road romance semantics
Mythopoetic aspect of the image of the road
For a person special meaning has an image-symbol of the road. Human life itself has often been likened to a road that everyone must pass.
The image of the road has become widespread in art, and above all in folklore. The road corresponds to the path of life, the path of the soul in afterworld and semantically stands out in transitional rituals. The road is a place where the fate, share, luck of a person is manifested when he meets with people, animals and demons. The road is a kind of border between "one's own" and "foreign" space; a mythologically "unclean" place that serves to remove harmful and dangerous objects.
At present, it is possible to consider the symbolism of the path and the road together, since in the collective consciousness of the twentieth century they are very close.
In this section, we will consider the image of the road-path in the mythopoetic aspect.
In ancient mythological motifs path, road means death, the road to the underworld. A person must go through the path of death, space in the literal sense of the word, and then he comes out renewed, revived again, saved from death. He should not look back at the path he has traveled, nor go back along the path he has traveled, for this means dying again. Wanderings are connected with the road, the search for fate, happiness, the road is a phantom that keeps us captive of the often meaningless movement, preventing us from moving on to a reasonable stability of life.
The image of the way, the road is the universal of the world culture. In the mythopoetic representation of space, the center and the path are its main elements [see: 11].
The path is, first of all, a symbol of the way of life and destiny of a person. The symbolic path is endowed with both a spatial and a temporal dimension. It acts as a universal image of the connection between two points in space.
The beginning and end of the path are marked by a change in state: the hero acquires something new or makes up for what was lost. The path usually has two extreme points, but sometimes it involves returning to the starting point. The integral attributes of the path are obstacles (requiring concentration of will and spiritual forces) and crossroads (actualizing freedom of choice). The path in this sense is always the path to the center, to the highest values. In the most general form, there are two varieties of the path - leading to the center step by step, gradually, and approaching it suddenly, as a result of extraordinary deeds. A labyrinth can be considered as one of the varieties of the image of the path. The path is also a symbol of doctrine, law. The image of the path found its most thorough development in Chinese religious and philosophical systems.
Ancient pictograms, to which the modern hieroglyph Tao goes back, depict the head of a person in motion. Subsequently, individual details of the pictogram changed, but the meaning of the sign (a person on the way) was preserved. An old Chinese dictionary says that Tao is "the way one walks." Similarly, the Buddha's teaching is called by him the "middle way" (between the extremes of asceticism and hedonism); so the Buddha says: “I have seen the path of the ancients, the ancient path... of the past. This is my path." The Bible speaks of the thorny path as a path of temptation and sin, while a narrow path strewn with thorns leads to salvation. The way of the cross of Christ symbolizes redemption. The image of the path is also developed in Sufism (“tarikat” as the “path” of the believer to complete unity with the absolute through various trials).
In Jainism, the teachers are called "tirthankars", "openers of the ford", that is, the creators of the crossing-path. In many traditions, there are deities or spirits associated with paths, roads, patronizing travelers. They are endowed with additional functions associated with the symbolic meanings of the path image. Such are the ancient Indian god Pushan, the savior from false paths, who knows the paths of truth and is called the deliverer; Greek god Hermes, Roman god Mercury.
The "path" in the mythopoetic and religious models of the world is the image of the connection between two marked points in space. A constant and inalienable property of the path is its difficulty. The path is built along the line of ever-increasing difficulties and dangers that threaten the mythological hero-traveler, therefore overcoming the path is a feat, the asceticism of the traveler. Achieving the goal by the subject of the path always entails an increase in rank in the socio-mythological or sacred status.
On the way, the beginning, the starting point is highlighted, i.e. the place where it is mythological hero or a participant in the corresponding ritual at the moment of the beginning of the action, the end of the path (the goal of the movement, its explicit or secret stimulus), the climax of the path and some participants in the path considered as marked.
The beginning of the path is the sky, the mountain, the top of the world tree, the palace, the sanctuary of the temple, etc. for the gods or the house for fairy tale hero, a participant in the ritual - is not described in detail or it is not mentioned at all. The end of the path is the goal of the movement, where the highest sacred values of the world are located, or the obstacle that, when overcome or eliminated, opens access to these values. Marking the beginning and end of the path as two extreme points - states, limits is expressed objectively (a house - a temple or a house - another kingdom), a change in the status of a character who has reached the end of the path, and often his appearance. The exception is the path to the lower world, to the realm of death, where they go not only with the aim of acquiring a certain excess (for example, living water), but also to compensate for the lost (for example, to restore life to the deceased).
Let's compare different versions of such journeys (John, Gilgamesh, Orpheus, Odysseus, Aeneas, the passage of the Virgin through torment.). The way down is opposed to the way up - to heaven. If the “passage” of the path only horizontally, as a rule, is associated with the character’s belonging to the class of heroes, ascetics, or to a special state (for example, participation in a ritual), then the ability to make a vertical path up and / or down is possessed by mythological characters or clergymen (shamans) of exceptional qualities. In shamanic traditions, shamans' spatial movements occur both in horizontal and vertical directions. An ordinary character makes a vertical path only figuratively - his soul “travels”. Let us compare the heavenly journeys of souls, when both the path of the soul itself and its transformations are described. A mere mortal can actually enter the horizontal path and overcome it, but the vertical path can only be traversed figuratively - by his soul.
In the mythopoetic descriptions of the horizontal path, two types of path are striking: the path to the sacred center and the path to the alien and terrible periphery, which interferes with the connection with the sacred center. A pronounced version of the mythopoetic path is the streets in the city, defining a network of connections between parts of the whole with an emphasis on hierarchical relationships.
In the mythologized cosmology of the ancient Indians, the path of the gods and the path of the ancestors and fathers await the dead. In other traditions, the motif of the path is also associated with solar deities - from Apollo's cosmic round dance to the Latvian Usins following the shepherds and their cattle. But, as in other traditions, the image earthly path and his deity, the patron of roads and travelers, receives a particularly relief incarnation in the figures of Hermes or Mercury. In some way, the heavenly (solar) path can be real way(often circular). A circular path is made in special rituals for the development of a new space and in choosing a place for a settlement, in a ritual bypass of a sanctuary, temple, etc.
A special type of path is an endless, graceless path as an image of eternity (compare Ahasuerus, the Wandering Jew, doomed to such a path), as well as a deliberately difficult path - a labyrinth: in order to find a path in the space of the labyrinth, to open it, superhuman abilities, clairvoyance, the highest sacred meaning, or cunning on the part of sympathizers (compare the story of Theseus and Ariadne with its guiding thread).
But there is also a type of “difficult” path that is associated with redemption (compare the way of the cross of Jesus Christ to Golgotha with the 12 stops on this path that are highlighted - from the death sentence to death on the cross).
In many mythopoetic and religious traditions the path mythologeme appears not only in the form of a visible real road, but also metaphorically - as a designation of a line of behavior (especially often moral, spiritual), as a certain set of rules, a law, a doctrine, a kind of dogma, a religion. The goal is the path itself, entry into it, bringing your Self, your life in line with the path. It is no coincidence that a number of great spiritual concepts emphasize the very fact that there is a way and it can be discovered. Thus, the Buddha called his teaching the middle way (Old Ind. Madhuama pratipad), which in terms of practical behavior was opposed to extreme asceticism and hedonism. In fact, the way is also the teaching of Tao, developed by Lao Tzu in the Daodejing and also adopted by Confucianism. Already in early Zhou China, the idea of Tao began to take shape - the Way, Truth, Order, the natural path of things themselves as revealing their inner essence and their interconnection in the world. In ancient Chinese philosophical and religious treatises, the doctrine of the path (or the path as a doctrine) plays an exceptional role. Hebrew monotheism is also built as a doctrine of the path shown by the Lord. The Bible speaks of the path of the Lord, the Covenant, life, wisdom, truth, mercy, righteousness, etc., but often it is also about another path - the path of unrighteousness, sin, lies, evil, lawlessness.
