Motive of the road in Russian literature. Path motif in literature
MKOU Ramon secondary school No. 2
Research
"Motive of the road in the works of Russian classics"
Completed by students of grade 9 A
Chukaeva Yana
Krutko Polina
Yatsenko Svetlana
Podvigina Olga
leader: teacher
Russian language and literature
Introduction ……………………………………………………………………………..3
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Conclusion……………………………………………………………………………21
References……………………………………………………………………22
Introduction
The theme of the road, travel, which is an integral part of the life of every person, is of great importance in literary works, occupies an important place in the work of Russian writers of the 19th century. That is why we took this topic for research. In our work, we turned to the works, and. An important role in our choice was played by the fact that we study the work of these Russian classics in the 9th grade. We wanted to get to know their work in more detail, to penetrate deeper into the content of the works. In addition, the theme of the road is interesting, ambiguous: the meaning of the words "path", "road" includes the philosophical concept of a person's life path, his destiny. The motive of the road generally plays a large role in Russian literature: the distances are long, there is a lot of time for philosophizing on the road. The road is a metaphor for the path of life, the path of a person.
From these positions, we decided to consider the lyrics and the novel "The Captain's Daughter", the novel "A Hero of Our Time" and the poem "Dead Souls".
Chapter 1
In the autumn of 1830, Pushkin came to Boldino to settle property matters before his marriage and stayed there for a long time due to cholera quarantines, parting with his young, beloved, beautiful bride. What awaits him on the threshold of a new stage of life? After domestic disorder, wandering, loneliness, the poet seeks peace of mind and family happiness, but at the same time, gloomy forebodings do not leave him. Perhaps, during such painful reflections, the poem "Demons" was created, in which spiritual anguish, feelings, fear of two travelers traveling "in an open field" and getting lost in a snow blizzard - a lyrical hero and a coachman - are conveyed. Before the reader appears a terrible, but very real picture.
Clouds are rushing, clouds are winding;
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy.
The first part of the poem is relatively calm, the theme of the road is revealed here. The second part of "Demons" is the emergence of obstacles, which, thanks to poetry, acquire a symbolic meaning. This philosophical mood turns the everyday theme of the poem into a serious and meaningful narrative.
But gradually the riders are seized with anxiety (“we lost our way ... What should we do!”), even despair, conveyed by the author with the help of a monotonous repetition of words (“clouds rush, clouds wind”, “cloudy sky, muddy night”, “food, food” , “terrible, scary”, “the blizzard is angry, the blizzard is crying”) and whole quatrains, and the real winter night is filled with fantastic images from folk mythology, which, brought up by a nanny-storyteller, of course, he knew well. Here is a lonely demon who " blowing, spitting ... pushing a wild horse into a ravine", and many demons that rush "swarm after swarm in boundless heights, screeching plaintively and howling, tearing the heart" of the lyrical hero, and the witch, and the brownie. The exhausted horses stopped, the coachman despaired of finding a way.
The third part of the poem is a bright culmination of the plot, when a person finds himself in a hopeless situation, as he is powerless before a blizzard. And instantly the situation changes when the horses go forward again, the conflict that arises in the poem is resolved. This is both a mundane and a philosophical solution to the situation presented in The Possessed. In the first stanza of the poem, not just a description of nature, but a designation of the situation and the intensity in which the driver and rider are located.
But it is not for nothing that this poem is called mystical, even the title suggests that the meaning of "Demons" is much deeper than it might seem at first glance. In order to comprehend the philosophical meaning of the poem, it is necessary to correctly interpret the images and symbols that Pushkin uses. First of all, this is the image of the Russian winter - flying snow, a severe snowstorm, snow-covered roads ... All this already emphasizes the general mood of the poem - gloomy, but desperately looking for a way out of the current situation. Like the traveler who was stopped by a snowstorm and forced to submit to the elements. The author constantly focuses on the road, on the horses, on the bell, emphasizes that the travelers lost their way, got lost, they are scared. At the moment when “the horses raced again”, the climax comes: the demons acquire quite real features, now they are seen not only by the driver, but also by the rider himself, indicated by the lyrical “I”. From that moment on, the earth in the poem completely disappears and the orgy begins, the Sabbath:
Endless, ugly
In the muddy month game
Various demons swirled
Like leaves in November...
How many of them! where are they driven?
What is it they sing so plaintively?
Do they bury the brownie
Are witches getting married?
Thus, with an increase in speed, the emotional tension of the poem increases and grows. How will the snowy winter night end? Unknown. In the meantime, the chaos of the blizzard, the snowstorm, the plaintive howling of the wind, which have turned into a phantasmagoric picture of the triumph of evil spirits in the mind of the lyrical hero, seem endless ... Lost travelers in the poem "Demons" symbolize the Russian people, who are really lost among the snowy plains and cannot find their way to a happier and freer life. It is again confirmed that the road has not only the direct meaning of the path, trajectory, but also the life path of people who cannot find their place in life, their own path along which they should go.
The poem "Road Complaints", in our opinion, reflect the poet's fatigue from a wandering, nomadic, restless life.
How long am I to walk in the world
Now in a wheelchair, then on horseback,
Now in a wagon, now in a carriage,
Either in a cart or on foot?
In the lines of the poem, one can hear the poet's complaints about Russian impassability. We think that both off-road and the vagaries of the unpredictable Russian climate should be considered both in the literal sense and in a broad, historical and social sense: here is the insecurity of the individual from all sorts of surprises, here is all-Russian carelessness, indifference to all kinds of comfort and coziness .
Or the plague will catch me,
Or the frost will ossify,
Or put a barrier in my forehead
Impaired invalid.
In the course of studying the facts of the writer's biography, analyzing his works and getting acquainted with literary works, we came to the conclusion that Pushkin's persistent comprehension of the motive of the road is a natural result of his life and creative searches. The first, weighty, reason for the poet's appeal to the road theme was his wandering, travel-filled life. Pushkin traveled all over the European part of Russia, dreamed of visiting beyond the Urals, in Siberia. He was in the foothills of the Caucasus, and in the Crimea, and in Moldova, and in the Pskov region, and near the middle Volga, and in the Orenburg steppes, and in the mountains
Ossetia, and in the valleys of Georgia, and on the plateaus of Armenia, and within the boundaries of present-day Turkey near the high-mountainous Arzrum. Images of a traveler, coachman, road miles are constantly found in the works of the poet.
As in the development of other motives of his work, Pushkin showed an unprecedented example of innovation in understanding the road theme. Before him, the road in literature was only a kind of decoration, a background for the development of action. Pushkin does not pay tribute to the image of the path, but makes it the leitmotif of lyrics and prose. The poet's innovation is manifested in the philosophical understanding of the topic. Here the road comes to the fore as a vital crossroads and, of course, the road is a metaphor for fate and life.
The poem "Clouds", unlike Pushkin's "Demons", is not imbued with a mood of despair and fear: the motive of elegiac sadness sounds like a leading motive in it. But the feeling of loneliness, wandering melancholy also overwhelms the soul of the lyrical hero. The poet created this work in April 1840, shortly before being sent to the second Caucasian exile. According to the recollections of one of his friends, at an evening in the house of the Karamzin Lermontovs, standing at the window and looking at the clouds that, covering the sky, slowly floated over the Summer Garden and the Neva, he wrote a wonderful poem impromptu, whose first line sounded like this: "Clouds of heaven, eternal wanderers!" Already in these words, the motive of wandering, the motive of the endless road is felt. Before the reader there is a metamorphic image of the heavenly "eternal wanderers", "exiles", rushing "from the sweet north towards the south." The happiness of these "eternally cold, eternally free" inhabitants of the heavenly sphere lies in the fact that neither envy, nor malice, nor slander have power over them. They do not know the pain of exile. The clouds are simply "bored with the barren fields", so they set off. The fate of the lyrical hero is different: he is an exile involuntarily, it is he who is "driven" from his native side by "fate ... decision", "envy ... secret", "malice ... open", "poisonous slander of friends". However, in the main, he is happier than proud and independent clouds: he has a homeland, and the eternal freedom of the celestials is cold and lonely precisely because they are initially deprived of a fatherland.
As a work in which the motive of the road sounds, one can also consider the poem “I go out alone on the road ...” full of philosophical reflections about the secrets of the universe, about the meaning of life. Written in the spring of 1841, it seems to sum up the short, but bright, like a flash of a meteorite, the life of the poet. Here the lyrical hero is alone with the endless road and the sky wide open above his head. He feels himself a part of the universe, a person immersed in the open and free elements of nature. The "siliceous path", characteristic of the mountains of the Caucasus, is perceived in the poem in two forms: both as a specific road along which a lonely traveler walks, and as a symbol of the life path. The world around the lyrical hero is calm, majestic and beautiful, "blue radiance" is poured everywhere. But "radiance" is not only moonlight, in the rays of which the road shines. It is perceived as a background that clearly reveals the gloomy state of the soul of a traveler who "does not expect anything from life" and who "does not feel sorry for ... the past at all." The lyrical hero is lonely, he is now looking only for "freedom and peace", such peace that exists in the world around him at these moments. The poet shows that in the majestic universe everything is alive: here "the desert listens to God", "the star speaks to the star", there is no loneliness from which the traveler suffers. Peace descends into the soul of the hero, and he longs for one thing - "to forget and fall asleep" forever. But not in the "cold sleep of the grave", but so that "life of strength slumbers in the chest", so that both day and night, cherishing his hearing, "about love ... a sweet voice sang" to him, so that over him, sleeping peacefully, "eternally green , the dark oak bent and rustled." Eternal peace acquires the meaning of eternal life, and the "siliceous path" acquires the features of an infinite path in time and space. The dream of a lyrical hero is fantastic in its essence, but the nature around him also acquires fantastic magical features! The motive of lonely wandering gives way to the motive of the triumph of life and complete merging with the Divine world. (Is it not on that road that the master from the novel found eternal rest? Was it not from there that Pontius Pilate began his journey along the lunar road? In general, when reading the classics of the 19th century, many associations arise with the works of a later period. But this topic, apparently, is for another study ... )
Chapter 2
The motive of the road in the novel "The Captain's Daughter" is very important. On the way, Pyotr Grinev meets with officer Ivan Zurin and with the fugitive Cossack Emelyan Pugachev. These people will later meet again on the life path of a young man and play an important role in his fate. This applies in particular to Pugachev, who, remembering the good attitude of the young master, will save his life during the capture of the Belogorsk fortress, and then help him rescue his beloved. It is interesting to note that the meeting of Pyotr Grinev with the future leader of the popular uprising took place during a heavy snowstorm, but the unknown tramp, in whom only later the young man and his faithful servant recognize the formidable Pugachev, easily finds his way. “Where do you see the road?” the coachman, carrying a young officer, asks him doubtfully. Everything around is covered with snow, and it is really hardly possible to see the road. But the tramp finds her in a completely different way. He suggests waiting a little while until it clears up: "... then we will find the way by the stars." Sensing the smoke, he concludes that there must be human habitation nearby, and it turns out to be right. The road does not have to be seen as a strip of land running towards the horizon, it can be found thanks to signs that most people do not pay due attention to. So, we find an echo of the most ancient ideas about the road, as about the fate of man. Those with whom the hero met by chance will have a great influence on his entire future.
