Question: who in Russia live well sayings. Folk songs, proverbs and sayings in the poem "Who should live well in Russia"

who in Russia live well sayings

Answers:

A man is a bull: he will get involved ... Everyone is on their own! - In these verses, Nekrasov relies on such proverbs and sayings as “A man is like a bull - he will resist, you won’t turn off”, “At least a stake on the head of a stubborn one!” , "Though a stake on the head of Teshi - and he is all his own!" . So they went - where not knowing ... - an echo of the name of the folk tale "Go there, I don't know where, bring something, I don't know what." Oh shadows! black shadows!<...>Can't be caught! - These poetic lines are based on folk riddles about the shadow: “What can’t you lift from the ground?” , “What can be seen with the eyes, but cannot be taken with the hands?” , "What can't you catch up with?" . And he said: “The little bird, And the nail is bright! "- A revised folk proverb:" A small bird, but a sharp claw. Soldiers shave with an awl, Soldiers warm themselves with smoke ... - folk proverb. Wed V. I. Dahl: “A soldier shaves with an awl, warms himself with smoke.” Bell Nobles... Popov's tower... - Folk sayings and sayings about priests are used here, for example: “From the high nobles, whose towers have gone to heaven”, “From the bell nobles”. And here - even a wolf howl! - Reworking of folk sayings: “Though sing songs, even howl like a wolf”, “Though howl like a wolf”. There was a brisk trade, With swearing, with jokes ... - Wed. with a folk saying: "You can't sell without swearing." ...So happy, as if He gave everyone a ruble! - A variant of folk sayings: “What the word says, it will give with a ruble”, “What it looks like, it will give with a ruble”. “And I would be glad to heaven, but where is the door? "- A reworked folk proverb:" And I would be glad to go to heaven, but sins are not allowed. Hozhaly - messenger for the police. Wed with a folk saying: "Not in the eyebrow, but right in the eye." Yes, the belly is not a mirror ... - Wed. with a folk proverb: "The belly is not a mirror: what gets into it is clean." Not a wolf's tooth, so a fox's tail... - from the saying "Not a wolf's mouth (teeth), but a fox's tail". And you, approximately, an apple From that tree come out? - Proverbs are hidden in the subtext of the peasant question: “An apple does not roll away from an apple tree”, “What a tree is, such are apples”. From work, no matter how you suffer ... And you will be a hunchback! - Reworking of a popular proverb: “You won’t be rich from work, but you will be a hunchback.”

maybe this one will fit!

So, the basis of the poem is the people's view of the world. To recreate a truly folk point of view, Nekrasov turns to folk culture. In the 1860s and 1870s, Russian folklore studies experienced a stormy surge, just at that time the activities of the remarkable Russian folklorists A.N. Afanasyev, E.V. Barsov, F.I. Buslaev, P.N. Dal, who collected and published collections of folk songs, lamentations, proverbs, riddles. Nekrasov actively used these materials in the poem.

But Nekrasov's knowledge of folk culture was not only bookish, he had a lot and closely communicated with the people from childhood. It is well known that as a boy he liked to play with peasant boys; in his mature years, he also spent a lot of time in the countryside - in the summer he came to the Yaroslavl and Vladimir provinces, hunted a lot (Nekrasov was a passionate hunter), while hunting he often stopped in peasant huts. It is obvious that folk speech, proverbs and sayings were at his hearing.

Folk songs, proverbs and sayings are introduced into the poem "To whom it is good to live in Russia". The poem even opens with a riddle (“In what year - count, / In what land - guess ...”), to which a guess is immediately given: this is Russia in the post-reform period, since seven “temporarily liable”, that is, peasants, converged on the pillar path , obliged after the reform of 1861 to perform some duties in favor of the landowner. Inserting folk genres into the poem, Nekrasov usually creatively reworked them, however, he used some texts - for example, a song about a hateful husband in the chapter "Peasant Woman", - he used without changes. And what is especially interesting is that folk and author's texts sounded in unison without destroying the artistic integrity of the poem.