The opposition of the straight and crooked path is also characteristic of the ancient Iranian tradition - Asha-Arta - Druj, i.e. truth is a lie, let's compare Pravda and Krivda and, accordingly, two paths in the Russian folklore and mythological tradition. In Hittite literature, a borrowed story is known about the two sons of Appu - Evil and Good, whose names are derived from the motives of the evil and true path of the gods. In Gnosticism, the understanding of the path to salvation presupposes, first of all, the self-knowledge of man. Mythopoetic ideas about the path were largely assimilated by the subsequent era.
Having passed half of earthly life,
I found myself in a dark forest
Lost the right path in the darkness of the valley
(Dante. The Divine Comedy. Translation by M. Lozinsky)
The road is a universal metaphor for a person's life path. In my consultations, I have often encountered the fact that people spontaneously begin to describe their current or past life stage like a road. And often this metaphor is more accurate than many words. It is convenient to use such a metaphor as a way of understanding a person's life path. And sometimes I invite my clients to imagine the main stages of their lives in the form of different roads. This can be done both in the imagination and through special cards. Such a view often helps to see some general patterns and trends. Often this opens up a lot of opportunities for understanding the current problem. This can be especially useful in situations where a person feels lost and disoriented - he does not know where to go next. This is an important question, one of the main ones in life, and to answer it you often need to look into the past: where did a person go before that? Where has he already been? How satisfied is he with the path he has taken?
In this article, I would like to give a quick overview of the symbolic meaning of the road.
In the very general sense the road connects different points in space. To date, archaeologists date the very first roads to the fourth millennium BC and associate their appearance with the development of wheeled and pack (that is, using the resources of people and animals) transport. Look at one of the preserved Inca roads to Machu Picchu (the territory of modern Peru):
It can be seen that this road was of very high quality for its time. Before the construction of such roads, there should have been more simply equipped paths between different villages. That is, roads have accompanied mankind for many thousands of years. And everything that accompanies the lives of all people for many thousands of years gradually becomes something deeply internal for each person, Carl Jung called such images archetypal. And the image of the road is also an archetype, that is, the topic that all people face long time. Then the road, on the one hand, can be a connection between different points, and on the other, it can reflect deeply inner experiences.
For a resident of some ancient village to follow the road meant to leave his native village and go to another. Hence one of the main symbolic meanings of the road - the road is the border between one's own and another's world. A border is something that connects and separates at the same time.
Human life, the path we are following, is also a kind of border (space, territory) between our own and the other world. Speaking of two worlds, we can think of the journey from birth to death. And almost all religious traditions deal with the journey of the soul to the afterlife.
Within the framework of his life, a person has the opportunity to make another “journey” from his world to the world of another. It is the process of separating from your parents, in other words, it is the process of growing up. Modern society offers more and more opportunities to increase the length of childhood. Perhaps this is a reaction to modern stage development of society - a consumer society. Maybe that's why in the modern world the rites of passage (initiation), which existed in all cultures, have lost their power. In the most general form, these rituals assumed that the growing member of the tribe at the appointed time should leave his tribe and for some time, while in this “other world”, he had to go through a series of trials, and the elders of the tribe introduced him to the mythology of their tribe. An important component of these initiation rites was the symbolic encounter with death. During this rite of passage, big changes in inner life man, for him, initiation was the path that takes him from childhood to adult life. Therefore, at the end of the initiation, the person returned to his village already completely different, adult and ready to create his own. own family. Therefore, the rites of initiation well reflect another important symbolic meaning of the road - it is a symbol of transformation, overcoming, realization and liberation. Rooted here famous aphorism“When you return from a trip, you will never be the same again.”
In the culture of many peoples, one can find a common universal mythological plot, in which a certain hero, often the most a common person, begins his journey and in the process of this journey he faces various trials and miraculously transforms his inner qualities and views of the world. His life becomes more conscious. Joseph Campbell called this mythology "the hero's journey". This plot is found in many myths of the most different peoples, for example, in a series of stories about the Buddha. But this plot is found not only in myths and fairy tales, but also in the work of modern authors. It can be traced in the plots of the films Star Wars, The Hobbit, Harry Potter, The Lion King and many others. In these plots, we are faced with the symbolism of the road as a life path, a symbol of transformation, becoming, the road as a metaphor for finding one's place in life. From the point of view of Joseph Campbell, this other world, where the hero finds himself, corresponds to the unconscious. In this sense, as soon as the hero overcomes the first threshold, he enters the territory of his own unconscious and begins to find allies in this world, to transform something, to overcome something, to fight with someone, to find something. From this point of view, for the hero who has gone his own way, his own unconscious becomes more explored. With a successful passage, he becomes the ruler of two worlds. And here we come to the symbolism of the road as a way to oneself, a way of self-knowledge. Therefore, in many fairy tales, the hero sets off on a journey.
Speaking of the road, we are faced with an existential theme. The road we are on often offers us a choice of where to go next. And the way we choose will determine what we become. In this regard, every time in a situation of choice, we are faced with a choice between different versions of our Self, potential variants of the Self. And when we choose and go through the path, we will translate this potentiality into reality. Some of these potential selves will become real, while the rest of the selves will remain unrealized. And here we are faced with the theme of not only freedom (which road to take?), but also responsibility. Responsibility to myself (which way I go, I will become one), but also social responsibility (deciding to go down some road, I make it more trodden, and it will be easier for others to follow it too). From this position, the road is a good metaphor for designating the main existential givens of being: awareness of finiteness (the road of our life will someday end), lack of meaning (we are not told what the meaning of this or that road is, we ourselves give meaning to which path we choose ), freedom (we can choose any road or pave our own), responsibility (deciding to go down one road, at that moment we cannot go down another; by choosing one, we abandon the other), existential loneliness (since we are formed in the process of our path, then in order for someone to fully understand me, he must go exactly my way the way I did. That is, he must live life the way I lived it, and this is impossible. In this regard, we can only be understood by others to a certain extent.)
It turns out that the road with its symbolism sends us to the questions of our being. And then this image can help us in the search for answers to both vital important questions, and in orientation, how we want to develop further. Communication with a psychologist through the image of the road can be surprisingly fruitful for working with the topic of psychological maturation, overcoming periods of crisis, for working with existential topics, for modeling your future.
The article was written by psychologist Roman Levykin (Record for a consultation:
)
Join the Vkontakte group.
1. The role of the road in the works of Russian classics
1.1 Symbolic function of the road motif
The road is an ancient image-symbol, the spectral sound of which is very wide and varied. Most often, the image of the road in the work is perceived as the life path of a hero, a people or an entire state. "Life path" in the language is a space-time metaphor, which many classics used in their works:,.
The motif of the road also symbolizes such processes as movement, search, testing, renewal. In the poem “To whom it is good to live in Rus'”, the path reflects the spiritual movement of the peasants and all of Russia in the second half of the 19th century. And in the poem “I go out alone on the road”, he resorts to using the motive of the road to show the lyrical hero finding harmony with nature.
IN love lyrics the road symbolizes separation, parting or persecution. A prime example such a comprehension of the image was the poem "Tauris".
For the road has become an incentive for creativity, for the search for the true path of mankind. It symbolizes the hope that such a path will be the fate of his descendants.
The image of the road is a symbol, so each writer and reader can perceive it in their own way, discovering more and more new shades in this multifaceted motif.
1.2 Compositional and semantic role of the image of the road
In the memories of friends, of those who are dear and far away, suddenly, imperceptibly, unobtrusively, a road-fate appeared (“We are assigned a different path by strict fate”), pushing and separating people.
