The main themes and genres of Russian poetry of the early XIX century. Poetry in the Service of Enlightenment: Ideas of Education in the Context of Memet Niyazi's Creativity Theme of Education in Russian Poetry
Plan
Ways of developing poetry for children in the second half of the 19th century
Lecture #7
1. Ways of developing poetry for children: poetry of "pure art" (A. Fet, A. Maikov, F. Tyutchev, A.K. Tolstoy) and "Nekrasov school" (A. Pleshcheev, I. Nikitin, I. Surikov) .
2. Characteristics of the children's lyrics of the representatives of "pure art".
3. Creativity of poets of the Nekrasov school in children's reading.
4.N.A. Nekrasov in children's reading. Works written specifically for children and included in the circle of children's reading. Social motives in the poems "The Cry of Children", "Nightingales", "Uncle Yakov". Problems of education in the poems "Railway", "Grandfather". The poetic image of a child from the people ("Peasant Children"). Nationality, the national character of poetry.
Literature
Begak B. Classics in the country of childhood. - M.: Det. lit., 1983.
Zuev N. “Peasant children” by Nekrasov // “Life and poetry are one”: Essays on Russian poets of the 19th-20th centuries. - M.: Sovremennik, 1990.
Russian poetry for children / Entry. article, compilation, text preparation, biographical information and notes. E.O. Putilova. - L.: Owls. writer, 1989. (B-ka poet. Large series).
Lyrics of the second half of the XIX century - remarkable period in the history of our national poetry. During these years, a large constellation of poets declared itself, who made the richest contribution to the Russian classics. This is the period when Russian poets paid attention to the world of childhood with its special ethics and aesthetics. The names of A. Fet, A. Maikov, I. Nikitin, later A. Pleshcheev, I. Surikov, poems by F. Tyutchev, A. Tolstoy, Y. Polonsky appear in children's magazines, almanacs. The poems of outstanding Russian lyricists open up to young readers the diverse and unique world of nature, the beauty of their native land. Each author brings his own colors, his own touches to a huge portrait of his native nature, "revealed in the word." In general, poetry for children has become more democratic in form and content, it began to include complex philosophical, social, psychological, and aesthetic ideas accessible to the child's mind and feelings.
In the second half of the 19th century, two poetic schools coexisted and constantly opposed each other: the “non-krasovka” school (I. Nikitin, Drozhzhin, Pleshcheev, Surikov, etc.) and the school of “pure poetry” (Fet, Maikov, A. Tolstoy, Ya. Polonsky, to some extent F. Tyutchev.Both of them created a whole poetic world for children.
"Nekrasovskaya" school: democratism of ideas, citizenship, social issues, the use of colloquial, colloquial vocabulary. The theme of the village, peasant life. Formed an active life position. Direct appeal to the reader. Poetry of civil thought.
School of "pure poetry": They developed the romantic tradition of Russian poetry, the cult of beauty, close to the antique, a contemplative attitude towards the world. Emphasized rejection of the image of "dirt" and the topic of the day. Bookish, elevated vocabulary, complex syntactic figures, sophisticated imagery. Poetry of the heart, feelings.
Whisper, timid breath,
trill nightingale,
Silver and flutter
Sleepy stream.
Night light, night shadows,
Shadows without end
A series of magical changes
sweet face,
In smoky clouds purple roses,
reflection of amber,
And kisses, and tears,
And dawn, dawn!
I. Nikitin
Stuffy air, smoke of a torch,
Under the feet of rubbish,
Rubbish on the benches, cobwebs
Pattern at the corners.
smoky floors,
Stale bread, water,
Spinning cough, crying child,
O need, need!
Moo grief, work a century,
Beggar to die.
Here's where to learn
Believe and endure.
2. Characteristics of the children's lyrics of the representatives of "pure poetry"
Fedor Ivanovich Tyutchev(1803-1873) - a contemporary of Pushkin, a romantic poet. Romantic, mysterious nature in his poems, complex and dramatic connected with the world of man.
A characteristic sign of Tyutchev's lyrics is landscapes, bright, expressive. Particularly attractive are the pictures of the changing, transitional states of nature.
I love the storm in early May,
When spring, the first thunder,
As if frolicking and playing,
Rumbles in the blue sky...
(Spring thunderstorm)
It is as if the poem “Winter is not angry for nothing” was specially created for children, depicting the change of seasons as a confrontation between young Spring and the outgoing Winter - the “evil witch”:
Winter is still busy
And grumbles for the spring,
She laughs in her eyes
And it only makes more noise...