But in the same chapter, Grinev has a prophetic dream: the man turns out to be a "terrible peasant" who, brandishing an ax, filled the whole room with "dead bodies", and this "terrible peasant" "affectionately ... called" Grinev and offered to "come" under his "blessing". Thus, the "road" indicated by Pugachev turned out to be saving for Petrusha and disastrous for others. It is deeply symbolic that Pugachev emerges from a snowstorm and saves Grinev from it: the rebellion raised by Pugachev will turn out to be just as "merciless" as the elements, and Pugachev will save Petrusha from this blind force more than once. It is significant that the paths of the heroes, so bizarrely and incredibly intersecting, diverge. Pyotr Grinev will not follow the path of Russian rebellion indicated by "Peter III".
An analysis of the development of the road motif in The Captain's Daughter allows us to speak about its various tasks in the novel. According to our observation, the road gives development to the plot of the work and causes unpredictable meetings of antipode heroes: Grinev and Pugachev, Grinev and Shvabrin, Savelich and Pugachev. She also brings Masha and the Empress, Masha and Petrusha's parents.
In the chapter "Sergeant of the Guard" the road becomes the starting point of the fate of the protagonist, promises the bitterness of parting with the parental home, portends a difficult path of personal development. Petrusha recalls: “I got into a wagon with Savelich and set off on the road, shedding tears.” The hero obviously does not aspire to a wandering life, and he can be called an exile conditionally: the father wants to raise his son as an honest officer, defender of the Fatherland. The beginning of the chapter "Fortress" draws the road in the traditions of the era -
as an element of the landscape and an exposition of the history of the Belogorsk stage of Grinev's life. “The Belogorsk fortress was forty versts from Orenburg, the road went along the steep bank of the Lik. The river had not yet frozen over, and its leaden waves gleamed mournfully in the monotonous banks covered with white snow. Behind them stretched the Kirghiz steppes. Here again the coachman appears as a cross-cutting hero of the road theme. In this episode, he confidently carries a rider and does not need a “counselor”. The hero recalls: “We drove pretty soon. "Is it far to the fortress?" I asked my driver. “Not far,” he replied. - Vaughn is already visible. In the chapter "Rebellious Settlement" the semantic load of the image of the path is intensified. The desire to save his beloved again drives Grinev on the road, despite Savelich's warnings. In the description of the road, concrete and symbolic meanings merge: “My path went past Berdskaya Sloboda, the refuge of Pugachevsky. The straight road was covered with snow; but horse tracks were visible all over the steppe, renewed daily. I rode at a big trot. Savelich could hardly follow me from a distance and shouted to me every minute: “Be quiet, sir, for God's sake be quiet.<...>It would be nice to have a feast, otherwise you’ll look under the butt ... ”On the one hand, Pushkin’s hero describes the details of a particular place, on the other hand, the words“ past the Berd side ”become symbolic in the context of the work: Peter is not on the way with the rebels, his field - the path of an honest and valiant officer. Grinev chooses this path himself, without the advice of his father, uncle, general. Inwardly, he agrees with Savelich: how much can a fugitive Cossack show nobility towards a military enemy? But he is driven on a dangerous path by the desire to defend his beloved. The further conversation between Grinev and his failed imprisoned father is about the fate of everyone, about the only possible path in life. Already here the leader of the rebels feels his defeat. He confesses to Peter: “My street is cramped; I don't have much will." Grinev, once again, proclaims his life ideals, in which the voice of the author is heard: “But to live by murder and robbery means, for me, pecking at carrion.”
Pugachev's departure in a wagon to Berda (the head of "The Orphan") marks the farewell of the Cossack to Grinev. Their paths completely diverge. At the same time, Masha and Petrusha "left the Belogorsk fortress forever." This departure symbolizes both the parting with Masha from his native places, the removal from the places that gave rise to tragic memories, and the path of Peter to the House, the possibility of his beloved being accepted by the Grinevs.
Another comprehension of the theme of the journey in the novel is connected with Masha's journey to Tsarskoye Selo, which she makes in order to meet the empress.
Masha's road is a belief in the triumph of justice, the fulfillment of a desire to change fate, to defend not only the freedom of a loved one, but also his officer and noble honor. The end of the journey of Marya Ivanovna is significant, who “not being curious to look at St. Petersburg, went back to the village ...” This is due not so much to the heroine’s haste as to her unwillingness to join the life of the capital. If at the beginning of the novel, Petrusha grieved that his path lay in places forgotten by God, the daughter of Captain Mironov hurries to the village. The “Russian soul” Tatyana Larina also strives there, and the author finds herself there, if we recall his lyrical works and lyrical digressions in Onegin.
So, the road tests Pushkin's heroes for resilience, evokes reflections on the meaning of life and one's place in it. The road gives unexpected meetings and outlines drastic changes in fate.
Chapter 3
The theme of the road is very widely revealed in the novel "A Hero of Our Time". In it, each story begins with a new place, to which Pechorin goes at the behest of superiors. After all, the novel was conceived as Pechorin's travel notes. Throughout the stories, the road can be traced. This is the life path of an officer-traveler who is looking for his place in life. Through Pechorin's notes, the author tells us about the most interesting stories that the main character falls into. influences the fate of other people, how he analyzes his actions and actions, and how each story ends in the end, is very interesting to readers. And we seem to also move from one place to another, experiencing the events of the novel together with the main character.
Lermontov's hero Grigory Alexandrovich Pechorin rides on a chaise from Tiflis through the Kaishauri valley along the road, "on both sides of which bare, black stones stuck out; in some places bushes peeked out from under the snow, but not a single dry leaf of it moved, and it was fun to hear among of this dead sleep of nature, the snorting of a tired, postal troika and the nervous jingling of a Russian bell. The danger of mountain roads, their unpredictability, the author repeatedly describes in the chapter "Bela". Travelers moved with difficulty, "horses fell; a deep cleft gaped to the left", "snow fell under their feet." Stony, winding, they were now intersected by shallow ravines, then by fast, noisy streams.
The chapter of "Bel" begins with the lines "I rode on the bed-posts from Tiflis." While traveling along the mountain paths, the narrator meets Maxim Maksimych, who tells him the story of his friend Pechorin and the Circassian princess Bela. Precisely because this novel is about military men who serve in the Caucasus and roam from place to place, the author makes the story of Bela like a story within a story. After all, only travelers who live far from home can so easily get to know each other, help in a difficult situation, and be frank with a new acquaintance. Reveal your secrets to him and tell him about the stories and adventures that he has seen in his life. So frankly and without regrets, they talk about their lives, probably because it is possible that they will never meet their interlocutor again. They will disperse to different parts, and everyone will keep that fascinating story that an old acquaintance once told him. But he doesn’t have time to tell the story about: it’s time for them to go again. And now, because of bad weather conditions, it’s not sweet during the road: “We had to go down about five miles on icy rocks and slushy snow in order to reach Kobi station. The horses were exhausted, we were cold; the blizzard hummed stronger and stronger, like our dear, northern one; only her wild tunes were sadder, more mournful. The Russian road seems to hold the military, does not allow them to part, because the story has not yet been told. And so they have to stay one more night.
Next comes the chapter "Maxim Maksimych". There, the narrator and Maxim Maksimych manage to see Pechorin, but he is not happy to meet his old friend and rejects his friendly greeting. Then Pechorin's notes fall into the hands of the narrator. From this moment begins the "Journal of Pechorin". And now the protagonist of the novel is already narrating.
The first lines of the chapter "Taman" begin with Pechorin's impressions of this city: "Taman is the nastiest town of all the coastal cities of Russia. I almost died of hunger there, and besides, they wanted to drown me.” The officer speaks of the new place very badly and badly. After all, there are many different situations on the road, and not always a good impression remains from them. In Taman Pechorin has to stop for the night. And there he finds himself in an unpleasant situation in which he should not have climbed. But this is just another part of the path traveled by Pechorin. He destroyed other people's destinies and went on. So he left these places without regret and loss: “Yes, and what do I care about human joys and misfortunes, me, a wandering officer ...”. Pechorin understood that he would never return here again.
Then the hero ends up in Pyatigorsk in high society. There he meets his old love Vera. But because of his irrepressible nature, he again becomes entangled in other people's destinies. Vera could no longer wait for him and decided to leave him forever. When Pechorin found out about this, he rushed in pursuit of his love: “Like crazy, I jumped out onto the porch, jumped on my Circassian, ... and set off at full speed ... I mercilessly drove the exhausted horse, which, snoring and covered in foam, raced me along rocky road. Throwing everything, Pechorin was chasing a better life. He thought that with her he would find his happiness. But even here his road is interrupted: the horse could not withstand such a frantic speed, Pechorin knocked her down. Thus, throughout the novel, Pechorin, traveling, was looking for his place in life, but he never found it. All his life he was on the road, visited different places, but he never found his native meth anywhere.
Pechorin, aptly named "Onegin's younger brother", not only travels (fate brings this aristocrat either to Petersburg, then to Kislovodsk, then to a Cossack village, then to the "bad town" of Taman, then even to Persia), but road, "returning from Persia." Here Pechorin returns home along the deserted road in the chapter "The Fatalist". What thoughts overcome his mind? “In a futile struggle, both the heat of the soul and the constancy of the will, necessary for real life, were exhausted; I stepped into this life, having already experienced it mentally, and I became bored and disgusted, like someone who reads a bad imitation of a long-known book. And these bitter confessions of Pechorin sound more than once! He calls his generation "miserable descendants" incapable of great sacrifices either for the good of mankind or even for their own happiness. Feelings of longing and loneliness are constant companions of his life.
In the chapter "Taman" Pechorin compares himself with a sailor born on the deck of a robber brig. He misses. All day long he walks along the coastal sand, listens to the roar of the oncoming waves and peers into the distance. What is he waiting for? What are his eyes looking for? ... Wouldn’t the desired sail flicker, evenly running, approaching the deserted pier ... But for Pechorin, this dream did not come true: the sail did not appear and did not rush him to another life, to other shores.
Bored, he is drawn in the chapter "Bel", and only when the travelers climbed to the top of Mount Gud-mountain, the hero is fascinated by the silver threads of the rivers, he, like a child, watches the bluish fog sliding on the water, a ruddy sheen, with which the snows on the ridges of the mountains are merrily burning. When Pechorin goes to the scene of the story "Princess Mary", he is seized in the face of danger by a thirst for life, a love of nature. But here he is on his way back. The sun seemed dim to him, and there was a stone in his heart. His condition was so difficult. Homelessness, Pechorin's restlessness and senseless death "somewhere on the way to Persia" - this is the spiritual collapse to which the author leads his hero, because a person is not given the right to judge himself according to laws other than universal laws, for the path of dual morality and morality , the path of permissiveness is fruitless, it is the path to spiritual devastation, spiritual death.
