A real writer that he sees the ancient prophet more clearly than ordinary people. Essay “A real writer is the same as the ancient prophet A.P. Chekhov (Based on one of the works of Russian literature - N.V. Gogol Dead Souls)

Russian literature of the 2nd half of the 19th century

“A real writer is the same as an ancient prophet: he sees more clearly than ordinary people” (A.P. Chekhov). Reading your favorite lines of Russian poetry. (Based on the works of N. A. Nekrasov)

Nikolai Alekseevich Nekrasov was not a fashionable poet, but he was a favorite author for many. Yes, it was and still is my favorite modern readers, albeit few, but I am one of them. The amazing lines of Nekrasov’s lyrics are forever imprinted in my soul: “Why are you greedily looking at the road?” (here - the whole tragic fate), “There are women in Russian villages, with calm importance of their faces, with beautiful strength in their movements, with a gait, with the look of queens” (before us is the song of the “majestic Slavic woman”), “As if drenched in milk, the cherry orchards stand, quietly rustling” (and here, with one or two most expressive strokes, a sweet picture of central Russia, the homeland of the great poet, was created). “Quietly”! So tender and amazing folk word snatched by the poet from the very thick of it folk life, from its deepest layers.
Melodious, sincere, wise poems by Nekrasov, often similar to folk song(and many have become songs), they draw the whole world Russian life, complex and multicolored, lost over time and continuing today. What strikes me most about Nekrasov’s poetry? First of all, this is his ability to feel, understand and take upon himself the pain of another person, the “wounded heart of a poet,” which F. M. Dostoevsky so soulfully spoke about: “This never-healing wound of his was the source of all his passionate, suffering his poetry."
Reading Nekrasov’s poems, you are convinced that his talent was inspired great power love for the Russian people and the incorruptible conscience of the poet, you understand that his poems are not intended for entertainment and thoughtless admiration, since they reflect the struggle of the “humiliated and offended,” the struggle of the Russian people for better life, for the liberation of the worker from bondage and oppression, for purity and truthfulness, for love between people.
Can your heart not tremble when you read the famous poems about the St. Petersburg street scenes, seemingly such a distant past, past the nineteenth century! But no! I'm painfully sorry for the unfortunate nag who was slaughtered in front of an amusing crowd, I'm sorry for the young peasant woman who was whipped on Sennaya Square, I'm also sorry for that young serf woman Grusha, whose fate was mutilated by the gentlemen.
It seems that A. S. Pushkin, speaking about his successors in poetry, prophetically pointed specifically to Nekrasov as a poet called into the world to express in his work the full depth of human suffering:
And a hard-won verse,
Depressingly sad
Will hit the hearts
With an unknown force.
Yes, that's right, that's it!
Pushkin, as is known, did not often resort to epithets, but in in this case they are abundant and all-encompassing in defining the lyricism of this future poet: Nekrasov’s verse turned out to be truly “deeply suffered,” “piercingly sad,” but at the same time grabbing the heart, “right by its Russian strings.”
I was called to sing of your suffering,
Amazing people with patience!
These lines of Nekrasov could be taken as an epigraph to my reflection on the poet’s lyrics if I were not aware of other motives of his poetry.
His Muse is the Muse of anger and sadness. The author's anger was caused by a world of evil and injustice. And contemporary life presented him with plenty of reasons for the poet’s indignation; sometimes it was enough for him to look out the window to be convinced of this. Thus, according to the memoirs of Avdotya Panaeva, one of the best works arose - “Reflections at the Main Entrance.” How much love and sympathy he has for the peasant truth-walkers, how much deep respect for these fair-haired, meek village people! And how murderously bilious his anapest becomes, as if nailing it to pillory“the owner of luxurious chambers” - for his indifference, “deafness to goodness”, for his useless, wingless, well-fed and calm life!
I took the book, rising from sleep,
And I read in it:
Were there worse times,
But it wasn’t mean!..
I threw the book far away.
Are you and I really
Sons of this age,
O friend - my reader?
When I read these lines filled with anger, I suddenly realized that Nekrasov was not at all outdated, as many interpret today. No and no! Isn’t this what the nineteenth-century author, poet-prophet said about our crazy times:
I fell asleep. I dreamed of plans
About going to pockets
Compassionate Russians...
God! But this is about the endless bursting of MMM, Northern and other banks that deceived our parents and other gullible workers!
Noisy in the ears
Like bells are ringing
Homeric jackpots,
Million dollar cases
Fabulous salaries
Shortage of revenue, division,
Rails, sleepers, banks, deposits -
You won't understand anything...
The lines from Nekrasov’s poem “Hearing the Horrors of War...” about the grief of a mother who lost her son sound strikingly modern:
Among our hypocritical deeds
And all sorts of vulgarity and prose
I've spied the only ones in the world
Holy, sincere tears -
Those are the tears of poor mothers!
They will not forget their children,
Those who died in the bloody field,
How not to raise weeping willow
Of its drooping branches.
And this, unfortunately, is also the bitter truth of today - the tears of orphaned mothers, whether Georgian, Russian or Chechen... “everything hurts.”
It seems that the poet, as if from a mosaic creating the terrible face of this world, finds it difficult to breathe from anger, recalling the fair lines of K. Balmont that Nekrasov is “the only one who reminds us that while we are all breathing here, there are people who are suffocating …”. This intonation of righteous anger against the unjust structure of the world permeates his short poem about the desired storm:
It's stuffy! Without happiness and will
The night is endlessly dark.
A storm would strike, or what?
The brimming cup is full!
Often contemporary poet life seemed to him “darkness,” when the beast “prowls freely” and man “walks timidly”; he passionately wanted to bring a happy time closer, but, realizing the futility of the dream, he lamented:
It’s just a pity to live in this wonderful time
You won’t have to, neither me nor you.
But Nekrasov’s disappointments in the possibility of happiness did not extinguish his faith in happy life in my soul. It is with great joy that I take his poems with me on the long journey of life, which teach me to be a thinking, compassionate, fair, and responsive person. My soul echoes the poet when I read the lines from his “Bear Hunt”:
There is no celebration in life
Who doesn't work on weekdays...
So, don’t dream about fame,
Don't be greedy for money
Work hard and wish
May labor be forever sweet.
My soul sings along with the author the famous “Korobushka”, my heart and mind are in harmony with the world when I remember the comforting words of Nekrasov:
The Russian people have endured enough...
He will endure whatever God sends!
Will bear everything - and a wide, clear
With his breast he will pave the way for himself...
Yes, “you have to live, you have to love, you have to believe.” Otherwise how to live?

