Appeal to literary predecessors. Distribution of tasks by lyrical works. Shone night. Moon was full of garden

Stukolova Julia, student 10 class

The topic of the monument has always occupied an important place in the work of all poets. In their poems, they, as it were, expressed their right to immortality. In the "monuments", the authors rate their role in the life of society, the role of their creative activity. They claim their right to historical immortality. Estimate Russian poets wrote works in which their work was assessed, reasoned about their works of life, about what they did for the people. Derzhavin, Pushkin, Lomonosov, Vysotsky, Khodsevich and Mozelkov left a part of his own soul in their work, so their works were appreciated, they are also famous for many more years.

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The topic of the monument in Russian literature

Stukolova Julia, student 10 class

1. Introduction .....................................................2

2. Features of the topic of the monument:

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

b) in the work of G.R. Derzhavina ............... 4-5

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

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

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

e) in creativity Ya.V. Smelakov ............... 12-14

3. Conclusion .................................... .15

4. List of literature used ..........16

Introduction

The topic of the monument has always occupied an important place in the work of all poets. In their poems, they, as it were, expressed their right to immortality. In the "monuments", the authors rate their role in the life of society, the role of their creative activity. They affirm their right to historical immortality. The theme of the poet and poetry traditional, through in European culture. The monologue of the poet is still found in antique poetry. So, Ode Horace "To Mellengene" in M.V. Lomonosova served as the basis for poems G.R. Derzhavina and A.S. Pushkin about the "monument". Its main aspects - the process of creativity, its purpose is the meaning, the relationship between the poet with the reader, with power, with himself. Thus, among the poets of different epochs was the tradition of the lyrical image of the "non-manual" monument, as if the summary of creative activity.

So, for the first time, he turned to the theme of the poet and poetry in the first century BC. Uh ancient Roman poet Quinte Horace Flaak. Translations of ODY Horace were many. Some of them (M.V. Lomonosov, V.V. Kopnis, A.H. Vostokov, S.A. Tuchkov), were undoubtedly known to A.S. Pushkin, and others (A.A.Fet, N. Fokkova, B.V. Nikolsky, P. P. Porfirova, V.Ya. Bryusova) appeared after the death of Pushkin.

Features of the topic of the monument

a) in the work of M.V. Lomonosov

In 1747, M.V. Lomonosov translated Horace into Russian. The translation of the famous 30th Oda Horace, strictly speaking, cannot be called anacreontic one in the generally accepted sense of this term. But in the individual value that the Anacreonticitis attached Lomonosov - the meaning of aesthetic and life manifesto - of course, the translation of Horace comes closer to this line of Lomonosov's poetic heritage. The "Monument" of Lomonosov is at the same time a very close translation, and the original poem, the summary of the Lomonosov's poetic activity. Using the moments of coincidence in the biography and childbirth of creative activities, Horace with their life and poetic circumstances (and Horace, and Lomonosov were low class; and Horace, and Lomonosov were reformers of national storm systems: Horace for the first time began to use in Latin poetry Eoli Melik (Alkeyev Stroof ); Lomonosov also reformed the Russian station, approved by the Syllabo-tonic principle and giving samples of many rhythmic structures), Lomonosov managed to very specifically appreciate his own contribution to Russian literature.

In his poem, the "Monument" of Lomonosov enjoys a high style, almost not a rhyme rhyme and using obsolete words. For Lomonosov, Muse - the Great Patrone, awarding him for "righteous merit."

Two-sided size - Yamb - gives an unimposed line of poem a clarity, chasingness. Solemnation of sound is attached to high-style words: erected, more than, grow, fatherland, obstacle, etc., many words and expressions of Grequoramic origin, from history and mythology: Akvilon, Avfid, poems Ealsk, Muse, Delphic Lavr, etc.

b) in the work of G.R. Derzhavina

The topic is the immortality of the poet 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 Derzhavinsky poetry by a majority of the public determined the desire of the poet to formulate the program peculiarity of their OD. In 1795, following the example of Horace, he writes the poem "Monument," in which it determines its right to immortality:

Everyone will remember that in the peoples of uncountable,
How of obscurity I have become known
That the first I kept in a funny Russian syllable
About the virtues of Felitsa to heal,
In the heart ease of talking about God
And the truth of the kings with a smile to speak.

