Contrasting Eugene and Peter Copper Horseman. "The duality of the image of Peter in the poem" Copper Horseman

The writing

Before moving to the analysis of the composition of the artistic and prosaic works of Pushkin, I will stop at two of the most difficult and at the same time, especially the meaningful compositions of the poetic works of Pushkin - the construction of Poltava and the Copper Horseman's poems. Many modern Pushkina critics (they joined it to a certain extent in their Pushkin articles and Belinsky) reproached the poet in the absence of action in His Poltava; that, within the framework of one work, the poet united as it seemed to be heterogeneous, usually correlated with various poetic genres, material - love, romantic land and "chanting" of the most important historical events. "From Poltava Pushkin," Belinsky wrote, "the epic poem could not get out because of the impossibility of the epic poem in our time, and romantic poem, like Bayronovskaya, also could not get out because of the desire of the poet to merge her with the impossible epic poke. "

However, Belinsky approached in this case to the estimation of Poltava Pushkin with the measure of the traditional division of poetry for childbirth and species. Meanwhile, Pushkin in all his work these traditional frameworks, as a rule, broke. It is equally from its "Poltava" - it is possible to assert this with complete confidence - he was not going to create not only the traditional epic poem, but also a new romantic, which was allegedly trying to merge with epic. The support points are here two "meetings" between Evgenia and the copper rider - Peter, compositely dedicated to exactly calculated places: the first "meeting" - at the end of the first part; The second is at the end of the second.

* Then, Pa Square Petrova,
* Where the house in the corner is a new one,
* Where over the elevated porch,
* With a piping paw like alive,
* Stand two lions watchdogs,
* On the beast of marble riding,
* Without hats, hands squeezing with a cross,
* Little sitting, scary pale
* Evgeny. He was afraid, poor,
* Not for myself. He did not hear
* As the greedy shaft rises,
* His soles are waving
* How to rain him in the face of Histal,
* Like wind, drowning
* From him and the hat suddenly threw.

And again the poet made everything to be impossible to smooth out the difference between the person and the monument, bring them to each other, make each other aesthetically, in our artistic perception, equivalent. Just as the poet in the entry gave the image of Peter, so he gives the image of Eugene: depicts it emphasized "Statue". With the spectacle of a terrible catastrophe, with thought about the danger, threatening his girlfriend, Eugene, fleeing from rising more and more and more water On a high porch of the old Barski mansion, sitting on a marble lion, and he himself would like a horror itself, turns into sculpture: "Singing the property, terribly pale Eugene", "His desperate gaze to the edge of one induced real estate." Finally:

* And he seemed to be done
* As if the mramor was chained,
* Can not go!

On the contrary, a monument to Peter Poet closers to the image of Living Peter (in joining the poem); there he stood over Neuly; About the same place is it and now:

* Over the perturbation of Nevy
* Stands with a speed of hand
* Moid on a bronze horse.

In fact, Peter, of course, is not worth it, but sits on horseback (this is exactly how the poet will say in exactly the same context at the end of the second part: "Sat on the bronze horse"); But the verb stands in this case expresses the greater activity of Petra's posture compared to the posture of Eugene and at the same time echoes the entry "standing". As a result, we seek some kind of a kind of sculptural ensemble, a sculptural group.

Filching from their shores, rebulhant, walking on the city of Neva, two: ahead, almost close to the river, is a removal Peter on horseback; Rear, on the other side of the square, - "On the Marble Bever", North Evgeny.

As we see, collisions, there is still no conflict. So far, this is just a comparison: from one column - concentration only on its own, "private", without thought about "general"; On the other hand, the concerns to the "total", in which "private" simply notice how "would not exist. But the most distinctness, the sharpness of such a parallel-contrast comparison and in particular the just mentioned, terminating the entire scene and full of huge semantic expressiveness, expression, the posture of the copper rider: "turned back to him" - prepare in the consciousness of the reader the regularity of the future conflict, are like His premises.

