Biography of Lermontov Nekrasov

Try the literature selection service. You can always turn off the advertisement. NEKRASOV IS on the Periphery of Literary Studies, HIS Poetry is Associated with the Expression of Revolutionary and Democratic Ideas. The Poet Is Offten Perceived as a Publicist Whited His Life to Exposing Social Evils and Creating Social Slogans. Meanwhile, The Nekrasov Topics of Repentance, Asceticism, and his Reflections on the Spiritual Aspirations of the Individual Have not Been Sufficiently Explorated.

Both Poets are Alike in the Way that Were Misunderstood and Felt Being Rejected by Society. The text of the scientific work on the topic “The work of M. Lermontov in the perception of N. Nekrasov is on the periphery of literary criticism, his poetry is associated with the expression of revolutionary democratic sentiments, the poet himself is often perceived as a publicist who devoted himself to exposing social vices and creating social slogans.

Meanwhile, the Nekrasov topics of repentance, asceticism, his understanding of the place of man in the world, reflection on the spiritual aspirations of the individual are lost. The expansion and deepening of approaches to the study of Nekrasov’s poetry is represented in the discovery of new literary faces, in the study of a creative dialogue revealing the spiritual and moral foundations of the poet’s work.

It is in such a plane that Nekrasov’s interest in the work of M. is the worldview of Nekrasov, as well as Lermontov, is determined by the dissatisfaction of reality, they are attracted by the image of a person’s incomprehensible and rejected and rejected by society, poets unite a sense of personality tragedy and the search for a way out of this state. Keywords: N.

Nekrasov, M. Lermontov, dialogue, nature, mountains, heaven, trying to determine the place of N. Nekrasov in the historical and literary process, critics have more than once correlated his name with M. Lermontov, then bringing them closer, then contrasting them. In the “Writer’s Diary”, F. Dostoevsky wrote: “Nekrasov in a series of poets, that is, who came with the“ new word ”should directly stand after Pushkin and Lermontov.

When I expressed this thought out loud, a small episode occurred: one voice from the crowd shouted that Nekrasov was higher than Pushkin and Lermontov, and that they were just “Byronists” ”[1, p. Including Lermontov in a series of largest poets along with Pushkin, Zhukovsky, Krylov and Koltsov and calling him the “lumina of Russian poetry” [2, vol. XI, pr. Nekrasov in relation to Lermontov acts not only as a successor of a poetic tradition, but also by a reader, whose poetry is also acquainted, like a modern reader.

In appeals to Lermontov’s poetry, a special intonation is inherent in Nekrasov, the exact characteristic of which gave A. for Nekrasov the poetic work of Lermontov became the standard of style and rhythm, the expressor of true foundations and values. It is no accident that in the critical thought of Nekrasov, the talent of modern writers is measured by a comparison with the poetic skill of Lermontov, and the poet’s works, along with Pushkin and Gogol, act as a measure of literary identity, truly artistic values.

So, reflecting in the article “Russian secondary poets” about F. Tyutchev’s poetry, Nekrasov notes: “Only talents are strong and distinctive to affect such strings in the human heart, which is why we would not think at all to put G. Fedor Tyutchev next to Lermontov ”[2, vol. In the city of III, p. I stepped on the edge of the cliff - suddenly the waves darkened menacingly, and fear stopped me!

XI, p. In a letter to I. Turgenev on June 15-17, and what will it be? I dare not to say anything, because I would go in your place ”[2, Comrade Nekrasov accurately captures the essence of the Lermontov image: in Lermontov’s poem, the sail expresses the essence of the poet’s soul, in the thoughts of Nekrasov-the spiritual and spiritual throwing of Turgenev, troublesome in combination with high harmony.

Remembering in a review of the collection “Raut” “The Best Poems of the Poet” [2, vol. XIV, book. XII, p. Lermontov and Nekrasova are related not only by the image of one type of romantic personality with her inherent heroism and strong character, but also to focus on the highest problems of a person, reflection on the universe and the absolute, general value motives - chosenness and rebellion, strangeness, persecution, call to society.

You can trace the development of the images of the Lermontov “journalist, reader and writer” in the Nekrasov “poet and citizen”, the development of the image of the poet-prophet, the Muse. Both Lermontov and Nekrasov’s poet acts as a bearer of higher spiritual values, but if Lermontov’s poet is inspired from above, alien to the crowd and not understood by her, then Nekrasov’s poet is an expressor of folk thoughts, the carrier of truth for survival, the struggle for existence.

Nekrasov’s appeals to the creative heritage of Lermontov is obviously already in young poetry. The imitation of Lermontov, the proximity of the tonality to his poems and poetry by J. Byron, whose reading Nekrasov was fond of, was reflected in the first poetic collection “Dreams and Sounds”, as G. Filippovsky points out, allows “to shed light on genuine philosophical and poetic foundations” [6, p.For the collection of “Dreams and Sounds”, satirical poems aimed at exposing the vices of society - obvious parodies on Lermontov’s works were written.

