Pushkin's era in the novel. "Eugene Onegin" as an encyclopedia of Russian life

The end of the 10s-20s of the last century is often called the “Pushkin era”. This is the heyday of that noble culture, the symbol of which in our history was Pushkin. Influence is replacing traditional values European enlightenment but cannot win. And life goes on in an amazing interweaving and confrontation of the old and the new. The rise of freethinking - and the ritual secular life, dreams of “becoming on a par with the century” - and the patriarchal life of the Russian province, the poetry of life and its prose ... Duality.

The combination of good and bad in features noble life- a characteristic feature of the "Pushkin era".

In the novel "Eugene Onegin" we see a panorama of noble Russia, amazing in its expressiveness and accuracy. Detailed descriptions side by side with cursory sketches, full-length portraits are replaced by silhouettes. Characters, morals, way of life, way of thinking - and all this is warmed by the author's lively, interested attitude.

Before us is an era seen through the eyes of a poet, through the eyes of a man of high culture, high demands on life. Therefore, the pictures of Russian reality are imbued with sympathy

And hostility, warmth and alienation. The author's image of the era, Pushkin's Russia, is created in the novel. There are features in it that are infinitely dear to Pushkin, and features that are hostile to his understanding of the true values ​​of life.

Petersburg, Moscow and the provinces are three different faces of the Pushkin era in the novel. The main thing that creates the individuality and originality of each of these worlds is the way of life. It seems that even time flows differently in Russia: in St. Petersburg - quickly, and in Moscow - more slowly, in the provinces and completely leisurely. High society of Petersburg, noble society Moscow, the provincial landlord "nests" live, as it were, apart from each other. Of course, the way of life of the “outback” differs sharply from the capital, but in the novel, even the Moscow “roots” still stretch to the village, and Onegin from St. Petersburg turns out to be a neighbor of the Larins. For all the individuality of the capitals and provinces, the novel ultimately creates a single, integral image of the era, because in Moscow, and in St. Petersburg, and in the outback - noble Russia, the life of the educated class of Russian society.

Petersburg life appears before us brilliant and varied. And her paintings are not limited in the novel to a critique of secular ritual, a secure and meaningless existence. In the life of the capital there is also poetry, the noise and brilliance of “restless youth”, “boiling of passions”, a flight of inspiration… All this is created by the presence of the author, his special sense of the world. Love and friendship are the main values ​​of the author's "Petersburg" youth, the time that he recalls in the novel. “Moscow… how much has merged in this sound for the Russian heart!”

These famous Pushkin's lines, probably best of all critical articles are able to convey the spirit ancient capital, the special warmth of her image in "Eugene Onegin". Instead of the St. Petersburg classic lines, the splendor of white nights, austere embankments and luxurious palaces, there is a world of churches, semi-rural estates and gardens. Of course, the life of Moscow society is no less monotonous than the life of St. Petersburg society, and even devoid of the splendor of the northern capital. But in Moscow customs there are those homely, patriarchal, primordially Russian features that soften the impression of “living rooms”. For the author, Moscow and the city that did not submit to Napoleon are a symbol of Russian glory. In this city, a national feeling involuntarily wakes up in a person, a sense of his involvement in the national destiny.

What about the province? I live there and it's not European at all. Life of the Larin family - classic pattern provincial simplicity. Life is made up of ordinary sorrows and ordinary joys: housekeeping, holidays, mutual visits. Tatyana's name day differs from peasant name days, probably only in the food and the nature of the dances. Of course, even in the provinces, monotony can “capture” a person, turn life into existence. An example of this is the uncle of the protagonist. But still, how much in the rustic simplicity is attractive, how charming! Solitude, peace, nature ... It is no accident that the author begins to dream of "old times", about new literature dedicated to unpretentious, natural human feelings.

The Pushkin era is now remembered as the “golden age” of Russian culture. The complex, dramatic features of the “Alexandrovsky” time seem almost imperceptible, recede before the magic Pushkin's novel.

Essays on topics:

1. During the Great Patriotic War, M. Isakovsky wrote one of his best works - a poem "To a Russian Woman", creating in it ...

