Analysis of Pushkin's poem "Village. Genre originality of A.S. Pushkin’s poem “Pushkin village village direction

In interpreting The Village, one refers first of all to the political idea contained in it. The anti-serf orientation of the poem serves as a convincing example of the young Pushkin's undoubted love of freedom. However, focusing on a political idea, one often overlooks the indisputable fact that it is subject to Pushkin's broad reflections on his vocation, on poetic service, on the influence of life on art and art on life.

The central image in the poem is the image of a poet reflecting on his fate and his talent. But the poet is not fenced off from life's anxieties and unrest. He responds to them and at the same time experiences their direct impact. And he resolutely connects his poetic fate with the share of the people, with the quest of the progressive people of his time. Without in any way rejecting the anti-serf orientation of The Village, one cannot but see that the perception of the poem only as a political declaration narrows its meaning.

History of writing

"The Village" was written by Pushkin in July 1819. At that time Pushkin was young. He recently graduated from the Lyceum and settled in St. Petersburg. Among his friends and acquaintances are poets and freedom lovers, dissatisfied with autocracy and serfdom. They crave change and want to hasten the desired hour of liberty. Communication with them infects Pushkin. In 1818-1819, the poet wrote satirical "Tales" ("Hurrah! Rides to Russia ..."), "To Chaadaev", epigrams "On Sturdza" ("The servant of a married soldier" and "I walk around Sturdza ..."), he is attributed epigrams "To Two Alexander Pavlovichs" and "To Arakcheev". The circle of these freedom-loving poems also includes the famous "Village".

Lyrical image of the village

The title of the poem, like its first lines, sets in an idyllic mood. In European poetry, the village was usually idealized, depicted as a blooming paradise, a haven of inspiration, creativity, friendship, love, an island of independence. This tradition went back to hoary antiquity. In the era of antiquity, bucolic, or pastoral (both words mean "shepherd"), lyric poetry arose. It glorified the beauties of nature, the delights of a peaceful rural life, a happy solitude away from the vain, full of selfish temptations of urban civilization. On this basis, the genre of idyll was formed - a poetic or prose work in which writers admired the serene village life and good morals of its inhabitants. Idylls were also popular among Russian poets. Idyllic motifs often found their way into elegies and epistles. In the literature of modern times, the blissful idea of ​​the village, as if not knowing social and other conflicts, poverty, slavery, was already shaken. Radishchev dealt a decisive blow to him with his Journey from St. Petersburg to Moscow. The noble intelligentsia had already vaguely begun to understand that the bondage of the cities is connected with the serfdom of the villages, that the spiritual slavery of the nobles is not aloof from the servitude of the peasants, because the class that oppresses another class is itself not free. And yet, the idyllic perception of the village was persistent: in contrast to the city, it seemed to be a corner of freedom, spiritual purity, and poetic dreams.

The village attracts Pushkin. He understands the lofty feelings of poets, who breathe and live more freely in rural solitude. A conditional image of an idyllic lyricist appears in the poem, and this image is close and dear to Pushkin. Here for the first time, perhaps, the lyrical motif of the unity of labor and inspiration sounds as a guarantee of a full-fledged creative life, to which he aspires and the light of which will further illuminate his entire poetic destiny. From the time of The Village, this union will be equated by Pushkin with the concept of happiness. There, in a secluded corner, he will later rush in vain from Petersburg, from the court, from the evil court mob pursuing him, in order to freely surrender to work and inspiration.

The theme of voluntary escape from the stuffy world (“I traded the vicious court for a circus, Luxurious feasts, fun, delusions ...”) in “The Village” is weighty and significant. It is not for nothing that Pushkin repeats twice, like a spell: “I am yours ...” The pictures of nature contemplated by the poet seem to reinforce the peaceful mood.

The rural view, pleasing to the eye, promises a fruitful future and encourages high reflection. However, the idyll does not become the goal of Pushkin's image: nature, rural silence, "contentment", "labor" and "freedom idleness" encourage the poet to search for the meaning of life, instill in him sublime experiences.

The young idyllic takes on the features of a poet-philosopher and directly addresses the great figures of mankind, whose “creative thoughts” he listens with particular sensitivity “in majestic solitude”:

Oracles of the ages, here I ask you!

This is how two central stanzas are born, in which Pushkin trustingly reveals his sincere ideal of a true poet. He does not feel like a hermit in the wilderness, cowardly fleeing the troubles of life, but an artist-thinker who masters the diverse impressions of reality and the advanced ideas of the century. He acutely experiences the need to touch the fullness of being, which gives food to labor and inspiration, inseparable for him from the knowledge and proclamation of the truth.

