cross" saw Mary Virgo ("There lived a poor knight", 1829).

Let's try to understand which roads create a single Pushkin's "carnival space". The first, most important, road is the path of life, the road is fate:

Parting awaits us at the doorstep

The distant light is calling us,

And everyone looks at the road

With the excitement of proud, young thoughts.

("To the Comrades", 1817)

The poem refers to the Lyceum period, the period of youth, the formation of personality, that is why the motive of the road sounded so clearly as the upcoming life path ("And everyone is looking at the road"). The stimulus for movement, for spiritual growth is the "distant light noise", which everyone hears in their own way, exactly like the life-long road ahead:

For us a different path has been assigned a strict one;

Stepping into life, we quickly parted:

But by chance on a country road

We met and hugged fraternally.

In the recollections of friends, of those who are dear and distant, suddenly, imperceptibly, unobtrusively, a road-fate appeared (“For us a different path is assigned a strict fate”), pushing and separating people.

In love lyrics, the road is separation or pursuit:

Behind her along the slope of the mountains

I was walking dear unknown,

And noticed my timid gaze

Her pretty footprints.

("Tavrida", 1822)

And the poetic road becomes a symbol of freedom:

You are the king: live alone.

On the free road

Go where your free mind leads you ...

("To the Poet", 1830)

One of the main themes in Pushkin's lyrics is the theme of the poet and creativity. And here we see the disclosure of the theme through the use of the road motive. “On the free road, go wherever the free mind leads you,” says Pushkin to his fellow writers. It is the "free road" that should become the path for the true poet.

The road-destiny, the free path, the topographic and love roads make up a single carnival space in which the feelings and emotions of the lyrical heroes move.

The motive of the road occupies a special place not only in Pushkin's poetry, but also in the novel "Eugene Onegin" it is given a significant role.

Movement occupies an exceptionally large place in Eugene Onegin: the action of the novel begins in St. Petersburg, then the hero travels to the Pskov province, to his uncle's village. From there the action is transferred to Moscow, where the heroine goes to “the brides' fair” in order to later move with her husband to St. Petersburg. During this time Onegin makes a trip to Moscow - Nizhny Novgorod- Astrakhan - Georgian Military Road - North Caucasian mineral springs - Crimea - Odessa - Petersburg. A sense of space, distance, a combination of home and road, home, sustainable and road, mobile life make up an important part of the inner world of Pushkin's novel. An essential element of spatial feeling and artistic time is speed and mode of movement.

In St. Petersburg, time passes quickly, this is emphasized by the dynamism of the 1st chapter: "flying in the dust on the post office", "He rushed to Talon ..." or:

We'd better hurry to the ball

Where headlong in the pit carriage

Already my Onegin galloped.

Then artistic time slows down:

Unfortunately, Larina dragged herself

Afraid of the dear ones

Not on the post office, on our own,

And our maiden took delight

Road boredom is quite:

They drove for seven days.

In relation to the road, Onegin and Tatiana are opposed. So, “Tatiana is scared winter path”, Pushkin writes about Onegin:

Anxiety seized him

Wanderlust

(A very painful property,

Few voluntary cross).

The novel also raises the social aspect of the motive:

Now our roads are bad

Forgotten bridges rot

At the stations there are bugs and fleas

They don't let you fall asleep for a minute ...

Thus, based on the analysis of the poet's poetic text, we can conclude that the motive of the road in the lyrics of A.S. Pushkin is quite diverse, the image of the road is found in many of his works, and each time the poet presents it in different aspects. The image of the road helps A.S. Pushkin to show both pictures of life, and to enhance the coloring of the mood of the lyrical hero.

2.2.2 Lermontov's theme of loneliness through the prism of the road motive

Lermontov's poetry is inextricably linked with his personality, it is in the full sense of the poetic autobiography. The main features of Lermontov's nature: unusually developed self-awareness, depth of the moral world, courageous idealism of life aspirations.

The poem "I go out on the road alone" absorbed the main motives of Lermontov's lyrics, it is a kind of result in the formation of a picture of the world and the lyrical hero's awareness of his place in it. Several cross-cutting motives can be clearly traced.

The motive of loneliness. Loneliness is one of the central motives of the poet: "I was left alone - / Like a castle of a gloomy, empty / worthless ruler" (1830), "I am lonely - there is no consolation" (1837), "And there is no one to give a hand / In a moment of spiritual hardship" ( 1840), "Alone and without a goal around the world, I have worn for a long time" (1841). It was a proud loneliness among the despised light, leaving no way for active action, embodied in the image of the Demon. It was tragic loneliness, reflected in the image of Pechorin.

The loneliness of the hero in the poem "I go out on the road alone" is a symbol: a man is alone with the world, a rocky road becomes a path of life and a shelter. The lyrical hero goes in search of peace of mind, balance, harmony with nature, which is why the consciousness of loneliness on the road does not have a tragic color.

The motive of wandering, the path, understood not only as the restlessness of the romantic exiled hero ("Leaf", "Clouds"), but the search for the purpose of life, its meaning, never discovered, not named by the lyrical hero ("Both boring and sad ..." , "Duma").

In the poem “I Walk Alone on the Road” the image of the path, “backed up” by the rhythm of the five-foot chorea, is closely connected with the image of the universe: it seems that space is expanding, this road goes into infinity, is associated with the idea of ​​eternity.

Lermontov's loneliness, passing through the prism of the road motive, loses its tragic coloring due to the lyrical hero's search for harmony with the universe.

2.2.3 Life is the people's road in the works of N.A.Nekrasov

N.A.Nekrasov is a distinctive singer of the people. He began his career with the poem "On the Road" (1845), and finished with a poem about the wanderings of seven peasants in Russia.

In 1846 the poem "Troika" was written. “Troika” is a prophecy and a warning to a serf girl who, in her youth, still dreamed of happiness, forgot for a moment that she was “baptized property” and that she was “not supposed to be happy”.

The poem opens with rhetorical questions addressed to the village beauty:

That you greedily look at the road

Aside from cheerful girlfriends? ..

And why are you running in haste

Following the troika that rushed by? ..

The triple-happiness rushes along the road of life. It flies by beautiful girl eagerly catching his every move. While any Russian peasant woman's fate has long been predetermined from above, and no beauty can change it.

The poet paints a typical picture of her future life, painfully familiar and unchanging. It is hard for the author to realize that time passes, but this strange order of things does not change, so familiar that not only outsiders, but also the participants in the events themselves, do not pay attention to it. The serf woman learned to patiently endure life as a heavenly punishment.

The road in the poem takes away happiness from a person, which in a quick three is carried away from a person. A very specific triplet becomes the author's metaphor, symbolizing the transience of earthly life. It sweeps so lightning fast that a person does not have time to realize the meaning of his existence and cannot change anything.

In 1845, N. A. Nekrasov wrote the poem "The Drunkard", in which he describes the bitter fate of a man sinking "to the bottom". And again, the author resorts to using the road motive, which emphasizes the tragic fate of such a person.

Leaving the destructive path,

Would find another way

And in another work - fresh -

I would have wilted with all my heart.

But the unfortunate peasant is surrounded by injustice, meanness and lies, and therefore there is no other way for him:

But the haze is black everywhere

Towards the poor man ...

One open tornaya

The road to the tavern.

The road again acts as a cross of a person, which he is forced to carry all his life. One road, the absence of a choice of another path - the fate of the unfortunate, disenfranchised peasants.

In the poem Reflections at the Front Entrance (1858), talking about the peasants, Russian village people who ... "wandered for a long time ... from some distant provinces" to the St. Petersburg nobleman, the poet speaks of the people's longsuffering, of their obedience. The road leads the peasants on their way back, leads them into hopelessness:

... After standing,

The pilgrims unleashed the koshl,

But the doorman did not let him in, without taking a meager contribution,

And they went, burning the sun,

Repeating: "God judge him!"

Spreading hopelessly hands ...

The image of the road symbolizes the difficult path of the long-suffering Russian people:

He moans through the fields, along the roads,

He moans in prisons, in prison,

In the mines, on an iron chain;

... Eh, heart!

What does your endless groan mean?

You will wake up full of strength ...

Another poem in which the motive of the road is clearly traced is "Schoolboy". If in the Troika and in the Drunkard there was a downward movement (movement into darkness, an unhappy life), then in the “Shkolnik” one can clearly feel the upward movement, and the road itself gives hope for a brighter future:

Sky, spruce and sand -

A sad road ...

But there is no hopeless bitterness in these lines, and then the following words follow:

This is the glorious path of many.

In the poem "Shkolnik" for the first time there is a feeling of changes in the spiritual world of the peasant, which will later be developed in the poem "Who Lives Well in Russia".

The poem "Who Lives Well in Russia" is based on the story of peasant Russia, deceived by the government reform (Abolition of serfdom, 1861). The beginning of the poem "Who Lives Well in Russia" with the significant names of the province, district, volost, villages draws the reader's attention to the plight of the people. Obviously, the bitter share of the temporarily liable men who met on the pole path turns out to be the original cause of the dispute about happiness. Having argued, seven men set off on a long journey across Russia in search of truth and happiness. The Nekrasov peasants who set off on their way are not traditional pilgrims - they are a symbol of the post-reform people's Russia, which has moved away from the place, yearning for changes:

Buzzing! That the sea is blue

Falls silent, rises

Popular rumor.

The theme and image of the road-path are somehow connected with various characters, groups of characters, with the collective hero of the work. In the world of the poem, such concepts and images as the path - the crowd - the people - the old and new worlds - labor - the world turned out to be illuminated and, as it were, interconnected. The spreading of the life impressions of the arguing peasants, the growth of their consciousness, a change in their views on happiness, the deepening of moral concepts, social insight - all this is also connected with the motive of the road. The people in Nekrasov's poem are a complex, multifaceted world. The poet connects the fate of the people with the union of the peasantry and the intelligentsia, which is following a close, honest path "for the bypassed, for the oppressed." Only the joint efforts of the revolutionaries and the people, who are “learning to be a citizen,” can, according to Nekrasov, lead the peasantry onto the broad road of freedom and happiness. In the meantime, the poet shows the Russian people on their way to a "feast for the whole world." N.A.Nekrasov saw in the people a force capable of realizing great things:

The host rises -

Innumerable!