In Lermontov's novel, the road appears precisely as a patchwork pattern of various events and impressions that may refer to different periods of time. Thus, in Lermontov's novel, the road appears as a mixture of impressions, as a place where he found material for his work. The road is like a motley carpet on which the fates of people and the imperturbable peaks of the mountains flicker: during the journey, the author and the plot of his work find each other, just as the heroes of ancient legends found a field for exploits and glory. And the main character - madly rushing along this road of life, but never found a worthy application for his abilities and strengths.
Chapter 4
The theme of the road takes up a lot of space in Gogol's work for a reason. For the author, our life is a constant movement. Maybe we do not notice this, maybe it seems to us that our life is too measured and there is no drive and speed in it. But in fact, we are rushing in the stream of fate. And here it is said not only about everyday life, but also about the inner world of a person. After all, every day we learn something new, and it makes us stronger.
In the poem, the author pays special attention to the road. Throughout the reading, we follow the journey of the main character Chichikov. He travels around all the landlords in order to buy up as many dead souls as possible. At that time, serfs were called souls. They belonged entirely to their owners. The more souls the landowner had, the higher his status in society. In addition, serfs, like any other property, could be given as collateral and receive money. So Chichikov decided to pull off such a scam.
In the poem "Dead Souls" the image of the road appears from the first lines; we can say that he stands at its beginning. “A rather beautiful spring small chaise drove through the gates of the hotel in the provincial city of NN ...”, etc. The poem ends with the image of the road; the road is literally one of the last words of the text: “Rus, where are you rushing to, give me an answer? ... Everything that is on the earth flies past, and other peoples and states look askance and give it way.”
But what a huge difference between the first and last image of the road! At the beginning of the poem, this is the road of one specific character - Pavel Ivanovich Chichikov. In the end, this is the road of the whole state, Russia, and even more, the road of all mankind, on which Russia overtakes "other peoples."
At the beginning of the poem, this is a very specific road, along which a very specific britzka is dragging, with the owner and two of his serfs, the coachman Selifan and the lackey Petrushka, harnessed by horses, which we also imagine quite specifically: both the indigenous bay, and both tacky horses of the chubar and kaurogo, nicknamed the Assessor. At the end of the poem, it is quite difficult to imagine the road specifically: it is a metaphorical, allegorical image, personifying the gradual course of all human history. These two values are like two extreme milestones. Between them are many other meanings - both direct and metamorphic, forming a complex and unified Gogol's image of the road. The transition from one meaning to another - concrete to metaphorical - most often occurs imperceptibly. Here, Chichikov’s father is taking the boy to the city: a piebald horse, known among horse dealers under the name Magpies, a day or two wanders through the Russian villages, enters the city street ... the father, having identified the boy in the city school, “the next day got out onto the road” - home. Chichikov begins his independent life. "... for all that, his path was difficult," the narrator notes. One meaning of the image - quite specific, "material" is imperceptibly replaced by another, metaphorical (the road as a way of life). But sometimes such a change occurs emphatically abruptly, unexpectedly. There are also more complex cases, when the change of different images of meanings occurs either gradually, or abruptly, suddenly. Chichikov leaves the city of NN. "And again, on both sides of the high road, she again went to write versts, stationmasters, wells, carts, gray villages with samovars, women and a lively bearded owner ... a pedestrian in frayed bast shoes, trudging for 800 versts, towns built alive ..." etc. Then follows the famous appeal of the author to Russia: "Rus! Rus! I see you, from my wonderful, beautiful far away I see you ..."
The transition from the specific to the general is still smooth, almost imperceptible. The road along which Chichikov travels, endlessly lengthening, gives rise to the idea of all of Rus'. Then this monologue, in turn, is interrupted by another shot. Let us recall the end of the monologue and those lines that wedged into it, interrupting it. "... And menacingly embraces me a mighty space, reflected in my depths with terrible power; my eyes lit up with unnatural power: oh! what a sparkling, wonderful, unfamiliar distance to the earth! Rus'!
Hold on, hold on, fool! Chichikov shouted to Selifan.
Here I am with your broadsword! shouted a courier with a arshin mustache galloping towards. - You don’t see, goblin tear your soul: state-owned carriage! - And, as a sign, the trio disappeared with thunder and dust.
How strange, and alluring, and bearing, and wonderful in the word: road! And how wonderful she herself is, this road: a clear day, autumn leaves, cold air ... stronger in a travel overcoat, a hat on your ears, you will snuggle closer and more comfortably to the corner!
Gogol's image of the road further acquires a metaphorical meaning. It is equivalent to the life path of a person. After all, having lived a life, a person becomes different. He parted with the dreams and seductions of youth, paying for life experience with his best hopes. In one of the surviving chapters of the second volume of the poem, Chichikov says about himself: “I didn’t argue, I twisted it. What to do? A crooked road... This is also characteristic of Gogol's concepts. Gogol's turn in solving the image of the road says everything about the same thing - about strengthening the ethical moment. After all, "straight" or "oblique road" are also metaphorical images. In one case, "honest life" is meant - according to conscience, out of duty; in another - life is dishonest, subordinate to selfish interests.
We can observe an interesting moment when Chichikov leaves Korobochka. He asks her to show the way to the main road. “How would you do it? - answered the hostess. - It's tricky to tell, there are many turns ... ”Here the author is not talking about a simple question when a passerby asks the way. This is a symbolic gesture with which the author tries to make us think about the big dear life. Gogol himself answers the question. He says that getting to this road is very difficult, because there are a lot of obstacles on the way that we have to go through. That is why the author acts as a guide who leads his hero along this difficult path. So Gogol introduces the most important moral coordinates into his artistic image, with the help of which he will correlate the actual and ideal, desired path of the character.
In the penultimate chapter of "Dead Souls" we read: "Many delusions have taken place in the world, which, it would seem, even a child would not have made now. What twisted, deaf, narrow, impassable roads, drifting far to the side, were chosen by mankind, striving to achieve eternal truth, then how the whole straight path was open before him ... And how many times already induced by the meaning descending from heaven, they knew how to recoil and stray to the side, they knew how in broad daylight to fall again into impenetrable backwoods, they knew how to blow again a blind fog into each other's eyes and, dragging after the swamp fires, they knew how to get to the abyss, so that later they would ask each other with horror: "Where is the exit, where is the road?". What an inspired, bright speech! What a bitter, caustic irony! long-term reflections on the book of history, endured personal experience.
It is difficult to imagine a more important topic, because we are talking about the "evasion of the truth" not of one person, but of all mankind. And not only errors in thinking are implied, but perversions in historical destinies, in the entire structure of human relations. But, on the other hand, what did this general deviation from the direct path of history consist of, if not from the deviations of specific, definite people?
The image of the road endlessly expands the range of the poem - to a work about the fate of the whole people, all mankind.
Conclusion
Thus, having considered the motive of the road in some works, we saw that this topic is multifaceted, interesting and ambiguous. In the very meaning of the word "road" there are two meanings: a specific road connecting any places, and the life path of a person and an entire country. The theme of the road helps the authors to more clearly show the re-drinking of the fates of the heroes, to express their attitude to the fate of an individual and the whole society as a whole, to express prophetic fears about the historical path of generations, the nation.
An analysis of the works of Russian classics made it possible to single out the motive of the path in them as one of the elements of the poetics of various authors. Modern poetry and prose have certainly embraced this tradition. A man of the 21st century is in a hurry all the time - this is prompted by the fantastic rhythm of life, ambitious dreams, and the desire to find his only right path in life. The road, going into the unknown distance, has become a symbol of the quest of man and mankind. This led to the image of the path as an important element of the composition and content of various literary works. The philosophical sound of the motive of the road contributes to the disclosure of the ideological content of the works. The road is an artistic image and a plot-forming component. The road is unthinkable without wanderers, for whom it becomes the meaning of life, an incentive for personal development. So, the road is an artistic image and a plot-forming component. The road is a source of change, life and help in difficult times. The road is both the ability to be creative, and the ability to know the true path of a person and all of humanity, and the hope that contemporaries will be able to find such a path.
It seems that the study of the motive of the road in the works of writers and poets of the 20th century could become the topic of another research work in which one could reflect on the pages of the works of A. Blok, S. Yesenin, M. Bulgakov, A. Platonov ...
References
1. Dead Souls. Moscow: Fiction, 1969.
2. Lermontov's works in four volumes. M.: Fiction, 1964.
3. Pushkin collected works in ten volumes. Moscow: Nauka, 1964.
4. Lermontov. Research and finds. 3rd edition. Moscow 1964
5. Bocharov Pushkin. Moscow 1974
6. Gukovsky and problems of realistic style. M., 1957
7. Gukovsky and Russian romantics. - M., 1965
8. Lakhostsky Sergeevich Pushkin. Biography. Benefit for
students-M.-L.: "Enlightenment", 1964
9. Makogonenko in the 1830s (). L.: Artist. lit., 1974.
10. Chronicle of Lermontov's life and work. Moscow 1964
11. Machine world. 2nd edition. 1979
12. Poetry and fate. Above the pages of Pushkin's spiritual biography. - M.: Sov. Writer, 1987
13. Christmas Pushkin - L .: State Publishing House of Children's Literature of the Ministry of Education of the RSFSR, 1962
14. Skatov is a genius. - M.: Sovremennik, 1987
15. Slinin Pushkin's cycle "Poems composed during the journey (1829)" // Sat. Pushkin collection, Leningrad State University, 1977.
16. Slonimsky Pushkin-M.: State Publishing House
The image of the road (path) can be called an archetype: it is present in the culture of different eras. In Russian literature, the motif of the path sounded even in ancient Russian works: the prince of Novgorod-Seversky Igor Svyatoslavovich went on a campaign “to the Polovtsian land”, wanting to take revenge on the nomads for the insults inflicted on the Russian people; Prince Dmitry Ivanovich of Moscow (Zadonshchina) led the army on the way to the battle with Khan Mamai; The Tver merchant described his journey in "Journey Beyond the Three Seas".
Later we will see this motif in the famous "Journey from St. Petersburg to Moscow" by A.N. Radishchev.
The theme of the road also sounds in A.S. Griboyedov’s comedy “Woe from Wit” (Chatsky arrives in Famusov’s Moscow at the beginning of the work and leaves it at the end; we see the restless hero in search, on the way), in “Hero of Our Time” M .Yu.Lermontov, the theme of travel in the plot of the novel reflects the loneliness and loss of the protagonist - Pechorin.