In the poem "To whom it is good to live in Russia", reality and fantasy coexist freely, although the concentration of the fantastic falls on the first chapter. It is here that the talking chiffchaff appears, presenting the wanderers with a self-collected tablecloth, a raven praying to the devil, seven laughing owls who flocked to look at the peasants. Ho soon fantastic elements completely disappear from the pages of the poem.

Here the warbler warns the peasants not to ask the self-collection tablecloth for more than the womb can bear:

If you ask more
And one and two - it will be fulfilled

At your request,
And in the third be trouble!

Nekrasov uses a characteristic fairy-tale technique here - the warbler imposes a ban on the peasants. The ban and its violation are the basis of many Russian folk tales, the adventures of the main characters of the tale just begin after they cross the cherished line. Brother Ivanushka drank water from a hoof - and turned into a kid. Ivan Tsarevich burned the skin of the Frog Princess - and went to look for his wife to distant lands. The cockerel looked out the window - and the fox took it away.

The ban on the warbler in the poem “Who Lives Well in Russia” is never violated, Nekrasov seems to forget about it altogether; the self-assembled tablecloth generously treats the peasants for a long time, but in the last chapter, “A Feast for the Whole World”, it also disappears. In the chapter "Peasant Woman" there is a scene parallel to what happened in the "Prologue" - one of the seven wanderers, Roman, frees the "small lark" entangled in flax, the freed lark soars up. But this time the peasants do not receive anything as a reward, they have long been living and acting not in a magical, but in the real space of Russian reality. The rejection of fantasy was fundamental for Nekrasov, the reader should not confuse the "lie" of a fairy tale with the "truth" of life.

The folklore flavor is enhanced with the help of sacred (that is, sacred, mystical) numbers - seven men and seven owls act in the poem, there are three main storytellers about happiness - a priest, a landowner and a peasant woman, twelve robbers are mentioned in the "Legend of the Two Great Sinners". Nekrasov constantly used both speech turns and the style of folk speech - diminutive suffixes, syntactic constructions characteristic of folklore, stable epithets, comparisons, metaphors.

Interestingly, Nekrasov's contemporaries often did not want to recognize the folk origins of his poem, accusing the author of a false understanding of the folk spirit, arguing that some proverbs and songs "the poet himself came up with for the peasants." But just those songs and proverbs that critics pointed out as "invented" were found in folklore collections. At the same time, Nekrasov's reproaches of pseudo-nationality had their own reasons - it is simply impossible to completely hide behind the people's gaze, to completely renounce oneself, one's vision in a work of art. This view, these predilections, regardless of the will of the author, were reflected both in the selection of material and in the choice of characters.

Nekrasov created his own myth about the people. This is a whole national cosmos with its righteous and sinners, its own concepts of good, evil, truth, which often do not coincide with Christian ones.

Test

N.A. Nekrasov

“Who is living well in Russia?”

IN 1 What genre does N.A. Nekrasov’s work “Who lives well in Russia” belong to?

IN 2 What means of artistic representation is he referring to

AT 3 Indicate the term that is used in literary criticism to designate artistic definitions: “horse efforts”, “thunder arrow”?

AT 4 What is the name of the artistic technique, which is expressed in the transfer of a sign from one object or phenomenon to another on the basis of similarity: “A spiritual storm has passed”?

AT 5 Indicate the name of the stylistic device that refers to

What we got burned twice

What god of anthrax

Visited us three times?

AT 6 Establish a correspondence between the three characters of the work and their storyline. For each position in the first column, select the corresponding position from the second column.

STORYLINE CHARACTERS

BUT. A plowman, during a fire, saved pictures from a burning hut, 1. Ermil Girin

and his wife are icons; accumulated money, 35 rubles, 2. Grisha Dobrosklonov

"merged into a lump", for them he was given 11 rubles. 3. Grandfather Savely

B. A native of peasants, he was a clerk, then he was elected 4. Yakim Nagoi

Burmister, for the seven years of the reign of the "worldly penny

did not squeeze under the nail ”; kept a mill; stand on the side

peasants during a riot, ended up in prison.

V. He served hard labor for the fact that “in the land of the German Vogel

He buried Khristyan Khristianych alive.