Tyutchev's image of nature is romantic, visible, animated. The poet shows nature in motion, in the change of phenomena, in the struggle of opposing forces of light and darkness. Often shows violent manifestations of the elements ("fatal minutes"). The poet often uses the principle of parallelism to depict the complex world of human feelings through comparison with nature.
A.K. Tolstoy (1817-1875), A.A. Fet (1820-1892), A.N. Maikov (1821-1897) are called singers of nature. In landscape lyrics they achieved the highest skill. Maikov wrote: “The feeling of nature, aroused in us by its contemplation, is the same everywhere ... In Russian nature, this feeling is livelier and more direct because there are forests, meadows and fields around, and all this buzzes, rustles, rustles, is interesting with you". This statement by Maykov is a kind of epigraph to his poems and the poems of his contemporaries.
The anthology, collections of poems for children of primary school age included poems by Alexei Konstantinovich Tolstoy “The last snow in the field is melting”, “Autumn. Our entire poor garden is sprinkled”, “My bells, flowers of the steppe”, “Where the vines bend over the pool”, “You are my land, dear land”, “Sing the lark loudly”. A.K. Tolstoy is a romantic poet, partly a mystic. It is distinguished by immediacy of feelings, major intonations are combined with elegiac, sincere ones. Accuracy and clarity of details, the ability to highlight the most striking feature of what is being described, the consonance of pictures of nature with the human mood. The naivety of children's perception is combined with the deep wisdom of generalization. The poetics of A. Tolstoy is characterized by song imagery, the free use of colloquial words, generally accepted epithets. The poet has mystical motives, he is characterized by love for space, freedom.
Afanasy Afanasyevich Fet is represented by the poems “The swallows are gone ...”, “A wonderful picture ...”, “I came to you with greetings ...”, “I know that you, little one ...”, unsurpassed in purity and transparency of the syllable. In the work of Fet, a child hero appears (“Mom! Look out the window ...”), scenes of domestic life arise:
The cat sings, squinting his eyes, A storm is playing in the yard,
The boy is napping on the carpet. The wind is whistling outside...
These poetic miniatures have a particularly warm, soft intonation and primarily attract young readers.
His poems are imbued with the cult of the elusive, unsaid. He admired the moment, the fleeting impression, beautiful and vanishing. Most of all, he is interested in his own feelings, moods, sensations. In nature, he is attracted by “quiet phenomena”, unclear states (transition from winter to spring, from summer to autumn), halftones, shades, elusive combinations. Often he does not show the landscape itself, but its reflection in the water or sky. Descriptions of nature are detailed, specific. Each bird, each insect, each tree is shown in its own uniqueness. His poetry is musical and melodious.
Sounded over a clear river,
Rang out in the faded meadow,
It swept over the mute grove,
It lit up on the other side ("Evening").
The lyrical hero, as a rule, is "behind the scenes", he is a contemplative, telling about what he saw.
Nature is an idle contemplator,
I love, forgetting everything around,
Follow the lancet swallow
Over the evening pond.
Here she rushed and drew -
And it's scary that the surface of the glass
I didn’t grab the alien element
Lightning wing.
And again the same boldness
And the same dark stream, -
Isn't that the inspiration
And the human me?
The poems “Haymaking”, “Autumn” (“A golden leaf covers the wet earth in the forest ...”), “Spring” (“Go away, gray-haired Winter”), “Summer rain” (“Gold , gold falls from the sky ...”) His “Lullaby Song” is especially original, in which the fabulously powerful forces of nature protect the peace of the baby:
Sleep, my child, sleep! I took you as a babysitter
Sweet dream to yourself mani: Wind, sun and eagle.
Creativity is unique Ivan Savvich Nikitin(1824-1861), a native of a bourgeois environment (born and lived in Voronezh), a poet of the Nekrasov school. The proximity of the poet to the life of the people, to Russian nature, was reflected in his poetry. In Nikitin's poems, there is an open feeling of ardent love for the native land, admiration for strength and stamina. folk character. The following poems by Nikitin became the property of children's literature: “Morning” (“The stars fade and go out. Clouds are on fire ...”), “Grandfather” (“Bald, with a white beard, grandfather is sitting ...”), “Morning on the shore lakes”, “The Coachman’s Wife”, “I Remember: it used to be a nanny ...”. The poet's works organically include motifs and images of folk lyrical songs. It is no coincidence that more than 60 songs and romances were created based on Nikitin's poems. Among them are "Rus", "On an old mound, in a wide steppe ...". Especially widely known was the children's song "Meeting of Winter" ("Hello, winter guest!").