Analysis of the poem "Village"

The idyllic depiction of village life does not become the poetic subject of The Village, and even its first two stanzas. From the theme of rural loneliness and the break with urban civilization, a new theme grows - creative work, high inspiration that fills rural leisure:

He drives laziness a gloomy dream,
To works gives rise to heat in me,
And your creative thoughts
In the spiritual depths ripen!

The two stanzas placed in the center (“I am here, freed from vain shackles ...” and “Oracles of the ages, here I ask you!”) form the ideological focus of the poem and express Pushkin's true dreams. He does not want to remain an idyllic poet, a singer of rural solitude. He is worried about public moods and is attracted not by the vain search for glory and not only by admiring the beautiful nature, but by the search for truth and the meaning of being. The development of the lyrical theme, given at the beginning of the poem, is accomplished, as it were, through its assimilation and expansion, and partly through its negation. From the narrow, narrow framework of bucolic lyrics, Pushkin breaks out into the wide expanse of philosophical and civil lyrics. Accordingly, the conditional image of the poet also changes - the elegiac gives way to an active philosopher and citizen, how Pushkin sees a real creator and how he thinks of himself.

However, the poet's dream is overshadowed by the spectacle of slavery, and his peace of mind - "necessary", as he later says, "the condition of the beautiful" - is destroyed. Beginning of the last stanza:

But a terrible thought darkens the soul here ...

opposed to the two central stanzas. "A terrible thought" fetters the free flight of imagination and creative inspiration. The course of Pushkin's thought is obvious: the reason for the collapse of lofty hopes lies in circumstances beyond the control of the poet. There is no scope for free creativity where liberty is desecrated, where “ignorance is a disastrous shame”. Philosophical-civil theme of Pushkin's poem "The Village" turns into a political topic. Idyllic and philosophical motifs merge with civil preaching. While people are suffering, the poet's heart cannot be at peace, for his soul is wounded by gross contempt for the "law". As a citizen and humanist, "a friend of mankind", Pushkin is overcome by anger and pain at the sight of slavery. Pictures of ignorance and violence give rise to formidable invectives of the last stanza. The idyllic mood is gone.

The expression "friend of mankind" may have contained an allusion to the proud nickname of Marat - "friend of the people", but, most likely, it contains a more general humanistic meaning.

There is no idyll in life, and therefore, there should not be in art either. The sharp contradictions of life are not conducive to lofty philosophical dreams about the enduring values ​​of being. It would seem that terrible modernity, having torn away calmness from the poet, the ability to feel the fullness of being and having cooled the creative heat, awakened in his sensitive soul “ornate ... a gift”. After all, Pushkin is indignant, denounces, loud, oratorical intonations are heard in his speech. But why, then, in the words “Oh, if only my voice could disturb hearts!” sounds like a clear regret that his poems are unable to excite people? Why does he now call his poetic "heat" "barren" and bitterly asks:

Why a fruitless heat burns in my chest,
And a formidable gift was not given to me as a lot of oratory?

The above lines return memory to all the previous text. Let us recall that rural solitude was conducive to reflection, that here the poet learned to “find bliss in truth” and the “heat” of inspired labor was born in him and “creative thoughts” were already ripening. But the spectacle of slavery extinguished the fire of thought, and it did not give tangible results, it became "fruitless". In the last Stanza, Pushkin not only denounces the "wild nobility" - he is bitter for the vain, futile efforts of burning poetic labor. Pictures of arbitrariness violated the poet's spiritual balance, the harmony between inspiration and work. And at the same time, Pushkin cannot but respond to the suffering of people and is even ready to devote himself to the struggle against despotism, if only to destroy it. However, Pushkin also has a keen awareness of the originality of his inherent poetic talent, and his inherent idea of ​​poetry, and the understanding that art, while revealing life's contradictions and contributing to their understanding, still does not cancel or resolve them.

Satirical indignation and civil preaching, according to the poet, is not the only task of creativity. In addition, Pushkin does not feel like an exclusively civic-minded poet and does not lock his lyrics into the framework of civic themes and motifs or pastoral chants. Poetry in Pushkin's view is broader, fuller-sounding, more horrendous than mere contemplative enjoyment of rural views or purely civil denunciations. Several years will pass, and Pushkin will say about Ryley's antithesis “I am not a poet, but a citizen”: “... If someone writes poetry, then first of all he should be a poet; if you just want to be a citizen, then write in prose.” At the same time, he will strongly object to the exclusion from poetry and satire, and jokes, and cheerful, and touching, and dreamy. Poetic creativity is equally subject to severe citizenship, and blissful peace, and the eagle flight of thought, and the direct sensual charm of being. He has access to odic solemnity, and melancholy thoughtfulness, and idyllic naivete, and elegiac lamentation, and bitter mockery, and a mischievous smile.