AT 6 Establish a correspondence between the hero of the work and the given characteristic. For each position in the first column, select the corresponding position from the second column.

Folk songs, proverbs and sayings in the poem "Who should live well in Russia"

The book opens. The story begins with an intricate beginning, an epic saying. Some deliberately simplified, close to folk words suddenly add up to an intricate pattern. Completely heterogeneous elements are woven into the fabric of the poem: fairy tales and laments, fantasy and reality, joy and sorrow. But there is no disharmony, no variegation and excess. It is not for nothing that Nekrasov was respected by the poets of the Silver Age: only a talented master with good taste can harmoniously combine such diverse fragments, fit them one to another so that they sparkle in a beautiful and bright mosaic.
“A soldier was walking along the road” - this is how Russian folk tales often begin after a traditional saying. The story of the meeting of seven men on the “pillar path” also begins in the style of a fabulous beginning. It is not surprising that the main characters of Nekrasov's poem are wanderers. Peasant Russia is too big to see it without traveling. And Nekrasov wanted to show precisely peasant Russia: cold, hungry, humiliated and invincible, beautiful and crippled, great and miserable. For this, the poet used the language of peasant Russia: her words, her fairy tales and songs. The very structure of the poem is similar to the structure of a folk tale: the beginning, the path of the heroes in the name of achieving some goal, unexpected meetings, a mountain feast at the end. The heroes of the poem also look like fairy-tale characters: wise wanderers, evil landowners, vile slaves and brave, daring peasants. For example, the old bogatyr Savely, the people's defenders Ermil Girin, Grisha Dobrosklonov.
The first thing that catches your eye when reading the poem is its colorful, original language, its epic meter, melodious, unhurried style. Proverbs, sayings and jokes, songs and lamentations, fairy tales and superstitions are found in abundance. Here are the “red sun”, and the “self-assembled tablecloth”, and “good fellows”, and other colorful and accurate folk comparisons. The compliant and hypocritical peasant is called a man with a "clay conscience." And the beloved child of the mother is described as follows:

Beauty taken from the sun
The snow is white
Poppies have scarlet lips...
The falcon has eyes!

And the speech of a stupid gentleman is compared with a “persistent fly”, which “buzzes up to the ear”. The peasants “swear abusively” and drink buckets of vodka, listen to fairy tales and sing songs.
But the poem “To whom it is good to live in Russia” is not at all a cheerful fairy tale. There are many tears and injustice, death and meanness. It could not be otherwise, because Nekrasov wanted to show the real life of the peasants, albeit described in fairy-tale language. Even grief and death are conveyed by a magical folk word, simple and well-aimed language. For example, in the chapter "Demushka" (part "Peasant Woman") Nekrasov shows the deep shock of Matryona Timofeevna. At the beginning of the chapter, which tells about the tragic death of a baby, a touching image of a little bird is drawn, sobbing inconsolably about her chicks, who burned down during a thunderstorm. This image psychologically prepares the reader for the perception of the tragedy of the peasant mother. The author uses the method of psychological parallel, which enhances the reader's compassion. Savely's message about the death of a baby is followed by sorrowful exclamations: “Oh, swallow! Oh, stupid!... Oh, poor young girl!” And when, despite her mother's tearful requests for "pity and mercy", the most terrible thing for her began - the autopsy of Demushka's body, Matryona Timofeevna found herself in the grip of despair and anger. Sincere pain is heard in the voice of a mother whose child has died:

Villains! executioners!
Drop my tears
Not on land, not on water,
Not to the Lord's temple!
Fall right on your heart
My villain!..
his foolish wife
Let's go, foolish children!
Accept, hear, Lord,
Prayers, mother's tears,
Punish the villain!...