But the words “road”, “path” are ambiguous: they can mean not only a segment of space between any points, but also stages of life of both an individual and an entire nation. And in this sense, we can talk about the life path of the hero, the historical path of the people. It turned out to be short for the heroine of the play A.N. Ostrovsky's "Thunderstorm": from a happy childhood ("I lived - I did not grieve about anything, like a bird in the wild") to premature death, which pure and free Katerina prefers to life in the house of her mother-in-law Kabanikh. In a similar vein, one can consider the path of the Russian people in the Patriotic War of 1812 (the epic novel "War and Peace"), when different segments of the population from the commander-in-chief Kutuzov to the "most needed person" in the partisan detachment - Tikhon Shcherbaty and "the elder Vasilisa, who beat a hundred Frenchmen,” rallied in a single patriotic impulse to liberate Russia from foreign invaders.
And how majestic the image of the road seems to the readers of the poem “Dead Souls”, along which, “what a lively, unbeatable troika”, Rus is rushing! Gogol's lyrical digressions are full of reflections on the historical path of Russia, on its place and significance in the whole world.
Alexander Blok, a poet who found himself at the crossroads of two centuries - the 19th and the 20th, reflects on the path of Russia and the Russian people in a number of his poems. Especially deeply and unusually this topic is revealed in the poems "Rus", "Russia" and in the cycle "On the Kulikovo Field". In the poem "Rus", the reader is confronted with the image of a mysterious, magical country, "where all the roads and crossroads are exhausted with a living stick." The Fatherland on the road, in perpetual motion, appears in the poem "Russia", which begins with the words:
... And painted knitting needles(Blok's spelling)
In loose ruts...
In the poem “Russia”, this image is endowed with a number of meanings: “the impossible is possible, the long road is easy”, and Russia, with a forest and a field, in a “patterned robe to the eyebrows”, will give a tired traveler “an instant look from under a scarf”. And, finally, as the personification of the pinnacle of the frantic movement of block Russia, a metaphorical image of a “steppe mare” is presented, flying “through blood and dust” forward, into restlessness, because “we can only dream of peace”, and “eternal battle” awaits the Russians.
So, the image of the road in Russian literature is multifaceted and deep. Among the works of Russian writers, one can find a variety of its aspects: the path as a personal destiny of a person, the path as the road of the soul to God and harmony, and, finally, the path as the fate of Russia and the movement in the history of an entire people. The last comprehension of the image of the road makes a special impression on any Russian person, finding a pure, patriotic response in his soul.
One of the cross-cutting themes of Russian literature is the theme of the path-road, which is present in the works of many Russian classics. Why did such a cross-cutting plot arise and why such a theme is singled out in Russian classical literature.
Road theme
The motif of the path can also be traced in ancient Russian literature, and this is largely due to the historical circumstances that determined the fate of the Russian land. Ancient princes and kings went on a journey for various reasons - to develop new territories, protect their lands and expand their horizons.
If we talk about a later period, then even by the titles of works of the 18th century it is clear that such a theme was actively developed in literature. An example is the book by A. Radishchev "Journey from St. Petersburg to Moscow" and the book by N. Karamzin "Letter from a Russian Traveler", which was based on his impressions of France, England and Germany.
The theme of the path-road is also developing in the literature of the 19th century, and now it acts as a through plot in many famous works of Russian classical literature. This is Pushkin's "Eugene Onegin", in which the main character "in the dust on the mail" rushes to the village and after a while sets off again, and Griboyedov's "Woe from Wit", where Chatsky returns from abroad to his homeland.
And the main character of the novel "A Hero of Our Time" Pechorin is constantly on the road, and even finds death on the road. A famous traveler was Chichikov, a colorful character in Gogol's Dead Souls. Yes, and in the work itself you can find majestic descriptions of the image of the road, which reveal the power and beauty of the Russian land.
And in Turgenev's work "Fathers and Sons" the characters are constantly on the road - the novel itself begins from the road, and throughout it the characters move to different provinces and estates.
The Motif of the Path and Traditions of Spiritual Literature
The motif of the road is multifaceted and extensive in Russian literature. It also fills deep, spiritual works like "War and Peace", in which the life paths of Natasha Rostova, Andrei Bolkonsky and Pierre Bezukhov are revealed through the roads, it can be found in all the famous works of the classics.
Surprisingly, the motive of the path is revealed in small lyrical works that fill it with spirituality. These are A. Pushkin's poems "Winter Road", "For the Shores of the Far Homeland", "Demons", "Road Complaints", Lermontov's poems "I go out alone on the road ..." and "Farewell, unwashed Russia ...", poems N. Nekrasov "Railroad", "On the road", "Reflections at the front door".
The road in folklore
The theme of the path is clearly revealed in folklore works. This is natural, since for folklore the path and the road are important elements of human life, and the through plot of the road in such works is revealed more fully.
The theme of the road in Russian literature is extensive, multifaceted and deep.
The motif of the road is clearly seen in the work of A.S. Pushkin. And this is no coincidence. By the will of fate, due to the fact that the poet always loved freedom and never changed this feeling, he had to stay "by the grace" of the tsar on the road both in central Russia and in the Caucasus at different times of the year.
The poem "Demons", written in the famous Boldin autumn, is one of those when the poet experienced a difficult internal state. Affairs force the poet to leave the capital and part for a while with a young, beloved beauty - the bride.
The focus of the poem is he, the lyrical hero, and the coachman. The mental state of the hero is comparable to the clouds. Like the hero, they have no rest, they are in constant motion, in anticipation of something terrible. In the same spiritual confusion, languor are two travelers traveling "in an open field":
Clouds are rolling, clouds are rolling
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy.
Travelers are on the road, but the road is dangerous, because "the sky is cloudy", "the night is muddy." Anxiety and even despair from the consciousness that they are alone in the field among the "unknown plains":
I'm going, I'm going in an open field;
Bell ding - ding - ding ...
Terrible, terribly scary
Among the unknown plains.
And now a fantastic, truly demonic picture appears, filled with images from folk mythology, which A.S. Pushkin, brought up by a nanny - a storyteller, knew well:
In the field the demon leads us, apparently
Yes, circling around
Look: out, out playing,
Blows, spits on me;
Out - now pushes into the ravine
Wild horse.
And now "endless, ugly, various demons swirled." The exhausted horses stopped, the coachman despaired of finding his way. How will the snowy winter road end at night? Unknown. In the meantime, in the mind of the lyrical hero, this chaos of a blizzard, a snow storm with its demons, witches, the chaos of solid evil spirits triumphs, tearing the poet's heart from a premonition, some kind of disturbing, unclear for him so far.
So the road trip helped us, the readers, to realize and better understand the inner state, the spiritual anxiety of the lyrical hero - a traveler whose life was unpredictable in its outcome:
We assume to live ... And looking - just - we will die.
There is no happiness in the world...
And there is no rest...
In many ways, he repeated the fate of his teacher, Pushkin, and Lermontov. The same fate of an exile in his homeland, the same death in a duel. Lermontov's situation was especially difficult, and also because the circumstances of Russian life in the thirties of the last century doomed him to loneliness.
The poem "Clouds" by M. Lermontov is not imbued with a mood of desperation and fear. The leading motif is the motif of sadness and loneliness, wandering melancholy.
This poem was written in 1840, shortly before being sent to the second Caucasian exile. As one of Lermontov's friends recalls, at an evening at the Karamzins' house, the poet, standing at the window and looking at the clouds that, covering the sky, slowly floated over the Summer Garden and the Neva, impromptu wrote a wonderful sad elegy, the first line of which sounded like this:
Heavenly clouds, eternal wanderers!
Steppe azure, pearl chain
You rush, as if, like me, exiles,
From the sweet north to the south.
Such is the fate of clouds... Eternal wandering, eternal endless road. Such is the metaphorical image of eternal wanderers that appears before us, personifying the fate of the poet. The poet wonders, looking at the clouds floating across the sky:
Who is driving you: is it fate's decision?
Is envy secret? Is malice open?
The happiness of these "eternal wanderers" is that neither envy, nor malice, nor slander have power over them. They do not know the pain of exile. The clouds are simply bored with "barren fields." They are free to move from north to south. The fate of the lyrical hero is different: he is an exile involuntarily, he is “driven” from the “sweet north”, “destiny decision”, “envy ... secret”, “malice ... open”, “poisonous slander of friends”.
However, in the main, the lyrical hero is happier than the proud and independent clouds: he has a homeland, in contrast to the eternal freedom without a fatherland, which clouds have.
So the ambiguity of the word road helped us to trace in this poem the stage of the life path and the poet himself.
The motive of the road, but with philosophical reflections, also sounds in M.Yu. Lermontov’s poems “I go out alone on the road ...” Written in 1841, it seems to sum up the poet’s life road, short but bright, like a flash of a meteorite:
I go out alone on the road;
Through the mist the flinty path gleams;
The night is quiet. The desert listens to God
And the star speaks to the star.
Lyrical hero one on one with an endless road. He feels like a part of the universe. The “Silicon Road” is both a specific Caucasian road and a symbol of the life path:
In heaven solemnly and wonderfully!
The earth sleeps in the radiance of blue ...
The world around the hero is beautiful, solemn, calm "in the radiance of blue." And this blue radiance clearly reveals the gloomy state of the soul of the traveler:
Why is it so painful and so difficult for me?
Waiting for what? Do I regret anything?
But he no longer expects anything from life, he does not feel sorry for the traveler and “the past at all”, because the lyrical hero is lonely, he is now looking only for:
... freedom and peace!
I would like to forget and sleep!
It is here, in the majestic universe, where “the star speaks with the star”, where “the desert listens to God”, the poet finds peace of mind, he wants to “forget and fall asleep”:
But not with that cold dream of the grave...
I wish I could sleep like this forever...
And so, “so that life of strength dozes in the chest ...”:
So that all night, all day, cherishing my hearing,
A sweet voice sang to me about love,
Above me so that, forever green,
The dark oak leaned and rustled.
And the philosophical meaning of the final quatrain is that eternal rest acquires the meaning of eternal life, and the “silty path” acquires the features of an infinite path in time and space. The motive of lonely wandering gives way to the motive of the triumph of eternal life and complete merging with the Divine world.
But N.A. Nekrasov’s theme of the road can be traced already in the title - “Railway”. The poem, created already in the second half of the 19th century, is dedicated to a specific event - the opening of the first Russian railway between St. Petersburg and Moscow. And the basis of the storyline is a specific fact - a journey through time and space of Vanya (in an Armenian coachman's coat) and dad (Count Peter Andreevich Kleinmichel).
Thus, the word road has its specific meaning in the poem. But it also has another metaphorical meaning.
The poem opens with a wonderful picture of "glorious autumn":
Glorious autumn! Healthy, vigorous
The air invigorates tired forces; ...
There is no ugliness in nature! And kochi
And moss swamps, and stumps - All is well under the moonlight ...
But the poet contrasts the picture of the “glorious autumn” with the social injustice of society, the cruelty of the world. And it is the journey “on cast-iron rails” that prompts this reflection on the opposition of the lyrical hero. There is time to think about your own thoughts and see outside the window not only the picture of “glorious autumn”, but also hear the voice of the author, who does not trust dad to tell the story about the construction of the road.