In line with the Nekrasov traditions, poetry for the children of A.N. Pleshcheev (1825-1893) and I.Z. Surikov (1841-1880) developed. In their work, the motives of Russian nature and peasant labor were combined, the theme of rural childhood sounded. Both poets showed interest in contemporary children's literature, actively participated in the work of the magazines "Children's Reading", "Family and School", " Kindergarten"," Toy.
Alexey Nikolaevich Pleshcheev, famous poet, translator, prose writer, literary and theater critic, turned to children's literature in the 70s. He compiled and published several collections of his works for children, among them Snowdrop (1878) and Grandfather's Songs (1891). His poems are full of love for children and cannot but evoke a reciprocal feeling. Here is a little beggar who was pitied and fed by a brother in misfortune (“Beggars”), a sick boy who dreamed of spring, warmth, and mother (“Expectations”). Children, different, meek and lively, noisy, inquisitive, are the main characters in Pleshcheev's poetic works. Little heroes are surrounded, as a rule, by people who love them - dads, moms, grandparents, nannies. The poet draws memorable pictures of family life: the return of children from school, a meeting with a barbo at the porch, questions from relatives (“From Life”), curly Vanya’s enthusiastic story about school (“Grandmother and granddaughters”), grandfather’s conversations with little grandchildren, fairy tales “about a fox, about a kolobok, and about a frog-frog, and about a mouse’s house” (“Bad Weather”).
Pleshcheev sees nature through the eyes of a child. In his poems, everything is mobile, changeable: “The grass is turning green, / The sun is shining, / A swallow with spring / In the canopy flies to us”, nightingales and larks sing, streams run, raindrops talk. “The colors of the Pleshcheevsky landscape are modest and moderate, they attract with their naturalness. His landscape is simple and transparent, highly emotional and often contrasting, juxtaposing storm and silence, calmness and anxiety.” Pleshcheev's poems are musical and, like Nikitin's, many of them have become popular songs and romances.
Under the influence of Pleshcheev, he turned to poetry for children Ivan Zakharovich Surikov, a talented self-taught poet, born into a peasant family in the Yaroslavl region. The first happy 8 years of his life passed in the village, generally harsh and joyless (he died at the age of 39 from consumption). Impressions of rural childhood, bright memories of the warmth of the parental home, of happy days spent in the field, at night, on fishing, nourished the poet's work. This is the main theme of his pure and unsophisticated poems: "Childhood", "In the Night", "On the River", "In Winter". The poem "Childhood", perhaps the most famous of Surikov, has become the main sign of his poetry.
Here is my village; Here I am on a sled
Here is my home; Uphill steep...
The poem, with apparent simplicity, was written by the hand of a master. Only two pictures are drawn by the poet: funny fun with boy friends and an evening at home:
In the corner, bent over
Grandfather weaves bast shoes;
Mother at the spinning wheel
Silently flax is spinning.
And the “gray-haired grandmother” tells a fairy tale to her grandson:
Like Ivan Tsarevich
Caught a fire bird
as his bride
The gray wolf got...
There are few external events, but they are so emotionally filled that the day, as it happens only in childhood, seems limitless:
Winter evening lasts
Lasts endlessly...
Memories of one day grow into a generalized image of childhood.
You flowed merrily
Baby years!
You were not darkened
Grief and trouble.
The poems of the poets of the 60-70s of the last century, with all the variety of motives, intonations, are surprisingly kind and humane. They recreate the harmonious world of the unity of man and nature, the warmth of family relationships, convey faith in a good beginning, the desire for knowledge, for a happy life.
The best poems of the poets of that time are well known and loved by many generations of Russians, carefully passed on from older to younger, without exaggeration, it can be said that they entered the genetic memory of the people, became an invaluable national cultural wealth.
"School scenario" stories of the cycle line up in sequence with a cross-cutting and unfinished plot of studying at the school of life and preparing for new exams (already outside of school and university life proper), which bring the hero a sense of satisfaction and at the same time stimulate him to acquire new knowledge and skills. "School scenario" in "Notes of a young doctor" M. A. Bulgakov plays the role of a metaphor for life. The Young Doctor expresses his credo:
Hundreds of times to get lost and regain the presence of mind and again inspired to fight.
These words are reminiscent of the famous saying of L. N. Tolstoy: “In order to live honestly, one must tear, get confused, fight, make mistakes, start and quit, and start again, and quit again, and fight forever...”