This comprehensive view of poetry, the soil of which is reality, and the goal is the truth of life, is already taking shape in early works, and The Village is an undoubted evidence of this. That is why Pushkin is intelligible both dear and peaceful songs of rural silence, and passionate civil speech. The image of the poet, drawn to his winged imagination, is multifaceted. Pushkin does not give particular preference to either the voice of the idyllic poet or the voice of the accuser poet. His ideal is a poet-philosopher, a poet-humanist. B. V. Tomashevsky, in his excellent book Pushkin, wrote about the Village: “It is significant that the combination of these words (“labor and inspiration”) appears in a poem dedicated to a political theme.” However, in this case, it would be more accurate to say otherwise: it is significant that the political theme is organically woven into a poem dedicated to creative self-determination. In The Village, she acts as part of a poetic reflection on her own vocation, on the exceptional thirst for creativity, on the indestructible impulse to truth. Pushkin expects the resolution of social contradictions not from poetry. He hopes for the restoration of the "law" "from above":

I see, my friends! an unoppressed people
And slavery, fallen at the behest of the king...

He believes that if the social conflict is eliminated, then the prosperity of the fatherland will come, the spiritual wounds inflicted on his offended sense of humanity will be healed, and broad prospects for creativity will expand. And this maximalist and holy civic obsession with Pushkin must be highly valued. Unlike the ideas of Ryleev and other Decembrist poets, Pushkin's poetic ideal does not consist in the removal of certain, primarily intimate motifs from the lyrics. Pushkin is drawn to a broad and free reflection of reality, not constrained by any pre-imposed restrictions that exclude certain motifs and genres from the sphere of poetry. Pushkin's lyrics do not reject either elegiac or civil moods.

Defending the poet's right to a variety of life impressions, Pushkin is not inclined either to a one-sided preference for only elegiac or only tendentious-rhetorical lyrics, nor to their humiliation or prohibition. That is why the image of the poet created by Pushkin in the two middle stanzas of The Village is not identical to either the idyllic poet or the citizen poet, although he has many related features with them. The poet-idyllic and the poet-citizen are integral facets of the image of the poet-humanist, poet-philosopher, "friend of mankind".

The aspiration to completeness and to the truth of the reflection of being, characteristic of the poem "The Village", predetermined Pushkin's "worldwide responsiveness" and the universal humanistic pathos of his work, which cannot be reduced to any strictly outlined doctrine, social or philosophical doctrine. From his youth, Pushkin's personality and poetry are imbued with a life-loving and wise humanism that has grown on real, earthly soil.

“And over the fatherland of enlightened Freedom / Will the beautiful Dawn finally rise?”. Analysis of the poem "Village".

Together with the ode "Liberty" and the message "To Chaadaev", the future Decembrists also rewrote the elegy "Village" (1819).

This elegy is connected with the native places of the poet - the village of Mikhailovsky, where the Pushkin family estate was located. Through all life, through all poetry, starting with the youthful poem “Forgive me, faithful oak forests! .. "and ending with the deep, written shortly before his death," Again I visited ... ", Pushkin carried love for his native Mikhailovsky -" the abode of labor and pure bliss. Here he had to endure the bitterness of loneliness, and the humiliation of a supervised slave, and the delight of love, and the joy of creativity, and the warmth of true friendship.

More than a hundred works have been created here, and among them are genuine masterpieces: “The Village”, “I Remember a Wonderful Moment ...”, “To the Sea”, “Boris Godunov”, “Count Nupin” and many others.

“A haven of tranquility, work and inspiration,” the poet called his village - an amazing land with blue lakes, spacious water meadows and bright pine groves.

Take a look at this land.

What impression do these places make?

From them breathes calmness, pacification. We freeze in front of beauty, our gaze is lost in the endless expanses of the high sky and meadows, lakes, forests. It is to these places that Pushkin's poem "The Village" is addressed. It was created in 1819, when the poet came to his family estate for a short time in the summer.
Let's read it.
The poem (its 1st part) sounds against the background of bird singing, the chirping of grasshoppers (a phonogram is used), this helps to create a feeling of the living expanse of green meadows and forests heated by the sun, and the blessed peace that emanates from them.

In the 2nd part of the poem, the sound is removed: it seems to be swallowed up by silence, full of sad thoughts of the poet, who stopped hearing nature, because other pictures occupied his attention. This technique helps to imperceptibly draw students' attention to the composition of the work.

What impression did the poem make on you? What pictures did you see while reading it?

