The night has come; in a dark cart
Nobody under the roof lift
But the psychological appearance of Aleko is much more developed and much more consistent than the appearance of the Captive. The freedom-loving Captive was mentioned in the most general and vague way. It is not clear from what his greedy search for freedom stemmed, as well as what "prison" was opposed to the freedom to which he aspired. In Aleko's pathetic remarks, this is directly stated. The free life of a “wild” nomadic tribe is opposed to what is called in the poem “the fetters of enlightenment”, civilized “slave” life, “captive stuffy cities”, people deprived of the charm of nature, ashamed of their natural feelings, trading their freedom. Aleko's speeches are imbued with almost Radishchev's pathos of indignation against the ruling classes - the "idols" of power and strength, as well as against those who slavishly grovel before them - "asking for money and chains" (the motif of the end of the parable of the sower). One might think that it is precisely because of this attitude that Aleko turns out to be a "migratory exile": "The law pursues him."
From the point of view of the plot and the “main person”, the poem “Gypsies” (1824) is, as it were, a variation of the “Prisoner of the Caucasus”. Like the Prisoner, Aleko, in search of freedom, abandons his “homeland”, civilized life, goes to the steppes of Moldova, joins the nomadic gypsies. The way of depicting the characters of the heroes is sustained in the spirit of the poetics of the “romantic poem”: like the life of the Captive, the life of Aleko before his appearance in the poem is drawn in the most general, deliberately abstract, mysteriously obscure features. A veil of significant understatement, secrets is thrown at the end of the poem and on further fate Aleko: he comes from the steppe "darkness", during the action of the poem he is in a strip of light and is again lost in an unknown mysterious darkness:
No one put out the fire
In a brilliant analysis of The Gypsies, in which the idea of this work was first deeply revealed, V. G. Belinsky, however, points out that A. S. Pushkin did not do what he wanted: “... thinking of creating the apotheosis of Aleko from this poem ... instead, he made a terrible satire on him and on people like him, pronounced judgment on them, inexorably tragic and at the same time bitterly ironic. In fact, in the poem, the creation of which Pushkin began after writing the first two chapters of Eugene Onegin, there is neither "apotheosis" nor "satire". In the image of Onegin, the "hero of the century" is revealed without any romanticization, by means and techniques critical realism, the first example of which is given by Pushkin in his novel in verse. In "Gypsies" this image is still romanticized. But at the same time, and this makes Pushkin's poem a wonderful example of a kind of "critical romanticism", the poet removes the exalting halo from the hero by means and methods of romantic art, shows not only his strengths, but also his weaknesses.
Aleko - outstanding, standing out sharply from environment a man with many doubtless positive qualities- acutely critical mind, the ability to deep feelings, strong will, courage, determination. Aleko stands at the heights of his contemporary education. And at the same time, he is deeply dissatisfied with those around him, full of the advanced aspirations of his time, sincerely and passionately hates the slavish and commercial system of his contemporary society. His rebellion against society is a rebellion in the name of freedom against slavery, in the name of "naturalness", "nature", against public relations based on "money and chains" and fettering, enslaving the thoughts and feelings of a person.
Didn't sleep until morning.
The second member of the antithesis is given much sharper and more vividly in The Gypsies - that free existence, in the conditions of which Aleko finds himself. Free from a settled, settled life, from the fettering property, land, house, from the “laws” associated with all this, free, like the wind of those steppes through which they roam, the gypsies are, as it were, the ultimate expression of the romantic liberty sought by the hero, together with the closest to life nomadic peoples. But the most important and essential thing that distinguishes the "Gypsy" from the "Prisoner of the Caucasus" lies in completely different relationships that connect the "enlightened, civilized hero" and the "wild, primitive tribe." The search for freedom by the hero of The Prisoner of the Caucasus was as uncertain as their motivation. What kind of freedom was he looking for? Where did you expect to find it? In any case, he falls into the circle of a free tribe quite by accident and, moreover, turns out to be a “slave”, chained among free and predatory Circassians. In "Gypsies" this external conflict is carried inwards. In this regard, the main collision deepens, acquires much greater tension, sharpness and genuine drama. Aleko comes to the gypsy camp voluntarily. In the future, no one interferes with his freedom, which he freely enjoys. The freedom he has gained is to his liking. But Aleko is inwardly unworthy of this freedom.