LITERATURE Isupov KG The cultural concept "teacher/student" against the background of Russian "truth" C Dialogue in Education: Sat. conference materials. Symposium Series. -Issue. 22. - St. Petersburg, 2002.
Yablokov E. A. Text and subtext in the stories of M. Bulgakov (“Notes of a Young Doctor”). - Tver, 2002.
MYSTERIES OF THE TEXT
A. L. GOLOVANEVSKII
Archaisms in Russian poetry of the 19th century: F.I. Tyutchev -A. S. Pushkin
An analysis of archaisms in the poetry of Pushkin and Tyutchev helps in solving serious problems of a textological nature.
Key words: lexical archaisms; semantic doublets; poetic image; parallel morphological forms.
The use of archaisms in Russian poetry is not always due only to stylistic factors and the influence of predecessor traditions. The preference given to archaic means is often explained by the peculiarities of the author's worldview, which, as you know, does not always remain constant. So, in the early, youthful periods of the work of Tyutchev and Pushkin, the complex of archaic elements in their poetry is associated with the influence of previous traditions. We mean before
The work was carried out with the financial support of the Russian Humanitarian Foundation: project 11-14-3200 (a/c).
Golovanevsky Arkady Leonidovich, Doctor of Philology. Sciences, Professor of the Bryansk State. University. acad. I. G. Petrovsky. Email: [email protected]
only odic traditions of G. R. Derzhavin. The initial period of Tyutchev's work, like Pushkin's, dates back to the time when the Russian literary language, and in particular the language of fiction, was in search of new means of expressing thought, in the process of reevaluating the old literary traditions, selecting and using the most stable of them. Many researchers have written about the coexistence of various stylistic systems in Pushkin's poetry, tracing the evolution of Pushkin's "poetic liberties". G. O. Vinokur, for example, paid attention to (i) truncation of adjectives and participles; 2) endings -yya @-iya) in the genitive singular of adjectives and feminine pronouns;
3) sound [e] instead of [o] after soft consonants in rhyme; 4) full agreement and disagreement [Vinokur 1991: 246]. V. V. Vinogradov considered the evolution of Pushkin's style as the liberation of the poet's language from the phonetic and morphological archaisms of church-book speech [Vinogradov 1982: 253].
The so-called “formalists” B. Eikhenbaum, Yu. Tynyanov, V. Bryusov and others wrote about the archaism of the language of Tyutchev’s poetry from various positions. L. V. Pumpyansky, one of the first researchers of systemic methods that Tyutchev relied on in his poetry, assessed their role in the language of the poet: “The name of Derzhavin in connection with Tyutchev was first clearly pronounced by the formalists ... Nevertheless, the “doctrine” interfered here too, because Tyutchev’s attitude to Derzhavin was understood primarily as an attitude in the field of questions of poetic language (Tyutchev - a poet of "high" language against the backdrop of Pushkin's poetry, etc. ...)" [Pumpyansky 1928: 37]. Pumpyansky's reproaches against the "formalists" seem to us not entirely fair. For to deny that the language of Tyutchev in comparison with the language of Pushkin is more archaic is meaningless. It is another matter to understand how this is connected with Derzhavin's influence. Most likely, one must be very careful when comparing the use of archaic vocabulary in Tyutchev's late poetry with Derzhavin's traditions. Undoubtedly, the worldview positions of the poet, determined by the principles of the Slavophile theory, primarily by the orientation towards the original means of the Russian language, should be put in the first place here. It is interesting to trace how the vocabulary of foreign origin is presented in Tyutchev's poetry, how it correlates with the original vocabulary, whether there was a problem of choice for the poet: "one's own - someone else's". But one thing is clear: Tyutchev more often than Pushkin preferred the archaic to the modern.
It is known that lexical archaisms are found in the language of fiction more often than other types of archaisms. But in the poetry of Tyutchev and Pushkin they do not have the leading place. The main signs of archaism in them can be
found in the field of semantics and word formation. It must be said that the classification of archaic vocabulary, like any classification, cannot be rigid, unambiguous. Lexical archaisms can be complicated by word-building archaic components, word-building - morphological, etc. The typology of archaic vocabulary, mainly developed by N. M. Shansky [Shansky 1954], can be represented as follows: archaisms proper lexical, archaisms phonetic, archaisms semantic. Actually lexical archaisms are semantic doublets of words with different stylistic coloring. In the poetry of Tyutchev and Pushkin, for example, they are represented by the following words: brush-no, brush (1-1), sackcloth (1-1), kov (10), krin (1-0), mite (1 - lept- 1), abode (8-26), thief (1-0), hope (1-0), hope (2-6) and some. others
Brasno - dishes, food, food:
Not a flatterer's hand is kindled, A fragrant anemone and krins Pour on the aroma of brushes ... (Tyutchev. Letter from Horace to the Maecenas, in which he invites him to a rural dinner).
