Problems in Dr. Zhivago Ege. Rails, tram and railway tracks, urban culture

Experience in the XI class of high school novel "Dr. Zhivago"

Work by B.L. Pasternak "Dr. Zhivago" raises important problems: a revolution and its influence on a person, in particular on the artist, humanism and revolutionary necessity, the issues of life and death, the freedom of creative personality and others - in other words, the most important moral and ethical, philosophical, social issues of life .

The literary, aesthetic side of the work is also of interest to interest, it is unique, since the essence of poetic world population is represented in the romance form.

When studying the novel, "Dr. Zhivago", the teacher relies on the students' knowledge about the lyrical hero, about the composition and genres of literary works, the ability to analyze prosaic and poetic texts.

Among the goals in working with Roman B.L. Pasternak "Dr. Zhivago" should be called the following, in my opinion, the most important:

To acquaint with the creative person of B.L. Pasternak, his life and poetic world view;
- consider the problems of ideological order, the philosophical moral slice of the novel;
- expand the representation of students on the system of genres of the Russian novel.

When conducting lessons, such a visual material can be used:

Photo portraits B.L. Pasternaka different years;
- photo modifies of the 10-20s of the XX century;
- Reproductions of Petrov-Vodkina paintings "Swimming Red Kony" and "Death of the Commissioner".

Without claiming the coverage of all sides of the book (as it is hardly possible in general in relation to such Works), I made an attempt to find an optimal way to study it at school.

It is known that "Dr. Zhivago" is not a novel in the full sense of the word and his genre is very difficult to determine, since the work combines both lyric and epic; His genre is determined even as a large lyrical work (D.S. Likhachev).

The material is not divided into semantic groups corresponding to the lesson in 45 minutes. Such a separation in this case would be, in my opinion, artificial. Meanwhile, having in this way organized material, the teacher can plan work and in the modular, and in the classical system of learning, that is, having an ordinary lesson.

There is no part here, directly related to the life and creativity of the poet, although such a lesson naturally took place.

Repeat here only the main provisions.

I. Poetic world population Pasternak Reveals in the collection "My life":

a) the integrity of the world, he is one;
b) the unity of man and the world;
c) the unity and absentiance of the house and the world (most of the poets are the opposite concepts).

From here, that is, from the features of the poetic world perception, its understanding of art should be. This, by Pasternak, not the struggle, is not a fountain, but a sponge, not a scene, but a viewer. Hence the negative attitude to the alteration of the world; The world, according to the poet, must be taken as it is.

II. Causes of prose appearance at the poet. The novel appeared suddenly, but was prepared by the whole creative life of the poet (see: V.M. Borisov, E.B. Pasternak. Materials for the creative history of Roman B.L. Pasternak "Dr. Zhivago" // New World. 1988. N. 6). We give only a few words by B.L. Pasternak about this: "In the field of the word, I most likely love prose, but I wrote the most poems ..."

III. With the definition of the genre of works related features of study.

1. This is not a novel in the usual understanding of the word.
2. Life-friendly, life, passion.
3. Large lyrical poem, since Yuri Zhivago is not an epic, but a lyrical hero (for more details, see: D.S. Likhachev. Reflections over Roman B.L. Pasternak "Dr. Zhivago" // New World. 1988. N. 1).

IV. Symbols of names and names.

A number of heroes in the literary approaches to the novel wore the names of the street, Purvit (from the French Pour Vie - for the sake of life), which clearly indicates their genetic relationship with Yuri Andreyevich Zhivago, whose name follows, as follows from the Gospel, means "forever alive." The appearance in the title of the word "doctor", as well as the profession of the hero, is due to a certain connection with Faust and the translation work by B.L. Pasternak over the "Faust" Goethe. On a certain semantic load of other names, you can also speak with great definiteness (see the mentioned article V.M. Borisov and E.B. Pasternak).

Homework.

In chapters, data teacher, find lines covering copyright on such problems:

Man and revolution
- artist and revolution,
- Civil War.

Specifically social problems can be combined by such poetic lines of the poet: "Melo, Melo throughout the Earth, // in all limits ..."

Man and revolution

The work goes on issues and text, an output is recorded at the end of the discussion.

2. So, what is this attitude, is it constantly?

Throughout the novel, it changes. First:

(in a conversation with Larna, Part 5, ch. 8): "The revolution escaped against the will, as too detained sigh. Everyone came to life, reborn ... can ... say: every two revolutions happened to each other, one, personal, and the other common one. It seems to me that socialism - ... This is a sea of \u200b\u200blife ... of the life that can be seen in the pictures, the life of a genialized, life, creatively enriched ... ";

(return to Moscow, Part 5, ch. 15): "It was a revolution in the sense and in the understanding that the student of the young Youth of 1905 attached to her, who worshiped the block ...";

(speech at home at guest, Part 6, ch. 4): "Still, the greatly great is inceptually as the universe";

(reading on the street newspaper about the October coup, Part 6, ch. 8): "The blizzard whipped into the eyes of the doctor and covered the printed lines of the newspaper with gray and rustling snowy cereal. But it did not prevent his reading. Majesty and memorandum will shocked him and not allowed to come to his senses. "

Then the look is changing:

(in the partisan detachment, Part 11, ch. four):

"Ombolion of speaking by this time has reached the limit. The prisoners did not bring to the destination, the enemy wounded were pounded in the field ";

"... First, the ideas of universal improvement of those who have become understood from October, they do not ignite me. Secondly, it is still far from exercise, and for some more concerns about this is paid by such seas of blood, which, perhaps, the goal does not justify the means.

The substance life never happens. She herself, if you want to know, continuously updating yourself ... The beginning ... ";

"The white and red rival compete on cruelty, alternately, one in response to another, rather multiplied them ..."

History suffers and the history of the Vasina village (these questions can be offered individually).

Conclusions.

"Everyone came to life, reborn", therefore, the revolution is life. Doctor, and with him the author, expect a new in Russia, in Russian fate and in his own destiny.

Just as the existence of life, the Universe, does not have explanations and the revolution is "element free element". The hero understands the genius of this event, there is something like akin to the birth of a genius man.

Then the look is changing. For the cracking phrases shed "the sea of \u200b\u200bblood". The goal is the alteration of life, but as possible to remake it, when she is self-concrete and self-developing concept. Every alteration only kills life.

Artist and revolution

( Diary in Varykino, Part 9, ch. 7):

"What prevents me from serve, treat and write? I think, not deprivation and wandering, not instability and frequent changes, but dominant in our day the spirit of the Trescchy phrase ... This is the most: zaring the coming, building a new world, Svetterna mankind. "

(Care service Part 13, ch. 16): "... It turns out that there is one visibility, a verbal garnish for the elevation of the revolution and the authorities of the preconditions. And I am not a master of this part. " "And the truth, I am rarely mistaken in the definition of the disease. But this is the intuition hated by them, which I supposedly sin, holistic, after once covered by the picture of knowledge. "

Conclusions.

Initially, creativity and revolution are equivalent, that is, the spontaneous, are not amenable to study, measurement. But what turn the revolution is in conflict with creativity. Zhivago - the poet and creative doctor often acts intuitively, that is, as the mind can not.

And the circle requires a plan, explanations, schemes, desic. The life, element and scheme, "File Fresh Perseverance" and "Kazynaya Alemersha" - death come into contradiction. Hence the feeling of its unnecessaryness.

Second group of problems For discussion in the classroom:

Man and peace;
- man and history;
- nature, human life in nature and antithesis of this life;
- life and death.

Pupils in advance get the task to find in chapters the copyright look at these questions.

The moral and philosophical problems in the discussion can be explained by the following strates of the poet:

Again cut, and drive, and link,
And pulp in blood is spoiling - again
Breed, but do not cry
Do not die, do not die.

Man and world

Work comes with the text on a complex of issues.

How do these concepts relate? What primary?

(Panhida in Anne Ivanovna, Part 3, ch. fifteen):

"... Yura was engaged in antiquity and the law of God, legends and poets, the sciences about the past and nature, as a family chronicle of his native house, as his pedigree ... All things were the words of his dictionary. He felt standing on an equal foot with the universe ... He listened to the funeral service as a message, directly to him facing it and directly relate to him ... And there was nothing to do with the piousness in his sense of continuity towards the highest forces of the Earth and the sky, Which he worshiped as his great predecessors. "

In this way:

i \u003d all \u003d peace
I am a whole world.

Man and History

(Jura Zhivago and Uncle, Part 3, ch. 2):

"Yura understood how much he owes uncle with the common properties of his character.

Nikolai Nikolayevich lived in Lausanne. In the books released in Russian and in translations, he developed his long-standing idea about history as a second universe, erected by mankind in response to the emergence of death with time and memory phenomena. "

(After leaving Lara, Part 14, ch. fifteen):

"... What is called the stroke of history, he imagines ... like the life of the plant kingdom ... The forest does not move, we cannot cover it, taster the place for change. We always find it in immobility. And in the same immobility we caustiously, we are forever growing, always changing the life of society, the history of society in their transformations.

Conclusions.

By Pasternak, a person takes the historical process only at some stage. "History is the second universe, which is an erected person in response to the phenomenon of death with the help of time and memory phenomena."

HUMAN AND NATURE

How are the Doctor and the world related?

Who in his imagination merges with trees, elements, branches and so on?

(Dr. in Meluludevo, Part 5, ch. 6):

"It was all around the circle and boiled on the magical yeast of existence. Admissive by life as a quiet wind, a wide wave went without disassembling where in the ground and the city, through the walls and fences, through wood and body, covering everything on the road. "

(Diary in Varykino, Part 9, ch. eight):

"The first foresight of spring, thaw. The air smells pancakes and vodka, as on the oil, when the calendar itself is like punish. Sleeping, the sun burns in the woods in the forest, sleepy eyes, the woods will pure the forest, the oil shook at noon of the puddle. Nature yawns, pulls out, turns over to another side and falls asleep again. "

(In the partisan detachment, Part 11, ch. 7):

"Yuri Andreevich since childhood loved the evening forest joining the fire. At such moments, it also passed through itself these pillars of light. Exactly the gift of the living spirit in the flow was in his chest, crossed all his being and a couple of wings came out from under the blades outside ... "Lara!" - closing her eyes, half-sleeping or mentally addressed to all his life, to the whole of God, to the whole crowded in front of him, the sun was illuminated.

(Care from the detachment, Part 12, ch. nine):

"She was half in the snow, half in grinding leaves and berries, and stretched two snow-covered branches forward toward him. He remembered the big white hands of Lara, round, generous, and, grabbed them, pulled the tree to her. Like consciously retaliatory movement of Ryabina showered his snow from his head to the legs ... "

Conclusions.

According to the author, nature is magic, when a person understands her, he understands life. Dr., and consequently, the author, I wonder everything surrounding, he is always in Ladu with nature. The world's light enters his chest, the wings grow from it, he can create. He often feels that Lara is a continuation of nature, feeling that the desire for her is the desire for life. Therefore, his departure from the detachment is not a betrayal, but care to life. And the loss of Lara for him is equivalent to loss of life.

What is an antithesis of life in nature?
Where does the life of Yu.Vigo erect?

Rails, tram and railway tracks, urban culture. In this B.L. Pasternak is traditional, remember N. Gumileva and his "lost tram":

He rushed by a drill bit, winged,
He lost in the abyss of times ...
Stop, car trades,
Stop the car now.
. . . . . . . . . . . . . . . . . . . . . . . . . . . .
Signboard ... blood poured letters
I say - green, - I know here
Instead of cabbage and trousers
Dead heads sell.

Man and his relationship
With life and death

1. Does the novel ends with the death of Yu.A. Zhivago? What at the end?

The novel continues, telling about the life of Tanya, daughters of Lara, but ends still not, and verses.

2. What do you think, why?

Poems - something that can not die.

3. The cycle of poems Yu.Vigo opens with the "Hamlet" poem. Read. Why is it wearing such a name?

It decides the "eternal" problem on how to live, raised Hamletovsky question: "be or not to be".

What is the main idea?

A person in life should have to go through his godpie and drink a bowl to the bottom.

4. Final poem - "Gefseman Garden" (before reading the teacher gives a certificate and reads an excerpt from the Gospel).

What is common in the first and last poem of the cycle?

The main idea that combines both poems is the achievement of immortality through the Christian idea of \u200b\u200bsuffering and the godfather.

In addition, you can ask the guys to find in other poems look Yu.Vigo on this problem.

(Zhivago in the bed of the sick Anna Ivanovna, Part 3, ch. 3):

"... how many remember, you always caught yourself in an outdoor, active manifestation, in your hands, in the family, in others. A man in other people and there is a man's soul ... There will be no death, John theology ... Because the older passed ... because it was already seen ... And now it takes a new one, and the new is eternal. "

("Typhoundic hour" doctor, Part 6, ch. fifteen):

"And the two rhythmized lines pursued it:

We are glad to touch
and
We must wake up.

We are glad to touch and hell, and the decay, and decomposition, and death, and, however, with them is glad to touch both Spring and Magdalene, and life. And - you have to wake up. We must wake up and get up. It is necessary to rise. "

(Diary in Varykino, Part 9, ch. 7):

"Everyone will be born to Faust to hug everything, experience everything, express everything."

(After the fight in the meadow, Part 11, ch. four):

"Psalm says: Live in helping Vyshnya. In the challenge, this was the title of conspiracy: "Live help" ... The chacher was half collected. From it fell folded paper. The doctor unfolded it and his eyes did not believe. It was the same ninetieth psalm, but in printed form and in all its Slavic authenticity. "

(Larisa has before a letter from Tony, Part 13, ch. 17):

"Something shifted in the world. Rome ended, the power of the quantity ... leaders and peoples moved into the past. Personality, the preaching of freedom came to replace them. A separate human life became God's story, filled with its content the space of the universe. "

Conclusions.

By Pasternak, a person is aware of himself only in the life of others or in what leaves after himself. Consequently, he initially cannot die, but lives forever.

Life just does not give anything, so everyone is waiting for his own passion, suffering. Only passing them, he may hope for resurrection. Life is a gift to all, without the difference in classes and castes, it combines all. She filled the universe content and makes sense to everything. According to the author, the concept of life of one person and the life of the peoples is balanced.

As a final work, writings on themes are offered:

1. "There will be no death ..." (according to the novel B.Pasternak "Dr. Zhivago").
2. Place the poems of Yu.Vigo in the structural structure of Roman B. Pasternak "Dr. Zhivago".
3. Revolution and civil war in the fate of the Russian intelligentsia in the novel.
4. Women's images and their role in the novel by B. Pasternak "Dr. Zhivago".

This is a prose of a poet, rich in images, philosophical motives.

The central problem is the fate of the intelligentsia in the 20th century.

The novel is written about a person who managed in the context of revolution, 1 -1 World War, Civil War, and then in the Epoch of Definition to maintain a person. Those. P. claimed the intrinsicity of man.

At the time of publication of the novel, the problem of the author's interpretation of the events of revolution and war was most acute. The main character sees in this tragedy of Russia.

The epic structure of the novel is complicated by lyrical principle (subjectivity).

One of themes is love (element that invade a person's life).

In Khud.-Phil. The concept of Roman Nature, history, the universe is combined. The merger of the soul of man and nature, the unity of heaven, earth and man, and this is the ultimate goal of history.

Death is not perceived as an impassable border between alive and dead. With the topic of immortality, the problem of the appointment of art is connected. Art reflects on death and continuously creates life.

In the center of Roman - the story of Yuri Zhivago (alive). His drama - he lives in an era when life is not appreciated. Zhivago dies at the end of August 1929 because he had nothing to breathe.

Tonya, Lara, Paul, Yuri - their fates intersect, many accidents, coincidences.

Pasternak wrote: "I was lucky to speak completely ..."

The essential feature of the poetics of the novel - the poem of Yu. Zhivago, who are associated with the plot of the novel. Not all of them were written specifically for R-on. "Hamlet" relates to the appearance of the main character - the right to internal freedom from the brutal era. "August" - drama Lara and Yuri. Several autobiographical - "Autumn" and "Date" - are devoted to Olga Ivinskaya.

