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Composition

The outstanding Russian lyricist and poet Alexei Konstantinovich Tolstoy is characterized by an unusually subtle sense of beauty native nature. He knew how to capture the most characteristic things in the forms and colors of nature, its sounds and smells. The poem “Autumn” is no exception. Our whole poor garden is crumbling" (1858). The poet speaks of the “yellowed leaves” that fly in the wind, and of the bright red tassels on the withering rowan trees. It is these lines that easily fit into the memory, and the picture, colorfully depicted by the poet, appears before the mind’s eye. The most striking signs are indicated autumn time. The second half of the poem is about sad love and autumn sadness - understandable only to an adult.

Many works of A.K. Tolstoy gained wide popularity among the people and became songs. These are “My little bells, steppe flowers...”, “Oh, if only Mother Volga would run back...”, “The sun is descending over the steppes...”, etc. These and other poems express the soulful lyrical feeling, feeling of homeland.

Tolstoy's best lyric poems are psychologically specific and precise. The poet avoids romantic hyperbolism and forced tension of speech; he gravitates towards simplicity of expression of feelings, although he is not always averse to declarativeness. In some of his lyrical poems, Tolstoy conveys the clash of contradictory feelings, anxiety, and duality (“A deeply vague doubt lies deep, / And the soul is forever dissatisfied with itself...”). Expressing sincere, living feelings, his lyrics are deprived of “smoothness”, completeness and, as it were, gain the right to careless language and “bad rhymes”.

A distinctive feature of A. Tolstoy’s poetry is a sincere, intimate tone, openness lyrical voice, behind which one can discern a strong and extraordinary, but extremely modest nature. With some kind of delicate tenderness, the poet touches the intimate aspects of the soul or experiences of another person. These features largely determined the success of his love lyrics, where spiritual sensitivity and refined artistry were combined with the depth of passion and timid shyness.

Tolstoy knew how to convey the very atmosphere of tender love, the subtle interest that complete strangers and until then strangers suddenly show to each other.

Tolstoy's love, like nature, was opposed to dull, prosaic everyday life. In these experiences his soul was fully and completely expressed. But the poet had another cherished theme - Russian history, where the features dear to him national character embodied in objective images. In a reduced form, the epic element is also inherent in the poet’s lyrical poems. The very introduction into a lyric poem of not only the bearer of emotion (“I”), but also of another consciousness (the lyrical character) presupposed the plot and partly the dramatization of lyrical genres.

Tolstoy occupies a unique place in Russian love poetry. His love lyrics, especially from the 1850s, paint the image of a man of exceptional moral integrity. His healthy and strong nature is alien to the later paralysis of will and doubt; he is characterized by strength of soul, reliability and strength. “I stand safe and strong!” - the poet wrote. Tolstoy saw love as the main principle of life. Love awakens creative energy in a person. This vital force of love, inherent in all existence, gave the poet’s love lyrics a bright, victorious tone and optimistic intonations, which Tolstoy himself considered hallmark of his poetry. An example of this is the poem “A tear trembles in your jealous gaze...” (1858).

The poem is notable for the fact that, written in stanzas consisting of five lines, it embraces all the basic elements of life - nature, love, beauty. In response to a silent complaint loving woman, dissatisfied with the man’s coldness (“A tear trembles in your jealous gaze...”), her lover explains his attitude towards her not by betrayal (“Oh, don’t be sad, you are all dear to me...”), but by a state of mind not satisfied with limitations earthly love and thirsty for unearthly spaces:

But I can only love in open space,
My love, wide as the sea,
The shores cannot contain life.

The comparison of love with the sea, with its vastness and inexhaustibility, runs through all of Tolstoy’s lyrics. For the poet, love is a joyful and voluntary limitation of one’s freedom. In bitter moments, when he declares his “specialness,” when he is separated from his beloved, he perceives this as “betrayal.” In the poem “Don’t believe me, friend, when in excess of grief...” he writes about the temporary state of the soul, comparing his “betrayal” with the “betrayal of the sea” “at low tide.” A new impulse of love is perceived as a general law of life, as a natural property of the sea element:

And the waves are already running with the opposite noise
From afar to your favorite shores.