/ / / The image of Aleko in Pushkin's poem "Gypsies" Alexander Pushkin in his work went from romanticism to realism. The young author still believed in the ideas of the Romantics, but at a more mature age he becomes an adherent of a realistic outlook on life. The first step towards realism was the poem "". Here the author rethinks the image of a romantic hero, looks deeper at such categories as freedom, honor. The main character of the poem is Aleko. It is not difficult to understand that this is an abbreviated version of the author's name. The hero belongs to the enlightened youth of the 19th century, to which Pushkin himself belonged. The hero is positioned in the poem as a fugitive. What is he running from? Judging by his statements, he leaves the fake high society that is disgusting to him and hopes to find freedom among the gypsies. In this he is similar to the Byronic type of hero. He feels like a stranger among his own. But will he become his own among strangers? As the tragic ending of the poem shows, definitely not. Aleko is endowed with a sharp, even painful, sense of dignity. The framework of the civilized world is perceived by him as violence against a person. He wants to find freedom for himself. Therefore, gladly follows the young gypsy to the camp. The girl's father will not contradict his desire to stay. But he hints that it is unlikely that such a young man, pampered by the benefits of city life, will get used to the miserable existence of gypsies. Aleko is convinced of the opposite. The hero assures that he does not regret his past life. Aleko remains to live in the camp. And, it seems, he finds the long-awaited harmony among this free people. The life of the gypsies is primitive, but the love of young Zemfira replaces everything for him. They are not forbidden to love each other, no one sets any limits that are characteristic of a civilized society. The author in the poem takes a fresh look at the category of freedom. Gypsies are freedom-loving by nature. But this freedom is in no way connected with the spiritual ideal state, but manifests itself in licentiousness, primitiveness. Zemfira's mother abandons her as a child, following a new man. Zemfira does not even blame her, because she is the same. The girl is a fan of free love. Her heart is not attached to one man for a long time. This is what happened to Aleko. She became passionately attached to him, but after a while she became interested in the young gypsy. I did not feel guilty, because I considered myself free. And she perceived her husband's insults as oppression of her free way of life. Aleko is not able to understand Zemfira, because he grew up in a different society, where such behavior of a woman is condemned. The protagonist feels insulted and longs for revenge. This opportunity is given to him. He kills Zemfira and her lover. Aleko always wanted freedom for himself, but he does not give freedom to others. Thus, he manifests himself as an egoist. Aleko - the main character of the poem "Gypsies" - a romantic hero without ideals. Gypsies" completes the cycle of Pushkin's "southern" poems. Pushkin's poem is unusually dynamic. The poem "Gypsies" is a reflection of both Pushkin's personal life in southern exile and literary influences. The poem "Gypsies" is the end of the dispute with Byron, which was outlined in Pushkin's first southern poem "Prisoner of the Caucasus". The hero of the poem Aleko is an exile persecuted by law. The poem tells about the love of the gypsy Zemfira and the young man Aleko, who left the “bondage of stuffy cities” for the sake of the steppe freedom. This is a clear and obvious justification for anarchism, and in this sense Dostoevsky (in the famous Pushkin speech) and Vyacheslav Ivanov spoke about the poem. According to the Pushkin literary critic E. A. Trofimov, the poem organically contrasts the bearer of fatal passions and the spirit of boundless primordial freedom. A. S. Pushkin, speaking through the mouth of the Old Man, focuses on the unshakable courage and great suffering of the outcast Roman poet-exile. In The Gypsies, Pushkin denounced this whim as weakness, as complacency and selfishness. The poem "Gypsies" was written in 1824 in Mikhailovsky, it was the epilogue of his southern exile, the completion of his romantic cycle, farewell to youth. It is almost identical to rock; it has the same inevitability that terrified Pushkin. Among such works is the poem "Gypsies". The hero of the poem - a romantic exile - in search of freedom, flees from a cultural society, from the "bondage of stuffy cities" to free, living a simple life close to nature, gypsies. But Pushkin needed to create for his hero such an environment in which he could fully satisfy his passionate desire for absolute, unrestricted freedom. Aleko, who killed his wife and a young gypsy, her lover. Absolute freedom in love relationships that do not create any mutual obligations, no spiritual connection between lovers, is shown by Pushkin in the behavior of Zemfira and her mother Mariula. Having debunked both the romantic ideal of freedom and the romantic hero in his poem, even then, in 1826, Pushkin did not know how to replace these ideals, how to build his worldview on a real basis ... Ready-made school essays and retellings of literature. In the south, Pushkin began to compose "Gypsies" and "Eugene Onegin". In Byron's