The main feature of the aesthetic poetry of Derzhavin was sincerity. When he praised the Empress - he did not flatter, but he wrote the truth, believing that attributed virtues really were characteristic of her. In verses, he most accurately determined his poetic principles. "Monument" - in this sense, the most important aesthetic document. Based on the tradition, the poet revealed the creature of his artistic innovation, which was supposed to provide "immortality".

We will try to historically understand the meaning of the Derzhavinsky words-definitions that guarantee this immortality. "The first I dare in a funny Russian syllable ..." What is the "audacity" of Derzhavin? In the retreat from the famous "Rules" of classicism. These rules demanded that the poet "broadcast," the abstract virtues, which "put" the imperial sanctuette "put" the Eternal Truths, proclaimed in the form of eternal truths. Derzhavin created a "funny Russian syllable", helped him to disclose in everything, about anything he wrote, his identity. The joke revealed an individual mindset, the Manera to understand things and a look at the world, peculiar to this poet, his personal attitude towards Catherine II is a person, with characteristic habits, cases, care.
High simplicity of lexical series, yamba, as it is impossible to embody calm, confident, far from the worldly fuss, the course of reflection.

According to the conviction of Derzhavin, the goal of art and literature is to promote the spread of education and the upbringing of love for the beautiful, correct vicious morals, preach the truth and justice. It is from these positions that he approaches the assessment of his creativity in the poem "Monument". He likes his creativity, "a wonderful, eternal" monument. Sloppy, solemn rhythm of verse (poem is written by a six-power yamb) corresponds to the importance of the topic. The author reflects on the impact of poetry on contemporaries and descendants, about the right of the poet to respect and love fellow citizens. He expresses confidence that his name will live in the hearts and memory of the "peoples of uncountable", inhabiting the space "from white waters to black". The poet connects his immortality with the "family of Slavs", that is, with the Russian people. To give the solemnity of poetic speech, the poet uses the words of "high-style" - the man, being engaged, wrung out, daring unfortunately, etc.; Various epithets - a leisure hand, heart simplicity, merit fair, wonderful, eternal monument, Thunder Fig. Hyperbole and comparison at the same time -“ metals Above it and Hardness Pyramids” . Monument is a creation left by descendants, therefore comparison with pyramids, the metal is clearly figurative, i.e. implying figurative meaning. All this helps to approve the idea of \u200b\u200bthe importance of creativity, about the immortality of artistic works.

c) in the work of A.S. Pushkin

A year before death, as if summing up its poetic activity, comprehending its own creative way, Pushkin wrote a poem "Monument" (1836). V.F. Khodasevich believed that this is a poem - a late response to the Lyceum poem Delivia "Two Alexandra", where Delvig predicted that Alexander I will glorify Russia as a statesman, and Alexander Pushkin - as the greatest poet. However, the beginning of the XIX century will subsequently call the Pushkin era, and not the epoch of Alexander I.

By its topic and building a poem A.S. Pushkin is close to the poem of the nod, however, Pushkin retreated from previous images. The plot of the poem is the fate of Pushkin, meaningful against the background of historical movement. The poem keeps the traces of grave thinking about the cruelty of the century, about relations with the king and the great circles, that in poetry he, Pushkin, won a victory over autocracy. The poem is full of bitter premonition of the ambulance and faith in the power of the poetic word, immense love for Russia, the consciousness of the accomplished debt before the people. Who gives the poet the right to immortality? The poet his creativity himself puts in the life of the "non-manual monument", because he is the voice of the people, his prophet. The poet is proud of the fact that his poetry was free and appealed to freedom: "... in my cruel age, I recalled freedom ...". Pushkin approves the unity of folk and personal ideals, he wrote not for the sake of the "crown", poetry is a disinterested ministry in the name of mankind. The poet was convinced that the Muse should strictly follow the truth, devoted to serve freedom, beauty, good and justice. In this, the eternal and unchanged essence of truly folk art.