1.Pasy Tyutchev. Fedor Ivanovich Tyutchev (1803-1873). Rod. In the estate of the Oblovsky lips. in an old family family. Tyutchev, early showing. The ability to teach, received a good home education. At the age of 12, the poet under the hands of his mentor of Amphitheatrov translated Horace and wrote in imitating the ODD. For ODU "For the New 1816" in 1818, the title of employee of the Russian lovers was awarded. Word. In 1819, T. entered the verbal deposit. un-ta. There came closer to M. Pofodin, S. Shevyrev, V. Odoyevsky. It is formed by Slavophil. Views. After UN-Ta received a place in the Forester College. Affairs in St. Petersburg, then appointed by an overwhelming official Rus. Dipl. Mission in Munich. T. turned out to be in the center of the cult. Europe's life. He studied romantic. poetry and German. Form Translated verse-me G.Genen (the first of the Russian poets), F. Shiller, I.Get and others. poets. Owns. Poems Tyutchev printed in Ros. Zhurn "Galatei" and Almana "North Lira". In the 20-30s. Such masterpieces of philosophical lyrics of Tyutchev, like "Silentium!" (1830), "Not that Manty You, Nature ..." (1836), "What are you going about, wind Night? .." (1830) and others. In verses about nature Obvious chapters. Tyutcheva's Psycho: Eravera-I, I thought about it, the philosophical and symbolic meaning of the landscape, humanity, spirituality of nature. In 36 in the "contemporary" was published signed by F.T. A selection of 24 verse-y Tyutchev "Poems sent from Germany". This pool-I brought him fame. On the death of Pushkin T. responded by rows: "You will not forget the heart, as first love, / Russia will not forget" ("January 29, 1837"). In 1826, Tyutchev married E.Petherson, then survived the Roman with A. Laerhrenfeld (she was dedicated to the verse, among whom the romance "I met you - and all the past ..." (1870). Roman with E.Dernberg was so scandalous that Tyutchev was translated from Munich to Turin. T. It was hard to survive the death of his wife (1838), but soon he married to Dernberg. For it was fired from the diploma service and deprived of the chamber's title. Then He remained in Germany, in 1844 he returned to Russia. Since 1843, he performed with the articles of the Panleylavist destination "Russia and Germany", "Russia and the Revolution", "Patent and Roman question", worked on the book "Russia and the West". East . The Union led by Russia. The confrontation of Russia and the revolution will determine the fate of mankind. Rus. The kingdom must stretch "from Nile to Neva, from Elba to China." Politik. The views of Tyutchev caused the approval of Nikolai I. In 1858 he was appointed Chairman of the Foreign Committee censorship. By this time, the rise of poetic creativity T. In 1850, a selection of poems was reproduced in Sovrevnik, the selection of Pushkin's poems was reproduced, and the article N.Nekrasov was printed, in which he ranked these verses to brilliant phenomena of Russian poetry, put Tyutchev In one row with Pushkin and Lermontov. In 1854, 92 poems were published in the appendix to the "contemporary", and then on the initiative of I.Turgenev, his first poetic was published. Sat-K. Poetry Tyutchev - philosophical lyrics. Its fully, this feature of his lyrics affected the verses "Vision" (1829), "As an ocean, a born of the earth ..." (1830), "Day and night" (1839) and others, after a delay in the Crimean War calls for the spiritual Unity of the Slavs. About the essence of Russia writes verse, "I don't understand Russia with ..." (1866). Lifestyle However, European, did not like the village life, did not attach a lot of Orthodox rites. In 1850, being a married man and father of the family, fell in love with 24-year-old E. Denisyev. An open connection between them, during which Tyutchev did not leave the family, lasted for 14 years, they had three children. She generally perceived it as a scandal, from Denysheva, his father was renounced, she stopped taking it in the world. All this led Denyshev to a heavy nervous disorder, and in 1864 she died from tuberculosis. The shock from the death of the beloved woman led Tyutchev to the creation of the "Denisyevsky cycle" - the tops of his love lyrics. It entered the poems "Oh, how misery we love ..." (1851), "I knew the eyes - oh, these eyes! .." (1852), " last love"(1851-1854)," There are in my sufferer embarrassment ... "(1865)," On the eve of the anniversary of August 4, 1865 " (1865) and others. Love, felt in these verses as a higher one, which is given to man by God, like "and bliss, and hopelessness," began for the poet the symbol of human life in general - flour and delight, hopes and despair, the fraud of the only thing that Available to person - earthly happiness. In the "Denisyevsky cycle", love appears as a "fatal merger and a fight of the fatal" two hearts. After the death of Denysheva Ty. I went to the family abroad. I spent the year in Geneva and Nice, and on my return (1865) he had to survive the death of two children from Denysheva, then Mother. These tragedies followed the death of another son, the only brother, daughter. The horror of the approaching death was expressed in the poem "Brother, with so many years accompanying me ..." (1870). Premonition of the "fatal queue". Tyutchev died in the royal village 15 (27) of July 1873. 2. The general trends in the development of Russian literature at the end of the 19th-early 20th century. According to the tradition of "Rubbrozh" captures the last decade XIX. in. And the period before the revolution of 1917. But the 1890s. - This is the XIX century., Tolstoy and Chekhov time in prose, Feta, Majkova and Polonsky - in poetry. There is no strict border here. The authors of the XIX century. And the authors of the XX century. - People of one circle, they are familiar with each other, meet in Lit. Circles and editors of Zhurn. The name "Ser. century. During this period. Great Rus. Poetry of the 20th century. But calling the poets of that time "poets silver. century "no need, because Such narrow temporary frames do not contain all the greatness of their talents, the whole creative path. In addition, the "silver" in this century was a little: for the description of the era, black and red colors (night and bloody boards) are suitable. S.V. - The era is a turning point, the writers felt their convergence from a huge and incomprehensible peasant country, which could be a culture at one moment. Literary and public life 1890 - 1917. The born of the BB of the characteristic wealth of schools, for example, finding new F-M and content. In the 1890s. Siga, and in the 1900s already dominate new leaks. Marxists. Zhurn-s "New Word", "Start", "Life" and others. "Legal Marxists" are printed in them (PB Struve, M.I. Tugan-Baranovsky, as well as young philosophers, soon from Marxism, the departed - S.N. Bulgakov, N.A. Berdyaev), sometimes - roar. Marxists (Plekhanov, Lenin, Zasulich, etc.) Zhurn "Life" promotes sociological. or class-class approach to lit-re. The leading critic of the "life" of Solovyov-Andreevich considers the question of "active personality" decisive in Lit-Ri. For him, writers No. 1 - Chekhov and Gorky. In the "life" of the printed Chekhov, Gorky, Veresaev. Sociol. Preach approach. Also journal "Mir of God". Idegologist - Publicist Angel Bogdanovich, I will arrive. Aesthetics of 60s and critic. realism. In the "World of God" - Kubrin, Mamin-Sibiryak, and at the same time - Merezhkovsky. Realists. In the 1890s. In Moscow, the writing circle "Wednesday" has a realistic. Directed. The founder is a writer Nick. Teleshov, whose apartment was held by Writers. Fast. Participants: Gorky, Bunin, Veresaev, Chirikov, Garin-Mikhailovsky, Leonid Andreev, and others. At the "environments" there were Chekhov and Korolenko, drove up and artists: F.I. Shalyapin, O.L. Knipper, M.F. Andreeva, A.M. Vasnetsov and others. 1898 - the founding of Mkat. The theater was located in the building of the Hermitage Theater in the Karetny Row. 1st performance - "Tsar Fyodor John" A.K. Tolstoy with Muscovites in the lead role, but a truly iconic event became post. Chekhov "Seagull", Premiere - December 17, 1898 in the 1900s. Realists group. around the public "Knowledge". Entrepreneurs was founded in 1898. Literacy workers, the manager of the manager was Pyatnitsky, Gorky dedicated to him "at the bottom." Gorky himself entered his comrade in 1900 and became his ideological inspirer. In 1912, Writers V.V. Veresaev, I.A. Bunin, B.K. Zaitsev, I.S. Shmelev and others organized "bookbook-in writers in Moscow." The leading role is Vineniya Veresaev. Ideologist. Platform "Otrit-Naya: Nothing Anti-Lane, Nothing Anti-Communications, Nothing Antichoke; BB for clarity and simplicity of language. " Thanks to this, the publisher has become aware of the general public Creative-in Yves. Serg. Shmeleva. "Knowledge" by the early 1910s. Lost was the value. Gorky at that time lived on Capri. But by returning to his homeland, in 1915, he organized publishing house "Sail", who continued the traditions of "knowledge," and began to publish Lit.-Societies. Journal "Chronicle", in which the employee. Writers of different generations: I.A. Bunin, M.M. Sentin, K.A. Trenev, I.E. Volnov, - and scientists of all branches of Sciences: K.A. Timiryazev, M.N. Pokrovsky and others. By the beginning of the 1900s. - priority prose to poetry, but in the beginning. century The situation begins to change. Simb-zm. Expressive modernist. Directed in the 1890s. journal "Northern Bulletin". OSN. The task is "b-ba for idealism." Fight not for social, polit. Reconstruction common, and for the "spiritual revolution". Around "North Bulletin »Grinders-sm: nickname. Minsk, Meriazhkovsky, Hippius, Sologub, Balmont, Mirra Lochwitskaya, Ides, and others. In "Sitting Herald "- separate articles of Tolstoy," Malva "Gorky. New. directed It was not united. Vladimir Solovyov about decades: "Immantal mandragoras // Shelshali in the reeds, // and shross-decadent // Virsha in the worst ears." In 1895, the publicity of the sociy symbolists, the lead author - the 22-year-old poet of V. Breusov, attracted the first time. Much sounded parodigo in itself. Special SCAND. Fame acquired poem from one line: "Oh, close your pale legs!" In the 1890s. Decadentity was considered a marginal phenomenon. But by the 1900s, the situation is changed. Finance. Platform - Chims of Enlightenment. Metzenate merchants - Mamontov, Morozova, Polyakova, etc. The efforts of Brysov in Moscow in 1899 was created by publishing-in "Scorpio". Released several poetic poetic. Almanahs with gun. Named "Northern Flowers" (the latter was called "Northern Flowers Assyrian"). He began to leave a month. Journal "Scales", in which Brucers attracted young poets (Andrei White, Max Voloshin), Bunin. Mosk. "Lit-Hood. Circle ", 1899 - 19. From 1908 he was headed by Bryusov. In St. Petersburg - their leaders. Mer-cue entered Lit-ru as a poet of people. Directed, but soon turned to the spiritual searches of the Ecumenical. Scope. His poetic. Sat-K "Symbols" (1892) by their name indicated relatives with poetry FR. Sims-ZMA, and for many beginners Rus. The poets became programmate as well as his lecture "On the reasons for decline and about new currents of modern Russian literature." This lecture was perceived as a manifesto new lit. Movement. Mer-cue meaning. 3 components of a new statement: mystic. The contents, symbols and "expanded arts. impressive. " As the poet failed, and for the 10th anniversary created 3 major East.-Form. novel, union. The general title "Christ and Antichrist": "The death of the gods (Julian Apostate)", "Resurrected Gods (Leonardo Da Vinci)", "Antichrist (Peter and Alexey)". Zin. Nick. Hippius - Poet, Prose, critic ("Zinaida", as her friends called), possessed. Nezensk. Mind, inexhaustible. Absorbent. fed, and the propensity to all sorts of outrage. The lines of her early poems: "But I love myself as God, // Love my soul will save ..." - repeated with bewilderment and disapproval. At the initiative of Merezhkovsky in 1901 - 1903. There were organis. Relig.-Filos. Cathed, where it is possible to work. Intrial, discussed with present. C-vi \u003d\u003e journal New way "(Later" Questions of Life "). "Prosperators of the new relig. Consciousness "Waiting for the era of the Third Testament, the era of St. Spirit, argued the need to" Christian Socialism, "accused of Orthodoxy in the absence of social. Ideals. With t. S. Ts-uh all this was heresy. S.V. It was a syncretic. The Yavl-I, parallel with literary, was observed in other types of claim, which also correlated with common-politics. Tesh mi Young browsing. In the early 1900s. - Younger Sims-you block and white. Vyach. Ivanov, in the age was closer to the elders, but only in 1905 returned to Russia from Rome. "Tower" Vyach. Ivanova ("Vyacheslav Magnificent", as he was called) - Lit. Salon visited by writers of different directions, advantages. Modernist ("Ivanovo environments"). 2nd After the "Scorpio" of the SIM. The publisher became "Grief", - publishes, which existed in Moscow in 1903 - 1914. Found. and ch. ed. - The writer Sergey Kretch. In 1906 - 1909 In Moscow, I went out the symbol. Journal "Golden Fleece." Powing. On the SR-Va of the merchant N.P. Ryabushinsky. If "scales" were expressing the position of senior symbols that declare comprehensive aestheticism and individualism, the "Golden Fleece" reflected the views of those who saw in the statement of Relig. Mistich. Action - i.e. Junior. The cumier of the younger was. Solovyov. In 1909, in Moscow, it was organized publishing-in "Musaget". His founders were A. White and Emily Mestener - Mus. Critic, philosopher and writer. As the symbol-zm develops nearby with realism. In 1906, the Publishing House "Roshovnik" was founded. In 1907 - 1916 It produced a number of almanacs (only 26), in which there were equally represented by the Symbolist writers and present. Realism (L. Andreev and Sologub). The forms of the new style of prose, who experienced the undoubted influence of poetry (B. Zaitsev and A. Remizov). 1910th. In the era after the 1st Rus. Revall. The ratio of poetry and prose is changing. Lire, poetry, more mobile and spontaneous than the prose, faster responds to the alarming mood of the era and itself finds a response faster. In parallel with the level of development. Lit. criticism. The first theorists were symbolists. Bruce, Balmont, A. White, I. Annensky, etc. created theoretical. Research and justified symbol, writing studies on the theory of Russian verse. Gradually, the ideal of the poet-prophet came the image of the Master poet. By the beginning of the 1910s. New. The generation that grew up in the setting of great expectations and significant changes was even more radical than the symbol. The language of the new poetry was already familiar to them. In the early 1910s Define the leaders of the new learns. Akmeism became a moderate reaction to the sims-M (from Greek. AKME - "Top"), more radical - futurism. Ambamests. Gumilev, Gorodetsky, Mandelshtam, Akhmatova, Adamovich. Grown from the "poets shop". Journal "Hyperbori", ed. - Poet translator Mich. Lozinsky. Aqmeists also actively collaborated in Lit.-Hood. Zhurn-E "Apollo", which in 1909 - 1917. I published in St. Petersburg the historian Iska Va and Esseist Makovsky. Futurists: "Only we are the face of our time, it was said in the manifesto signed by David Burluk, Alexey Tschechy, Vladimir Mayakovsky and Velimir Khlebnikov. - Horn of time is the pipeline by us in verbal art. Past closely. Academy and Pushkin are incomprehensible to the gyeroglyphs. Throw Pushkin, Dostoevsky, Tolstoy, and so on. and so on. With a steamer of modernity. The "purple hands" and the "pale legs" audience seemed to be an innocent prank before that sample of poetry, which offered A. Klychey: "Hole, Bul, Schul, // Plotch, Ecum // You are with a bu // RL YEZ" . This director was called Cubal feast. Organization. - David Burliuk. Ego paturism, not so much known as poetic. School, how long giving 1 bright representative - Igor Northergynina (Name. Name Igor You. Lotarev). With the Cubal feast of Northerners, the tendency to the word loss, but, unlike them, he was not so much a rebel as a singer. Civiliz.: "An elegant stroller in an electric beat, // elastic rustling in the highway sand, // there are two virgin ladies in it, in rapidly reflux, // in Alo-Counter aspiration is a bee to the petal ..." in addition to the cubaceuturists and ego paturists of creatures. And other futurist. Groups, united. Around the poetry mezzanine created by them (Konstantin Bolshakov, Rurik Ivnev, Boris Lavrenev, Vadim Shershevich, etc.) and "Centrifuge" (Sergey Bobrov, Boris Pasternak, Nikolay Aseev, etc.). These groupings were less radical. Singles. From poets to. 90s. 1900s. Not adjacent to any of the currents of K. Fofanov, Mirra Lohvitskaya, Bunin-poet, Annensky. In the 10th year. Non-symbolists retained Voloshin and Kuzmin; She collaborated with the sims-tami, but he did not stick to them completely Vladislav Khodasevich, was close to acmeists, but the aqmeist was not George Ivanov, a completely independent figure was Marina Tsvetaeva. In the 1910s. The poets began their way, after the revolution, classified to the category of "peasant" or "Novokresteyansky": Nikolai Klyuev, Sergey Klychkov, Sergey Yesenin. Satire. In the 1910s. Lightly popularity enjoyed journals "satyrikon" - formed in 1908 Of the exist, earlier week-ka "Dragonfly", ed. - Averchenko. + Tafffi, Sasha Black (Alexander Mikh. Glyciberg), Petr Petrovich Potemkin and others. In 1913, part of the staff alone and began to publish journal "New Satirikon" (Mayakovsky). The works of satyrconets were not entertaining., Momentary mass, and a real good lit-swarm of the highest point. Flaw start. XX century Was in 1913 in 1914 the 1st World began. War behind her after The two revolutions of 1917 - and although the cult. Life did not stop, the scope of endeavors began to gradually hold back the lack of funds, and then the ideological dictate of the new government. 3. Installions. Taking the verbal expression of intertext links. Intercomcommunications - this (1) contained in one or another specific text (2) expressed using certain specific techniques (3) reference to another (other) specific text. \u003d\u003e Intertext connections are not distracted, but quite defined, having. material The embodied of the text, which he can possess, and may not possess. Therefore, M.S. and are not named among the mandatory signs of the text. M.S. There are so much time as creatures. Texts (M.S. Meetings in the Bible - Between the Old Testament, MS - practical. constant. Sign in Drusk. Lithing: Wed "" Word about the regiment "and" Zadonshchina ", etc.) . M.S. It is characteristic as thin and nonhukh. Literature. In business Dock. Often, the contents of the link to other doctors are in scientific. lit-re ordinary quotes, etc. It is not yet a clear delimitation between the techniques and types M.S. (Types M.S. - i.e. the types of works on features showed in them MS). Means of inter-store links. Known for a long time, but as receptions M.S. They began to comprehend and compare compared. recently. 1. Citation (from lat. - Call). The most common And universal. Reception M.S. In the narrow sense of quotation - pivot. delay from some text. But you can understand the quotation and wide. The sense is like any method contained in the text to refer to another text. So Cyt mi can be considered all techniques M.S. Cyt-s in a narrow sense - constant. Attribute Scientific. lit-ry, they are to be in quotes and supply links. Frequently in thin. Production, but references to the source usually not supplied. Exposedly defined reader. Errudes, dating sources - source. Moment use-I quote in thin. Production. Therefore, they often useless without quotes. When c. Do not take quotes, they can be indicated. In other ways: in notes, separated by italics. C. Not always literally. The smaller the correspondence C. Origin, the more it is approaching to C. In a broad sense, to other techniques M.S. Separate as a special type of quotation of ripples, i.e. c., taken by the author of his own. Production. 2. Epigraph (from Greek. - Inscription) Preceding. scientific, journalism., Hood. Machy. Paint. in thin. Literature. MB Small whole products, proverbs, sayings, but more often - a quote endowed with a special role. Placed after the title before the start of the army or part of it (chapters, section), this c. It is designed to indicate its main. Contact-E, the inventory of the plot, the Har-R is the main. characters, etc. When analyzing er We usually pay major attention to their semantic and compositional. Communication with subsequent. text. We should not forget that E.-quote does not simply predict the arrangement, but also binding. Its with that produce, from which he is taken, which makes it possible to better understand the idea of \u200b\u200bthe author. 3. Sitate title - as it were for combining. The role of the title and epigraph ("whites Sail Lonely" Kataeva, "Tuchka Golden" spent the night). 4. Allyusia (from lat. - hint) and reminiscence (from Late. - Memories). All. - Relations of it. in the act of Resistant. Wealth or expressing, historical., Mythologies. Order ("I wash my hands"). A. - This is a hint of the prostate mention is well known. Real Fact, East. Events, lit. Idle or some episode from it, etc. (eg: "Glory Herostrata"). Rem is interpreted 1) as echo in lit. or music. the work of another arrangement, which may be the result of involuntary borrowing; 2) as conscious. reception - consumed Words, the phrase, I offer, based on the fact that it will cause a dream about this or in the East. Fact, myth, lit. work. We will talk about r. Only in the second sense. A. and r. may occur and outside the framework M.S. (if it comes to historical. Event, etc.). But when with their help, I am MS, the differences between them are not very clear: a hint of something and impulse to the prejudication about something perceived as rather similar phenomena. Creatures. The trend towards the unification of these concepts: more often in special. Lit-re was used by the term "Allusion". 5. Advanced images. Appeals writers to the images created by other authors (proof of Pushkin to the image of Child Harold in Onegin et al.). 6. Krug reading heroes. This technique has a significant meaning in the creation of images of heroes (Onegin, bazaars, etc.) 7. "Text in the text". In the product. can be used Text (letter, document, etc.) entirely. One of the 1st this was done by Pushkin, which included the full text of a genuine judgment in the case between Lieutenbust in the Dubrovsky. F. Kryukov and Guarantor Muratov. The names changed, alterations into the text was not introduced, but he is perceived as natural. Compositions. Cut novel. 8. Centoon is a poetic work that is fully consisting of quotation. The quotation work is the same, but in prose.