Balls and theaters of the Pushkin era. The end of the 10s and the beginning of the 20s of the 19th century was a time of unprecedented, passionate passion for the theater. To be a young man "with a noble soul" meant to be a theatergoer! Talking about plays, actors, behind-the-scenes intrigues, about the past and future of the theater took as much time as arguing about politics ... And then they talked a lot about politics. People again wanted to plunge into the whirlpool of peaceful life: with its masquerades, balls, carnivals, new theatrical performances. Petersburgers were very fond of the theatre.

Engelgard's house on Nevsky Prospekt was the recognized center of public amusements in autumn and winter in St. Petersburg. Here, in a magnificent hall that could accommodate up to three thousand people, public masquerades, balls, musical evenings. Concerts were given every Saturday. “They played Mozart, Haydn, Beethoven - in a word, a serious German music”- recalls one of the guests of Engelhard. Pushkin always visited them. »

Even more than concerts, the Engelhard Hall was famous for BALLS and MASQUERADES. Countless carriages of all kinds in the evenings flocked to the brightly lit entrance, lining up along Nevsky Prospekt. The balls usually started at 8-9 pm. The balls were reviews of the most expensive, bizarre and luxurious outfits. Future dates were arranged at the balls, balls were the bride of future brides (For the first time they were taken to the ball at the age of 16, and it was a huge event, both for the youngest person and for her parents) The most important thing for the balls was the ability not to stand out from the crowd. Society did not forgive anyone for this, just as it did not forgive A. Pushkin in his time.

Etiquette. We know secular manners and etiquette of the Pushkin era mainly from the works of the classics of Russian literature XIX century and their artistic adaptations. The aristocratic society condemned the widespread fashion for luxurious gifts that "outside" men made to their beloved ladies (Even the most innocent gift given to a lady by an "outside" man (not related to her) could cast a shadow on her reputation.) Refinement, emphasized politeness , polished gracefulness of gestures - the nuances of secular etiquette.

The generosity of the Russian nobles, their desire and ability to make gifts amazed many foreign travelers. The Russian emperors were not distinguished by stinginess either, in whose palaces entire rooms were set aside for gifts both to foreign guests and to their subjects. If subordinates could give gifts to superiors only in exceptional cases, then to the king and persons royal family every nobleman could present a gift.

basis men's suit was a tailcoat. They were plain, but patterned fabrics were allowed. The tailcoat collar was trimmed with velvet of a different color. Worn under a tailcoat White shirt with a high collar. The men cut their hair short. Curled them and let go of sideburns. Fashion

Women's dresses still have a high waist. If at the beginning of the century they wore mostly white dresses, then by the 20s colored, but plain dresses appeared.

Lesson summary in grade 9 teacher

home education Pronina Lidia Vladimirovna

Topic: Pushkin's era in the novel. "Eugene Onegin" as an encyclopedia of Russian life. The realism of the novel.

Goals: generalize and deepen knowledge about the novel "Eugene Onegin", its author as a spiritually rich, harmonious personality; show the breadth of the image of Russian reality in the novel; find lyrical digressions, find out how they are connected with the events depicted and the heroes of the work.

Lesson objectives:

Subject:

* introduce the concept of "realism";

*introduce general characteristics novel;

* review the content of the novel;

* find lyrical digressions.

Metasubject:
*implementation of a systematic - activity approach: development of skills and abilities of project activities;

Personal:
education of communication, independence.
developing students' interest in the subject
Universal learning activities:
Regulatory: formulate the topic and objectives of the lesson, look for ways to solve them. Determine the degree of success of your work.
Cognitive: development of skills to analyze, compare, generalize;

development of skills to formulate questions on the text of the work, the ability to participate in a dialogue;

ability to analyze various forms expressions author's position;

developing the ability to respond orally or in writing to problematic issue;

development of the ability to formulate a problem.

Communicative:

* create conditions for real self-assessment of students, the realization of it as a person;

* educate culture educational work, self-education skills;

* fostering a value attitude to the word.

Lesson type: learning new material.

Forms of student work: independent, individual work

During the classes

Epigraph to the lesson:

... The first Russian realistic novel, which, in addition to its unfading beauty, has for us the price of a historical document, more accurately and truthfully depicting the era than dozens of thick books reproduce to this day.

A. M. Gorky

I. Organizing time

II. Knowledge update

Today we begin to study the novel by A.S. Pushkin "Eugene Onegin".

Teacher's word about the history of writing a novel.