And having heard the author's story, it is easy to imagine the "crowd of the dead" who:
... tore themselves under the heat, under the cold,
With an eternally bent back,
Lived in dugouts, fought hunger,
Were cold and wet, sick with scurvy.
It is easy to imagine a Belarusian sick with a fever, who:
Didn't straighten his hunchbacked back
He is still stupidly silent
And mechanically rusty shovel
Frozen earth hollows.
Vanya will imagine at what cost, by whose labor this “road of the century” was built, who “in a terrible struggle, having called to life this barren jungle, found a coffin for himself here.”
And the reader will understand what is the other, metaphorical meaning of this word. The road is also a difficult segment of the life path that the "masses of the people" have gone through, it is a symbol of people's suffering in the present and a bright dream of a happy future:
Do not be shy for the dear homeland ...
The Russian people carried enough
Carried out this railroad
Will endure everything - and wide, clear
He will pave the way for himself with his chest.
Still, the poet believes in the future of the Russian people, that this path will be bright, spacious and joyful. The poet only regrets that:
... to live in this beautiful time
You won't have to, neither me nor you.
Plan
Introduction
Ι. Main part
symbolic function
Compositional and semantic roles
Pre-Pushkin period
The Golden Age of Russian Literature
The role of the road in the works of Russian classics
The evolution of the image of the road
2.2.4 Road - human life and the path of human development in the poem
N.V. Gogol "Dead Souls"
3. "Enchanted wanderers" and "inspired vagabonds."
Conclusion
Bibliography
Introduction
In the life of every person there are such moments when you want to go out into the open and go “to the beautiful far away”, when suddenly the road to unknown distances beckons you. But the road is not only a route. In the literature of the 19th century, the image of the road is presented in various meanings. This diversity of the concept of the road helps the reader to better understand and understand the greatness of the creations of the classics, their views on life and the surrounding society, on the interaction of man and nature. Landscape sketches associated with the perception of the road often carry the ideological orientation of the entire work or a single image.
The road is an ancient image-symbol, so it can be found both in folklore and in the work of many classic writers, such as A.S. Pushkin, M. Yu. Lermontov, N. V. Gogol, N.A. Nekrasov, N.S. Leskov.
The topic of the essay was not chosen by chance: the motive of the road contains a great ideological potential and expresses the various feelings of the lyrical characters. All this determines the relevance of this topic.
Purpose of the work: to reveal the philosophical sound of various shades of the road motif in the literature of the 19th century, to trace the evolution of the road motif, starting from Russian folklore and ending with modern works.
To achieve this goal, it is necessary to solve the following tasks:
To get acquainted in detail with the works of the declared writers;
Reveal the variety of meanings of the concept of "road" in the works of the authors;
To study the scientific and critical literature on the research topic;
Describe the role of the road in the disclosure of ideas in the works of the classics;
Present the artistic methods of depicting the road in the works of writers;
Correct and conduct a detailed comparative analysis of the material.
Hypothesis: the philosophical sound of the motive of the road contributes to the disclosure of the ideological content of the works. The road is an artistic image and a plot-forming component.
Critical articles by such authors as S. M. Petrov, Yu. M. Lotman, D. D. Blagoi, B. S. Bugrov were used in the work on the abstract. The most complete analysis of the motive of the road based on the work of N.V. Gogol "Dead Souls" is presented in the literature. In my abstract, I mainly relied on the works of J. Mann, presented in the books “Comprehension of Gogol”, “The Courage of Invention” and “In Search of a Living Soul”.
To analyze the motive of the road in the works of N.A. Nekrasov, I used the developments of Irina Gracheva (the article “The cryptography of Nekrasov’s poem “Who should live well in Rus'”) and Nina Polyansky (the article “Nekrasov’s poem “Railway”), published in the journal Literature at School .
Very interesting are the works of B. Dykhanova based on the story "The Enchanted Wanderer" by Leskov. An analysis of this work is also widely presented in the journal Literature at School.
1. The role of the road in the works of Russian classics
1.1 Symbolic function of the road motif
The road is an ancient image-symbol, the spectral sound of which is very wide and varied. Most often, the image of the road in the work is perceived as the life path of a hero, a people or an entire state. “Life path” in the language is a spatio-temporal metaphor, which was used by many classics in their works: A. S. Pushkin, N. A. Nekrasov, N. S. Leskov, N. V. Gogol.
The motif of the road also symbolizes such processes as movement, search, testing, renewal. In N. A. Nekrasov’s poem “Who Lives Well in Rus',” the path reflects the spiritual movement of the peasants and all of Russia in the second half of the 19th century. And M. Yu. Lermontov in the poem “I go out alone on the road” resorts to using the motive of the road to show that the lyrical hero has found harmony with nature.
In love lyrics, the road symbolizes separation, parting, or persecution. A vivid example of such an understanding of the image was the poem by A. S. Pushkin "Tavrida".
For N.V. Gogol, the road became an incentive for creativity, for the search for the true path of mankind. It symbolizes the hope that such a path will be the fate of his descendants.
The image of the road is a symbol, so each writer and reader can perceive it in their own way, discovering more and more new shades in this multifaceted motif.
1.2 Compositional and semantic role of the image of the road
In Russian literature, the theme of travel, the theme of the road is very common. You can name such works as “Dead Souls” by N.V. Gogol, “A Hero of Our Time” by M.Yu. Lermontov or “Who Lives Well in Rus'” by N.A. Nekrasov. This motif was often used as a plot-forming one. However, sometimes it is in itself one of the central themes, the purpose of which is to describe the life of Russia in a certain period of time. The motive of the road follows from the way of narration - showing the country through the eyes of heroes.
The functions of the motive of the road in the work "Dead Souls" are diverse. First of all, this is a compositional technique that links together the chapters of the work. Secondly, the image of the road performs the function of characterizing the images of the landowners whom Chichikov visits one after another. Each of his meetings with the landowner is preceded by a description of the road, the estate. For example, here is how N.V. Gogol describes the way to Manilovka: “Having traveled two versts, we met a turn onto a country road, but already two, and three, and four versts, it seems, have been done, but there is still no stone house with two floors was seen. Here Chichikov remembered that if a friend invites you to a village fifteen miles away, it means that there are thirty miles to it.
As in "Dead Souls", in Nekrasov's poem "To whom it is good to live in Rus'", the theme of the road is a connecting one. The poet begins the poem "from the pole path", on which seven men-truth-seekers converged. This theme is clearly visible throughout the long story, but for Nekrasov, only an illustration of life, a small part of it, is dear. The main action of Nekrasov is a narrative unfolded in time, but not in space (as in Gogol). In “To Whom in Rus' to Live Well” pressing questions are constantly raised: the question of happiness, the question of the peasant's share, the question of the political structure of Russia, so the topic of the road is secondary here.
In both poems, the motive of the road is a connecting, pivotal one, but for Nekrasov the fate of people connected by the road is important, and for Gogol the road that connects everything in life is important. In "To whom it is good to live in Rus'", the theme of the road is an artistic device, in "Dead Souls" it is the main theme, the essence of the work.
Another characteristic example of a work in which the motive of the road plays a compositional role is the story "The Enchanted Wanderer" by N.S. Leskov. The most prominent critic of literary populism N. K. Mikhailovsky said about this work: “In terms of the richness of the plot, this is perhaps the most remarkable of Leskov's works. But in it the absence of any center is especially striking, so that there is no plot in it, but there is a whole series of plots strung like beads on a thread, and each bead by itself can be very conveniently taken out, replaced by another. , or you can string as many beads as you like on the same thread ”(“ Russian Wealth ”, 1897, No. 6). And these “beads” are connected into one single whole by the road-fate of the protagonist Ivan Severyanovich Flyagin. Here the symbolic and compositional roles of the road motif are closely intertwined. If the connecting link in "Dead Souls" and "Who Lives Well in Rus'" is the road itself, then in "The Enchanted Wanderer" it is the life path along which, like along the road, the hero walks. It is the complex metamorphic interweaving of the roles of the road that determines the multifaceted perception of the work.
The motive of the road is the core plot-forming component of such works as “Dead Souls” by N.V. Gogol, “Who Lives Well in Rus'” by N.A. Nekrasov and "The Enchanted Wanderer" by N. S. Leskov.
2. The evolution of the image of the road
2.1 Pre-Pushkin period
Russian roads. Endless, tiring, able to calm and disturb. That is why the image of the road has taken a special place in Russian folklore: it is present in songs, fairy tales, epics, proverbs:
Already along the same path along the wide
The newly recruited soldiers were still walking,
Walking, they cry soldiers
In tears, they do not see the path.
How grief went along the path,
It is bast, grief, connected
And girded with a washcloth ...
The road in the minds of the Russian people was associated with grief and suffering: along the way, young guys were driven into recruits; on the way, the peasant carried his last belongings to the market; along the road lay a mournful path to exile.
It is with folklore that the history of the development of the road motif begins, which was later picked up by the writers of the 15th century. A striking example of a work with a clearly traceable road motif was A.N. Radishchev. The main task of the author was to "look" into the Russian social reality. It should be noted that N.V. Gogol set himself a similar goal in the poem "Dead Souls". To solve the problem, the travel genre was the best fit. At the very beginning of his journey, listening to the mournful song of the coachman, the traveler speaks of "sorrow of the soul" as the main note of Russian folk songs. The images used by A.N. Radishchev (coachman, song) will also be found in the works of A.S. Pushkin and N.A. Nekrasov.
2.2 Golden age of Russian literature
2.2.1 Pushkin road - "carnival space"
Pushkin - "the sun of Russian poetry", the great Russian national poet. His poetry was the embodiment of love of freedom, patriotism, wisdom and humane feelings of the Russian people, their mighty creative forces. Pushkin's poetry is distinguished by a wide range of topics, but the development of individual motifs can be traced very clearly, and the image of the road stretches like a red ribbon through all the poet's work.
Most often, the image of a winter road appears and the images of the moon, the coachman and the troika traditionally accompanying it.
On the winter road, boring Troika greyhound runs ...
("Winter Road", 1826)
I went to you: living dreams
A playful crowd followed me,
And the moon on the right side
Accompanied my run zealous.
("Signs", 1829)
Clouds are rushing, clouds are winding;
Invisible moon
Illuminates the flying snow;
The sky is cloudy, the night is cloudy.
("Demons", 1830)
In the poem "Winter Road" the main image is accompanied by accompanying motifs of sadness, longing, mystery, wandering:
It's sad, Nina: my path is boring,
Dremlya fell silent my coachman,
The bell is monotonous
Foggy moon face.
("Winter Road", 1826)
And the road itself appears to the reader as monotonous, boring, which is confirmed by the following poetic lines:
Single bell
Tiring noise.
No fire, no black hut...
Silence and snow...