The strength in her will affect

Unbreakable!

Belief in the "broad, clear road" of the Russian people - main faith poet:

…Russian people…

Whatever the Lord sends!

Will endure everything - and wide, clear

He will make a way for himself with his chest.

The idea of ​​the spiritual awakening of the people, especially the peasantry, persistently pursues the poet and penetrates all the chapters of his immortal work.

The image of the road that permeates the poet's works acquires an additional, conventional, metaphorical meaning in Nekrasov's works: it enhances the feeling of changes in the spiritual world of the peasant. An idea runs through all the poet's work: life is a road and a person is constantly on the way.

2.2.4 The road - human life and the path of human development in the poem "Dead Souls" by N. V. Gogol

The image of the road appears from the first lines of the poem "Dead Souls". We can say that he stands at the beginning of it. "A pretty beautiful spring small chaise has entered the gates of the hotel in the provincial town of NN ..." The poem ends with the image of the road: "Russia, where are you rushing, give an answer? .. Everything that is on earth flies past, and, looking sideways, other peoples and states look sideways and give it the way."

But these are completely different roads. At the beginning of the poem, this is the path of one person, a specific character - Pavel Ivanovich Chichikov. In the end - this is the road of the whole state, Russia, and even more, the road of all mankind, we see a metaphorical, allegorical image that personifies the gradual course of all history.

These two meanings are like two extreme milestones. Between them there are many other meanings: both direct and metaphorical, forming a single, complex image of Gogol's road.

The transition from one meaning to another - concrete to metaphorical - most often occurs imperceptibly. Chichikov leaves town NN. "And again, on both sides of the pole track, they again went to write miles, station keepers, wells, carts, gray villages with samovars, women and a lively bearded owner ..." and so on. This is followed by the author's famous address to Rus: “Rus! Russia! I see you, from my wonderful, beautiful far away I see you ... "

The transition from the concrete to the general is smooth, almost imperceptible. The road along which Chichikov rides, lengthening endlessly, gives rise to the idea of ​​all of Russia. Further, this monologue is interrupted by another plan: “... And the mighty space envelopes me menacingly, reflecting itself with a terrible force in my depths; unnatural power lit up my eyes: y! what a sparkling, wonderful, unfamiliar distance to the earth! Russia!

Hold, hold, you fool! ”Chichikov shouted to Selifan.

Here I am with a broadsword! - shouted a courier galloping to the meeting with a mustache in an arshin. - Do not you see, devil take your soul: the official carriage! - and, like a ghost, the troika disappeared with thunder and dust.

What a strange and alluring, and carrying, and wonderful in the word: the road! and how wonderful it is, this road: a clear day, autumn leaves, cold air ... stronger in a road coat, a hat on our ears, we will cuddle the corner more tightly and comfortably! "

The famous Russian scientist A. Potebnya found this place "brilliant". Indeed, the sharpness of the transition was brought by N.V. Gogol to the highest point, one plan was "pushed" into the other: Chichikov's rude abuse bursts into the author's inspired speech. But then, just as unexpectedly, this picture gives way to another: as if both the hero and his chaise were just a vision. It should be noted that, having changed the type of the story - prosaic, with extraneous remarks, to inspired, sublimely poetic - N. Gogol did not change this time the character of the central image - the image of the road. It did not become metaphorical - before us is one of the countless roads of the Russian expanses.

The change of direct and metaphorical images of the road enriches the meaning of the poem. The twofold nature of this change is also significant: gradual, "prepared", and abrupt, sudden. The gradual transition from one image to another reminds of the generalization of the described events: Chichikov's path is the life path of many people; individual Russian highways and cities are forming a colossal and wonderful appearance of the homeland.

Sharpness speaks of a sharp "opposite of an inspired dream and a sobering reality."

Now let's talk in more detail about the metaphorical meanings of the image of the road by N.V. Gogol. First, about the one that is equivalent to a person's life path.

Actually, this is one of the oldest and most common images. One can endlessly cite poetic examples in which a person's life is interpreted as the passage of a path, a road. N. V. Gogol in "Dead Souls" also develops a metaphorical image of the road as "a person's life." But at the same time it finds its original twist of the image.

The beginning of the VΙ chapter. The narrator recalls how, in his youth, he was worried about meeting any unfamiliar place. “Now I indifferently drive up to every unfamiliar village and indifferently look at its vulgar appearance; my chilled gaze is uncomfortable, I'm not funny, and what would have awakened in previous years a lively movement in the face, laughter and incessant speech, now slips by, and my motionless lips keep indifferent silence. Oh my youth! oh my freshness! ”There is a contrast between the end and the beginning,“ before ”and“ now ”. Something very important and significant is lost on the road of life: the freshness of sensations, the immediacy of perception. This episode highlights the change in a person on the path of life, which is directly related to the internal theme of the chapter (Chapter VΙ about Plyushkin, about the amazing changes that he had to endure). After describing these metamorphoses, Gogol returns to the image of the road: "Take away with you on the road, leaving your youthful years into severe, hardening courage, take away all human movements, do not leave them on the road: do not raise them later!"

But the road is not only the “life of a man”, but also the process of creativity, a call for tireless writing: “And for a long time it has been determined for me by the wonderful power to go hand in hand with my strange heroes, to look at the whole immensely rushing life, to look at it through the laughter that is visible to the world and invisible, unknown to him tears! ... On the road! on the road! away the wrinkle that has run over the forehead and the severe gloom of the face! Suddenly and suddenly we will plunge into life with all its silent rattles and bells and see what Chichikov is doing ”.

Gogol highlights in the word road and other meanings, for example, a way to solve any difficulty, get out of difficult circumstances: “And how many times have already been directed by the meaning descending from heaven, they knew how to recoil and stray to the side, in broad daylight they knew how to get back into the impassable backwoods, they knew how to put a blind fog into each other’s eyes and, rushing after the swamp fires, they knew how -So get to the abyss, then to ask each other with horror: where is the exit, where is the road? " The expression of the word road is strengthened here with the help of an antithesis. The exit, the road is opposed to the swamp, the abyss.

And here is an example of the use of this symbol in the author's reasoning about the ways of human development: "What twisted, deaf, narrow, impassable, leading far to the side of the road, mankind chose, striving to achieve the eternal truth ...". And again the same method of expanding the pictorial possibilities of the word - opposing the direct, toric path, which is "wider than all other paths ... illuminated by the sun," a curve that leads to the side of the road.

In the lyrical digression that concludes the first volume of Dead Souls, the author speaks about the ways of development of Russia, about its future:

“Isn't it so you, Russia, that a brisk, unattainable troika is rushing? The road smokes under you, bridges thunder, everything lags behind and remains behind ... everything that is on the earth flies past, and, looking sideways, other nations and states look sideways and give it way. " In this case, the expressiveness of the word is enhanced by contrasting its different meanings: the path of development of Russia and the place for passage, passage.

The image of the people is metamorphically connected with the image of the road.

“What does this vast expanse prophesy? Is it not here, in you, to be born of boundless thought, when you yourself endlessly? Shouldn't a hero be here when there is a place where he can turn around and walk?

Eh, three! bird three, who invented you? know, you could only be born in a lively people in that land that does not like to joke, and scattered about half the world evenly, and go count miles until it charges you in your eyes ... hastily alive, with one ax and a chisel, Yaroslavl agile man equipped and assembled you. The coachman is not in German jackboots: beard and mittens, and the devil knows what; but he got up, and swung, and began to sing a song - the horses like a whirlwind, the spokes in the wheels mixed into one smooth circle, only the road trembled, and the pedestrian who stopped screaming in fright! and there she rushed, rushed, rushed! .. "

Through the connection with the image of the “bird of the troika”, the theme of the people at the end of the first volume brings the reader to the theme of the future of Russia: “. ... ... and all inspired by God rushes! ... Russia, where are you rushing, give an answer? Doesn't give an answer. The bell is filled with a wonderful ringing ... and, looking sideways, other peoples and states make their way and give it the way. "

The language of the stylistic diversity of the image of the road in the poem "Dead Souls" corresponds to a lofty task: it uses a high style of speech, means characteristic of poetic language. Here is some of them:

Hyperboles: "Isn't there a hero here when there is a place where he can turn around and walk?"

Poetic syntax:

a) rhetorical questions: "And what Russian does not like to drive fast?", "But what incomprehensible, secret power attracts you?"

b) exclamations: "Oh, horses, horses, what kind of horses!"

c) appeals: "Rus, where are you rushing?"

d) syntactic repetition: "Versts are flying, merchants are flying towards them on the beams of their wagons, a forest with dark lines of firs and pines is flying on both sides, with a clumsy knocking and a crow's cry, the whole road is flying into the disappearing distance ..."

e) ranks of homogeneous members: "And again, on both sides of the pole track, they again went to write miles, station keepers, wells, carts, gray villages with samovars, women and a lively bearded owner ..."

f) gradations: “What a strange, and alluring, and carrying, and wonderful in the word: road! How wonderful she herself is, this road: a clear day, autumn leaves, cold air ... "

The road meant a lot for N.V. Gogol. He himself said: "Now I need a road and a journey: they alone restore me." The motive of the path not only permeates the entire poem, but also passes from a work of art into real life in order to return to the world of fiction.

2.3 Development of the road motive in modern literature

Everything is in motion, in continuous development, and the motive of the road develops as well. In the twentieth century, it was picked up by such poets as A. Tvardovsky, A. Blok, A. Prokofiev, S. Yesenin, A. Akhmatova. Each of them saw in him more and more unique shades of sound. The formation of the image of the road continues in modern literature.

Gennady Artamonov, the Kurgan poet, continues to develop the classical representation of the image of the road as a life path:

This is where it starts

"Goodbye school!"