Roman A.S. Pushkin "Eugene Onegin" - very strong poetic work, which tells about love, character, selfishness and, in general, about Russia and the life of its people. It took almost 7.5 years to create (from May 9, 1823 to September 25, 1830), becoming a real feat for the poet in literary creativity. Initially, it was assumed that the novel would consist of 9 chapters, but later Pushkin reworked its structure, leaving only 8 chapters. He excluded the chapter "Onegin's Journey" from the main text of the work. The novel "Eugene Onegin" reflected the events of the first quarter of the 19th century, that is, the time of creation and the time of the novel approximately coincide.

Alexander Sergeevich Pushkin created a novel in verse similar to Lord Byron's poem Don Juan. The novel became truly an encyclopedia of Russian life in the 1820s, since the breadth of the topics covered in it, the detailing of everyday life, the multi-plot composition, the depth of description of the characters' characters are the features of the life of that era.

This is what gave grounds to V. G. Belinsky in his article "Eugene Onegin" to conclude:

“Onegin can be called an encyclopedia of Russian life and in the highest degree folk art».

Conversation on the content of the novel

How does the author present his character to us? ? (One of the main characters is Eugene Onegin. Closed young man complex nature. His life was just as empty as that of a million of the same lordly offspring of that time, filled with revelry, senseless burning of life. Meanwhile, our hero is not without positive traits: for example, throughout the novel, the author shows us how much Onegin gravitates towards science and knowledge. We can observe his personal growth, while his friends inevitably degrade one by one, turning into flabby landowners. The attitude of the author to the hero of the novel, Eugene Onegin, is rather reverent. He tenderly describes his image, forgives mistakes, confronts difficult situations).

What other characters are found on the pages of the novel?

What kind of metropolitan and provincial nobility appears before us? (Satire on high society. Limited interests, vulgarity, empty life. The life of the Larin family is a classic example of provincial simplicity. Life is made up of ordinary sorrows and ordinary joys: housekeeping, holidays, mutual visits.)

What is the picture of folk life ? (The author clearly sympathizes with the Larins because of their closeness to Russian national traditions. Best moral qualities Tatyana was brought up not by a French governess, but by a serf nanny. In the story “Filipyevna the gray-haired” we find Pushkin's condemnation of serfdom, which takes away from people even the right to love. The soul of the people lives in the song that the yard girls sing, “picking berries in the bushes”, in fairy tales, customs, rituals.)

What is the role of describing nature? (The landscape is always realistic. The landscape is of great importance in revealing the emotional experiences of the characters. Pictures of nature are imbued with a feeling of love for the motherland.)

III. Setting goals and objectives.

If we return to the words of V. Belinsky, then Onegin can be called an encyclopedia of Russian life and an extremely folk work. Why did the critic say so?

(From the novel, as from an encyclopedia, you can learn almost everything about the era: about how they dressed and what was in fashion, what people talked about, what interests they lived. All Russian life was reflected in "Eugene Onegin." Briefly, but clearly , the author showed a fortified village, aristocratic Moscow, secular St. Petersburg.Pushkin truthfully depicted the environment in which his heroes live novel - Tatiana Larina and Eugene Onegin.)

Lesson topic: Pushkin's era in the novel. "Eugene Onegin" as an encyclopedia of Russian life. The realism of the novel.

Based on the topic of the lesson, let's try to formulate its purpose. What are we going to meet today?

So, during the lesson, we should get acquainted with the concept of "Russian realistic novel" or "realism", as well as see the historical facts captured in the novel "Eugene Onegin".

IV. Assimilation of new knowledge.

1. Realism

Realism is a literary trend that appeared in Europe and Russia in the 30s of the 19th century. Realism is understood as a truthful attitude to reality in work of art one period or another. The main features of realism:

Teacher question:

Is it possible to call the novel "Eugene Onegin" a Russian realistic novel. Why?

2. The historicism of the novel.

Eugene Onegin "- the founder of the Russian realistic novel, the first public and household psychological novel in Russia.

