Yesenin? Which of the Russian poets turned in their works to literary predecessors or contemporaries, and in what way are these works consonant with Yesenin's poem? Unified State Exam in Literature. What is the peculiarity of the embodiment of the theme of the poetic monument in

The poem "Pushkin" by SA Yesenin is based on the theme of a poetic monument. In it, the author turns to the great poet of the Golden Age of Literature, comparing his fate with his own. The lyrical hero finds similarities between himself and Alexander Pushkin: he is sure that his predecessor was the same "rake" and "bully" as the addressee himself. However, unlike the hero doomed “to persecution”, the great poet, whose “mighty gift” one can only dream of, “became fate” for Russia. “As before communion” the lyrical hero stands in front of the monument to his idol to say that he would be happy if his “steppe singing”, like the world-famous lyrics of Alexander Pushkin, “managed to ring out bronze”.

Pushkin (1799-1837)

C3. How do various poetic means help to express the idea of this poem?

C4. What is the peculiarity of the freedom-loving lyrics of Pushkin and which of the Russian poets reveals the theme of freedom in their lyrics?

C3. How does the mood of the lyrical hero change throughout the poem?

C4. What are the similarities and differences between the landscape lyrics of A.S. Pushkin and poems about nature, created by subsequent poets?

C3. What does the lyrical hero of the poem mean when he urges the poet "not to cherish the love of the people"?

C4. Which of the Russian lyricists addressed the theme of the poet's high purpose and in what way are their works consonant with Pushkin's poem "The Poet"?

C3. How is the idea of the "invaluable" of true friendship conveyed in A. Pushkin's poem?

C4. Which of the Russian writers turned to the theme of friendship in their work and what brings their works closer to the poem of A.S. Pushkin?

Tyutchev (1803-1873)

C3. How do various poetic techniques help the author "to convey the feelings that gripped the lyrical hero?

C4. What is the peculiarity of the image of human feelings in the lyrics of F.I. Tyutchev and what Russian poets can be called his followers?

C3. For what purpose are ancient Greek mythological characters mentioned in the last stanza of the poem?

C4. What are the main themes of F.I. Tyutchev and the traditions of which of the Russian poets does he continue, revealing these topics?

C3. Can the given poem be attributed to philosophical lyrics? Substantiate your point of view.

C4. What are the features of the image of nature in the lyrics of F.I. Tyutchev and the lyrics of which of the previous and subsequent poets is close to Tyutchev?

C4. In the poems of some Russian poets, you can find a continuation of the tradition of the lyrics of F.I. Tyutchev and how do they compare with the poem "There is in the lightness of autumn evenings ..."?

C3. What do you think the lyrical hero of F.I.Tyutchev's poem is thinking about?

C4. In the works of which Russian poets the theme of sympathy, humanism arises, and what motives bring them closer to the poem "We cannot predict ..."?

Lermontov (1814-1841)

C3. How do the composition of the poem and visual means help the author to express the main poetic idea?

C4. What is the originality of the lyric hero Lermontov and which of the Russian poets can be called his creative successor?

C3. What problems are reflected in the poem?

C4. What are the main motives of M.Yu. Lermontov and what Russian poets can be called the successors of his traditions?

Prayer

C3. What is the main idea of M.Yu. Lermontov's "Prayer" (argue your answer)?

C4. Compare the poem by M.Yu. Lermontov's "Prayer" with other well-known poetry of the poet. What, in your opinion, are their similarities, and what are the differences?

C3. What feelings are filled with Lermontov's poem "Prayer" (argue your answer)?

C4. In what works of Russian classical literature the appeal to God contributed to the "rebirth" of the heroes, and how their experiences relate to the feelings of the lyric hero of the poem by M.Yu. Lermontov's "Prayer"?

C3. What is the thematic affiliation of Lermontov's poem "Prayer" (argue your answer)?

C4. In which works of Russian classical literature, the heroes, wishing to find peace of mind, resort to prayer, and how do their feelings relate to the experiences of the lyric hero of the poem by M.Yu. Lermontov's "Prayer"?

C3. How do you see the lyrical heroine in Lermontov's poem "From under the mysterious cold half-mask ..." (argue your answer)?

C4. In what works of Russian lyric poetry the author draws the image of the ideal beloved, and how these images relate to the image of the heroine of the poem by M.Yu. Lermontov "From under a mysterious cold half mask ..."?

C3. Describe the lyrical hero of this poem.

C4. What is the meaning of the image of the road, the path in this poem and in which works of literature of the 19th century does the motive of the road play a leading role?

C3. What is the reason for the sad tonality of Lermontov's "Monologue"?