The divine plan for the creation of the world included love as an all-unifying and all-creating force, but limited the omnipotent action of love on earth:

When Verbs are creative power
Crowds of worlds called out from the night,
Love illuminated them all like the sun...

Adhering to the “romantic dual world,” Tolstoy, unlike Fet, believed that a person perceives nature not as a whole, but as separate pictures or reflections of unearthly pictures that do not create beauty in its totality and unity:

And, separately looking for them greedily,
We catch a glimpse of eternal beauty...

Not only beauty, but also all other principles of existence, including love, are “fragmented” on earth and cannot merge together:

And we love with a fragmented love...
. . . . . . . . . . . . . . . . . . . . . . .
And we won’t merge anything together.

Such limited, narrow love does not satisfy the poet, because he feels in his soul a different love, superior to earthly love, which does not abolish sensual, carnal love, but includes it in all-human love as the principle of existence, laid by God as the foundation of the universe. It is with such boundless, immense love, impossible on earth, but possible in the future, overcoming earthly “grief,” that the poet loves his beloved, without separating love for her from love for all things:

But don’t be sad, earthly grief will blow,
Wait a little longer, bondage won’t last long -
We will all merge into one love soon,
In one love, wide as the sea,
What the earth's shores cannot accommodate!

These unlimited romantic desires, which overcome both the laws of the earth and the forces of earthly man, reveal in Tolstoy a poet who is not satisfied with the present, who despises the mediocre, the standard, and is always, in his impulse, turned to the ideal in man and in life.

Questions and tasks

Tell us about life and creative path A.K. Tolstoy.
Name the main themes of the poet’s work.
What are they distinctive features his poetry?
What genres did A.K. Tolstoy cultivate? Briefly tell us about each of them.
Compare the lyrics of A.K. Tolstoy and A.A. Fet. How did they understand the main principles of life - beauty, love, freedom? How was nature embodied in their poems? Find common and different features by comparing individual poems you know.
What is A.K. Tolstoy’s attitude towards Ancient Rus'? How was it expressed in the ballads you previously read? In what genres was the historical theme embodied by A.K. Tolstoy?
Give an analysis of one of the poems about nature and love.
Tell us about the satirical works of A.K. Tolstoy.

Love in Nekrasov: The theme of love is resolved in Nekrasov’s lyrics in a very unique way. It was here that his artistic innovation was fully demonstrated. Unlike their predecessors, who preferred to portray love feeling“in beautiful moments,” Nekrasov did not ignore that “prose” that is “inevitable in love” (“You and I are stupid people...”). However, in the words of the famous Nekrasov scholar N. Skatov, he “not only proseized the poetry of love, but also poeticized its prose.”

It is natural to focus on the “Panaev cycle”. Avdotya Alekseevna Panaeva is the main addressee of Nekrasov’s intimate lyrics. Relations with Panaeva became the theme of many of Nekrasov’s poems, created over almost ten years. This is a real novel in verse, which reflects various moments in the life of the lyrical characters. Precisely lyrical ones. Nekrasov himself saw in his poems not just a poetic appeal to a certain woman, but attached much greater importance to them. He published these poems in magazines, which means he deliberately made them the subject of poetry, a common property. We can say that the poems in the cycle are deliberately asocial, devoid of any specific details and hints. In the foreground here is the psychological motivation, the depiction of the feelings and experiences of the heroes, like Tyutchev’s, “the fatal duel.” He is a reflective person, prone to suspiciousness, suspicion, despondency, and bitterness. But at the center of the “Panaev cycle” is she. And it was in creating the character of the heroine that Nekrasov’s innovation manifested itself. This character is completely new, and besides, it is “given in development, in various, even unexpected, manifestations, selfless and cruel, loving and jealous, suffering and making one suffer” (Skatov). motives for the quarrel (“If, tormented by rebellious passion...”, “You and I are stupid people...”); parting, separation (“So this is a joke? My dear...”, “Farewell”) or their premonitions (“I don’t like your irony...”); memories (“Yes, our life flowed rebelliously...”, “Long ago, rejected by you...”); letters (“Burnt Letters”) and others. “Panaev’s” poems are characterized by a certain pairing (cf., for example, “It’s been a difficult year - an illness has broken me...” and “A heavy cross has come my way...”, “Forgive” and "Farewell")