With the second, and now the immediate, face to face, the meeting of Eugene with a copper rider, the prepared, deeply tragic conflict and occurs.

* Jumped up Eugene; remembered various
* He is a past horror; hurried
* He got up; went to wander and suddenly
* Stopped - and around
* Quietly began to led apologies
* With fear of wild on face.

And at the same time, almost complete coincidence with the initial situation in the madness of Eugene Consciousness, a sudden and bright lumen flashes:

Evgeny shuddered. Claimed

* It is scary thoughts.
* He found out
* And place where the flood played
* Where the waves are predatory crowded,
* Bunuya viciously around PEGO,
* And Lviv, and the area, and
* Who has been motionless
* In darkness of the copper head,
* Whose will
* Under the sea, the city was founded ...

"Thoughts cleared," and clarified "scary" - this expression is full of deep meaning. Evgeny not only learned, but for the first time understood that the causal relationship, which exists between his disaster comprehensible and those whose image is motionless to rise in front of him who founded the city here, "under the sea", and as a result, he was the culprit of his terrible misfortune .

The complex historical dialectic of Petrovsky transformations is deeply familiar with the wonderful artistic power He is expressed by Pushkin in the contrast of two Petersburg, which appears in front of us in the "copper rider." Petersburg - entry into the poem: "Full countries of Kras and Divo", with its palaces, towers, gardens, the capital of the Petrovskaya Empire, Russian autocracy; and Petersburg - Actually Poem: the city of "Poor Eugene", Petersburg Okrain, attic ("Konoukka fifth housing", that is, the fifth floor, "the attic" was directly called Pushkin in the draft billets the housing of the future hero), dilapidated houses, huts, " poverty. " Hence the duality of the image of Peter.

This is a great historical figure, "Powerful Lord of Fate", which commands the very element; and at the same time this is "terrible", "Grozny Tsar", "proud iducan" selfhood (about St. Petersburg entry: "Ascended magnificent, proudly"), ruthlessly crushing everything that becomes across the path, mercilessly haunting the slightest attempt to protest, even if It comes from the mouth of the deficiencies of the post. Say It terrible catastrophe, resembling a person ruled by him. This is a historically determined unity of contradictions in the appearance of Peter expressed and in the famous final formula of the poet to the copper rider:

* About powerful Lord of fate!
* Aren't you over the abyss
* At the height, the Scum
* Raised Russia on rapid?

"Over the abyss" means, did not give to it; But "raised on the pillars," and raised ". ILLES.

Other writings on this work

But the North city is like a foggy ghost, we, people, pass as shadows in a dream. Only you are through the century, constant, weddorn, with a hand, we are flying on horse.
V.Ya. Bruisov

Before the poem " Bronze Horseman"(1833) Pushkin acted several times to the image of the king reformer: in the poem" Poltava "(1829), in the incomplete novel" Arap Peter the Great "(1830), in materials to the" History of Peter Great ". Throughout the work, Petra estimated the poet in different ways.

First, Peter appeared to Pushkin exceptional historical personality. "The genius of Peter escaped beyond his century," Pushkin wrote in "Russian notes history XVIII. century "(1822). This view of the king was reflected in the Poltava poem, where Peter is depicted as a romantic hero:

Leaves Peter. His eyes
Shine. His face is terrible.
Movement Fast. He is beautiful.
He is all like God's thunderstorm. (Iii)

Peter is depicted as an active sovereign, "over inspired" (III), who knows what is needed for his power to continue reforms for the benefit of Russia, the victory is needed over Swedish troops and over Carl. Therefore, he actively interferes in the Poltava battle. His behavior is contrasted with gloomy, the lethargy of the wounded Swedish king. Before Swedish troops

In a rocking chair, pale, real,
Suffering the wound, Karl appeared. (Iii)

Poem Poltava ends with rows, where the poet recognizes the extraordinary merit of Peter before Russia and in the military, and in political, and in administrative, and in cultural fields. Modern RussiaAccording to Pushkin, it is primarily the creation of Peter the Great:

