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A real writer is the same as an ancient prophet he sees more clearly than ordinary people A. "A real writer is the same as an ancient prophet"

A real writer is the same as an ancient prophet he sees more clearly than ordinary people A. "A real writer is the same as an ancient prophet"

05.04.2019

Composition on the topic: “A real writer is the same as an ancient prophet: he sees more clearly than ordinary people” (A.P. Chekhov)

“A real writer is the same as an ancient prophet: he sees more clearly than ordinary people” (A.P. Chekhov). (Based on one or more works of Russian literature of the 19th century)
“A poet in Russia is more than a poet,” this idea has long been familiar to us. Indeed, Russian literature, starting from the 19th century, became the bearer of the most important moral, philosophical, ideological views, and the writer began to be perceived as a special person, a prophet. Already Pushkin defined the mission of a real poet in this way. In his programmatic poem, which is also called “Prophet”, he showed that in order to fulfill his task, the poet-prophet is endowed with very special qualities: the sight of a “frightened eagle”, a hearing capable of listening to “the trembling of the sky”, a language similar to the sting of a “wise snake ". Instead of an ordinary human heart, the messenger of God, the "six-winged seraphim", who prepares the poet for a prophetic mission, puts "coal burning with fire" into his chest cut with a sword. After all these terrible, painful changes, the chosen one of Heaven is inspired on his prophetic path by God himself: "Rise up, prophet, and see, and listen, / Be done by my will ...". This is how the mission of a true writer, who brings to people the word inspired by God, has been determined since then: he must not entertain, not give aesthetic pleasure with his art, and not even promote some, albeit the most wonderful ideas; his job is to “burn the hearts of people with the verb.”
How difficult the mission of the prophet was already realized by Lermontov, who, following Pushkin, continued to fulfill the great task of art. His prophet, “ridiculed” and restless, persecuted by the crowd and despised by it, is ready to flee back to the “desert”, where, “preserving the law of the Eternal”, nature heeds his messenger. People often do not want to listen to the prophetic words of the poet, he sees too well and understands what many would not like to hear. But Lermontov himself, and those Russian writers who, after him, continued the fulfillment of the prophetic mission of art, did not allow themselves to show cowardice and abandon the heavy role of a prophet. Often suffering and sorrow awaited them for this, many, like Pushkin and Lermontov, died untimely, but others took their place. Gogol, in a lyrical digression from the UE of the chapter of the poem "Dead Souls", openly told everyone how difficult the path of a writer who looks into the very depths of the phenomena of life and strives to convey to people the whole truth, no matter how unattractive it may be. They are ready not only to praise him as a prophet, but to accuse him of all possible sins. “And, only seeing his corpse, / How much he did, they will understand, / And how he loved while hating!” this is how another Russian poet-prophet Nekrasov wrote about the fate of the writer-prophet and the attitude of the crowd towards him.
Now it may seem to us that all these wonderful Russian writers and poets, who constitute the "golden age" of Russian literature, have always been as highly revered as they are in our time. But after all, even now recognized throughout the world as a prophet of future catastrophes and a harbinger of the highest truth about man, Dostoevsky began to be perceived by his contemporaries as the greatest writer only at the very end of his life. Indeed, "there is no prophet in his own country"! And, probably, now somewhere near us lives someone who can be called a “real writer”, similar to an “ancient prophet”, but do we want to listen to someone who sees and understands more than ordinary people, this is main question.
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“A real writer is the same as an ancient prophet: he sees more clearly than ordinary people” (A.P. Chekhov).

“A real writer is the same as an ancient prophet: he sees more clearly than ordinary people” (A.P. Chekhov). (Based on one or more works of Russian literature of the 19th century)

“A poet in Russia is more than a poet,” this idea has long been familiar to us. Indeed, Russian literature, starting from the 19th century, became the bearer of the most important moral, philosophical, ideological views, and the writer began to be perceived as a special person, a prophet. Already Pushkin defined the mission of a real poet in this way. In his programmatic poem, which is also called “Prophet”, he showed that in order to fulfill his task, the poet-prophet is endowed with very special qualities: the sight of a “frightened eagle”, a hearing capable of listening to “the trembling of the sky”, a language similar to the sting of a “wise snake ". Instead of an ordinary human heart, the messenger of God, the "six-winged seraphim", who prepares the poet for a prophetic mission, puts "coal burning with fire" into his chest cut with a sword. After all these terrible, painful changes, the chosen one of Heaven is inspired on his prophetic path by God himself: "Rise up, prophet, and see, and listen, / Be done by my will ...". This is how the mission of a true writer, who brings to people the word inspired by God, has been determined since then: he must not entertain, not give aesthetic pleasure with his art, and not even promote some, albeit the most wonderful ideas; his job is to “burn the hearts of people with the verb.”

