Features of the problems of Lermontov's works. Famous works of M. Yu. Lermontov

Mikhail Yurievich Lermontov is a unique poet. It is difficult to find a person who does not know the works of Lermontov. Their list is quite significant: from the poetic lines "The Deaths of the Poet" and "Borodino" (studied at school) to a significant event for nineteenth-century Russian literature - the novel "The Hero of Our Time."

Judging by creativity, one can not even believe that fate let him go only 27 years of his life. However, his talent and concentration on creativity allowed this man, who lived a short but bright life, to become a recognized classic. Lermontov's famous works, like a mirror, reflect his life, his mystically delineated understanding of his place in the world and his fate.

What can you expect from a man who in 1830 foretold the overthrow of the emperor in the "black year"? Who knows why at the time of his death (in a duel in the mountains) a terrible storm suddenly broke out?

Pushkin and Lermontov ...

It was he who in 1837, after the death of Alexander Sergeevich Pushkin, "the first poet in Russian Parnassus," made it possible to sense and understand to all his contemporaries that this place had not become vacant. For a short while, however, he occupied it until the fateful duel of 1841. Features of the problems of Lermontov's works were noticed by his contemporaries. If Alexander Sergeevich Vissarion Belinsky called "the poet of the inner sense of the soul," whose thoughts were first born in the soul, and then spilled into the society, then Mikhail Yurievich - a poet more socially oriented, often taking up the pen under the influence of significant phenomena in Russia.

What is the difference between Pushkin and Lermontov?

If the world view of the young Pushkin was formed in a fairly harmonious, socially stable society during the reign of Emperor Alexander I, which gave grounds for thinking about monarch's virtue, and the poet came to socially significant ideas only at the age of thirty, otherwise it was Mikhail Yurievich's outlook. We are given the opportunity to discuss the features of the problems of Lermontov's works in this way. After all, his personality was formed during the despotic rule of Nicholas I. Instead of realizing the objective reasons that led to the Senate Square of the Decembrists (meaning the pernicious influence on the Russian society of serfdom and, consequently, the social and economic backwardness of the country), the emperor-gendarme created an unprecedented Mechanism of repression. Lermontov wrote about the disturbed harmony in Russian society.

A conscious, clearly expressed protest against the reactionary policy, rejection of humiliation by the power of people - such are the features of the problems of Lermontov's works.

The first period of Lermontov's creative work

The work of Mikhail Yurievich can be divided into three stages.

The first period (from 1828 to 1832) is characterized by a clear imitation of George Gordon Byron. It was with this great Briton that Lermontov felt a personal spiritual unity.

Byron did in the period after the French Revolution, during the radical changes, the rise and fall of the state of Emperor Napoleon. The Russian poet - in a period of violent reaction after the suppression of the Decembrist uprising: the best sons of the Fatherland were executed, exiled, imprisoned.

The similarity between the works of Lermontov and Byron

Both poets were united by a rebellious spirit, a rebellious soul. Agree, it's not a topic of happiness in the works of Lermontov, not an enthusiastic young romance in the initial period of creativity is dominant. It is not by chance that the aforementioned poets compare themselves with the sailboats leaving for the stormy sea (Lermontov - "The lonely white sail grows white ...", Byron - "Stanza to the woman on leaving England").

Byron's poems (as well as the works of Lermontov), according to the characteristic given by Belinsky, are the cry of the warrior for help, but with a cry that does not implore, but a cry that is condescending. They feel the depth of feelings, the suffering of the poet-citizen, and the unrestrained desire for freedom. Imitation of Lord Byron, the singer of freedom, helped Mikhail Yuryevich learn to write brightly, naturally, captivatingly, passionately. Meanwhile, in his works, Byron's depth is traced. Analysis of the works of Lermontov, where the maturity of thought manifests itself, makes it possible to trace their consonance with the lines of the great Briton. Like Byron, he, with sad heart, assesses his generation, crushed by reaction, having no future (Lermontov - "Duma", Byron - "Childe Harold Pilgrimage").

Mikhail Yuryevich, of course, draws themes and images for himself, and also gets acquainted with the work of other great poets, for example, Pushkin and Goethe. However, it is with the legacy of the great Briton that he not only gets acquainted, but also translates ("Jewish Melody", "The Dying Gladiator"). Moreover, the well-known works of Lermontov of that period include numerous imitations (Vision, Imitation Byron, Night).