Nikolai Balashenko creates a vivid poem "Autumn on Tobol", in which the motive of the road is clearly traced:

I walk along the path along the Tobol,

There is an incomprehensible sadness in my soul.

Cobwebs are floating weightlessly

The subtle interweaving of the topographic component (the path along the Tobol) and the "life path" of the cobweb gives rise to the idea of ​​an inextricable connection between life and the Motherland, the past and the future.

The road is like life. This idea became fundamental in Valery Egorov's poem "Zhuravlik":

We choose our own stars,

We lose and break ourselves on the way,

Motion is the meaning of the universe!

And meetings are miles on the way ...

The same meaning is embedded in the poem "Duma", in which the motive of the road sounds in half hints:

Crossroads, paths, stops,

Miles of years in the canvas of being.

In modern literature, the image of the road has acquired a new original sound, more and more poets resort to using the path, which may be associated with complex realities modern life... The authors continue to comprehend human life as a path that needs to be traversed.

3. "Enchanted Wanderers" and "Inspired Tramps"

3.1 "Unhappy wanderers" by Pushkin

Endless roads, and on these roads there are people, eternal vagabonds and wanderers. The Russian character and mentality are conducive to an endless search for truth, justice and happiness. This idea finds confirmation in such works of classics as "Gypsies", "Eugene Onegin" by Alexander Pushkin, "The Sealed Angel", "Cathedrals", "The Enchanted Wanderer" by NS Leskov.

You can meet the unfortunate wanderers on the pages of Alexander Pushkin's poem "The Gypsies". “The Gypsies” contains a strong, deep and completely Russian thought. "Nowhere can one find such independence of suffering and such a depth of self-awareness inherent in the wandering element of the Russian spirit" - said F. M. Dostoevsky at a meeting of the society of lovers of Russian literature. And indeed, in Aleko, Pushkin noted the type of unfortunate wanderer in his native land who cannot find a place for himself in life.

Aleko is disappointed in social life, dissatisfied with it. He is a "renegade of the light", it seems to him that he will find happiness in a simple patriarchal environment, among a free people that does not obey any laws. Aleko's mood is an echo of romantic dissatisfaction with reality. The poet sympathizes with the exiled hero, at the same time Aleko is subjected to critical reflection: the story of his love, the murder of a gypsy woman characterize Aleko as a selfish person. He was looking for freedom from chains, and he himself tried to put them on another person. "You only want will for yourself," as folk wisdom the words of an old gypsy are heard.

Such a human type, as described by A.S. Pushkin in Aleko, does not disappear anywhere, only the direction of the escape of the personality is transformed. Former wanderers, according to FM Dostoevsky, went after the Gypsies, like Aleko, and modern ones - into the revolution, into socialism. "They sincerely believe that they will achieve their goal and happiness, not only personal, but also worldwide, - said Fedor Mikhailovich, - the Russian wanderer needs universal happiness, he will not be satisfied with less." A.S. Pushkin was the first to note our national essence.

In Eugene Onegin, much resembles the images of the Caucasian prisoner and Aleko. Like them, he is not satisfied with life, tired of it, his feelings have grown cold. But nevertheless, Onegin is a socio-historical, realistic type, embodying the appearance of a generation whose life is conditioned by certain personal and social circumstances, a certain social environment of the Decembrist era. Eugene Onegin is a child of his age, he is Chatsky's successor. He, like Chatsky, is “condemned” to “wandering”, condemned “to seek in the world, where“ the offended one has a corner ”. His chilled mind questions everything, nothing carries him away. Onegin is a freedom-loving person. In him there is a "soul of direct nobility", he was able to love Lensky with all his heart, but nothing could seduce him with the naive simplicity and charm of Tatiana. Both skepticism and disappointment are inherent in him; the features of an "extra person" are noticeable in it. These are the main character traits of Eugene Onegin, which make him "rushing about Russia as a wanderer who cannot find a place for himself."

But neither Chatsky, nor Onegin, nor Aleko can be called true "wanderers-sufferers", true image which will be created by NS Leskov.

3.2 "Wanderers-Sufferers" - The Righteous

The "enchanted wanderer" is a type of "Russian wanderer" (in Dostoevsky's words). Of course, Flyagin has nothing to do with superfluous noble people, but he also seeks and cannot find himself. The Enchanted Wanderer has real prototype- the great explorer and navigator Afanasy Nikitin, who in a foreign land "suffered through faith", at home. So the hero of Leskov, a man of boundless Russian prowess, great innocence, cares most of all about his native land. Flyagin cannot live for himself, he sincerely believes that life should be given for something more, common, and not for the egoistic salvation of the soul: "I really want to die for the people."

The main character feels some kind of predetermination of everything that happens to him. His life is built according to the well-known Christian canon, concluded in the prayer "For those who sail and travel, suffering and captives in ailments." By the way of life, Flyagin is a wanderer, fugitive, persecuted, not attached to anything earthly in this life; he went through cruel captivity and terrible Russian ailments and, having got rid of "anger and want", turned his life to the service of God.

The outward appearance of the hero resembles the Russian hero Ilya Muromets, and the irrepressible life force of Flyagin, which requires an exit, pushes the reader to compare with Svyatogor. He, like the heroes, brings kindness to the world. Thus, in the image of Flyagin there is a development folklore traditions epics.

Flyagin's whole life passed on the road, his life path is the path to faith, to that world outlook and state of mind, in which we see the hero on the last pages of the story: "I really want to die for the people." In the very wanderings of Leskov's hero there is deepest meaning; it is on the roads of life that the "enchanted wanderer" comes into contact with other people, opens up new life horizons. His path does not begin with birth, the turning point in the fate of Flyagin was his love for the gypsy Grushenka. This bright feeling became the impetus for the moral growth of the hero. It should be noted: Flyagin's path is not over yet, in front of him is an endless number of roads.

Flyagin is an eternal wanderer. The reader meets him on the way and leaves him on the eve of new roads. The story ends on a note of quest, and the narrator solemnly pays tribute to the spontaneity of the eccentrics: "his announcements remain until the time of concealing his fate from the clever and reasonable and only sometimes revealing them to babies."

Comparing Onegin and Flyagin, one can come to the conclusion that these heroes are opposites, which are vivid examples of two types of wanderers. Flyagin embarks on a journey of life in order to grow up, strengthen his soul, while Onegin runs away from himself, from his feelings, hiding behind a mask of indifference. But they are united by the road along which they follow throughout their lives, the road that transforms the souls and destinies of people.

Conclusion

The road is an image used by all generations of writers. The motive arose even in Russian folklore, then it continued its development in the works of literature of the 15th century, was picked up by poets and writers of the 19th century, it is not forgotten even now.

The motive of the path can perform both a compositional (plot-forming) function and a symbolic one. Most often, the image of the road is associated with the life path of a hero, people or an entire state. Many poets and writers have resorted to using this space-time metaphor: A. Pushkin in the poems "Comrades" and "October 19", N. V. Gogol in the immortal poem "Dead Souls", N. A. Nekrasov in "To whom living well in Russia ”, NS Leskov in“ The Enchanted Wanderer ”, V. Egorov and G. Artamonov.

In AS Pushkin's poetry, the variety of roads forms a single "carnival space", where you can meet Prince Oleg with his retinue, and the traveler, and Maria the Virgin. The poetic road presented in the poem "To the Poet" has become a symbol free creativity... The motive also occupies an exceptionally large place in the novel "Eugene Onegin".

In the work of M. Yu. Lermontov, the motive of the road symbolizes the acquisition of harmony by the lyrical hero with nature and with himself. And NA Nekrasov's road reflects the spiritual movement of the peasants, search, test, renewal. The road meant a lot for N.V. Gogol.

Thus, the philosophical sound of the road motive contributes to the disclosure of the ideological content of the works.

The road is unthinkable without wanderers, for whom it becomes the meaning of life, a stimulus for the development of personality.

So, the road is an artistic image and a plot-forming component.

The road is a source of change, life and support in difficult times.

The road is both the ability to be creative, and the ability to cognize the true path of man and all mankind, and the hope that contemporaries will be able to find such a path.

Bibliography

1. Good. D. D. A. N. Radishchev. Life and work ["Journey from St. Petersburg to Moscow"] / D. D. Blagoy. - M .: Knowledge, 1952

2. Evgeniev. B. Alexander Nikolaevich Radishchev ["Travel from St. Petersburg to Moscow"] / B. Evgeniev. - M .: Young Guard, 1949

3. Petrov. S. M. A. S. Pushkin. Essay on life and work [Boldinskaya autumn. "Eugene Onegin"] / S. M. Petrov. - M .: Education, 1973

4. Lotman. Yu. M. Roman A. S. Pushkin "Eugene Onegin" [Essay on the life of the nobility of the Onegin era]: comments / Yu. M. Lotman. - Leningrad: Education, 1983

5. Andreev-Krivich. S. A. Omniscience of the poet [The last year. Last months]: life and work of M. Yu. Lermontov / S. A. Andreev-Krivich. - M .: Soviet Russia, 1973

6. Bugrov. B. S. Russian literature of the XX - XX centuries / B. S. Bugrov, M. M. Golubkov. - M .: Aspect-Press, 2000

7. Gracheva. I. V. Secret writing of N. A. Nekrasov's poem "Who Lives Well in Russia" / I. V. Gracheva. - Literature at school. - 2001. - No. 1. - p. 7-10

8. Mann. Y. Comprehending Gogol [What does the Gogol image of the road mean] / Y. Mann. - M .: Aspect-Press, 2005

9. Tyrina. L. N. V. Gogol "Dead Souls" [The image of the road in the poem "Dead Souls"]: as presented for schoolchildren / L. Tyrina. - M. Drofa, 2000

10. Mann. Yu. Courage of invention [What does the Gogol image of the road mean] / Yu. Mann. - M .: Children's literature, 1985

11. Mann. Yu. In search of a living soul [On the road again] / Yu. Mann. - M .: Book, 1987

12. Dykhanov. BS "The Captured Angel" and "The Enchanted Wanderer" by NS Leskov [Paths-roads of the "Enchanted Wanderer"] / BS Dykhanova. - M. Fiction, 1980 -

13. Barulina. LB "The Enchanted Wanderer" by NS Leskov / LB Barulina. - Literature at school. - 2007. - No. 10. - p. 23-25

14. Egorov V. Love oddities ...: a collection of poems / V. Egorov. - M .: Non-profit publishing group "Era", 2000

15. Gogol N. V. Dead souls / N. V. Gogol. - M .: Pravda, 1984

16. Lermontov M. Yu. Poems. Poems. Hero of our time / M. Yu. Lermontov. - M .: Education, 1984

17. Leskov NS The enchanted wanderer: stories and stories / NS Leskov. - M .: Fiction, 1984

18. Nekrasov N. A. Poems. Who lives well in Russia / N. A. Nekrasov. - M .: Children's literature, 1979

19. Pushkin. A.S. Poems / A.S. Pushkin. - Yekaterinburg: Lad, 1994

20. Stupina V.N. Modern literature Trans-Urals of the last decade: new names: reader / V. N. Stupina. - Kurgan: IPK and PRO, 2005

Application

Valery Egorov.