The main idea of \u200b\u200bthis poem is the theme of the poet and poetry, the problem of poetic fame, poetic immortality: overcoming death through glory, and the genre - Oda, it is dictated by tradition: poems are written as a kind of imitation of the poem of Derzhavin, which, as we said, is alteration of ODY Horace Located to the Russian Reader for the Translation of Lomonosov.

"I have erected a monument to myself, the folk trail will not tarn it. Ascended above, he is the head of the recalcitrant Alexandrian pillar. " What does "above" mean? Pushkin compares the spiritual and material, living poetic duma and a dead stone, and this is the artistic dignity of the poem. The genius his own creativity himself puts himself in the life of the "non-manual monument", because he is the voice of the people, his prophet. Not someone, and he himself erected a monument himself. Hence the repeated "I". Pushkin lived and worked in the "Cruel Age." He was proud that his poetry was free, cried to freedom of political and spiritual.

Alexandrian pillar is the highest column in the world, the personification of humility of the king and the power of the king. Pushkin was courtly lower rank, and at the same time he was a man of the highest calling and destiny. So what does "above Alexandrian pillar" mean? It can be interpreted and as a victory of the "mysterious singer" above Censure, victory over autocracy. Pushkin compares two monuments, a monument to the material and a spiritual monument. The poet comes into confrontation with the "idol" of his time. Moral Pushkin defeated this autocratic "idol" by the force of a poetic word and high spirituality. Pushkin really won the time and space. Each work of the poet is unique, in each of its own philosophy and beauty. Pushkin's poetry is a path to the heart of the poet. In poetry, he finds the strength of life to deal with loneliness, because the society does not understand him, does not understand his philosophical views. I believe that the work of Pushkin is an inexhaustible source, which, as in a fairy tale, will "live water" all who touches him. It raises good feelings that teach us to love and understand life. Reading and rereading the works of Pushkin, we discover something new every time.

d) in the work of V.F. Khodasevich

Vladislav Khodasevich belongs to those Russian poets who wrote their "monument". Eight-grades with this title dates back to 1928, and although the author had to live for another eleven years, he almost did not write poems in this last decade, so in fact the poet's "monument" consciously completed his way. "Monument" - a rare species of poems, to which rare poets have the right. Khodasevich knew such a right behind him, but he put a little monument to himself little similar to the classic Derzhansko - Pushkin sample. In this solemn genre, he brought himself an unexpectedly modest outcome; He abandoned the loud tone and pathos and left us the verified, restrained and sober formula of his role and place in poetic history.

From the very entry into the literature, Khodasevich turned out to be "at the intersection of two expensive", which was then reproduced in his fate again and in a new way, in which he eventually saw his future monument.

Loneliness at the intersection - it seems, and the future monument to his own way he rushed. "Time, wind, sand" - and there is no "folk trail", the voice of "languages", inhabited and sonorous history, whatever the monument is surrounded by future cultural humanity. And there is something like a "steppe", 2sski "idol. And "two-limit", that is, apparently facing a face on both roads.

e) in the work of V.S. Vysotsky

The well-known poem of the Vysotsky "Monument" is organically connected with the Russian-speaking tradition of perception and rethinking ODA Horace "to Mellengene". The history of the Golden ODA in our poetry is well known to start with almost the literal translation of Lomonosov, she more separated from the Latin script as its development: Derzhavin, Pushkin, Bryusov ("My monument is standing, from the structure of silent is complicated ...") - serial links Such removal. The "monument" of Vysotsky - the last point known to us, followed by which, as the horizon, the text, apparently, will not be perceived as a descendant of his ancient progenitor.