How difficult the mission of the prophet was already realized by Lermontov, who, following Pushkin, continued to fulfill the great task of art. His prophet, “ridiculed” and restless, persecuted by the crowd and despised by it, is ready to flee back to the “desert”, where, “preserving the law of the Eternal”, nature heeds his messenger. People often do not want to listen to the prophetic words of the poet, he sees too well and understands what many would not like to hear. But Lermontov himself, and those Russian writers who, after him, continued the fulfillment of the prophetic mission of art, did not allow themselves to show cowardice and abandon the heavy role of a prophet. Often suffering and sorrow awaited them for this, many, like Pushkin and Lermontov, died untimely, but others took their place. Gogol, in a lyrical digression from the UE of the chapter of the poem "Dead Souls", openly told everyone how difficult the path of a writer who looks into the very depths of the phenomena of life and strives to convey to people the whole truth, no matter how unattractive it may be. They are ready not only to praise him as a prophet, but to accuse him of all possible sins. “And, only seeing his corpse, / How much he did, they will understand, / And how he loved while hating!” this is how another Russian poet-prophet Nekrasov wrote about the fate of the writer-prophet and the attitude of the crowd towards him.

Now it may seem to us that all these wonderful Russian writers and poets, who constitute the "golden age" of Russian literature, have always been as highly revered as they are in our time. But after all, even now recognized throughout the world as a prophet of future catastrophes and a harbinger of the highest truth about man, Dostoevsky began to be perceived by his contemporaries as the greatest writer only at the very end of his life. Indeed, "there is no prophet in his own country"! And, probably, now somewhere near us lives someone who can be called a “real writer”, similar to an “ancient prophet”, but do we want to listen to someone who sees and understands more than ordinary people, this is main question.

The story "Dead Souls" can rightly be called the best work of Nikolai Vasilyevich Gogol. According to V. G. Belinsky, the entire creative life of the writer before working on it was only a preface and preparation for this truly brilliant creation. "Dead Souls" are one of the most striking examples of Gogol's manner of depicting reality, because where else can one find such an accurate and a true biography of Russia at that time. No wonder many writers talk about the "Gogol" trend in literature, calling N.V. Gogol the founder of the realistic trend in poetic art. The opinion of N.V. Gogol himself on the appointment of a writer, or, in other words, an artist, is expressed in the words: " Who, if not the author, should tell the holy truth?" Let's try to understand how N.V. Gogol justifies his ideas about the artist, how he sees his fate and how his satirical characters differ from the characters of other comedies.

Like many other writers, N.V. Gogol directly addresses the reader through his lyrical digressions, in which he complains about the shortcomings of Russian reality, in particular, the lack of analogues of foreign words in the Russian language, and also justifies and explains in advance the meaning of all those moments that, in his opinion, can cause y. readers irritation and discontent. In one of his lyrical digressions, Gogol explains his views on the appointment of the artist. Here he writes that: "... it's not that hard that they will be dissatisfied with the hero, it's hard that there lives in the soul an irresistible confidence that the same hero, the same Chichikov, would be satisfied with the readers." I think in these words Gogol wanted to say that the vice will not be ridiculed and presented to the public, it will not be noticed. So who, if not a writer, should help people discover these vices, who better than him can expose the reality surrounding us with irony? Perhaps, now that so much critical literature has appeared, such a view would be highly ambiguous.

After all, there may be an opinion that such abundance provokes rather than eradicates shortcomings. However, in the time of N.V. Gogol, who was, in fact, one of the first writers who dared to ridicule the shortcomings of his time so directly and who really succeeded like no one else, such a work as "Dead Souls" was simply invaluable in terms of its importance and necessity. Therefore, I cannot but agree with the above words of the writer, however, as well as with his further arguments about the so-called "patriots". N. V. Gogol, knowing that attacks may arise from such people, responds to them in advance. All the absurdity and ugliness of such people, "ardent patriots, until the time they are quietly engaged in some kind of philosophy or increments at the expense of the sums of their dearly beloved fatherland, thinking not about not doing bad things, but about not only saying that they do bad things", is described by N. V. Gogol in a story about a strange family, consisting of a father-"philosopher" and a son, half-jokingly-half-seriously called by the author a Russian hero. It seems to me that this small episode, which cannot but cause a smile when read, once again confirms the idea previously expressed by N.V. Gogol.

