The role of Russian literature is very difficult to overestimate. This role is multifaceted, like literature itself. Gorky wrote: “Our literature is our pride.”
Russian literature is called “the pinnacle of world humanism.” Classical Russian literature is a model for many people. The same Maxim Gorky wrote: “The giant Pushkin is our greatest pride and the most complete expression of the spiritual forces of Russia, and the merciless Gogol towards himself and people, the yearning Lermontov, the sad Turgenev, the angry Nekrasov, the great rebel Tolstoy, ... Dostoevsky, the sorcerer of the language Ostrovsky - not similar to each other, as it can be in our Rus',” and we will add that they are our prophets, teachers, the conscience of the nation.
A person turns to their work, to the work of other Russian writers, all his life: looking for answers to questions that trouble the soul, comprehending the science of relationships between people and genders, learning to live.
Great psychological writers include F. Dostoevsky, L. Tolstoy, A. Chekhov. Using their example literary heroes we understand what good and evil are, what helps a person develop and move on. We understand what temptation is, which leads to the moral fall of a person. By reading their works, we learn to do right choice in life, to understand people and yourself, to objectively evaluate the world around you.
Belinsky wrote about Turgenev that he was a writer in whose soul “all the sorrow and questions of the Russian people” are in his soul. And also, according to the same Belinsky, this writer has an extraordinary ability to depict pictures of Russian nature. The landscapes he describes instill love for the Motherland and a sense of patriotism. Turgenev's socio-psychological novels reveal the subtle soul of a Russian woman.
Speaking about Russian literature, one cannot help but recall Russian poetry, because the work of many Russian poets is famous throughout the world.
Pushkin... Who doesn't love his work? Children love his fairy tales, a girl in love for the first time, wiping away her tears, reads the poet’s love lyrics, and those who like to contemplate Russian landscapes quote one or another of his poems by heart. True, they have precision in their choice of words and therefore we find ourselves in his work. Reading his works, we believe him, we become better, we correct our mistakes, we learn to love.
How can we not remember the works of Fet and Tyutchev? They are poets and artists of Russian nature. Their creativity plays a big role in the aesthetic education of a person. They awaken in him observation, attentiveness, and a sense of love for nature. “I love a thunderstorm at the beginning of May, When the first thunder of spring, As if frolicking and playing, Rumbles in the blue sky,” Tyutchev wrote simply, but you couldn’t say it better. You not only hear, but also see the timid rumbles of thunder and even smell the first spring thunderstorm. Or “There is in the initial autumn. A short but wonderful time - The whole day is as if crystal, And the evenings are radiant...” - well, how can we say more precisely about the warm period of autumn, “Indian summer”.
Let's remember Nekrasov's work. His understanding of the simple Russian soul, the soul of a Russian woman, is incomparable. The lines of his works are imbued with concern for the fate of the Russian people and awaken in us a feeling of compassion.
All Russian literature teaches us to be human. A person - a personality! Russian literature is our priceless asset, it is the textbook of life from which our parents learned and we learn.
The term "literary tradition" is used in literature if we're talking about about the continuity that unites successive literary phenomena.
The concept of literary tradition
In its meaning the concept literary tradition identical to the concept of borrowing, influence and imitation. The constituent elements of a literary tradition can be the following components of poetics: stylistics, composition, rhythm and theme. These components are often transmitted by literary tradition not separately, but in combination with each other.
The area of literary tradition is also quite wide: it can be like international creativity, and the creativity of one people. For example, Gogol created a literary tradition in Russia, which over time spread far beyond its borders. The literary tradition is not distinguished by its intensity, so we see that Pushkin’s traditions in different times sometimes they intensify in literature, sometimes they disappear almost completely.
At first glance, an extinct tradition may not only be revived, but also take its place as the dominant one in literary process, due to the influence of suitable historical conditions.
In the literary process there is the concept of parodying a literary tradition. A striking example This is Dostoevsky’s work “The Village of Stepanchikovo”, in which the author parades Gogol’s style and his ideology.
Eternal themes in literature
Traditional problems. Literary works, in their absolute majority, have stable eternal themes, the peculiarity of which is that they are practically inexhaustible, since they will always be relevant in any society. No matter how many options there are for revealing them, there is still something left unsaid every time, as well as something that lends itself to a completely different interpretation in new historical conditions.
Getting acquainted with various literary works, we are amazed at how the same topic is seen by different writers. By and large, many literary works that have come down to us describe the same plot, but divided and corrected over the centuries.
Eternal themes literature can be divided into the following categories:
1. Ontological- themes of unidentified eternal phenomena: space, light, darkness.
2. Anthropological topics:
- the concept of being - sin, involvement, pride, human life, death.
- epoch-making events - wars, revolutions, peace, civic activities.
- the sphere of social instincts - love, friendship, family, zeal for power, social transformation of a person.