Brashna - dishes, dishes:
Three young knights are sitting; Silent behind the empty ladle, Forgotten round cups, And the brush is unpleasant to them. (Pushkin. Ruslan and Lyudmila).
Brasnik - the manager of the feast:
Elder Nestor today, the venerable Brashnik, having taken the goblet, rises And the vessel, entwined with ivy, He gives to Hekabe. (Tyutchev. Wake).
Sackcloth - poor clothes:
Victim of revenge - buy a friend. Purple is sackcloth at a price. (Tyutchev. Song of Joy. From Schiller).
Pushkin does not find this lexeme.
Kov - conspiracy, malicious intent:
The king's son dies in Nice - And from him they build a cove for us ... (Tyutchev. The king's son dies in Nice.).
Pushkin does not have this word.
Mite - a feasible donation:
Here she is - that simple old woman. What brought, baptized and sighing, A bundle of firewood,
like a mite, to the fire. (Tyutchev. Gus at the stake).
Wed Pushkin (about a negligible amount):
Widow Clicquot or Moet Blessed wine In a bottle frozen for the poet On the table immediately brought. ... for him. The last poor mite used to be Give, I ... ("Eugene Onegin").
Why did Pushkin use this word in the masculine gender? According to dictionaries, a mite (it was in this form that the lexeme was used in the Old Russian language) is “a small copper coin”, and for Pushkin it is the same as a penny.
In Pushkin's language, we will not find many archaisms used by Tyutchev, including lexical ones proper; cf .: larvae (in Roman mythology - the souls of the untimely dead or those who died a violent death, wandering at night in the form of ghosts), fitting - a type of weapon (for Tyutchev - a symbol of intimidation), the already mentioned brashnik (for Tyutchev - "feast manager").
Tat is a thief, a robber:
What songs in that country... where this thought, having lost direct paths, wanders through the back streets of tatem, Hiding from rude watchmen. (Tyutchev. What songs, my dear.).
In Pushkin's language, the word thief is not used, while the word thief is used quite often (48 times).
Hope, hope - hope (hope) for the obligatory fulfillment of one's aspirations:
O victim of a reckless thought, You hoped, perhaps, That your blood would become meager, To melt the eternal pole! (Tyutchev. December 14, 1825); I learned a new sadness; For the first I have no hopes, And I feel sorry for the old sadness. (Pushkin. Eugene Onegin).
As varieties of proper lexical archaisms, we consider lexical-word-forming and lexical-morphological archaisms. Lexical and derivational archaisms are the most significant group of archaisms in terms of quantitative composition in the language of the poetry of Tyutchev and, possibly, Pushkin. Hi-
Here are some examples indicating the word forms used (first by Tyutchev, then by Pushkin):
magnanimous (1-0), treacherous (1-0), head (1-0), uplift (1-1), question (1-10), resurrection (1-0), resurrect (1-0), lie -titsya (1-0), revolving (1-0), friendship (123), rusty (1-8), slander (1-7), plaything (1-4), foreign land (1-9), show ( 1-8), surround (1-0), scorner (1-0), bringer (1-0), provider (1-0), compete (1-0), competitor (0-1), mystery (1 -0), deceased (2-6), etc.
Most of these words belong to monosemic vocabulary and are common to Tyutchev and Pushkin. But here we will consider only the vocabulary found in Tyutchev.
Magnificent - magnificent, shining with beauty:
Let the splendid pillars, Masses of temples gilded, Seduce the greedy gaze of the senseless crowd. ("Message of Horace to the Maecenas...").
Treacherous - endowed with the properties of a treacherous (Tyutchev does not have an adjective treacherous):
Right-ruling Kronid terribly takes revenge on the treacherous - And his family and home. ("Commemoration").
Heading - the front part of the grave, where the head of the coffin is located:
And over the open grave, At the head, where the coffin stands, The learned pastor, dignitary, speaks the funeral speech. (“And the coffin is already lowered into the grave.”).
Rise up - ascend:
And the Spirit in me, having revived, rose up And soared towards the sun like an eagle... (“Shipwreck. From Heine”).
To revolve - to revolve, to move non-stop. Rotating - non-stop rotating:
And quickly, with miraculous speed, The globe revolves around. ("From Goethe's Faust"); .And in the course of revolving times, Like a drop in the ocean, He plunged into eternity! ("For the New Year 1816").