Thus, the poems of the cycle are united not only by a common content, but also artistic features: end-to-end images and details; “nervousness” of intonation, conveying almost “Dostoevsky” passions; fragmentation, indicated in writing by the ellipses that end many poems.

Speaking about the most famous Nekrasov cycle, one cannot do without comparing it with Tyutchev’s “Denisiev cycle”. Like Tyutchev, Nekrasov’s love is almost never happy. Motifs of suffering, the “illegitimacy” of love, and “rebellion” permeate both cycles and thereby unite - in intimate lyrics - two such different poets.

In conclusion, let us return once again to the question of the innovation of Nekrasov’s love lyrics. It consists not only in the novelty of the content (“prose of life”), but also in the fact that the poet finds an appropriate way to depict “non-poetic” phenomena. art form: colloquial speech, prose, innovative versification.

Main motives and genre originality lyrics by A.K. Tolstoy.

His ideas about poetry, its place in human life, the purpose, and nature of poetic creativity developed under the influence of idealistic ideas. The highest manifestation of the beauty of life for T. was love.

One of the manifestations higher love is earthly love, love for a woman. A significant place in T.'s poetic heritage is occupied by love lyrics and cycles of poems associated with the image of S.A. Miller (Tolstoy). These are works such as “Among the noisy ball”, “The sea sways”, “Don’t trust me, friend”, “when the forest is silent all around”, etc.

For T., not only the world of human feelings, but also the world of nature is full of beauty. The hymn to earthly beauty sounds in the poem “John of Damascus.” Recreating the beauty of nature and the world, the poet resorts to sound and visual. tactile impressions. Often, especially in early works, pictures of nature in T.'s poetry were accompanied by historical and philosophical reasoning. Thus, in the famous poem “My Bells,” the poetic picture of nature is replaced by the lyrical hero’s thoughts about fate Slavic peoples. Landscape sketches are often combined in T.'s works with ballad motifs. In the poem “A pine forest stands in a lonely country,” the character of the landscape has ballad features - a night forest immersed in fog, the whisper of a night stream, the unclear light of the moon, etc.

The world of beauty is contrasted in his poetry with the world of secular prejudices, vices, the world of everyday life, with which T., like a warrior, but with a good sword, enters into battle. The motives of open opposition to the evil of the surrounding world are heard in the poems “I recognized you as holy convictions”, “The heart, flaring up more strongly from year to year”, etc.

The poet had a bright humorous and satirical gift. One of the significant successes in humor was the image of Kozma Prutkov he created (“Letter from Corinth”, “To my portrait”, “Ancient plastic Greek”). He ridiculed everything that, from his position, violated the laws of naturalness, freedom, beauty and love. Therefore, some works were

directed against the so-called democratic camp, others against official government circles.

A significant place in the poetic heritage of T. is occupied by historical ballads and epics. The poet idealizes the pre-Mongol period of the history of the Fatherland, sees in it an expression of the valor of the people, a manifestation of moral freedom, a democratic, fair state structure (“The Song of Harald and Yaroslavna”).

A.K. Tolstoy invariably laughed at nihilism - in the poem “Sometimes on Merry May...” (“Ballad with a Tendency”), the poet ridiculed “false liberalism” with its desire to “humiliate the high”: a blooming garden needs to be sowed with turnips, nightingales need to be exterminated for being useless, a shady shelter needs to spoil what is fresh and clean in it.