ilet 7 1. Karamzin and Russian sentimentalism in the late XVIII century Russian nobles survived the two largest historical events - the peasant uprising under the leadership of Pugachev and the French bourgeois revolution. The political oppression and physical destruction from the bottom - these were reality, which became in front of Russian nobles. Under these conditions, the former values \u200b\u200bof the enlightened nobility have undergone deep changes. Karamzin and his supporters argued that the path to the happiness of people and the universal good - in the upbringing of feelings. Love and tenderness, as if overflowing from a person in a person, turn into good and mercy. "Tears, spilled by readers," wrote Karamzin, "always flow from love for good and nourish it." On this basis, the literature of sentimentalism is born, for which the main thing is the inner world of a person with his non-good and simple joyful friendships in society or nature. This establishes a close connection between sensitivity and morality. Conflicts between simple people , "sensitive" heroes and prevailing in society a morality is quite sharp. They may end in death or misfortune hero. The popularity of "poor Lisa" did not weaken over several decades. She is read with a living interest. The story is written on the first person, followed by the author himself. Before us, the story-memory. The Hero-author first reports in detail about himself, about favorite places in Moscow, which entail him and which he willingly attend. This mood includes romanticism ("the magnificent picture, especially when the sun shines on it; when the evening rays are glowing on countless devoting dips, in countless crosses, to the sky crazy!"), And the pastorality ("the fat, dense, flowering meadows are spread at the bottom. "), and gloomy premonitions inspired by the monastery cemetery and boring thoughts about the death of man. The sad story of Lisa is told by the mouth of the auto-hero. Remembering the family of Lisa, about the patriarchal life, Karamzin introduces the famous formula "and can love the peasant women!", Which in a new way illuminates the problem of social inequality. The rudeness and the uncompatory of the souls - not always the lot of poor people. Karamzin with completeness and details describes the change of moods of Lisa from the first signs of flashed love to deep despair and hopeless suffering that led to suicide. Lisa did not read any novels, and she did not have to worry about this feeling even in imagination. Therefore, it was stronger and more joyful. It was opened in the heart of the girl at her meeting with the erast. With which extraordinary sublime feeling describes the author of the first meeting of young people, when Lisa treats Erast with fresh milk. "The stranger drank - and nectar from the hand geba could not seem tastier to him." Lisa falls in love, but with love comes and fear, she is afraid that the thunder will kill her, as a criminal, for "the fulfillment of all the desires is the most dangerous temptation of love." Karamzin intentionally equalized Eraste and Lisa in the universal show, - both of them, capable of rich spiritual experiences. At the same time, Karamzin did not deprive the heroes of individuality. Lisa - Child of Nature and Patriarchal Education. She is clean, naive, disinterested and therefore less protected from the external environment and its defects. Her soul is open to the natural gusts of feelings and is ready to surrender to them without reflection. The chain of events leads to the fact that Erast, losing money, should marry rich widow, and Lisa, abandoned and deceived, rushes into the pond. The merit of Karamzin was that there is no villain in his story, and there is an ordinary "small" belonging to a secular circle. Karamzin first saw this type of young nobleman, to some degree of predecessor Evgeny Onegin. "Erast was a rather rich nobleman, with a fairful mind and good heart , kind of nature, but weak and windy. He led a scattered life, I thought only about my pleasure, I was looking for him in secular fun, but I often did not find it: I missed my fate. "Good from the nature of the heart Rodnit Erast with Lizo, but unlike her he got a book, artificial education , His dreams are lifeless, and the character is spoiled and unspecified. Without removing guilt from Erast, the writer sympathizes him. The vices of the hero are not rooted in his soul, but in the bushes of society, Karamzin believes. Social and property inequality lies and ruffles good people and becomes an obstacle to Their happiness. Therefore, the story ends with a peaceful chord. "Poor Lisa" caused a whole imitation wave: "Poor Masha" Izmailov, "Alexander and Julia" Lviv, "Severacted Henrietta" Cushkinsky. In the 1810th, signs of the crisis of sentimentalism. False sensitivity, arms and pompous language strengthened discontent readers sentimental tag. However, it must be said that the stylistic stamps and the nitlyant syllable are characteristic of all writers Annot. But the life of the genre did not end. The depth of the travel content was now determined by the author's spiritual world. The best works of Russian pichalters in the journey genre - "Letters of the Russian officer" F. Glinka, travel journalism V. Kyhehelbecker, "Journey to Arzrum" A. Pushkin, "Fregat Pallada" I. Goncharov - meet new reading expectations, as they are represented The identity of the companion traveler. Karamzin Nikolai Mihailloch. "Letters Rus. Poofing "," Poor Lesza "(publ. Brought by K. Slava 1792, Part 6, BN 3; Dep. Ed.- M., 1796). And others. Tale K., publ. in "Mosk. magazine, "opened a new page in the history of Rus. prose. K. appealed to non-niced, peripheral genres: travel, "semi-expressive story", Lyrich. The passage in prose and the hero is emphasized by ordinary traits. But it is precisely this, seemingly nothing, the prose put the most important issues of contemporary: the attitude of the West and the East (a collection of many "Tilemokhid" of Europe - a kind of new Tilemokhid. Civilization), fate rus. culture, nature of the human feeling and moral equality of people. Lit-Ra, thanks Karamzin, prose, approaching life, but the life of Este-tizned; The sign of "literature" was not made not the elevation of the syllable, but it is implanted, just as the value of the cells became determined by no social weighing, power or wealth, and mental sense. Position K. was contradicted. On the one hand, he sought to create a person of a new culture - civilized, sophisticated, "sensitive", with a thin soul and mind, inheriting all the best of the stock of the world cult. It was supposed to be a private, "private" person who did not associate either with the state or politician, its normal environment - a small circle of close friends, ECTS. Condition - loneliness. Such an ideal would have been accepted as opposed to societies, activities (K. itself, meanwhile there was a community, a leader). Dr. The side of his position implied the desire to raise the ordinary reader to the level of the SOC. Culture. K. dreamed of a competent peasant, about the light lady speaking in Russian and reading Rus. Books about internal. Culture and human dignity as a common lotion. Not tor-; quiet. ODD and not didactic. teaching, and novel and story, short lyric. Verse, and romance, penetrating all the sectors of society, delated the minds and senses of people. From the position of K. It was possible to withdraw and the ideal of lit-g "for a few" and the program of the widest population. Therefore, he is actively and skillfully fighting for an increase in the tyriarms of its RO, at the same time creating texts printed in no more than 10 copies, or a manus. Albums for chosen mug. The vocation of the journalist, publisher, the enlightener had for K. The principal sense, and loss in con. 1792 journals. The stands tragically responded on the spirits, health and work of the writer (in the next year he was not publ. Neither lines). The last 10 years K. spent in St. Petersburg (he left Moscow on May 18, 1816). It was not easy to achieve an audience with the Tsar, for this it was necessary to go preliminary on the bow to Arakchev, and K. could not make it do. The king, according to K., "dug him on roses" - the historian was accepted and caressing in the royal family, but Alexander the audience did not give. The printed case of the "original ..." (without censorship) managed to settle.

1. Ligine Lermontova Mikhail Yuryevich Lermontov, Russian Poet. Unknown chosen one. The marriage of the parents of Lermontov is the rich heiress M. M. Arsenyeva (1795-1817) and the Army Captain Yu. P. Lermontov (1773-1831) - was unsuccessful. Early death of the mother and a quarrel of the Father with Grandma - E. A. Arsenyeva - heavily affected the formation of the poet's personality. Lermontov brought up a grandmother in the estate of Tarkhan Penza province; I received an excellent home education (foreign languages, drawing, music). The romantic cult of the Father and the corresponding interpretation of the family conflict was reflected later in the drams "Menschen und Leidenschaften" ("People and Passion", 1830), "Strange Man" (1831). Significantly for the formation of Lermontov and legends about the legendary founder of his kind - Scottish poet Thomas Lermontte. Strong childhood impressions include trips to the Caucasus (1820, 1825). From 1827 Lermontov lives in Moscow. It is studying at the Moscow University Noble Guest House (September 1828 - March 1830), later at Moscow University (September 1830 - June 1832) on moral and political, then the verbal branch. The early poetic experiments of Lermontov testify to a gambling and unsystematic reading of the predocutant and romantic literature: along with J. Bayron and A. S. Pushkin, F. Schiller, V. Hugo, K. N. Batyushkov, Philosophical Lyrics of Lyubomudrov, are important for him; In verses, the mass of borrowed lines (fragments) from the writings of various authors - from M. V. Lomonosov to the modern poets. Not a thought of herself a professional writer and not seeking to be printed, Lermontov leads a hidden lyrical diary, where other people, sometimes contrasting formulas serve as an expression of the innermost truth about the great and incomprehensive soul. E.A. Sushkova, survived in 1830-1832, N. F. Ivanova, V. A. Lopukhina becomes material for the respective lyrical confessional cycles, where the eternal, tragic conflict is hidden for specific circumstances. At the same time, working on romantic poems is going - from frankly imitative "Circassians" (1828) to quite professional "Izmail Bay" and "Litvinki" (both 1832), testifying to the assimilation of Lermontov genre (Bayronovsko-Pushkin) canon (the exclusiveness of the main character, " The appearance of the composition, the "inexpensive" plot, exotic or historical color). By the beginning of the 1830s. The "main" heroes of the Lermontov poetic system are acquired, correlated with two different life and creative strategies, with two interpretations of their own personality: the fallen spirit, deliberately cursed the world and choose Evil (the first edition of the poem "Demon", 1829), and innocent, pure soul sufferers Walking on freedom and natural harmony (Poems "Confession", 1831, which was a prototype of the Petzyrian poems). The contrast of these interpretations does not exclude internal kinship, providing intense antitation of the characters of all the main Lermontic heroes and the complexity of the author's assessment. Time of Troubles. Leaving the university for not quite clear reasons, Lermontov in 1832 moves to St. Petersburg and enters the school of the Guards subpenters and cavalry junkers; Released by the Kornet Life Guard of the Hussar Regiment in 1834. Place high poetry It occupies an unprinting poem ("Junker poems"), the location of the tragic chosen one is a zinic brareter, a reduced Double "Demon". At the same time, working on the novel "Vadim" (not completed), where ultraromantic motives and stylistic moves (kinship "Angel" and "Demon", "Poetry of the Impression", language expression) are accompanied by a thorough review of the historical background (Pugachev's uprising). "Demonic" line continues in an unfinished novel from modern life "Princess Ligovskaya" (1836) and the drama "Masquerade". The last Lermontov attached particular importance: he gives it three times to censorship and reworks twice. The Poet of Generation by the beginning of 1837 Lermontov has no literary status: numerous poems (among them recognized in the future "Angel" masterpieces, 1831; "Sail", 1831; "Mermaid", 1832; "Dying Gladiator", 1836; Poem "Boyar Orsha" , 1835-1836) not given to print, novels are not completed, "Masquerade" is not missing censorship, published (according to unconfirmed reports without the author's knowledge) Poem "Haji Abrek" (1834) of resonance did not cause connections in literary world No (meaningful "Neuter" with Pushkin). Glory to Lermontov comes overnight - with the poem "Poet's death" (1937), response to the last duel of Pushkin. The text is widely distributed in lists, it is highly evaluated both in the Pushkin Circle and the public, hearing their own pain and indignation in these verses. The final lines of the poem with sharp attacks against the highest aristocracy were caused by the anger Nikolai I. On February 18, Lermontov was arrested and soon translated by the ensign in the Nizhny Novgorod Dragun Regiment in the Caucasus. The link lasted until October 1837: Lermontov Displayed the Caucasus, visited Tiflis, was treated on the waters (there was acquaintance with the referential Decembrists, including the poet A. I. Odoyevsky, as well as with V. G. Belinsky); He studied the East Folklore (recording the fairy tale "Ashik-Kerib"). Publication in 1837 poems "Borodino" strengthened the fame of the poet. From April 1838 to April 1840, Lermontov serves in the Life Guard of the Hussarsky Regiment, confidently conquering the "big light" and the world of literature. Communication with the Pushkin circle - the Karamzin family, P. A. Vyazemsky, V. A. Zhukovsky (thanks to the mediation of the latter in the "contemporary" in 1838 the poem "Tambov Treasury") and A. A. Karavsky (publication "of the song about King Ivan Vasilyevich ... "In editable regional literary add-on addresses to" Russian disabled ", 1838; systematic cooperation with leaded Kraevsky in 1839" Domestic Notes "magazine). Lermontov is included in the front-line-aristocratic" Sixteen Circle "(siblings of the most close to Nicholas I families "(Frederica, Golitsyn, Paskevich, S. Dolgorukhi, Shuvalov, Vasilchikov; When Lermontov was exiled for the second time, all the sixteen fell behind him;) In the mature lyront, Lermontov dominates the theme of the modern society to him - a silent, reflexive, not capable of acting , passion, creativity. Without separating yourself from a sick generation ("Duma", 1838), expressing doubts about the possibility of the existence of poetry here and now ("Poet", 1838; "Do not believe yourself", 1839; "Journalist, reader and writer", 1840), skeptically evaluating life as such ("and boring, and sad ...", 1840), Lermontov is looking for harmony in the epic past ("Borodino", "Song about Tsar Ivan Vasilyevich .. . ", where the demonic hero of the Okrichnik suffers defeat from the keeper of moral obscures), in folk culture (" Cossack Lullaby Song ", 1838), in the feelings of the child (" How often the Motorious crowd is surrounded ... ", 1840) or a person who has preserved Children's worldview ("Memory A. AND ABOUT<доевского>", 1839;" M. A. Shcherbatova, "1840). Bog careity (" Thanks ", 1840), the motives of the impossibility of love and destructive beauty (" three palm trees ", 1839;" Rock "," Tamara "," Listka "," Sea Tsarevna ", all 1841 It is adjacent to the search for spiritual peacekeeping, connected to the deeded national tradition ("Rodina", "dispute", both 1841), then with a mystical yield outside of earthly doom ("I go out on the road ...", 1841). That The same intense fluctuations between the poles of peace-rone and love for being, between the earth and heaven, the curse and blessing inherent in the vertex poems of Lermontov - the last editorial office of the "Demon" and "MTSIRY" (both 1839). In 1838-1840, a novel "Hero of our time" was written: Initially, the viscosal novels were printed in the "domestic notes" and, perhaps, did not intend to cyclization. The phenomenon of a modern man is intended in the novel; the anti-necinomy inherent in the poetic world of Lermontov is carefully analyzed. The emergence of a separate novel edition (April b 1840) and the only lifetime collection of the "poem of M. Lermontov" (October 1840; Included "MTSYRY", "Song about Tsar Ivan Vasilyevich ...", 26 poems) became key literary events of the era, caused a critical controversy, a special place in which belongs to the articles of Belinsky. Unexpected finals. Duel Lermontov with the son of the French ambassador E. De Barant (February 1840) led to arrest and transfer to the Tengin Infantry Regiment. Through Moscow (meetings with Slavophiles and N. V. Gogol, in his birthday dinner), the poet is serving in the Caucasus, where he takes part in hostilities (the battle on the river Valerik, described in the poem "I write to you by chance - right ..." ), what it seems to award-winning (projects from the lists by the emperor Nikolai I). In January 1841, he leaves for St. Petersburg, where, crossing a two-month vacation, located until April 14, rotating in literary and secular circles. Lermontov ponders resignation plans and further literary activities (the idea of \u200b\u200bthe historical novel is known; there is information about the intention to take for the publication of the magazine); In St. Petersburg and after departure from it, one after another is written ingenious poems (in. etc. The above). Returning to the Caucasus, Lermontov delayed in Pyatigorsk to treat mineral waters. A random quarrel with a fellow in the UNCER school N. S. Martynov leads to the "eternally sad duel" (V. V. Rozanov) and the death of the poet.

B. 10/2 LIT-RUS. Emigr. 20-E-80s. Centers: Paris, Berlin (cheap Life, Here Gorky did a "conversation" magazine for the USSR, but it was banned), Prague, Sofia, Belgrade, Warsaw, Harbin, Shanghai. First wave. Daily. Newspapers: "Last. News "(1920-1940, Milyukov)," Revival "(1920-1940, Struve), in the USA -" New. Rus. Word "(from 1910). Up to 24g. No section-I between owls. and rus. lit-swarm. Journal "New. Rus. Book "(Berlin, 1921-23, Yashchenko) - apolitical. position. 1921 - Collection-to "Change of Venkh" (Prague, 1921, Divales, Keywords), repentant emigrants, slogan "in Kosnos!", Reconciliation from owls. power. Gas. "On the eve" (22-24), a bridge between owls. Ross. and emigr., collaborated with al. Tolstoy. Collection-to "Exodus to the East" (Sofia, 21g., Vernadsky, S. Bulgakov, Florensky), Revolution - a spontaneous catastrophe, the future - in the church. Journals. "SCU. Notes "(20-40gg., M. Vishnyak). Journals. "Russian Thought "(21-24gg, streng). Left wing - "Willow of Russia" (Prague, 22-32gg, M. Slonim), support for young lit-ry. K.20X-N.30X GG. - In general, the Green Lamp (Hippius, Merezhkovsky). Journal "Numbers" (30-34 Gg), publ. "Roman with cocaine". 30th.: 1) Inflighters (Communism + royalism); 2) national workers (nationalists); 3) the thrust course (Berdyaev, journals. "Whats", journal. "Path"), sympathy of fascism; 4) journals. "New hail" (31-39gg, F. Stepun, Fedotov), \u200b\u200bChristian Socialism. Pre-war time: "Defense" (the protection of Russia, impact on the conflict with the Bolsheviks) and "Privacy". Second wave. Emigr. During the war or after. Gleb Glinka, Ivan Elagin, Vladimir Markov. Older generation. Ivan Bunin. Ivan Shmelev (1873-1950) - "The Inspromandable Bowl" (1919, about a serf artist who loved Mrs., from his icon comes mysteries. Power), "The Sun of the Dead" (1923, on the cruelty of the Bolsheviks in the Crimea), "Summer Lord" ( 1933, on behalf of a boy from the Moscow Old Believer Family), "Bogomol" (1935). Boris Zaitsev (1881-1972) - "Alexey God's Man" (1925, 2 books about pilgrimage to holy places), "Golden pattern" (23-25gg, Roman based on Mary Magdalene, an emigrant is in Italy, where she reminds her Russia), "House in Passy" (35G., Impressionist. Roman, there is no storytellor, nor GL. Hero, shows the life of emigrants), "Travel Gleb" (37-53gg, tetralogy ("Zarya", "Silence", " Youth ", Tree of Life"), describing. The youth of the hero before the revolution and life in exile). TEFFI - national. "All about love" (46g., The life of chudakov-emigrants, which is not lucky in love). Arkady Averchenko - "Dozen knives in the back of the revolution" (1921, compilation). Mark Aldanov - Historosophical Make-I: "Holy Elena, a small island" (21g, Tale), "Ninth Termidor" (23g., Roman), "Tenth Symphony" (31g., Philosopher. Fairy Tale), "Key" (28 -29) and "escape" (30-31) - about rus. Revolution. Mikhail Osorgin - "Sivtsev enemony" (about the revolution, 28g). Marina Tsvetaeva - Rezzh. To Efron in 22 g. In Prague, ed. Collected. "Craft" (23g., Berlin), "After Russia" (28g., Paris). Emigration is tuned to her hostile because of Efron and praise Mayakovsky. "Poems to the Son" - 32g. "Tsar-Maiden" - 22g., "Swan Stan" - publ. In Munich in 57g. Vl. Nabokov - Russians - "Masha" (26g.), "King, Lady, Valet" (1928), "Protection of Luzin" (30g), "Sun" (30g), "Feat" (32g), "Camera" ( 32G), "despair" (36), "invitation to execution" (38) "Dar" (37-38), "Other shores" (51g). English - "Lolita", "Pinn", "Genuine Life Sebastian Knight", "Hell", "Pale Flame". Young prose. Nina Berberova - "Lackey and the girl" (49g, novel), "Accompanic" (49). Roman Gul - "Ice Hike" (23g, about the Grees. War), "In the scattering," (23g), "I took Russia. Apology emigration "(81-89, MEMUARS ON Emigration), MEMUARS" Intrigis my ". Gaito Gazdanov - "Claire's Eve" (30g). Poets. Old - Balmont, Hippius, Tsvetaeva, Vyach. Ivanov. Khodasevich - the collection-to "European Night" (27G), then became critic. George. Adamovich - "Unity" (Sat-K, 1967). George. Ivanov - "Hornynya" (1914), "Monument of Glory" (1915), "Heather" (1916), "Gardens" (17g.), In 23. Emigr. In Berlin, then to France. Roman "Third Rome" (not over), memoir prose - "Chinese shadows", "St. Petersburg Women", Late Lyrics - "Decay of Atom" (1938), "Portrait without similarity" (1950), "Posthumous Diary" (1958) . Nikolay Otsupa - "Diary in verses" (50 g), interest in great forms. Published "Numbers". Vladimir Pozner - "Poems in case" (28g). Directions of poetry: 1) "Crossroads", Prospets, Khodsevich, Strict Form . 2) Supporters of Adamovich, "Simplicity and Humanity". 3) "Formists" ("Kochyevye" group, at the head of Mark Slonim), followers of Tsvetaeva and Pasternak, experiments with the form. Boris Poplavsky - Surrealist, died of heroin alone. Yuri Therapian - "Poems about the border." Irina Odoin - Memoirs "On the shores of the Seine", "On the banks of the Neva". The third wave. Names. The third wave of emigration differed significantly from the first two fact that its representatives were born during the years of Soviet power. Mostly During the years of "thaw", they began to write those who made the backbone of the third wave of emigration. To Ser. 60s. It became obvious that Nick There will be no radical changes in the politics and life of the people. Khrushchev meets with writers and artists in 1963 laid the beginning of the coagulation of freedom in the country, including the relative freedom of creativity, which during thaw. The next 20 years are heavy. Someone managed to break through censorship, but for most artists who wanted free creativity, it was impossible. Nevertheless, some writers could transfer their works abroad, where they were published by different magazines or even individual books and returned to the USSR (Tamizdat, Ardis). Publishing House "Ardis". Propheries in Michigan in this publishing house published Nabokov. This is the publisher of the third wave of emigration. (S. Sokolov. School for fools. Palisandria). The poems of Pasternak were published in the "new magazine", the heads of his novel were published, "Kolyma stories" of Shalamov, Solzhenitsyn stories, verses of Ahmadulina, Brodsky were printed. Solzhenitsyn's persecution began (after 1966 and up to the 80s. He was not published in the USSR) and V. Nekrasov. I was arrested and exiled for forced work I. Brodsky. The result is forced emigration of many of the most striking writers. One of the forms of such emigration was the deprivation of citizenship of writers who went beyond the country, for example, to read lectures. I. Brodsky, Vladimov, V. Winovich, A. Galich, S. Dovlatov, Y. Kublanovsky, S. Sokolov, A. Solzhenitsyn and MN. Dr. With the emigrants of the first waves, they were brought together a complete rejection of Soviet power. History from the textbook Agenosova; "Sinyavski offered emigrants of the first wave to listen to Vysotsky. The film was politely listened and said that Chaliapin sang better, because I did not roar and did not shout, and the language in the song is some kind of clumsy, illiterate. " "In different languages" - speech at the Geneva Symposium "One or two Russian literature?" Publisher of Sinyavsky. Old Russian emigration retained the "Russian Nature Reserve", the wonderful Russian speech (B. Zaitsev and Yu. Cossacks). But in the metropolis during this time, strong linguistic changes occurred. The strength and weakness of writers of 3 waves are that they brought the language of the Soviet society to emigration. Attention to the avant-garde and the bench chamber was a feature of the third wave of emigration. The "face" provides its pages to experimentants: Igi, A. Voznesensky, Y. Dombrovsky. Of those published in 60-70. Authors only Solzhenitsyn and Tenryakov belong to the realistic direction. "Airways" (New York): Poems without a hero of Akhmatova, Mandelstam, Babel, Tsvetaeva. Fully postmodern magazine "Echo" (Paris): S. Dovlatov, E. Limonov, Yu Mamleev. It is easier to establish the connection of the writers of the third wave with Soviet or foreign authors than with artists of Russian abroad. S. Dovlatov. (1941-1990). I went to emigration in the USA in 1978. Creativity - on the verge of realistic and avant-garde prose. "Suitcase". Sasha Sokolov (r. 1942). In 1965, he was a member of the society of young poets (courage. Thought. Image. Depth. / The youngest society of geniuses). After the overclocking of the Society, he lived on the Volga, collaborated in " Literary Russia"(1969-1972), served by Eger in the Tver region. When I realized that his works could not be printed, he emigrated to Vienna, marrying the Austrian girl, threw it there. Since 1976, he lives in the USA and Canada. "School for fools." The novel was written in Moscow and published in 1976. Nabokov approved, as well as Brodsky and Berberov. Destroyed boundaries between normal and abnormal worlds. Hero of the novel Normal boy in the abnormal world runs from reality in his own created world. This inner world of the hero is more real and more valuable than genuine reality. The world will twist an outstanding personality by putting it to school for mentally retarded children. Dedicated to the "weak boy, Vita Plyaskin, my friend and neighbor." Other his belongings: "Between a dog and wolf."