At the end of this period, the poet will come down from the path of imitation of the English classics and will follow his own poetry path. About this milestone in his work he wrote extremely clearly: "No, I'm not Byron, I'm different ..."

Further formation of a poetic gift

The second period of the poet's work is marked by his move to St. Petersburg and the arrival in the school of cavalry cadets and ensigns. On the eve of his studies he wrote the above poem "Parus", after which in his work there is an obvious lull. And this gives the right to literary critics to assert that Lermontov's famous works during his studies are not created. The young man is entirely devoted to the cadet's revelry.

The exception is, perhaps, the poem "I, the Mother of God, now with prayer." Instead of being published, the hussar cheers comrades with "applied" army poetry. Lermontov wrote quite naturally rhymed barracks jokes, songs of table music and it seems that he does not think about more. However, the originality and harmony of rhythm, freshness and accuracy of rhymes, literacy and metaphorical style, which reveal the analysis of Lermontov's works of this period, allow us to conclude that we are a fully formed poet. And to reveal this, you need a serious test.

"His talent suddenly flared up like a lit candle ..."

And yet a tragic event happened that stirred up the entire nature of Mikhail Yurievich. The news that transformed him from a reckless hussar into a citizen who felt with his heart, the herald of truth, was the announcement of Pushkin 's death. Lermontov was ill when he was informed of this loss. At the same time, he, sensing all the tragedy for Russia of this moment, was upset to the depths of his soul that many representatives of the higher world justified the assassin of Alexander Sergeevich Pushkin - Georges Dantes.

Prehistory of the creation of the "Death of the Poet"

Lermontov was outraged and poured out a "bitter heartache," that is, what felt, on paper ... This was an incomplete version of the work. But when Nikolai Stolypin (a relative on my mother's line), having started a public dispute with the poet, began to debate and prove that Dantes was a decent man, Lermontov's cup of patience was overflowing and he put a relative on the threshold . And then he went into the office, sat down at the desk, and ... flashed burning, scourging lines: "And you, arrogant descendants ..."

Hate and love in Lermontov's works have never sounded with such force! It was that work that was given to stir up Russia ... The evidence of his fame was arrest, and then the court.

The first reference to the Caucasus

Power, based on the gendarme apparatus ("blue uniforms"), long angered the works of Lermontov. The list of unreliable citizens clearly contained his last name. Now it is practically proved that, not without secret gendarmerial intrigues, his fateful duel with Martynov took place.

However, we rushed ahead in our arguments ... Let's return to 1937, to the reaction of the authorities to the poem "The Death of the Poet." Nicholas I fiercely hated Lermontov and personally watched the severity of his punishment.

Mikhail Yurievich was transferred to serve in the Caucasus. This was the first link of the poet, which, however, thanks to the efforts of her grandmother and her connections in the world was significantly relaxed and lasted only a few months.

"Mtsyri" and "Demon"

Here begins the third period of the creative genius. Impressions received from the amazing nature of the mountains were reflected in the poet's subsequent works. Thanks to the link Lermontov among the advanced Russian youth acquired a huge number of fans. When he returned to Petersburg, in the salons there he was destined for the role of a secular lion. The accumulated bitterness was looking for an outlet in poetry. Mikhail Yuryevich creates "Mtsyri" and "Demon." The new heroes of Lermontov's works, inspired by impressions from the Caucasus, attract the reader with their charisma, the desire for freedom and perfection of the spirit.

About the poem "Mtsyri" ...

According to the plot of the work captivated by the Georgians Circassian Mtsyri makes a daring and hopeless escape and for three days trying to escape from his pursuers. And the fourth one, exhausted, dying, but full of the smell of freedom, is brought back - to the monastery.

Belinsky believed that from the image of Mtsyri the reader begins to observe the peculiarities of the problems of Lermontov's works. This powerful and integral literary image of a young man who fled "at a terrible hour", "storms", when all the others, consumed by fear, were "at the altar", but also "prostrate themselves on the ground", directly contained a hint of a stifling, foul , The repressive social and political atmosphere of Russia at the beginning of the nineteenth century.