It is love that lifts a person above the mediocrity of everyday existence, freeing his soul (“Me, in the darkness and dust…”). Love, like creativity, transforms a person and the world, introduces the hero to the harmony of the world. We find the same motives in the dramatic poem “Don Juan”, where the spirits talk about love:

The artist - and just a person - from A.K. Tolstoy is distinguished by the desire for the ideal, the constant feeling of its presence in the world. This motif is easy to notice in the poem “Darkness and fog obscure my path...”:

A noticeable motif in the lyrics of A.K. Tolstoy - a memory. As a rule, this motive sounds traditionally elegiac and is associated with “lost days” (“Do you remember, Maria ...”), “bitter regrets” (“Silence descends on the yellow fields ...”), past happiness (“Do you remember the evening how the sea rustled..."), loneliness ("I'm sitting on a steep cliff by the sea..."), "the morning of our years" ("That was in early spring...").

Hence another motive in the poetry of A.K. Tolstoy - the motive of desolation, destruction and decline of estate life, dear and invariably valuable to our poet. (Empty house)

About the same poems “The bad weather is noisy outside...”, “I greet you, devastated house...”, and in the poems “Our path is hard, your poor mule...” and “Where is the bright key, going down...” the motif of destruction is complicated by the traditional general theme the destruction of entire civilizations (the last three poems are included in the “Crimean Sketches” cycle).

26. “Denisevsky cycle” in the works of F.I. Tyutchev's innovation of poetic principles. Features of the figurative system.

The image of muse-poetry.

The cycle has been forming since the early 1850s. Lear's heroine is Elena Aleksandrovna Denisyeva.

Fatal love, sweeping away all barriers and prohibitions.

Love is a fatal duel (Predestination). Tragic grotesque. Predestination

The cycle creates an image of double existence, this is a cross-cutting moment in T.’s work.

Tyutchev became interested in E. A. Denisieva in 1850. This late, last passion continued until 1864, when the poet’s girlfriend died of consumption. For the sake of the woman he loves, Tyutchev almost breaks with his family, neglects the displeasure of the court, and forever ruins his very successful career. However, the brunt of public condemnation fell on Denisyeva: her father disowned her, her aunt was forced to leave her place as inspector of the Smolny Institute, where Tyutchev’s two daughters studied.

These circumstances explain why most of the poems of the “Denisevsky cycle” are marked by a tragic sound, such as this:

Oh, how murderously we love,

As in the violent blindness of passions

We are most likely to destroy,

What is dear to our hearts!

In the poem “Predestination” (1851), love is conceptualized as a “fatal duel” in the unequal struggle of “two hearts,” and in “Twins” (1852) - as a disastrous temptation, akin to the temptation of death:

And who is in excess of sensations,

When the blood boils and freezes,

I didn’t know your temptations -

Suicide and Love!

Until the end of his days, Tyutchev retained the ability to revere the “unsolved mystery” of female charm - in one of his later love poems he writes:

Is there an earthly charm in her,

Or unearthly grace?

My soul would like to pray to her,

And my heart is eager to adore...

"Denisevsky cycle" - artistic expression spiritual drama. In it, love appears in various guises: as elevating a person spiritual feeling, like a powerful, blind passion, like a secret feeling, a certain element of the night, reminiscent of ancient chaos. Therefore, Tyutchev’s theme of love sounds like “the union of the soul with the dear soul,” sometimes as anxiety, sometimes as a warning, sometimes as a sorrowful confession.

Burning with love, the poet suffered, dooming his beloved to suffering. At that time, the cohabitation of an unmarried couple was a scandalous matter. Elena's father disowned her, and her aunt lost her post at the Smolny Institute. Their children were labeled as “illegitimate.” Having failed to protect his beloved woman from “human judgment,” the poet addressed a bitter reproach to himself:

Fate was a terrible sentence Your love was for her, And an undeserved shame She laid down on her life.