In love lyrics, the road is separation or persecution:
Behind her on the slope of the mountains
I walked the path of the unknown
And noticed my timid gaze
Traces of her lovely foot.
("Tavrida", 1822)
And the poetic road becomes a symbol of freedom:
You are the king: live alone.
By the road of the free
Go where your free mind takes you...
("To the Poet", 1830)
One of the main themes in Pushkin's lyrics is the theme of the poet and creativity. And here we observe the disclosure of the theme through the use of the motive of the road. “Go along the free path, where the free mind leads you,” Pushkin says to his fellow writers. It is the "free road" that should become the path for a true poet.
The road-fate, the free path, the topographic and love roads make up a single carnival space in which the feelings and emotions of lyrical characters move.
The motive of the road occupies a special place not only in Pushkin's poetry, but also in the novel "Eugene Onegin" it plays a significant role.
Movement in "Eugene Onegin" is exclusively great place: the action of the novel begins in St. Petersburg, then the hero travels to the Pskov province, to his uncle's village. From there, the action is transferred to Moscow, where the heroine goes "to the bride's fair" in order to later move with her husband to St. Petersburg. Onegin during this time makes a trip Moscow - Nizhny Novgorod - Astrakhan - Georgian Military Highway - North Caucasian mineral springs - Crimea - Odessa - Petersburg. A sense of space, distances, a combination of home and road, home, sustainable and road, mobile life are an important part inner world Pushkin's novel. An essential element of spatial sense and artistic time is the speed and mode of movement.
In St. Petersburg, time flows quickly, this is emphasized by the dynamism of the 1st chapter: « flying in the dust on the mail", "He rushed to Talon ..." or:
We'd better hurry to the ball
Where headlong in a pit carriage
My Onegin has already galloped.
Then artistic time slows down:
Unfortunately, Larina dragged herself
Afraid of expensive runs,
Not on postal, on their own,
And our maiden enjoyed
Road boredom is complete:
They traveled for seven days.
In relation to the road, Onegin and Tatyana are opposed. So, “Tatyana is afraid of the winter way,” Pushkin writes about Onegin:
They were overcome with anxiety,
Wanderlust
(Very painful property,
Few voluntary cross).
In the novel rises and social aspect motive:
Now our roads are bad
Forgotten bridges rot
Bed bugs and fleas at the stations
Don't let me sleep for a minute...
Thus, based on the analysis of the poetic text of the poet, we can conclude that the motive of the road in the lyrics is quite diverse, the image of the road is found in many of his works, and each time the poet presents it in different aspects. The image of the road helps to show the pictures of life and enhance the coloring of the mood of the lyrical hero.
2.2.2 Lermontov's theme of loneliness through the prism of the motive of the road
Lermontov's poetry is inextricably linked with his personality; it is in the fullest sense a poetic autobiography. The main features of Lermontov's nature: unusually developed self-consciousness, depth moral peace, courageous idealism of life aspirations.
The poem “I go out alone on the road” absorbed the main motives of Lermontov’s lyrics, it is a kind of result in the formation of a picture of the world and the lyrical hero’s awareness of his place in it. One can clearly trace several cross-cutting motives.
Loneliness motif. Loneliness is one of the central motifs of the poet: "I am left alone - / Like a dark, empty castle / Insignificant ruler" (1830), "I am alone - there is no joy" (1837), "And there is no one to give a hand to / In a moment of spiritual adversity" ( 1840), "Alone and without purpose I have been running around the world for a long time" (1841). It was a proud loneliness among the despised light, leaving no way for action, embodied in the image of the Demon. It was tragic loneliness, reflected in the image of Pechorin.
The loneliness of the hero in the poem “I go out alone on the road” is a symbol: a person is alone with the world, a rocky road becomes a life path and a shelter. The lyrical hero goes in search of peace of mind, balance, harmony with nature, which is why the consciousness of loneliness on the road does not have a tragic coloring.
The motive of wandering, the path, understood not only as the restlessness of the romantic hero-exile (“Leaf”, “Clouds”), but the search for the purpose of life, its meaning, which was never discovered, not named by the lyrical hero (“Both boring and sad ...” , "Duma").
In the poem “I go out on the road alone”, the image of the path, “reinforced” by the rhythm of the pentameter trochaic, is closely connected with the image of the universe: it seems that space is expanding, this road goes to infinity, is associated with the idea of eternity.
Lermontov's loneliness, passing through the prism of the motive of the road, loses its tragic coloration due to the lyrical hero's search for harmony with the universe.
2.2.3 Life is the road of the people in the works
Original singer of the people. He began his creative career with the poem "On the Road" (1845), and finished with a poem about the wanderings of seven men in Rus'.
In 1846, the poem "Troika" was written. “Troika” is a prophecy and a warning to a serf girl, still dreaming of happiness in her youth, who for a moment forgot that she is “baptized property” and she is “not supposed to be happy”.
The poem opens with rhetorical questions addressed to the village beauty:
What are you greedily looking at the road
Away from cheerful girlfriends? ..
And why are you running so fast
Behind the rushing trio after? ..
Troika-happiness rushes along the road of life. It flies by beautiful girl greedily catching his every move. While for any Russian peasant woman, the fate is predetermined from above, and no beauty can change it.
The poet draws typical picture her future life, painfully familiar and unchanged. It is hard for the author to realize that time is passing, but this strange order of things does not change, so familiar that not only outsiders, but also the participants in the events themselves do not pay attention to it. A serf woman learned to patiently endure life as a punishment from heaven.
The road in the poem robs a person of happiness, which is carried away from a person by a quick trio. A very specific three becomes the author's metaphor, symbolizing the transience of earthly life. It rushes so fast that a person does not have time to realize the meaning of his existence and cannot change anything.
In 1845 he wrote the poem "The Drunkard", in which he describes the bitter fate of a person sinking "to the bottom". And again, the author resorts to the use of the motive of the road, which emphasizes the tragic fate of such a person.
Leaving the path of destruction,
I would find another way
And in another labor - refreshing -
Would droop with all my heart.
But the unfortunate peasant is surrounded by one injustice, meanness and lies, and therefore there is no other way for him:
But the haze is black everywhere
Against the poor...
One is open
The road to the pub.
The road again acts as a cross for a person, which he is forced to bear all his life. One road, the absence of a choice of another path - the fate of the unfortunate, disenfranchised peasants.
In the poem “Reflections at the front door” (1858), talking about peasants, rural Russian people who ... “wandered for a long time ... from some distant provinces” to the St. Petersburg nobleman, the poet speaks of the long-suffering people, about his humility. The road leads the peasants back, leads them into hopelessness:
…Having stood,
The pilgrims untied the bag,
But the porter did not let me in, without taking a meager mite,
And they went, burning with the sun,
Repeating: "God judge him!",
Spreading hopelessly hands ...
The image of the road symbolizes hard way long-suffering Russian people:
He groans through the fields, along the roads,
He groans in prisons, prisons,
In mines, on an iron chain;
… Oh, hearty!
What does your endless moan mean?
Will you wake up, full of strength ...
Another poem in which the motive of the road is clearly traced is “Schoolboy”. If in the Troika and in the Drunkard there was a downward movement (movement into darkness, an unhappy life), then in the Shkolnik one can clearly feel the upward movement, and the road itself gives hope for a brighter future:
Sky, spruce and sand -
Unhappy road...
But there is no hopeless bitterness in these lines, and then the following words follow:
This is a path of many glorious.
In the poem "Schoolboy" for the first time there is a feeling of change in spiritual world a peasant, which will later be developed in the poem “Who in Rus' should live well”.