The children love the poem. It is interesting that, speaking about their impressions, they single out the 1st part of it, which they like with calmness, warmth, peace.

Students draw meadows with stacks of hay, fields of ears of corn, banks of a blue river overgrown with reeds, mills on hillocks, etc. Some see the poet himself, sitting under a tall shady tree and contemplating the expanses of his native land.

But all this rather refers to the 1st part of the poem. And there is also a 2nd one.

Find the "border" that divides the work into two parts.
This is a stanza that contains the poet's appeal to the "oracles of the ages" (oracles are soothsayers).

What question does the poet want to answer?

... and over the fatherland of Enlightened Freedom
Will the beautiful Dawn rise at last?

Why does he have this question?

Because "among the flowering fields and mountains" the poet suddenly notices "The wild nobility."

Let us think about why Pushkin, having arrived in the village, did not immediately see him. What moods was he full of?

The poet is glad to come to his native village, he is full of bright feelings, he is pleased to see his favorite places; after the hustle and bustle of the big city, he enjoys the silence, the leisurely life, the beauty of nature; freed "from vain fetters", he learns "to find bliss in the truth." A state of happy bliss and peace fills his soul.

Let's try to imagine how he could get the idea of ​​"Wild Lordship".
Perhaps, watching the peasants in the field, the poet suddenly remembers that they are not working for themselves, and the imagination draws pictures of forced labor, and the memory restores the passionate diatribes of his St. Petersburg friend A. I. Turgenev, heard in the district of history.

In 1819, not far from Mikhailovsky, a landowner beat a peasant to death; Pushkin's great-uncle Hannibal was a witness in this case. Just in those days when the poet lived in his village, in the Velikoluksky district of the Pskov province, the case of the death of a serf was heard
landowner Abryutina.

As you can see, there were plenty of examples of the "Wild Nobility" before the eyes of the young poet.

Let's reread part 2 of the poem. What artistic images are leading in it? How are they related?

The leading images of the 2nd part are “Wild Nobility” and “Skinny Slavery”. They are inseparable: “Skinny Slavery” is a direct consequence of “Wild Nobility”… Each of these leading images has a number of accompanying ones. Find them in the poem.

In “The Wild Lordship” it is “violent vine”, “scourges”, “relentless owner”, “insensitive villain”, “ignorance is a murderous shame”; “skinny slavery” has “alien plow”, “heavy yoke”, “yard crowds of tortured slaves”, “tears”, “groaning”.

What pictures are formed in our imagination thanks to these images? What is the feeling of these pictures?

We see exhausted peasants, exhausted by hard work, working in the field from morning till night; young girls standing in front of the landowner and awaiting their fate with horror; small children left at the edge of a field while their mothers harvest wheat; serfs punished with whips ... These pictures evoke a feeling of longing, a keen sense of injustice and compassion for the serfs.

Note that Pushkin in this poem, as in the ode "Liberty", many words are written with a capital letter. Find them. Why do you think he capitalizes them?

These are the words: Truth, Law, Prayer, Ignorance, Shame, Fate, Nobility, Slavery, Owner, Vitiystvo, Dawn. Probably, for the poet they have a generalizing, symbolic meaning.

What word is repeated most often?
(Law.)

What Law is Pushkin talking about? What is this Law that can be "worshipped"?

This is the Law of natural freedom, given to humanity from above, which is why it can be "worshipped".

And in the life surrounding the poet, what Law prevails?(The law of violence and slavery.)

What does Pushkin dream about?(The fact that in his Fatherland the people would become "unoppressed and Slavery fell" at the behest of the tsar, that is, that the tsar himself would abolish serfdom.)

The poet exclaims with regret:
Oh, if my voice could disturb hearts
Why in my chest a fruitless heat burns
And the fate of Vitiystva did not give me a formidable gift?

Vitiystvo is, according to V. Dahl, eloquence, artificial, rhetorical; vitia - orator, rhetorician, rhetorician, articulate person, eloquent wordsmith, eloquent.

Why does Pushkin call the heat of his heart “barren” and regret that he was not given the “Formidable Gift of Vitiystvo”?

It seems to the poet that he does not know how to be an orator, does not have the gift of eloquence, capable of persuading, calling, inspiring, therefore his feelings remain just “barren heat”.

Is his poem eloquent? Does it convince us of the injustice of the state law, does it force us to condemn the "wild nobility" and sympathize with the "skinny slavery", to dream of the triumph of the eternal Law of Freedom?

The guys believe that Pushkin is unfair to himself: the poem excites, touches, makes you think, awakens the imagination, which means that the poet’s fever is not fruitless.