In the poem of Vysotsky, not only the need to exit an dead image, but also consistently describes the entire path made by the genome. At the beginning of the "monument", the transformation of a person in a statue is depicted ("okhromyli and bent me, to the pedestal, killing:" Achilles "). And the statue itself is associated with the first alternate form:

And iron ribs frame
Deadly seized by a layer of cement,
Only cramps on the ridge.

If in mythological art, the monument is always a symbol of the resurrection, then the symbol demifologization leads to the denial of the monument and memory as the main indicators of illusionist thinking, since both are not the case with a living person, but with a canonized, frozen way. The personality is limitless according to the definition, the way is always fracene and reminds in this sense the result of the work of the undertaker with a wooden measurement. The image is only a gypsum mask with which "my Asian cheekbones" is perfect. "

The subsequent development of the poem logically matches the motive of the monument with the motive of a canonized image of the poet, the closure of the celebration of death over life.

With the external fencing of verbs, there is rather a lifeless bustle here, which is accompanied by any posthumous celebration with a public hypocrisy as an obligatory element.

Silence I must split up
From the speakers poured sounds,
With roofs hit directional light,
My despair is torn hair
Modern funds of science
Turned into a pleasant falsett.

But in the final part, there is a radical fracture in the traditional plot of OD. Through the decanonization of the Pushkin image, the destruction of the monument and the return of the poet to life is performed.

Commander Steps evil and bullshit!
I decided: how in time he,
Does it take to walk on the plates of the link?
And crowded crowds in the passion,
When I snatched my leg with groan
And stones sat down with me.

The thesis and antithesis of Pushkin theme - man and statue - achieve synthesis here. The statue of the commander begins to move as a monument, but finishes him as a person who destroys the monument in the name of freedom. Familiar for "Paradise Apples" The situation of return finds a kind of solution in the "monument". If there the poet returns to his beloved and in the name of love, then a civil resurrection of the poet occurs here in the name of hate to lies.

In Pushkin poetics, a person and statue are equal in their non-free: Eugene Eugene and Don Guan shall be punished with rock for trying to go against the established order of things, which for the poet of the XIX century has the only status of reality. In the artistic language of Vysotsky, the metaphysical order of things is devoid of reality status initially. The greatness of the subject and his admiring power, which is, according to Hegel, the substantial content of ODD, rushes before inner freedom. Oda gets out of the traditional shell of the genre, like the poet himself:

Falling climbed on the skin,
Reached the iron key
And when it was crashed,
From the crushed Rupors yet
I washing it seems: "Live!"

The Poetics of Vysotsky includes the skepticism of the reader as an indispensable component of understanding of meaning, but the understanding itself is impossible outside the alleged genre structure. Its ODA requires the same space - "the huge scope of the people" - and of the same time - the moment when the "Savan washed", and the monument appears before the fooled crowd in everything with its false magnificence.

The lyrical hero of the poet is extremely kind of kind, it can not be seduced by paradise gardens, nor personal monument on the square. The vector of its existence remains true and only truth.

e) in creativity Ya.V. Smelakov

The poem "Monument" was written in 1946 - during the period of Finnish captivity, in the time for Ya.Smelevakov. The work is a monologue of a lyrical character, which in a dream turned into a monument.

The "Monument" of Smelakov can not be put in one row with the same verses of great poets, because the theme of creativity is not the main thing in this work. Perhaps this poem can be attributed to the philosophical lyrics, because The lyrical hero comprehends his real, suggests that for him the happiness of his "present" life, where his heart and soul rush, which his consciousness is eager.

But the poet says about the impossibility of "creating, writing" in the context of the general "non-free". The personification of this "non-free" is the image of a monument:

I dreamed me that I became cast iron.
I move prevents pedestal.