In citizenship of the northern power,
In her militant fate
Only you erected, the hero of Poltava,
A huge monument to myself. (Epilogue)

However, the poet saw in the king and the extreme manifestation of self-leveling - direct despotism. "Peter despised humanity, maybe more than Napoleon," continues Pushkin in "Notes on the Russian history of the XVIII century." In the incomplete novel, "Arap Peter the Great" Peter is portrayed more realistic than in Poltava. On the one hand, the king is represented as a wise statesmanstaying in constant works and care for his power. Ibrahim observes Peter during the dictation of decrees, while working in a lathe workshop, etc. The king closely refers to his favorite: he understands that Ibrahim needs to marry, because the African feels strangers and lonely in Russian society. The king himself is looking for and wipes him the bride - Natalia from the Boyarsky genus Rzhevsky.

On the other hand, in Peter Pushkin, not only the state wisdom and humanity, but also an autocraticity, when he does not want to delve into the circumstances of a separate person, for example, does not want to ask the feelings of the bride itself, and, helping Ibrahim, the king crashes Natasha's life. In other words, in the novel, the author notes as positive features Peter's character (active activity, state wisdom, sincere care for pets) and negative (unceremoniousness, unwillingness to delve into life problems His subjects, the belief that everything is subject to him).

A critical attitude towards Peter does not prevent the poet to recognize the outstanding merits of the king and surprise its energy, working capacity, the breadth of his soul. The poem "Stans" (1826) is written as a peculiar instruction of the new king Nicholas the first one, which the author calls in everything to be similar to the Great Fatherland. The poem marks the creative activities of Peter, his patriotism:

Automatic hand
He boldly sowed the enlightenment,
Not despised the country's native:
He knew her destiny.

In the poem "Pier Peter First" (1835), the poet emphasizes the generosity and wisdom of the king, who knew not only to repulse enemies, but also to multiply the number of their supporters and friends. A feast in the "Peterburg-Town" king made it not because notes military victory; Not because he celebrates the birth of the heir; Not because it rejoices a new ship:

Not! He matched with the subject;
Guilty blame
Releasing, having fun;
A mug of foaming with him one;
And he kisses him in the man

Leveled with a heart and face;
And forgiveness triumphs
As a victory over the enemy.

In the "Copper Horseman", the features of power and self-balance in the image of Peter were adjusted to the limit. In the entry, the king is depicted as a far-sighted statesman: Pushkin cites Peter's reasoning, why a new capital should be built. These are military targets ("We will break to threaten to threaten the Swede"), and state political considerations ("to cut the window to Europe"), and trading interests ("All flags will be with us"). At the same time, Petr seems to not pay attention to the fact that the river floats in the Chelny fisherman, that "here and there" black is black; For him, the shores of the Neva are still deserted, he is passionate about the Great Dream and does not see "little people." Further, the introduction follows a description of the beautiful city, which was built on the frying swamps, on the low Nevsky shores and became the Redness of Russia and the pride of Russia, the symbol of the power of the country, which even the nature conquers. So, Peter in the accession is presented as a true creative genius, which "creates all of nothing" (J.-Zh.RUsso).

Already in the first part of the poem, where the rebellion of the Elements (flood) is shown, Peter turns into a "proud iducane" - the monument to E. Falcon, wonderful on its emotional expressiveness. The copper rider is depicted as a creature higher. The descendant of Peter, Alexander the first, humbly states in the poem: "With God's elements, the kings do not cope" (i), and Peter on his bronze horse towards the elements, and the waves that get around the monument, like mountains, can do nothing with it :

Above the outraged Nevyu
Stands with a simple hand
Moid on a bronze horse. (I)

In the second part, describing the man's riot, the copper rider is named by the Lord of the fate, which is its false Will Direct the life of the whole people. Petersburg, this beautiful city, built "under the sea" (II). In other words, when Peter chose a place for the new capital, he thought about the greatness and wealth of the state, but not about ordinary people who would live in this city. Because of the grand-container plans, the king collapsed the happiness and life of Eugene. Therefore, Mad Evgeny reproaches the copper rider and even threatens him with a fist: in the soul of a madman, a protest is born against violence of someone else's will over his fate.