How does the composition of the poem help? What is the basis for it?

The poem consists of two parts that are opposed to each other, that is, the poet uses the technique of antithesis. Against the backdrop of wonderful pictures of nature, the “Wild Nobility” looks more terrible, the call to give the people freedom sounds even more convincing.

The Decembrists thought the same way, who used the poem "The Village" as a propaganda one, but replaced the words "Slavery, fallen by the mania of the tsar" with "fallen slavery and the fallen tsar."

How does this change the meaning of the poem? Does it correspond to the views of the author?

The call to the tsar to abolish the unjust law on serfdom becomes a call to revolution, and Pushkin was opposed to any violence.

What is the name of the poet in this poem? How does he appear to us?

Pushkin calls himself a “friend of mankind”, and this is how he appears before us in this poem: he is a humanist who cannot look indifferently at injustice and violence, he sympathizes with the suffering, is indignant at the “Wild Lordship”, dreams of the happiness of his people in the bosom of a beautiful nature, but he doubts that he will ever see “the people who are not oppressed and the “beautiful dawn” over his native country.

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The rural atmosphere gave the soul of A. S. Pushkin peace, at the same time, the poet was oppressed by the lack of rights of the peasants. These mixed feelings are reflected in the poem, which will be discussed in the article. Schoolchildren study it in the 9th grade. We suggest that you familiarize yourself with a brief analysis of the "Village" according to the plan.

Brief analysis

History of creation- the poet began working on the poem in 1819 in Mikhailovsky, and completed it in St. Petersburg. The village was published only in 1826 under the title "Seclusion".

Theme of the poem- the beauty of rural nature and the oppression of the people.

Composition– The analyzed work is a monologue of a lyrical hero, which is divided into two parts, contrasting in mood: an appeal to rural nature, a story about the lack of rights of peasants. The poem consists of five stanzas with a different number of lines.

Genre- a message with elements of an elegy.

Poetic size- iambic six-foot, all types of rhyme are used in the work.

Metaphors – "a haven of peace, work and inspiration"(about the village) “the bosom of happiness and oblivion”, “winged mills”, “the nobility ... appropriated by a violent vine both labor, and property, and the time of the farmer”.

epithets – "luxurious feasts", "dark garden", "scented stacks", "azure plains", "striped fields", "stately solitude", "insensible whim".

History of creation

At the beginning of the 19th century, the peasant question was actively discussed in Russia. The authorities received information about the circumstances of the life of the common people, literature was replenished with works that reveal the problem of the oppression of the peasants, and censorship increased supervision. In such conditions, in 1819, the poem "Village" appeared.

Alexander Sergeevich began to work on the work in Mikhailovsky. Its original version fell into the hands of Alexander I. The emperor spoke positively about the poems and even expressed his gratitude to the young poet. But at this time Pushkin did not publish The Village. In 1825, after the Decembrist uprising, censorship increased control. The poem had to be edited to get it published. The first part of the text, with corrections, was published in 1826 under the title "Seclusion". The full text saw the world only in 1829. The name "Village" was used in later publications.

Subject

In the work, the author reveals two themes: the rural atmosphere and the oppression of the peasants. Contrasting in mood, they complement each other, give each other expressiveness. Both problems are transmitted through the prism of perception of the lyrical hero.

The first four stanzas of the poem are devoted to the rural atmosphere. They depict beautiful landscapes, display the emotions of the lyrical "I". The hero turns to the "desert corner", enjoying its tranquility. The man admits that for the sake of these sensations he left fun and feasts. Here he feels how the thoughts themselves are born in his head.

Further, the lyrical hero recreates free landscapes. The peculiarity of nature paintings is that they express “love” for the rural atmosphere. Landscape sketches are very colorful. They cover everything: meadows with stacks, streams, lakes, hills and fields. In the distance, the lyrical hero sees herds, huts and mills. From the pictures of nature emanates calmness, at the same time they are dynamic. In the fourth stanza, the lyrical "I" says that the bosom of nature is the best place for creativity.

After the idyllic pictures, lines appear expressing the oppressed state of the lyrical hero. The thing is that the landscapes are just a beautiful shell, the wrong side of which is the unhappy life of the peasants. The nobility made it possible to take everything from people: labor, time, property. Alexander Sergeevich openly says that all this was done illegally, by force. In the last lines, the lyrical hero expresses the fact that someday the people will be freed.

Composition

In terms of meaning, the poem is divided into two parts: the lyrical hero's appeal to the village, including landscape sketches and a story about the life of the people. The formal composition does not correspond to the semantic one. The poem consists of five quatrains, each of which continues the previous one.