PLUZHNIKOVA DIANA MIKHAILOVNA - 2013
The theme of education is one of the "eternal" themes in Russian literature. Its relevance is caused by the fact that education, upbringing is the basis of the life path of every person. Thus, writers of both the 18th and 19th centuries addressed this topic, for example, D. A. Derzhavin and I. S. Turgenev.
Vices, delusions, the essence of the life of local, provincial nobles are collected in the image of Mitrofanushka, the hero of Fonvizin's play "Undergrowth".
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His upbringing is related to the environment in which he grew up: ignorance, greed and arrogance. Mitrofan does not even know how to read, but he does not complain about this, because, as he knows from his mother, the inability to read is a feature of a real nobleman. Fonvizin's work, like Nekrasov's poem, is devoted to the topic of education, but the comedy "Undergrowth" is designed to expose the essence of the nobility - "stupidity", "coldness", "pomp" of its representatives, while the poem "Schoolboy" praises the desire of rural residents for education from the earliest years.
The theme of education is also touched upon by I. S. Turgenev "Fathers and Sons". So, main character works, Evgeny Bazarov represents a new generation, although brought up in conservative-minded families, but committed to completely different views. Bazarov learned about new ideas for that time about the structure of the world, about life itself at the university, which is why he stands out so much both among the representatives of his family and among the Kirsanovs: they all do not understand the views of Evgeny the nihilist, but one of the conservatives is trying to come to terms with new generation, and someone - to fight with all his might. In the work of I. S. Turgenev, in contrast to Nekrasov's poem, another side of the topic of education is considered: it is important for Turgenev to show the role of education in choosing a life path for a person, and for Nekrasov - to convince people of the need for education.
Thus, the topic of education, raised over the centuries, can undoubtedly be called one of the most burning topics in literature.
Updated: 2017-05-28
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Motherland!? Everyone talks about it, but what is meant by this word. The real Motherland is a place where a person feels himself a part of this place. This is a country where a person seeks to return, regardless of age and circumstances. Motherland is the corner that we strive to preserve, protect, preserve. Where we feel good and free. Where we can be ourselves. Protecting and loving the Motherland is the duty of every person. And it is not nationality or place of residence that determines this, but inner feelings.
Each person has the right to be proud not only of his Motherland - the country of which he is a citizen, but also of his Small Motherland - the area in which he lives: his city or village. It is necessary to feel with your heart that this is the most dear and will remain with him for life, be proud of her and love her. This feeling of empathy is especially vividly expressed by poets.
Purpose: consideration of the image of the motherland - Russia in the poetry of Russian poets.
Set tasks:
analyze poetry
conduct a brief study of the relevance of this topic for the modern generation using a survey
reflect the personal perception of the Motherland
Methods:
study and analysis of literature
description
questioning
Object of study: the work of Russian poets.
Subject of research: the theme of the motherland in the works of poets.
The hypothesis put forward: poems about the Motherland are needed by the modern generation.
The relevance of the topic: the need to instill the love of modern youth for their homeland. It is important to modern generation saw her beauty through poetry and skillfully defended her interests.
To write the work, I studied the literature:
1. "And I will respond to you in a song." Collection of poems by Sergei Yesenin Moscow, "Moscow Worker", 1986
2. L. P. Belskaya. Song word. Poetic mastery of Sergei Yesenin Moscow, Enlightenment, 1990
3. Russian Soviet literature. Reader, grade 10, parts 1 and 2 Moscow, Enlightenment, 1987
Stage I: preparatory - determined the goal, tasks
Stage II: work planning - selected the literature, analyzed the literature, determined the method of presenting the results
Stage III: research - compiled the questions of the questionnaire, conducted a survey of classmates
Stage IV: results and conclusions - presentation, analyzed the information and made conclusions
Stage V: speech - spoke at a school conference
The practical significance of my project is the performance at the classroom hour, the formation of love for the Motherland among the modern generation.
Reflection of personal perception of the Motherland
1.1 My Motherland - Russia
This is the name of our country (Russia or the Russian Federation).
Russia is the largest country in the world. Look at the map. No state has such a large territory and such a long border. The borders of Russia pass both by land and by water.
There is a lot of blue on the map (Appendix I). These are rivers, seas and lakes. Our country is very beautiful and rich. And what beautiful cities there are in our country. (Appendix II).