At the heart of the poem "To whom it is good to live in Rus'" is a story about peasant Russia, deceived by government reform (Abolition of serfdom, 1861). The beginning of the poem "To whom it is good to live in Rus'" with the significant names of the province, county, volost, villages attracts the reader's attention to the plight of the people. Obviously, the bitter share of the temporarily obligated peasants who met on the high road turns out to be the initial cause of the dispute about happiness. After a bet, seven men set off on a long journey across Russia in search of truth and happiness. The Nekrasov peasants who set out on their journey are not traditional pilgrimage wanderers - they are a symbol of a post-reform people's Russia that has started off, longing for change:
The theme and image of the road-path are somehow connected with various characters, groups of characters, with the collective hero of the work. In the world of the poem, such concepts and images as the path - the crowd - the people - the old and new worlds- work - the world. The expansion of the life impressions of the arguing men, the growth of their consciousness, the change in views on happiness, the deepening of moral concepts, social insight - all this is also connected with the motive of the road.
The people in Nekrasov's poem are a complex, multifaceted world. The poet connects the fate of the people with the union of the peasantry and the intelligentsia, which follows a close honest path "for the bypassed, for the oppressed." Only the joint efforts of the revolutionaries and the people who are "learning to be a citizen" can, according to Nekrasov, lead the peasantry onto the broad road of freedom and happiness. And while the poet Russian people shown on the way to "a feast for the whole world." N. A. Nekrasov saw in the people a force capable of accomplishing great things:
Rat rises -
Innumerable!
The strength will affect her
Invincible!
Belief in the "wide, clear road" of the Russian people is the main belief of the poet:
…Russian people…
Endure whatever the Lord sends!
Will endure everything - and wide, clear
He will pave the way for himself with his chest.
The thought of the spiritual awakening of the people, especially the peasantry, haunts the poet and penetrates into all the chapters of his immortal work.
The image of the road that permeates the works of the poet acquires an additional, conditional, metaphorical meaning from Nekrasov: it enhances the feeling of change in the spiritual world of the peasant. The idea runs through all the poet's work: life is a road and a person is constantly on the road.
2.2.4 Road - human life and the path of human development in the poem "Dead Souls"
The image of the road arises from the first lines of the poem " Dead Souls". We can say that he stands at its beginning. “A rather beautiful spring-loaded small britzka drove into the gates of the hotel in the provincial city of NN ...”. The poem ends with the image of the road: “Rus, where are you rushing, give me an answer? .. Everything that is on earth flies past, and, looking sideways, step aside and give it way to other peoples and states.”
But they are completely different paths. At the beginning of the poem, this is the road of one person, a specific character - Pavel Ivanovich Chichikov. In the end, this is the road of the whole state, Russia, and even more, the road of all mankind, a metaphorical, allegorical image appears before us, personifying the gradual course of all history.
These two values are like two extreme milestones. Between them are many other meanings: both direct and metaphorical, forming a single, complex image of Gogol's road.
The transition from one meaning to another - concrete to metaphorical - most often occurs imperceptibly. Chichikov leaves the city of NN. “And again, on both sides of the high road, they went again to write versts, stationmasters, wells, carts, gray villages with samovars, women and a lively bearded owner ... ", etc. Then follows the author's famous appeal to Rus': "Rus! Rus! I see you, from my wonderful, beautiful far away I see you ... "
The transition from the specific to the general is smooth, almost imperceptible. The road along which Chichikov travels, endlessly lengthening, gives rise to the idea of all of Rus'. Further, this monologue is interrupted by another plan: “... And the mighty space menacingly embraces me, reflecting with terrible force in my depths; my eyes lit up with an unnatural power: wow! what a sparkling, wonderful, unfamiliar distance to the earth! Rus!
Hold on, hold on, you fool! Chichikov shouted to Selifan.
Here I am with your broadsword! - shouted a courier with a mustache to a arshin, galloping to meet. - Don't you see, goblin tear your soul: state-owned carriage! - and, like a ghost, the trio disappeared with thunder and dust.
How strange, and alluring, and bearing, and wonderful in the word: road! And How
she herself is wonderful, this road: a clear day, autumn leaves, cold air...
stronger in a travel overcoat, a hat on the ears, we will snuggle closer and more comfortably to the corner!
The famous Russian scientist A. Potebnya found this place "brilliant". Indeed, the sharpness of the transition is brought to the highest point, one plan is "pushed" into another: Chichikov's rough scolding bursts into the inspired speech of the author. But then, just as unexpectedly, this picture gives way to another: as if both the hero and his chaise were just a vision of m. It should be noted that, having changed the type of story - prosaic, with extraneous remarks, to inspired, sublimely poetic - N. Gogol did not change this time the nature of the central image - the image of the road. It did not become metaphorical - before us is one of the countless roads of the Russian open spaces.
The change of direct and metaphorical images of the road enriches the meaning of the poem. The double nature of this change is also significant: gradual, "prepared", and sharp, sudden. The gradual transition of one image to another recalls the generalization of the events described: Chichikov's path is the life path of many people; separate Russian highways, cities are formed into a colossal and wonderful image of the motherland.
Sharpness, on the other hand, speaks of a sharp "opposite of an inspired dream and a sobering reality."
And now let's talk in more detail about the metaphorical meanings of the image of the road y. First, about the one that is equivalent to the life path of a person.
In fact, this is one of the oldest and most common images. One can endlessly cite poetic examples in which a person's life is comprehended as the passage of a path, a road. in "Dead Souls" also develops a metaphorical image of the road as "human life". But at the same time he finds his original twist of the image.
Beginning of Chapter V. The narrator recalls how, in his youth, he was worried about meeting any unfamiliar place. “Now I indifferently drive up to any unfamiliar village and indifferently look at its vulgar appearance; my chilled gaze is uncomfortable, it’s not funny to me, and what in previous years would have awakened a lively movement in the face, laughter and incessant speeches, now slips by, and my motionless lips keep an indifferent silence. O my youth! O my freshness!
There is a contrast between the end and the beginning, "before" and "now". On the road of life, something very important, significant is lost: the freshness of sensations, the immediacy of perception. In this episode, the change of a person on the path of life is brought to the fore, which is directly related to the internal theme of the chapter (VΙ ch. about Plyushkin, about those amazing changes that he had to go through). Having described these metamorphoses, Gogol returns to the image of the road: “Take it with you on the road, leaving your youthful years in a harsh, hardening courage, take away all human movements, do not leave them on the road: do not pick them up later!”
But the road is not only a “human life”, but also a process of creativity, a call for tireless writing: “And for a long time it has been determined for me by a wonderful power to go hand in hand with my strange heroes, to look around at the whole enormously rushing life, look at it through laughter visible to the world and invisible, unknown to it tears! ... On the road! on the road! away the wrinkle that had crept over the forehead and the stern twilight of the face! At once and suddenly we will plunge into life with all its soundless chatter and bells and see what Chichikov is doing.
Gogol highlights other meanings in the word road, for example, a way to resolve any difficulty, to get out of difficult circumstances: into the impenetrable backwoods, they knew how to throw again a blind fog into each other's eyes and, dragging after the marsh lights, they knew how to get to the abyss, so that later they would ask each other with horror: where is the exit, where is the road? The expression of the word road is reinforced here with the help of an antithesis. Exit , the road is opposed to the swamp, abyss .
And here is an example of the use of this symbol in the author’s reasoning about the ways of human development: “What twisted, deaf, narrow, impassable, drifting roads humanity has chosen, striving to achieve eternal truth...”. And again, the same method of expanding the pictorial possibilities of the word - opposing the straight, tortuous path, which is "wider than all other paths ... illuminated by the sun," a curve that leads to the side of the road.