1.Man of Dostoevsky "Crime and Punishment". Double Skolnikova 1.Roman F.M. Dostoevsky "Crime and Punishment." Double splitties. "Crime. And the mel. " (1865-1866), publ. in "Rus. Herald "Katkova; In the center is an ideologist. Murder, psychol. Crime report. History of creation. The story was conceived. Genetic. connection. with unfulfilled. The idea of \u200b\u200b"drunk", Vasche. Features to the image of Marmaladov. 1e Var-You're thinking. In the form of confession, diary, but the last. Editors - from the 3rd person. In PIN, a large multicrogenous novel, depart-smiling self-visible ch. Hero in correlated sovereign. Consciousnesses and ethics. Position. other characters (this is the principle of the Polyf Polyf. novel with several. Ideologists heroes). Soc. The motives got in it in the depth. Form Double, inseparable from art. Drama R., "Killer-theorient", modern Napoleon, who, according to the writer, "cums the fact that it is forced to convey himself for himself ... so that although to die in the cautious, but pushing again to people ...". The collapse of the individualistic idea of \u200b\u200bRaskolnikova, his attempts to become the "Lord of Fate", climb over the "creature tremble" and at the same time make mankind, save the disadvantaged - the philosophical response of Dostoevsky to the revolutionary sentiment of the 1860s. Having made the "killer and the harm" by the main heroes of the novel and putting the inner Drama Skolnikov on the streets of St. Petersburg, Dostoevsky placed an ordinary life into the situation of symbolic coincidences, supervised confessions and painful dreams, intense philosophical dealers, turning painted with topographic accuracy Petersburg in the symbolic image of the ghost city . The abundance of the characters, the system of twin heroes, wide coverage of events, the alternation of grotesk scenes with tragic, paradoxisticist pointed formulation of moral problems, the absorption of heroes of the idea, the abundance of "votes" (various points of view, bonded by unity of the copyright position) - all these features of the novel became the main features Poetics of a mature writer. The image of Raskolnikova. Proud self-esteem. Hero ideologue. Stalo. With the truth of life in the face defenseless. sacrificial Sony; At first. Out of Metaphysic. Problems of happiness, deserving. Only suffering. Span. numerous East-ki Doc. Har-Ra (Prost-Ie Gerasim Church, the process of Lazener, Crim. Chronicle), appearance and psycho. Solution Skolnikov's system. with the world. Lit Roy (the image-idea of \u200b\u200bMagomet, Napoleon, Bogoborch-in Job, Bayr. Buntari, Faust, Hamlet, German, Godunov, Salieri, demon, Pech ....), Life. Mat-L - Naia for the psychia of Pestos, drunks, officials; The city is almost photographic. "PIN" opening. The period of mature TV versa is, in the facts of the Mysticism of Being. In a conversation with the Marmaladov, the act of Sony is called. to the height of the feat, into the world r-inlet . SV.P.P.: The goal has achieved. Only a personal price. Victims, but R. turning the liberty. This sacrifice as a post. a blatant argument in favor of the theory; GL The conflict is the confrontation of Christ. and atheist. Magionism, the logic of mind and heart. Antiteza ideologues: screamed. - Thinker-intellectual, smart, eloquent, writer, proud, angry; Sonya is a mystic, barely literate, kosonaya, cheat. Ev Lie, Smyshenna, Good. Intellect Zablud. In the darkness of challenge; honestly. Thoughts opir. on the exhaust, but false. SIS-MU Principles, the division of the person on the "categories" (handsomeness, chosentes and creatures trembling; it is standing on the threshold. Failure from faith in God); The world is saved by dreams, who chosen self-denial and repentance; Solarness - organic. The world is growing. from "fraternal nature" Rus. Chel-ka (del-é to Sona in prison). The image of R. is purely ideological, nine, equally specifically social and archetyapic; The name is symbolic - the split of the personal (theory - life, the murder is love), torment. Self-reflection, obsessed with the idea, predatory-in the roots (pledge of hours). R. not so called. The deadlock of the theory rejecting the software. The law, although noblen, generous, responsive, but rejects compassion, choosing a riot. Doubles. The image of Raskolnikova is the center-forming. All other heroes are somehow closed on it, form a certain "sunshine": Raskolnikov in the center, the rest - the races :). Images in "PIN" can be broken down by groups, of which are the most significant 3: Antagonists R. (Sonya, Dunya, Rasschin), "partial twins" (marmalands, Petrophiry Petrovich) and "Doubles - mirror curves", reflecting and distorting the image . Already they consider poiff (the theory of intelligence. Egoism, parody of Chernyshevsky, Socialists-Utopists), Lebesyatnikov (communist. Hostel), Svidrigaylova (cynicism of murder, eternity - a bath with spiders), which - everyone in their own way - distort and messenger. different. Aspects of the theory of Raskolnikov, discrediting it in practice. "Site twin" is an officer in a restaurant who speaks his friend in the restaurant: "I would kill this damn old woman and robbed." However, the antagonists in their own way reflect the image of Raskolnikov. Svidrigaylov - Naib. Significant of cryoprotalkal twins R. The combination of the ability to murder and violence (poisoned the wife, over the girl was once abused, he pursues the Dunya) with the remains of the inside. Nobility (attached to the shelter Osapotevsh. Marmaladov children on the eve of their own. suicide, let go of the Dunya when she said that he would never love him). Moreover, some. Detailed biogr. Svidr. - Sat in a debt prison (R. In debt dependence on the old woman). From somewhere knows Svdr. that R. will be. Crime (hints at murder after the death of Katerina Ivanovna Marmaladeova). In short, nearby. double. Marmaladov and Porfiria Peter. can be considered twin, because In their images, reflecting separately. The features of the image of R. marmalades: Softness, bind to the family and a sense of guilt in front of the family, the possible fate of R. (before murder) - Marmaladovskaya (IMHO). Porfiry: No matter how rushing R., who invented his theory, removed and found the strength to refuse her. There is a suspicion that PP in his youth survived something similar. Antagonists - they are positive twins, reflect. That is the best that preserved in the soul R. Gonim about the religiosity and the meekness of the Sonia marmalade, morals. Duni resistance, high morality. Raulmichina quality. All their union. One thing is the ability to sacrifice for the sake of the neighbor (Sonya in a prostitute goes for the sake of family, then for R. to Siberia, Dunya sacrifice Spock. Life, Wozpu is good to get a good for honor; Raleshin, marrying on the Tone, going with her too to go to Siberia R., R. himself says that Rassakhin "will go to the crucifix"). Their sacrifice is the reflection of the ability of repentance in R. (IMHO again). 2. The creative path of Bunin was born Bunin in 1870 in Voronezh. The childhood of the Bunin passed on the farmers of the bottle under Yel. From his kind were: Vasily Zhukovsky, indirectly brothers Kireevsky. Education Bunin got at home. In the late 1870 He began typing his poems. In 1891, the first collection of his poems came out in Orel. Weak collection. His first story sent to the magazine " Russian wealth "Called the delight of the publisher of Mikhailovsky. For the poetic collection "Listopad" in 1900, Bunin received the Pushkin Prize, and in 1909 he became an honorary member of the Academy. After receiving fame and money, Bunin began to travel: Turkey, Small Asia, Greece, Egypt, Syria, Palestine, Algeria, Tunisia, Ceylon. Twice was married. The first wife is Anna Tsakney. The second wife became faith of Nikolaevna Muromtsev. Literary predecessors of Bunin - Chekhov, Tolstoy, Turgenev and Goncharov. It is relationship with Turgenev and Goncharov gives the Bunin that classic appearance that distinguishes him from contemporaries. Ros Bunin under the influence of ideas and the identity of Lion Tolstoy. The shape and style of Buninskaya prose were equally alien and the riot of paints thick and the image of decades. His artistic stroke was not designed to destroy the tradition or develop it. He was designed to complete it. The main translation work of Bunin was the "Gayavate" Longfello (1896). A consistent realist, an opponent of modernism, Bunin did not accept the October Revolution. His attitude to this revolution is clearly expressed in his "appearance days." It seems to be a story, stylized under the diary, which Bunin really led in the captured by Bolsheviks Moscow, until he left it from it on May 21, 1918, thanks to the promotion of the commissioner on foreign affairs at the Mossovet V. Friece and Gorky's wife. Then he led in Odessa until he sailed from her to Constantinople on January 26, 1920. Bunin had an extraordinary gift of imagination with a letter of writing. Sense of rhythm. In the manner of the letter, as far as I know, the Bunin had no sharp changes and metamorphosis. He was an artist several topics, but mostly focused on the original topics: death-love, space and nature, time outside of historicism. He witnessed many social catastrophes, like all his contemporaries, but in creativity, it seems, remained outside of these catastrophes (a well-known example of "Dark Alley" during the 2nd World War. Stages of the Bunin-Prosaika. 1) Works until 1908: Ethnographic-milly, but psychologically small in-depth. Until 1910, Bunin was considered mainly a poet and a third suspension prose. In the early stories of Bunin a lot of patter and romantic descriptions. But they are in a dry-cold contour drawing. The point of reference of the early prose of Bunin can be considered His "Antonovskaya apples" (1900). Bunin wrote about himself: "I was born by a poet like Turgenev. For me, the main thing in the story find the sound! " A typical example is the lyrical story "Antonovsky apples" (1900). He was conceived back in 1891, but was written and printed only in 1900 in the Life magazine. This kind of lyrical stories of Bunin really came to the tradition of Turgenev, but also Chekhov ("steppe"), and Goncharov ("Sleep Oblomov", one of the lyrical stories of the Bunin is even called the "Sleep of the grandson of Oblomov"). True, the bunin strengthened the lyrical element and weakened the narrative. Neat first person about childhood and adolescence in a native county. Attractive sides of the landlords: contentment, abundance, naturalness, descriptions of durable Lords, gardens, home comfort, hunting. On the one hand, this is a peculiar apology of the last, compared with the prosaic real, where the smell of Antonovsky apples is discerned. On the other hand, this is the epitaph of the past life, the relatives of Turgenev pages on the launch of noble nests. Antonovskaya apples, smells and forms of which constantly cause associations with the aroma of life itself. This is something "beautiful in itself," and the Bunin himself said in early preface to his story. Apples are complete volumes, round, as the forms of the harmonious life itself. The old life is crushing, and this affects the composition of the story, the muffled plot of which is composed of a number of "fragmented" paintings of reality. The whole story as a whole is the development of two musical parties - the leading (email) and accompanying (enlightened and major). The story is distinguished by lyrical excitement and in vocabulary, and in the rhythm, and in the syntax. In some moments, he is very close to the poem of Bunin "Listopad". 2) Works of 1909-1917: Socially meaningful life of the village and nobles. Here, tell about the "village" (new peasantry) and "Sukhodol" (old Barity). In 1909, Bunin was elected an honorary academician. It is at this time that the Bunin is planned in the work of the Bunin. In 1910, he writes the story "Village". Bunin in a new light. This is one of the most severe, dark and bitter books in Russian literature. This is a story about a new peasantry, poverty and barbarism of Russian life. Gloomy, "CHAIR" thing, unexpected for refined riot. Many perceived this story as slander into the Russian people. The thing is written too thick, extreme thickening of paints. What tasks set me a bunin? Presumably: to reflect the peculiarity of the national Russian nature, the path of Russian life, the tasks of the realistic display of reality. Special genre Works: Tale Chronicle. The plot of the works are deprived of intrigue, unexpected turns. The narrative is almost not developing in time, it is static, almost like a picture. Everything in the "village" is immersed in the element of slowly current life, which has established, Zaradnaya Life. But each of the three composite parts of the story opens up all new and new parties to rustic reality. In the center - two brothers Krasov, Tikhon and Kuzma. Tikhon Lucky shopkeeper, Kuzma loser and the "challenge". The first part is written from the point of view of Tikhon, the second - from the point of view of Kuzma. Both brothers at the end come to the conclusion that life went in vain. The destruction of the prevailing lifestyle. The village dies quickly and steadily. The fermentation of the peasants and the rebellion of them is unable to suspend dying of drancing and even diminishing this process. According to DM. Mirsky, the story is still too long and insolent. Characters too much, like Gorky, speak and reflect. But in his next work, Bunin overcame this disadvantage. "Sukhodol" (1912, "European Bulletin"). Above this story, Bunin began working in the summer of 1911, living in the village, and finished it to Capri. This time the task was somewhat different: his attention was focused on the history of the Russian nobility of Khrushchev. History of the fall of this kind, the gradual death of the family; The features of a national nature are shown here, but no no clowns. Bunin turned to the family chronicle of the bunin kind, finding real life prototypes for his characters. In Russia, in general, a very strong retrospective analysis, a look. It is noteworthy that the name of the story and the village is sudidol, the name telling the exhaustion and draining the fact that there was no time blooming and full. The story is short, compressed, at the same time, it is excellent and elastic, possesses "density" and the fortress of poetry, for a minute without losing a calm and smooth language of realistic prose. Themes in both poses are one: poverty, lack of "roots", emptiness and wildness of Russian life. The same topic is repeated in a number of Bunin stories between 1908 and 1914. The owners of the estates appear in front of the reader in double lighting. On the one hand, the gentlemen were independent of this patriarchal democracy, they could kiss their yard on her lips, there were together with them, adored the sounds of balalaika and folk song. On the other hand, they also discovered cruelty and self-smuggling, they knew how Lyuto hate, sat down at the table with the arapniki. Arkady Petrovich, for example, was intended to throw up the century of Nazawn for the fact that he picked up in his garden radish. Bunin wrote in the early editorial office of Sukhodol: "Neither to rational love, nor to sensible hatred, nor to a reasonable attachment, nor to healthy family, nor to work, nor to the hostel were capable of sudok." Supporters are tormented with each other, but also love a friend passionately. The reason for such a strong attachment to Sukhodol, to this deaf place, Bunin explains the peculiarity of the Sukhodolian soul, over which the memories, the charm of steppe spaces and ancient familyhood. Blood and secret bonds, illegally binding gentlemen and yard. In Sukhodol, in essence, all relatives. "Khrushchev's blood interfered with the blood of the courtyard and the village of Spokon Vseku." And in the characters of Sukhodoltsev, the hot temper, reaching the rapidness, and the impassivity, extreme cruelty and softness, sentimentality, dreametiness are intertwined. Life also influenced the mental state of people. Even Sukhodolsky's house was dumbbed and terrible: dark log walls, dark floors and ceilings, dark heavy doors, black icons, which are terribly illuminated by spiruchi and lightning flares in rainy thunderstorms. "At night in the house was scary. And in the afternoon - sleepy, empty and boring. " Sukhodoltsy weak, their race quickly dismissed, degenerated and began to disappear from the face of the earth. Russian laziness. "What is the old Russian disease, this is a tommy, this boredom, this islable, - eternal Nadezhda that some frog comes with a magic ring and make everything for you. " The children and grandchildren of Sukhodol residents caught no longer life, but only legends about her. Weakened the connection with the edge, from where they came out. The cherished grandfather icon of St. Mekuria, as a symbol of Sukhodol: "And terribly looked at the Suzdal image of a branded person holding a deathly bluish head in a helmet in one hand, and in another guide icon, - on this, as they said, the cherished image of the grandfather, Survive several terrible fires, glued on fire, thickly loose silver and kept on the back of his pedigree Khrushchev, written under the titles. " Composite construction: the central part of "Sukhodola" is concluded in the story of the old nurse Natalia. And in general, in the center of the story there is its fate. But the author did not resorted everywhere to the direct skate, maybe she did not want to tire the reader, and turned to such a reception: the story is conducted on behalf of Natalia, then on the author of the author. These two narrative layers alternate, go one into another. Natalia has served the owners of Suhodlah all life. She fell in love with his Barin Peter Petrovich, and this love was the most beautiful event in her life. Love opened her the secret of his own beauty, and Natalia stole a silver mirror of his Barin. She sent it to Khumno to the wind, in the field of her beauty faded. "A scarlet flower, blooming in fabulous gardens, was her love. But in the steppe, in the wilderness, even more reserved than the wilderness of Sukhodol, she took her love her to there, in silence and loneliness, to overcome the first, sweet and burning flour her, and then for a long time, forever, to the very grave board to sorce her in The depth of his sudodol soul. " The soul of Natalia Bunin calls "beautiful and miserable." The inhabitants of Sukhodol were passionate adherents. Natalia "Eight years rested from Sukhodol, from what he forced her to draw", but at the first opportunity he returned there. No Natalia eval on the lady, which is messed up over it: it says as with equal, then it is thrown over the slightest guise, "hard and pleasure" pulling her hair. But Natalia is not angry, ready to divide the unfortunate fate of the ladies. Feeling in love with his brother's friend, she "moved" and defended himself into the bride to Jesus the Sweet. She lived, moving from a stupid indifference to the attacks of mad irritability. "God himself noted them with a young lady. It can be seen on the family it is written to die along with her. " There lived a young lady in a poverty, in the poor peasant hollow, but did not even allow the thoughts about life elsewhere, although "and happiness, and reason, and the appearance of the human was deprived of her sudok." Religious both, but their religiousness is different. Baryshni, she is somewhat hysterical. And Natalia Vera in God brings humility and humility before the fate: "God has a lot." In the passers-by the mantis, she learned the patience and hope, a bad adoption of all the tests. After she had to survive, she wouldingly take on the role of batter, humble and simple servant of everyone. Other stories before the revolution: "Zakhar Sparrows" (1912, sat-K Tov-Va "Knowledge"). "John Rydlets" (1913, "Journal of Europe"). "Bowl of Life" (1915). 3) works of 1916-1921: about love. "Grammar of Love", "Light Breath" (1916, " Russian word"). "Mr. San Francisco" (1916). This story partly came out of the "death of Ivan Ilyich" of Tolstoy and "boring history" Chekhov. Bunin commits new travels in Europe and the East, which began the First World War exacerbated at the rejection of the rejection of the anti-bourgeois world and civilization as such. Civilization is a vanity, the only reality is the presence of death. Creative impulse to create this story gave news about the death of a millionaire who came to Capri and stopped in a local hotel. Therefore, initially the story was called "Death to Capri". Besides literary source Bunin pointed out her story to Novella T. Manna "Death in Venice". The fusion of the Bunin is the figure of a Unnamed millionaire 58 years, floating from America to rest in Blessed Italy. All his life he devoted to the ravine accumulation of wealth, and only now, becoming a straw, dry and unhealthy, he decides to start life. While he does not suspect that all the fumeful and meaningless time of his existence, which he delivered for the brackets of life, should unexpectedly break through, ending with nothing, so he will be given to himself. Bunin emphasizes the death of the hero itself and those who surround it. Underlined confoupless: Tourists are occupied only by food, drinking brandies and lyters, sleep and again. The speaking name of the Atlantis ship and an important epigraph of a story in one of the editions: "Mount to you, Babylon, a strong city!" Bunin builds the route of his hero so that it proceeds in the days of Christian holidays, against the background of the sacred history of the Gospel and Holiests of Christians. On this route, the Hero's life seems especially meaningless. On Capri (even he died on the island, where the emperor Tiberius lived 2 thousand years ago, whose rule Christ was crucified) Mr. San Francisco unexpectedly dies. The story with the premises of his body first in the most dirty and smooth hotel room, and then in the box from under soda. "He was hurried and put on the bed in forty-third number, the smallest, the worst, most raw and cold. Mr. San Francisco lay on a cheap iron bed under rude woolen blankets ... "This moment in the story of Bunin reminded me of a" boring story ", which Bunin considered one of the best things Chekhov. "Why am I, the famous man, a secret adviser, sit in this little numer, on this bed with a stranger, a gray blanket? I am known, my name is pronounced with awe, my portrait was in Niva, and in the "World Illustration", I read my biography even in one German magazine - and what about it? I am sitting by one-dinner in a foreign city, on a stranger bed, trotten your sick cheek. I am a hero who is proud of the homeland, but all this does not prevent me from die on a foreign bed in longing and perfect loneliness. " And Katya, who, in response to the timid words of Professor: "I will not be soon, Katya ..." (I hardly spoke to himself about myself!) Repeats as a head: "What should I do?!" (I can not hear anything, decide before my problems!) - Reminds remotely tourists who, after the death of Mr. San Francisco, hurriedly and silently died of lunch with offended persons. The death of the hero offended them, gave them a nuisance, canceled the desired tarantel - some damages, the word. And Chekhov, and Bunin - one, in general, thought, long ago famous truth : "One fate for wise and stupid," says Chekhov. "One fate for rich and poor," says Bunin. It shows a vanity and meaninglessness of savings, lusts, self-exclusiveness, with whom the hero existed before that. The death of the Buninian hero, as it were, dissecting the narrative into two parts. The attitude of those surrounding the deceased and his wife changes dramatically. Become indifferent-worn hotel owner and corridor. Forgiveness, the hero from the author does not receive and the hero in his scenario coffin should be back on the same steamer "Atlantis", for the feed of which is still angry with the ocean. Once Pushkin in the poem of the South Link period I picked the free sea and painted two deaths at sea, turning to the rock, the tomb of glory, speaking of good and tyran. Essentially, a similar metaphor suggested and bunin. He drew two deaths: Millionaire and Tirana Tiberius. Bunin paints the sea as a formidable, ferocious and disastrous element. The death of the story of the story turns out to be melted by people. And the rock on the island, the head of the emperor, this time becomes not the tomb of glory, but the object of tourism. Such a rethinking is born, of course, a new epoch and other copyright is to convey the disabilities and catastrophicity of the world, which turned out to be the edge of the abyss. "Dream Chang". (1919, "Almanac, Odessa). The story was written in 1916. Status of the story: "Isn't everyone talking about anyone? It deserves that each of those living on Earth, "refers to a chain of births and deaths, in which any living being is important. In this story, the present and memories are constantly interspersed. Therefore, the composition of the story is dual: today's world is given in which there is no happiness, and happy memories of the past. And just Chang (his dreams) is the thread that connects real reality with the past. The plot is: while swimming, the captain of one of the Russian courts bought from the old acid chicken of a red puppy with smart black eyes. Chang during a long journey becomes the only listener of the owner. The captain tells about what a happy person he is, that there is an apartment in Odessa, a wife, a beloved daughter. Then everything collapses in his life, because He understands that the wife, to which he strives for the whole soul, does not like him. Without a dream, without hope for the future, without love, the captain will soon turn into a bitter drunk and, in the end, dies. It seems important to be the changes that occur with the captain throughout his life, it is important and how the idea of \u200b\u200bhappiness changes over time. At first, while he walked on the ship, he said: "But how great life, my God, how gorgeous!" Then the captain loved and was all in this love. He said: "There were once two truths in the world that constantly replaced each other. The first is that life is extremely beautiful, and the other is that the life of thought is only for crazy. " After the loss of love, disappointment, the captain remains only one truth - the latter. Life seems to him a boring winter day in a dirty cab. And people: "They don't have God, nor the conscience or a reasonable goal of existence, nor love, no friendship, nor honesty, is not even simple pity." Internal changes affect the appearance of the captain. At the beginning of the story, we see Him "shaved, fragrant with the freshness of the cologne, with a gentle-legged mustache, with a shining look of dormant light eyes, in all tight and snow-white." And in the end, he appears a dirty drunkard who lives in the attic. As a comparison, the bunin leads the church of the captain - an artist who has just gained the truth of life. Captain - dirt, cold, scant ugly furniture. The artist has purity, warmth, comfort, antique furniture. Such opposition of two truths. The awareness of this or that truth affects the external and inner life man. Chang is the only one in the story, who has a name. It is important. And the captain, and his friend the artist Unnamed. And the woman is even more vaguely defined, it is said about it: "Witting in his marble beauty." And Chang Bunin gives a sense of "the original and infinite world, which is not available to death", i.e. Feeling authenticity - inexpressible third truth. The presence of this third truth solves the philosophical problem of the story: what is the meaning of life? Is it possible to happiness? In the face of Chang - the synthesis of love, loyalty and devotion. 4) emigration. Bunin left Russia in February 1920 on the ship "Ksenia", evacuated from Odessa before the second occupation of her Bolsheviks, under which he had to live in 1919. Political beliefs: As far as I understood, he was equally antipatic and the esters, and the cadets, and the Bolsheviks. He emigrated to Paris, settled there. Later he chose the place of his more or less permanent residence of the town of Grass, and he only drove to Paris. True, the last years of his life again lived in Paris. All the time in emigration remained an irreconcilable anti-Bolshevik. True, at the end of World War II in the late 40s. Bunin became close to the Soviet representatives in France, discussed the possibility of publishing his writings to the USSR, but to return, in the end, refused. In the first years of emigration, Bunin wrote a little. This was also mentioned by Hippius in his article "Flying to Europe" (writing honesty and writing chastity Bunin: could not write immediately after the catastrophe in Russia). But he took part in the socio-political life of abroad, cooperating in the newspapers ("common cause", "the latest news", "steering wheel"). Until 1924, Bunin's books were reproducing pre-revolutionary things. There were only a few stories that appeared in periodic press. By 1924, several stories and a number of poems were already written by Bunin. Together with several earlier, they entered the first abroad collection of Bunin "Rosa Jericho" (Berlin, 1924). Many of these stories had nothing to do with the revolution. For example, the topic of the story "Transfiguration" (1924). A story about an ordinary man, the transfigured death of the mother, suddenly touched on the secret of death while reading the psalter over this simple, wretched old woman. In all these stories, the revolutionary theme is touched by cautiously and chastely, restrained, which is very distinguished by them and from the sketches of the revolutionary dismay in the "casty days" (1926), imbued with passionate hatred of the revolution and to the new building. "Attached days" sample diary genre. By the revolution, Bunin was definitely negative. When, being already in emigration, he learned about the Kronstadt mute from the emigrant newspapers, which a real sensation was inflated from this event: "The Bolsheviks remained only Moscow and Petersburg!" - it was very calmly responded to it. He recorded the diary: "March 13. Everything is already quite sure: the beginning of the end. I doubted ... Today I woke up, feeling especially sober to Kronstadt. What has really happened? Deliver, Sukina Children, not yet killed bear. " Savinkov movement. It would seem that the emigrant could arrange any measures and cfivs against the Bolsheviks. But Bunin writes about Savinka: "Rough boasting. In addition to meaningless blood, this will not bring anything. " Exposure. * How viciously, reluctantly reckoned the door of the Door of the Door! Still in all the incomplete disgust in every work. * The Bolsheviks are still amazed that they managed to capture power and that they still hold. - Lunacharsky after the coup of the week two ran with her eyes stacked: yes no, you just think, because we just wanted to produce and suddenly such an unexpected success! * All my life worked, somehow managed to buy a block of land on truly blood pennies, build (climbing in debt) a house - and now it turns out that the house "People's", which will live together with your family, with all your life That "workers". You can hang from rage! * All the rudeness of modern culture and its "social pathos" is embodied in the truck. * The people himself said to herself: "Of us, like from the tree, - and a dubbing and icon," depending on the circumstances, from the one who is treated with: Sergius Radonezh or Emetela Pugachev. * What is the old Russian disease, this is a taking, this boredom, this islarning - the eternal hope that some frog will come with a magic ring and will do everything for you: it is only for you to go on the porch and throw a ring on the hand! This is a rank nervous disease , not the famous "requests" at all, as if taking place from our "depths". * And I just try to terrible, but I really can not, I still miss these susceptibility. This and the entire Hell's secret of the Bolsheviks - to kill susceptibility. * Men: - Now the people like a cattle without a shepherd, everything fell and destroy themselves. * In a thousand-year and a huge house, our great death happened, and the house was now dissolved, reveal the lack of indiscriminate and full of an indiscreated crowd, for which there was no longer anything holy and forbidden in any of his chambers. Bunin stories on topics related to the revolution. - "Comrade Vozhorior", "Red General" and "Incoming Spring". "Incompute Spring" is completely different in composition and tone. Written from the first person, about himself, he is much more lyrical. His name and leitmotifs are taken from the poem of Baratynsky, and his theme is nostalgic experiences and thoughts caused by visiting in the first years of the revolution of the wonderful abandoned estate. The old bunin theme of the "noble custody", the topic "Sukhodola". The main stages of Bunin's creativity after 1924 - Mitina Love (1925), collections of stories "Sunny blow" (1927) and "God's Tree" (1931), "Life of Arsenyev" (1930) and "Lika" (1939). Before the war, the "Liberation of Tolstoy" (1937) was also published - the book of personal memories of the fat and reflection about him. After the war, two more new Bunin books were released: "Dark alleys" (1946), which included stories written between 1938 and 1945, and their own "memories" (1950), from which something was printed earlier. The Swedish Academy awarded the Bunin in 1933 by the Nobel Prize. Bunin was the first Russian who honored this honor. "For the truthful and artistic talent, with which the typical Russian character is recreated in artistic prose." Most of the Nobel Prize went to help to needy emigrant writers. In foreign literary circles, especially English and American, this award caused some perplexity. "Bunin? Why bunin? Why not bitter or at least not Merezhkovsky? " Bunin died in Paris on November 8, 1953, having time to compile his "literary testament". He was buried in the cemetery in Saint-Geneviev de Boua. Before death, he worked on the book about Chekhov, whom he personally knew. This book remained unfinished. What was written, and some materials collected by him were published by the Chekhov publishing house at the end of 1955. Criticism about the work of the Bunin. The work of Bunin after 1924 reached an unprecedented heyday. Almost unanimously noted the modern Bunin critics that it was in the exile of Bunin that his best things were created. He will not be the fact that almost all of these things are on Russian topics, about Russia. Mark Aldanov, when he wrote in 1939 about the "Lika", the second part of the life of Arsenyev: "This is the case of the rare, if not unparalleled. It seems that every writer over the years reaches the limit released by him. Bunin writes everything better and better. The most beautiful of the works written by him in Russia are largely inferior to the abroad created by him. In general, much of what was written about the Bunin, especially after death, was the character of more or less official Slavs. There was a chill in relation to the Bunin of some young writers who felt his hostility to the newest Russian poetry. The negative attitude towards the Bunin was felt in those circles of foreign literature and critics, which were prone to focus on Soviet literature (for example, in the "Will of Russia", in the "versts", in french book On the modern Russian literature of the young poet Vladimir Posner, who changed the milestones). In these circles they talked about "coldness" and "appearance" of buninsky creativity. For example, Article Alexey Eisner about the book of poems Bunin 1929 (see below). Nevertheless, the confession of the Bunin in emigration was more or less unanimous, if not unanimously enthusiastic. "It will come, it seems, the time when, an estimated impartial in the historical perspective, Bunin will take place not on a par with Czech, and above it." (This opinion was expressed by G.V. Adamovich; a controversial opinion, - with all my love for the Bunin.) Bicilli in some point, put the bunin above Tolstoy. Speaking that all the things of the Bunin are "in essence, variations on one, Tolstovskaya, I would say, the topic - life and death," this critic added: "Bunin is more demanding and, therefore, metaphysically, truthful fat." Adamovich, as if repulsed Bunin in the fact that "piercing" the thick "arrow of Christianity" passed by him, despite his whole proximity to Tolstoy, and that he simply loves the world in which he was born and lived. " "Mitina Love" (1925), from which only "Sukhodol" can be compared from the pre-revolutionary works (the best of the early things of the Bunin) is especially wonderful with its tense weave of these two topics (death and love). Mitina Love, from which only "Sukhodol" can be compared from pre-revolutionary works (the best of the early Bunin's early things) is especially remarkable to their intense weave of these two topics. "The Life of Arsenyev" (1930). Not an artistic autobiography, but there are elements of autobiography. "Lika". The prototype in life is cooking Pashchenko. Journey to the origins of your soul. This is a stylistic perfection. Vladimir Vadle, who, considering the highest achievement of the Bunin "The Life of Arsenyev," said that the topic of this book was "not life, but contemplation of life. This is a tragic praise to everything. Singing and sobbing gloriousness. " "Arsenyev's life" is called the only novel that Bunin is written. But still it is not a novel. Stepon called the "Life of Arsenyev" "Partly a philosophical poem, and partly the Symphony Painting (Russia)." (At the level of the mind agree - a very accurate definition of this thing). "Dark alleys" (collection of stories 1943 (11), 1946 (38)). Metaphor: dark alleys Human soul. In this book, unfortunately, some critics saw not only the manifestation of the decline of the Buninsky talent, but also some senile eroticism, almost pornography. "Clean Monday." "Natalie". Typical furnishings noble nest. The hero of the story - a student Vitaly Meshchersky rushes between Kuzina Sonya, a light flirt with which will grow into a passionate mutual bodily attraction, and its gymnasium girlfriend Natalie, attracting the young man with its sublime, spiritualized beauty. Love earthly and love heavenly. Meshchersky does not choose, he is trying to combine a passion for Sona with a adoration of Natalie. Bunin paints each of these senses without any moral assessment, reveals each feeling as natural and beautiful. But the refusal to choose still threatens the rupture of relations, which, in the end, is happening. Bunin is deeply convinced of the tragedy of love and short-term happiness. Therefore, the disclosure of feelings is accompanied by transmission of anxiety and doom, and people constantly feel at the edge of the abyss. 3. The aesthetic function of the language and the language of fiction (artistic style). The question of the poetic language will clarify the understanding of the term aesthetics. Aesthetics (relating to sensory perception) - the science of beautiful in society and nature in its concrete-sensual forms and about his role in human life. Aesthetic - associated with the creation, reproduction and perception of beautiful in art and life. The aesthetic language function is manifested immediately as soon as the speaking begins to pay attention to the external form of his speech, somehow evaluate the possibilities of verbal expression. Comments can be diverse: if you can put it, as they say. The manifestation of aesthetic function can be expressed and in perfect language form, in harmony of content and forms, in clarity, clarity, laconism, grace, simplicity, harness, etc. You can see in the image thinning. Text, in the right, which language acts as the material from which the image is built. But it is hardly legitimate to identify the text of the text with the aesthetic function of the language. The aesthetic function of the language is directed not only to the transmission of the content, but also on the very most, on its own perfection, which allows in the very language to feel beautiful. This is its function. The question of the poetic language. Some scientists allocate the poetic language, which according to the composition seems to them even wider than the language. Hood lit-ry. The term poetic language reflects the old division of works of literature on prose and poetry. Since under the poetry meant Hood. Literature, then it is not necessary to distinguish the language. Hood Lithing and poet. language. But it is worth saying about him especially, - in connection with the teachings at the beginning of the 20th century: OPOs (society of study of the poetic language). Opposition to the poetic and practical language. Scientists interpreted about the separation of the poetic language from practical. Sreaty taught about the poetry of the language and poetic. Language as a special form of thinking and expression. Poetic speech is recognized as a specific, independent, free of laws of the practical language. Vinogradov denied the essence of a special system of the poetic language. Gorshkov: The poetic language does not exist as some abstraction, separately from the artistic (poetic) works of literature. There is a poetic product of literature - there is a poetic language.