Peter in the poem becomes a symbol of sickless Russian statePruptering the right little man" The statue in the sick imagination Eugene comes to life, the copper rider is becoming "illuminated by the Luno pale" (II), and becomes a pale rider on a pale horse ("Revelation of John the Cologovo" 6: 8), that is biblical way of death. This is what Pushkin comes, thinking about the great creator new Russia. The copper rider pacifies-frightens the rebeling "little man." Like Nevskaya water after flooding came back to the river bed and in state life Everything quickly came to the "former order" (II): the riot of a crazy loner changed nothing in society, and Evgeny died away from people, on the threshold of the house where he dreamed of finding happiness.

In conclusion, we can say that over the years, Pushkin's critical attitude towards Peter Great intensified. In the materials to the "History of Peter Great", the author flees the reforms of the king, which there are "the fruits of the mind of extensive, fulfilled benevolence and wisdom", it leads in detail those decrees that testify to the "leaduality and barbarism", "injustice and cruelty". These different estimates of the Pushkin historian were reflected in his artwork.

At first, the poet belonged to the king as a bright person, a fair and wise sovereign, a generous and humble person. Gradually, the image of Peter becomes complex and controversial, in it, along with state wisdom and appropriateness, there are devils, confident that he has the legal right to retire and break the fate of people in his own understanding.

In the "copper rider" introduced the final of the Evolution of the image of Peter in Pushkin Creativity: there are no human features in Peter, the author calls his "idol on the bronze horse" - not a furious element, nor human troubles concern him. The emperor appears the symbol of the Russian bureaucratic state, alien interests ordinary people and serving only itself.

Since the poem is the latest large work About Peter, it can be argued that Pushkin came to a multilateral appearance of Peter's cash, which combines and respect, and sharply critical attitude.

The image of Peter is given in the poem Pushkin "Copper Horseman" twice: in joining and in the second part of the poem. In the first case he real face, in the second - "Moid on the Bronze Kone", "Copper Horseman".

Peter in joining the poem is depicted as a great statesman who, who won in the war with the Swedes of the Finnish Bay, correctly took into account the importance of the construction of the new capital of the state. This was also required by the military-political goals ("We will threaten to threaten the Schwets"), and the tasks of Russia's Europeanization, the fight against her retardation ("Nature here we are destined to cut the window"), and trade, economic considerations, dictating the need to enter the sea sea Path In foreign countries ("here on the new waves all flags will be to visit us").

The base of St. Petersburg on the Nevsky shores Peter created the greatest importance of the state case, discovered a brilliant foresight. It took a hundred years, and young hail. From the darkness of forests, from the mold of the blot of full countries of the Beauty and Divo. Ascended magnificent, proudly ...

Describing the beauty and glitter of the capital, Pushkin sings the real anthem of St. Petersburg, which the great conversion activities of Peter justifies the blooming state, clearly reveals all the great importance of Petrovsky reforms that began new period in the history of Russia.

The act of historical necessity, the foundation of St. Petersburg, is explained in the poem, expressing the words of Pushkin, who was told about " state institutions"Peter, as" the fruit of the mind of an extensive, fulfilled benevolence and wisdom "(" Emulling and captivity of his old, let Finnish waves forget ").

But Peter was at the same time the first representative of the despotic absolute monarchy, which in the face of Nicholas I reached its highest development, clearly discovering the contradiction of his interests to the interests of democratic masses.