Traditionally, the motif of the road is accompanied by images of a troika, a bell and a coachman, which in the poem carry an additional color of sadness, melancholy, loneliness (“The bell is monotonous tiringly rattles ...”, “Something native is heard in the long songs of the coachman: sometimes reckless revelry, then heartfelt longing” )
The dynamics of the winter landscape in the poem "Demons" is emphasized by the size - the chorea. It was Pushkin who felt the swirling blizzard in this size. The road in "Demons" is accompanied by a snowstorm, which symbolizes the unknown, the uncertainty of the future, which is also emphasized by the motif of impassability ("All the roads skidded").
Analyzing the system of images of the poem "Demons", one can notice that the same four images are present here as in the poem "Winter Road": the road, the troika, the bell and the coachman. But now they help to create not feelings of sadness and longing, but confusion, forebodings of change and fear of them. One more image is added to the four images: a storm, which becomes the key, determining the poetic coloring of the road. Images, motifs, intertwined into a whole, form one - an evil spirit:
Various demons swirled
How many of them! where are they driven?
What is it they sing so plaintively?
Do they bury the brownie
Are witches getting married?
As a conclusion on the expressive set of motives, poetic lines sound: "The sky is cloudy, the night is cloudy."
The variety of roads creates one “carnival space” (M. Bakhtin’s term), where you can meet Prince Oleg with his retinue, and the “inspired magician” (“Song of the Prophetic Oleg, 1822), and the traveler (“Tavrida”, 1822, “ Imitation of the Koran", 1824). A “six-winged seraphim” (“Prophet”, 1826) suddenly appears at the crossroads, “an unfamiliar wanderer enters from the road into the Jewish hut” (“A lamp in the Jewish hut”, 1826), and the “poor knight” “on the road by the cross” saw Mary Virgin (“There Lived a Poor Knight”, 1829).
Let's try to understand which roads create a single Pushkin's "carnival space". The first, most important, road is the path of life, the road is fate:
Separation is waiting for us at the threshold,
Calls us distant light noise,
And everyone looks down the road
With the excitement of proud, young thoughts.
("Comrades", 1817)
The poem refers to the Lyceum period, the period of youth, the formation of a personality, which is why the motive of the road sounded so clearly as an upcoming life path ("And everyone looks at the road"). The stimulus for movement, for spiritual growth is the “distant light noise”, which is heard by everyone in their own way, exactly, like the upcoming life-long road:
We are assigned a different path by strict fate;
Stepping into life, we quickly dispersed:
But by chance a country road
We met and fraternally embraced.
In the memories of friends, of those who are dear and far away, suddenly imperceptibly, unobtrusively appeared the road-fate (“We are assigned a different path by strict fate”), pushing and separating people.
In love lyrics, the road is separation or persecution:
Behind her on the slope of the mountains
I walked the path of the unknown
And noticed my timid gaze
Traces of her lovely foot.
("Tavrida", 1822)
And the poetic road becomes a symbol of freedom:
You are the king: live alone.
By the road of the free
Go where your free mind takes you...
("To the Poet", 1830)
One of the main themes in Pushkin's lyrics is the theme of the poet and creativity. And here we observe the disclosure of the theme through the use of the motive of the road. "The way of the freego where your free mind leads you, ”says Pushkin to his fellow writers. It is the "free road" that should become the path for a true poet.
The road-fate, the free path, the topographic and love roads make up a single carnival space in which the feelings and emotions of lyrical characters move.
The motive of the road occupies a special place not only in Pushkin's poetry, but also in the novel "Eugene Onegin" it plays a significant role.
Movements occupy an exceptionally large place in "Eugene Onegin": the action of the novel begins in St. Petersburg, then the hero travels to the Pskov province, to his uncle's village. From there, the action is transferred to Moscow, where the heroine goes "to the bride's fair" in order to later move with her husband to St. Petersburg. Onegin during this time makes a trip Moscow - Nizhny Novgorod - Astrakhan - Georgian Military Highway - North Caucasian mineral springs - Crimea - Odessa - Petersburg. The feeling of space, distances, the combination of home and road, domestic, stable and road, mobile life are an important part of the inner world of Pushkin's novel. An essential element of spatial sense and artistic time is the speed and mode of movement.
In St. Petersburg, time flows quickly, this is emphasized by the dynamism of the 1st chapter:"flying in the dust on the postage", "K Talon he rushed off ... "or:
We'd better hurry to the ball
Where headlong in a pit carriage
My Onegin has already galloped.
Then artistic time slows down:
Unfortunately, Larina dragged along
Afraid of expensive runs,
Not on postal, on their own,
And our maiden enjoyed
Road boredom is complete:
They traveled for seven days.
In relation to the road, Onegin and Tatyana are opposed. So, “Tatyana is afraid of the winter way,” Pushkin writes about Onegin:
They were overcome with anxiety,
Wanderlust
(Very painful property,
Few voluntary cross).
The novel also raises the social aspect of the motive:
Now our roads are bad
Forgotten bridges rot
Bed bugs and fleas at the stations
Don't let me sleep for a minute...
Thus, based on the analysis of the poetic text of the poet, we can conclude that the motive of the road in the lyrics of A. S. Pushkin is quite diverse, the image of the road is found in many of his works, and each time the poet presents it in different aspects. The image of the road helps A.S. Pushkin to show both pictures of life, and to enhance the coloring of the mood of the lyrical hero.
2.2.2 Lermontov's theme of loneliness through the prism of the motive of the road
Lermontov's poetry is inextricably linked with his personality; it is a poetic autobiography in the full sense. The main features of Lermontov's nature: an unusually developed self-consciousness, the depth of the moral world, the courageous idealism of life aspirations.
The poem “I go out alone on the road” absorbed the main motives of Lermontov’s lyrics, it is a kind of result in the formation of a picture of the world and the lyrical hero’s awareness of his place in it. One can clearly trace several cross-cutting motives.
Motive of loneliness . Loneliness is one ofcentralpoet's motives: "I am left alone - / Like a gloomy, empty castle / Insignificant ruler" (1830), "I am alone - there is no consolation" (1837), "And there is no one to give a hand / In a moment of spiritual adversity" (1840), "One and without purpose I have been running around the world for a long time" (1841). It was a proud loneliness among the despised light, leaving no way for action, embodied in the image of the Demon. It was tragic loneliness, reflected in the image of Pechorin.
The loneliness of the hero in the poem “I go out alone on the road” is a symbol: a person is alone with the world, a rocky road becomes a life path and a shelter. The lyrical hero goes in search of peace of mind, balance, harmony with nature, which is why the consciousness of loneliness on the road does not have a tragic coloring.
Wandering motif , a path, understood not only as the restlessness of a romantic exile hero (“Leaf”, “Clouds”), but the search for the purpose of life, its meaning, which was never discovered, not named by a lyrical hero (“Both boring and sad ...”, “ Thought").
In the poem “I go out on the road alone”, the image of the path, “reinforced” by the rhythm of the pentameter trochaic, is closely connected with the image of the universe: it seems that space is expanding, this road goes to infinity, is associated with the idea of eternity.
Lermontov's loneliness, passing through the prism of the motive of the road, loses its tragic coloration due to the lyrical hero's search for harmony with the universe.
2.2.3 Life is the road of the people in the works of N. A. Nekrasov
N. A. Nekrasov is an original singer of the people. He began his creative career with the poem "On the Road" (1845), and ended with a poem about the wanderings of seven men in Rus'.
In 1846, the poem "Troika" was written. “Troika” is a prophecy and a warning to a serf girl, still dreaming of happiness in her youth, who for a moment forgot that she is “baptized property” and she is “not supposed to be happy”.
The poem opens with rhetorical questions addressed to the village beauty:
What are you greedily looking at the road
Away from cheerful girlfriends? ..
And why are you running so fast
Behind the rushing trio after? ..
Troika-happiness rushes along the road of life. It flies past a beautiful girl, greedily catching his every move. While for any Russian peasant woman, the fate is predetermined from above, and no beauty can change it.
The poet paints a typical picture of her future life, painfully familiar and unchanged. It is hard for the author to realize that time is passing, but this strange order of things does not change, so familiar that not only outsiders, but also the participants in the events themselves do not pay attention to it. A serf woman learned to patiently endure life as a heavenly punishment.
The road in the poem robs a person of happiness, which is carried away from a person by a quick trio. A very specific three becomes the author's metaphor, symbolizing the transience of earthly life. It rushes so fast that a person does not have time to realize the meaning of his existence and cannot change anything.
In 1845, N. A. Nekrasov wrote the poem "The Drunkard", in which he describes the bitter fate of a person sinking "to the bottom". And again, the author resorts to the use of the motive of the road, which emphasizes the tragic fate of such a person.
Leaving the path of destruction,
I would find another way
And in another labor - refreshing -
Would droop with all my heart.
But the unfortunate peasant is surrounded by one injustice, meanness and lies, and therefore there is no other way for him:
But the haze is black everywhere
Against the poor...
One is open
The road to the pub.
The road again acts as the cross of a person, which he is forced to bear all his life. One road, the absence of a choice of another path - the fate of the unfortunate, disenfranchised peasants.
In the poem “Reflections at the Front Door” (1858), talking about peasants, rural Russian people who ... “wandered for a long time ... from some distant provinces” to the St. Petersburg nobleman, the poet speaks of the long-suffering people, about his humility. The road leads the peasants back, leads them into hopelessness:
…after standing,
The pilgrims untied the bag,
But the porter did not let me in, without taking a meager mite,
And they went, burning with the sun,
Repeating: "God judge him!",
Spreading hopelessly hands ...
The image of the road symbolizes the hard way of the long-suffering Russian people:
He groans through the fields, along the roads,
He groans in prisons, prisons,
In mines, on an iron chain;
… Oh, hearty!
What does your endless moan mean?
Will you wake up, full of strength ...
Another poem in which the motive of the road is clearly traced is “Schoolboy”. If in the Troika and in the Drunkard there was a downward movement (movement into darkness, an unhappy life), then in the Shkolnik one can clearly feel the upward movement, and the road itself gives hope for a brighter future:
Sky, spruce and sand -
Unhappy road...
But there is no hopeless bitterness in these lines, and then the following words follow:
This is a path of many glorious.
In the poem "Schoolboy" for the first time there is a feeling of change in the spiritual world of the peasant, which will later be developed in the poem "To whom it is good to live in Rus'."
At the heart of the poem "To whom it is good to live in Rus'" is a story about peasant Russia, deceived by government reform (Abolition of serfdom, 1861). The beginning of the poem "To whom it is good to live in Rus'" with the significant names of the province, county, volost, villages attracts the reader's attention to the plight of the people. Obviously, the bitter share of the temporarily obligated peasants who met on the high road turns out to be the initial cause of the dispute about happiness. After a bet, seven men set off on a long journey across Russia in search of truth and happiness. The Nekrasov peasants who set out on their journey are not traditional pilgrimage wanderers - they are a symbol of a post-reform people's Russia that has started off, longing for change:
Buzzing! That the sea is blue
Falls silent, rises
Popular rumor.