Creative path of Alexander Blok Origin. Praded Johann Friedrich Block was a leaving from Germany. Father Poet, Alexander Lvovich Blok, professor of civil law at Warsaw University, author of the scientific books "Public power in European society" and "Political literature in Russia and Russia". Mother, Alexander Andreevna, Botany's daughter, Professor and Rector of St. Petersburg University of Andrei Nikolayevich Becktov, was associated with literature: they wrote poems for children, translated in verses and prose. Due to the rupture between the parents A. Block grew away from the father, in the circle of Becetov. Block's mother later married a second time (his spouse was the Officer of the Life Guard Grenadier Regiment Franz Feliksovich Cupbo-Piottuch). A.A. The block was born 16 (28) November 1880 in St. Petersburg, in the grandfather of his grandfather in the University building. In St. Petersburg, almost his whole life took place. In the gymnasium, he began to study from 1891, she then caused terrible memories from him. The house for the block was a small estate of his grandfather-botany Chekhmatovo, where he spent almost every summer, sometimes even from early spring to late autumn. Nearby was Boblovo - the estate of his grandfather, the famous Chemist Dmitry Ivanovich Mendeleev. There the block met with his daughter any. Between Chess and Boblov - Tarakanovo village, where the block marked with the love of Dmitrievna. The image of Russia block is from here. Chessatovo in orphanage is salvation from unnatural and dead metropolitan life. In 1898, the block entered the university and studied there for quite a long time, because he switched from the faculty of the right to philological. He received a diploma only in 1906. The beginning of the creative path. Poems he began writing very early. At first, the poems were not published, only in 1903 several poems were printed in the magazine of the Merezhkovsky "New Way". In 1904, they came out with a separate book called "Poems about the beautiful lady." A. Block and Love Mendeleev adults met in the summer of 1898, when the block riding on horseback went to Boblovo. He was 17, she was 16. In their early relationship, there are a lot of the theater: they play homemade performances, both dream of a scene. LD She became over time professional actress. To ld The poems of the block are drawn in the "Ante Lucem" cycle (to the light, before dawn). LD I understood that the block sees something more in it than it is, and it scarecrowed it. With a revolver in his pocket, the block went on a decisive explanation (thought about suicide). LD Accepted his love. The first volume: "Ante Lucem" (1898-1900). "Poems about the beautiful lady" (1901-1902). "Distilization" (1902-1904). From Chukovsky's article: "The first book of poems. Words: Someone. Someone, and who is unknown. Subject to be granted to our work. We, readers, had to recreate it for themselves. The word foggy. Always he depicted himself immersed in fog, and all things around - blurred. In general, in his early verses - no distinct forms, but shoes of visions, excerpts of events, smokyness and fragmentation of images, as if the vision of a vague sleep. Poetry of sleepy consciousness. The block was the only master of vague, inqualious speech. No one, besides him, could not be so incomprehensible. He was perfectly successful. Only such a bilome and blurry language, he could narrow about the secret, which for many years was his only theme. This language as if created for secrets. Everything was chaotic in these dormant verses, as if the world was not finished yet by creation. But from the very beginning two images are clearly visible in them: light and darkness. All that is in the nature of the fire and fiery, was connected to him with her way, and all that was not she was darkness. There was one endless song about her. He only lived in memory of the previous worlds, about last eternity, about his premiement. To people, he believed not that hostile, but cold. If sometimes there was a crayon for him, he walked into the "high cathedral" and prayed. It was called "I am looking for protection from Christ." But nevertheless, the christianity of the block was almost without Christ. Shone in all his glory she. Divine, as male start It was not a deity for him. It is wonderful that he never felt it too close to himself - and on the contrary, he invariably seemed that she was unfavorrone and Surov. He wanted to love her shy, timid, almost hopeless love. "I'm waiting" felt in every row. Wait for his many years of habit. He sang on this six years - from 1898 to 1904 and devoted 687 poems to this topic. The entire first Book Book is a prosperous, idyllic-peaceful. But still flashed: it turns out that the tarts, igniting the candles, felt in himself and Seraphim, and the devil, and was often afraid of "two-limit" his soul. Then, in a few years, this two-cap of the soul will become its main and almost the only theme: a combination of faith with discernies, fenced with blasphemy. " The block said that it could be really understood and appreciated only by those who sympathize with his mysticism. This statement is especially true when it comes to his first book. These poems can be interpreted: its own article block "On the current state of Russian symbolism" (1910) and the comment of A. White in the "Memories of the block. Poems about the beautiful lady "- a mystical love story with that special that the block has identified with Sofia, the Divine Wisdom, the female and God of God. Friends of the block and he himself always insisted that these verses are the most important part of its writings. The main feature of this poetry is complete freedom from everything sensory and specific. This is the vagina of the word, which on an unprepared reader is simply acting as verbal music. This poetry meets the rule of Reline: music primarily. Initially, the poetry of the block was valued only by a few. Critics either did not pay attention to it, or they teattered her with a mockery and indignation, which was the lot of all the symbolists. Read blocks later. But literary circles took it immediately: his warmly accepted Bryusov and Merezhkovsky. Andrei White and Sergey Solovyov (Son M.S. Solovyov) saw in his poetry news, close to their own spiritual confusion, and the block became the prophet and serifer for them. White describes in his memoirs that tense atmosphere of mystical expectations in which blocks, he and S. Solovyov lived in 1903-1904. The block welcomed the 1905 revolution. Once he even carried the Red Flag, which led to the horror of his relatives. The defeat of the first Russian revolution, which occurred in 1906-1907, strengthened his pessimism, and they were mastered by feelings of hopelessness. His poetry was the expression of the "fatal emptiness", a familiar to many people of his generation. The second volume of his poems. "Earth bubbles" (1904-1905). "Different poems" (1904-1905). "City" (1904-1908). "Snow Mask" (1907). Faina (1906-1908). From Chukovsky's article: "The block unexpectedly destroyed all the framework and revealed us a new face. This new face imprinted in the second volume and in three dramatic plays: "Balant", "King on Square" and "Stranger". Another atmosphere, another smell. Not incense, but a sill. The word Kabak began to repeat him as often as the word church once. All his second is drunk, muddy, is not mountain height, but lowlands. No wonder in this volume so many poems about the swamp. He is all with a head in the quagmire, in March turbid water. And a lot of sinister dreams appeared in this new book: chaos, convulsions, crusts, salty, curse. Dormant-chaotic style. The city is always Petersburg. It is wonderful that in his verses there is no Moscow: the Kremlin is mentioned only twice and then in passing. Block the least Moscow of all Russian poets. The second book is almost all in St. Petersburg. The block saw people. "Factory". People came to him before all the backs, burdened by burden. Bending backs - it was his discovery. Before, at the top, he did not know about bent backs. It was the first thing he found out about people: they hurt them. A little bit, he had a sense of hatred for the gap to the world, some kind of evil thirst to laugh at him, defame him, blame. In early 1906, the block began to demonstratively to mock his shrines. Especially I am grieving all his theatrical plays, written in the same year: Balabanchik and Stranger. Everyone saw treason to betray. White was so outraged that the poet Anathema betrayed. In the Balabanchik, the block did not spare himself, neither his "beautiful lady", nor his mistikov mysteries. Mystikov, he portrayed idiots who sit at the table and whisper the thing that he recently whispered himself, about rustles, sighs, depths, vertices and about the close arrival of the Virgin. So the block mocked the block. In 1904, in verses for the first time, the word "harlot" appears and since then no longer comes from pages. But with all his desire to pollute, the life did not stick to him. Blasting was manifested only in consciousness, and unconsciously, in lyrics, he still remained a religious poet one. Here, the amazing duality, in which it was the main charm of the bloc lyrics: pathos, corrosive irony; Irony, defeated by lyrics. Everything doubled in his soul, and these combinations of faith with discern were bunciful. " "Stranger" (poem of 1906) replaces an excellent lady. "Stranger" is one of the central poems of the second volume prepared by the assembly unit of poems. The poem was written in 1906 a characteristic combination of realistic irony with romantic lyricism. It begins with a grotesque-ironic description of the countryside near St. Petersburg. The poem struck contemporaries, first of all, a hypnotic melody: the harmony of vowels, emotional and musical flavor. "She" arises here, but its features are two. In the devils of the fallen woman, the poet twisters the ever-feminine beginning. The world around the stranger is not a temple, but Kabak. The image is two: it's not that a real stranger, not that phantom. The stranger is also intangible, but passionate, the ever-present vision, which the block is obsessed throughout the second volume (1904-1908) at the block - a powerless desire to return to the shining presence, from where it was excluded, - the plot of his lyrical drama: " Balabanchik "and" Stranger ". "Baiganchik" (1907) - Arquiniad (expression D. S - M). He was delivered in 1907 and walked for quite a long time. On those who saw him, he made an unforgettable impression. In it there is a lot of better block lyrics, but in essence it is satire, parody, and the gloomy-blasphemous. It is a parody of their own blocking mysticism and satire at its hopes and expectations. His friends - White and Solovyov - perceived "Balant" not only as an insult in their address, but also as an insult to their common faith in Sofia - Divine wisdom. This entailed a distance from the block of its Moscow friends. Sometimes you can not see the terrible pessimism of the "Balabanchik" for his lyrical charm. But in essence, this one of their most gloomy plays is not only at the block, but in general in poetry. "Stranger" - a dreamy, romantic drama-vision, developing the plot of poems under the same name. It has less lyrical charm than in the "Balabanchik", but it was manifested by Blokovsky ironic and grotesque realism, which only strengthens the mystical romanticism of the main topic. Since then, the Kabak often appears in block poetry. It is filled with wine, women and gypsy songs - and all this against the backdrop of passionate despair and hopeless longing about forever lost the vision of the "beautiful lady". Passionate and hopeless disappointment - from now on the atmosphere of poetry block. From this atmosphere, it sometimes breaks the whirlwind of earthly passion: the "Snow Mask" cycle (the first days of 1907) the third volume. "Terrible World" (1909-1916). "Retribution" (1908-1913). "Jamb" (1907-1914). "Italian poems" (1909). "Harp and violins" (1908-1916). "Nightingale garden" (1915). "Motherland" (1907-1916). The genius of the block, writes D. S.-M., reaches maturity by 1908. Poems written over the next eight years have entered the third volume, which, together with the "Twelve" poem, is the largest of what was created by the Russian poet over the past 80 years. From Chukovsky's article: "All incomprehensibility disappeared, the words became mathematically accurate. The poet for a few began to gradually turn into a poet for everyone. It happened around 1908 or 1909, when he finally approached the world peace and became the great poet as we know it in the third, because only in the third volume he great poet. Almost ceased to the dominance of vowels, too moisturizing verse. The verse appeared harsh and sober sounds. In this third volume, he had a new one, before, not the former, Starikovsky feeling that everything was behind, everything went, that he no longer lives, but lives. Angelic was, but he is not, and will not. And the present is the night. A whole department in his book is called "Terrible World". And there was no such phenomenon in the world, which he would not call scary. "Dance of death", "Night as night", "Night, Street, Lantern, Pharmacy". Here the block is full of festive premonitions. The most terrible, which is waiting for a person, is an understanding of the meaninglessness of life, death, the universe. About this one of the most advanced poems of the 1912 block "Night, Street, Lantern, Pharmacy". The idea of \u200b\u200ban eternal return and meaninglessness of existence. The hopelessness is enhanced by a circular composition: a person is doomed to stay in the eternal conclusion, from which there is no exit. In captivity of life - the captivity of death, in captivity of death - the captivity of life. And all in the world rotates, returns, everything is in a hopeless closed circle, just as these eight lines are closed in the semantic and symbolic circle, where the picture goes into a dead reflection, and the reflection in the "Ice Ryaby" is reflected in the dead picture. This time from 1908 to 1915 was the most gloomy strip of his life. Beautiful lady Gone. And without her emptiness. "You walked away, and I'm in the desert," so since then his constant feeling. The third volume unit is in every word of Dostoevsky's hero: the former contemplator of another, suddenly lost it, other and horror he had fallen in the host of nihilists, who only left that loop, - a block, like Dostoevsky, demanded that everyone Religious justification of life and did not allow himself to be left for a moment without God. Instead of religious ecstasy - at the block - avgar. It is good that there is a passion, a carbon monoxide, a drunken passion, nevertheless she raises in an outdoor. To carry from the Earth is the main thing, and how, not whether it is equal? In verses, the block in Lermontovsky reverses God, and in another poem says that people seeking God are found only devil. So without God and without people, without heaven and without land, he remained alone in emptiness - only with fear and laughter. It seemed that there are no resurrection from this coffin. The loss of an excellent lady was for him the loss of everything. But a ray of hope, which discovered the block for himself, maybe replacing the beautiful lady. This is a love for Russia. He felt that she was one of the merry despair of death, which embraced him. As long as he did not feel his Russian perch, he was in our literature a little alien. Now, feeling this cheerful despair of death, he became the national poet. He loved his death, created a cult from his death. This delight of death was almost always connected with him with the feeling of wind. For him, Russia is the wind, the wind of the vagrants and mandates. The tramp knows that he dies, he and scared, and fun, this wind is akin to him. "On the field of Kulikov" (1908). This cycle takes one of the central places in the "Motherland" section of the Third Tom Lyrics. Not homeland mother, but Rus-wife. In it, all the same is the ever-feminine beginning as in the early poems. In the third poem of the cycle - the feelings of the warrior on the night before the battle. The soul of Russia comes into the soul of the poet warrior and gets closer to the image of the Virgin, which the people considered the intercession of Russia. Back in the poem of 1905, "Girl sang in the church choir", in which contemporaries guess the response of the poet on the Tsushim battle and the death of the Russian squadron, a prayer sounded about those who "no longer come back." In five poems of the cycle "On the field of Kulikov", the pain of the poet for the fate of the Motherland becomes obvious. This cycle is not only about the great historical past, but also about the future tests. The first poem carries an alarming premonition, and the last poem returns to the same. This is a premonition of the coming disasters of 1914 and 1917. Blokovskaya Rus - robbery, Tatar Rus, Rus without cut, hop, blasphemy, despair. But with an admixture of a special, musical, tuming, purato sorrow. He did not know pity for Russia. He needed to love her exactly, humiliated, wild, chaotic, unhappy, disastrous, because he felt like that and himself. In essence, he praised Russia for the fact that others would curse her. His last is the third one, where so much suicide horror was at the same time for him, as for the artist, resurrection. Previously, the world was only a carotid Marine. It flowed, smoking, and what is unknown, but it was now that the surrounding area was clear, and he became an attentive painter of earthly. Love to the exact and solid word, a tightly fitting every thing, marked poems of the third volume. Before such Pushkin words, he lacked love and attention to a specific world. "Nightingale garden." The poem was started by the block in January 1914, and finished in the fall of 1915. She is classified in style and strict most of his lyrical poems. The plot of the poems makes remember the legends in which the earth's hero falls into the world of celestials. A man who knew the real hard life is in the enchanted place, in the garden, where nightingales, roses and love are waiting for him. Earth alarms do not reach here, life in the magic garden does not know worries and peasants, it seems that the time itself stopped here. And yet something is Tomit Hero, the distant cry of the Donkey is far from him. He remembers the former life and leaves the garden. But the past has already gone irrevocably, the place of the hero is occupied by others. The similarity of the poem of the block with the poem A. Feta "Key". The XIX century led poets from ordinary human happiness, but left hope: "There is no happiness in the world, / but there is peace and will ..." (A.P.) Start the XX century. Torn to the poets hope on peace. By early 1920, i.e. By the end of life, the block will feel that the will no longer have the will. And in verses, "Pushkin House" will tell about "secret freedom" - the last gaze of the poet. About block melody. The block was not a man of a huge mind or a huge moral force. He was not, in essence, and the Great Master. Its art for the most part passively and involuntarily. Great it makes the presence of overwhelming his poetic spirit. He himself described his creative process in the poem "Artist" (1913), as a completely passive state, very close to mystical ecstasy. Ecstasy is preceded by a state of dreary boredom and prostration: then inexplicable bliss come from the wind, which blows from other spheres to which the poet is signed limply and obedient. But Ecstasy prevents creative mind, which forcibly concludes in the shackles of the form "Light Good Bird's Free Bird". And when the work is ready, it is dead for the poet, and he again falls into his former state of devastated boredom. The mystery of the bloc melody will forever remain a mystery. We can, for example, to point out that he, especially in the second volume, was observed an excessive burden to alliterations and associations. Even in his third volume, when his work became stricter and restrained, he often indulged in this inertia of sounds. He was generally not dominated in his gift and was too confused by sound thinking, obeying the inertia of sounds, which was stronger than his own. Sugges the wave - an accurate expression of his sound passivism. Sound passivism: a person is unable to cope with those musical waves that carry it on himself as the epics. In browning sounds, in feminine humility, they were the charm of the block. The block was not so much owning how many sounds possessed, not the priest of his art, but the sacrifice, especially in his second book, where the despotic music prizition came to extraordinary sizes. It is significant that in his verses, he clearly felt vowels, and not consonant sounds. None of any other poet had such an increased sense of vowels. That singular poverty. This is the moisture that gives it to the humility. It is remarkable to his passion to a long, continuous a. These A, passing through all his verse, absorbed all other elements of the verse. There are no Natags or bias. Verse himself flows, as if independently of the will of the poet on repeated vowels. It seems that if the block even wanted, he could not create a nevavid row. Sometimes the poem of the block happened to flow over a number of Oh, y, e. But it was not a simple sweet. Each sound was external. This passivity of sound thinking served him a considerable service in his later poem "Twelve", where magnificent sound parodies are given for vintage romances, chastushki and folk songs. He generally learned someone else's as a woman: not only other people's sounds, but also someone else's mental tone, someone else's Manera, other words. About block style. Initially it was a metaphorical style. All images were solid metaphors. The language of the second volume was the very decadent language, which ever wrote in Russia. Drank Sleepy Consciousness. Many poems have been written by sleeping, paints have not yet separated from sounds, concrete - from the abstract. The block is one of the most bold syncretists in Russia, especially in those verses that entered the second time. There, raging rampant syncretic images. There are both blue riddles, white words, and a blue wind, and a sonorous silence, and a gray hint, and thoughtful bolts, and plaintive hands. Dormant style. This appeals include such images as: the eyes bloomed, she was blooming, silence bloom. Then a little bit of his style clarifies, and at the end of the second volume, classic-clear plays appear. The attitude of the block to the First World War was expressed, as in many, in passive pacifism. When his turn came to go to the front, he used all the ced-wa available to him to avoid mobilization, and he managed to replace military service Service in the engineering and construction squad, which built the reinforcement in the rear. As soon as he had rumors about the fall of the monarchy, he returned to Petrograd. That year, the block fell under the influence of the left spears and their representative Ivanov-Obsens, who developed something like a mystical revolutionary messianism, with a focus on the revolutionary mission of Russia. Left esters united with the Bolsheviks and took an active part in the overthrow of the temporary government. So the block was on the side of the Bolsheviks along with his friend White, but against most of his former friends, including Merezhkovsky. Block critic. The focus of the block-criticism was the problems of modern social and literary life: the formation of new art, identifying his relationships with real reality and classical traditions, problems of the people and intelligentsia and revolution. Most of his lithing crit works were created as speeches, speeches or reports. In 1900 He shared many general principles and aspirations of new art, highly appreciated V. Solovyov, Vyach. Ivanova and V. Brysov. Decadentity as a fashion on the style of modern and fallency, the block contrasted the true poetry to which the poems of Brysov believed. Like most symbolists, the block saw the origins of the new poetry in the works of Lermontov, Baratyan, Tyutchev, but especially highly put Apollo Grigorieva. It believed that this was the poet autumn more, the carrier of the Russian organic idea. "The Sun over Russia" (1908) is an article dedicated to the work of Lion Tolstoy. One of important issues The worried block was the question of the tragic detachment of the intelligentsia, primarily creative, from the people, from the problems of social life ("The literary results of 1907", "The Evenings of Arts" (1908)). The block emphasized that conversations about literature became more than the literary works themselves. "On realists" (1907). Article about M. Gorky. In Gorky, the block saw a true Russian writer, the expressant of the concept of "Russia". The block sensiblely understood the change in the direction of the Gorky talent - he talked about the decline of Gorky, starting with the novel "Mother". The block was closer bitter - the author of "confession." "People and intelligentsia" (1908). In this article, the block consistently opposed the Gorky and Social Democrats. It was the bitter unit that considered the last significant phenomenon on the line, the binding people with the intelligentsia. To the problems of theater and theatrical art. According to the block, dramatic art is the highest form of creativity. In the lecture "On the theater" (1908), the block critically evaluates the modern theater. Software "On the current state of Russian symbolism" (1910). The block noted that the symbolism as a direction in poetry has already passed part of the path (the rebellion of the lilac worlds pokes). The block wrote about the connection and close relationship of the artist and the Motherland. He sees a living organism in his homeland, and poets considers the finest and most important bodies of her feelings. Article block. 