In the concluding volume, dead souls In a lyrical digression, the author talks about the ways of Russia's development, about its future:
“Isn’t it true that you too, Rus', that a brisk, unbeatable troika are rushing about? The road smokes under you, the bridges rumble, everything lags behind and remains behind ... everything that is on the earth flies past, and, looking sideways, step aside and give it the way other peoples and states. In this case, the expressiveness of the word is enhanced by contrasting it different values: the path of development of Russia and a place for passage, passage.
The image of the people is metamorphically connected with the image of the road.
What does this vast expanse prophesy? Is it not here, in you, that an infinite thought is born, when you yourself are without end? Is it not possible for a hero to be here when there is a place where he can turn around and walk around?
Eh, trio! bird troika, who invented you? to know that you could only be born among a lively people in that land that does not like to joke, but spread out half the world with an even smoothness, and go and count the miles until it fills your eyes ... hastily alive, with one ax and a chisel, You were equipped and assembled by a smart Yaroslavl man. The coachman is not in German boots: a beard and mittens, and the devil knows what he sits on; but he got up, but swung, and dragged on the song - the horses were in a whirlwind, the spokes in the wheels mixed up in one smooth circle, the road only trembled, and the stopped pedestrian screamed in fright! and there she rushed, rushed, rushed! .. "
Through connection with the image of the “troika bird”, the theme of the people at the end of the first volume brings the reader to the theme of the future of Russia: “. . . and everything inspired by God rushes! ... Rus', where are you rushing, give me an answer? Doesn't give an answer. A bell is filled with a wonderful ringing ... and, looking sideways, step aside and give her way to other peoples and states.
The language of the stylistic diversity of the image of the road in the poem "Dead Souls" corresponds to a sublime task: here we use High style speech, means characteristic of poetic language. Here are some of them:
Hyperbole: “Shouldn’t a hero be here when there is a place where to turn around and walk for him?”
Poetic Syntax:
a) rhetorical questions: “And what Russian does not like to drive fast?”, “But what incomprehensible, secret force attracts you?”
b) exclamations: “Oh, horses, horses, what horses!”
c) appeals: “Rus, where are you rushing to?”
Everything is in motion, in continuous development, the motive of the road is also developing. In the twentieth century, it was picked up by such poets as A. Tvardovsky, A. Blok, A. Prokofiev, S. Yesenin, A. Akhmatova. Each of them saw in it more and more unique shades of sound. The formation of the image of the road in modern literature continues.
Gennady Artamonov, a Kurgan poet, continues to develop the classical idea of the road as a way of life:
Silence in our class today
Let's sit down before the long road,
From here it starts
Goes into life from the school threshold.
"Goodbye, school!"
Nikolai Balashenko creates a vivid poem "Autumn on the Tobol", in which the motif of the road is clearly traced:
I walk along the path along the Tobol,
An incomprehensible sadness in my heart.
Cobwebs float weightlessly
In your autumn unknown way.
The thin interweaving of the topographic component (the path along the Tobol) and the "life path" of the cobweb gives rise to the idea of inseparable connection between life and Motherland, past and future.
The road is like life. This idea became fundamental in Valery Egorov's poem "Crane":
We choose our own stars
For their light we wander along the paths,
We lose and break ourselves along the way,
But still we go, we go, we go...
Movement is the meaning of the universe!
And meetings are miles on the way ...
The same meaning is embedded in the poem "Duma", in which the motive of the road sounds half-hints:
Crossroads, paths, stops,
In modern literature, the image of the road has acquired a new original sound, more and more often poets resort to the use of the path, which may be associated with the complex realities of modern life. The authors continue to comprehend human life as a path to be taken.
3. "Enchanted wanderers" and "inspired vagabonds"
3.1 Pushkin's "Unhappy Wanderers"
Endless roads, and on these roads - people, eternal vagabonds and wanderers. The Russian character and mentality are conducive to the endless search for truth, justice and happiness. This idea is confirmed in such works of the classics as "Gypsies", "Eugene Onegin", "The Sealed Angel", "Cathedrals", "The Enchanted Wanderer".
You can meet the unfortunate wanderers on the pages of the poem "Gypsies". “In The Gypsies there is a strong, deep and completely Russian thought. “Nowhere can one find such independence of suffering and such a depth of self-consciousness inherent in the wandering elements of the Russian spirit,” said at a meeting of the society of lovers Russian literature. And indeed, in Aleko, Pushkin noted the type of unfortunate wanderer in his native land, who cannot find a place for himself in life.
Aleko is disappointed in secular life, dissatisfied with it. He is a “renegade of the world”, it seems to him that he will find happiness in a simple patriarchal setting, among free people not subject to any laws. Aleko's moods are an echo of romantic dissatisfaction with reality. The poet sympathizes with the hero-exile, at the same time, Aleko is subjected to critical reflection: the story of his love, the murder of a gypsy characterizes Aleko as a selfish person. He was looking for freedom from chains, and he himself tried to put them on another person. “You only want freedom for yourself,” as folk wisdom sounds like the words of an old gypsy.
Such human type, as described in Aleko, does not disappear anywhere, only the direction of the personality's escape is transformed. The former wanderers, in the opinion, followed the gypsies, like Aleko, and the contemporary ones went to the revolution, to socialism. “They sincerely believe that they will achieve their goal and happiness, not only personal, but also global,” Fyodor Mikhailovich argued, “the Russian wanderer needs world happiness, he will not be satisfied with less.” the first marked our national essence.
In Eugene Onegin, much resembles the images of the Caucasian prisoner and Aleko. Like them, he is not satisfied with life, tired of it, his feelings have cooled. But nevertheless, Onegin is a socio-historical, realistic type, embodying the appearance of a generation whose life is conditioned by certain personal and social circumstances, a certain social environment of the Decembrist era. Eugene Onegin is a child of his age, he is Chatsky's successor. He, like Chatsky, is "condemned" to "wandering", condemned to "seek around the world where" there is a corner for the offended feeling. His chilled mind questions everything, nothing captivates him. Onegin is a freedom-loving person. There is a “straight nobility of soul” in him, he turned out to be able to love Lensky with all his heart, but Tatyana’s naive simplicity and charm could not seduce him in any way. He has both skepticism and disappointment; features of an "extra person" are noticeable in it. These are the main character traits of Eugene Onegin, which make him "not finding a place for himself, a wanderer rushing around Russia."
But neither Chatsky, nor Onegin, nor Aleko can be called genuine "wanderers-sufferers", the true image of which will create.
3.2 "Wanderers-sufferers" - the righteous
"The Enchanted Wanderer" is a type of "Russian wanderer" (in the words of Dostoevsky). Of course, Flyagin has nothing to do with superfluous people of the nobility, but he is also looking for and cannot find himself. The Enchanted Wanderer has real prototype- the great explorer and navigator Afanasy Nikitin, who in a foreign land "suffered for faith", in his homeland. So the hero Leskov, a man of boundless Russian prowess, great simple-heartedness, cares most about his native land. Flyagin cannot live for himself, he sincerely believes that life should be given for something more, common, and not for the selfish salvation of the soul: “I really want to die for the people”
The protagonist feels some kind of predestination of everything that happens to him. His life is built according to the well-known Christian canon, concluded in the prayer "For those who swim and travel, in ailments, those who suffer and are captive." By way of life, Flyagin is a wanderer, runaway, persecuted, not attached to anything earthly in this life; he went through cruel captivity and terrible Russian ailments and, having got rid of "anger and need", turned his life to the service of God.
The appearance of the hero resembles the Russian hero Ilya Muromets, and the indefatigable life force The flask, which requires an exit, prompts the reader to compare with Svyatogor. He, like the heroes, brings kindness to the world. Thus, in the image of Flyagin there is a development folk traditions epics.