Indeed, who, if not a person who by nature has the gift of seeing what is not visible to others, who has a good sense of humor and knows how to concisely express his thoughts, engage in understanding the nature of such people ... Now I would like to talk about what distinguishes N. V. Gogol from other writers of the satirical direction. N.V. Gogol does not describe his heroes fluently and superficially, like many of his predecessors, believing that this will not only not help him to create his characters, but on the contrary, with such an image, he will not be able to fulfill his plan.

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In the nineties, the following definition appeared in our literary criticism:"невостребованный талант". !}
"Unclaimed" by time, era, readers. This definition can rightfully be attributed to M.A. Bulgakov. Why
but the powerful, peculiar, perspicacious talent of the writer turned out to be out of favor with his contemporaries? What is the mystery of today
universal admiration for the work of Bulgakov? According to public opinion polls, the novel "The Master and Margarita"
named the best Russian novel of the 20th century.
The point is, first of all, that it was in Bulgakov's work that a type of person was formed who actively opposed
himself to the system with its demand to submit undividedly and serve the totalitarian power. In an atmosphere of general fear and
lack of freedom, such a human type, of course, turned out to be dangerous and unnecessary, this type was destroyed in the most direct sense
this word. But today he has been rehabilitated and has finally taken his place in history and literature. So Bulgakov found a second
life, turned out to be one of our most widely read writers. And we saw in the era depicted by Bulgakov, not only
panorama of a certain period of history, but, more importantly, the most acute problem of human life: will a person survive,
will it retain its human principles if culture is reduced to nothing, destroyed.
The era of Bulgakov is a time of aggravation of the conflict between power and culture. The writer himself fully experienced everything
the consequences of this clash of culture and politics: bans on publications, productions, creativity and free thinking in general.
Such is the atmosphere of life, and, consequently, of many works of the artist and, first of all, his novel "The Master and
Margarita".
The central theme of "The Master and Margarita" is the fate of a bearer of culture, an artist, a creator in the world of social
troubles and in a situation of destruction of culture as such. The new intelligentsia is sharply and satirically depicted in the novel.
Cultural figures of Moscow - employees of MASSOLIT - are engaged in the distribution of dachas and vouchers. They don't care about questions.
arts, cultures, they are occupied with completely different problems: how to successfully write an article or a short story so that
get an apartment or at least a ticket to the south. Creativity is alien to all of them, they are art bureaucrats, nothing more. Here is such
environment, such is the new reality in which there is no place for the Master. And the Master is actually located outside of Moscow, he is in
"psycho". It is inconvenient for the new "art" and is therefore isolated. What is inconvenient? First of all, the fact that
free, it has a power that can undermine the foundations of the system. This is the power of free thought, the power of creativity. Master
lives by his art, cannot imagine life without not!
go. Bulgakov is close to the image of the Master, although it would be a mistake to identify the hero of the novel with its author. The master is not a fighter, he
accepts only art, but not politics, he is far from it. Although he perfectly understands: freedom of creativity, freedom of thought,
non-subordination of the artist's personality to the state system of violence is an integral part of any creativity. In Russia
poet, writer - always a prophet. Such is the tradition of Russian classical literature, so beloved by Bulgakov. peace, power,
the state that destroys its prophet gains nothing, but loses a lot: reason, conscience, humanity.
This idea was especially clearly and clearly manifested in the Master's novel about Yeshua and Pontius Pilate. Behind Pilate modern
the reader is free to see anyone, any leader of a totalitarian state, invested with power, but devoid of personal
freedom. Another thing is important: the image of Yeshua is read as the image of a contemporary of Bulgakov, who was not broken by power, who did not lose
his human dignity, therefore, doomed. Before Pilate stands a man capable of penetrating into the most
deep recesses of the soul, preaching equality, the common good, love for one's neighbor, that is, what is not and cannot be
in a totalitarian state. And the worst thing, from the point of view of the procurator as a representative of power, is the reflections of Yeshua
that "... every power is violence against people" and that "the time will come when there will be no power of Caesars,
no other authority. A person will pass into the realm of truth and justice, where there will be no need for any
power." Apparently, that's what Boo himself thought!
lgakov, but it is even more obvious that Bulgakov was tormented by the dependent position of the artist. The writer offers those in power
listen to what the artist says to the world, for the truth is not always on their side. No wonder the procurator of Judea Pontius
Pilate was left with the impression that he "didn't finish something with the condemned man, or maybe he didn't finish listening to something." So true
Yeshua remained "unclaimed", just as the truth of the Master and Bulgakov himself were not "claimed".
What is this truth? It lies in the fact that any strangulation of culture, freedom, dissent by the authorities
disastrous for the world and power itself, in that only a free person is able to bring a living stream into the world. home
Bulgakov's idea is that the world from which the artist is expelled is doomed to perish. Maybe because
Bulgakov is so modern that this truth is revealed to us only now.