Elena did not like poetry at all, even those written by Tyutchev. She only liked those that expressed his love for her. Tyutchev with the utmost frankness defined his role in the life of the woman he loved. Tyutchev's understanding of love in these years is bleak. He sees an inexorable law operating in human relations: the law of suffering, evil and destruction:

The union of the soul with the dear soul - Their connection, combination,

AND their fatal merger,

AND fatal duel...

Passions are blind, there is a dark element in them, chaos, which the poet saw everywhere. But not only love itself is destructive. It is also destroyed by those who condemn, and thereby desecrate the “lawless” feeling. These guardians of legalized morality trample into the mud the feelings of Tyutchev’s beloved woman. But he cannot fight this, he blames, reproaches himself, but remains powerless in front of his accusers. She fights and wins the battle with the crowd, managing to preserve her love. Tyutchev never ceases to be amazed at the power of her love and devotion. He writes about this again and again.

Oh, how in our declining years we love more tenderly and more superstitiously...

Shine, shine, farewell light of the last love, the dawn of the evening!.. Let the blood in your veins become scarce.

But there is no shortage of tenderness in the heart...

O you, last love!

You are both bliss and hopelessness.

Finally, that “fatal” outcome of events is approaching, which Tyutchev had foreseen before, not yet knowing what could happen to them. The death of a beloved woman comes, experienced twice - first in reality, and then in poetry. Death is depicted with frightening realism. There are so many small, clearly drawn details in the poem that the room where the dying woman lies, and the shadows running across her face, and the summer rain rustling outside the window clearly appears before the eyes. A woman who loves life infinitely is fading away, but life is indifferent and dispassionate, it continues to boil, nothing will change with the departure of a person from the world. The poet is at the bedside of a dying woman, “killed but alive.” He, who so idolized her, his last love, who suffered for many years from human misunderstanding, was so proud and amazed at his beloved, now can do nothing, unable to bring her back. He still does not fully understand the pain of loss, he has to go through all this.

All day she lay in oblivion, And shadows covered her all,

The warm summer rain was pouring - its streams sounded cheerfully through the leaves,

AND she slowly came to her senses,

AND I started listening to the noise...

“Oh, how I loved all this!”

On August 7, 1864, Elena Denisyeva, who died on August 4 from consumption, was buried. A revolt against death was bubbling in Tyutchev. He called the death of his first wife Eleanor and the death of Elena Deniseva “the two greatest sorrows.”

You loved, and the way you love -

No, no one has ever succeeded!

Oh Lord!.. and survive this...

And my heart didn't break into pieces...

Alexey Konstantinovich TOLSTOY

About love

Known for his historical dramas in verse and satirical works, one of the creators of the famous Kozma Prutkov, A.K. Tolstoy was also a soulful lyricist. Songs based on his words “If only I knew, if only I knew”, “My bells, steppe flowers” became popular.

The love lyrics of A.K. Tolstoy are entirely connected with the name of his wife - Sofia Andreevna Bakhmeteva (in her first marriage - Miller). Deep and long-term love appears in these lyrics in a romantically sublime coloring. The beloved is depicted as an object of admiration and worship, as a high ideal. Therefore, in the poems dedicated to her, there are almost no everyday details or episodes from which one could reconstruct true story their relationships, as can be done from the poems of Nekrasov, Tyutchev, Ogarev. There are no psychological conflicts in them either. They represent the high, poetic, but almost unchanged feeling of the poet himself.

Among noisy ball, casually,
In alarm of wordly vanity,
I have seen you, but secret
Your coverlets of line.

Only eyes it is sad looked,
And the voice so marvelously sounded,
As a ring of a remote pipe,
As the seas a playing shaft.

Your camp was pleasant to me thin
And all your thoughtful kind,
And your laughter, both sad and sonorous,
Since then in my heart sounds.

At o'clock lonely nights
I love, tired, to lie down -
I see sad eyes,
I hear cheerful speech;

And I am sad so I fall asleep,
And in dreams unknown I sleep...
Whether I love you- I don't know
But it seems to me that I love!