Crane.

Do not pull out a page from the past,

You shouldn't give up on the future

A crane is circling somewhere around ...

We choose our own stars,

We wander along the paths behind their light,

We lose and break ourselves on the way,

But still we go, we go, we go ...

Motion is the meaning of the universe!

And meetings are miles on the way,

Communication is the opium of consciousness,

And give me a roll of words with words.

I myself have long been ready for deception,

After all, the world is made of words and

proposals created!

It's a pity ... that words are flawed,

The path to the essence is entered by mistakes ...

Shouldn't we write a page together?

Tell me about what? I'll tell you why.

Let go of the titmouse from your fingers

In what I was nothing, in that tomorrow I will become everything!

Waiting, meeting, parting ...

Rain strokes the glass with its cheek.

And rubbing their whiskey tired hands

Sadness for the soul ... dragged.

Crossroads, paths, stops,

Miles of years in the canvas of being.

And the fun of self-delusion

To hide in them ... from whining.

You start - the results are simple,

The human race is bored

What is, everything happened once,

Kohl was born, it means he will die.

I collect myself by words

Letter to letter - a syllable is born,

God, giving love to men,

I fell ill with incompleteness ...

And feelings start up in a circle:

Having lost, I want to take more.

By reciprocity to a paradise meadow

To run in fleetingness ...

Distance, time, non-meeting,

We create fences with ourselves,

Isn't it easier - hands on shoulders,

And in thoughtlessness, a reservoir! ..

Gennady Artamonov

Goodbye school!

There is silence in our class today

Let's sit down before long way,

This is where it starts

Goes into life from the school threshold.

Don't forget your friends, don't forget!

And remember this moment as a confession

We won't say goodbye to school

Let's say goodbye to her quietly.

In the glimpse of the winged school years

When did we guys mature?

Just think: there is no more childhood,

And they did not have time to get used to youth.

Neither golden September nor blue May

They won't call us to this building anymore ...

And yet we don't say goodbye

And we will repeat, as an oath, "goodbye."

Hold on, my classmate, more fun,

When the snowstorms of life are shaking!

Probably the eyes of the teachers

No wonder this evening got wet.

Remember them more often on the way,

Try to live up to their expectations

We will not say goodbye to the teacher,

"Thank you" we say and "goodbye".

Our class is unusually quiet today

But all the same, friends, do not lower your shoulders!

We will leave a part of our hearts here

As a guarantee of an upcoming and cheerful meeting.

Shine the light of school friendship as a beacon!

Fly to us through the years and distances!

Fortunately, classmate, give me your hand

And do not ask, my friend, but goodbye!

Nikolay Balashenko

Autumn on Tobol

I walk along the path along the Tobol,

There is an incomprehensible sadness in my soul.

Cobwebs are floating weightlessly

On your autumn unknown path.

Green leaves fall from the elm

On the shimmer of a cold wave ...

And he floats thoughtfully sleepy,

Where the Ermatsky boats sailed.

A little off to the side birch-friend

Not in a hurry to throw off the yellow outfit;

At the edge of a withered meadow

Two sad aspen trees stand.

The old poplar is also sad.

He is like a broom in the background of heaven.

We are somewhat similar to him,

But my sorrow is still light.

Plan

Introduction

Ι. Main part

The role of the road in the works of Russian classics

1. Symbolic function

   Compositional and semantic roles

Evolution of the road image

1. Pre-Pushkin period

   The golden age of Russian literature

2.2.4 The road - human life and the path of human development in the poem

N.V. Gogol "Dead Souls"

3. "Enchanted Wanderers" and "Inspired Tramps."

Conclusion

Bibliography

Introduction

In the life of every person there are such moments when you want to go out into the open and go “into the beautiful far away,” when suddenly the road to unknown distances beckons you. But the road is not only a path to follow. In the literature of the 20th century, the image of the road is presented in various meanings. This diversity of the concept of the road helps the reader to better understand and understand the greatness of the classics' creations, their views on life and the surrounding society, on the interaction of man and nature. Landscape sketches associated with the perception of the road often carry the ideological orientation of the entire work or a single image.

The road is an ancient image-symbol, therefore it can be found both in folklore and in the works of many classic writers, such as A.S. Pushkin, M. Yu. Lermontov, N.V. Gogol, N.A. Nekrasov, N.S. Leskov.

The topic of the essay was not chosen by chance: the motive of the road contains a great ideological potential and expresses the various feelings of the lyrical heroes. All this determines the relevance of this topic.

Purpose of the work: to reveal the philosophical sound of various shades of the road motif in the literature of the 20th century, to trace the evolution of the road motif, from Russian folklore to modern works.

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

Get to know in detail the works of the declared writers;

Reveal the variety of meanings of the concept of "road" in the works of the authors;

Study the scientific and critical literature on the research topic;

Describe the role of the road in the disclosure of ideas in the works of the classics;

To present artistic methods of depicting the road in the works of writers;

Correct and conduct a detailed comparative analysis of the material.

Hypothesis: the philosophical sound of the road motive contributes to the disclosure of the ideological content of the works. The road is an artistic image and a plot-forming component.

In the work on the abstract, critical articles were used by such authors as S.M. Petrov, Yu.M. Lotman, D.D.Blagoy, B.S.Bugrov. The analysis of the road motive based on the work of N.V. Gogol "Dead Souls" is presented most fully in the literature. In my essay, I mainly relied on the works of J. Mann, presented in the books "Comprehending Gogol", "The Courage of Invention" and "In Search of a Living Soul".

To analyze the motive of the road in the works of N.A. Nekrasov, I used the development of Irina Gracheva (article "The secret writing of Nekrasov's poem" Who lives well in Russia ") and Nina Polyanskikh (article" Nekrasov's poem "Railway"), published in the journal Literature at school ...

B. Dykhanova's works based on the novel "The Enchanted Wanderer" by Leskov are very interesting. The analysis of this work is also widely presented in the journal Literature at School.

1. The role of the road in the works of Russian classics

1.1 Symbolic function of the road motive

The road is an ancient image-symbol, the spectral sound of which is very wide and varied. Most often, the image of the road in a work is perceived as the life path of a hero, people or an entire state. "Life path" in language is a spatio-temporal metaphor, which many classics resorted to in their works: A. Pushkin, N. A. Nekrasov, N. Leskov, N. V. Gogol.

The motive of the road also symbolizes such processes as movement, search, testing, renewal. In N. A. Nekrasov's poem "Who Lives Well in Russia" the path reflects the spiritual movement of the peasants and all of Russia in the second half of the 19th century. And M. Yu. Lermontov in the poem "I go out on the road alone" resorts to the use of the road motive to show the lyrical hero's acquisition of harmony with nature.

In love lyrics, the road symbolizes separation, separation, or pursuit. A striking example of such an understanding of the image was the poem by Alexander Pushkin "Tavrida".

For N.V. Gogol, the road became an incentive to creativity, to the search for the true path of mankind. It symbolizes the hope that such a path will become the fate of his descendants.

The image of the road is a symbol, so every writer and reader can perceive it in their own way, discovering more and more new shades in this multifaceted motive.

1.2 Compositional and semantic role of the road image

In Russian literature, the theme of travel, the theme of the road occurs very often. One can name such works as "Dead Souls" by N. V. Gogol, "A Hero of Our Time" by M. Yu. Lermontov, or "Who Lives Well in Russia" by N. A. Nekrasov. This motive was often used as a plot-forming one. However, sometimes it itself is one of the central themes, the purpose of which is to describe the life of Russia in a certain period of time. The motive of the road follows from the way of storytelling - showing the country through the eyes of heroes.

The functions of the road motif in Dead Souls are varied. First of all, it is a compositional technique that connects together the chapters of the work. Secondly, the image of the road serves as a characteristic of the images of landowners, which Chichikov visits one after another. Each of his meetings with the landowner is preceded by a description of the road, the estate. For example, this is how N.V. Gogol describes the way to Manilovka: “Having traveled two versts, we met a turn onto a country road, but already two, three, and four versts, it seems, we did, but there is still no stone house with two floors. was seen. Then Chichikov remembered that if a friend invites him to his village fifteen miles away, it means that there are thirty miles to it. "

As in "Dead Souls", in Nekrasov's poem "Who Lives Well in Russia" the theme of the road is connecting. The poet begins the poem "with a pillar path", on which seven men-truth-seekers converged. This theme is clearly visible throughout the entire long story, but for Nekrasov, only an illustration of life, a small part of it, is dear. The main action of Nekrasov is a narrative unfolded in time, but not in space (as in Gogol). In "Who Lives Well in Russia" all the time, pressing questions are heard: the question of happiness, the question of the peasant's share, the question of the political structure of Russia, therefore the theme of the road is secondary here.