Realistic background of the novel - the big picture life of Russia in the 20s of the XIX century. More than fifty images emerge from the pages of the novel, embodying the spirit and mood of the era - either bright and exciting with the depth of their experiences (Onegin, Tatiana, Lensky), or flashing before us like silhouettes, sometimes directly related to the development of intrigue (Tatiana's mother, Tatiana's husband, her nanny, Zaretsky, etc.), sometimes appearing only in separate episodes of the novel (guests at Tatyana's birthday party, representatives of the Moscow and St. Petersburg world, etc.), and sometimes simply mentioned in the novel (Onegin's father and uncle, Tatyana's father, writers Derzhavin, Baratynsky, Yazykov, Bogdanovich and others.

The plot of the novel unfolds realistically smoothly. The action continues for about 3 1/2 years. The composition of the novel everywhere reveals traces of the author's stubborn struggle with romantic traditions and with the pursuit of the amusement of the plot. The knot of intrigue is pushed aside: in the novel to the third chapter ("It's time to come - she fell in love"), and instead of a sudden and spectacular plot, we find in the first two chapters the everyday background and characteristics of the characters.

There are three climaxes in the development of the intrigue: Onegin's rebuke to Tatyana in the garden, Tatyana's name day with a tragic ending - Onegin's duel with Lensky - and Tatyana's last explanation with Onegin. All three moments - including the duel scene - are revealed in the novel in a purely realistic way. The novel also lacks an effective ending. The heroes parted, harboring grief in their souls, and the novel ends there.

Lyrical digressions.

It is customary to call lyrical digressions extra-plot inserts in literary work, moments when the author departs from the main narrative, allowing himself to reflect, recall any events that are not related to the narrative. However, lyrical digressions are separate compositional elements, like landscapes, characterizations, dialogues.

Work with text

The fourth part of the novel is occupied by lyrical digressions. What are they about? What role do they play?

1) Characteristics of Pushkin's creative path (stanzas 1-5 from chapter 8).

2) On the meaning of love in the life of a poet (stanzas 55-59 from chapter 1).

4) Farewell to readers and your novel (stanzas 49-51 from chapter 8).

In these digressions the poet introduces us to his peace of mind. In the lines generously scattered in the novel, Pushkin's interests, his love of freedom, and patriotism are reflected.

5) About the theater, playwrights and artists in stanzas 18-19 from chapter 1.

6) About writers and poets - Pushkin's contemporaries in stanza 30 of chapter 3, in stanza 3 of chapter 5, in stanza 22 of chapter 7.

7) About literary trends in stanza 55 of chapter 7, in stanza 26 of chapter 1.

Pushkin drew the ideological currents of that era, figures Decembrist movement, the state of literature and art, various economic theories, etc. All this allowed V. G. Belinsky to call Pushkin's novel "an encyclopedia of Russian life."

V.Consolidation of the studied material

VI. Reflection of activity.

Continue text

Onegin is a hero of time or _______________________________________________

_______________________________________________

VII. Homework.

2. The task of a creative nature. They will write a short essay “Onegin - a “suffering egoist”, who is strangled by “the inactivity and vulgarity of life?” V. Belinsky (optional)