Outdoor (physical) "non-free" ("I move prevents the pedestal", "my hand is difficult to me and dark") as well as inner, soulful ("and my heart from the cast iron", "and I follow a series of days From under cast iron shifted eyebrows "," suddenly drops a cast-iron tear "). And the worst thing is that the hero can not express everything that has grieved. Cast-iron metaphors in the poem a lot: it is the "heart of cast iron", and "cast-iron eyebrows", and the "cast-iron tear", and the "cast-iron voice". Repeat Metaphor "Casting" enhances the feeling of exorbitant gravity and stiffness in everything: in movements, thoughts, feelings.

Another topic gets development in the poem: personal love of the hero. The motive of sadness, depressing, which sounds from the very first lines of the work, is intensified, merging with the motive of loneliness, when the lyrical hero speaks of his beloved. There are no fermented confessions in the monologue, but in the seemingly simple words: "All the same forehead, all the same blue look, is still the same mouth that many years ago" - so much tenderness, warmth, devotion, which involuntarily understand that a woman, Which is addressed to these lines - the most expensive, which was and is in the life of the lyrical hero. And this is his earthly feeling - the most valuable thing that he has.

A person is unable to slow down the elusive time, and the hero suffers from the impossibility of changing anything in the circumstances. There are no bright metaphors, expressive-colored words and expressions that transmit suffering, the soulful pain of the hero. But this allows us to build a verse: each two-be-bedroom consists of one sentence. Hence the intermittent rescue sound of a verse, which helps to see the whole depth of experiences, the observation of the lyrical hero. Rhythmic style, movement in the feeling gives a five-colored yamb with accurate male pair rhymes.

Metaphors, the prevailing path in the poem, is based on a comparison with the monument, because The lyrical hero likes himself a cast-iron statue. In almost every stanza (and this means in each sentence) the poet emphasizes the hero of the hero of the monument: repeat the metaphor with the adjective "cast-iron", "at my feet in the morning selflessly lasted the defortion", "solemn metal", "to go with a brilliant height, synonyms - "Pedestal", "Monument", "Statue".

But the image of the sculpture, the monument is ambiguous: on the one hand, this is the image of "non-free", and on the other - the symbol of something "eternal, immortal," what he would like to touch the hero.

In order to expose feelings, recreate the inner state of the lyrical hero, the author uses the image of sleep. Traditionally, in Russian literature, sleep is the fertile, happy moments of the past, or the psychological state of the hero in the present, or a dream, the premonition of the future. Smelyakov, the reception of "sleep" is the understanding of severe reality and attempt to look into the future, this is a way out of reality in which life is difficult, and may not be possible. But despite the reception of "sleep", the lyrical hero appears in front of us a "alive" man, deeply thinking, suffering from loving.

From strict, as if unknown rows of Yaroslav Smelyakov, a special charm, tenderness, sometimes covered with severeness, and revelation.

Despite all the vitality of vitality, Yaroslav Memelakov did not leave creativity, did not betray his calling, nor of his destiny. And if she touched the "high-voltage wire" of time, then with some kind of careful humanity. An example of this is the poem "Monument".

Conclusion

The great Russian poets wrote works in which their creativity was assessed, reasoned about their works of life, about what they did for the people. Derzhavin, Pushkin, Lomonosov, Vysotsky, Khodsevich and Mozelkov left a part of his own soul in their work, so their works were appreciated, they are also famous for many more years. The authors rate their role in society, the role of their creative activity. They affirm their right to historical immortality.

BIBLIOGRAPHY:

Agatov M. "On the authors of your books."
Gaydenov N.M. "Russian poets of the XIX century."
Greenberg I.L. "Three wound lyrics."
Gukovsky G.A. "Russian literature of the XVIII century."
Evtushenko E. "Stanfish of the Century: Anthology of Russian Poetry."
Korovin V.I. "The history of Russian literature XI-XIX."
Kunyayev S. "Ternovsky Crown".
Lebedeva O.B. "The history of Russian literature of the XVIII century."
Medvedev V.P. "Studying lyrics in school."
Stennik Yu.V. "Pushkin and Russian literature of the 19th century."

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The topic "Monument" in Russian literature.