In both poems, the motive of the road is a connecting, pivotal one, but for Nekrasov the destinies of people connected by the road are important, and for Gogol the road that connects everything in life is important. In "Who Lives Well in Russia" the theme of the road is an artistic device, in "Dead Souls" it is the main theme, the essence of the work.

Another characteristic example of a work in which the motive of the road plays a compositional role is the story "The Enchanted Wanderer" by NS Leskov. The most prominent critic of literary populism, NK Mikhailovsky, spoke of this work: “In terms of the richness of the plot, this is perhaps the most remarkable of Leskov's works. But in it, the absence of any center is especially striking, so that there is no plot in it, but there is a whole series of plots strung like beads on a string, and each bead itself can be very conveniently taken out, replaced by another , or you can string as many beads as you like on the same thread ”(“ Russian wealth ”, 1897, no. 6). And the road-fate of the protagonist Ivan Severyanovich Flyagin connects these "beads" into one whole. The symbolic and compositional roles of the road motive are closely intertwined here. If the connecting link in "Dead Souls" and in "Who Lives Well in Russia" is the road itself, then in "The Enchanted Wanderer" it is the life path along which the hero walks, like on a road. It is the complex metamorphic interweaving of the roles of the road that determines the multifaceted perception of the work.

The motive of the road is the pivotal plot-forming component of such works as "Dead Souls" by N. V. Gogol, "Who Lives Well in Russia" by N.А. Nekrasov and "The Enchanted Wanderer" by NS Leskov.

2. Evolution of the road image

2.1 Pre-Pushkin period

Russian roads. Endless, tedious, calming and disturbing. That is why the image of the road has taken a special place in Russian folklore: it is present in songs, fairy tales, epics, and proverbs:

Already on the same path along the wide

The newly recruited soldiers still walked, passed,

Walking, they are soldiers crying

In tears, they do not see the path.

How grief went along the path,

It is bast, grief, connected

And girded with a washcloth ...

The road in the minds of the Russian people was associated with grief and suffering: on the way, young guys were hijacked into recruits; on the way the peasant carried his last belongings to the market; on the way there was a mournful journey to exile.

It is with folklore that the history of the development of the road motif begins, later picked up by the writers of the 15th century. A striking example of a work with a clearly traceable motive of the road was "Travel from St. Petersburg to Moscow" by A.N. Radishchev. The main task of the author was to "look" into Russian social reality. It should be noted that NV Gogol set himself a similar goal in his poem "Dead Souls". The genre of travel was the best suited for solving the problem. At the very beginning of his journey, listening to the mournful song of the driver, the traveler speaks of "spiritual sorrow" as the main note of Russian folk songs. The images used by A.N. Radishchev (coachman, song) will also be found in the works of A.S. Pushkin and N.A. Nekrasov.

2.2 The Golden Age of Russian Literature

2.2.1 Pushkin road - "carnival space"

Pushkin - "the sun of Russian poetry", the great Russian national poet. His poetry was the embodiment of love for freedom, patriotism, wisdom and humane feelings of the Russian people, its mighty creative forces. Pushkin's poetry is distinguished by a wide range of themes, but the development of individual motives can be very clearly traced, and the image of the road stretches like a red ribbon through all the poet's work.

Most often there is an image of a winter road and the traditionally accompanying images of the moon, the coachman and the troika.

On the winter road, boring Three greyhound runs ...

("Winter Road", 1826)

I drove to you: living dreams

A playful crowd followed me,

And the month on the right side

Zealous accompanied my run.

("Signs", 1829)

Clouds rush, clouds curl;

Invisible moon

Illuminates the flying snow;

The sky is cloudy, the night is cloudy.

("Demons", 1830)

In the poem "Winter Road" the main image is accompanied by accompanying motives of sadness, longing, mystery, wanderings:

Sad, Nina: my path is boring,

My driver fell silent asleep,

The bell is one-ringing

The lunar face is cloudy.

("Winter Road", 1826)

And the road itself appears to the reader monotonous, boring, which is confirmed by the following poetic lines:

One-sounding bell

Thunders tiresomely.

No fire, no black hut ...

Wilderness and snow ...

Traditionally, the motive of the road is accompanied by images of a troika, a bell and a driver, which in the poem carry an additional color of sadness, melancholy, loneliness ("One-sounding bell rattles wearily ..." )

The dynamics of the winter landscape in the poem "Demons" is emphasized by the size - chorea. It was Pushkin who felt the whirling of a blizzard in this size. The road in "Demons" is accompanied by a storm, which symbolizes the uncertainty, the uncertainty of the future, which is also emphasized by the off-road motive ("All the roads are skidded").

Analyzing the system of images of the poem "Demons", one can notice that the same four images are present here as in the poem "Winter Road": a road, a troika, a bell and a coachman. But now they help to create not feelings of sadness and longing, but confusion, premonitions of changes and fear of them. One more image is added to the four images: a storm, which becomes the key one that determines the poetic coloring of the road. Images, motives, intertwining into a whole, form one - evil spirits:

The demons are different,

How many there are! where are they being driven?

Why are they singing so plaintively?

Do they bury the brownie,

Is a witch given out in marriage?

As a conclusion on the expression set of motives, poetic lines sound: "The sky is cloudy, the night is cloudy."

The variety of roads creates one "carnival space" (M. Bakhtin's term), where you can meet Prince Oleg with his retinue, and the "inspired magician" ("Song of the Prophetic Oleg, 1822), and the traveler (" Tavrida ", 1822," Imitation of the Koran ", 1824). At the crossroads, a "six-winged seraphim" ("The Prophet", 1826) will suddenly appear, an unknown wanderer enters the Jewish hut from the road ("An icon lamp in a Jewish hut", 1826), and the "poor knight" "on the road by the cross" saw Mary Virgo ("There lived a poor knight", 1829).

Let's try to understand which roads create a single Pushkin's "carnival space". The first, most important, road is the path of life, the road is fate:

Parting awaits us at the doorstep

The distant light is calling us,

And everyone looks at the road

With the excitement of proud, young thoughts.

("To the Comrades", 1817)

The poem refers to the Lyceum period, the period of youth, the formation of personality, that is why the motive of the road sounded so clearly as the upcoming life path ("And everyone is looking at the road"). The stimulus for movement, for spiritual growth is the "distant light noise", which everyone hears in their own way, exactly like the life-long road ahead:

For us a different path has been assigned a strict one;

Stepping into life, we quickly parted:

But by chance on a country road

We met and hugged fraternally.

In the memories of friends, of those who are dear and distant, suddenly, imperceptibly, unobtrusively, a road-fate appeared (“Fate has assigned us a different path by a strict one ”), pushing and separating people.

In love lyrics, the road is separation or pursuit:

Behind her along the slope of the mountains

I walked the path of the unknown

And noticed my timid gaze

Her pretty footprints.

("Tavrida", 1822)

And the poetic road becomes a symbol of freedom:

You are the king: live alone.

On the free road

Go where your free mind leads you ...

("To the Poet", 1830)

One of the main themes in Pushkin's lyrics is the theme of the poet and creativity. And here we see the disclosure of the theme through the use of the road motive. "On the free roadgo where your free mind leads you ”- says Pushkin to his fellow writers. It is the "free road" that should become the path for the true poet.

The road-destiny, the free path, the topographic and love roads make up a single carnival space in which the feelings and emotions of the lyrical heroes move.

The motive of the road occupies a special place not only in Pushkin's poetry, but also in the novel "Eugene Onegin" it is given a significant role.

Movement occupies an exceptionally large place in Eugene Onegin: the action of the novel begins in St. Petersburg, then the hero travels to the Pskov province, to his uncle's village. From there the action is transferred to Moscow, where the heroine goes to “the brides' fair” in order to later move with her husband to St. Petersburg. During this time, Onegin makes a trip Moscow - Nizhny Novgorod - Astrakhan - Georgian Military Highway - North Caucasian mineral springs - Crimea - Odessa - Petersburg. A sense of space, distance, a combination of home and road, home, sustainable and road, mobile life make up an important part of the inner world of Pushkin's novel. An essential element of spatial feeling and artistic time is speed and mode of movement.

In St. Petersburg, time passes quickly, this is emphasized by the dynamism of the 1st chapter: Flying in the dust on postage "," K Talon he rushed ... "or:

We'd better hurry to the ball

Where headlong in the pit carriage

Already my Onegin galloped.

Then artistic time slows down:

Unfortunately, Larina dragged along

Afraid of the dear ones

Not on the post office, on our own,

And our maiden took delight

Road boredom is quite:

They drove for seven days.

In relation to the road, Onegin and Tatiana are opposed. So, "The winter path is terrible for Tatyana," Pushkin writes about Onegin:

Anxiety seized him

Wanderlust

(A very painful property,

Few voluntary cross).

The novel also raises the social aspect of the motive:

Now our roads are bad

Forgotten bridges rot

At the stations there are bugs and fleas

They don't let you fall asleep for a minute ...

Thus, based on the analysis of the poet's poetic text, we can conclude that the motive of the road in the lyrics of A.S. Pushkin is quite diverse, the image of the road is found in many of his works, and each time the poet presents it in different aspects. The image of the road helps A.S. Pushkin to show both pictures of life, and to enhance the coloring of the mood of the lyrical hero.

2.2.2 Lermontov's theme of loneliness through the prism of the road motive

Lermontov's poetry is inextricably linked with his personality, it is in the full sense of the poetic autobiography. The main features of Lermontov's nature: unusually developed self-awareness, depth of the moral world, courageous idealism of life aspirations.

The poem "I go out on the road alone" absorbed the main motives of Lermontov's lyrics, it is a kind of result in the formation of a picture of the world and the lyrical hero's awareness of his place in it. Several cross-cutting motives can be clearly traced.