In Nekrasov's poem, songs, lamentations, ritual incantations, and proverbs are used almost unchanged. At the same time, the heroes of the story themselves (Savely Korchagin, Yakim Nagoi, Matrena Timofeevna, seven men-truth-seekers) often act not only as storytellers using folk wisdom and folk expressions in their speech, but I as creators, interpreters. Folklore in the epic “To whom it is good to live in Russia” is both an object and a means of artistic representation: the object is as the embodiment of the people's worldview, its development; means - as revealing the creative talent of those persons, those heroes who keep it in their memory, update well-known texts, create new ones.
Seekers of the happy, like many other peasants, keep a large number of folklore texts in their memory, they know how to insert a “sharp word”, sometimes rethinking it. For example, in the arguments of men-truth-seekers, one can find such a rethought proverb: “Mother rye feeds all fools all the time, and wheat is by choice.” In the text of the poem we read:

Wheat does not please them:
You are in front of the peasant,
Wheat, guilty
What do you choose to feed?
But they don't fall in love
On the rye that feeds everyone...

The rethinking of proverbs is also connected with the image of Saveliy, the Holy Russian hero: “But the German, no matter how he ruled, Yes, our axes lay - for the time being” (instead of the proverb: “God has axes, yes they lie for the time being”) “and bends, but does not break , does not break, does not fall ... Really not a hero? (instead of: "It's better to bend than break"). The updating of proverbs in Nekrasov's epic is motivated by the character of the characters, their views. Updated and newly created proverbs and sayings reveal the creative talent of the Russian peasantry. Folklore, the process of its birth, existence and renewal is depicted by Nekrasov as an expression of the developing national consciousness.
The use of folklore elements also creates a unique and original style of the poem, makes it look like a folk epic, close in spirit to the Russian peasantry. The folk language was successfully chosen by Nekrasov as an expressive means for accurately describing the life of the peasant class, for conveying the ideas of the author. The language of the narrative helps answer the question: “Is it good for a peasant, a peasant woman, a serf to live in Russia?” No, Nekrasov answers, these people cannot be called happy. Too much work and sorrow in their lives, too few rewards, justice and pity.

You are poor
You are abundant
You are beaten
You are almighty
Mother Russia!

In this song, the poet seems to sum up, drawing the image of peasant Russia. According to the plot of the work, this song is not a folk song, it was composed by Grisha Dobrosklonov (the people's intercessor), but it sounds like a truly folk love for the motherland. And the affectionately touching appeal to the motherland - “mother” - reflects the attitude of the people towards her. Perhaps, in order to look at Russia not from an official, alienated, European point of view, but from the point of view of the people - the children of Russia, Nekrasov wrote his poem in the folk language. The poet deeply penetrated into the people's worldview, and the tone and pathos of the poem are consistent with the spirit of folk art.

Folk songs, proverbs and sayings in the poem "Who should live well in Russia"