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A true writer is the same as an ancient prophet. A.P.Chekhov

“A true writer is the same as an ancient prophet.” A.P. Chekhov. (Based on one of the works of Russian literature.)

In the nineties, the following definition appeared in our literary criticism: “unclaimed talent.”
“Unclaimed” by time, era, readers. This definition can rightfully be attributed to M.A. Bulgakov. Why
But the powerful, unique, insightful talent of the writer turned out to be unsuitable for his contemporaries? What is the mystery of today
universal admiration for Bulgakov’s work? According to public opinion polls, the novel "The Master and Margarita"
named the best Russian novel of the twentieth century.
The point is, first of all, that it was in Bulgakov’s work that the type of person who actively opposed
themselves to the system with its demand to undividedly submit and serve the totalitarian power. In an atmosphere of general fear and
such lack of freedom human type, of course, turned out to be dangerous and unnecessary, this type was destroyed in the most literal sense
this word. But today he has been rehabilitated and has finally taken his place in history and literature. So Bulgakov found his second
life, turned out to be one of our most read writers. And we saw in the era depicted by Bulgakov not only
panorama of a certain period of history, but, more importantly, the most pressing problem human life: will the person survive,
Will it retain its human principles if culture is reduced to nothing and destroyed?
The era of Bulgakov is a time of intensifying conflict between power and culture. The writer himself fully experienced everything
the consequences of this clash of culture and politics: bans on publications, productions, creativity and free thinking in general.
This is the atmosphere of life, and therefore of many of the artist’s works and, first of all, his novel “The Master and
Margarita."
Central theme"The Master and Margarita" - the fate of a bearer of culture, an artist, a creator in the social world
troubles and in the situation of destruction of culture as such. The new intelligentsia in the novel is sharply depicted satirically.
Cultural figures of Moscow - MASSOLIT employees - are engaged in the distribution of dachas and vouchers. They are not interested in questions
art, culture, they are occupied with completely different problems: how to successfully write an article or short story, to
get an apartment or at least a ticket to the south. Creativity is alien to all of them; they are bureaucrats from the arts, nothing more. This is it
environment is like that new reality, in which there is no place for the Master. And the Master is actually located outside of Moscow, he is in
"psychiatric hospital". He is inconvenient for the new “art” and, therefore, isolated. Why is it inconvenient? First of all, because
free, he has the power to undermine the foundations of the system. This is the power of free thought, the power of creativity. Master
lives by his art, cannot imagine life without it!
th. Bulgakov is close to the image of the Master, although it would be a mistake to identify the hero of the novel with its author. The master is not a fighter, he
accepts only art, but not politics, he is far from it. Although he understands perfectly well: freedom of creativity, freedom of thought,
the non-subordination of the artist’s personality to the state system of violence is an integral part of any creativity. In Russia
a poet, a writer is always a prophet. This is the Russian tradition classical literature, so beloved by Bulgakov. Peace, power,
A state that destroys its prophet gains nothing, but loses a lot: reason, conscience, humanity.
This idea was especially clearly and clearly manifested in the Master’s novel about Yeshua and Pontius Pilate. Behind Pilate modern
the reader is free to see anyone, any leader of a totalitarian state, vested with power, but deprived of personal
freedom. Another thing is important: the image of Yeshua is read as the image of a contemporary of Bulgakov, not broken by power, not losing
of his human dignity, therefore doomed. Before Pilate stands a man capable of penetrating the most
deep recesses of the soul, preaching equality, the common good, love for one's neighbor, that is, what does not exist and cannot exist
V totalitarian state. And the worst thing, from the point of view of the procurator as a representative of the authorities, is the thoughts of Yeshua
that “... all power is violence against people” and that “the time will come when there will be no power for Caesars,
nor any other authority. Man will move into the kingdom of truth and justice, where no
power." Obviously, that's exactly what Boo himself thought!
liars, but it is even more obvious that Bulgakov was tormented by the dependent position of the artist. The writer offers to those in power
listen to what the artist says to the world, because the truth is not always on their side. No wonder the procurator of Judea Pontius
Pilate was left with the impression that he “didn’t agree on something with the condemned man, or maybe he didn’t listen to something.” So true
Yeshua remained “unclaimed,” just as the truth of the Master and Bulgakov himself were not “claimed.”
What is this truth? It lies in the fact that any strangulation of culture, freedom, dissent by the authorities
disastrous for the world and the government itself, in that only a free person is able to bring a living stream into the world. Home
Bulgakov's idea is that the world from which the artist is expelled is doomed to destruction. Maybe because
Bulgakov is so modern that this truth is only now being revealed to us.