The motive of loneliness ... Loneliness is one ofcentralmotives of the poet: "I was left alone - / Like a castle of a gloomy, empty / worthless ruler" (1830), "I am lonely - there is no consolation" (1837), "And there is no one to give a hand / In a moment of spiritual hardship" (1840), "One and for a long time I have been running around the world without a goal "(1841). It was a proud loneliness among the despised light, leaving no way for active action, embodied in the image of the Demon. It was tragic loneliness, reflected in the image of Pechorin.

The loneliness of the hero in the poem "I go out on the road alone" is a symbol: a man is alone with the world, a rocky road becomes a path of life and a shelter. The lyrical hero goes in search of peace of mind, balance, harmony with nature, which is why the consciousness of loneliness on the road does not have a tragic color.

The motive of wandering , the path, understood not only as the restlessness of the romantic exiled hero ("Leaf", "Clouds"), but the search for the purpose of life, its meaning, and not open, not named by the lyrical hero ("And boring, and sad ...", " Thought").

In the poem “I Walk Alone on the Road” the image of the path, “backed up” by the rhythm of the five-foot chorea, is closely connected with the image of the universe: it seems that space is expanding, this road goes into infinity, is associated with the idea of ​​eternity.

Lermontov's loneliness, passing through the prism of the road motive, loses its tragic coloring due to the lyrical hero's search for harmony with the universe.

2.2.3 Life is the people's road in the works of N.A.Nekrasov

N.A.Nekrasov is a distinctive singer of the people. He began his career with the poem "On the Road" (1845), and finished with a poem about the wanderings of seven peasants in Russia.

In 1846 the poem "Troika" was written. “Troika” is a prophecy and a warning to a serf girl who, in her youth, still dreamed of happiness, forgot for a moment that she was “baptized property” and that she was “not supposed to be happy”.

The poem opens with rhetorical questions addressed to the village beauty:

That you greedily look at the road

Aside from cheerful girlfriends? ..

And why are you running in haste

Following the troika that rushed by? ..

The triple-happiness rushes along the road of life. It flies past a beautiful girl, eagerly catching his every movement. While any Russian peasant woman's fate has long been predetermined from above, and no beauty can change it.

The poet paints a typical picture of her future life, painfully familiar and unchanging. It is hard for the author to realize that time passes, but this strange order of things does not change, so familiar that not only outsiders, but also the participants in the events themselves, do not pay attention to it. The serf woman learned to patiently endure life as a heavenly punishment.

The road in the poem takes away happiness from a person, which in a quick three is carried away from a person. A very specific triplet becomes the author's metaphor, symbolizing the transience of earthly life. It sweeps so lightning fast that a person does not have time to realize the meaning of his existence and cannot change anything.

In 1845, N. A. Nekrasov wrote the poem "The Drunkard", in which he describes the bitter fate of a man sinking "to the bottom". And again, the author resorts to using the road motive, which emphasizes the tragic fate of such a person.

Leaving the destructive path,

Would find another way

And in another work - fresh -

I would have wilted with all my heart.

But the unfortunate peasant is surrounded by injustice, meanness and lies, and therefore there is no other way for him:

But the haze is black everywhere

Towards the poor man ...

One open tornaya

The road to the tavern.

The road again acts as a cross of a person, which he is forced to carry all his life. One road, the absence of a choice of another path - the fate of the unfortunate, disenfranchised peasants.

In the poem Reflections at the Front Entrance (1858), talking about the peasants, Russian village people who ... "wandered for a long time ... from some distant provinces" to the St. Petersburg nobleman, the poet speaks of the people's longsuffering, of their obedience. The road leads the peasants on their way back, leads them into hopelessness:

…After standing,

The pilgrims unleashed the koshl,

But the doorman did not let him in, without taking a meager contribution,

And they went, burning the sun,

Repeating: "God judge him!"

Spreading hopelessly hands ...

The image of the road symbolizes the difficult path of the long-suffering Russian people:

He moans through the fields, along the roads,

He moans in prisons, in prison,

In the mines, on an iron chain;

... Eh, heart!

What does your endless groan mean?

You will wake up full of strength ...

Another poem in which the motive of the road is clearly traced is "Schoolboy". If in the Troika and in the Drunkard there was a downward movement (movement into darkness, an unhappy life), then in the “Shkolnik” one can clearly feel the upward movement, and the road itself gives hope for a brighter future:

Sky, spruce and sand -

A sad road ...

But there is no hopeless bitterness in these lines, and then the following words follow:

This is the glorious path of many.

In the poem "Shkolnik" for the first time there is a feeling of changes in the spiritual world of the peasant, which will later be developed in the poem "Who Lives Well in Russia".

The poem "Who Lives Well in Russia" is based on the story of peasant Russia, deceived by the government reform (Abolition of serfdom, 1861). The beginning of the poem "Who Lives Well in Russia" with the significant names of the province, district, volost, villages draws the reader's attention to the plight of the people. Obviously, the bitter share of the temporarily liable men who met on the pole path turns out to be the original cause of the dispute about happiness. Having argued, seven men set off on a long journey across Russia in search of truth and happiness. The Nekrasov peasants who set off on their way are not traditional pilgrims - they are a symbol of the post-reform people's Russia, which has moved away from the place, yearning for changes:

Buzzing! That the sea is blue

Falls silent, rises

Popular rumor.

The theme and image of the road-path are somehow connected with various characters, groups of characters, with the collective hero of the work. In the world of the poem, such concepts and images as the path - the crowd - the people - the old and new worlds - labor - the world turned out to be illuminated and, as it were, interconnected. The spreading of life impressions of the arguing peasants, the growth of their consciousness, a change in their views on happiness, the deepening of moral concepts, social insight - all this is also connected with the motive of the road.

The people in Nekrasov's poem are a complex, multifaceted world. The poet connects the fate of the people with the union of the peasantry and the intelligentsia, which is following a close, honest path "for the bypassed, for the oppressed." Only the joint efforts of the revolutionaries and the people, who are “learning to be a citizen,” can, according to Nekrasov, lead the peasantry onto the broad road of freedom and happiness. In the meantime, the poet shows the Russian people on their way to a "feast for the whole world." N.A.Nekrasov saw in the people a force capable of realizing great things:

The host rises -

Innumerable!

The strength in her will affect

Unbreakable!

Belief in the "broad, clear road" of the Russian people is the poet's main belief:

…Russian people…

Whatever the Lord sends!

Will endure everything - and wide, clear

He will make a way for himself with his chest.

The idea of ​​the spiritual awakening of the people, especially the peasantry, persistently pursues the poet and penetrates all the chapters of his immortal work.

The image of the road that permeates the poet's works acquires an additional, conventional, metaphorical meaning in Nekrasov's works: it enhances the feeling of changes in the spiritual world of the peasant. An idea runs through all the poet's work: life is a road and a person is constantly on the way.

2.2.4 The road - human life and the path of human development in the poem "Dead Souls" by N. V. Gogol

The image of the road appears from the first lines of the poem "Dead Souls". We can say that he stands at the beginning of it. "At the gates of the hotel of the provincial town NN a rather beautiful spring small chaise has driven in ... ”. The poem ends with the image of the road: "Russia, where are you rushing, give an answer? .. Everything that is on earth flies past, and, looking sideways, other peoples and states look sideways and give it the way."

But these are completely different roads. At the beginning of the poem, this is the path of one person, a specific character - Pavel Ivanovich Chichikov. In the end - this is the road of the whole state, Russia, and even more, the road of all mankind, we see a metaphorical, allegorical image that personifies the gradual course of all history.

These two meanings are like two extreme milestones. Between them there are many other meanings: both direct and metaphorical, forming a single, complex image of Gogol's road.

The transition from one meaning to another - concrete to metaphorical - most often occurs imperceptibly. Chichikov leaves the city NN ... "And again, on both sides of the pole track, they again went to write miles, station keepers, wells, carts, gray villages with samovars, women and a lively bearded owner ..." and so on. This is followed by the author's famous address to Rus: “Rus! Russia! I see you, from my wonderful, beautiful far away I see you ... "

The transition from the concrete to the general is smooth, almost imperceptible. The road along which Chichikov rides, lengthening endlessly, gives rise to the idea of ​​all of Russia. Further, this monologue is interrupted by another plan: “... And the mighty space envelopes me menacingly, reflecting itself with a terrible force in my depths; unnatural power lit up my eyes: y! what a sparkling, wonderful, unfamiliar distance to the earth! Russia!

Hold, hold, you fool! ”Chichikov shouted to Selifan.

Here I am with a broadsword! - shouted a courier galloping to the meeting with a mustache in an arshin. - Do not you see, devil take your soul: the official carriage! - and, like a ghost, the troika disappeared with thunder and dust.

What a strange and alluring, and carrying, and wonderful in the word: the road! and how wonderful she herself is, this road: a clear day, autumn leaves, cold air ...corner! "

The famous Russian scientist A. Potebnya found this place "brilliant". Indeed, the sharpness of the transition was brought by N.V. Gogol to the highest point, one plan was "pushed" into the other: Chichikov's rude abuse bursts into the author's inspired speech. But then, just as unexpectedly, this picture gives way to another: as if both the hero and his chaise were just a vision. It should be noted that, having changed the type of the story - prosaic, with extraneous remarks, to inspired, sublimely poetic - N. Gogol did not change this time the character of the central image - the image of the road. It did not become metaphorical - before us is one of the countless roads of the Russian expanses.

The change of direct and metaphorical images of the road enriches the meaning of the poem. The twofold nature of this change is also significant: gradual, "prepared", and abrupt, sudden. The gradual transition from one image to another reminds of the generalization of the described events: Chichikov's path is the life path of many people; individual Russian highways and cities are forming a colossal and wonderful appearance of the homeland.

Sharpness speaks of a sharp "opposite of an inspired dream and a sobering reality."

Now let's talk in more detail about the metaphorical meanings of the image of the road by N.V. Gogol. First, about the one that is equivalent to a person's life path.

Actually, this is one of the oldest and most common images. One can endlessly cite poetic examples in which a person's life is interpreted as the passage of a path, a road. N. V. Gogol in "Dead Souls" also develops a metaphorical image of the road as "a person's life." But at the same time it finds its original twist of the image.