Analysis of the works of Lermontov, in the opinion of the literary critic Belinsky, demonstrates in the part of their central images the identity of the poet himself.

The clear rhythm of the strings of the chased four-legged iamba of the poem "Mtsyri", which is fundamentally rhymed only by the male endings, reflects both the richness of the pictures of the outside world and the whole bouquet of feelings of the protagonist: despair, tenderness, unyielding determination, love, meek sadness. In this poem is particularly traced as a characteristic motif of creativity loneliness in the works of Lermontov.

Lermontov's "Demon"

This theme of the isolation of the creative personality finds its logical development in the image of Demon, the hero of the same poem by Mikhail Yurievich. The very choice of the central image of the work testifies to the investing in it of a special psychological and social meaning. It is not simply by its very nature opposed to the values of the ruling stratum, but is also the "king of knowledge and freedom". In it, Mikhail Yurievich invests the dialectic of aversion to the youth of the XIX century state machine of humiliation of the individual. Lighting this image, we are not just talking about loneliness in the works of Lermontov.

This is already a philosophy embedded in the poem, a mature realization that denying and hating everything connected with a tangible world order is dangerous, that this leads to internal devastation. The tragedy of Lermontov's "Demon" lies in the substitution of his eternal values of "love, goodness and beauty" with his contrived egoistic images. How far he is from people! The inner world seems much more important to him than the "painful privations, works and troubles of the crowd of people." The latter leads to a mental crisis, and as a result - to the death of his lover - Tamara, following Demon's speeches, "full of temptation." The Demon himself, as well as before meeting with the girl, remains a creature, alien to regret and participation.

The analysis of Lermontov's works, written later, invariably shows the expansion of the consciousness invested in them by the poet, which indicates the evolution of his personality.

Love in the works of Lermontov

The theme of love in Lermontov's works sounds sublime and piercingly tragic. Unfortunately, the personality of Mikhail Yurievich was heavily influenced by his unrequited love for Varenka Lopukhina. There, where another, less solid young man, having refused, would start looking for another passion, Lermontov was principled - "either all or nothing!". And although Varenka remained his loyal and sensitive friend, an adviser, however, the poet, of course, wanted more ...

Judging by the poems, Lermontov's love is bright, high, but it is not divided. Therefore, the description of Lermontov's works by various literary critics led them to a single conclusion: this is a poet of love and sorrow. Even in the philosophical works of Mikhail Yuryevich, for example, in the poem "Duma" there is a motive of love. And what a perfect one! Listen only to the melody of the stanza: "And we hate, and we love by chance ..."

The astute grandmother of the poet, who knows him more than anyone, has noticed the special attitude of his grandson to this feeling - ideal, without halftones. The poet is convinced that there is a "different life", and the man himself was originally created for life in the aura of happiness and joy. According to his convictions, true love can not be earthly, it must be equivalent to eternal bliss. The heroes of Lermontov's works, even falling in love, extol their ego above love ("I will not abase you").

Unique is Mikhail Yurevich's interpretation of the concept of happiness. A thoughtful reader who is interested in the topic of happiness in Lermontov's works will find it in The Hero of Our Time: "Happiness is a concentrated pride!" Under these words, the poet understood such a state of one person when it becomes In the treasure of joys and sorrows for another.

His maximalism spawned a special Lermontov style of love lyrics - to counter the gray everydayness of the ideal world created by the poet's imagination. It is this creative concept that can be seen in the poems Sonnet, Valerik.

Conclusion

Features of Lermontov's works reflect the epoch-making nature of his work. It was claimed as a creative, ideological counterweight to the policy of repression conducted by Emperor Nicholas I.

Lermontov's lines contain both a denial of the existing state structure, and doubts, painful reflections on the future of Russia. In the works of Mikhail Yurievich, specific images (symbols) are created, so, strictly speaking, the Russian symbolism begins with the creativity of this classic.

At the same time, the depth of the 27-year-old poet's comprehension of the surrounding world is striking, and hence the diverse themes of Lermontov's works: reflections on the fate of the generation, loneliness and pride, unpredictable patriotism, problems of the relationship between the poet and society.

His original and non-standard personality was and remains a mystery.