Genre

The genre of the work is a message with elements of an elegy. The author describes the landscapes, intertwining them with thoughts, at the same time the lyrical hero addresses the village. In the last lines, disappointment and sadness are clearly manifested. The poetic size is iambic six-foot. A. S. Pushkin used all types of rhyming: cross ABAB, ring ABBA and parallel AABB.

means of expression

In the work, the poet uses means of expression. With the help of them, he creates a panoramic picture of the village, conveys the emotions that overwhelm the lyrical hero.

Often found in text metaphors: “a haven of tranquility, work and inspiration” (about the village), “the bosom of happiness and oblivion”, “winged mills”, “the nobility ... appropriated by a violent vine both labor, and property, and the time of the farmer” .

Complemented by landscapes and reflections epithets- “luxurious feasts”, “dark garden”, “scented stacks”, “azure plains”, “striped fields”, “stately solitude”, “insensible whim”, “tormented slaves”.

Poem Test

Analysis Rating

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Poem " Village" was written by Pushkin in 1819, in the so-called "Petersburg" period of his work. For the poet, this was a time of active participation in the socio-political life of the country, visiting the secret union of the Decembrists, friendship with Ryleev, Lunin, Chaadaev. The most important issues for Pushkin during this period were the social structure of Russia, the social and political lack of freedom of many people, the despotism of the autocratic-feudal system.

The poem "The Village" is devoted to the topic of serfdom, which was extremely relevant for that time. It has a two-part composition: the first part (up to the words "... but the thought is terrible...") is an idyll, and the second is a political declaration, an appeal to the powers that be.

The village for the lyrical hero is, on the one hand, a kind of ideal world where silence and harmony reign. In this land, "a haven of tranquility, work and inspiration", the hero gains spiritual freedom, indulges in "creative thoughts". The images of the first part of the poem - "a dark garden with its coolness and flowers", "bright streams", "striped fields" - are romanticized. This creates an idyllic picture of peace and tranquility. But a completely different side of life in the village opens in the second part, where the poet ruthlessly reveals the ugliness of social relations, the arbitrariness of the landowners and the disenfranchised position of the people. “Wild nobility” and “skinny slavery” are the main images of this part. They embody the "deadly shame of ignorance", all the wrongness and inhumanity of serfdom.

Thus, the first and second parts of the poem are contrasting, opposed to each other. Against the backdrop of beautiful, harmonious nature, the kingdom of "happiness and oblivion" depicted in the first part, the world of cruelty and violence in the second part looks especially ugly and flawed. The poet uses the technique of contrast to more clearly reveal the main idea of ​​the work - the injustice and cruelty of serfdom.

The selection of figurative and expressive language means also serves the same purpose. The intonation of speech in the first part of the poem is calm, even, friendly. The poet carefully selects epithets, conveying the beauty of rural nature. They create a romantic and peaceful atmosphere: “the stream of my days is flowing”, “mills of wings”, “lake azure plains”, “peaceful noise of oak forests”, “silence of fields”. In the second part, the intonation is different. Speech becomes agitated. The poet selects well-aimed epithets, gives an expressive speech description: “wild nobility”, “chosen by fate to the destruction of people”, “tormented slaves”, “relentless owner”. In addition, the last seven lines of the poem are filled with rhetorical questions and exclamations. They demonstrate the indignation of the lyrical hero and his unwillingness to put up with the unjust structure of society.

The poem "The Village" by Pushkin, which we will analyze, is indicative of the understanding that it is difficult to divide the lyrics according to thematic feature. The scope of one theme is tight for this elegy. A new form of embodiment of freedom-loving motives was found in it, but, in addition, a picture of rural nature was created, and thoughts about history, literature, and creativity were expressed.

The main artistic means in the poem "Village", by its genre nature, is close to elegy (from the Greek "sad song", a genre form in lyrics, a poem expressing concentrated reflection or being an emotional monologue that conveys the sadness of a lyrical hero from the consciousness of moral and political imperfections or from love troubles) is the antithesis. Antithesis (from the Greek “opposition”) is an openly expressed opposition, a contrast that is not hidden behind other relationships, but is revealed due to the artistic features of the work. In The Village, an extended antithesis arises between the two parts of the poem. The first consists of three stanzas, published in 1826 under the title "Seclusion". They used free iambic. In the initial quatrain, a combination of three lines of iambic six-foot is repeated with a four-foot ending, which is constant in the first Russian elegy, owned by V.A. Zhukovsky ("Evening", 1806). As in it, the lyrical hero, residing in the bosom of nature, cherishes the signs of the landscape - "the peaceful noise of the oaks", "the silence of the fields." The coolness of a dark garden, the aromas of flowers and hay, the overflow of water in streams and lakes are discussed in the second stanza, which continues the outline of rural harmony. The idea that in nature not only beauty is revealed to the attentive observer, but also the balance of colors, sounds, smells, sounded from Zhukovsky. It was not conspicuous, it was “quiet” (“How pleasant your quiet harmony! ..” - “Evening”), but pacified the soul, forcing one to believe in the meaningfulness of being.