poetry, Pushkin now saw only "hopeless egoism." Aleko has been debunked by Pushkin: his mask has been boldly pulled off, and he stands before us without any embellishment, punished and humiliated. So, Aleko is an image that, with a detailed analysis, can be compared with the heroes of Byron, since he feels both energy and gloominess of the spirit offended in the fight against people. But Aleko is condemned by Pushkin, he is not even surrounded by that pale halo of martyrdom that flickers faintly around the brow of the “Prisoner of the Caucasus”. Aleko is no longer Pushkin, and the Byronic motifs resounding in the speeches of the hero of "Gypsies" did not pass through Pushkin's heart. Here was purely objective creativity, characterizing the transition to the period of epic creativity in Pushkin's literary life. Russian critics and the public enthusiastically accepted Pushkin's new work. Thus, we can say that the author of the poem condemns in his hero the individualism and selfishness inherent in him. But it is noteworthy that Pushkin, pointing out the problem, does not give its solution. The composition of the poem was a series of small episodes. For two years he roams the steppe along with free gypsies and his beloved. The girl's old father offers Aleko not to interfere with the girl's happiness, citing his relationship with Zemfira's mother, Mariula, as an example. At the same time, individual and generic principles appear in relation to the inevitable opposition. Parallel and in correlation with the main storyline, which unfolds in the internal confrontation, the story of an old gypsy about Ovid the exile sounds. Aleko, remaining in the "fetters of enlightenment", evaluates the story of the gypsy on the basis of his own values, strengthening himself in the thought of the unrighteousness of persecution. As a result, he, being driven into a vicious circle and not having a chance to escape from it, kills Zemfira and a young gypsy, which is the apogee of the realization of a vicious Byronic existence. However, Pushkin's interpretation of the gypsy theme, generally in demand by romantics (before Pushkin, Goethe and Walter Scott turned to it), aroused keen interest abroad. The double murder committed by Aleko evokes the condemnation of the old gypsy: Leave us, proud man! The theme of deaf jealousy, which destroyed everything and ruined everyone, is connected with the image of Aleko. Aleko, whose dreams the author fully realized, remained a proud man and managed to offend everyone. He is a "flying exile". The last of Pushkin's southern poems was not as successful with the Russian public as the previous two. For the first time, excerpts from the poem were published in the anthology "Polar Star", then in "Northern Flowers". From the point of view of the plot and the “main person”, the poem “Gypsies” (1824) is, as it were, a variation of the “Prisoner of the Caucasus”. Like the Prisoner, Aleko, in search of freedom, abandons his “homeland”, civilized life, goes to the steppes of Moldova, joins the nomadic gypsies. The way of depicting the characters of the heroes is sustained in the spirit of the poetics of the “romantic poem”: like the life of the Captive, the life of Aleko before his appearance in the poem is drawn in the most general, deliberately abstract, mysteriously obscure features. At the end of the poem, a veil of significant understatement and mystery is thrown over Aleko’s further fate: he comes from the steppe “darkness”, during the action of the poem he is in a strip of light and is again lost in an unknown mysterious darkness: *
But the psychological appearance of Aleko is much more developed and much more consistent than the appearance of the Captive. The freedom-loving Captive was mentioned in the most general and vague way. It is not clear from what his greedy search for freedom stemmed, as well as what "prison" was opposed to the freedom to which he aspired. In Aleko's pathetic remarks, this is directly stated. The free life of a “wild” nomadic tribe is opposed to what is called in the poem “the fetters of enlightenment”, civilized “slave” life, “captive stuffy cities”, people deprived of the charm of nature, ashamed of their natural feelings, trading their freedom. Aleko's speeches are imbued with almost Radishchev's pathos of indignation against the ruling classes - the "idols" of power and strength, as well as against those who slavishly grovel before them - "they ask for money and chains" (the motif of the end of the parable of the sower). One might think that it is precisely because of this attitude that Aleko turns out to be a "migratory exile": "The law pursues him." The second member of the antithesis is given much sharper and more vividly in "Gypsies" - that free existence, in the conditions of which Aleko finds himself. Free from a settled, settled life, from the fettering property, land, house, from the “laws” associated with all this, free, like the wind of those steppes through which they roam, the gypsies are, as it were, the ultimate expression of the romantic liberty sought by the hero, together with the closest to the life of nomadic peoples. But the most important and essential thing that distinguishes the "Gypsy" from the "Prisoner of the Caucasus" lies in completely different relationships that connect the "enlightened, civilized hero" and the "wild, primitive tribe." The