C4. Which of the Russian poets turned to the theme of personality and epoch, and in what way are their works comparable to the above poem by M. Yu. Lermontov?

Fet (1820-1892)

The night was shining. The garden was full of the moon

C4. What are the features of the poetic solution of the theme of love by Fet and in which poems of Russian poets are the same features found?

C3. How do various poetic techniques help the author convey the leading mood of the poem?

C4. What are the features of the poetic solution to the theme of Fet's love and in which poems of Russian poets are the same features found?

C3. What feelings and emotions does the lyrical hero of A. A. Fet's poem "This morning, this joy ..." feel?

C4. What, in your opinion, are the peculiarities of the syntactic structure of A. A. Fet's poem "This morning, this joy ..." and in which works of Russian lyric poetry poetic syntax is an important artistic means?

C3. What thematic variety of lyrics can be attributed to the given poem by A.A. Fet and why?

C4. Which of the Russian poets turned to similar motives in their lyrics and in what way are their works consonant with A.A. Fet's poem?

Nekrasov (1821-1877)

Yesterday, at six o'clock

C3. What images of N. Nekrasov's creativity became the embodiment of the author's ideal?

C4. Following A.S. Pushkin and N.V. Gogol N.A. Nekrasov in his works refers to the theme of St. Petersburg. How St. Petersburg is portrayed by N.A. Nekrasov?

C3. What features of the epic are inherent in the poem "Who Lives Well in Russia"? (Describe in 2-3 words.)

C4. ON. Nekrasov in his works refers to the theme of St. Petersburg. How St. Petersburg is portrayed by N.A. Nekrasov? Who else among the Russian poets and writers turned to St. Petersburg in their work?

C3. What, in your opinion, is the drama of the love theme in this poem?

C4. Which of the Russian poets is close to Nekrasov in depicting the complex relationship between a man and a woman?

Bunin (1870-1953)

C3. Describe the lyrical hero of the poem.

C4. What is the originality of the Bunin landscape and the traditions of which of the previous poets does he embody in his lyrics?

Block (1880-1921)

Russia

C3. What gives the central image of the poem artistic brightness and depth?

C4. In what works of Russian poets the image of Russia has been recreated and what are their similarities and differences with the poem by A.A. Blok?

C3. What is the contradictory attitude of the poet towards Russia?

C4. What works of Russian poets are close to Blok's feeling in Russia? (Argument your answer)

C3. What is the meaning of the identification of Rus with the image of a woman ("O my Rus! My wife!") In the lyrics of A.A. Blok?

C4. Tell us about the main and favorite techniques that A. Blok used in his works. Who else among the poets used the same techniques in their works?

C3. What is the meaning of identifying Rus with the image of a woman ("O my Rus! My wife!") In the lyrics of A.A. Blok?

C4. Homeland theme. Its evolution in the work of A. Blok. What other poets of the Silver Age praised their homeland in the same way?

C3. In what artistic images are the poet's ideas about love embodied?

C4. What feelings are filled with the poem "In a Restaurant" and in what way is it consonant with the love lyrics of other Russian poets?

C3. What images help the reader to understand the feelings of the lyric hero of the poem "The wind brought from afar ..."?

C4. How does the poet's state of mind and the state of the surrounding world echo in the poems of A. A. Blok, and what brings his poem closer to the works of other Russian poets?

C3. How did the poem's circular composition help the poet show the drama of love?

C4. What works of Russian poets depict the drama of unrequited love, and in what way can these works be compared with the poem of A. A. Blok?

C3. What gives the basis for attributing the poem under consideration by A. A. Blok to philosophical lyrics?

C4. Which of the Russian poets addressed the topic of Russian history and in what way are their works comparable to the above poem by A. A. Blok?

A.K. Tolstoy (1882-1945)

C3. Why does a poet use the form of a message to express his idea?

C4. Which Russian poets of the 19th century are close to the poetry of A.K. Tolstoy and how exactly is their commonality manifested?

Akhmatova (1889-1966)

C3. Why the poem, which speaks of love, A.A. Akhmatova calls "Poems about St. Petersburg"?

C4. In the works of which Russian poets does love appear not as a momentary feeling, but rises above time and space, and in what way can their works be compared with Akhmatova's poem?

Creation

C3. Describe the change in the state of the lyric hero of the poem.

C4. The traditions of which of the previous poets were embodied in the lyrics of A. Akhmatova, the sacred theme of the poet and poetry?

C3. What is the inner appearance of the lyrical heroine in the poem by A. A. Akhmatova "... I had a voice. He called me comfortably ..."?