The theme and image of the road-path are somehow connected with various characters, groups of characters, with the collective hero of the work. In the world of the poem, such concepts and images as the path - the crowd - the people - the old and new worlds - labor - the world turned out to be illuminated and, as it were, intertwined. The expansion of the life impressions of the arguing men, the growth of their consciousness, the change in views on happiness, the deepening of moral concepts, social insight - all this is also connected with the motive of the road.
The people in Nekrasov's poem are a complex, multifaceted world. The poet connects the fate of the people with the union of the peasantry and the intelligentsia, which follows a close honest path "for the bypassed, for the oppressed." Only the joint efforts of the revolutionaries and the people who are "learning to be a citizen" can, according to Nekrasov, lead the peasantry onto the broad road of freedom and happiness. In the meantime, the poet shows the Russian people on their way to "a feast for the whole world." N. A. Nekrasov saw in the people a force capable of accomplishing great things:
Rat rises -
Innumerable!
The strength will affect her
Invincible!
Belief in the "wide, clear road" of the Russian people is the main belief of the poet:
…Russian people…
Endure whatever the Lord sends!
Will endure everything - and wide, clear
He will pave the way for himself with his chest.
The thought of the spiritual awakening of the people, especially the peasantry, haunts the poet and penetrates into all the chapters of his immortal work.
The image of the road that permeates the works of the poet acquires an additional, conditional, metaphorical meaning from Nekrasov: it enhances the feeling of change in the spiritual world of the peasant. The idea runs through all the poet's work: life is a road and a person is constantly on the road.
2.2.4 Road - human life and the path of human development in the poem by N. V. Gogol "Dead Souls"
The image of the road arises from the first lines of the poem "Dead Souls". We can say that he stands at its beginning. "At the gates of the hotel of the provincial city NN a rather beautiful spring small britzka drove in ... ". The poem ends with the image of the road: “Rus, where are you rushing, give me an answer? .. Everything that is on earth flies past, and, looking sideways, step aside and give it way to other peoples and states.”
But they are completely different paths. At the beginning of the poem, this is the road of one person, a specific character - Pavel Ivanovich Chichikov. In the end, this is the road of the whole state, Russia, and even more, the road of all mankind, a metaphorical, allegorical image appears before us, personifying the gradual course of all history.
These two values are like two extreme milestones. Between them are many other meanings: both direct and metaphorical, forming a single, complex image of Gogol's road.
The transition from one meaning to another - concrete to metaphorical - most often occurs imperceptibly. Chichikov leaves the city NN . “And again, on both sides of the high road, versts, stationmasters, wells, carts, gray villages with samovars, women and a lively bearded owner began to write again ...”, etc. Then follows the famous appeal of the author to Rus': “Rus! Rus! I see you, from my wonderful, beautiful far away I see you ... "
The transition from the specific to the general is smooth, almost imperceptible. The road along which Chichikov travels, endlessly lengthening, gives rise to the idea of all of Rus'. Further, this monologue is interrupted by another plan: “... And the mighty space menacingly surrounds me, reflecting with terrible force in my depths; my eyes lit up with an unnatural power: wow! what a sparkling, wonderful, unfamiliar distance to the earth! Rus!
Hold on, hold on, you fool! Chichikov shouted to Selifan.
Here I am with your broadsword! - shouted a courier with a mustache to a arshin, galloping to meet. - Don't you see, goblin tear your soul: state-owned carriage! - and, like a ghost, the trio disappeared with thunder and dust.
How strange, and alluring, and bearing, and wonderful in the word: road! and how wonderful she herself is, this road: a clear day, autumn leaves, cold air...corner!
The famous Russian scientist A. Potebnya found this place "brilliant". Indeed, the sharpness of the transition was brought by N.V. Gogol to its highest point, one plan was "pushed" into another: Chichikov's rough scolding breaks into the inspired speech of the author. But then, just as unexpectedly, this picture gives way to another: as if both the hero and his britzka were just a vision. It should be noted that, having changed the type of story - prosaic, with extraneous remarks, to inspired, sublimely poetic - N. Gogol this time did not change the nature of the central image - the image of the road. It did not become metaphorical - before us is one of the countless roads of the Russian open spaces.
The change of direct and metaphorical images of the road enriches the meaning of the poem. The double nature of this change is also significant: gradual, "prepared", and sharp, sudden. The gradual transition of one image to another recalls the generalization of the events described: Chichikov's path is the life path of many people; separate Russian highways, cities are formed into a colossal and wonderful image of the motherland.
Sharpness, on the other hand, speaks of a sharp "opposite of an inspired dream and a sobering reality."
And now let's talk in more detail about the metaphorical meanings of the image of the road by N.V. Gogol. First, about the one that is equivalent to the life path of a person.
In fact, this is one of the oldest and most common images. One can endlessly cite poetic examples in which a person's life is comprehended as the passage of a path, a road. N.V. Gogol in "Dead Souls" also develops a metaphorical image of the road as "human life". But at the same time he finds his original twist of the image.
Beginning of Chapter V. The narrator recalls how, in his youth, he was worried about meeting any unfamiliar place. “Now I indifferently drive up to any unfamiliar village and indifferently look at its vulgar appearance; my chilled gaze is uncomfortable, it’s not funny to me, and what in previous years would have awakened a lively movement in the face, laughter and incessant speeches, now slips by, and my motionless lips keep an indifferent silence. O my youth! O my freshness!
There is a contrast between the end and the beginning, "before" and "now". On the road of life, something very important, significant is lost: the freshness of sensations, the immediacy of perception. In this episode, the change of a person on the path of life is brought to the fore, which is directly related to the internal theme of the chapter (VΙ ch. about Plyushkin, about those amazing changes that he had to go through). Having described these metamorphoses, Gogol returns to the image of the road: “Take it with you on the road, leaving your youthful years in a harsh, hardening courage, take away all human movements, do not leave them on the road: do not pick them up later!”
But the road is not only “a person’s life”, but also a process of creativity, a call for tireless writing work: “And for a long time it has been determined for me by the wonderful power to go hand in hand with my strange heroes, to look around at the whole enormously rushing life, look at it through the laughter visible to the world and invisible, unknown to him tears! ... On the road! on the road! away the wrinkle that had crept over the forehead and the stern twilight of the face! At once and suddenly we will plunge into life with all its soundless chatter and bells and see what Chichikov is doing.
Gogol highlights in the word road and other meanings, for example, a way to resolve any difficulty, to get out of difficult circumstances: “And how many times already induced by the meaning descending from heaven, they knew how to recoil and stray to the side, they knew how to get back into impenetrable backwoods in broad daylight, they knew how once again blow a blind fog into each other's eyes and, dragging after the marsh lights, they knew how to get to the abyss, so that later they would ask each other with horror: where is the exit, where is the road? Word expression road reinforced here by the antithesis. Exit, road opposedswamp, abyss.
And here is an example of the use of this symbol in the author’s reasoning about the ways of human development: “What twisted, deaf, narrow, impassable, drifting roads humanity has chosen, striving to achieve eternal truth...”. And again, the same method of expanding the pictorial possibilities of the word - opposing the straight, tortuous path, which is "wider than all other paths ... illuminated by the sun," a curve that leads to the side of the road.
In the lyrical digression that concludes the first volume of "Dead Souls", the author speaks about the ways of Russia's development, about its future:
“Isn’t it true that you too, Rus', that a brisk, unbeatable troika are rushing about? The road smokes under you, the bridges rumble, everything lags behind and remains behind ... everything that is on the earth flies past, and, looking sideways, step aside and give it the way other peoples and states. In this case, the expressiveness of the word is enhanced by contrasting its different meanings: the path of development of Russia and the place for passage, passage.
The image of the people is metamorphically connected with the image of the road.
What does this vast expanse prophesy? Is it not here, in you, that an infinite thought is born, when you yourself are endlessly? Is there not a hero to be here, when there is a place where to turn around and walk for him?
Eh, trio! bird troika, who invented you? to know that you could only be born among a lively people in that land that does not like to joke, but spread out half the world with an even smoothness, and go and count the miles until it fills your eyes ... hastily alive, with one ax and a chisel, You were equipped and assembled by a smart Yaroslavl man. The coachman is not in German boots: a beard and mittens, and the devil knows what he sits on; but he got up, and swung, and dragged on a song - the horses whirlwind, the spokes in the wheels mixed up in one smooth circle, the road only trembled, and the stopped pedestrian screamed in fright! and there she rushed, rushed, rushed! .. "
Through connection with the image of the “troika bird”, the theme of the people at the end of the first volume brings the reader to the theme of the future of Russia: “. . . and everything inspired by God rushes! ... Rus', where are you rushing, give me an answer? Doesn't give an answer. A bell is filled with a wonderful ringing ... and, looking sideways, step aside and give her way to other peoples and states.
The language of the stylistic diversity of the image of the road in the poem "Dead Souls" corresponds to a sublime task: it uses a high style of speech, means characteristic of poetic language. Here are some of them:
Hyperbole: “Shouldn’t a hero be here when there is a place where to turn around and walk for him?”
Poetic Syntax:
a) rhetorical questions: “And what Russian does not like to drive fast?”, “But what incomprehensible, secret force attracts you?”
b) exclamations: “Oh, horses, horses, what horses!”
c) appeals: “Rus, where are you rushing to?”
d) a syntactic repetition: “Miles are flying, merchants are flying towards them on the rays of their wagons, a forest is flying on both sides with dark formations of firs and pines, with a clumsy knock and a crow’s cry, the whole road is flying to God knows where into the disappearing distance ... "
e) ranks of homogeneous members: “And again, on both sides of the high road, versts, stationmasters, wells, carts, gray villages with samovars, women and a lively bearded owner began to write again ....”
e) gradations: “What a strange, and alluring, and bearing, and wonderful in the word: road! How wonderful she herself is, this road: a clear day, autumn leaves, cold air ... "
The road meant a lot to N.V. Gogol. He himself said: "Now I need a road and a journey: they alone restore me." The motive of the path not only permeates the entire poem, but also passes from a work of art into real life in order to return to the world of fiction.
2.3 Development of the road motif in contemporary literature
Everything is in motion, in continuous development, the motive of the road is also developing. In the twentieth century, it was picked up by such poets as A. Tvardovsky, A. Blok, A. Prokofiev, S. Yesenin, A. Akhmatova. Each of them saw in it more and more unique shades of sound. The formation of the image of the road in modern literature continues.
Gennady Artamonov, a Kurgan poet, continues to develop the classical idea of the road as a way of life:
From here it starts
"Goodbye, school!"
Nikolai Balashenko creates a vivid poem "Autumn on the Tobol", in which the motif of the road is clearly traced:
An incomprehensible sadness in my heart.
Cobwebs float weightlessly
The subtle interweaving of the topographic component (the path along the Tobol) and the "life path" of the cobweb gives rise to the idea of an inextricable link between life and the Motherland, past and future.
The road is like life. This idea became fundamental in Valery Egorov's poem "Crane":
We lose and break ourselves along the way,
Movement is the meaning of the universe!
And meetings are miles on the way ...