The personification of the absolute monarchy in its entirety and is Peter in the second part of the poem - "Cummy on the Bronze Kone." He is not alive
concrete human qualities, and the embodiment of the idea of \u200b\u200bnoble statehood. He is "powerful authority
Fate "," Half-Mair ", personification of state power

In the "Copper Horseman" Peter is shown in the situation of peaceful state construction. It is depicted in the poem in two historic moments separated by whole century. At the beginning of the poem, we see Peter as a real historical figure as the Tsar-Builder, reflecting on the shore of the Gulf of Finland on the basis of a new capital:

On the shore of the desert waves
He stood, the Duma of the Great full,
And Vdal looked.
We will break to threaten the Swede.
Here b will go the city of Evlochin
I called a surrender neighbor.
Natures here are destined
And he thought: to cut the window to Europe ...

The foundation of St. Petersburg is considered in the poem as an act of historical necessity, due to the military-political tasks of Russia, and its geographical position. The ingenious foresight of Peter was justified: Petersburg really became for Russia a "window to Europe". The blooming state of the capital a hundred years after its foundation was the best excuse for Peter's designs.

In the second part of the poem, Pitr Dan in the image of the "copper rider", "Kumir on the Bronze Kone", proudly towering over the disturbed Neva in the days of terrible flood in St. Petersburg in 1824. The monument to Peter is the symbolic image of the activity of the king reformer.
About Powerful Lord of Fate! At the height, the Scum
Aren't you over the most abyss, rose to Russia? -
exclaims Pushkin.

Pn loved Russia very much, knew her story well and often applied to the past of his country. In this past, he was interested in the image of Peter I, its character (complex and controversial) and ambiguous attitude towards its reforms as contemporaries and subsequent generations. In Poltava Poem, written in 1828, Pno creates an image of the emperor-warrior, and we see the complexity of his image in its description during the Poltava battle: Peter comes out. His eyes shine. His face is terrible. Movement Fast. He is beautiful ... He is "beautiful" in his desire to win over the enemy, who, in his opinion, prevents further development Russia, and "terrible" in an irreconcilable desire to break his resistance and destroy it. But Pn notes that Peter I does not experience personal hatred for the Swedes. After the victory over the enemy, he takes their military commanders in his tent: in the tent, he treats his leaders, the leaders of others, and the glorious prisoners caress, and the teachers of their cozy the Cup raises. P-on very attracts in Peter the ability to be generous and merciful. He generally appreciated these qualities in humans, especially in people endowed with unlimited power. This is seen from the poem "Pier Peter First" (1835). In that work pn Speaks about the holiday in the "Peterburg-Town". What caused this holiday? Born Ekaterina? Is she a birthday girl, the Wonderworker-Golyana Chernobrova wife? No, he celebrates reconciliation with the subject, and this event becomes as important for him that he marks him salute, fireworks. In the "Copper Horseman" we see Peter in a completely different role - here he is the founder of the capital. The poem "Copper Horseman" was written by A.S. Pni (in Boldin) in 1833. Started by the poet on October 6, it was completed on October 31. Soon he presented his work with the highest censor (Emperor Nicholas I) and received her with nine marks. Processing the "copper rider" Pn did not want: this meant to change the meaning of the work. Therefore, the poem came out with some abbreviations. The poem "Copper Horseman" is opposed to the state, personified in Peter I, and a person with his personal, private experiences. The attitude of the Russian people to Peter the Great, was never unequivocal to his reforms. He, as A. S. Pn, "T-N iron Russia Raised on the pillars. "Therefore, in the Russian history of Peter's reform, there was a deep and comprehensive coup, which, of course, could not accomplish easily and painlessly. King Peter I demanded from the people of all his might to achieve their goals. The common benefit of the whole state was bought by the price of personal Victims. And this caused Ropot and dissatisfaction among people. The same ambiguous attitude of the people was the same for the children of Peter I - Petersburg. Built "called the arrogant neighbor" and nature, the price of tremendous effort and victims, this city personified the greatness and power of Russia and Slavery of her people. But the end of the poem is complete opposite The beginning, which is a hymn of statehood, the anthem of Peter I, a hymn by the most powerful of Russian self-containers, the founder of the capital, brought together Russia with the West. Petersburg, according to the expression A. S. P-on, was the real "window to Europe". P-on always attracted the Figure of Peter, he devoted a lot of poems. And therefore, in Russian literature, there are various opinions about whose side it turns out to be Pn. Some researchers, and in particular, the famous Russian critic Vissarion Grigorievich Belinsky, believe that the poet substantiated the right of the state, whose personification of Peter I, dispose of the life of a private person, which leads to the tragedy. They believe that Pn, from the soul, sympathizing with the grief "poor" Eugene, after all, it becomes entirely on the side of Peter, as it understands the need and benefit of its transformations. Other researchers are on the side of the "poor" Eugene, that is, they consider his victim unjustified. And third researchers think that the conflict of the state and private person is tragic and intractable. Pn provides the story itself to make a choice between two "isometric" truths - Peter and Eugene. And this is the most correct point of view. Being a great poet of Russia, A. S. Pn believed his task to show people with the complexity of human relationships. And understanding and solving these sometimes unresolved issues should depend on the reader. Pnigase, Pno, asked Peter I for being directly involved in reforms, without worrying about his greatness and glory, thinking only about Russia, about her power, independence and strength. In the poem "Stans" (1826), he wrote: then an academician, then the hero, then the navigator, then a carpenter, he was a wonderful soul on the eternal throne was a worker.

