Romantic lyrics of Pushkin. The southern period in the life and work of Alexander Pushkin

Romantic lyrics of Pushkin - poems created during the southern exile. It was a difficult time for Alexander Sergeevich. In the southern exile he was from 1820 to 1824. In May 1820, the poet was expelled from the capital. Officially, Alexander Sergeyevich was only sent to a new duty station, but in fact he became an exile. The period of the southern exile is divided into 2 segments - before and after 1823. They share the crisis that occurred in 1823.

The Influence of Byron and Chien

In these years Pushkin's romantic lyrics are considered dominant. Alexander Sergeevich in the south got acquainted with the works of Byron (his portrait is presented above), one of the best poets of this direction. Alexander Sergeevich began to embody in his lyrics the character of the so-called "Byron" type. It is a frustrated individualist and an ambitious dreamer. It was Byron's influence that determined the creative content of Pushkin's poetry of the southern period. However, it is not correct to relate this time exclusively to the influence of the English poet.

Pushkin in the south was influenced not only by Byron, but also by Chenier (the portrait is presented above), who created in the system of classicism. Therefore, the work of 1820-24. Develops from the contradiction between these two directions. Alexander Sergeyevich tried to reconcile them. In his poetic system there is a synthesis of classicism and romanticism, an expression with a clear and precise word of psychological experiences, emotional subjectivity.

General description of Pushkin's works of the southern period

The works written in 1820-1824 are distinguished by frank lyricism. Pushkin's romantic lyrics of the period of southern exile are losing the apprenticeship, typical for the early period of his work. Didacticism, characteristic of civil poems, also disappears. Genre normativity disappears from the works, and their structure is simplified. Features of Pushkin's romantic lyrics relate to the relation to the contemporary. Alexander Sergeyevich paints his psychological portrait. He relates the contemporary to the emotional plane with his own character, poetically reproduced. Basically, in the elegiac tonality the personality of the poet appears. The main themes that mark Pushkin's romantic lyrics are thirst for freedom, a sense of new impressions, a sense of will, a spontaneous and contrasting everyday life. Gradually, the main theme is the desire to show the internal stimuli of the behavior of the freedom-loving hero.

Two exiles

Pushkin's romantic lyrics of the period of the southern exile also have other characteristic features. In particular, in the elegies of Alexander Sergeevich, a concrete image (based on biographical circumstances) of an exile involuntarily appears. However, a conditionally generalized image of a voluntary exile also appears next to it. He is correlated with Ovid, the Roman poet, and with Childe Harold (hero of Byron). Pushkin reinterprets his biography. He was no longer sent to the south, and Alexander Sergeyevich himself left the stuffy society of the capital, following his own moral search.

"The daylight has gone out ..."

The intonation of elegiac meditation, which will become dominant in all of Pushkin's romantic lyrics, is already observed in the first poem created in the south. This is a work of 1820 "The daylight has gone out ...". In the center of the elegy there is the author's personality, which enters a new stage of his life. The main motive is the revival of the soul, which craves moral purification and freedom.

The work sums up the Petersburg inner life of the poet. He comprehends it as morally unsatisfactory, not free. Hence the contrast between the old life and the expectation of freedom, which is compared with the formidable oceanic element. The personality of the author is placed between "shores sad" and "distant shore". Pushkin's soul yearns for an elemental natural life. It is characterized by an active principle, personified in the image of the ocean.

The significance of this elegy is difficult to overestimate. In the work for the first time appears the lyrical character of the contemporary, represented through self-knowledge, self-observation. This character is created in an emotional key. Pushkin builds biographical facts about the conditional-romantic biography, which in some ways coincides with the real, but in the other it differs substantially from it.

Spiritual crisis of Pushkin in 1823

The radicalism of the social position, characteristic of the author at the beginning of the 1920s, is replaced by a spiritual crisis. The reason for this is the events of Russian and European life. The early romantic lyrics of Pushkin are characterized by faith in the revolution. However, in 1823 the poet had to go through a great disappointment. Alexander Sergeevich took the defeat of the revolutions in Europe hard. Peering into the life of his country, he did not find opportunities for the victory of freedom-loving sentiments. In a new light in the eyes of Pushkin appeared and "peoples", and "elected" nature, and "leaders." He condemns all of them, but it is the "leaders" who are gradually becoming the main target of Alexander Sergeevich's ironic reflections. The crisis of 1823 was reflected mainly in the parting of the author with the illusions of enlightenment. Disappointment of Pushkin spread to the role of the chosen personality. She was unable to fix the environment. The meaning of the "elect" was not justified in yet another respect: the people did not follow the "enlighteners". However, Pushkin remained dissatisfied with himself, and with "illusions," and "false ideals." Especially distinctly disappointment of Alexander Sergeevich sounds in the poems "Demon" and "Freedom sower is desert ...", which are analyzed especially often when the theme "Romantic lyrics of Pushkin" is revealed.

"Daemon"

"Demon" is a poem written in 1823. In its center is a frustrated person who does not believe anything, doubts everything. Presented is a negative and gloomy lyrical hero. In the "Demon" the author with a spirit of doubt and denial, attractive to him, combined a spiritual emptiness that does not satisfy him. A disillusioned personality, protesting against the existing order, proves to be untenable and itself, as it does not have a positive ideal. A skeptical view of reality leads to the necrosis of the soul.