1. "Intelligentsia and Revolution". Printed in the "Banner Banner" newspaper on February 1, 1918. The block of the block is not written in defense of the consignment of the coup, but in defense of the principle of "people upstairs", the mystical-sublime image of the people. Potential opponents - mysticism from the intelligentsia - Berdyaev, Bulgakov, Merezhkovsky. In 1908, the article refused to publish in the magazine "Russian thought" article of the "People and Intelligentsia" in the journal. Article "Intelligentsia and Revolution" - continuation of the dialogue, a new call to open a heart. The storm of indignation in the intelligentsia. Only S. Bulgakov thanked the block for protecting the soul of the people. "Russia is a storm. Europe went crazy: the color of mankind, the color of the intelligentsia is sitting for years in the swamp (war). We loved these guards, stons in the orchestra. But if we really loved them, and did not told our nerves in the trendy hall, we must listen and love these sounds now, and understand that they are all about the same. The artist's case is to see what he intended to listen to the music, which goddy torn air to the wind. And it is intended to remake everything. Arrange so that everything has become new. To lingery our life has become a clean life. This is called the revolution. Grief topics. Who thinks to find only the fulfillment of his dreams in the revolution. Revolution as a thunderstorm whirlpool always carries a new and unexpected. She brutally deceives many. It is easily crippled in his whirlpool worthy. She often makes it unworthy of unworthy. But is her particular. Gul is still always about great. It is worth living only to believe not in what is not in the world, but what should be in the world, let it now, and will not be long. About the cathedrals, boric estates, centenary parks - horror. What did you think? What is the revolution - Idyll? What does creativity destroys anything on your way? I appeal to the intelligentsia. She enlightened science, art. Her values \u200b\u200bare loved. We are homeless, Mishamain, beyond, bend, - what do we lose? To all the body, with all my heart, to all consciousness - listen to the revolution. 2. "On the appointment of the poet." What is the poet? He writes verses, leads to the harmony of words and sounds, because he is the son of harmony, the poet. What is harmony? This is the consent of the world's strength, the order of global life. Cosmos as opposed to chaos. Chaos is a primitive financial accumulation. Cosmos - arranged harmony, culture. Element pays seeds of culture. The poet is the son of harmony. He is given some role in world culture. Three things are assigned to it: 1) to free the sounds from the original element; 2) bring these sounds into harmony, give them a form; 3) Make this harmony to the outside world. "The words of the poet are already his business." Throw concerns of fumes to open the depth. Education harmony - the area of \u200b\u200bskill. Mastery requires inspiration. When the poet contributes harmony into the world, there is a famous collision of the poet with a mobile. Mobile demands from the poet to service the same, which she serves: serving the outside world; It requires "benefit"; Requires the poet to enlighten the hearts of the fellow. But the class of worms progresses very slowly. And the poet's case is not at all in order to reach all means to all Olukhov. Rather, its harmony makes selection between them. The revolution of 1917, with all its anarchy, was still meeting positively. So the Bolshevism of the block was not a random. From the article Chukovsky about the block: "What did he want from the revolution? Previously, he wanted her to transform people. So that people become people. "Human slag piles," he says about people. Most people for him are black, which only tired him with his vulgarity. They had to transform a catastrophe. The block was firmly confident that, having survived a catastrophe, all humanoid would become people. In the fire of the revolution, mobile will be transformed into the people. The world is beautiful, but his man shag is fading. It is only for him to overcome, and the beauty of the world will be revealed to everyone. And his own home, and his personal life, and all the civilization of the world, he just justified the death. Even the revolutionary feelings were at the block of ancient times: the division of humanity into two unequal parts - on mobile and not black - there is a feature of feudal thinking. " The revolution was for him as an expression of everything that he identified with Russia's soul - Blizzard soul. This concept just found the expression in his poem "Twelve". "Twelve". The musical genius of the block reaches its top here. From the point of view of the rhythmic design is a miracle. The musical effect is built on dissonances. The poem is developing with broad wailing, transitions from one rhythm in the other and the overwhelming of dissonances into the highest harmony. On January 8, 1918, a litter of work on the poem appears in the block records. Above all the events, horrors, the block hears music, and write tries. "Twelve" belong to the extremely short and vivid era of domestic history: the last months of 1917 and January 1918. In a certain sense, the most important topics, images, symbols of the entire heritage of the block, the Element, Snow, the Wind, the Way, the World Fire, were converted in blood. From Chukovsky's article: "In the poem, the block brought Russia even more falter. There is such a faith in your people, that man and through chaos sees beauty dazzling. It is strange that no one has not perceived the "twelve" as a national poem about Russia, as a natural completion of the cycle of patriotic "poems about Russia". Before thinking about these verses or argue about them, you just need to listen to them - listen to their intonation, comprehend their rhythmic, sound foundation that the block is most important because his rhythms are stronger than him and say more than he would like him To say, - often on his will. Russian song, Russian vintage romance, Russian soldier chastushka. Take the national color from these poems, and nothing will remain from them, because it is not painting, but the point. Love Petki and Katki is that the most disconneck, then the Crimson Razgul, then the enthusiastic ecstasy of the death in which the most essence of Russia is for the block. Here - even in sounds - the Russian passion and musty. No wonder in this poem walks that the desperate wind is a favorite block. What was he to sing, as not his own revolution? Russia itself was already a revolution for him. And he accepted the currently of our revolution only inspired, since she embodied the Russian folk rioty soul, the one who sacred, for example, Dostoevsky. The rest of the elements of the revolution remained alien to him. He only because he believed in her that it seemed to him as if in this revolution - Russia, as if this revolution was folk. For him, as well as for Dostoevsky, main question With God, whether the Russian revolution or against God. No one even thought that for understanding this poem, it is necessary to know the previous works of the block with which it is organically connected. Here, not new, and the old block, and that the topic 12 is its long-standing, the usual topic. Even blasting "twelve", these permanent exclamations: "Eh, Eh, without a cross!; "Palm-ka bullet in the holy rus!" For a long time to occupy the block from the time of the faban. His sewing Petka, a diverse, longing in the kitka shot by him, says: rest, Lord, the soul of the slaves. In the most passionateness of the renunciation of God, in the very thought that God is not for them, there is a burning religious memory of God, which - on the sensation of the block - is also characteristic of Russian bootiers, because only Russian, renounced God, feels the appearance. This block taught Dostoevsky. The block wants to love the revolution even contrary to her heroes and righteous, take it all entirely in her chaos, because this revolution is Russian. That is the unit to transform the most dark in the holy. He transformed Russia without embellishing her. Let the romance, but with them Christ. The block is not a phrase, but experienced and felt, because it is expressed not only in words, but in rhythms. Only those who are deaf to his rhythms can say that the transformation of these hooligans in the apostles and the appearance of the Jesus Christ, at the head of their Jesus Christ, is nothing justified, the random effect, organically unrelated to the poem. Those who have listened to the music of this poem know what the transformation of the low-alone in the holy occurs last page , and from the very beginning, from the very first sound, because this poem, with all its vulgar dictionary and the plot, on the music of your solemn and magnicity. All coarse sinking in her pathos, for all her vile words we feel wide and bright Dali. Surrect already from the first page felt that this is the anthem about God. But, of course, the block would not be a block, if in this poem did not feel the second one that is the opposite of the first. He always loved hating, and believed not believing. He often did not understand what he had written, Anathema or Osna. He carefully listened to other people's interpretation of this poem, as if expecting someone who would explain to him that she means. It was impossible to give her one explanation, as a double person wrote her, with the dual perception of the world. Two feelings are merged in her lyrics. His 12 will be understood only to someone who can accommodate his double sensation of the revolution. In the poem - the highest flourishing of his work, which - from beginning to end - was as if preparations for this poem. When he was insulted by the evil civilization of Europe, he invariably for the "twelve". Rather, they would come and saved! This is the poem of the great happiness that came true: the long-awaited came. Let them freaks and hardships, but they will litten that fire, about which the block was for so many years. Amazing equipment of the block is amazing precisely what is invisible. We read and say: "There is a man burned out," and he was very burned or not, forget and think about it. "There is a man burned down" - this is the subject of the block. For the reader, this is not just works of art, but the diary is genuinely worried. Block and in the autobiography itself calls them their diary. The block, despite all his dark topics, was always a poet of joy. In the depths of the depths of his poetry there is precisely joy - about life, about the world, about God. More about the figure of Christ in the finals from the diary of the block: "The right, fond of" twelve ". But I just stated the fact: if we look in the poles of the snowstorm on this path, you will see Jesus Christ. That Christ goes before them - undoubtedly. The point is not worthy if they are worthy of him, and it is scary that again he is with them, and there is no other yet. And you need another? I somehow exhausted ... "S. Bulgakov suggested that the blizzard under the guise of Christ was an antichrist. Voloshin suggested that he was not Christ leads the Red Guards, and this they convey it. A number of contemporaries took these lines as direct and unforgivable blasphemy. Someone wrote that Christ in the poem is not the Gospel Jesus, but the Old Believer, sectarian, burning, associated with the dream of a social retribution. On March 3, 1918, the poem of the block was published in the Banner Banner newspaper. The same year came out separate edition Poems. The relationship of the bloc itself to the poem has changed. In 1920: "I do not renew from writing me, because it was written in harmony with the elements. And those who sees in the "twelve" political poems or very blind to art, or sit on the ears in political dirt, or are obsessed with great malice. " Scythians. It is a tense rhetorical invo against western peopleswho do not want to enter into the world proposed by the Bolsheviks. It is well written, eloquently, but below in terms of the level than "twelve". The poem was written on January 30, 1918, published on February 20, 1918. Together with the "Twelve" poem and the article "Intelligentsia and the Revolution" forms the so-called. January trilogy of 1918. The indefinite situation in the negotiations in Brest Litovsk, enthusiastic apocalyptic premonitions at this time merge in Scythians with long-standing reflections of the block about Russia and Europe, about Messianic destination of Russia. Ivanov-Obsens emphasized that the speech in the poem is not about geographic Russia, but about people's soul Russia. Tragedy "Rose and Cross". There was a Knight Bertrand, and he loved the emptiness and served as emptiness, and gave her his life, and the block of empty is the only true human image. He is happy with his victim of emptiness. He wins the world nonsense with his aimless suffering. It is necessary to go without a goal and die without a goal, because the only excuse is in death. The block said this: you won't come anywhere, but go; You will disappear, but go. Stubborn idealism, idealism called everything. In essence, the unit has always been bertrans, but realized it only now; Even to love anyone, we will love anyone else and for what! No one to believe, but not to believe it is impossible. Nowhere to go, but we will go. We will sacrifice themselves in the name of anything, because only life is being consecrated by the victims. Three anxious year. The block worked on all kinds of cultural and translation undertaking, which was led by Gorky and Lunacharsky. After the poem, "twelve" his revolutionary enthusiasm slept and was replaced by passive despondency. About the block and his death Chukovsky: "The entire Lyrics of the block since 1905 is homelessness and wind. Homelessness he knew how to portray virtuoso. When the revolution came, the block met it with some religious joy as a feast of the spiritual transformation of Russia. In the revolution, he loved only ecstasy, he only unbelievable in the revolution, which did not consider the revolution: all philistical, scopidomous, looking, slave, compliant. He was disappointed not in the revolution, but in humans: they do not alter any revolution. The poet and in the revolution turned out to be a homeless who did not adhere to any nest; He could not forgive the revolution until the end of his days, that she was not similar to the one that he dreamed of so many years. But she did not promise him that would be similar. The block fell only in March 1921, but began to die much earlier, back in 1918, now after writing "twelve" and "Scythians." Whatever he did, wherever he goes, he always felt dead. Even his gait was funeral. Then it happened to him that, in essence, is equivalent to death. He isnemal and the flames. That amazing hearing and the seraphic voice that he possessed alone, left him forever. Everything for him was suddenly silently, as in the grave. He told that by writing "twelve", a few days in a row heard the incessant not that noise, not that hum, but after he was silent and this. He suddenly felt the very noisy, screeful and loud era. Creativity it stopped. When I asked him, why he did not write poems, he constantly answered the same thing: "All sounds stopped. Don't you hear that there are no sounds? " It would be blasphemous and love to remember the sounds of sounds in a silent space. This music stopped now. "And the poet dies, because he has nothing to breathe." It was all the more scary that before squeezing, he was all filled with music. All the poem "Twelve" he wrote in 2 days. It was also easy for him to do it. The end of his work was his death. Having written "twelve", he tried all these three and a half years to understand what he wrote. He always talked about his verses as if some kind of foreign will affected them. "I also do not like the end of the" twelve ". I would like this end to be different. When I finished, I myself was surprised: why Christ? But the more I looked out, the clearer I saw Christ. And I also recorded in myself: unfortunately, Christ. " I seemed invaluable to me that the poet was not enough to such an extent in his gift, which he himself was surprised that he wrote to him, struggled with what he wrote from him, regretted that he had written, but he felt that he was written They have the highest truth, independent of his desires, and respected this truth more than his personal tastes and beliefs. " Died Block on August 7, 1921. Erich Goltlers: "The block died because he wanted to die." Approximately the same said V. Khodasevich: "He died because he was sick all, because he could not live anymore. He died of death. " 3. Composition verbal work and her various aspects . Composition as "a dynamic deployment system of verbal rows" (Vinogradov) Language composition of text and related concepts: architectonics, plot, plot composition - in Latin - an essay, compilation, connection. The composition is generally called the construction, the mutual location and the ratio of parts of any work: verbal, musical, picturesque. But we are interested in verbal. With the concept of composition in literature, the concepts of architectonics, plot, fabuli are correlated. Relations between them are not determined with sufficient clarity, sometimes even the composition is mixed with architectonics, the composition and plot, etc. do not differ. Therefore, it is important to understand these three adjacent concepts. Architectonics (gr. Construction art) - the external form of the structure of the work of literature, the location of its parts: prologue, epilogue, chapter, part, volume, etc. The poem is a storm and solid forms (sonnet, ballad). Architectonics is considered in terms of the unity of the external form of the location of the text parts with the disclosure of its content. Fabul (history, story) is a set of events depicted in the work, and the plot is a consistent development of events, as they are set out in the work. The composition of the verbal work is understood in different ways. 1) "School" interpretation of the composition - the deployment of the plot, in which such generalized parts are distinguished: the exposition - the tie - the development of action - the culmination - the omission. " This is the location of the parts optional. Many retreats. 2) Another interpretation of the composition, more connected with the features of verbal creativity: "Motivated location of" segments "of text. Each "segment" in the composition of the verbal whole is characterized or sustained at all of its length of a form of verbal expression (narration, description, reasoning, dialogue), or a point of vision of the author, a narrator, the character with which the presentation is conducted. " On cases of complex relationships of architectonics and plot. "First of all, this refers to the location of parts in the work in relation to the sequence of events in time covered by the narrative." Among the possible types of temporary shifts "Stories of Heroes". 3) the third definition of the composition put forward by V.V. Vinogradov, offering an understanding of the composition of the artistic text, "as systems of dynamic deployment of verbal rows in a complex verbal-artistic unity." It defines the components of the composition of the verbal product as verbal rows. Not only words, but also phrases, trails, shapes, syntactic models can act as the components. Vinogradov did not propose the definition of a verbal series. Therefore, the pots offer its properties of a verbal series. 1) Since the verbal row acts as a slightest composition, it is the category of text. Outside the text of the verbal row. 2) the definition of "verbal" protrudes in a broad sense (language) and assumes a number of not only lexical, but also phonetic, morphological, word-forming, syntactic, etc. So the verbal row is a sequence of linguistic units of different tiers (and not just a tier of vocabulary). 3) the third property is not necessarily a continuous sequence of linguistic units forming a verbal row. 4) The verbal rows can be highlighted on various features, of which the main - correlation with a certain area of \u200b\u200blanguage use (archaisms, neologisms, jargonisms, professionalism, dialectisms) and with a certain admission of text construction. Can be combined with linations with any party to build text: emotional expressive or objective logical.