Flyagin's whole life was spent on the road, his life path is the path to faith, to that understanding of the world and state of mind, in which we see the hero on the last pages of the story: "I really want to die for the people." There is the deepest meaning in the very wandering of the Leskovsky hero; it is on the roads of life that the “enchanted wanderer” comes into contact with other people, opens up new life horizons. His path does not begin at birth, the turning point in the fate of Flyagin was the love for the gypsy Grushenka. This bright feeling became the impetus for the moral growth of the hero. It should be noted: Flyagin's path is not over yet, there is an endless number of roads in front of him.
Flyagin is an eternal wanderer. The reader meets him on the way and parted with him on the eve of new roads. The story ends on a note of quest, and the narrator solemnly pays tribute to the spontaneity of eccentrics: "his prophecies remain until the time of the one who hides his fate from the smart and reasonable, and only occasionally reveals them to babies."
Comparing Onegin and Flyagin with each other, we can conclude that these heroes are opposites, which are vivid examples of two types of wanderers. Flyagin sets out on a journey of life in order to grow up, to strengthen his soul, while Onegin runs away from himself, from his feelings, hiding behind a mask of indifference. But they are united by the road that they follow throughout their lives, the road that transforms the souls and destinies of people.
Conclusion.
The road is an image used by all generations of writers. The motif originated in Russian folklore, then it continued its development in the works of literature of the 18th century, was picked up by poets and writers of the 19th century, and it has not been forgotten even now.
The motif of the path can perform both a compositional (plot-forming) function and a symbolic one. Most often, the image of the road is associated with the life path of a hero, a people or an entire state. Many poets and writers resorted to the use of this space-time metaphor: in the poems “To Comrades” and “October 19”, in the immortal poem “Dead Souls”, in “Who Lives Well in Rus'”, in “The Enchanted Wanderer”, V. Egorov and G. Artamonov.
In poetry, the variety of roads forms a single "carnival space", where you can meet Prince Oleg with his retinue, and the traveler, and Mary the Virgin. The poetic road presented in the poem "To the Poet" has become a symbol of free creativity. An exceptionally large place is occupied by the motive in the novel "Eugene Onegin".
In creativity, the motif of the road symbolizes the lyrical hero's finding harmony with nature and with himself. And the road reflects the spiritual movement of the peasants, the search, testing, renewal. The road meant a lot to.
Thus, the philosophical sound of the motive of the road contributes to the disclosure ideological content works.
The road is unthinkable without wanderers, for whom it becomes the meaning of life, an incentive for personal development.
So, the road is an artistic image and a plot-forming component.
The road is a source of change, life and help in difficult times.
The road is both the ability to be creative, and the ability to know the true path of a person and all of humanity, and the hope that contemporaries will be able to find such a path.
The image of the road in the works of Russian literature of the 19th century (“The Snowstorm”, “The Captain's Daughter” by A. S. Pushkin, “The Hero of Our Time by M. Yu. Lermontov)
1. The meaning of the image of the road in literature.
2. Evolution of the image of the road. 3. The road in the works of A. S. Pushkin.
4. The road in the works of M. Yu. Lermontov. 5. Road in worksN.A. Nekrasova
I go out alone on the road;
Through the mist the flinty path gleams;
The night is quiet. The desert listens to God
And the star speaks to the star.
M. Yu. Lermontov
The image of the road is one of the oldest in literature, not only in Russian literature, but also in the world. The ribbon of the road leading into the distance and the frozen architecture of the building are images of search and peace, future and past, between which a short moment of the present is sandwiched. Obviously, these two images - the road and the house - are inextricably linked in the mind of a person. In the mythology and literature of antiquity, the image of the road played an extremely important role. Recall Homer's Odyssey, whose hero wanders long years before he manages to return home. Almost all great heroes go on a journey. During their wanderings, they perform most of their feats. The heroes of Russian epics are no exception: Ilya Muromets, who spent thirty-three years at home, on his way to Kyiv defeats a huge army and the Nightingale the Robber alone.
Naturally, in the process historical development society, the image of the road in literature and the minds of people underwent certain changes. However, he has not lost, and could not lose his significance. Firstly, people, as before, traveled, moved from one place to another, on the way they experienced some events that could become material for the writer. Secondly, the road can be understood not only in the narrow sense as a segment of the path connecting two points, but also as human life. Of course, if approached from this point of view, it can be argued that the image of the road as a person's life path is present in any literary work. However, let us dwell on a narrower approach to understanding the image of the road and look at a few examples of how this image was comprehended. 19th writers century.
Basic feature Russian literature is the presence in it of "cross-cutting" themes. So, one of them is the theme of the way - the road in Russian literature.
The road is an ancient image-symbol, the spectral sound of which is very wide and varied. Most often, the image of the road in the work is perceived as the life path of a hero, a people or an entire state. “Life path” in the language is a spatio-temporal metaphor, which was used by many classics in their works: A. S. Pushkin, N. A. Nekrasov, N. S. Leskov, N. V. Gogol.
The motif of the road also symbolizes such processes as movement, search, testing, renewal. In N. A. Nekrasov’s poem “Who Lives Well in Rus',” the path reflects the spiritual movement of the peasants and all of Russia in the second half of the 19th century. And M. Yu. Lermontov in the poem “I go out alone on the road” resorts to using the motive of the road to show that the lyrical hero has found harmony with nature.
In love lyrics, the road symbolizes separation, parting, or persecution. A vivid example of such an understanding of the image was the poem by A. S. Pushkin "Tavrida".
For N.V. Gogol, the road became an incentive for creativity, for the search for the true path of mankind. It symbolizes the hope that such a path will be the fate of his descendants.
The image of the road is a symbol, so each writer and reader can perceive it in their own way, discovering more and more new shades in this multifaceted motif.
Thow,road theme in Russian literature, is multifaceted and deep.
In the life of every person there are such moments when you want to go out into the open and go “to the beautiful far away”, when suddenly the road to unknown distances beckons you. But the road is not only a route. In the literature of the 19th century, the image of the road is presented in various meanings. This diversity of the concept of the road helps the reader to better understand and understand the greatness of the creations of the classics, their views on life and the surrounding society, on the interaction of man and nature. Landscape sketches associated with the perception of the road often carry the ideological orientation of the entire work or a single image.
The road is an ancient image-symbol, so it can be found both in folklore and in the work of many classic writers.
The word "road" in the dictionary of S.I. Ozhegov
ROAD - 1. A strip of land intended for movement, a communication route. 2. The place where you need to go or drive, the route. 3. Travel, stay on the road. 4. Mode of action, direction of activity (means to achieve some goal; life path).
"The Evolution of the Image of the Road".
Russian roads.Endless, tiring, able to calm and disturb. That is why the image of the road has taken a special place in Russian folklore: it is present in songs, fairy tales, epics, proverbs.
The road in the minds of the Russian people was associated with grief and suffering: along the way, young guys were driven into recruits; on the way, the peasant carried his last belongings to the market; along the road lay a mournful path to exile.
It is with folklore that the history of the development of the road motif begins, which was later picked up by the writers of the 15th century. A striking example of a work with a clearly traceable road motif was A.N. Radishchev. The main task of the author was to "look" into the Russian social reality.
The reader's acquaintance with the protagonist of Pushkin's novel "Eugene Onegin" takes place precisely when the "young rake" flies "in the dust on the mail" to the village to his dying uncle. “Having fun and luxury, a child” runs from high society to the village, and after a while, fed up with landowner life and feeling remorse from the sad finale of the duel with Lensky, Onegin sets off again ...
Lermontov's hero Grigory Alexandrovich Pechorin (the novel "A Hero of Our Time"), aptly named by V.G. Belinsky’s “younger brother of Onegin”, not only travels (fate brings this metropolitan aristocrat either to Pyatigorsk, then to Kislovodsk, then to a Cossack village, then to the “bad town” Taman, then even to Persia), but also dies on the road, “ returning from Persia.