Panorama of Russian culture. Literature is the face of culture. Romantic philosophy of art. Humanistic ideals of Russian culture. Creative contradictions of the Pushkin era. Pushkin galaxy. Three secrets of Pushkin.
First decades of the 19th century in Russia took place in an atmosphere of public upheaval associated with Patriotic War 1812, when a feeling of protest against the existing order of things matured among educated Russian people. The ideals of this time found expression in the poetry of the young Pushkin. The war of 1812 to the Decembrist uprising largely determined the nature of Russian culture in the first third of the century. V.G. Belinsky wrote about 1812 as about the era from which "began new life for Russia”, emphasizing that the point is not only “in external grandeur and brilliance”, but above all in internal development in a society of "citizenship and education", which are "the result of this era". major event socio-political life of the country was the uprising of the Decembrists, whose ideas, struggle, even defeat and death had an impact on the mental and cultural life Russian society.
Russian culture in this era is characterized by the existence various directions in art, success in science, literature of history, i.e. we can talk about the panorama of our culture. In architecture and sculpture, a mature, or high, classicism dominates, often winding with the Russian Empire style. The successes of painting lay, however, in a different direction - romanticism. Best Aspirations human soul, ups and soaring of the spirit expressed the romantic painting of that time, and above all the portrait, where outstanding achievements belong to O. Kiprensky. Another artist, V. Tropinin, with his work contributed to the strengthening of realism in Russian painting (it is enough to recall his portrait of Pushkin).
The main direction in the artistic culture of the first decades of the XIX century. - romanticism, the essence of which is to oppose the reality of a generalized perfect image. Russian romanticism is inseparable from pan-European, but its peculiarity was a pronounced interest in national identity, national history, the assertion of a strong, free. personality. Then development artistic culture characterized by a movement from romanticism to realism. In literature, this movement is especially associated with the names of Pushkin, Lermontov, Gogol.
In the development of the Russian national culture and literature, the role of A.S. Pushkin (1799-1837) is huge. Gogol expressed this beautifully: “With the name of Pushkin, the thought of a Russian national poet immediately dawns ... Pushkin is an extraordinary phenomenon and, perhaps, the only phenomenon of the Russian spirit: this is a Russian person in his development, in which he, perhaps, will appear in two hundred years". Pushkin's work is a logical result in artistic comprehension life problems Russia, since the reign of Peter the Great and ending with his time. It was he who determined the subsequent development of Russian literature.
In the literary work of Pushkin, the idea of ​​the "universality" of Russian culture is clearly expressed, and it is not just prophetically expressed, but is contained forever in his brilliant creations and his name is proved. In the era of Pushkin - the golden age of Russian literature - art and, above all, literature acquired an unprecedented significance in Russia. Literature, in essence, turned out to be a universal form of social self-consciousness; it combined aesthetic ideas with tasks usually within the competence of other forms or spheres of culture. Such syncretism assumed an active life-creating role: in the post-Decembrist decades, literature very often modeled the psychology and behavior of the enlightened part of Russian society. People built their lives, focusing on high book examples, embodying literary situations, types, ideals in their actions or experiences. Therefore, they put art above many other values.
This extraordinary role of Russian literature was explained in different ways at different times. Herzen attached decisive importance to the lack of political freedom in Russian society: "The influence of literature in such a society acquires proportions that have long been lost by other European countries." Modern researchers (G. Gachev and others), without denying this reason, are inclined to assume another, deeper one: for a holistic spiritual development of Russian life, which is internally "heterogeneous, incorporating several different social structures, there is no direct relationship between them. connected, it was the form that was required artistic thinking, and only it is fully necessary to solve such a problem.
But whatever explains the increased interest of Russian society in art and its creators, especially in literature - this face of culture, this interest itself is obvious, here it is necessary to reckon with well-prepared philosophical and aesthetic soil - the romantic philosophy of art, organically inherent in Russian culture of that era.
The horizons of Russian poets and writers of the Pushkin era included many ideas French romantics: in Russia, the books of J. de Stael, F. Chateaubriand, the articles-manifestos of V. Hugo, A. Vigny were well known; the controversy associated with the judgments of J. Byron was known from memory, but still the main attention was paid to German romantic culture, provided by the names of Schelling, Schlegel, Novalis and their like-minded people. It is German romanticism that is the main source of philosophical and aesthetic ideas that entered the consciousness of Russian writers and, accordingly, were refracted in it.