The beginning of the twentieth century became a period of harsh tests for Russia: World War II, revolution, civil war destroyed millions human fate. Difficult human relationships and new era With piercing drama, Boris Leonidovich's Roman "Dr. Zhivago" is described in the novel. Analysis of the work according to the plan will better prepare not only for the lesson in literature in the 11th grade, but also to the exam.

Brief analysis

Year of writing - 1945-1955.

History of creation - Roman was written for ten years, and brought the writer the Nobel Prize in literature. However, the fate of the work was quite difficult: it was banned for a long time under the ban on his homeland, and real injury unfolded against Pasternak.

Subject - The problem of many urgent social issues is fully disclosed, but the central theme is opposed to human and history.

Composition - The composition of the work is very complex and is based on the plexus of fate of the main actors. All characters central heroes Through the prism of the personality of Yuri Zhivago.

Genre - multi-Russian novel.

Direction - Realism.

History of creation

The novel was created over the whole decade (1945-1955). And it is not surprising, since the work describes the most important epoch in the history of Russia and raised the global problems of society.

For the first time, I visited Boris Leonidovich for the first time in 17-18 years, but at that time he was not yet ready for such work. The writer began to implement his plan only in 1945, spending 10 years of hard work for it.

In 1956, attempts to publish a novel were made in the Soviet Union, but they were not crowned with success. Pasternak was subjected to a crucial criticism for the anti-Soviet content of the novel, while the whole Western world literally applauded Russian genius for his brilliant work. The world recognition of "Dr. Zhivago" led to the fact that Boris Leonidovich was awarded the Nobel Prize, from which he was forced to refuse homeland. For the first time, the novel was published in the Soviet Union only in 1988, discovering the literary gift of Pasternak with the general public.

Interestingly, Boris Leonidovich could not immediately decide on the name of his brainchild. One option was replaced by another ("death will not", "the candle of burned", "Innocent Dudorov", "boys and girls"), until finally, he did not stop at the final version - "Dr. Zhivago".

Meaning of the name The novel is to compare the main character with the merciful and all-friendly Christ - "You are the son of God Zhivago." The writer was not accidentally chosen by the old Slavonic form of the adjective "alive" - \u200b\u200bso in the work of the red thread the topic of sacrifice and resurrection passes.