The same meaning is embedded in the poem "Duma", in which the motive of the road sounds half-hints:
Crossroads, paths, stops,
Miles of years in the canvas of being.
In modern literature, the image of the road has acquired a new original sound, more and more often poets resort to the use of the path, which may be associated with the complex realities of modern life. The authors continue to comprehend human life as a path to be taken.
3. "Enchanted wanderers" and "inspired vagabonds"
3.1 Pushkin's "Unhappy Wanderers"
Endless roads, and on these roads - people, eternal vagabonds and wanderers. The Russian character and mentality are conducive to the endless search for truth, justice and happiness. This idea is confirmed in such works of the classics as “Gypsies”, “Eugene Onegin” by A. S. Pushkin, “The Sealed Angel”, “Cathedrals”, “The Enchanted Wanderer” by N. S. Leskov.
You can meet the unfortunate wanderers on the pages of A.S. Pushkin's poem "Gypsies". “In The Gypsies there is a strong, deep and completely Russian thought. “Nowhere else can one find such independence of suffering and such a depth of self-consciousness inherent in the wandering elements of the Russian spirit,” said F. M. Dostoevsky at a meeting of the Society of Russian Literature Lovers. And indeed, in Aleko, Pushkin noted the type of unfortunate wanderer in his native land, who cannot find a place for himself in life.
Aleko is disappointed in secular life, dissatisfied with it. He is a "renegade of the world", it seems to him that he will find happiness in a simple patriarchal setting, among a free people who do not obey any laws. Aleko's moods are an echo of romantic dissatisfaction with reality. The poet sympathizes with the hero-exile, at the same time, Aleko is subjected to critical reflection: the story of his love, the murder of a gypsy characterizes Aleko as a selfish person. He was looking for freedom from chains, and he himself tried to put them on another person. “You only want freedom for yourself,” as folk wisdom sounds like the words of an old gypsy.
Such a human type, as described by A. S. Pushkin in Aleko, does not disappear anywhere, only the direction of the personality's escape is transformed. The former wanderers, according to F. M. Dostoevsky, followed the gypsies, like Aleko, and the contemporary ones - into the revolution, into socialism. “They sincerely believe that they will achieve their goal and happiness, not only personal, but also global,” Fyodor Mikhailovich argued, “the Russian wanderer needs world happiness, he will not be satisfied with less.” A. S. Pushkin was the first to note our national essence.
In Eugene Onegin, much resembles the images of the Caucasian prisoner and Aleko. Like them, he is not satisfied with life, tired of it, his feelings have cooled. But nevertheless, Onegin is a socio-historical, realistic type, embodying the appearance of a generation whose life is conditioned by certain personal and social circumstances, a certain social environment of the Decembrist era. Eugene Onegin is a child of his age, he is Chatsky's successor. He, like Chatsky, is "condemned" to "wandering", condemned to "seek around the world where" there is a corner for the offended feeling. His chilled mind questions everything, nothing captivates him. Onegin is a freedom-loving person. There is a “straight nobility of soul” in him, he turned out to be able to love Lensky with all his heart, but Tatyana’s naive simplicity and charm could not seduce him in any way. He has both skepticism and disappointment; features of an "extra person" are noticeable in him. These are the main character traits of Eugene Onegin, which make him "not finding a place for himself, a wanderer rushing around Russia."
But neither Chatsky, nor Onegin, nor Aleko can be called genuine "wanderers-sufferers", the true image of which will be created by N. S. Leskov.
3.2 "Wanderers-sufferers" - the righteous
"The Enchanted Wanderer" is a type of "Russian wanderer" (in the words of Dostoevsky). Of course, Flyagin has nothing to do with superfluous people of the nobility, but he is also looking for and cannot find himself. The "Enchanted Wanderer" has a real prototype - the great explorer and navigator Afanasy Nikitin, who "suffered in faith" in a foreign land, in his homeland. So the hero Leskov, a man of boundless Russian prowess, great simple-heartedness, cares most about his native land. Flyagin cannot live for himself, he sincerely believes that life should be given for something more, common, and not for the selfish salvation of the soul: “I really want to die for the people”
The protagonist feels some kind of predestination of everything that happens to him. His life is built according to the well-known Christian canon, contained in the prayer "For those who swim and travel, in illnesses suffering and captive." By way of life, Flyagin is a wanderer, runaway, persecuted, not attached to anything earthly in this life; he went through cruel captivity and terrible Russian ailments and, having got rid of "anger and need", turned his life to the service of God.
The appearance of the hero resembles the Russian hero Ilya Muromets, and Flyagin's indefatigable vitality, which requires an outlet, leads the reader to compare with Svyatogor. He, like the heroes, brings kindness to the world. Thus, in the image of Flyagin, the development of folklore traditions of epics takes place.
Flyagin's whole life was on the road, his life path is the path to faith, to that worldview and state of mind in which we see the hero on the last pages of the story: "I really want to die for the people." There is the deepest meaning in the very wandering of the Leskovsky hero; it is on the roads of life that the “enchanted wanderer” comes into contact with other people, opens up new life horizons. His path does not begin at birth, the turning point in the fate of Flyagin was the love for the gypsy Grushenka. This bright feeling became the impetus for the moral growth of the hero. It should be noted: Flyagin's path is not over yet, there is an endless number of roads in front of him.
Flyagin is an eternal wanderer. The reader meets him on the way and parted with him on the eve of new roads. The story ends on a note of quest, and the narrator solemnly pays tribute to the spontaneity of eccentrics: "his prophecies remain until the time of the one who hides his fate from the smart and reasonable, and only occasionally reveals them to babies."
Comparing Onegin and Flyagin with each other, one can come to the conclusion that these heroes are opposites, which are vivid examples of two types of wanderers. Flyagin sets out on a journey of life in order to grow up, to strengthen his soul, while Onegin runs away from himself, from his feelings, hiding behind a mask of indifference. But they are united by the road that they follow throughout their lives, the road that transforms the souls and destinies of people.
Conclusion
The road is an image used by all generations of writers. The motif originated in Russian folklore, then it continued its development in the works of literature of the 15th century, was picked up by poets and writers of the 10th I X century, he is not forgotten even now.
The motif of the path can perform both a compositional (plot-forming) function and a symbolic one. Most often, the image of the road is associated with the life path of a hero, a people or an entire state. Many poets and writers resorted to the use of this space-time metaphor: A. S. Pushkin in the poems "To Comrades" and "October 19", N. V. Gogol in the immortal poem "Dead Souls", N. A. Nekrasov in "To it is good to live in Russia”, N. S. Leskov in “The Enchanted Wanderer”, V. Egorov and G. Artamonov.
In the poetry of A. S. Pushkin, the variety of roads forms a single “carnival space”, where you can meet Prince Oleg with his retinue, and the traveler, and Mary the Virgin. The poetic road presented in the poem "To the Poet" has become a symbol of free creativity. An exceptionally large place is occupied by the motive in the novel "Eugene Onegin".
In the work of M. Yu. Lermontov, the motif of the road symbolizes the lyrical hero's finding harmony with nature and with himself. And N. A. Nekrasov’s road reflects the spiritual movement of the peasants, the search, testing, renewal. The road meant a lot for N.V. Gogol.
Thus, the philosophical sound of the motive of the road contributes to the disclosure of the ideological content of the works.
The road is unthinkable without wanderers, for whom it becomes the meaning of life, an incentive for personal development.
So, the road is an artistic image and a plot-forming component.
The road is a source of change, life and help in difficult times.
The road is both the ability to be creative, and the ability to know the true path of a person and all of humanity, and the hope that contemporaries will be able to find such a path.
Bibliography
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Evgeniev. B. Alexander Nikolayevich Radishchev ["Journey from St. Petersburg to Moscow"] / B. Evgeniev. - M.: Young Guard, 1949
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Andreev-Krivich. S. A. Omniscience of the poet [Last year. Last months]: the life and work of M. Yu. Lermontov / S. A. Andreev-Krivich. - M.: Soviet Russia, 1973
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Application
Valery Egorov.
Crane.
Do not pull out a page from the past,
Don't give up on the future
A crane is circling around somewhere...
We choose our own stars
For their light we wander along the paths,
We lose and break ourselves along the way,
But still we go, we go, we go...
Movement is the meaning of the universe!
And meetings are miles on the way,
Communication is the opium of consciousness,
And twist the cigarette for me with words.
I myself have long been ready for deception,
After all, the world of words and
offers created!
It's a pity... that words are flawed
Mistakes the path to the essence is entered ...
Shall we write a page together?
Tell me what? I'll tell you why.
You let the titmouse out of your fingers,
In what I was nothing, in that tomorrow I will become everything!
Duma.
Waiting, meeting, parting ...
The rain caresses the glass.
And tired hands rub whiskey,
Sadness for the soul for ... dragged.
Crossroads, paths, stops,
Miles of years in the canvas of being.
And the fun of self-trick,
To hide in them ... from whining.
You start - simple results,
The human race is boring
What is, everything happened once,
If it is born, it means it will die.
I collect myself by words,
Letter to letter - a syllable is born,
God, giving love to little men,
Sick of imperfection…
And feelings go around in circles:
When you lose, you want to take more.
In reciprocity to the heavenly meadow
Fleetingly run…
Distance, time, non-meetings,
We create fences by ourselves,
Isn't it easier - hands on shoulders,
And in thoughtlessness a pond! ..
Gennady Artamonov
Goodbye school!
Silence in our class today
Let's sit down before the long road,
From here it starts
Goes into life from the school threshold.
Don't forget your friends, don't forget!
And remember this moment as a confession
Let's not say goodbye to school
Let's say goodbye to her quietly.
In the flash of winged school years
When did we guys grow up?
Just think: childhood is no more,
And they did not have time to get used to youth.
Neither golden September nor blue May
We will not be called to this building again ...
And yet we don't say goodbye
And we repeat, as an oath, "goodbye."
Hold on, my classmate, have fun,
When the blizzards of life will rock!
Probably the eyes of the teachers
No wonder this evening we got wet.
You remember them more often on the way,
Try to live up to their expectations
We will not say goodbye to the teacher,
We say "thank you" and "goodbye".
Our class is unusually quiet today,
But still, friends, do not lower your shoulders!
We will leave here part of our hearts
As a pledge of the upcoming and fun meeting.
Shine the light of school friendship like a beacon!
Fly to us through the years and distances!
Luckily, classmate, give me your hand
And do not ask, my friend, but goodbye!
Nikolai Balashenko
Autumn on the Tobol
I walk along the path along the Tobol,
An incomprehensible sadness in my heart.
Cobwebs float weightlessly
In your autumn unknown way.
From the elm leaf falls green
On the flickering of a cold wave ...
And he floats thoughtfully sleepy,
Where the Ermatsky boats sailed.
A little aside birch-girlfriend
Not in a hurry to throw off the yellow outfit;
On the edge of a withered meadow
Two sad aspens stand.
Sad old poplar too.
He is against the sky, like a broom.
We are somewhat similar to him,
But my sadness is still light.