The gaze of the lyrical hero Pushkin sees “traces of contentment” in everything: the meadow is lined with stacks of hay, the sail of the fisherman turns white on the lake, the fields are plowed, herds roam along the shore, the wings of mills rotate, ovens are heated in barns where grain is dried.

The richness and diversity of human life is complemented by a harmonious combination of colors and sounds in nature (dark garden - bright streams, azure lakes - yellow fields; silence of the fields - the sound of streams). Everything moves, shimmers, makes up a “moving picture”. A wind blows over it, carrying the aromas of flowers and smoke escaping from the chimneys of the barns.

“Scattered” (“Scattered huts in the distance ...”) life on the ground makes the lyrical hero forget about the delusions inspired by his pastime in the capital. It was luxurious, feasts were replaced by fun, it was fascinated by high-society circuses (Circe, or Kirk, in Greek mythology, the name of the sorceress who kept Odysseus on her island is Homer. "Odyssey", X), but there was no place for "works and inspiration." The soul came to life only in the "desert corner", soothed by the silence of nature. Harmony reigns in the inner world of the lyrical hero, the stream of his days “flows”, he does not pay attention to time, immersed in thoughts. To everyone, forgetting the outer existence seems like “idleness,” but in reality, an intense inner life is labor that brings happiness. In the first stanza of the elegy, not only begins the creation of a picture of nature, which will become the antithesis of what people have turned into a peaceful corner, but also draws attention to the reasons for the rejection of vanity and false charms:

I greet you, desert corner,

A haven of peace, work and inspiration,

Where the invisible stream of my days flows

In the bosom of happiness and oblivion.

I am yours - I traded the vicious court for a circus,

Luxurious feasts, fun, delusions

To the peaceful noise of oak trees, to the silence of the fields,

To free idleness, a friend of thought.

In the third stanza, the lyrical hero returns to the artistic goal outlined at the beginning, the depiction of the landscape (the prototype was the impressions of nature seen by the poet in Mikhailovsky, a family estate that he visited in his youth) gives way to a lyrical outpouring that characterizes his interests. Feeling himself liberated from the shackles of secular crowds, from the influence of the crowd worshiping villains and fools, he finds true pleasure in solitude: alone with himself, he seeks answers to his doubts in the works of historians and writers (“Oracles of the ages, here I ask you!”, the oracle - Latin "soothsayer"). There, his moral sense finds a response that brings joy, bliss. His correctness is confirmed by the truths discovered in other eras. Regardless of the time, freedom, sympathy, independence of thought remain valuable for a person - those humanistic ideals that inspire the creator: awaken the soul from the “gloomy sleep”, “give birth to labors”. There is a grain of truth in them, ripening in him to give excellent outcomes in creativity.

Enlightenment requirements seem to be the most important for the lyrical hero: he does not just strive to understand the works of defenders of popular interests and preachers of reasonable transformations in society, but learns to “idolize the law”, listens to the “shy plea”, is ready to denounce “wrong greatness”. The second part of the poem, due to the appearance of which it was not published in full, contains a sharp criticism of the main vice of social life in Russia - serfdom. The “terrible thought” about him overshadows reflections, prompts you to forget about the beauties of nature and creative plans. Not one of the inner sensations drowns out the groans coming from the "blooming fields", does not obscure the spectacle of "deadly shame", noticeable "everywhere", in general "here", in Russia. The long-suffering of the people and the ignorance of the "wild nobility" are those moral vices that distance humanity ("friend of mankind" - a definition significant for the enlightening characterization of the views of the lyrical hero) from the "chosen" day - the "beautiful dawn" of freedom. In the final lines, as in the poem “To Chaadaev”, there is a reminiscence from Radishchev’s ode “Liberty”, which is also indicated by the six-foot iambic of the finale (in the text of the elegy, such six-foot lines alternate with four-foot ones, this alternation is irregular, forming a free iambic) .