C4. Which of the Russian poets turned to the patriotic theme in their work and what brings their works closer to the poem of A.A. Akhmatova?

Pasternak (1890-1960)

C3. What mood is imbued with the image of the July time in the poem by B.L. Pasternak?

C4. The tradition of what Russian poets Pasternak continues, depicting natural phenomena as humanized. Justify your answer by indicating the authors and titles of the poems.

C3. What does B.L. Pasternak the tragedy of the lyric hero of the poem "Hamlet"?

C4. In the works of which Russian poets, the theme of the confrontation between the poet and society receives an interpretation similar to that of B.L. Pasternak, given in this poem?

C3. What is the meaning of the poet in the concluding lines of the poem?

C4. Which of the Russian poets turned to the theme of creativity and in what way are their works consonant with the poem of B.L. Pasternak?

C3. What feelings does the lyrical hero of B. Pasternak's poem "It is snowing ..." feel?

C4. In the poems of which poets the image of fleeting time appears and what brings their works closer to the poem of B. Pasternak?

Tsvetaeva (1892-1941)

C3. How do you understand the meaning of the final stanza of the poem?

C4. Which of the Russian poets addressed the theme of the homeland and in what way are their works consonant with the poem of M. I. Tsvetaeva?

Mayakovsky (1893-1930)

C3. As the title of the poem by V.V. Mayakovsky's "Prositatavshiesya" correlates with his problematics?

C4. What works of Russian literature depict the life and customs of the bureaucracy, and in what way can these works be compared with the poem of V.V. Mayakovsky's "Pro-Sitting"?

Lilichka! Instead of writing

C3. How do various poetic techniques help to create the image of the lyric hero of this poem?

C4. What was the innovation of V. Mayakovsky's lyrics and the traditions of which of the previous poets were reflected in his work?

C3. Describe the lyrical hero of this poem and Mayakovsky's lyrics in general.

C4. What is the main innovation of V. Mayakovsky's lyrics and the traditions of which of the previous poets were reflected in his work?

Listen!

C3. How do various poetic techniques help the author convey the main idea of the poem "Listen!"

C4. In what works of Russian poetry does the "star" theme sound and in what way is it close to the theme of the poem by V.V. Mayakovsky "Listen!"

C3. Read the poem "Listen" by V. Mayakovsky. Give your interpretation and assessment of the work.

C4. How do you understand the words of V. Mayakovsky, who saw himself as an artist, “mobilized and called upon by the revolution”? Who else from the early twentieth century poets felt the same way?

Stukolova Julia, grade 10 student

The theme of the monument has always occupied an important place in the work of all poets. In their poems, they seemed to express their right to immortality. In "Monuments" the authors evaluate their role in the life of society, the role of their creative activity. In them they assert their right to historical immortality. Great Russian poets wrote works in which they evaluated their work, talked about their labors of life, about what they did for the people. Derzhavin, Pushkin, Lomonosov, Vysotsky, Khodasevich and Smelyakov left a piece of their own soul in their work, so their works were appreciated, appreciated and will be famous for many years to come.

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THE THEME OF THE MONUMENT IN RUSSIAN LITERATURE

Stukolova Julia, grade 10 student

1. Introduction …………………………………………… ..2

2. Features of the theme of the monument:

a) in the works of M.V. Lomonosov ... ... .... 3

b) in the works of G.R. Derzhavin …………… 4-5

c) in the works of A.S. Pushkin ……………… .6-7

d) in the work of V.F. Khodasevich ...................... 8

e) in the works of V.S. Vysotsky ………… ..9-11

f) in the work of Ya.V. Smelyakova …………… 12-14

3. Conclusion ……………………………… .15

4. List of used literature ……… .16

INTRODUCTION

The theme of the monument has always occupied an important place in the work of all poets. In their poems, they seemed to express their right to immortality. In "Monuments" the authors evaluate their role in the life of society, the role of their creative activity. In them, they assert their right to historical immortality. The theme of the poet and poetry is traditional, cross-cutting in European culture. The poet's monologue about himself is found even in ancient poetry. So, the ode to Horace "To Melpomene" translated by M.V. Lomonosov served as the basis for the poems of G.R. Derzhavin and A.S. Pushkin about the "monument". Its main aspects are the process of creativity, its purpose, meaning, the poet's relationship with the reader, with power, with himself. Thus, among the poets of different eras there was a tradition of the lyrical depiction of a "miraculous" monument, as it were, summarizing creative activity.