"Copper Horseman" - a work imbued with symbolism. In his creation, A. S. Pushkin concluded deep meaning. The poem is trying to decipher not only historians and literary criticism, but also ordinary readers. The image of Peter 1 is ambiguous.

A.S. was written Pushkin in 1833. In the life of the poet, she never was published. Nikolai first confronted the release of the work in print, because she considered that Peter the first is wrong with the form of tyrant and autocrat. There is a version that Pushkin contrasted the image of Peter's reformer of Nicholas first. But in the very image of Peter, the author sees inconsistency, he notes in him and a despot and a great man who has played a significant role in the history of the Fatherland.

From the very first lines of the work in front of readers, the image of a great reformer appears, which commands "laying degrees called the arrogant neighbor" among the harsh edge of the swamps and lakes. Petersburg, built by Peter first, is opposed to Moscow. New town It was designed to make a change in the established and outdated way of life, which asked Moscow at that time. Pushkin chants the built city: "Whether in Hrad Peter and Stop Nepolebimo," according to him, before him "Even the old Moscow" fed. "

The image of Peter 1 is concluded in the magnificent sculpture of the copper rider, who tightened to a high rock on his bronze horse towards his grand creation. Pushkin boldly calls his "Lord of Fate," "Half of the half-one." The superhuman power is clearly exaggerated, on its background there is a modest personality of the second hero - Eugene, which presents collective image Metropolitan citizens. The conqueror of the elements and the ordinary representative of the Society met on the banks of the Neva, personifying two extremes: exorbitant human power and rendered to the insignificant image of the metropolitan faceless crowd. The city, which was created by the will of Peter, became alien for people, he dries their souls.

Pushkin sympathizes poor Eugene, affected by the power of Peter the Great, but the goal of Acts Peter is clear to him, his desire to "become a solid foot at sea", the element has come under the rule of the autocrat, the capital is approved, there is protection from the sea, Russia becomes a great power. But what price all this is achieved?

In this confrontation, the inconsistency of the interests of one person goals and the tasks of the whole state seems. Should the will of one, a separate person taken from the crowd will conquer the will of the whole state, is there really the happiness of every person connected with the well-being of the whole country? Such a question was supplied by the author. Pushkin himself does not give it an accurate answer on him, he offers the reader to draw conclusions on his own. Truth, as often happens, is in the middle, there is no state without a person, but also to take into account the interests of each individual personality is not possible. Perhaps this is the work dilemma.