“ The genius of a penny ”Pavel Ivanovich Chichikov (N.V. Gogol. “Dead Souls”) in the first volume of the poem that has come down to the reader, in fact, is presented as an energetic traveler making a purely mercantile trip to one of the Russian provinces. In the censored edition, even the title was changed “to the side of the road” - “The Adventures of Chichikov, or Dead Souls”.
It may be recalled that from the journey of Arkady Kirsanov from St. Petersburg to family estate Maryino and from his trip to his native places (a university comrade Yevgeny Bazarov arrives with him) begins the novel by I.S. Turgenev "Fathers and Sons". And during the entire action of the work, friends do not stay in one place for long: they go to the provincial city, then to the estate of Anna Sergeevna Odintsova, then to visit the old Bazarovs, and then return again to the estate of Nikolai Petrovich Kirsanov. By this, the writer seems to emphasize their indefatigable young energy, a thirst for learning new things, in contrast to the generation of “fathers”, who, due to their age and habit to a measured way of life, according to the apt expression of Arina Vlasyevna Bazarova, “like honey agarics on a hollow, sit in a row and don’t from place".
From leaving a cramped closet and aimlessly wandering along the “middle” St. Petersburg streets, on which tenement houses and dirty taverns, Dostoevsky's hero Rodion Raskolnikov originates the novel Crime and Punishment. And in general, the writer, whose soul is sick for the “humiliated and offended,” often unfolds the action against the backdrop of the urban landscape of summer Petersburg, where “the heat is unbearable ... dust, brick, limestone ... the stench from shops and taverns” and where “people are swarming”, as if a “feeling of the deepest disgust” is pushing them to leave their miserable, impoverished “corners” and, having gone out into the city, merge with a crowd of “all sorts of industrialists and shabby people”.
And the famous Nekrasov "wanderers"! This is what the poet calls the seven peasants who set off on the road in order to find someone “who lives happily, freely in Rus'.” Nekrasov's lyrical poem "Korobeiniki" is also dedicated to the passerby offen merchants traveling with their goods (“the box is full, full, there are chintz and brocade”) in the villages.
DFor many heroes of Russian literature of the 19th century, the road, travel is an integral part of life, and perhaps that is why the smart, kind, but sluggish and inactive Ilya Ilyich Oblomov novel of the same name I.A. Goncharova looksatypical (it is no coincidence that his antipode is shown in the work - the energetic, constantly on the move Andrei Stolz), and critics call Oblomov “ an extra person among superfluous people.
But after all, the words road, path are polysemantic: they can denote not only a segment of space between any points, but also stages of life as individual person and the whole nation. And in this sense, we can talk about the short path of the heroine of the play A.N. Ostrovsky "Thunderstorm": from happy childhood(“I lived - I didn’t grieve about anything, like a bird in the wild”) until premature death, which freedom-loving Katerina prefers life in the house of a despotic mother-in-law and a weak-willed husband; O life quest favorite heroes of L.N. Tolstoy Andrei Bolkonsky and Pierre Bezukhov (the epic novel “War and Peace”), who live actively and “restlessly”, because, according to the author of the work, “calmness is spiritual meanness”. Finally, here we can also consider the path of the Russian people to Patriotic war 1812 (the epic novel "War and Peace"), when different segments of the population - from commander-in-chief Kutuzov to "the very right person”in the partisan detachment - Tikhon Shcherbaty and“ the elder Vasilisa, who beat a hundred Frenchmen ”, - rallied in a single patriotic impulse to liberate Russia from foreign invaders.
And how majestic the image of the road seems to the readers of the poem “Dead Souls”, along which, “what a brisk, unbeatable troika”, Rus is rushing! “... The mighty space envelops me menacingly,” exclaims the writer. - … Rus! Rus! I see you, from my wonderful, beautiful far away I see you ... "
Thow,road theme in Russian literature is vast, multifaceted and deep.
Poem"Demons" was writtenA.S. Pushkin in September 1830, in the first Boldin autumn. original name his - "Prank". However, then it was changed by the poet. The exact history of the creation of the work is not entirely clear. It is known that Pushkin, shortly before working on it, re-read Dante's Inferno.
"Demons" is a very complex poem that carries a deep poetic and philosophical overtones. This work bears the imprint of a turning point, ambiguous time, and personal difficulties in the fate of Pushkin, and his certain mental crisis. The thirties were a very difficult period in the development of Russian society of that era. The development of progress turned into a loss of youthful ideals, eternal and unshakable values. Here is how E.A. Baratynsky in the poem "The Last Poet":
Age walks its iron path,
In the hearts of self-interest, and a common dream
Hour by hour urgent and useful
Clearly, shamelessly busy.
Disappeared in the light of enlightenment
Poetry childish dreams,
And it's not about her generations are fussing
They are devoted to industrial concerns.
Similar feelings permeate many of Pushkin's works. In addition, the circumstances of the spiritual and personal life of the poet were very complex and ambiguous. The upcoming marriage did not leave in a state peace of mind. Here is what he wrote in a letter to Pletnev: “My dear, I will tell you everything that is in my soul: sadness, melancholy, melancholy. The life of a thirty-year-old fiancé is worse than thirty years of a player's life. The affairs of my future mother-in-law are upset. My wedding is being postponed from day to day further ... ”Before the marriage, Pushkin went to Boldino in order to arrange his financial affairs. However, due to the cholera epidemic, they had to stay there for three months. The poet at that time was in a "worst mood": the trip to the bride was postponed, he was deprived of communication with friends, there were very difficult relationship with criticism and the public. All this, of course, left an imprint on his worldview and creativity.
Tale "Blizzard"
A. S. Pushkin
of course, well known to all. When writing this story, Pushkin wanted to laugh at the plots of romance novels that were fashionable at that time. But this does not mean that the work is without deep meaning. Striking in its own wayExpressiveness and strength of the image of the road - the road, like fate, leading a person, shows us Pushkin! In fact, a blizzard caught both young people Vladimir and Burmin on their way. It would seem that the road to the church, where Masha is waiting for him, is Vladimir's road, because they love each other and are determined to get married against the will of the girl's parents. “But as soon as Vladimir left the outskirts in the field, the wind picked up and there was such a snowstorm that he didn’t see anything.” As if nothing unusual: in a strong snowstorm, of course, it is difficult to see something. Is it any wonder that the young man lost his way? However, this is what Burmin says about his journey into the same blizzard: “The storm did not subside; I saw a light and ordered to go there. It is worth paying attention to this difference in the description of the road of Vladimir and Burmin: it is as if someone is interfering with one, while the other, on the contrary, is showing the way. Another thing speaks in favor of this - despite the snowstorm, Burmin felt that he had to go. What Leads - the ancient sages called this inexplicable sensation Northern Europe. “... A terrible snowstorm arose, and the caretaker and the drivers advised me to wait. I obeyed them, but an incomprehensible uneasiness seized me; It felt like someone was pushing me." So, we see that in Pushkin's Snowstorm the image of the road has not lost that mystical halo that it was fanned in the myths and legends of antiquity. In Pushkin's story, the road, as it were, leads one of the characters, at the same time hiding from the other; she is like a thread of fate, which the goddesses spin for each person, which many peoples believed in ancient times.
We find a similar image of the road in another workPushkin
- novel"Captain's daughter".