Dmitry Hvorostovsky - Among the noisy ball

PETER NALCH IN THE CDA - ROMANCE "AMID A NOISY BALL..."

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Introduction

1. Love theme

2. Nature theme

3. Satire and humor

4. Theme of Russian history

Conclusion

Bibliography

Introduction

Alexey Konstantinovich Tolstoy (1817?1875), Russian poet and writer. Born on August 24, 1817 in St. Petersburg. A personal friend of Alexander II, he refused the offer to become the Tsar's adjutant and decided to take the position of manager of the court hunt. The writer is known for ballads on themes of Russian history, the historical novel “Prince Silver” (1863) from the time of Ivan the Terrible, and the dramatic trilogy (1866?1870) “The Death of Ivan the Terrible,” “Tsar Fyodor Ioannovich” and “Tsar Boris.” The last two plays were for a long time prohibited by censorship, since in the drama “Tsar Fyodor Ioannovich” Tolstoy portrayed tragic fate a simple-minded king: wanting to do good, but unable to understand the confused politics of his time, he brings disaster to everyone he would like to help.

Tolstoy was a convinced Westerner and opposed the free and civilized existence of Kievan Rus as part of Western world the cruel tyranny of Ivan the Terrible and Muscovite Rus', which reached his days. Among him the most important poems-- “John of Damascus,” where freedom of art is affirmed, and “Dragon,” from the life of revived Italy. Tolstoy is the author of a number of satirical works, including a comic history of Russia, which ridicules the Russian longing for order, and the poem “The Bogatyr Stream,” which castigates both Moscow tyranny and radical absurdity modern days. In the same derisive vein, Tolstoy and his cousins, Alexey, Vladimir and Alexander Zhemchuzhnikov, wrote under the collective pseudonym “Kozma Prutkov.” Prutkov was portrayed as an extremely narrow-minded bureaucrat who fancied himself a writer; the bad taste of his poems and general impenetrable stupidity should have become a satirical barrier to the literary claims of numerous small writers extolled by his contemporaries.

Tolstoy was severely criticized for not joining any of the public directions of his time; however, the humanity, lofty ideals and aesthetic merits of his works provide him with a worthy place in Russian literature.

1. Love theme

The theme of love occupied a large place in Tolstoy's work. Tolstoy saw love as the main principle of life. Love awakens creative energy in a person. The most valuable thing in love is the kinship of souls, spiritual closeness, which distance cannot weaken. The image of a loving, spiritually rich woman runs through all the poet’s love lyrics.

The main genre of Tolstoy's love lyrics were poems of the romance type.

Since 1851, all the poems were dedicated to one woman, Sofya Andreevna Miller, who later became his wife, she was A. Tolstoy’s only lifelong love, his muse and first strict critic. All of A. Tolstoy’s love lyrics since 1851 are dedicated to her.

At the same time, it is curious that this feeling has already been influenced by the public mood, formed largely by the democratization of the spiritual life of Russian society. That is why the heroine of A. K. Tolstoy’s love lyrics, despite the fact that she was a completely independent woman with a fairly strong character and will, appears in the poems as a person who has endured a lot, in need of sympathy and support. This was reflected not only in the poems, but also in the poet’s letters.

The poem “Among the Noisy Ball,” thanks to Tchaikovsky’s music, turned into famous romance, which was very popular in both the 19th and 20th centuries. literature Tolstoy writer

The work is a poetic short story in which “with almost chronicle accuracy” the circumstances of the poet’s chance meeting with a stranger who appeared in the bustle of a crowded ball are reproduced. The author does not see her face, but manages to notice the “sad eyes” under the mask, hear the voice in which “both the sound of a gentle pipe and the roar of the sea wall” are paradoxically combined. The portrait of the lady looks as vague as the feelings that suddenly take possession of the lyrical hero: on the one hand, he is worried about her mystery, on the other hand, he is alarmed and confused before the pressure of “vague dreams” overwhelming him.