So, he first turned to the topic of poet and poetry back in the first century BC. e ancient Roman poet Quintus Horace Flaac. There were many translations of Horace's ode. Some of them (M.V. Lomonosov, V.V. Kapnist, A.Kh. Vostokov, S.A. Tuchkov) were undoubtedly known to A.S. Pushkin, while others (A.A. Fet, N. Fokkov, B.V. Nikolsky, P.F.Porfirov, V.Ya.Bryusov) appeared after the death of Pushkin.

FEATURES OF THE MONUMENT THEME

a) in the works of M.V. Lomonosov

In 1747 M.V. Lomonosov translated Horace into Russian. The translation of the famous 30th ode of Horace, strictly speaking, cannot be called an anacreontic ode in the generally accepted sense of this term. But in the individual meaning that Lomonosov attached to anacreontic - the meaning of the aesthetic and life-building manifesto - of course, Horace's translation comes close to this line of Lomonosov's poetic heritage. Lomonosov's "Monument" is both a very close translation and an original poem that summarizes Lomonosov's poetic activity. Using moments of coincidence in the biography and kind of creative activity of Horace with his life and poetic circumstances (both Horace and Lomonosov were of low estate origin; both Horace and Lomonosov were reformers of national versification systems: Horace first began to use the Aeolian melik in Latin poetry (Alkeeva stanza ); Lomonosov, on the other hand, reformed Russian versification, approving the syllabo-tonic principle and giving samples of many rhythmic structures), Lomonosov was able to very specifically assess his own contribution to Russian literature.

In his poem "Monument" Lomonosov uses a high style, practically without rhyming lines and using outdated words. For Lomonosov, the muse is a great patroness, rewarding him for "righteous merit."

The two-syllable size - iambic - gives the non-rhymed lines of the poem clarity, chasing. The words of a high style give solemnity to the sound: I will erect, above, grow, fatherland, obstacle, etc., many words and expressions of Greco-Roman origin, from history and mythology: Aquilon, Avfid, Aeolian poems, muse, Delphic laurel, etc.

b) in the works of G.R. Derzhavin

The theme is the poet's immortality in his creations, in the memory of people about the creator of famous works. The lack of understanding of the true essence and novelty of Derzhavin's poetry by the majority of the public determined the poet's desire to formulate the programmatic originality of his odes himself. In 1795, following the example of Horace, he wrote the poem "Monument," in which he defines his right to immortality as follows:

Everyone will remember that in uncountable nations,
How from obscurity I became known to those,
That the first one I dared in a funny Russian syllable
To proclaim the virtues of Felitsa,
Conversation of God in Heart Simplicity
And to speak the truth to the kings with a smile.

The main feature of Derzhavin's aesthetic poetry was sincerity. When he praised the empress, he did not flatter, but wrote the Truth, believing that the ascribed virtues were indeed characteristic of her. In poetry, he most accurately defined his poetic principles. "Monument" is, in this sense, the most important aesthetic document. Relying on tradition, the poet discovered the essence of his artistic innovation, which was supposed to ensure "immortality".

Let us try to understand historically the meaning of Derzhavin's words-definitions that guarantee this immortality. "The first one I dared in a funny Russian style ..." What is Derzhavin's "audacity"? In deviation from the famous "rules" of classicism. These rules demanded that the poet "broadcast", proclaim in the form of eternal truths those abstract virtues that are "assigned" to the imperial dignity and expressed in a common syllable for one. Derzhavin, on the other hand, created a "funny Russian syllable" that helped him to reveal his personality in everything he wrote about. The joke revealed an individual mindset, a manner of understanding things and a view of the world peculiar to this particular poet, his personal attitude towards Catherine II - a person with characteristic habits, deeds, and concerns.
The high simplicity of the lexical series, iambic is the best way to embody a calm, confident, far from worldly vanity course of thought.

According to Derzhavin, the goal of art and literature is to promote the spread of enlightenment and the education of love for the beautiful, to correct vicious morals, and to preach truth and justice. It is from these positions that he approaches the assessment of his work in the poem "Monument". He likens his work to a “wonderful, eternal” monument. The unhurried, solemn rhythm of the verse (the poem is written in iambic six-foot) corresponds to the importance of the theme. The author reflects on the impact of poetry on his contemporaries and descendants, on the poet's right to respect and love of fellow citizens. He expresses confidence that his name will live in the hearts and memory of "uncountable peoples" inhabiting the space "from White to Black waters." The poet connects his immortality with the "clan of the Slavs", that is, with the Russian people. To give solemnity to poetic speech, the poet uses the words "high style" - chelo, proud, exclaim, dare, uncountable, etc .; various epithets - with a leisurely hand, heartfelt simplicity, a just merit, a wonderful, eternal monument, fleeting thunder. Hyperbola and comparison at the same time -“ metals are higher and harder than pyramids” ... A monument is a creation left to descendants, therefore the comparison with pyramids, metal is clearly figurative, i.e. implying a figurative meaning. All this helps to confirm the idea of the importance of creativity, the immortality of works of art.

c) in the works of A.S. Pushkin

A year before his death, as if summing up his poetic activity, comprehending his own creative path, Pushkin wrote the poem "Monument" (1836). V.F. Khodasevich believed that this poem was a belated response to Delvig's lyceum poem "Two Alexandra", where Delvig predicted that Alexander I would glorify Russia as a statesman, and Alexander Pushkin - as the greatest poet. However, the beginning of the 19th century will later be called the Pushkin era, and not the era of Alexander I.