search for freedom by the hero of The Prisoner of the Caucasus was as uncertain as their motivation. What kind of freedom was he looking for? Where did you expect to find it? In any case, he falls into the circle of a free tribe quite by accident and, moreover, turns out to be a “slave”, chained among free and predatory Circassians. In Gypsies, this external conflict is transferred, as it were, inward. In this regard, the main collision deepens, acquires much greater tension, sharpness and genuine drama. Aleko comes to the gypsy camp voluntarily. In the future, no one interferes with his freedom, which he freely enjoys. The freedom he has gained is to his liking. But Aleko is inwardly unworthy of this freedom. In a brilliant analysis of The Gypsies, in which the idea of this work was first deeply revealed, V. G. Belinsky, however, points out that A. S. Pushkin did not do what he wanted: “... thinking of creating the apotheosis of Aleko from this poem ... instead, he made a terrible satire on him and on people like him, pronounced judgment on them, inexorably tragic and at the same time bitterly ironic. In fact, in the poem, the creation of which Pushkin began after writing the first two chapters of Eugene Onegin, there is neither "apotheosis" nor "satire". In the image of Onegin, the “hero of the century” is revealed without any romanticization, by means and methods of critical realism, the first example of which is given by Pushkin in his novel in verse. In "Gypsies" this image is still romanticized. But at the same time, and this makes Pushkin's poem a wonderful example of a kind of "critical romanticism", the poet removes the exalting halo from the hero by means and methods of romantic art, shows not only his strengths, but also his weaknesses. Aleko is an outstanding person who stands out sharply from the environment, possessing many undoubtedly positive qualities - an acutely critical mind, the ability for deep feelings, strong will, courage, and determination. Aleko stands at the heights of his contemporary education. And at the same time, he is deeply dissatisfied with those around him, full of the advanced aspirations of his time, sincerely and passionately hates the slavish and commercial system of his contemporary society. His rebellion against society is a rebellion in the name of freedom against slavery, in the name of "naturalness", "nature", against social relations based on "money and chains" and fettering, enslaving the thoughts and feelings of a person. And full text.] The poem "Gypsies" is a reflection of both Pushkin's personal life in southern exile and literary influences. Observations on the life of semi-eastern Chisinau, familiarity with the life of the Bessarabian gypsies forced Pushkin to peer into a peculiar local understanding of "love", which was completely alien to a cultured person. This interest of Pushkin was also expressed in the poems "Black Shawl", "Cut me, burn me." It turned out that among the gypsies that freedom was still preserved love relationship who bears the features primitive society and in the cultural environment has long been replaced by a chain of dependencies - from written laws to the conditions of secular "decency". Of all human feelings the love of a man and a woman is the most selfish feeling. Pushkin chose a difficult love question to analyze the type of hero that was characteristic of his work during the period of southern exile - a man infected with the poison of "world longing", an enemy of cultural life with its lies. The heroes of the writers who then influenced Pushkin (Rene Chateaubriand, Byron's characters) curse cultural life, glorify the life of savages ... But will such a hero survive primitive life, with all the simplicity of its life, the purity and freedom of a purely vegetative and animal existence? The hero of Pushkin's poem "Gypsies" did not pass the test. Hatred of culture alone was not enough to make him a savage. Raised in an atmosphere of selfishness and violence man of culture carries everywhere, along with beautiful words and dreams of selfishness and violence.
Pushkin. Gypsies. audiobook Like Rene Chateaubriand, like some of Byron's heroes, like the hero of the "Prisoner of the Caucasus", the hero of the "Gypsy" Aleko leaves the city and civilized people out of frustration with their lives. He abandoned their complete conventionality of being - and does not regret it. He says to the young gypsy Zemfira: What to regret? When would you know He hates everything in his abandoned life. The fate of the gypsies captivates him, and Aleko dreams that his son, having grown up a savage, will never know: Neg and satiety but it will: ... carefree healthy and free, Aleko "simplified", became a real gypsy, leads a tame bear and earns a living by this. But he did not merge with this primitive life: like Rene, he sometimes yearns: The young man looked sadly But as soon as Aleko made sure that his girlfriend Zemfira had cheated on him, the former egoist woke up in him, who grew up in the conditions of a cultural "not free" life. He kills the traitorous wife and her lover. The gypsy camp leaves him, and, in parting, the old gypsy, the father of the murdered Zemfira, says significant words to him: Leave us proud man, In these words, Pushkin pointed out the complete failure " Byronic heroes"Egoists" who live too much for themselves and