Discussions about eternal problems are also very characteristic of the literary process. Basic eternal problem, which is discussed in literary works, are the issues and problems of morality of man and society. Along with the description of this problem, the literature also indicates ways to solve it - for society this is a revolution or reform, for a person - moral improvement.
Another traditional eternal problem is the question of society’s rejection of an individual, the so-called lone hero. A special place in the literary process is occupied by the clarification of universal human problems - the search for the meaning of life, understanding of good and evil, internal torment, etc.
A problem is a QUESTION.
The problem poses a question to resolve the essence of the subject that has become the subject of research in a literary work. And the subject for research is suggested by the theme of the work. The question grows from the topic like a sprout from the soil. This links the problem to the topic.
If the theme is LIFE reflected in a literary work, then the problem is a QUESTION posed on the basis of this life reflected in a literary work.
The same topic can become the basis for raising different problems.
A problem is a complex question posed in a work, which is solved or remains unresolved, but ways of finding its solution are shown.
The question of the identity of the topic and the problem is controversial.
Issues: One literary work cannot have only one problem; it has many problems, main and secondary, auxiliary ones.
Typology of problems in literature:
Socio-political
Moral and ethical
National historical
Universal
Philosophical
Social
Psychological
Eternal problems:
Good and Evil
Body and soul
Time and eternity
Love and hate
Life and death
Death and immortality
The meaning of life
Person and society
Person and history, etc.
Question 4. The idea of a literary work as a search for an answer to a problem. The ideological content of a literary work. Typology of literary ideas
An idea is an answer to a question posed by a problem based on the part of life posed by the topic, reflected in a literary work.
An idea is an assessment of what is reflected in the theme of a work.
The idea is the main fundamental content of the work. Generalized thought. Which lies at the heart of the work and is expressed in its figurative form.
An idea is the author’s subjective assessment, but in addition to this, an objective idea also appears in the work, which can be broader than the author’s intention and opens up in a new way every time. new era, with each new generation of critics and readers.
The idea of a work and its design are two different things.
The plan may not include those ideas. Which contemporaries or descendants will find, see, and discover in a literary work.
General idea of the work = the main idea of the work, always answers or seeks an answer to main problem society. time, era, person, as the author understands them.
The idea may not be expressed directly and unambiguously in the work, as an answer to a question; it may be a search for an answer, intended ways of answering, answer options, directions for thinking about the answer...
The idea is not limited to the direct positive statements of the author.
Everyone has actor, events, pictures in a literary work have their own ideological, meaningful function.
Each image of the poetics of a work (NB! see Classification of images - remember and write in your notebook for lectures in this place) has its own ideological = conceptual load.
The entire figurative system of the work is the bearer of the author’s concept – the author’s main idea of life.
The ideological meaning of the novel is determined not only by the author’s direct word and the author’s assessments, but, above all, by the ideological function of each element of the artistic form, the conceptuality of the style.
Understanding the general idea of the work comes from analyzing everything ideological meaning all elements of the content and form of a literary work.
Goethe: “It would be a good joke if I tried to string such a varied life of Faust onto a thin string of a single idea for the entire work” - !!!
Typology of ideas in literature.
Subjectivity of an artistic idea: it depends on the subjective opinion of the author.
The imagery of an artistic idea: it is expressed only in figurative form.
Eternal ideas: coincide with the formulations of eternal themes and problems, but each author tries to find his own way to resolve them...
Give an example of a timeless idea from any of your favorite books - NB.
Composition
Russian classical literature of the 19th century is a literature of “eternal themes.” Russian writers sought to answer difficult questions existence: about the meaning of life, about happiness, about the Motherland, about human nature, about the laws of life and the Universe, about God... But, as people with an active life and social position, Russian classics could not stand aside from current problems of its time. In this regard, “eternal themes” in Russian literature were expressed, it seems to me, through the search for a “hero of the time.”
Thus, “Woe from Wit” by A. S. Griboyedov reflects the eternal problem of “fathers” and “children”. Alexander Andreevich Chatsky protests against the old orders that have taken root in the Russian nobility. The hero of the comedy fights for “new” laws: freedom, intelligence, culture, patriotism.
Arriving at Famusov’s house, Chatsky dreams of the daughter of this rich master, Sophia. But here only disappointments and blows await the hero. Firstly, it turns out that Famusov’s daughter loves someone else. Secondly, that the people in this master’s house are strangers to the hero. He cannot agree with their views on life.
Chatsky's position in comedy is unenviable. His struggle is difficult and persistent, but the victory of the new, according to Griboyedov, is inevitable. Chatsky’s words will spread, be repeated everywhere and create their own storm. They are already of great importance among the “new”, progressive people. Thus, the writer resolves the issue of “fathers” and “children” in favor of the children.
Another Russian writer who worked in the second half of the 19th century - I. S. Turgenev - also touched on this eternal question. His novel “Fathers and Sons” solves the problem of intergenerational relationships in a slightly different way. From Turgenev’s point of view, only continuity of generations, continuity of culture, traditions and views, a reasonable combination of old and new, can lead to positive development.