On its theme and construction, the poem by A.S. Pushkin is close to the poem of the same name by Derzhavin, but Pushkin departed from his previous images. The plot of the poem is the fate of Pushkin, comprehended against the background of the historical movement. The poem keeps traces of heavy thoughts about the cruelty of the century, about relations with the tsar and high society circles, about the fact that in poetry he, Pushkin, won a victory over autocracy. The poem is full of a bitter foreboding of imminent death and faith in the power of the poetic word, immeasurable love for Russia, the consciousness of a fulfilled duty to the people. Who gives the poet the right to immortality? The poet himself erects a “monument not made by hands” during his lifetime, because he is the voice of the people, its prophet. The poet is proud that his poetry was free and cried out for freedom: “… in my cruel age I glorified freedom…”. Pushkin affirms the unity of national and personal ideals, he did not write for the sake of the "crown", poetry is an unselfish service in the name of humanity. The poet was convinced that the muse should strictly follow the truth, faithfully serve freedom, beauty, goodness and justice. This is the eternal and unchanging essence of truly folk art.

The main idea of this poem is the theme of the poet and poetry, the problem of poetic glory, poetic immortality: overcoming death through glory, and the genre is an ode, this is dictated by tradition: the poems are written as a kind of imitation of Derzhavin's poem, which, as we have already said, is a reworking of Horace's ode , known to the Russian reader by the translation of Lomonosov.

“I have erected a monument to myself, not made by hands. A folk path will not grow to it. He ascended higher as the head of the rebellious Pillar of Alexandria. " What does "higher" mean? Pushkin compares the spiritual and the material, a living poetic thought and a dead stone, and this is the artistic merit of the poem. A genius, by his creativity, erects for himself a "monument not made by hands" during his lifetime, because he is the voice of the people, their prophet. Not anyone, but he himself erected a monument to himself. Hence the repeated "I". Pushkin lived and worked in the "cruel age". He was proud that his poetry was free, appealed to political and spiritual freedom.

The Pillar of Alexandria is the tallest column in the world, the personification of obedience to the king and the power of the king himself. Pushkin was a courtier of the lowest rank, and at the same time he was a man of the highest calling and destiny. So what does “above the Pillar of Alexandria” mean? This can also be interpreted as a victory of the "mysterious singer" over the censorship, a victory over the autocracy. Pushkin compares two monuments, a material monument and a spiritual monument. The poet enters into confrontation with the "idol" of his time. Morally, Pushkin defeated this autocratic "idol" by the power of the poetic word and high spirituality. Pushkin really conquered time and space. Each work of the poet is unique, each has its own philosophy and beauty. Pushkin's poetry is a path to the heart of the poet himself. In poetry, he finds the strength of life to fight loneliness, because society does not understand him, does not understand his philosophical views. I believe that Pushkin's work is an inexhaustible source, which, like in a fairy tale, gives "living water" to everyone who touches it. It fosters good feelings that teach us to love and understand life. Reading and rereading Pushkin's works, we discover something new for ourselves every time.

d) in the work of V.F. Khodasevich

Vladislav Khodasevich belongs to those Russian poets who wrote their "Monument". The eighth verse with this title dates back to 1928, and although the author was to live for another eleven years, he almost did not write poetry in this last decade, so in fact the poet consciously and responsibly ended his journey with the "Monument". "Monument" is a rare type of poems to which rare poets have the right. Khodasevich knew that he had such a right, but he erected a monument to himself that bears little resemblance to the classic Derzhavin - Pushkin model. In this solemn genre, he drew himself an unexpectedly modest result; he abandoned the loud tone and pathos and left us a verified, restrained and sober formula for his role and place in poetic history.

From the very beginning of his literary career, Khodasevich found himself “at the crossroads of two roads,” which in his life was then reproduced all over again and in a new way, on which he finally saw his future monument.