Moscow is the capital of Russia, the largest city in the state, as well as industrial, political, cultural and science Center(one of the most important in the world). It is located in the European part of the country, on the Moscow River, between the Volga and Oka rivers. The capital is the main city of the state, country. And the symbol of the capital of our state with you is (Kremlin). And above the Kremlin, the state flag is flying - a symbol of the state.
1.2 Acquaintance with state symbols
Each country has its own coat of arms, flag and anthem. They are state symbols. The word "symbol" in translation means a sign, a password, a signal.
The coat of arms is a distinctive sign of a state, city, clan, depicted on flags, coins and other official documents (Appendix III).
The golden double-headed eagle is depicted on a red background. The eagle clutches a scepter with its right paw. In his left paw is a power. Above the eagle's heads we see crowns. The scepter is a wand adorned with intricate carvings, gold and precious stones.
The orb is a golden ball with a cross at the top.
On the chest of the eagle is placed a red shield with the image of a rider. This is St. George the Victorious. He is on a white horse. A blue cloak develops behind his shoulders. IN right hand he has a silver spear that helped him defeat the dragon. Horrible. The black snake is a symbol of evil. He is a hero. The faithful horse of the warrior tramples the dragon with its hooves.
The coat of arms of Russia symbolizes beauty and justice, the victory of good over evil.
Another important symbol of our state is the flag.
The flag (Appendix IV) of our country also has its own history. Many centuries ago, instead of a flag, people used a pole, tied bunches of grass, branches or a horse's tail to its top. It was called the banner.
Then banners began to be made of fabric. An oblique red wedge was attached to the shaft. The banner developed in the wind, giving courage and confidence to the soldiers.
Then they began to depict saints on the cloths - “signs”. So the word "banner" appeared. The banners then were of different colors. They were decorated with rich patterns.
Our Russian flag is tricolor. Color has a special meaning. White means peace and purity of conscience, blue means the sky, fidelity and truth, red means fire and courage.
August 22 is celebrated in our country as the day of the State Flag of the Russian Federation.
Often at holidays, military parades, we hear a solemn song called a hymn. Anthem (Appendix V) is a solemn song performed on special, most important occasions.
1.3 Ugra land is my homeland (Appendix VI)
I live in the city of Nizhnevartovsk, which is located in the northwest of Siberia. My parents work here, I went to first grade here, I live and study here, I go in for sports. I dedicate my sports successes in table tennis to my city - my small Motherland. (Annex VII)
Severe frosts, impenetrable swamps, mosquitoes, midges. Life itself is overcoming. Previously, there were no good roads, sidewalks in the city, garbage was everywhere. Today the city is changing for the better. The townspeople plant various trees here every year to make it more green. Many beautiful lawns, high-rise buildings and fountains appeared; for example, Komsomolskoye Lake became its attraction. Now it is the best place for citizens to relax. In the mornings, people who care about their health jogging around it, in the evenings, couples in love and young mothers with their babies walk around, enjoying the beautiful scenery.
1.4 Russian poets about the Motherland
Only true patriots can love and glorify their Motherland. Such patriots were A.S. Pushkin, M.Yu. Lermontov, S.A. Yesenin, I.A. Bunin and other Russian poets.
A.S. Pushkin in his poems speaks of the power of Russia: (Appendix VIII)
Is Russia strong? War and pestilence
And rebellion, and external storms pressure
She was shaken madly.
Look, everything is worth it!
On her Great Future:
“Holy Russia… My Russia:
The meek face, the halo martyrs ...
I believe the righteous Messiah
He will repay your suffering!”
M.Yu. Lermontov sang the immensity and beauty of his native land: (Appendix IX)
But I love - for what, I don’t know myself,
Her steppes are cold silence,
Her boundless forests sway,
The floods of her rivers are like seas.
S.A. Yesenin loved his people and was devoted to him and his homeland, and expressed this in the poem “Goy you are my dear Russia”: (Appendix X)
If the holy army shouts:
"Throw Russia, live in paradise!"
I will say: "There is no need for paradise,
Give me my country."
1.5 Poets of Ugra about Motherland
The main motive of the lyrics of poets - northerners is the native nature of the harsh land, its wealth:
V.N. Kozlov
Our Motherland - Yugra
We live with you in Ugra!
There is no more free and kind
And richer than the land
than native land.
We must protect her
Like your native language.
And love and respect
Like your own mother.
Sergey Trokhimenko
Despite the bitter cold
All the hardships and fatigue.
Nizhnevartovsk, bright city,
It was built for everyone's enjoyment.
In years, he is very young,
Sweet and kind hearted.
Monument at the entrance to the city,
Gently we call - "Alyosha".