2. Nature theme

A.K. Tolstoy is characterized by an unusually subtle sense of the beauty of his native nature. He knew how to capture the most characteristic things in the forms and colors of nature, its sounds and smells.

Many of A.K. Tolstoy’s works are based on descriptions of his native places, his Motherland, which nurtured and raised the poet. He has a very strong love for everything “earthly”, for the surrounding nature, he subtly senses its beauty. Tolstoy's lyrics are dominated by landscape-type poems.

At the end of the 50-60s, enthusiastic folk song motifs appeared in the poet’s works. Distinctive feature Tolstoy's lyrics become folklore.

Spring time, blossoming and reviving fields, meadows, and forests, are especially attractive to Tolstoy. Tolstoy's favorite image of nature is the “cheerful month of May.” The spring revival of nature heals the poet from contradictions, mental torment and gives his voice a note of optimism.

In the poem “You are my land, my native land,” the poet associates his homeland with the greatness of the steppe horses, with their crazy jumps in the fields. The harmonious fusion of these majestic animals with the surrounding nature creates in the reader images of boundless freedom and vast expanses of their native land.

In nature, Tolstoy sees not only undying beauty and a force that heals the tormented spirit of modern man, but also the image of the long-suffering Motherland. Landscape poems easily include reflections on native land, about the battles for the country's independence, about unity Slavic world. (“Oh haystacks, haystacks”)

Many lyrical poems, in which the poet glorified nature, were set to music by great composers. Tchaikovsky highly valued the poet's simple but deeply moving works and considered them unusually musical.

3. Satire and humor

Humor and satire have always been part of A.K.'s nature. Tolstoy. Funny pranks, jokes, tricks of young Tolstoy and his cousins Alexei and Vladimir Zhemchuzhnikov were known throughout St. Petersburg. High-ranking government officials were especially hard hit.

Later, Tolstoy became one of the creators of the image of Kozma Prutkov - a smug, stupid official, completely devoid of literary gift. Tolstoy and the Zhemchuzhnikovs compiled a biography of the fictitious would-be writer, invented a place of work, familiar artists painted a portrait of Prutkov.

On behalf of Kozma Prutkov, they wrote poems, plays, aphorisms, and historical anecdotes, ridiculing in them the phenomena of the surrounding reality and literature. Many believed that such a writer really existed.

Prutkov's aphorisms went to the people.

His satirical poems enjoyed great success. Favorite satirical genres of A.K. Tolstoy were: parodies, messages, epigrams.

Tolstoy's satire was striking in its boldness and mischief. He aimed his satirical arrows at nihilists (“Message to M.N. Longinov on Darwinism”, ballad “Sometimes on Merry May...”, etc.), and at public order(“Popov’s Dream”), and on censorship, and the obscurantism of officials, and even on Russian history itself (“History of the Russian State from Gostomysl to Timashev”).

The most famous work This topic is the satirical review “History of the Russian State from Gostomysl to Timashev” (1868). The entire history of Russia (1000 years) from the calling of the Varangians to the reign of Alexander II is set out in 83 quatrains. Alexey Konstantinovich gives apt characteristics of Russian princes and tsars, describing their attempts to improve life in Rus'. And each period ends with the words:

Our land is rich

There is no order again.

4. Theme of Russian history

The main genres in the historical lyrics of A.K. Tolstoy were ballads, epics, poems, and tragedies. These works unfold a whole poetic concept of Russian history.

Tolstoy divided the history of Russia into two periods: pre-Mongol ( Kievan Rus) and post-Mongolian (Moscow Rus').

He idealized the first period. According to him, in ancient times Rus' was close to knightly Europe and embodied highest type culture, a reasonable social order and the free expression of a worthy personality. There was no slavery in Rus', there was democracy in the form of a veche, there was no despotism and cruelty in governing the country, the princes respected the personal dignity and freedom of citizens, the Russian people were distinguished by high morality and religiosity. The international prestige of Rus' was also high.