Loneliness at the crossroads - it seems, and he prophesied this to his future monument. “Time, wind, sand” - and there is no “folk path”, the voice of “languages”, populated and sonorous history, which would surround the monument erected by the future cultured humanity. And there is something like a "steppe", 2 Scythian "idol. And "two-faced", that is, apparently, facing both roads.

e) in the works of V.S. Vysotsky

Vysotsky's famous poem "Monument" is organically connected with the Russian-language tradition of perception and rethinking of Horace's ode "To Melpomene." The history of the Horatian ode in our poetry is well known. Starting with an almost literal translation of Lomonosov, as it developed, it became more and more separated from the Latin original: Derzhavin, Pushkin, Bryusov (“My monument stands, it is composed of soundless stanzas ...”) - successive links such removal. Vysotsky's "Monument" is the last known point, beyond which, like beyond the horizon, the text, apparently, will no longer be perceived as a descendant of its ancient ancestor.

Vysotsky's poem not only asserts the need to get out of the dead image, but also consistently describes the entire path taken by the genre. At the beginning of the "Monument" the transformation of a man into a statue is depicted ("They lame me and bent me, Nailed to the pedestal:" Achilles "). Moreover, the statue itself is associated with the death of a once living form:

And the iron edges of the frame
Trapped dead in a layer of cement
Only convulsions along the ridge.

If in mythological art a monument is always a symbol of resurrection, then the demythologization of a symbol leads to the denial of a monument and memory as the main indicators of illusionist thinking, since both of them deal not with a living person, but with a canonized, frozen image. The personality is limitless according to the definition, while the image is always framed and in this sense resembles the result of the undertaker's work with a wooden yardstick. The image is just a plaster mask, with which "my Asian cheekbones were completely cut off."

The subsequent development of the poem logically connects the motive of the monument with the motive of the canonized image of the poet, closing the theme of the triumph of death over life.

With the external dynamism of the verbs, it rather depicts a lifeless vanity, which accompanies any posthumous celebration with its inherent public hypocrisy as an obligatory element.

Silence split over me
Sounds poured from the speakers
Directional light hit from the rooftops
My hair plucked by despair
Modern means of science
Turned into a pleasant falsetto.

But in the final part, a radical change occurs in the traditional plot of the ode. By de-canonizing Pushkin's image, the monument is destroyed and the poet is returned to life.

The Commander's footsteps are angry and echoing!
I decided: as in time,
Should we walk on the ringing plates?
And the crowds dashed into the alleys,
When I pulled out my leg with a groan
And stones fell from me.

The thesis and antithesis of Pushkin's theme - man and statue - achieve a synthesis here. The statue of the Commander begins its movement as a monument, but ends it as a man destroying the monument in the name of freedom. The situation of return, familiar from "Paradise apples", finds a peculiar solution in "Monument". If there the poet returns to his beloved and in the name of love, then here a civil resurrection of the poet takes place in the name of hatred of lies.

In Pushkin's poetics, man and statue are equalized in their lack of freedom: the willfulness of Eugene and Don Juan is punished by fate for trying to go against the established order of things, which for a poet of the 19th century has the only status of reality. In the artistic language of Vysotsky, the metaphysical order of things is initially deprived of the status of reality. The greatness of the object and its enchanting power, which, according to Hegel, constitutes the substantial content of the ode, collapse before inner freedom. Oda emerges from the traditional shell of the genre, just like the poet himself:

Falling crawled out on the skin,
Reached out with an iron stick,
And when it has already crashed to the ground,
From the torn horns, nevertheless
I croaked like: "Alive!"

Vysotsky's poetics includes the skepticism of the reader as an indispensable component of understanding the meaning, but understanding itself is impossible outside the supposed genre structure. His ode requires an odic space - "a huge crowd of people" - and an odic time - the moment when the shroud was pulled off, and the monument appears in front of the fooled crowd in all its false splendor.

The lyrical hero of the poet is extremely cheerful, he cannot be seduced either by the gardens of paradise, or by a personal monument on the square. The vector of its existence remains the truth and only the truth.

f) in the work of Ya.V. Smelyakova

The poem "Monument" was written in 1946 - during the period of the Finnish captivity, in a difficult time for Y. Smelyakov. The work is a monologue of a lyrical hero, who in a dream turned into a monument.

Smelyakov's "Monument" cannot be put on a par with the poems of the same name by great poets, because the theme of creativity is not the main one in this work. Perhaps this poem can be attributed to the philosophical lyrics, tk. the lyrical hero comprehends his present, speaks of what constitutes the happiness of his "present" life for him, where his heart and soul are striving, what his consciousness longs for.