How do they know the Motherland in the family?
These questions are in my questionnaire for my classmates and their parents.
(Appendix XI, XII, XIII)
An analysis of the answers to the questionnaires showed that the children know little about their homeland in the poetry of Russian poets and very little about the poetry of Yugra poets.
(Appendix XIV, XV)
Elena Ivanovna organized an open lesson in literature, on the topic "Motherland and its image in the poetry of Russian poets", where I read poems about the Motherland. The poetess Alexandra Darina was invited to the lesson. A. Darina read her poems about Russia.
The article presents a small selection of poems devoted to the theme of poetry and the fate of the poet, and their brief analysis. This selection will help graduates taking the exam in literature when writing a detailed answer in task 16, where it is necessary to compare the given passage from the lyrical text with other poems with similar themes and quote them.
He is haunted by blasphemy:
He catches the sounds of approval
Not in the sweet murmur of praise,
And in the wild cries of anger ...
Nekrasov's poem is built on antithesis. The first part is devoted to poets who do not touch on topical, topical topics, do not use satire in their work and, thus, find a large number of admirers of their work: “And his contemporaries are preparing a monument to him during his lifetime ...”. The second part of the poem reflects the creative life of a rebel poet, one who writes sharply, sincerely, does not try to please. He remains honest with his readers and, above all, with himself, and in his works he shows the truth of life without embellishment. Despite the fact that such a poet does not find recognition during his lifetime (“And every sound of his speeches produces harsh enemies for him”), Nekrasov notes that after his death, great works will be understood and appreciated even by those who previously criticized them. Thus, the author of the poem reflects the following point of view: a brilliant poet is a person who is not afraid to express his civic position in poems, is not afraid of being misunderstood and does not strive for fame, and who sees the meaning of his life in the opportunity to speak through his creativity.
Mayakovsky "An Extraordinary Adventure ..."
I will pour my sun
and you are yours
poems.
The author depicts a dialogue between the poet and the sun, thereby, as it were, likening a person who creates poems to a luminary that sheds light on the earth. The poet, just like the star, dispels the darkness, but only does it in the soul of each individual reader. Mayakovsky's message is important: it is necessary to work hard and hard, and then the creations can become for people the same sunlight that warms and illuminates the life path:
Shine always, shine everywhere
until the days of the last bottom,
shine - and no nails!
Here is my slogan and the sun!
Tvardovsky "The whole essence is in one single testament ..."
I'm worried about one thing in life:
About what I know best in the world,
I want to say. And the way I want.
In most of his poems, Tvardovsky urges people to always be honest, to say only what they think. He portrayed contemporary life and a Russian man with an open soul. The lyrical work "The whole essence is in one single testament ..." was no exception, but here Tvardovsky draws attention to the special purpose of the poet. The only purpose of creativity for him is the expression of thoughts and feelings through his lines. The creator must speak openly and directly, without lies and falsehood - this is the only possible condition for the existence of art. The work is built as a monologue-declaration, that is, as a declaration of one's own truth, which for the lyrical hero is an indisputable truth.
Pushkin "Poet"
But only the divine word
It touches the sensitive ear,
The soul of the poet will tremble,
Like an awakened eagle.
In Pushkin's view, the poet is a sublime, heavenly creature - this is exactly how Alexander Sergeevich describes him in his works. Therefore, at the beginning of the poem, the life of the creator in the ordinary world is reflected, in which there is no place for lofty ideas and dreams. He suffocates and feels worthless, being part of this routine and prosaic life: "And among the children of the insignificant world, perhaps he is the most insignificant of all." The second half of the poem is devoted to the very moment of creativity, when the muse comes to the poet and he becomes not involved in the world of ordinary people. The author emphasizes that a creative person cannot live without inspiration, only in the presence of it does he become truly free and happy, the usual earthly life is alien to him. And it is at the moment of creating his works that he can be alone with his art.
Balmont "Higher, higher"
Higher, higher, all behind me
Enjoy the high
Get caught in my net
I sing, I sing, I sing.In the poem "Higher, Higher" Balmont described the creative process. He portrays the poet as a creator, a creator who touches the soul of everyone who reads his poem: "I touched the souls of strangers, like strings, but my strings." Another image that Balmont's metaphor suggests us is the lyricist as a musician who, with the help of words, creates a work that plays on the strings of a person's soul. The poem can also be considered as a process of reading this work: “With the flutter of sonorous wings, it fogged, intoxicated.” Indeed, with each line you read, you become more and more immersed in the artistic world of Balmont and unconsciously become a part of it yourself.
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