Nekrasov’s poem “I come to the holiday to the sorcerer”, included in A. Druzhinin’s story “The sentimental journey of Ivan Chernoknizhnikov Nekrasov, the poem“ The Secret of the Experience of the Modern Ballad ”was written - in the poem that outlines the image of the merchant, a parody of the romantic ballad of Lermontov“ Air Ship ”was created. The mature Nekrasov in addressing Lermontov traditions is characterized by “great freedom; He uses the texture of Lermontov’s poems, their rhythmic structure and lexical and phraseological turns, avoiding direct imitations ”[7, p.

Such parallels can be noted in the melodic system of Nekrasov’s poem “On the Volga” and the poems “Mtsyri”, the Nekrasov “storms”, “neighbor” and the Lermontov “air ship”. The sound of poems is also common for Lermontov and Nekrasov - lyrical in love lyrics and recitation in a civilian one. In the poetry of Lermontov and in the poetry of Nekrasov, the expression “the national feature of our soul” [8, p.

Throughout their whole creative path, the essence of world life was worried through both poets, and in this regard, the motive of the search for freedom, peace, harmony, and absolute is the iconic. Benediktova “Mountain Vosi” in “Literary additions” to the “Russian disabled” ”G. Kraevsky, trying to reveal Benediktov’s philosophy, gives a comment on this line:“ Mountains, rising above the plain and not reaching heaven, remain alien to both the share and the stars: so the poet, separating from the crowd and despising the earthly, never reaches the heavenly ”[10, 10, 10, 10, 10, 10, 10.

With. Disagreeing with this commentary and entering into polemic, Nekrasov, continuing the traditions of Pushkin and Lermontov, creates a poetic description of Elbrus, showing the inextricability of the connection of the physical and spiritual, the unity of the earthly and heavenly: magnificent creatures! Skilling with proud beauty, they are the universe of the decoration, the support of the Blue firmament [4, Comrade Nekrasov describes the nature of the Caucasus-“Wonderful Countries”, which has preserved primordiality and untouched, among the “harsh” and “gloomy-dye” of beauty stands out “gray-haired giant”-Elbrus, whose contemplation of the power gives rise to philosophical thoughts.

Mountains for the poet are an eternal, unnecessary power of time and fluid, this is a proud and solemn being, which arose at the very beginning of the universe. Objecting to A. Kraevsky, Nekrasov emphasizes that Elbrus is “not alien to the sky, alien to the earth” [2, t. In the perception of the mountain landscape by the close Nekrasov, Lermontov’s lyrical thoughts are, in the worldview of which the mountains are a symbol of spiritual purity.

In the lyrical miniature “the Blue Mountains of the Caucasus, welcome you” Lermontov addresses the mountains: “You have taught me to the sky, and since then I dream about you and about the sky” [4, t. Kiseleva notes that Lermontov in the mountains “attracted their aspiration to the sky” [11, p. These observations can also be attributed to the features of the worldview of Nekrasov - the poet looks at the mountains as something that connects between the world and the world of heaven.

The process of contemplation of the mountain is transmitted by Nekrasov through a comparison with the perception of the child, the poet looks at the mountain with children's eyes raised to the sky in an enthusiastic tenderness, as if in prayer: I, like a child, is opposed. The holy delight of my soul and surprise are full of gaze gaze to the same formidable heights - so that the sky -high mountains were given to heaven [2, that is, the existence of the material in the world of material poems of Nekrasov.

Yashin notes that the “shackles” are “one of the most frequency metaphors that are used to describe existence” [13, p. The motive for earthly prisoners, developed by Nekrasov, finds the origins in the art world of Lermontov. The Lermontov’s motive of captivity is close to Nekrasov, who has lost romantic pathetics, when prisonership is perceived not only as a sign of chosenness, but also acquires realistic features - accompanies a simple person not in the metaphysical, but social aspect, the poem “Prisoner”.

Earthly capacity is opposed to a breakthrough to freedom, liberation from bodily shackles, a look into the sky. Both Lermontov and Nekrasov have the sky - a dynamic space, movement can occur along the horizontal axis as we observe in Lermontov’s poem “Angel”, and along the vertical axis. The poet looks up, in the sky, exclaims: “I want to fly, rise above! The equivalent of the game of sunlight on the Elbrus, the image of the temple, which is also located on the mountain shining with the gold of the gold.

In the poem “Silence”, the lyrical hero, looking at the top of the mountain, that is, to heaven, sees the picture: the temple of God on the mountain flickered and the childish-clean sense of faith suddenly smelled of the soul [2, that is, Lermontov and Nekrasov, in connection with the image of the mountains, affect the theme of nature and civilization.Thus, in the poem “Dispute”, Lermontov thinks that nature in its pristine untouched is inferior to civilization, the destructive pressure of man, his destructive interest in industry replaced the initially inherent freedom and will.

The natural harmony of the mountain landscape can be broken by human actions: in the depths of your gorges.