But the poet speaks of the impossibility of "creating, writing" in the context of a general "lack of freedom." The personification of this "lack of freedom" is the image of the monument:

I dreamed that I became cast iron.
The pedestal prevents me from moving.

External (physical) "lack of freedom" ("the pedestal prevents me from moving", "my hand is difficult for me and dark") is just as painful as the internal, mental ("and my heart is made of cast iron", "and I follow the succession of days from under the cast-iron shifted eyebrows "," suddenly a cast-iron tear will come running "). And the worst thing is that the hero cannot express everything that hurts. There are many "cast iron metaphors" in the poem: these are "cast iron heart", and "cast iron eyebrows", and "cast iron tear", and "cast iron voice". The repetition of the "cast-iron" metaphor intensifies the feeling of excessive heaviness and stiffness in everything: in movements, thoughts, feelings.

Another theme is developed in the poem: the hero's personal love experiences. The motive of sadness, dejection, which sounds from the very first lines of the work, intensifies, merging with the motive of loneliness, when the lyrical hero talks about his beloved. There are no ardent confessions in the monologue, but in seemingly so simple words: "All the same forehead, all the same blue eyes, all the same mouth that many years ago" - so much tenderness, warmth, devotion, that you involuntarily understand that a woman, to which these lines are addressed - the most precious thing in the life of the lyrical hero. And this earthly feeling is the most valuable thing he has.

The person is unable to slow down the elusive run of time, and the hero suffers from the impossibility of changing anything in the circumstances. The text does not contain vivid metaphors, expressively colored words and expressions that convey the suffering, mental pain of the hero. But the construction of the verse allows us to feel this: each couplet consists of one sentence. Hence the intermittent, harsh sounding of the verse, which helps to see the full depth of emotions, the strain of the lyric hero. Rhythm to the verse, movement to the feeling is given by iambic pentameter with precise masculine paired rhymes.

Metaphors, the prevailing trope in the poem, is based on comparison with the monument, since the lyrical hero likens himself to a cast-iron statue. In almost every stanza (which means in every sentence) the poet emphasizes the likeness of the hero to the monument: the repetition of metaphors with the adjective "cast-iron", "at my feet in the morning selflessly climbing children", "solemn metal", "I will descend from a brilliant height, synonyms - "pedestal", "monument", "statue".

But the image of a sculpture or a monument is ambiguous: on the one hand, it is an image of "unfreedom", and on the other, a symbol of something "eternal, immortal" that the hero would like to touch.

In order to expose feelings, to recreate the inner state of the lyrical hero, the author uses the image of a dream. Traditionally, in Russian literature, a dream is a fertile, happy moments of the past, or the psychological state of the hero in the present, or a dream, a premonition of the future. For Smelyakov, the technique of "sleep" is an understanding of difficult reality and an attempt to look into the future, it is a way out of a reality in which life is difficult, or perhaps impossible. But despite the reception of "sleep", the lyrical hero appears before us as a "living" person, deeply thinking, suffering, loving.

From the strict, as if unadorned lines of Yaroslav Smelyakov, a special charm, tenderness, sometimes hidden by severity, and revelation emanate.

Despite all the hardships of life, Yaroslav Smelyakov did not abandon creativity, did not betray either his vocation or his fate. And if he touched the "high-voltage wires" of time, then with some of his cautious humanity. An example of this is the poem "Monument".

CONCLUSION

Great Russian poets wrote works in which they evaluated their creativity, talked about their labors of life, about what they did for the people. Derzhavin, Pushkin, Lomonosov, Vysotsky, Khodasevich and Smelyakov left a piece of their own soul in their work, so their works were appreciated, appreciated and will be famous for many years to come. The authors assess their role in the life of society, the role of their creative activity. In them, they assert their right to historical immortality.

BIBLIOGRAPHY:

Agatov M. "About the authors of your books."
Gaidenkov N.M. "Russian poets of the XIX century".
Grinberg I.L. "Three Wounds Lyrics".
Gukovsky G.A. "Russian Literature of the 18th Century".
Evtushenko E. "Stanzas of the century: an anthology of Russian poetry."
Korovin V.I. "History of Russian Literature XI-XIX".
Kunyaev S. "Crown of Thorns".
Lebedeva O.B. "History of Russian Literature of the 18th Century".
V.P. Medvedev "Learning Lyrics at School".
Stennik Yu.V. "Pushkin and Russian Literature of the 19th Century".

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The theme of the "Monument" in Russian literature.