Using the example of the main character - Evgeny Vasilyevich Bazarov - the writer shows that denial alone, without the desire to build something new, only leads to destruction and death. This is an unfruitful path. And denying your human nature is absolutely absurd. Bazarov, who imagines himself to be a superman and despises “noble nonsense” about love and feelings, suddenly falls in love. For him, this becomes a real test, which the hero, alas, cannot stand; at the end of the novel he dies. Thus, Turgenev shows the inconsistency of Bazarov’s nihilistic theory, and once again emphasizes the need for continuity of generations, the value of the culture of ancestors, the need for harmony and gradualism in everything.
A. S. Pushkin’s novel “Eugene Onegin” also touches on many “eternal themes”: love, happiness, freedom of choice, the meaning of life, the role moral values in a person's life.
Almost from the very beginning of the novel, Pushkin shows the “superficiality” of his hero. Onegin is a fan of fashion, he does and reads only what can show off in high society. The hero learned early to be a hypocrite, to pretend, to deceive in order to achieve his goal. But his soul always remained empty, because Onegin’s nature is much deeper, more interesting, richer than the world required.
The search for the meaning of life begins, which yielded results only after a terrible tragedy - the murder of the young poet Lensky by Onegin in a duel. This event turned everything upside down in the hero’s soul, and his moral rebirth began. The fact that the hero has changed is evidenced by the eighth chapter of the novel. Onegin became independent of the opinion of the world, he turned into an independent strong personality, capable of living the way he wants, and not high society Petersburg, capable of loving and suffering.
In the person of Tatyana Larina, Pushkin shows us an example moral purity, nobility, sincerity, spontaneity, independence, the ability to have strong feelings.
If in the finale of “Eugene Onegin” there is hope for the hero’s happiness, then the main character of M. Yu. Lermontov’s novel “A Hero of Our Time” does not find his place or happiness in this life.
Pechorin is disappointed in his contemporary world and in his generation: “We are no longer capable of making great sacrifices, either for the good of humanity, or even for our own happiness.” Such thoughts lead Grigory Alexandrovich to boredom, indifference and even despair. It is the state of apathy and blues that makes Pechorin lonely. He has nowhere to hide from this feeling; it completely absorbs the hero.
Pechorin lost faith in man, in his significance in this world. Inevitable boredom gives rise to disbelief in love and friendship in the hero. These feelings may have appeared at a certain point in his life, but still did not bring Pechorin happiness. This person feels “superfluous” in his society, in general, “superfluous” in life. As a result, Pechorin dies. Lermontov shows us that in a world of disharmony there is no place for a person who with all his soul, albeit unconsciously, strives for harmony.
The desire for harmony with oneself and the world distinguishes another hero of Russian literature of the 19th century - Rodion Raskolnikov. In search of this harmony, he conducts an experiment on himself - he violates the moral law, killing the old pawnbroker and her sister.
The main character’s mistake is that he sees the cause of evil in human nature itself, and considers the law that gives the powerful the right to do evil to be eternal. Instead of fighting against the immoral system and its laws, Raskolnikov follows them.
For violating the moral law within himself, the hero suffers inevitable punishment. It lies, first of all, in the torment of his own conscience. Gradually, Rodion comes to understand his terrible mistake, to awareness and repentance. But the final transformation of the hero also occurs outside the scope of the novel.
The heroes of Tolstoy’s epic “War and Peace” are also in search of themselves, their path, and harmony. Thus, Pierre Bezukhov, having overcome the process of painful disappointments and mistakes, ultimately finds the meaning of life.
The hero strives with all his might for the light, for the truth. This is what accidentally brings him to the Masonic lodge. In addition, Pierre's activities appeal to the peasants: he plans to open hospitals and schools for them. But the most important stage The hero's life begins with the invasion of Napoleon's troops. Pierre could not stand aside when his fatherland was in such terrible danger. It is here, in the war, that Pierre becomes close to common people, realizes his wisdom, the value of his way of life, his philosophy.
Acquaintance with Platon Karataev in French captivity helped him penetrate deeper into the worldview of the patriarchal peasantry. Pierre realized the main thing: a person does not need so much to be happy. The cause of suffering and torment of the human spirit most often lies in acquisitiveness and excessive greed.
Thus, all Russian literature of the 19th century can be called the literature of the search for the Hero. Writers sought to see in him a person capable of serving his homeland, benefiting it with his deeds and thoughts, and also simply capable of being happy and harmonious, developing and moving forward.
In the process of searching for the “hero of the time,” Russian writers sought to solve the “eternal questions” of existence: the meaning of life, human nature, the laws of the Universe, the existence of God, and so on. Each of the classics solves these problems in their own way. But unchanged in general for the Russian classical literature there remains a constant desire to find answers to fundamental questions, without the solution of which it is impossible for a single person to exist.