Created a monument I, bronze casting stronger, the royal pyramids above the rising. Neither a snatching rain nor Akvilon dashion will destroy it, will not crush and a number of endless years, time running ... Horace (I century BC)

MV Lomonosov I am a sign of immortality by myself erected above the pyramids and fastening copper, that a rapid aquilon will not die, not a lot of centuries or ancient water. I don't die at all; But death will leave the great part of my, as life is somewhat. I will grow everywhere with glory, while the Great Rome owns light. Where quickly makes the Avfid jet, where the long name I was reigning in a simple people, my fatherland will not be silent that I was not an obstacle to the obstacle to it, to bring Ealsk poems to Italy and first ring the alto-layer. Take the righteous merit, Muse, and lead the head of the Delphic Lavra.

G.R. IDRAVIN I am a monument to myself wonderful, eternal, metals harder, and above the pyramids; Neither the whirlwind of it nor the thunder will break the speedless, and the time of the flight is not crushing it! "I will not die all, but some of me is big, from a treny who kills, it will be to live in death, and my glory will increase, without fading, the crew of the Slavs will be honored. The rumor will pass about me from white waters to black, where the Volga, Don, Neva, pours the Urals with Rifey; Everything will remember that in the peoples of unfortunate, as from obscurity I know it became that the first I kept in a funny Russian syllable about the virtues of Felitsa to scream, in hearty simplicity talk about God and the truth to the kings with a smile. About muse! Burnt by merit fair, and the squeezes of you, the most desira; Easy-e-hand of a leisurely man of your zero of the immortality of a venture.

A.S. Pushkin I won the monument to myself, the folk trail will not tarnish to him, he ascended above, he was the head of the recurrent Alexandria Pickl. No, I will not die all - the soul in the cherished lyre of my dust will survive and the thorn will run away - and I will be glorified, I will live at least one pyit. The rumor about me will pass throughout Russia, and call me any language in it, and the proud grandson of Slavs, and Finn, and now Wild Tungus, and a friend of the steppes Kalmyk. And I will go for a long time, I am kind of the people that the feelings of good I wake up that I brought the freedom and grace to my cruel century. Poland of God, about Muz, be obedient, the resentment is not afraid, without requiring the crown, praise and slander were taken indifferent and not challenging the fool.

My monument is standing out of the construction of consonant with complex. Shout, tear, - you do not dump it! The disintegration of singers in the future is impossible, - I AM and forever should be. And the fighters of all fighters, and people of different flavors, the poor man in the Kamork, and in the palace of the king, Likuya, will call me - Valery Bryusov, about each other with friendship speaking. In the Gardens of Ukraine, to the noise and bright dream of the capital, to the Finaluers of India, to the shore of Irtysh, - the last minute pages will fly everywhere in which my soul sleeps. For many I thought, I knew the flour of passion for everyone, but it would be clear to everyone that this song is about them, and, in the distant dreams in an ambiguous power, they glorify each verse. And in the new sounds of the call will penetrate the limits of the sad homeland, and the German, and the Frenchman will repeat my verse of the orphaned, the gift of favorable music. What are the glory of our days? - Random fun! What kind of friends? - Despite Humlam! Velchae's man, other centuries glory, introducing me to the World Temple. V. Ya. Bryusov

V.F. Sakevich in me the end, in me the beginning. I am perfect so little! But all that I am a durable link: I have given this happiness. In Russia, a new one, but great, put an idol of my two-limit at the crossroads of two roads, where time, wind and sand ...

Ya.V.Smelevakov dreamed me that I was cast iron. I move prevents pedestal. In the consciousness, as in the box, in a row, cast iron metaphors lie. And I follow a series of days from cast-iron shifted eyebrows. Around me, the trees are all empty, they have not yet grown sheets. At my legs in squatting in the morning, I selflessly climb the bastard, and in the evening, having come under the monument, interprets a student about the immortality. When the star goes over the city, one night you will come here. All the same forehead, all the same blue look, all the same mouth that many years ago. As late light from a dark window, I look at you from cast iron ...