If you look for the shortest formula of romanticism, then it will obviously be this: romanticism is the philosophy and art of freedom, moreover, unconditional freedom, unrestricted by anything. German romantics unhesitatingly reject the main thesis of the classicists and enlighteners, who consider "imitation of Nature" to be the essence of art. Romantics are closer to Plato with his disbelief in the truth of the sensually perceived world and with his teaching about the ascent of the soul to the supersensible, beyond the limits of the world. The same Novalis sometimes considers a creative person as a kind of microcosm in which all world processes are reflected, and the artist's imagination as the ability to comprehend the true nature of the universe, the "divine universe" in revelation. "A true poet is omniscient," exclaims Novalis, "he is really the universe in a small refraction." In general, the German romantics created a myth about art, claiming to create the world by means of art.
The Russian philosophy of art of the golden age of Russian literature does not accept the following three elements of German romanticism: its militant subjectivism, the unrestraint of the creative self-assertion of a genius declared by him, and the frequent elevation of art above morality. Along with this, Russian writers put the ideas of the German romantic philosophy of art to the test from different angles and with different results. Suffice it to recall the artistic experiments of V. Odoevsky, in which the aesthetic utopias of romanticism were subjected to various tests. As a result, a formula of "Russian skepticism" appeared - a paradoxical combination of criticism and enthusiasm. Since the check reveals a whole knot of contradictions and problems that are clearly unsolvable within the framework of state of the art of the world, then it is precisely "Russian skepticism" that contributes to the search for endlessly expanding horizons of thought. One of the results of this kind of search can be considered the movement of Russian artistic thought to critical realism, gravitation towards humanism.
The humanistic ideals of Russian society were reflected in its culture - in the highly civic examples of architecture of this time and monumental and decorative sculpture, in the synthesis that decorative painting And applied art, but most clearly they appeared in the harmonic national style created by Pushkin, concise and emotionally restrained, simple and noble, clear and precise. The bearer of this style was Pushkin himself, who made his life rich dramatic events, intersection point historical eras and modernity. Dark, tragic notes and joyful, Bacchic motifs, taken separately, do not fully embrace the sourness of being and do not convey it. In them, the "eternal" is always associated with the temporal, the transient. The true content of being is in constant renewal, in the change of generations and epochs, and again affirming the eternity and inexhaustibility of creation, which ultimately triumphs over the victory of life over death, light over darkness, truth over lies. In the course of this historical stream, simple, natural values ​​will eventually be restored to their rights. This is the wise law of life.
Pushkin contrasted the emerging darkness, the tragic chaos of reality with a bright mind, harmony and clarity of thought, completeness and integrity of sensations and worldview. Deep spiritual movements are conveyed in his poetry at ease, with graceful artistry and genuine freedom, amazing lightness is given to the form of lyrical expression. It seems that Pushkin writes in jest, playing in any size, especially iambic. In this freely flowing poetic speech, the art of the master acquires true power over the subject, over the content, infinitely complex and far from harmonious. Here the mind forms the element of language, wins over it, gives it order and, as it were, tangibly creates an artistic cosmos.
Pushkin's poetic style was created as a general norm, bringing all styles into harmonic unity and giving them integrity. The stylistic synthesis he achieved opened the way for new poetic quests, internally already embodying the styles of Fet, Nekrasov, Maikov, Bunin, Blok, Yesenin and other poets of the past and present centuries. And this applies not only to poetry. In Pushkin's prose - it was not for nothing that he was called "the beginning of all beginnings" - they already saw
Dostoevsky and Chekhov with their humanistic ideals of Russian culture.
Pushkin is at the center of all the creative searches and achievements of the poets of that time, everything seemed equally accessible to him, not without reason they compared him with Protem. N. Yazykov called Pushkin a "prophet of the graceful", estimating the artistic perfection of his creations, born in a contradictory era. Pushkin's golden age of Russian literature was truly woven from creative contradictions. The sharp increase in the very culture of verse, the power of Pushkin's voice did not suppress, but revealed the originality of original poets. The orthodox Karamzinist, who combines rather dry rationality and wit with unexpected negligence, finally triumphs over life over death, light over darkness, truth over lies. In the course of this unstoppable historical flow, simple, natural values ​​will eventually be restored to their rights. This is the wise law of life arising melancholic notes, P.A. Vyazemsky; an admirer of biblical literature and ancient virtues, a deeply religious tyrant-fighter F.N. Glinka; the most gifted of Zhukovsky's followers, peaceful and lyric singer sorrows and souls I.I. Kozlov; a hardworking student of almost all poetic schools, redeeming with remarkable political audacity the original secondary nature of the author's manner, K.F. Ryleev; the singer of ancient hussar liberties, who animated elegiac poetry with the frenzy of genuine passion, the partisan poet D.V. Davydov; a concentrated master of a high poetic word, less and less interrupting a long-term conversation with Homer, N.I. Gnedich - all these are poets who cannot be perceived otherwise than in the light of Pushkin's radiance.