Between the first and second parts of the poem "The Village" (Pushkin), the analysis of which interests us, there is a detailed antithesis. Its basis is the humanistic ideals of the lyrical hero, which is opposed to the picture of slavery. His “shy plea” (everyone who is able to free himself “from vain shackles” should learn to listen to it with participation) needs an expression that only a poet can find, who is given a “terrible gift” that allows him to “disturb hearts”. Thus, reflections on the role of the artist in social struggles become an important point in the content of the poem. He is not one of those who fight against autocracy in an open struggle, but a vitiya (orator, eloquent person) conscious of his exclusivity, appealing to the peoples and kings, increasing the effectiveness of moralizing, thanks to the expressive power of art:

Why does a fruitless heat burn in my chest?

And the fate of ornate has not given me a formidable gift?

In the story about the signs of serf life, epithets are of particular importance, reinforcing the image of reality that is realistic in its reliability and concreteness. Ignorance is a “deadly” vice, the yoke of bondage is “painful” for everyone, the owners of souls are “wild”, “relentless”, “insensible”; “tortured” slaves, submissive to the “violent vine”, doomed to bend “on an alien plow”, not daring to “nourish hopes and inclinations in the soul”. They are hard workers, "farmers", but their "property and time" were appropriated by the landlords, like conquerors, who turned them into slaves. Social differences arose "to the detriment of people", the proof of which is the presented canvas. Both its details and stylistic features leave no doubt that it is important for the lyrical hero not only to condemn lawlessness, but also to reveal the insensitivity of the “villains” who raised the “scourge” against their neighbor, who do not notice the tears and groans that torment the “young virgins”, “ young sons”, their aging parents. The lyrical outpouring accentuates the emotional intensity of the experience, the story turns into an angry condemnation, regardless of the semantic plan. Evaluating it, Alexander I, who received a list of elegies from the author, spoke of the poem unexpectedly calmly, as an expression of "good feelings." Indeed, at the end of the elegy, the lyrical hero, waiting for the dawn of freedom, connects its dawn with the "mania" (action) of the king:

Will I see, O friends, an unoppressed people

And slavery, fallen at the behest of the king,

And over the fatherland of enlightened freedom

Will the beautiful dawn finally rise?

However, one may not even remember what the essence of the “fatherland of invocation” (“To Chaadaev”), outlined in other verses dedicated to freedom-loving aspirations, consisted of. It is enough to listen attentively to the voice of the lyrical hero of the "Village", addressing the hearts, souls of the friends of mankind ("But a terrible thought darkens the soul here ...", "Oh, if only my voice could disturb hearts!"), To put the elegy into one next to them, singling it out as an open protest against the foundations of Russian society. As in the ode "Liberty", the main thing is the rebellious pathos (the author's direct emotional attitude to reality, in the words of V. G. Belinsky, "an idea is a passion"), which is obvious when analyzing the artistic features of the work. Its figurative range, emotional content bear the imprint of "terrible" forebodings of witnesses of the age-old oppression of the people, which turned for Pushkin's generation into offensive archaism (from the Greek "ancient"), "deadly shame", inherited and requiring immediate intervention. The reader of The Village, captured by the anxiety of the lyrical hero, the passion of his revelations, involuntarily had to ask what would happen if the young did not see the actions of the authorities that eliminate social shortcomings. The elegy does not give an answer on how to deal with the oppression of the people, its artistic purpose does not include calls for rebellion. The mood of the lyrical hero is far from abstract rebellion. Along with the reliability of a detailed picture of rural life, Pushkin's poem "The Village" also contains psychological specifics. The inner world is rich and varied, but the dominant (from Latin “dominant”) is noticeable in it: following the truth, peace, tranquility, greatness, bliss - the most significant concepts that determine a happy being - are unattainable without liberation from social and spiritual bondage; a person must be the master of his own destiny, choosing “freedom of idleness”, following the creative aspirations of a “free soul” or fighting for the onset of an era of “initiate freedom”, in accordance with the movements of his heart, listening to what is “ripening in the depths of the soul”.

Behind the expression of a specific emotional mood, coloring in unique tones the images of each of the poems, where the main theme is freedom-loving, one can see the characteristic of the spiritual world of their author. Among the heroes of his lyrical works are fighters for social justice, and at the same time “pensive singers” (“Liberty”), thinkers seeking truth, peaceful sloths immersed in the contemplation of nature, forgetting about “luxurious feasts, fun, delusions ”(“ Village ”). The author is ready to say to each of these states: “I am yours...” (ibid.), embodying the psychological specificity of experiences. Considering his work, one should not forget either the particular or the general. In addition, in the perception of the world by Pushkin, such dynamics are noticeable that it is impossible to evaluate the poem without context and time perspective. The political aspects of freedom-loving in the early 1820s fade into the background, giving way to the romantic exaltation of the ideal of freedom. However, already in 1827, poems appear in which a final assessment of the contribution of his generation to the historical process is given.