V.S. Himsotsky, during his lifetime, was growing and slim, did not be afraid of a word, nor bullets and in the usual framework did not climb - but since then, as I am considered the deceased, hurt me and bent me, to the pedestal, killing "Achilles". Do not shook me granite meat and not to pull out this fifth from the pedestal, and iron ribs of the frame are dead with a layer of cement, only cramps on the ridge. I praised the skeleton of the soot - Mateota! "I didn't know that I was squeezed after death," but in the usual framework I missed - to the argument knocked out, and oblique uneven soot - straightened ...

15. What is the peculiarcy of the topic of the poetic monument in the poem of S.A. Yesenin?

In this poem Yesenin, the lyrical hero, standing at the monument to Pushkin, admires them. At the same time, he drawn directly to the poet, as if leading to a conversation with him in real life. He also compares himself with him, noting that both of them are hinders. Yesenin's lyrical hero hopes that the same as the hooligan deeds of Pushkin did not affect his glory, as well as he will go into history with his work, although it realizes that this is a dream to which it will be necessary to go for a long time. This is precisely the feature of the topic of the poetic monument in the poem "Pushkin".

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16. Which Russian poets addressed their works to literary predecessors or contemporaries and what these works are consonant with the Yesenin poem?

Such poetess as AA appea to literary predecessors and contemporaries as A.A. Ahmatova in the poem "The dark lands wandered along the alleys ..." and M.I. Tsvetaeva in the poem "Your name - a bird in hand ...".

In the poem of Akhmatova, like U and Yesenin, the lyrical heroine appeals to Pushkin. She with tenderness and warmth writes about how he hears his "rustle steps", notes his image in the details: "Here it was his triangle / and disheveled that guys." The lyrical heroes of both works as if they feel next to the Spirit of Pushkin, his presence.

A. Block, which is devoted to the poem of Tsvetaeva, was one of the favorite Peppets of the writer. She writes: "In the light of the night hoofs / loud name yours threatens." The lyrical heroine of the poem, as well as Yesenin, understands the inaccessibility of the poet: "Your name - ah cannot!". Nevertheless, Pushkin, and the block causes a very strong sense of admiration in lyric heroes.

15. What is the peculiarity of the topic of the poetic monument in the poem of S. A. Yesenin?

In the poem S. A. Yesenin, the monument in the representation of the lyrical hero comes to life and leads a deep personal conversation with him. The image of the poetic monument accommodates not only the creativity of the poet, which has become part of the spiritual culture of the country, but also the person, the life of the author.

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Pushkin and the hero of the poem are equal and close to each other, first of all, the community of fate: "You were Halp, / like me today hooligan." The lyrical hero dedicts the poet: "And I stand, as before the communion ..." And wishes to create his own poetic monument, like Pushkin to stay in the centuries thanks to the power of the word.

16. Which of the Russian poets addressed their works to literary predecessors or contemporaries and what these works are consonant with the Yesenin poem?

Appeal to the poet-contemporary sounds in the poem A. S. Pushkin "October 19," where the lyrical hero leads a personal, somewhat intimate conversation with Delvig. In the poem A. S. Pushkin, it was literary creativity that the ability to feel the musicality of the word brings together two friends, which resembles the poem of S. A. Yesenin. However, in contrast to similar fate of heroes from Pushkin's poem, the path of life Delivia and the lyrical hero were separated: Delvig "Genius was brought up in the silence", while his comrade preferred a noisy society.

Another example is the poem of M. Tsvetaeva "Your name - a bird in hand ...", dedicated to A. block. As in the poem S. A. Yesenin, to the poet they turn directly, in an intimate conversation they express deeply personal sensations. The poetic monument becomes a name: his sound image records the main motives of symbolist poetry A. Blok. Nevertheless, the lyrical hero, in contrast to the hero of the poem "Pushkin", does not compare his fate and the life of the poet, does not express desires in a similar way to stay in the centuries.

Updated: 2018-08-10

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