“As for Pushkin,” Gogol said, “for all the poets of his day, he was like a poetic fire thrown from the sky, from which, like candles, other semi-precious poets were lit. A whole constellation of them was formed around him ...” Together with Pushkin, such remarkable poets as Zhukovsky, Batyushkov, Delvig, Ryleev, Yazykov, Baratynsky and many others lived and worked, whose poems are evidence of the extraordinary flourishing and unique wealth of poetry. early XIX century. The poets of this time are often referred to as the poets of the "Pushkin pleiad", having "a special imprint that distinguishes them favorably from the poets of the next generation" (IN Rozanov). What is this special imprint?
First of all, it is in the sense of time, in the desire to establish new ideas, new forms in poetry. The very ideal of the beautiful has also changed: the feeling, the emotional and spiritual world of a person, was opposed to the unlimited dominance of the mind, the abstract normativity of the aesthetics of classicism. The demand for the subordination of the individual to the state, to abstract duty, was replaced by the assertion of the individual himself, by an interest in the feelings and experiences of a private person.
Finally, and this is also extremely important, the poets of Pushkin's time are united by the cult of artistic mastery, the harmonic perfection of form, the completeness and elegance of verse - what Pushkin called "an extraordinary sense of grace." A sense of proportion, impeccable artistic taste, artistry - the qualities that distinguished the poetry of Pushkin and his contemporaries. In the "Pushkin galaxy" there were not just satellites that shone with the reflected light of Pushkin's genius, but stars of the first magnitude, walking their own special paths, which is embodied in the development trends of the poetry of Pushkin's time.
The line of romantic, subjective-emotional, psychological lyrics is represented primarily by Zhukovsky and Kozlov, who follows him. It ends with the philosophical lyrics of Venevitinov and poets - "lyubomudry". On a different basis, this tradition was reflected in the lyrics of Baratynsky.
Another trend, although influenced by romantic aesthetics, is a kind of neoclassicism, which arose from an appeal to antiquity, a continuation of the best achievements of classicism. Gnedich, Batyushkov, Delvig generously paid tribute to antiquity and at the same time cultivated the elegiac poetry characteristic of romanticism. Teplyakov adjoins them with his Thracian Elegies.
The third group is civil poets, primarily the Decembrist poets, who combined in their work the enlightenment, odic traditions of the 18th century with romanticism. Ryleev, Glinka, Kuchelbecker, Katenin, early languages and A. Odoevsky represent this civic line in poetry.
And finally, the last trend - poets who largely shared the positions of civil poetry and romanticism, but had already turned to a sober, realistic depiction of reality. This is, first of all, Pushkin himself, as well as Denis Davydov, Vyazemsky, Baratynsky, whose realistic tendencies in their work manifest themselves in very different ways.
It is clear that typological schemes of this kind take into account, first of all, common features poets of different schools. No less significant is the individuality, originality of the poet, his "face is not a general expression," as Baratynsky said. In his "Reflections and Analysis" P. Katenin, putting forward the demand for the creation of his own "folk" poetry and disagreeing with dividing it into different directions, wrote: "For a connoisseur, beautiful in all forms and always beautiful ..." The pinnacle of beauty in Russian literature is Pushkin's poetry, which is why domestic thinkers discuss the three secrets of the genius of Russian classics.
The first, which has long amazed everyone, is the mystery of creativity, its inexhaustibility and completeness, in which all the previous is combined and all the subsequent development of Russian literature is enclosed. At the same time, Pushkin turned out to be not just a forerunner, but what an amazing finalizer of the tendencies emanating from him, which is increasingly revealed in the course of the literary-historical process. Amazing is the harmony and perfection of Pushkin's spirit, sometimes defined as the divine spirit (V. Rozanov insists on this).
Russian philosophers (V. Ilyin, P. Struve, S. Frank, and others) see the secret of the spirit in Pushkin's genius. That catharsis, that harmonious beauty, into which everything unfortunate and tragic in a person's life is resolved, is comprehended by Russian philosophers as the work of not only a poetic] gift, but also human "self-restraint" (P. Struve), "self-overcoming", "self-control "(S. Frank), sacrifices, austerities. Pushkin's work is an act of self-sacrifice.
At the same time, it turns out that Pushkin consoles us not with the illusory consolation of the Stoic, which is often attributed to him in literature, but with such a benevolence of the sage to the whole universe, through which conviction in its meaning is revealed to us. Thus, the secret of creativity leads to the secret of Pushkin's personality - and this is the main thing that attracts the attention of Russian thinkers. They ponder over the riddle of the passionate attraction of the Russian soul to every sign that comes from it. "Pushkin for the Russian heart is a wonderful secret" (A. Kartashev); and it lies in the fact that he is the personal embodiment of Russia, or, according to S. Bulgakov, "the revelation of the Russian people and the Russian genius." But in this regard, it is necessary to understand the phenomenon of "Russianness", which is becoming especially relevant in our time.