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They tried to deprive him of it for many years. But he clung to life and endured all the hardships of the concentration camps, all their horror; he cultivated his own views on what was happening around him, not borrowed from anyone; He outlined these views in his story.

One of its themes is that, whatever the person, good or bad, who receives higher education or, conversely, an uneducated person, no matter what position he holds, when almost incurable disease, ceases to be a high-ranking official, turns into an ordinary person who just wants to live.

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Solzhenitsyn brings together people of different nationalities, professions, and adherents of different ideas in one of the chambers. One of these patients was Oleg Kostoglotov - an exile, a former prisoner, and the other was Rusanov, the complete opposite of Kostoglotov: a party leader, “a valuable worker, an honored person,” devoted to the party.

By showing the events of the story first through the eyes of Rusanov, and then through the perception of Kostoglotov, Solzhenitsyn made it clear that power would gradually change, that the Rusanovs with their “questionnaire management”, with their methods of various warnings, would cease to exist, and the Kostoglotovs would live, who did not accept such concepts as “remains of bourgeois consciousness” and “social origin”.

Solzhenitsyn wrote the story, trying to show different views on life: both from the point of view of Vega, and from the point of view of Asya, Dema, Vadim and many others. In some ways their views are similar, in others they diverge. But mainly Solzhenitsyn wants to show the wrongness of those who think, like Rusanov’s daughter, Rusanov himself. They are used to looking for people somewhere downstairs, thinking only about themselves, not thinking about others.

Kostoglotov is an exponent of Solzhenitsyn’s ideas; through Oleg’s arguments with the ward, through his conversations in the camps, he reveals the paradoxical nature of life, or rather, that there was no meaning in such a life, just as there is no meaning in the literature that Avieta extols. According to her, sincerity in literature is harmful. “Literature is to entertain us when we are in a bad mood,” says Avieta, not realizing that literature is truly a teacher of life. If you have to write about what should be, then it means there will never be truth, since no one can say exactly what will happen. But not everyone can see and describe what there is, and it is unlikely that Avieta will be able to imagine even a hundredth part of the horror when a woman ceases to be a woman, but becomes a work horse, which subsequently cannot have children.