for themselves. These heroes are now debunked by Pushkin in his characterization of Byron's poems: "Gyaur" and "Don Juan". In them, according to him: The century is reflected. In these words, the whole characterization of Aleko and a clear disclosure of the poet's new relationship to Byronism. In Byron's poetry, Pushkin now saw only "hopeless egoism." Aleko has been debunked by Pushkin: his mask has been boldly pulled off, and he stands before us without any embellishment, punished and humiliated. Byron never debunked his heroes, because they are his favorite creatures, borne in his heart, nourished by his blood, inspired by his spirit. If he had written the poem "Gypsies", then, of course, it would have had a different end ... It is a pity that in his most typical poems he never subjected his heroes to such a test as Pushkin risked to subject his Aleko. In Byron, the hero who curses people, with their vanity, with their civilization, rushes into the bosom of nature, and if his spirit does not completely merge with the life of nature, since it is not pacified anywhere, then this nature never gets in his way to the sight of that inexorable, harsh force that broke Aleko. So, Aleko is an image that, when detailed analysis can be compared with the heroes of Byron, since in him one can feel both the energy and the gloominess of the spirit, offended in the fight against people. It also has the megalomania inherent in the true creatures of Byron's fantasy. But Aleko is condemned by Pushkin, he is not even surrounded by that pale halo of martyrdom that flickers faintly around his forehead. Caucasian Prisoner". Aleko is no longer Pushkin, and the Byronic motifs resounding in the speeches of the hero of "Gypsies" did not pass through Pushkin's heart. He simply took a curious type, transferred him to a peculiar environment and put him in a collision with new intrigue. Here there was a purely objective creativity, characterizing in literary life Pushkin's transition to the period of epic creativity. Literary influences on Pushkin's "Gypsies" came from Byron and Chateaubriand: the first helped the poet to draw a "type", helped to portray "local color", gave the very form of the poem, interrupted by dialogues. The second gave some details in the depiction of the images of the heroes, and, perhaps, helped to understand the soul of the hero. For Pushkin's Aleko, as well as for Rene Chateaubriand, longing follows on the heels. It's theirs feature. In Chateaubriand's novel we encounter the curious image of the patriarch Indian tribe Chaktas. He knows life, with its troubles and sorrows, has seen a lot in his lifetime, he acts as a judge of the selfishness and heartfelt emptiness of the young man Rene. Chaktas does not utter such vigorous reproaches as Aleko heard from the old gypsy, but, nevertheless, dependence Pushkin's hero from Chateaubriand is quite possible. The similarity between the work of Pushkin and Chateaubriand extends to the identity of the idea: both writers consciously debunk their heroes, punishing them for the emptiness of their souls. Russian critics and the public enthusiastically accepted Pushkin's new work. Everyone was captivated by the descriptions of gypsy life, and the drama of the poem was also interested. In their analysis, criticism noted the originality of Pushkin in relation to the hero; noted that the Russian poet depends on Byron only in "the manner of writing." A critic of the Moscow Herald pointed out that a new, third period of Pushkin's work, the "Russian-Pushkin" begins with "Gypsies" (he called the first period "Italian-French", the second "Byronic"). Quite rightly, the critic noted: 1) Pushkin's inclination towards dramatic creativity, 2) "correspondence with his time", that is, the ability to portray " typical features modernity” and 3) striving for “nationality”, “nationality”.
Russian criticism of Pushkin's "Gypsies"
The history and image of Aleko in "Gypsies"
The literary influence of Byron and Chateaubriand on Pushkin's "Gypsies"
The night has come; in a dark cart
*
No one put out the fire
*
Nobody under the roof lift
*
Didn't sleep until morning.The idea of Pushkin's poem "Gypsies"
The history and image of Aleko in "Gypsies"
When would you imagine
Captivity stuffy cities!
There are people in heaps, behind the fence
Don't breathe in the morning chill
Nor the spring smell of the meadows;
Love is ashamed, thoughts are driven,
Trade their will
They bow their heads before idols
And they ask for money and chains.
And the magnificent fuss of the sciences ...
Will not know false needs;
He will be satisfied with the lot,
Vain remorse is alien.
To the deserted plain
And be sad secret reason
I did not dare to interpret.
With him black-eyed Zemfira,
Now he is a free inhabitant of the world,
And the sun is merrily above it
Shines with midday beauty.
Why does the young man's heart tremble?
What concern does he have?
You were not born for wild will
You only want freedom for yourself.
Your voice will be terrible to us:
We are timid and kind at heart,
You are angry and brave - leave us.
Goodbye! may peace be with you!
And modern man
Depicted quite right
With his immoral soul
Selfish and dry
A dream betrayed immeasurably,
With his embittered mind,
Boiling in action empty.The literary influence of Byron and Chateaubriand on Pushkin's "Gypsies"
Russian criticism of Pushkin's "Gypsies"