On the way, Pyotr Grinev meets with officer Ivan Zurin and with the fugitive Cossack Emelyan Pugachev. These people will later meet again on the life path of a young man and play an important role in his fate. This applies in particular to Pugachev, who, remembering the good attitude of the young master, will save his life during the capture of the Belogorsk fortress, and then help him rescue his beloved. It is interesting to note that the meeting of Pyotr Grinev with the future leader of the popular uprising took place during a heavy snowstorm, but the unknown tramp, in whom only later the young man and his faithful servant recognize the formidable Pugachev, easily finds his way. “Where do you see the road?” the coachman, carrying a young officer, asks him doubtfully. Everything around is covered with snow, and it is really hardly possible to see the road. But the tramp finds her in a completely different way. He suggests waiting a little while until it clears up: "... then we will find the way by the stars." Sensing the smoke, he concludes that there must be human habitation nearby and turns out to be right. The road does not have to be seen as a strip of land running towards the horizon, it can be found thanks to signs that most people do not pay due attention to. So we find the echo again ancient ideas about the road, as about the fate of man. Those with whom the hero met by chance will have a great influence on his entire future.But let us turn to the consideration of the image of the road in the novelM. Yu.
Lermontov "A Hero of Our Time"
. The chapter of "Bela" begins with the words of the author: "I rode on the bed-posts from Tiflis." While traveling along mountain paths, the author meets Maxim Maksimych, who tells him the story of his friend Pechorin and the Circassian princess Bela. The author also makes a lot of travel observations of the behavior of coachmen and those Ossetians, in whose sakla he and Maxim Maksimych had to stop because of a snowstorm, admires the wild beauty Caucasian mountains, reflects on what he saw and heard and comes to certain conclusions. In Lermontov's novel, the road appears precisely as a patchwork pattern of various events and impressions that may relate to different periods time (in particular, the events that Maxim Maksimych talks about took place several years ago). The untidiness of the Ossetian sakli and the difficulties that travelers experience when climbing a mountain slope are not too striking to the reader against the backdrop of a harsh romantic landscape and stories about the love of Bela and Pechorin. Thus, in Lermontov's novel, the road appears as a mixture of impressions, as a place where he found material for his work. The road is like a motley carpet on which the fates of people and the imperturbable peaks of the mountains flicker: during the journey, the author and the plot of his work find each other, just as the heroes of ancient legends found a field for exploits and glory.
Poem"Clouds" M.Yu. Lermontov , unlike Pushkin's "Demons", is not imbued with a mood of despair and fear: in it, as a leader, the motive of elegiac sadness sounds. But the feeling of loneliness, wandering melancholy also overwhelms the soul of the lyrical hero. The poet created this work in April 1840, shortly before being sent to the second Caucasian exile. According to the recollections of one of his friends, at an evening in the house of the Karamzin Lermontovs, standing at the window and looking at the clouds that, having covered the sky, slowly floated over the Summer Garden and the Neva, he wrote a wonderful poem impromptu, whose first line sounded like this: “Clouds of heaven, eternal wanderers!” Already in these words we feel the motive of wandering, the motive of the endless road. The reader is presented with a metaphorical image of heavenly “eternal wanderers”, “exiles”, rushing “from the sweet north towards the south”. The happiness of these “eternally cold, eternally free” inhabitants of the heavenly sphere lies in the fact that neither envy, nor malice, nor slander have power over them. They do not know the pain of exile. The clouds are simply “bored with the barren fields”, so they set off. The fate of the lyrical hero is different: he is an exile involuntarily, this “drives” him with native side“fate… decision”, “envy… secret”, “malice… open”, “poisonous slander of friends”. However, in the main, he is happier than proud and independent clouds: he has a homeland, and the eternal freedom of the celestials is cold and forlorn precisely because they are initially deprived of a fatherland.
Years pass, many things change in life, in people's views on nature and society, but there are Eternal values. Yes, in a poemN.A. Nekrasova "Railway" , created already in the second half of the 19th century, in 1864, and dedicated to a specific event - the opening of the first Russian railway between St. Petersburg and Moscow. "Railroad" writtenduring that period of the sixties, when the revolutionary upsurge great era was already far behind ... He addressed in it to that generation that had just experienced the collapse of its recent hopes, dispelled by "a whirlwind of malice and rage." He wrote it during a bitter ideological orphanhood, having just lost his closest comrades, Chernyshevsky and Dobrolyubov, with whom he became related in the common work, he wrote to the hooting of victorious enemies, and still in this poem one hears neither a bitter groan, nor a complaint, and all in defiance of the jubilation of the reaction, it is imbued with unshakable confidence in the final victory of the people. Not so much to his casual companion Vanya, but to the entire young generation of the sixties, who survived the police terror, he addressed in the Railway with invigorating consolation and an appeal:
Do not be shy for the dear homeland ...
The Russian people carried enough
Carried out this railroad -
Will endure whatever the Lord sends!
Will endure everything - and wide, clear
He will pave the way for himself with his chest ...
For Nekrasov, this did not sound like a simple declaration: shortly before “ railway”, in the same era of rampant reaction, Nekrasov created the poem “Frost, Red Nose”, where his conviction in the titanic power of the people was confirmed by monumental images. This "Frost, Red Nose" is closely connected with the "Railway" ...
Nekrasov believed in the future victory of the people under all circumstances, and this faith, which ignited all his work, was especially clearly reflected in the verses cited, written in an era when she could not help but be subjected to the greatest trials.
Thus, based on the analysis of poetic texts, we can conclude that the motif of the road is quite diverse, found in many works, each poet represents the road to different aspects. The romantic road (M.Yu. Lermontov) is associated with the motives of exile, flight. There is an image of a lonely traveler. At the heart of the philosophical understanding of the road is a metaphor: the road is the life path. The road offers a choice (A.S. Pushkin). The motif of the road correlates with the theme of the Motherland (A.S. Pushkin, M.Yu. Lermontov, N.A. Nekrasov).
The disclosure of the theme of the road allows the authors to realize both spatial and philosophical tasks.
A road tattoo represents the path, movement, speed, freedom.
The meaning of the road tattoo
The road carries a special meaning for the worldview of a native Russian person. When a person is born, he is obliged to overcome the path until the end of his days - thus, life is opposed to the road. She has unexpected twists, it is by no means straight and serene all the time, on it we stumble upon potholes and pits, often it, like life itself, puts a person in front of a difficult choice.
The road invariably rivets a Russian person with new emotions and opportunities. Especially risky is the crossing of two or more paths of the road, all kinds of forks and roadsides, in which an unclean and dark force hides. It is no coincidence that Eastern Slavs there is a custom to bury suicides at forks in the road.
The symbol has become widespread in the world of tattoos. Often this pattern is stuffed with a mass of crossroads on the back, which means that a person is at a crossroads and in a continuous choice of the path to his destiny.
The road is a place of manifestation in different civilizations of mythological creatures. This tattoo personifies the life path of a person, the path of his soul to the other world, the place where the lot and destiny of a person is found. The Slavs are sure: sinful human souls live in ditches and roadsides.
This drawing has become a favorite tattoo among motorcyclists. In such a case, it personifies by no means a mythological ideology that has been formed over the centuries, but a biker's passion for riding and the track. Motorcyclists usually tattoo the road and a moped or car rushing along it. The image is most often complemented by various details, for example, a girl of easy virtue on the sidewalk means freedom of choice, or a rider riding a horse personifies brisk speed.
Such a tattoo can symbolize moving forward, working on oneself, continuous development, and also the absence of any kind of barriers and boundaries.
If you delve into the symbolism, then the road can also personify purposefulness, firmness in decisions: it seems to say that there are no limits to human potential.
Such a tattoo is equally to the face and the strong and weak sex, a boy and a girl and older people, it will only speak of the wisdom and depth of his soul. This is a universal tattoo for everyone, both loving and unsociable.
The main feature of this symbol is simplicity, thanks to which it will never lose its relevance and uniqueness. After all, as they say: "Beauty is in simplicity."