Zoya reveals to Kostoglotov the full horror of hormone therapy, and the fact that he is being deprived of the right to continue himself horrifies him: “First, I was deprived of my own life. Now they are depriving them of the right...to continue themselves. To whom and why will I be now?.. The worst of freaks! For mercy?.. For alms?..” And no matter how much Efrem, Vadim, Rusanov argue about the meaning of life, no matter how much they talk about it, for everyone it will remain the same - to leave someone behind. Kostoglotov went through everything, and it left its mark on his value system, on his concept of life.

The fact that Solzhenitsyn spent a long time in the camps also influenced his language and style of writing the story. But the work only benefits from this, since everything that he writes about becomes accessible to the person, he is, as it were, transported to the hospital and he himself takes part in everything that happens. But it is unlikely that any of us will be able to fully understand Kostoglotov, who sees a prison everywhere, tries to find and finds a camp approach in everything, even in the zoo.

The camp has crippled his life, and he understands that he is unlikely to be able to start his old life, that the road back is closed to him. And millions more of the same lost people are thrown into the vastness of the country, people who, communicating with those who did not touch the camp, understand that there will always be a wall of misunderstanding between them, just as Lyudmila Afanasyevna Kostoglotova did not understand.

We mourn that these people, who were crippled by life, disfigured by the regime, who showed such an insatiable thirst for life, endured terrible suffering, are now forced to endure rejection from society. They have to give up the life to which they have strived for so long, which they deserve.

Tale " Dead souls"can rightfully be called best work Nikolai Vasilievich Gogol. According to V. G. Belinsky, all creative life writer before working on it was only a preface and preparation for this truly brilliant creation. "Dead Souls" are one of the most bright examples Gogol’s manner of depicting reality, because where else can one find such an accurate and truthful biography of Russia at that time. It’s not for nothing that many writers talk about the “Gogolian” movement in literature, calling N.V. Gogol the founder realistic direction in poetic art. N.V. Gogol’s own opinion about the purpose of a writer, or, in other words, an artist, is expressed in the words: “Who, if not the author, should tell the holy truth?” Let’s try to understand how N. justifies. V. Gogol his ideas about the artist, how he sees his fate and how his satirical heroes from characters in other comedies.

Like many other writers, N.V. Gogol directly addresses the reader through his lyrical digressions, in which he complains about the shortcomings of Russian reality, in particular, the lack of analogues of foreign words in the Russian language, and also justifies himself in advance and explains the meaning of all those moments that, in his opinion, may cause y. readers irritation and dissatisfaction. In one of his lyrical digressions Gogol explains his views on the purpose of the artist. Here he writes that: “... it’s not that it’s hard that they will be dissatisfied with the hero, it’s hard that there is an irresistible confidence in the soul that readers would be happy with the same hero, the same Chichikov.” I think that in these words Gogol wanted to say that vice will not be ridiculed and presented to everyone, it will not be noticed. So who, if not a writer, should help people discover these vices, who better than him can ironically expose the reality around us? Perhaps now that so many have appeared critical literature, such a point of view would be very ambiguous.

After all, the opinion may arise that such abundance provokes rather than eradicates shortcomings. However, during the time of N.V. Gogol, who was, in fact, one of the first writers who dared to so directly ridicule the shortcomings of his time and who really succeeded like no one else, such a work as “Dead Souls” was simply invaluable in its its importance and necessity. Therefore, I cannot but agree with the above words of the writer, as well as with his further reasoning about the so-called “patriots”. N.V. Gogol, knowing that attacks from such people may arise, responds to them in advance. All the absurdity and ugliness of such people, “ardent patriots, until time calmly engaged in some philosophy or increments on the account of the sums of their dearly beloved fatherland, thinking not about not doing bad, but about not saying that they are doing something bad,” described by N.V. Gogol in a story about a strange family consisting of a “philosopher” father and a son, half-jokingly, half-seriously called by the author a Russian hero. It seems to me that this small episode, which cannot but cause a smile when read, once again confirms the idea previously expressed by N.V. Gogol.

After all, who, if not a person, who by nature has the gift of seeing what is not visible to others, who has good feeling humor and who knows how to succinctly express his thoughts, to understand the nature of such people... Now I would like to talk about what distinguishes N.V. Gogol from other satirical writers. N.V. Gogol does not describe his heroes fluently and superficially, like many of his predecessors, believing that this not only will not help him create his characters, but even on the contrary, with such an image he will not be able to achieve his plans.