I created a monument, cast bronze is stronger, The royal pyramids have risen higher. Neither the devouring rain, nor the dashing Aquilon will not destroy it, nor will it crush a number of Endless years, the running time ... HORATIUS (1st century BC)

MVLomonosov I have erected a sign of immortality for myself Above the pyramids and stronger than copper, That the stormy Aquilon cannot erase, Neither many centuries, nor caustic antiquity. I'm not going to die at all; but death will leave the great part of mine, as I will end my life. I will grow in glory everywhere, As long as the great Rome owns the light. Where Avfid was noisy with fast streams, Where Davnus reigned among the common people, My Fatherland will not be silent, That the ignorant clan was not an obstacle to me, To introduce Aeolian verses into Italy And the first to ring the Alcean lyre. Take pride in righteous merit, muse, And crown the head with a Delphic laurel.

GRDerzhavin I have erected a wonderful, eternal monument to myself, It is harder than metals and higher than the pyramids; Neither a whirlwind, nor thunder will break the fleeting, And do not crush his flight of time So! - all of me will not die, but a large part of me, Having escaped from decay, after death will begin to live, And my glory will increase, without fading, Until the Slavs the race will be honored by the universe. The rumor will pass about me from the White waters to the Black ones, Where the Volga, Don, Neva, the Ural pours from Riphea; Everyone will remember that in innumerable peoples, How I became known from obscurity, That I was the first to dare to proclaim Felitsa's virtues in an amusing Russian syllable, To talk about God in heartfelt simplicity And speak the truth to the tsars with a smile. O muse! pride yourself on the just merit, And whoever despises you, despise those herself; With a relaxed, unhurried hand Thy brow crown the dawn of immortality.

A.S. Pushkin I erected a monument to myself not made by hands, A folk path will not grow to it, He ascended higher as the head of the rebellious Alexandrian pillar. No, all I will not die - the soul in the cherished lyre My ashes will survive and decay will flee - And I will be glorious, as long as at least one drink will live in the sublunary world. The rumor about me will spread throughout all of Russia, And every language in it will call me, And the proud grandson of the Slavs, and the Finn, and now the wild Tungus, and the Kalmyk friend of the steppes. And for a long time I will be so kind to the people, That I awakened good feelings with my lyre, That in my cruel age I glorified Freedom And I called for mercy to the fallen. By the command of God, oh muse, be obedient, Not fearing offense, not demanding a crown, They accepted praise and slander indifferently And do not challenge a fool.

My monument stands, composed of consonant stanzas. Shout, run riot - you will not dump him! The disintegration of melodious words in the future is impossible - I am and must be forever. And fighters of all staves, and people of different tastes, In the closet of the poor man, and in the palace of the king, Likuya, they will call me - Valery Bryusov, Talking about a friend with friendship. In the gardens of Ukraine, in the noise and vivid sleep of the capital, To the thresholds of India, to the banks of the Irtysh, - Everywhere burning pages will fly, In which my soul sleeps. For many I thought, for everyone I knew the torments of passion, But it will become clear to everyone that this song is about them, And, in distant dreams in irresistible power, Every verse will be proudly glorified. And in new sounds the call will penetrate beyond the borders of the Sorrowful homeland, both the German and the French Obediently repeat my orphaned verse, A Gift from benevolent Muses. What is the glory of our days? - casual fun! What is the libel of friends? - contempt for hula! Crown my brow, Glory of other centuries, Introducing me into the world temple. V. Ya.Bryusov

VF Khodasevich The end in me, the beginning in me. My perfect is so little! But all the same I am a strong link: This happiness is given to me. In Russia, new, but great, They will put my two-faced idol At the crossroads of two roads, Where time, wind and sand ...

Ya.V. Smelyakov I dreamed that I became cast iron. The pedestal prevents me from moving. In consciousness, as in a box, in a row Cast-iron metaphors lie. And I follow the succession of days From under the cast-iron knitted eyebrows. The trees around me are all empty, The leaves have not yet grown on them. At my feet, squatting in the morning Selflessly children climb, And in the evening, coming under the monument, A student talks about immortality. When the star rises over the city, One night you will come here. All the same forehead, all the same blue eyes, All the same mouth that many years ago. Like late light from a dark window, I look at you from cast iron ...

VS Vysotsky During my lifetime I was tall and slender, I was not afraid of a word or a bullet And I did not climb into the usual framework, - But since then, as I was considered deceased, They cut me off and bent me, Nailed "Achilles" to the pedestal. Do not shake off the granite meat for me And do not pull this Achilles heel out of the pedestal, And the iron ribs of the frame are Deadly seized by a layer of cement, - Only cramps along the ridge. I boasted with a scythe fathom - Here, death! - I did not know that I would undergo a constriction After death, - But I am thrust into the usual framework - They hammered into a dispute, And an oblique uneven fathom - Straightened ...

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