The beginning of the VΙ chapter. The narrator recalls how, in his youth, he was worried about meeting any unfamiliar place. “Now I indifferently drive up to every unfamiliar village and indifferently look at its vulgar appearance; my chilled gaze is uncomfortable, I'm not funny, and what would have awakened in previous years a lively movement in the face, laughter and incessant speech, now slips by, and my motionless lips keep indifferent silence. Oh my youth! oh my freshness! "

There is a contrast between the end and the beginning, “before” and “now”. Something very important and significant is lost on the road of life: the freshness of sensations, the immediacy of perception. This episode highlights the change in a person on the path of life, which is directly related to the internal theme of the chapter (Chapter VΙ about Plyushkin, about the amazing changes that he had to endure). After describing these metamorphoses, Gogol returns to the image of the road: "Take away with you on the road, leaving your youthful years into severe, hardening courage, take away all human movements, do not leave them on the road: do not raise them later!"

But the road is not only the “life of a man”, but also the process of creativity, a call for tireless writing: “And for a long time it has been determined for me by the wonderful power to go hand in hand with my strange heroes, to look at the whole immensely rushing life, to look at it through the laughter that is visible to the world and invisible, unknown to him tears! ... On the road! on the road! away the wrinkle that has run over the forehead and the severe gloom of the face! Suddenly and suddenly we will plunge into life with all its silent rattles and bells and see what Chichikov is doing ”.

Gogol highlights in the word road and other meanings, for example, a way to resolve any difficulty, to get out of difficult circumstances: “And how many times have already been prompted by the meaning that descended from heaven, they knew how to recoil and stray to the side, were able to get back into the impassable backwaters in broad daylight, were able again to let a blind fog into each other's eyes and, rushing after the swamp lights, they still knew how to get to the abyss, then in horror to ask each other: where is the exit, where is the road? " Expression of the word road amplified here by the antithesis. Exit, road opposedswamp, abyss.

And here is an example of the use of this symbol in the author's reasoning about the ways of human development: "What twisted, deaf, narrow, impassable, leading far to the side of the road, mankind chose, striving to achieve the eternal truth ...". And again the same method of expanding the pictorial possibilities of the word - opposing the direct, toric path, which is "wider than all other paths ... illuminated by the sun," a curve that leads to the side of the road.

In the lyrical digression that concludes the first volume of Dead Souls, the author speaks about the ways of development of Russia, about its future:

“Isn't it so you, Russia, that a brisk, unattainable troika is rushing? The road smokes under you, bridges thunder, everything lags behind and remains behind ... everything that is on the earth flies past, and, looking sideways, other nations and states look sideways and give it way. " In this case, the expressiveness of the word is enhanced by contrasting its different meanings: the path of development of Russia and the place for passage, passage.

The image of the people is metamorphically connected with the image of the road.

“What does this vast expanse prophesy? Is it here, in you, no boundless thought will be born, when you yourself endlessly? Shouldn't a hero be here when there is a place where he can turn around and walk?

Eh, three! bird three, who invented you? know, you could only be born in a lively people in that land that does not like to joke, and scattered about half the world evenly, and go count miles until it charges you in your eyes ... hastily alive, with one ax and a chisel, Yaroslavl agile man equipped and assembled you. The coachman is not in German jackboots: beard and mittens, and the devil knows what; but he got up, and swung, and began to sing a song - the horses like a whirlwind, the spokes in the wheels mixed into one smooth circle, only the road trembled, and the pedestrian who stopped screaming in fright! and there she rushed, rushed, rushed! .. "

Through the connection with the image of the “bird of the troika”, the theme of the people at the end of the first volume brings the reader to the theme of the future of Russia: “. ... ... and all inspired by God rushes! ... Russia, where are you rushing, give an answer? Doesn't give an answer. The bell is filled with a wonderful ringing ... and, looking sideways, other peoples and states make their way and give it the way. "

The language of the stylistic diversity of the image of the road in the poem "Dead Souls" corresponds to a lofty task: it uses a high style of speech, means characteristic of poetic language. Here is some of them:

Hyperboles: "Isn't there a hero here when there is a place where he can turn around and walk?"

Poetic syntax:

a) rhetorical questions: "And what Russian does not like to drive fast?", "But what incomprehensible, secret power attracts you?"

b) exclamations: "Oh, horses, horses, what kind of horses!"

c) appeals: "Rus, where are you rushing?"

d) syntactic repetition: "Versts are flying, merchants are flying towards them on the beams of their wagons, a forest with dark lines of firs and pines is flying on both sides, with a clumsy knocking and a crow's cry, the whole road is flying into the disappearing distance ..."

e) ranks of homogeneous members: "And again, on both sides of the pole track, they again went to write miles, station keepers, wells, carts, gray villages with samovars, women and a lively bearded owner ..."

f) gradations: “What a strange, and alluring, and carrying, and wonderful in the word: road! How wonderful she herself is, this road: a clear day, autumn leaves, cold air ... "

The road meant a lot for N.V. Gogol. He himself said: "Now I need a road and a journey: they alone restore me." The motive of the path not only permeates the entire poem, but also passes from a work of art into real life in order to return to the world of fiction.

2.3 Development of the road motive in modern literature

Everything is in motion, in continuous development, and the motive of the road develops as well. In the twentieth century, it was picked up by such poets as A. Tvardovsky, A. Blok, A. Prokofiev, S. Yesenin, A. Akhmatova. Each of them saw in him more and more unique shades of sound. The formation of the image of the road continues in modern literature.

Gennady Artamonov, the Kurgan poet, continues to develop the classical representation of the image of the road as a life path:

This is where it starts

"Goodbye school!"

Nikolai Balashenko creates a vivid poem "Autumn on Tobol", in which the motive of the road is clearly traced:

There is an incomprehensible sadness in my soul.

Cobwebs are floating weightlessly

The subtle interweaving of the topographic component (the path along the Tobol) and the "life path" of the cobweb gives rise to the idea of ​​an inextricable connection between life and the Motherland, the past and the future.

The road is like life. This idea became fundamental in Valery Egorov's poem "Zhuravlik":

We lose and break ourselves on the way,

Motion is the meaning of the universe!

And meetings are miles on the way ...

The same meaning is embedded in the poem "Duma", in which the motive of the road sounds in half hints:

Crossroads, paths, stops,

Miles of years in the canvas of being.

In modern literature, the image of the road has acquired a new original sound, more and more poets resort to using the path, which may be associated with the complex realities of modern life. The authors continue to comprehend human life as a path that needs to be traversed.

3. "Enchanted Wanderers" and "Inspired Tramps"

3.1 "Unhappy wanderers" by Pushkin

Endless roads, and on these roads there are people, eternal vagabonds and wanderers. The Russian character and mentality are conducive to an endless search for truth, justice and happiness. This idea finds confirmation in such works of classics as "Gypsies", "Eugene Onegin" by Alexander Pushkin, "The Sealed Angel", "Cathedrals", "The Enchanted Wanderer" by NS Leskov.

You can meet the unfortunate wanderers on the pages of Alexander Pushkin's poem "The Gypsies". “The Gypsies” contains a strong, deep and completely Russian thought. "Nowhere can one find such independence of suffering and such a depth of self-awareness inherent in the wandering element of the Russian spirit" - said F. M. Dostoevsky at a meeting of the society of lovers of Russian literature. And indeed, in Aleko, Pushkin noted the type of unfortunate wanderer in his native land who cannot find a place for himself in life.

Aleko is disappointed in social life, dissatisfied with it. He is a "renegade of the light", it seems to him that he will find happiness in a simple patriarchal environment, among a free people that does not obey any laws. Aleko's mood is an echo of romantic dissatisfaction with reality. The poet sympathizes with the exiled hero, at the same time Aleko is subjected to critical reflection: the story of his love, the murder of a gypsy woman characterize Aleko as a selfish person. He was looking for freedom from chains, and he himself tried to put them on another person. “You just want freedom for yourself,” as the folk wisdom, are the words of an old gypsy.

Such a human type, as described by A.S. Pushkin in Aleko, does not disappear anywhere, only the direction of the escape of the personality is transformed. Former wanderers, according to FM Dostoevsky, went after the Gypsies, like Aleko, and modern ones - into the revolution, into socialism. "They sincerely believe that they will achieve their goal and happiness, not only personal, but also worldwide, - said Fedor Mikhailovich, - the Russian wanderer needs universal happiness, he will not be satisfied with less." A.S. Pushkin was the first to note our national essence.

In Eugene Onegin, much resembles the images of the Caucasian prisoner and Aleko. Like them, he is not satisfied with life, tired of it, his feelings have grown cold. But nevertheless, Onegin is a socio-historical, realistic type, embodying the appearance of a generation whose life is conditioned by certain personal and social circumstances, a certain social environment of the Decembrist era. Eugene Onegin is a child of his age, he is Chatsky's successor. He, like Chatsky, is “condemned” to “wandering”, condemned “to seek in the world, where“ the offended one has a corner ”. His chilled mind questions everything, nothing carries him away. Onegin is a freedom-loving person. In him there is a "soul of direct nobility", he was able to love Lensky with all his heart, but nothing could seduce him with the naive simplicity and charm of Tatiana. Both skepticism and disappointment are inherent in him; the features of an "extra person" are noticeable in it. These are the main character traits of Eugene Onegin, which make him "rushing about Russia as a wanderer who cannot find a place for himself."

But neither Chatsky, nor Onegin, nor Aleko can be called true "wanderers-sufferers", whose true image will be created by NS Leskov.

3.2 "Wanderers-Sufferers" - The Righteous

The "enchanted wanderer" is a type of "Russian wanderer" (in Dostoevsky's words). Of course, Flyagin has nothing to do with superfluous noble people, but he also seeks and cannot find himself. The "Enchanted Wanderer" has a real prototype - the great explorer and navigator Afanasy Nikitin, who in a foreign land "suffered through faith", at home. So the hero of Leskov, a man of boundless Russian prowess, great innocence, cares most of all about his native land. Flyagin cannot live for himself, he sincerely believes that life should be given for something more, common, and not for the egoistic salvation of the soul: "I really want to die for the people."