Perhaps one of the most important issues facing artists, writers, poets is their understanding of the role of art and literature in the life of society. Do people need poetry? What is her role? Is it enough to have a poetic gift to become a poet? These questions deeply worried A.S. Pushkin. His reflections on this subject were fully and profoundly embodied in his poems. Seeing the imperfection of the world, the poet thought about whether it could be changed by means of an artistic word, to whom "the fate of ornateness is given a formidable gift."
Pushkin embodied his idea of the ideal image of the poet in the poem "Prophet". But the poet is not born a prophet, but becomes one. This path is full of painful trials and sufferings, which are preceded by the sorrowful reflections of the Pushkin hero about the evil that is firmly rooted in human society and with which he cannot come to terms. The state of the poet suggests that he is not indifferent to what is happening around and at the same time powerless to change anything. It is to such a person, who is “tormented by spiritual thirst,” that the messenger of God, the “six-winged seraphim,” appears. Pushkin dwells in detail and in detail on how the hero is reborn into a prophet, at what cruel price he acquires the qualities necessary for a true poet. He must see and hear what is inaccessible to the sight and hearing of ordinary people. And the "six-winged seraphim" endows him with these qualities, touching him "with fingers as light as a dream." But such careful, gentle movements open the whole world before the hero, tearing the veil of secrecy from him.
And I heard the shudder of the sky,
And the heavenly angels flight,
And the reptile of the sea underwater course,
And the valley of the vine vegetation.
It takes great courage to absorb all the suffering and all the diversity of the world. But if the first actions of the seraphim inflict only moral pain on the poet, then physical torment gradually joins it.
And he clung to my lips
And tore out my sinful tongue,
And idle-talking, and crafty,
And the sting of the wise snake
In my frozen mouth
He invested it with a bloody right hand.
This means that the new quality acquired by the poet - wisdom - is given to him through suffering. And this is no coincidence. Indeed, in order to become wise, a person must go through a difficult path of searching, mistakes, disappointments, having experienced numerous blows of fate. Therefore, probably, the length in time is equated in the poem with physical suffering.
Can a poet become a prophet, possessing, in addition to poetic talent, only knowledge and wisdom? No, because the quivering human heart is capable of being questioned, it can shrink from fear or pain and thus prevent it from fulfilling a great and noble mission. Therefore, the seraphim performs the last and most cruel act, putting "coal burning with fire" into the dissected chest of the poet. It is symbolic that only now the prophet hears the voice of the Almighty, giving him the purpose and meaning of life.
And God's voice called out to me:
"Arise, prophet, and see, and listen,
Fulfill my will
And, bypassing the seas and lands,
Burn the hearts of the people with the verb."
Thus, poetry in the view of Pushkin does not exist to please the elite, it is a powerful means of transforming society, because it brings people the ideals of goodness, justice and love.
The whole creative life of Alexander Sergeevich Pushkin was a clear evidence of the fidelity of his thoughts. His bold free poetry protested against the oppression of the people, called for the struggle for their freedom. She supported the spirit of the exiled Decembrist friends, inspired them with courage and fortitude.
Pushkin saw his main merit in the fact that, like a poet-prophet, he awakened in people kindness, mercy, the desire for freedom and justice. Therefore, having come into contact with Pushkin's humanistic poetry, we feel the need to become better, cleaner, we learn to see beauty and harmony around. So, poetry is really capable of transforming the world.

A real writer is the same as an ancient prophet he sees more clearly than ordinary people A. "A real writer is the same as an ancient prophet"

“A real writer is the same as an ancient prophet: he sees more clearly than ordinary people” (A.P. Chekhov).

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