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Monument to those tortured during investigation,
shot in basements, killed
at stages and in camps - created.
L. Chukovskaya

The truth is well known: every era creates its own hero, who most fully embodies its problems, contradictions, and aspirations. Literature plays an important role in this. The great masters of words not only created their own literary heroes, carriers of the spirit of the times, but they themselves became rulers of thoughts for many generations. Therefore, we are talking about the era of A. Pushkin, F. Dostoevsky, L. Tolstoy, A. Blok.
The 20th century turned out to be extremely rich in events, leaders, and arbiters of destinies. Where are they, these idols of millions, now? The rapid movement of time erased from memory folk names many, only a few remain, among them Alexander Solzhenitsyn. How much effort has been made to make people forget this name! It's all in vain. A. Solzhenitsyn is forever “registered” in the history of Russia and its great literature.
Nowadays, literary scholars, politicians, and philosophers are struggling with the question of who Solzhenitsyn is: a writer, publicist or public figure? I think that Solzhenitsyn is a phenomenon, an example of the harmonious unity of a writer’s talent, the wisdom of a thinker and the amazing personal courage of a patriot.
But how did a brilliant student of the Faculty of Physics and Mathematics at Rostov University, an active Komsomol member, grow into a great fighter against totalitarianism? Solzhenitsyn himself identified three milestones on the path of his civic development: war, camp, cancer.
Having passed the front roads from Orel to East Prussia, Solzhenitsyn was arrested and received eight years of forced labor camps. As soon as he was freed, finding himself in an eternal settlement, he fell ill and was forced to go to Tashkent, to an oncology clinic. But here, too, Solzhenitsyn turned out to be the winner. It is at this moment that he realizes his future fate: “I was not killed at the front, I did not die in the camp, I did not die of cancer in order to be able to write about the atrocities that have been happening in our country for decades.”
The camp theme is present in almost every work of Solzhenitsyn. However, his civic and literary feat was “The Gulag Archipelago,” which has the following dedication: “To everyone who didn’t have enough life to tell about it. And may they forgive me that I didn’t see everything, didn’t remember everything, didn’t guess everything.”
227 people sent Solzhenitsyn their memories of the Gulag. On behalf of these people and many others, living and dead, the writer speaks about those horrors that were later covered up with the quite decent words “cult of personality.”
“The Gulag Archipelago,” consisting of seven parts, covers all periods of the life of prisoners: arrest, prison, stage, camp, exile, liberation and much more, which we, people of the early 21st century, cannot even guess about.
But the work is powerful not only because of this factual material. Solzhenitsyn actively uses images of Christian culture here. The suffering of the prisoner, strung up on the rack, is compared to the suffering of the Son of God. But the author himself hears a girl crying in a neighboring women’s camp, left as punishment in the forty-degree frost. Powerless to help, he swears: “I promise this fire and you, girl: the whole world will read about it.” And behind these words there are others spoken by Jesus Christ to Mary: “It will be said in memory of her and what she did.”
Great Russian literature comes to the aid of the writer. He remembers the names of L. Tolstoy, F. Dostoevsky, A. Chekhov. With the name of Dostoevsky, who wrote about the tear of a lost child, the book includes the topic “The Gulag and Children.” It turns out that in 1934 the USSR adopted a decree according to which citizens over the age of twelve could be arrested and executed.
Remembering A.P. Chekhov, Solzhenitsyn writes: “If Chekhov’s intellectuals, who were all wondering what would happen in twenty to thirty years, had been told that in forty years there would be a torture investigation in Rus'..., all the heroes would have gone to a madhouse "
As a result of all this, the book creates a terrible image of Evil, which can be resisted only by maintaining the purity of the soul and moral principles, and the author himself acts as a prophet, the “verb” that burns our hearts.
And later, in the 70s, Solzhenitsyn would not forget about this for a minute. high role. The result of his fight against Evil will be expulsion. But even there, in distant Vermont, he felt a blood connection with Russia.
In 1994, Solzhenitsyn returned to his homeland. He dreamed of being useful to his people. What a pity that we were unable to hear and understand him, this great writer and faithful son of Russia!

Conceived in 1937 and completed in 1980, A.I. Solzhenitsyn's August the Fourteenth represents a significant milestone in the artistic coverage of the First World War. Critics have more than once noted its similarities with Leo Tolstoy's War and Peace. We agree...

Alexander Isaevich Solzhenitsyn was born in 1918 in Kislovodsk; His father came from a peasant family, his mother was the daughter of a shepherd, who later became a wealthy farmer. After high school Solzhenitsyn graduated from physics and mathematics in Rostov-on-Don...

PROGRESS OF THE LESSON I. Organizational stage II. Updating basic knowledge Problematic question ♦ tell us about the fate of the hero of the story “One Day in the Life of Ivan Denisovich”, his life values. Which of the heroes of Russian literature is spiritually close to Shukhov?...

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