"Liberty is a sower of the desert ..."

In 1823 the poem "Liberty Sower of the Desert ..." was created. The epigraph to this parable was taken by the author from the Gospel of Luke. It is he who informs the work of eternity and universal significance, sets the scale of the poem. The sower of freedom is shown lonely. No one answers his calls and sermons. The desert of the world is dead. The nations do not follow him, they do not hearken to him. The image of the sower is tragic, since he came to the world too early. The word turned to the people is thrown to the wind.

Romantic lyrics and romantic poems

Pushkin's romantic lyrics were created by him at the same time as the romantic poems. It is about the first half of the 1820s. Nevertheless, its generality with romantic poems is not limited to the fact that they were created in the same years. It manifests itself in the choice of Alexander Sergeevich's life material, in the characters of characters, in the main topics, in style and in the plot. Revealing the main romantic motifs in Pushkin's lyrics, one can not help saying about the motif of the "misty homeland". He is one of the main, which is not surprising, because the author was in exile.

The motif of the "misty homeland"

One of the most characteristic poems of Alexander Sergeevich, referring to the romantic period, is "The daylight shone ...". In it, the motif of the "misty homeland" is structurally important. We also find his work "The Prisoner of the Caucasus", a famous poem by Pushkin ("A long-distance journey leads to Russia ...").

The theme of denouncing the crowd

In the poem "VF Raevsky" created in 1822, the subject of exposing the crowd is characteristic of romantic poetry. Pushkin contrasts the lyrical hero, the tall, able to feel and think, the lack of spirituality of people and the life around him. For the "deaf" and "insignificant" crowd, the "noble" "voice of the heart" is ridiculous.

After analyzing the romantic lyrics of Pushkin, you can see that similar thoughts exist in the poem of 1823 "My careless ignorance ...". Before the "fearful", "cold", "vain", "cruel" crowd "ridiculous" "noble" voice of truth.

The same theme is revealed in the poem "The Gypsies". The author puts his thoughts in the mouth of Aleko. This hero says that people are ashamed of love, trade their will, bow their heads before idols, ask chains and money.

Thus, the drama of a disappointed hero, the opposition to the internal freedom of man's lack of freedom, as well as the rejection of the world with his slavish feelings and low-lying vices, are all motifs and themes that equally mark Romantic poems and romantic lyrics of Pushkin. Briefly tell you about what can explain the proximity of works of Alexander Sergeevich in a lyrical and epic kind.

Subjectivity and self-portraiture in lyrics and in romantic poems

Lyrics, as V.G. Belinsky, is basically a subjective, inner poetry. In it, the author expresses himself. Naturally, it was precisely this character that had Pushkin's poems. However, in the romantic, southern period, these traits were characteristic not only of the lyrics. To the "poetry of the subjective," to a large extent also included romantic poems, which were also largely an expression of the author himself.

Self-portrait, as well as subjectivity closely related to it, are visible not only in the work "The Prisoner of the Caucasus", but also in "The Gypsies", and in other poems of Alexander Sergeevich belonging to the southern period. This makes the creation data close to the author's romantic lyrics. Both lyrics and poems are in many ways single-character. However, this does not mean that self-portraiture and subjectivity are equally important for these two genres in Pushkin's work. Subjectivity in the epic is a specific sign of romanticism, but in the lyrics it is a tribal sign, not a species one: to some extent any work of this genre is subjective.

Movement from Romanticism to Realism

The development of Alexander Sergeevich's creativity from romanticism to realism can be described roughly, with some degree of approximation, as a movement toward the objective from the subjective, to the socially-typical from the self-portrait. However, this applies only to the epic, and not to the lyrics. As for the latter, Alexander Sergeevich's departure from traditional romanticism in it is connected not with excessive subjectivity of it, but with "systemic". The poet was not satisfied with the limited and closed system. Pushkin's romantic lyrics do not fit into strict canons. However, by tradition, Alexander Sergeevich had to obey them and did it, although not always and not in everything.

Features of systems of romanticism and realism

Romantic stylistics and poetics, unlike realistic, existed within the established artistic system, rather closed. In a relatively short time, the author developed stable concepts of the "romantic hero" (he had to be necessarily opposed to the crowd, disappointed, sublime), the plot (usually exotic, extraterrestrial), landscape (sublime, intense, vast, stormy, gravitating to the mysterious and spontaneous) , Style (with repulsion from objective details, from all purely concrete), etc. Realism did not create in the same measure stable and closed concepts. Within the framework of this system, the concepts of the plot or the hero sound very vague. Realism in relation to romanticism was not only a progressive, but also a liberating direction. The freedom claimed in romanticism was fully expressed only in realism. This was reflected with particular clarity in Pushkin's work.

The concept of "romanticism" in Pushkin's work

Alexander Sergeevich was aware of the inadequacy of romantic poetics ever since her patterns and norms began to hamper his work and poetic impulse. It is noteworthy that the author himself conceptualized the movement toward realism as a path from misunderstood romanticism to romanticism "true." The freedom-loving declarations of this system were internally close to him. Perhaps that is why he did not want to give up the notion of "romanticism".