Subject

Holding a work in "Doctor Zhivago", it is worth noting that the author has revealed in it many important topics: Life and death, search yourself in an updated society, loyalty to your ideals, choice life path, the fate of the Russian intelligentsia, honor and debt, love and mercy, resistance to the impact of fate.

but central theme The novel can be called the relationship between the person and the era. The author is sure that a person should not sacrifice his own life for the fight against external circumstances, as well as should not adapt to them, losing its true "I". The basic ideawhich Pasternak wants to convey in his work, lies in the ability to remain ourselves with any life conditions, no matter how difficult they are.

Yuri Zhivago does not seek the luxury or satisfaction of his own ambitions - he just lives and resistive tolerate all the difficulties that fate presents him. No external circumstances are able to break his spirit, lose a sense of self-esteem, change the life principleswhich were formed in his young years.

No less important The author attaches theme of lovewhich is permeated literally the whole novel. This strong feeling of Pasternak is shown in all possible manifestations - love for a man or woman, to his family, profession, homeland.

Composition

The main feature of the composition of the novel is a rag of random, but at the same time fateful meetings, all kinds of circumstances, coincidences, unexpected turns of fate.

Already in the first chapters, the author skillfully gossip the complex plot knot, in which the invisible threads are associated with the fate of the main characters: Yuri Zhivago, Lara, Misha Gordon, Komarovsky and many others. At first, it may seem that all plot intricateings are unnecessary and complex, but during the novel it turns out to be true meaning and purpose.

The composition of the novel is based on acquaintance acting characters and the subsequent development of their relationship, and on the excitement of independently developing human destinies. The main characters, as if x-ray, are shouted by the author, and all of them, one way or another, closes in Yuri Zhivago.

Interesting composite moves of Pasternak, you can name the Notebook of Zhivago with his verses. It symbolizes the window into infinity of being. Losting an authentic interest in life and morally dropping on the bottom, the main character dies, but his soul remains to live in beautiful poems.

main characters

Genre

To accurately determine the genre affiliation of the novel is extremely difficult, since it represents a rich alloy of various genres. This work can be called in autobiographical, because it reflects the main life of Pasternak, who gave the main character with many personal qualities.

Also, the novel is philosophical, as it paid a lot of attention to reflections on serious topics. The work of great interest is from a historical point of view - in it in detail, there is a whole historical reservoir in the history of a large country.

Do not deny the fact that "Dr. Zhivago" is a deeply lyrical novel in verses and prose, in which symbols, images, metaphors occupy a lot of space.

The genre peculiarity of the work strikes imagination: there are surprisingly harmoniously intertwined many literary genres. This gives reason to conclude that "Dr. Zhivago" refers to a multilayan novel.

It is also difficult to say what exactly the romance belongs to, but for the most partThis is a realistic work.

Roman B. Pasternak "Dr. Zhivago" is often called one of the most difficult works in the work of the writer. This applies to the features of the display of real events (the first and October revolutions, the world and civil war), an understanding of his idea, characteristics of characters, the name of the main one - Dr. Zhivago.

On the role of Russian intelligentsia in the events of the beginning of the 20th century, however, not easy, like his fate.

Creative story

The first idea of \u200b\u200bthe novel refers to the 17-18 years, but the Pasternak began serious work only after almost two decades. The 1955th is marked by the end of the novel, then there were publication in Italy and awarding the Nobel Prize, from which the Soviet authorities forced the optocrian writer to refuse. And only in 1988 - the novel saw the light in his homeland for the first time.

The name of the novel was changed several times: "Candle was burning" - the name of one of the poems of the main character, "death will not", "Innokenty Dudorov". As a reflection of one of the aspects of the author's plan - "Boys and girls". They appear on the first pages of the novel, grow up, pass through themselves those events, witnesses and participants of which are. Teenage perception of the world is preserved in adult lifewhich prove the thoughts, actions of heroes and their analysis.

Dr. Zhivago - Pasternak attentively referred to the selection of the name - so the name is the main character. At first there was a Patrite Liver. Yuri is likely to be a daisy-victorious. The last name Zivago is most often associated with the image of Christ: "You are the son of God Zhivago (form pOST PAIDE in ancient Russian language). " In this regard, the idea of \u200b\u200bsacrifice and resurrection appears in the novel, the red thread passing through the whole work.

The image of zhivago

In the spotlight of the writer historical events The first second decades of the XX century and their analysis. Dr. Zhivago - Pasternak depicts all his life - in 1903 he loses his mother and turns out to be under the care of uncle. At the time when they go to Moscow, the father of the boy, who left the family even earlier. Next to Uncle Yura lives in the situation of freedom and the absence of any prejudice. He learns, growing up, marries a girl who is familiar from childhood, receives and begins to engage in his favorite work. And in it wakes up interest in poetry - he begins to write poems - and philosophy. And suddenly the usual and well-established life collapses. In the courtyard of 1914, and after him there are even more terrible events. The reader sees them through the prism of the views of the main character and their analysis.

Dr. Zhivago, just as his comrades, vividly responds to everything that happens. He goes to the front, where much does it seem meaningless and unnecessary. Returning, becomes a witness to how power goes to the Bolsheviks. At first, the hero perceives everything with delight: in his view, the revolution is "magnificent surgery", which symbolizes the life itself, unpredictable and spontaneous. However, over time, it comes to rethink the incident. It is impossible to make people happy in addition to their desire, it is criminally and at least ridiculous - Dr. Zhivago comes to such conclusions. The analysis of the work leads to the idea that a person wants it or not, it turns out to be drawn into the hero of Pasternak in this case, almost floats in the flow, openly not protesting, but not accepting unconditionally new power. It was most often put in the reproach to the author.

During the civilian Yuri Zhivago falls into the partisan detachment, from where it runs, returns to Moscow, trying to live with a new government. But working, as before, he cannot - this would mean to adapt to the conditions arising, and this is disgusting to its nature. It remains creativity, in which the main thing is to proclaim the eternity of life. This will show the poems of the hero and their analysis.

Dr. Zhivago, thus, expresses the position of that part of the intelligentsia, which with caution reacted to what happened in the 1917th coup as a method of artificially and approve new orders, initially alien to any humanistic idea.

Death of Hero

Choking in new conditions that does not take its essence, Zhivago gradually loses interest in life and spiritual powersIn the opinion of many, even degrades. Death cares him unexpectedly: in a stuffy tram, to get out of whom he had no opportunity to feel unreasoning Yuri. But the hero does not disappear from the pages of the novel: he continues to live in his verses, as evidenced by their analysis. Dr. Zhivago and his soul acquire immortality thanks great power art.

Symbols in the novel

The product has an annular composition: the scene begins the description of the Mother's funeral, but ends with his death. Thus, the pages are narrated by the fate of the whole generation, presented, mainly, Yuri Zhivago, and emphasizes the uniqueness of human life at all. Symbolically appearance of the candle (it, for example, sees in the window of a young hero), personifying life. Or blizzard and snowfall as a harbinger of adversity and death.

There are symbolic images in the poetic diary of the hero, for example, in the poem "Tale". Here, the "Dragon Corpse" - the serpent victorious in the duel with the rider - personifies the fabulous sleep, which turned into eternity, the same intense as the soul of the author himself.

Poetic collection

"The poem of Yuri Zhivago" - only 25 - were written by Pasternak during the period of the novel and make up one whole with him. In the center there are a person who fell into the history of history and rendered to a complex moral choice.

The cycle opens the "Hamlet". Dr. Zhivago - Analysis shows that the poem is a reflection of its inner world - refers to the Most High with a request to facilitate the fate appointed to him. But not because he is experiencing fear - the hero is ready for the struggle for freedom in the surrounding kingdom of cruelty and violence. This is a work and about famous hero Shakespeare, facing complex and about the cruel fate of Jesus. But the main thing is a poem about a person who does not tolerate evil and violence and perceives what is happening around as a tragedy.

Poetic records in the diary relate with various stages of life and mental experiences of Zhivago. For example, an analysis of the poem of Dr. Zhivago "Winter Night". The antithesis on which the work is built is helps to show the confusion and spiritual flour of the lyrical hero trying to determine what is good and evil. The hostile world in his mind is destroyed due to heat and light of a burning candle, symbolizing the stray fire of love and home comfort.

Roman value

One day "... waking up, we ... do not refund the lost memory" - This thought B. Pasternak, expressed on the pages of the novel, sounds like a warning and prophecy. The proof, accompanied by bloody and cruelty, caused the loss and commandments of humanism. This is confirmed by the country's next events and their analysis. "Dr. Zhivago" is characterized by the fact that Boris Pasternak gives his understanding of history without imposing it to his reader. As a result, everyone gets the opportunity to see the events in its own way and, as it were, becomes his co-author.

Epilogue's meaning

The description of the death of the main character is not the finale yet. Action Romana a short time It is transferred to the beginning of the fortieth, when Zhivago's consolidated brother meets Tatiana, daughter of Yuri and Lara, working as a nurse. Unfortunately, it does not have one of those spiritual qualities that they were characteristic of her parents, which shows an episode analysis. "Dr. Zhivago", thus, denotes the problem of the spiritual and moral rational of society as the result of the changes that occurred in the country, which heaves the immortality of the hero in his poetic diary - the final part of the work.

The ideological and thematic content of the novel is largely due to the fact that the author himself characterizes his idea in 1946 in a letter to the sister O. M. Freudenberg: "He began to write a big novel in prose. Actually this is the first true my work. I want to give it historical image Russia for the last forty-ficiency, and at the same time by all sides of its plot, heavy, sad and detailed designed ... This thing will be the expression of my views on art, the gospel, the human life in history and much more. " Thus, "Dr. Zhivago" was conceived as a "novel of the century" and as the most complete and objective lyrical statement of the author "On time and about himself." "... I want to speak out to the end of life and time to the end and in clarity, as given to me ...", "Pasternak wrote about the work on the novel. For him, this is not just the result of life and creativity, but the concentrated expression of the entire complex of philosophical, religious, ethical ideas, a look at their own fate and the path of world history and culture.

One of the main topics of the novel is reflections on the history of Russia, its past, present and future in the context of world history. For Pasternak, a picture of the historical process is characterized by the Tolstovsky, which he trusts to express Yuri Zhivago: "He again thought that the story, what was called the course of history, he represents himself at all as accepted, and it is drawn like her plant kingdoms. ... no one does stories, it is not visible, as you can not see how the grass grows. " That is why so often in the novel is a living, constantly reviving nature acts by the personification of Russia and the whole history of mankind. No wonder the most close to the author of the heroes of Roman Yuri Zhivago and Lara, so thinly feel nature, so close to her, as if dissolved in natural principle. The main ideological-textic nodes of the novel represent the conjugation of man and nature. That is why natural images are so important in his ideological and artistic system, motifs, likes: "... past in the clouds of hot dust, raised by the sun, like lime, flew Russia ...".

The whole romance permeates and cements a multi-valued image of blizzards, blizzards, storms. Firstly, this is a cleansing storm of revolution, a symbol similar to Blokovsky from the poem "Twelve" (symbolic picture of the newspaper falling on the page with the first decrees of the Soviet power of the November snow). Secondly, it is a non-inflexible mind of gusting of feelings, the heroes overwhelmed like a snow snowstorm. And finally, this image is associated with an equally sudden impulse of creativity, capturing Yuri Zhivago and determined his future path. It is through the curtain of the winter blizzard that he sees a cup of candles burning from the street, where Lara is talking to a conversation with his future husband Antipov. Then Yuri first hears the words, probably the most famous from the poems, the final novel: "The candle was burning on the table, the candle was burning ...". So the poet is born, which by his work redeemed not only his life, suffering, love, but also connected the coming ends of Russian culture, history, restoring the "connection of times".

Such figurative threads are permeated with all the artistic fabric of the novel, which gives it special integrity and organic. So at the beginning of the novel, the image of a storm appears, which recognized the Ten-year-old Yura: "Bowl on the courtyard was a blizzard, the air smoked in the snow. It was possible to think that the storm could notice Yura and, conscious, as she was terrible, enjoys the impression on him. She whistled and overestimated and drove all the ways to attract legal attention. " And in the final, as if the same storm collects a thunderstorm "black and violent cloud", which catches the tram, which is exhausted from the heat, choking Yuri Andreevich in his last path.

It is in these last Minutes My life again comes the soap about a certain "principle of relativity on the life of the ristar", according to which completely unexpected, at first glance, rapprochement, meetings, intersection of people, destinies, times and spaces. This thought does not sound in the novel, describing not only its main constructive principle, but the most important idea of \u200b\u200bthe conjugacy of all life phenomena for the author. This applies to the above-mentioned interpenetration of human and natural principle, and the paradoxical connection of the fate of numerous heroes of the novel, which often seemed to readers and critics with something unnatural and far-fetched. Moreover, this is another the most important topic The novel on the connection of a single Russian culture, which, it would seem, forever broke off under the blows of revolutionary cataclysms. Roman himself is an artistic alloy of various styles that embody all the leading traditions of Russian culture. This is a kind of "generalized portrait of Russian culture XIX-GG. early XX centuries. " It is indicative from this point of view a circle of reading the heroes of the novel: "demons" of Dostoevsky, "War and Peace" of Tolstoy, "Eugene Onegin" Pushkin and much more, which is the "Golden Fund" of Russian Culture. They talk about it, they argue the heroes, and at the same time the problem becomes more and more clear for the author: what happens when the richest culture of the people is facing, containing its most powerful spiritual potential, and the militant "anticulture", confidentiality, after the accomplished revolutionary breaking The age-old traditions filling themselves, it would seem, all national cultural and historical space. In this monstrous fight, it becomes obvious that in fact, from the cultural and historical heritage of Russia, it can be destroyed, destroyed, distorted, and that eternally and indestructible, despite all revolutions and war. At the same time, Pasternak gives a "portrait" of Russian culture not isolated, but enters it into the global cultural space. Not only russian, but also foreign literature It is reflected in the pages of the novel (in the house of Zhivago read Dickens and Standal), various philosophical systems are discussed, political events, which different heroes give various interpretations In accordance with your own position. But they all emphasize the idea of \u200b\u200bcontinuity and fibium. So the Antipov-Strelnikov who went to the revolutionary struggle argues in a conversation with Zhivago: "... Whole this nineteenth century with all his revolutions in Paris, several generations of Russian emigration, starting with Herzen, all the conceived rearness ... All labor movement of the world, all Marxism in parliaments And universities in Europe ... All this absorbed into myself and generally expressed Lenin, so that it was an indelible enormous image of Russia with an impersonal retribution with him, an indelible enormous image of Russia rose to him, in the eyes of all over the world, suddenly dyeing the redemption for all the priests and adversity of humanity. " Despite the differences in relation to the accumulated coup, the heroes of the novel, as well as the author himself, recognize the inevitability of what is happening. "What a magnificent surgery!" - exclaims not recognizing a new life and did not fit Yuri Zhivago. With all his disagreement with a new system, a leveled and destroying personality, in the revolution itself he sees something artistically ingenious. "This is unprecedented, this is a miracle of history, this is the revelation of Ashnuto to the very thick of the ongoing ordinances, without attention to her go. It is only ingenious. " Obviously, the author trusts the hero to express his reflections on the unintentionalness of historical development, and therefore, despite all the horrors of the revolution, it is perceived as a givenness, inevitability, involving a person, like sand, in the whirlpool of events. For Pasternak of War, Revolution, kings, Robespierre - "Ferry Yeast" of history. Fanatics similar to Antipov-Strelnikov, making revolutions, a few hours and days breaking the entire former life system, - "Self-Provision Genius" in the name of the "Great Idea" recognized by them. But what follows this?

"For decades, centuries worship the spirit of limited leading to the coup as the shrine." It is precisely this for Pasternak one of the most terrible consequences of the revolution for Russia. As a result, it was established by the kingdom of mediocre, which rejects, pursues, destroys all the truly living and creative. That is why the new life was able to adapt and make people like Dudorov and Gordon in it, but there was no place for a free, creative person, similar to Yuri Zhivago. "The stereotype of what Dudorov said and felt, especially Torn Gordon. ... The virtuous speeches of Innocent were in the spirit of time. But it is the pattern, the transparency of their pinnedness exploded Yuri Andreevich. A non-free person always idealizes his unable. Yuri Andreevich did not endure the political mysticism of the Soviet intelligentsia, what was her higher achievement or then they would say - the spiritual ceiling of the era. " It turns out that the revolution kills not only with its rigidity ("if the enemy does not give up, it is destroyed"), but by itself contradicts life, rejects it. "... Nowadays, microscopic forms of heart hemorrhages were very frequent," Dr. Zhivago notes with medical accuracy. - ... This is the illness of the newest time. I think its causes of moral order. From the huge majority of us require constant, to the system of erected crifodishia. It is impossible without the consequences for health from day to day to manifest itself dismissed what you feel; Critting before you do not love, enjoy what brings you misfortune. "

So the topic of Russia, its history and culture, reflections on the patterns of the historical process inextricably communicates in the novel with its main philosophical theme - Life, death and immortality. In the prosaic part of the novel, it is most clearly expressed in the reflections of the uncle of the chief hero - Nikolai Nikolayevich Vedevenäpina, "applied by his own behalf of the priest." He claims: "... a person does not live in nature, but in history ... In the current understanding, it is founded by Christ ... The Gospel has her substantiation," - and wonders: "What is the story? This is the establishment of age-old work on a consistent rays of death and its future overcoming. " What is needed to gain immortality? "This is, firstly, love for the neighbor, this top view of living energy ... and then these are the main components of a modern person, without which he is unthinkable, namely the idea of \u200b\u200ba free personality and the idea of \u200b\u200blife as a victim." So the basic ideological lines of the novel are closed and overlook its main theme - the life, death and immortality of a person in a Christian understanding. For Pasternak, the phenomenon of Christ is the beginning of the true history of mankind: "Only after him, life began in the offspring, and a person dies not on the street under the fence, but in his history, in the midst of work devoted to overcoming death, dies, dedicated to this topic" . According to the author, after the coming of Christ, the history of mankind begins to proceed into eternity. The personality model in the novel is Christ: with his arrival, as Pasternak writes, "Peoples and gods stopped" and "man began." No wonder the image of Christ in Pasternak "emphasized human, intentionally provincial," because, thanks to this, each person gains hope for immortality. It is "... a carpenter's person, a man-plow man, a shepherd man in a flock of sheep at sunset, a man nor a bit of sounding proudly, a person grateful to all the lulled mothers' lighter songs and in all art galleries of the world." The worldview center of the Roman is the idea of \u200b\u200bresurrection and immortality, which manifests itself in a sense of person, commensurate with the world. In this respect, the reflection of Yuri Zhivago is indicative: "There is no death. Death is not in our part. But you said: Talent, this is another thing, it's our, it is open to us. And talent - there is a gift of life in the highest wide broad concept. " That is how the idea of \u200b\u200bimmortality is implemented in the novel in the fate of Zhivago: after his death, he had a memory of him in the hearts of people close to him, his poems remained, which completed the whole book. "Poems Yuri Zhivago" for the novel of a kind of catharsis, breakthrough to immortality after a heavy plot, this breakthrough in eternity. That is why there are so many of those who are directly related to Christian themes, motifs and images: "On a passionate", "Christmas Star", "Miracle", Magdalene, "Hepsiman Garden". It is in this row that one of the most significant for Russian literature "Eternal images" - Hamlet, and, together with him, the problem of moral choice, put in the novel as a fundamental for each of the heroes, goes to the universal level. The idea of \u200b\u200bthe complexity and responsibility of the choice, about his possible consequences, on the right of a person to shed blood, passing through the entire novel, is projected on the fate of his author and appeals to readers. So the "poem Yuri Zhivago" turns out not only ideological and thematically related to the main lines of the work, but also completing their development at the new level of artistic generalization.