The main character feels some kind of predetermination of everything that happens to him. His life is built according to the well-known Christian canon, concluded in the prayer "For those who sail and travel, suffering and captives in ailments." By the way of life, Flyagin is a wanderer, fugitive, persecuted, not attached to anything earthly in this life; he went through cruel captivity and terrible Russian ailments and, having got rid of "anger and want", turned his life to the service of God.

The outward appearance of the hero resembles the Russian hero Ilya Muromets, and the irrepressible life force of Flyagin, which requires an exit, pushes the reader to compare with Svyatogor. He, like the heroes, brings kindness to the world. Thus, in the image of Flyagin, the development of folklore traditions of epics takes place.

Flyagin's whole life has passed on the road, his life path is the path to faith, to that world outlook and state of mind in which we see the hero on the last pages of the story: "I really want to die for the people." The very wandering of Leskov's hero has the deepest meaning; it is on the roads of life that the "enchanted wanderer" comes into contact with other people, opens up new life horizons. His path does not begin with birth, the turning point in the fate of Flyagin was his love for the gypsy Grushenka. This bright feeling became the impetus for the moral growth of the hero. It should be noted: Flyagin's path is not over yet, in front of him is an endless number of roads.

Flyagin is an eternal wanderer. The reader meets him on the way and leaves him on the eve of new roads. The story ends on a note of quest, and the narrator solemnly pays tribute to the spontaneity of the eccentrics: "his announcements remain until the time of concealing his fate from the clever and reasonable and only sometimes revealing them to babies."

Comparing Onegin and Flyagin, one can come to the conclusion that these heroes are opposites, which are vivid examples of two types of wanderers. Flyagin embarks on a journey of life in order to grow up, strengthen his soul, while Onegin runs away from himself, from his feelings, hiding behind a mask of indifference. But they are united by the road along which they follow throughout their lives, the road that transforms the souls and destinies of people.

Conclusion

The road is an image used by all generations of writers. The motive arose even in Russian folklore, then it continued its development in the works of literature of the 15th century, was picked up by poets and writers of the 10th century. I X century, he is not forgotten even now.

The motive of the path can perform both a compositional (plot-forming) function and a symbolic one. Most often, the image of the road is associated with the life path of a hero, people or an entire state. Many poets and writers have resorted to using this space-time metaphor: A. Pushkin in the poems "Comrades" and "October 19", N. V. Gogol in the immortal poem "Dead Souls", N. A. Nekrasov in "To whom living well in Russia ”, NS Leskov in“ The Enchanted Wanderer ”, V. Egorov and G. Artamonov.

In AS Pushkin's poetry, the variety of roads forms a single "carnival space", where you can meet Prince Oleg with his retinue, and the traveler, and Maria the Virgin. The poetic road presented in the poem "To the Poet" has become a symbol of free creativity. The motive also occupies an exceptionally large place in the novel "Eugene Onegin".

In the work of M. Yu. Lermontov, the motive of the road symbolizes the acquisition of harmony by the lyrical hero with nature and with himself. And NA Nekrasov's road reflects the spiritual movement of the peasants, search, test, renewal. The road meant a lot for N.V. Gogol.

Thus, the philosophical sound of the road motive contributes to the disclosure of the ideological content of the works.

The road is unthinkable without wanderers, for whom it becomes the meaning of life, a stimulus for the development of personality.

So, the road is an artistic image and a plot-forming component.

The road is a source of change, life and support in difficult times.

The road is both the ability to be creative, and the ability to cognize the true path of man and all mankind, and the hope that contemporaries will be able to find such a path.

Bibliography

Good. D. D. A. N. Radishchev. Life and work ["Journey from St. Petersburg to Moscow"] / D. D. Blagoy. - M .: Knowledge, 1952

Evgeniev. B. Alexander Nikolaevich Radishchev ["Travel from St. Petersburg to Moscow"] / B. Evgeniev. - M .: Young Guard, 1949

Petrov. S. M. A. S. Pushkin. Essay on life and work [Boldinskaya autumn. "Eugene Onegin"] / S. M. Petrov. - M .: Education, 1973

Lotman. Yu. M. Roman A. S. Pushkin "Eugene Onegin" [Essay on the life of the nobility of the Onegin era]: comments / Yu. M. Lotman. - Leningrad: Education, 1983

Andreev-Krivich. S. A. Omniscience of the poet [The last year. Last months]: life and work of M. Yu. Lermontov / S. A. Andreev-Krivich. - M .: Soviet Russia, 1973

Bugrov. B. S. Russian literature of the XX - XX centuries / B. S. Bugrov, M. M. Golubkov. - M .: Aspect-Press, 2000

Gracheva. I. V. Secret writing of N. A. Nekrasov's poem "Who Lives Well in Russia" / I. V. Gracheva. - Literature at school. - 2001. - No. 1. - p. 7-10

Mann. Y. Comprehending Gogol [What does the Gogol image of the road mean] / Y. Mann. - M .: Aspect-Press, 2005

Tyrina. L. N. V. Gogol "Dead Souls" [The image of the road in the poem "Dead Souls"]: as presented for schoolchildren / L. Tyrina. - M. Drofa, 2000

Mann. Yu. Courage of invention [What does the Gogol image of the road mean] / Yu. Mann. - M .: Children's literature, 1985

Mann. Yu. In search of a living soul [On the road again] / Yu. Mann. - M .: Book, 1987

Dykhanov. BS "The Captured Angel" and "The Enchanted Wanderer" by NS Leskov [Paths-roads of the "Enchanted Wanderer"] / BS Dykhanova. - M. Fiction, 1980 -

Barulina. LB "The Enchanted Wanderer" by NS Leskov / LB Barulina. - Literature at school. - 2007. - No. 10. - p. 23-25

Egorov V. Love oddities ...: a collection of poems / V. Egorov. - M .: Non-profit publishing group "Era", 2000

Gogol N.V. Dead Souls / N.V. Gogol. - M .: Pravda, 1984

Lermontov M. Yu. Poems. Poems. Hero of our time / M. Yu. Lermontov. - M .: Education, 1984

Leskov N. S. The Enchanted Wanderer: Novels and Stories / N. S. Leskov. - M .: Fiction, 1984

Nekrasov N.A. Poems. Who lives well in Russia / N. A. Nekrasov. - M .: Children's literature, 1979

Pushkin. A.S. Poems / A.S. Pushkin. - Yekaterinburg: Lad, 1994

Stupina V.N.Modern literature of the Trans-Urals of the last decade: new names: a reader / V.N. Stupina. - Kurgan: IPK and PRO, 2005

Application

Valery Egorov.

Crane.

Do not pull out a page from the past,

You shouldn't give up on the future

A crane is circling somewhere around ...

We choose our own stars,

We wander along the paths behind their light,

We lose and break ourselves on the way,

But still we go, we go, we go ...

Motion is the meaning of the universe!

And meetings are miles on the way,

Communication is the opium of consciousness,

And give me a roll of words with words.

I myself have long been ready for deception,

After all, the world is made of words and

proposals created!

It's a pity ... that words are flawed,

The path to the essence is entered by mistakes ...

Shouldn't we write a page together?

Tell me about what? I'll tell you why.

Let go of the titmouse from your fingers

In what I was nothing, in that tomorrow I will become everything!

Duma.

Waiting, meeting, parting ...

Rain strokes the glass with its cheek.

And rubbing their whiskey tired hands

Sadness for the soul ... dragged.

Crossroads, paths, stops,

Miles of years in the canvas of being.

And the fun of self-delusion

To hide in them ... from whining.

You start - the results are simple,

The human race is bored

What is, everything happened once,

Kohl was born, it means he will die.

I collect myself by words

Letter to letter - a syllable is born,

God, giving love to men,

I fell ill with incompleteness ...

And feelings start up in a circle:

Having lost, I want to take more.

By reciprocity to a paradise meadow

To run in fleetingness ...

Distance, time, non-meeting,

We create fences with ourselves,

Isn't it easier - hands on shoulders,

And in thoughtlessness, a reservoir! ..

Gennady Artamonov

Goodbye school!

There is silence in our class today

Let's sit down before the long journey,

This is where it starts

Goes into life from the school threshold.

Don't forget your friends, don't forget!

And remember this moment as a confession

We won't say goodbye to school

Let's say goodbye to her quietly.

In the glimpse of winged school years

When did we guys mature?

Just think: there is no more childhood,

And they did not have time to get used to youth.

Neither golden September nor blue May

They won't call us to this building anymore ...

And yet we don't say goodbye

And we will repeat, as an oath, "goodbye."

Hold on, my classmate, more fun,

When the snowstorms of life are shaking!

Probably the eyes of the teachers

No wonder this evening got wet.

Remember them more often on the way,

Try to live up to their expectations

We will not say goodbye to the teacher,

"Thank you" we say and "goodbye".

Our class is unusually quiet today

But all the same, friends, do not lower your shoulders!

We will leave a part of our hearts here

As a guarantee of an upcoming and cheerful meeting.

Shine the light of school friendship as a beacon!

Fly to us through the years and distances!

Fortunately, classmate, give me your hand

And do not ask, my friend, but goodbye!

Nikolay Balashenko

Autumn on Tobol

I walk along the path along the Tobol,

There is an incomprehensible sadness in my soul.

Cobwebs are floating weightlessly

On your autumn unknown path.

Green leaves fall from the elm

On the shimmer of a cold wave ...

And he floats thoughtfully sleepy,

Where the Ermatsky boats sailed.

A little off to the side birch-friend

Not in a hurry to throw off the yellow outfit;

At the edge of a withered meadow

Two sad aspen trees stand.

The old poplar is also sad.

He is like a broom in the background of heaven.

We are somewhat similar to him,

But my sorrow is still light.