The poem “Who Lives Well in Russia” was conceived by the author as an epoch-making work, thanks to which the reader could get acquainted with the situation in post-reform Russia, the way of life and customs of various strata of society, just as another Russian writer, N. V. Gogol, a few decades earlier , conceived "Dead Souls". However, N. A. Nekrasov (like Gogol) never finished his work, and it appeared before the reader in the form of fragmentary chapters. But even an unfinished poem gives a fairly complete and objective picture of the situation of the peasants, what they lived and believed in after the abolition of serfdom. It would be impossible to show this without the use of folklore material: ancient customs, superstitions, songs, proverbs, sayings, jokes, signs, rituals, etc. Nekrasov's entire poem was created on the basis of this living folklore material.
Starting to read the poem, we immediately recall such a fabulous beginning familiar to us from childhood: “in a certain kingdom, in a certain state” or “once upon a time there were.” The author, just like the author of folk tales, does not give us exact information about when the events take place:
In what year - count
In what land - guess...
From the very first lines, Nekrasov uses stable epithets characteristic of Russian folk tales: the sun is red, the path is a path, the girl is red; the author also endows animals and birds with the properties and features of fairy-tale animals and birds: a timid hare, a cunning fox, a raven is a smart bird, etc. And a self-assembled tablecloth, presented to the peasants by a talking bird, is a completely fabulous attribute.
Often in epics and fairy tales, repeating phrases, sayings, refrains are used. There is such a refrain in Nekrasov's poem:
... Who has fun
Feel free in Russia?
This refrain again and again emphasizes the main theme of the entire work: the search for the happy in Russia.
An important part of the folklore basis of the poem “To whom it is good to live in Russia” is the mention of superstitions, signs, forgotten now, but carefully collected by the writer and included in the poem. For example, despite the fact that the twentieth century is on the nose, the peasants still blame the fact that they got lost on the goblin:
Well goblin, nice joke
He played a trick on us!
After all, we are without a little
Thirty miles away!...
The villagers of Matrena Timofeevna (ch. "Peasant woman") see the reason for the crop failure in the fact that she
... a clean shirt
Worn at Christmas.
But the heroine herself believes in omens and, according to one of them, “she doesn’t take an apple in her mouth until the Savior,” so that it doesn’t turn out that God, as a punishment, will not let her dead baby Demushka play with apples in the next world.
In general, the entire chapter “Peasant Woman” is written on the basis of songs, many of which captivate us with their melody and sincerity:
ok light
In the world of God!
Okay, easy
Clear to the heart.
We go, we go -
Let's stop
To forests, meadows
Let's admire
Let's listen
How they run
spring waters,
How it sings
Lark!
Many proverbs and riddles are in perfect harmony with the main plot of the poem and are inserted into the poem almost unchanged: “praise_ the grass in a haystack, and the master in a coffin”, “flies, is silent, lies, rings
Lark!
Many proverbs and riddles are in perfect harmony with the main plot of the poem and are inserted into the poem almost unchanged: “praise the grass in a haystack, and the master in a coffin”, “flies - is silent, lies - is silent, when he dies, then he roars”, “does not bark , does not bite, but does not let into the house”, “peas scattered on seventy roads”, etc. The speech of many characters in the poem is replete with folk wisdom: it is bright, aphoristic; many expressions are like proverbs. For example: “And I would be glad to heaven, but where is the door?” The ability to “insert a well-aimed word” into speech testifies to the creative talent of the Russian peasant. Savely Korchagin, Matryona Timofeevna, Vlas Ilyich, seven men are portrayed in the epic not only as experts in folklore, but also as participants in the creation of new versions of traditional texts. Matrena Timofeevna has the greatest creative talent. It is in the chapter on the hard lot of a serf woman that a huge amount of folklore material is concentrated. The researchers found that three-quarters of the text of the chapter “Before Marriage”, about half of the chapter “Songs” and more than half of the chapter “Hard Year” have established folklore sources, and the prototype of the heroine herself is the Olonets wailer Irina Fedosova, known at that time. Matrena Timofeevna, like Irina Fedosova, not only keeps folklore in her memory, but also renews it. Songs, laments, legends, proverbs, sayings are introduced into the story of the heroine not for the sake of ornamental decoration. The image of “the long-suffering mother of the all-enduring Russian tribe” arises in them. This image was created by the genius of the people themselves, it exists in folklore independently of Matryona Timofeevna, but in the epic it is shown through the vision of the heroine. The generalized folklore image appears next to the individual image of the “lucky woman”. These two images merge with each other, form an artistic unity of the individual and the epic.
In the chapter “A Feast for the Whole World”, Nekrasov also shows the creative activity of the Russian people. This chapter depicts the last mass scene of the poem. The people in this scene are most active - they are celebrating a commemoration with the Last. The spiritual, creative activity of the Vakhlaks finds its expression in relation to folklore, in the renewal of well-known folklore works, in the creation of new ones. Vakhlaks together sing folk songs: “Corvee”, “Hungry”, listen to the story “About the exemplary serf - Jacob the faithful”, the legend “About two great sinners”, the song of the soldier Ovsyannikov. Folklore is used here as an expression of the developing national consciousness. And this creative activity, spiritual power testifies to the fact that “limits have not yet been set for the Russian people.”
So, the diverse folklore material in the poem is interesting not only as a plot-forming component, but also as an expression of folk psychology, folk worldview.
It is hardly possible to imagine this work separately from the folklore basis, and if possible, it is unlikely that it will be a truly Nekrasov poem, which, despite its fragmentary nature, gives the impression of a work created by a master of not only the Russian literary language, but also colloquial, colloquial, popular word.