Tolstoy's ballads and poems, depicting images of Ancient Rus', are imbued with lyricism; they convey the poet's passionate dream of spiritual independence, admiration for the integral heroic natures captured by the people epic poetry. In the ballads “Ilya Muromets”, “Matchmaking”, “Alyosha Popovich”, “Borivoy”, images of legendary heroes and historical subjects illustrate the author’s thoughts and embody him ideal performances about Rus'.

The Mongol-Tatar invasion turned the tide of history back. Since the 14th century, the liberties, universal consent and openness of Kievan Rus and Veliky Novgorod have been replaced by servility, tyranny and national isolation of Muscovite Russia, explained by the painful legacy of the Tatar yoke. Slavery in the form of serfdom is established, democracy and guarantees of freedom and honor are destroyed, autocracy and despotism, cruelty, and moral decay of the population arise.

He attributed all these processes primarily to the period of the reign of Ivan III, Ivan the Terrible, and Peter the Great.

Tolstoy perceived the 19th century as a direct continuation of the shameful “Moscow period” of our history. Therefore, modern Russian orders were criticized by the poet.

Tolstoy included images in his works folk heroes(Ilya Muromets, Borivoy, Alyosha Popovich) and rulers (Prince Vladimir, Ivan the Terrible, Peter I)

The poet's favorite genre was the ballad

The most common in Tolstoy's works literary image- this is the image of Ivan the Terrible (in many ballad works“Vasily Shibanov”, “Prince Mikhailo Repnin”, the novel “Prince Silver”, the tragedy “The Death of Ivan the Terrible”). The era of the reign of this tsar is a vivid example of “Muscovism”: the execution of undesirables, senseless cruelty, the ruin of the country by the tsar’s guardsmen, the enslavement of the peasants. The blood runs cold when you read the lines from the ballad “Vasily Shibanov” about how the servant of Prince Kurbsky, who fled to Lithuania, brings Ivan the Terrible a message from his master.

A. Tolstoy was characterized by personal independence, honesty, incorruptibility, and nobility. Careerism, opportunism and the expression of thoughts contrary to his convictions were alien to him. The poet always spoke honestly to the king's face. He condemned the sovereign course of the Russian bureaucracy and looked for an ideal in the origins of Russian democracy in ancient Novgorod. In addition, he resolutely did not accept the Russian radicalism of the revolutionary democrats, being outside both camps.

Conclusion

Alexei Konstantinovich Tolstoy remains to this day a great Russian writer of the “Golden Age” of Russian literature. Naturally, the writer made a significant, huge contribution to the development of Russian literature. He is a versatile poet, as he wrote his works, starting from any topics in which he wrote what he thinks, expressing his point of view through artistic images, techniques, etc. We have already studied some of these themes in Tolstoy’s lyrics, and many important ones at that.

Retrograde, monarchist, reactionary - such epithets were awarded to Tolstoy by supporters of the revolutionary path: Nekrasov, Saltykov-Shchedrin, Chernyshevsky. And in Soviet times, the great poet was relegated to the position of a minor poet (he was little published and was not studied in the course of literature). But no matter how hard they tried to consign the name of Tolstoy to oblivion, the influence of his work on the development of Russian culture turned out to be enormous (literature - became the forerunner of Russian symbolism, cinema - 11 films, theater - tragedies glorified Russian drama, music - 70 works, painting - paintings, philosophy - views Tolstoy became the basis for philosophical concept V. Solovyova).

“I am one of two or three writers who hold the banner of art for art’s sake among us, for my conviction is that the purpose of a poet is not to bring people any direct benefit or benefit, but to raise their moral level, instilling in them a love for beautiful..." (A.K. Tolstoy).

Bibliography

1. “Alexey Konstantinovich Tolstoy” http://www.allsoch.ru

2. “Tolstoy Alexey Konstantinovich” http://mylektsii.ru

3. “Russian love lyrics” http://www.lovelegends.ru

4. “Nature in the works of A.K. Tolstoy” http://xn----8sbiecm6bhdx8i.xn--p1ai

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