“Uncompressed strip” N. Nekrasov. Analysis of the poem "Uncompressed Strip"

Russian poetry 1840 – 60s

The theme of autumn in the poems by N. Nekrasov “The Uncompressed Strip”, F. Tyutchev “Autumn Evening”, A. Fet “The Swallows Are Missing”

Introduction

Before starting the analysis, it seems to me that it is worth saying a few words about the general situation of Russian poetry from the 1840s to the 1860s.

The heyday of the creativity of F.I. Tyutchev and A.A. Fet occurred in the 40s of the 19th century, which was marked by the growing popularity of revolutionary democratic ideology, entailing a social orientation in the lyrics of poets of democratic orientation, the brightest representative of which was N.A. Nekrasov .

In Russia in the 60s, there was a demarcation of literary and social forces under the influence of new revolutionary trends. When “pure art” was loudly rejected in the name of practical benefit, when the citizenship of poetry was declared, an emphasis was placed on a radical transformation of the entire political system of Russia.

I will do a monographic analysis of the poems with comparative conclusions.

F.I. Tyutchev “Autumn Evening”

There are in the brightness of autumn evenings

Touching, mysterious charm!..

The ominous shine and diversity of trees,

Crimson leaves languid, light rustle,

Misty and quiet azure

Over the sad orphaned land

And, like a premonition of descending storms,

Gusty, cold wind at times,

Damage, exhaustion - and everything

That gentle smile of fading,

What in a rational being we call

Divine modesty of suffering!

In the first stanzas, the author, it would seem, only introduces us to the autumn landscape. But as a reader, I am overcome not only by an autumnal mood, but also by an autumnal state that is consonant with the state of the author. Tyutchev's representation of autumn is shown using various syntactic means of expression: these are synthetic epithets (“the ominous shine and variegation of trees”), color (“crimson leaves”); personification (“languid” rustle of leaves).

The technique of alliteration, used by F.I. Tyutchev, especially strongly reflects the state of nature. It’s as if we hear the rustle of falling leaves (“Crimson X whether st ev T great, lol gk th w barely st..."). And we can immediately conclude that we are talking about early autumn, and the author sees some kind of charm in its entire state.

The second stanzas of the poem are filled with a feeling of hopeless sadness and sincere suffering. We can draw such conclusions thanks to Tyutchev’s excellent description of nature. The hero in the poem seems to regret something, reluctantly parting with a piece of autumn.

And the rustling of the “crimson leaves”, and the “foggy azure”, and the “mysterious charm” of autumn - all this is dear, mysterious for the hero of the poem. Literally in these two stanzas the tension increases, the colors thicken... it’s as if we feel the piercing breath of the wind (alliteration: “And, as R units h the feeling is going away sch their boo R b, po R windy, cold wind R By R oh...").

In the work of Gasparov M.L. “Tyutchev’s Landscape Composition,” he notes that throughout the poem the hero’s field of vision changes. Here one can see the transition from the overall picture to detail (the lightness of autumn evenings - trees, leaves, azure, wind) and the same gradual increase in animation - to the ending (touching beauty - the sadly orphaned earth - a gentle smile of the divine modesty of suffering). That is, a larger plan is replaced by a more general plan.

A.A.Fet “The Swallows Are Missing”

The swallows have disappeared

And yesterday dawned

All the rooks were flying

Yes, how the network flashed

Over there over that mountain.

I've been sleeping since the evening,

It's dark outside.

The dry leaf falls

At night the wind gets angry

Yes, he knocks on the window.

It would be better if there was snow and a blizzard

Glad to meet you with breasts!

As if in fright

Shouting out to the south

The cranes are flying.

You will go out - involuntarily

It’s hard - at least cry!

You look across the field

Tumbleweed

Bounces like a ball.

After reading the poem, we can immediately say that the author depicts autumn here in its late state. The most important for understanding the meaning and pathos of the poem is the phrase “It would be better if I were glad to meet the snow and blizzard!” At first glance, here we have a traditional continuation of the landscape theme. However, we are talking here not just about waiting for winter, but there is a feeling that the hero of the poem is, as it were, going towards the elements.

The image of a flock of rooks in the poem is not accidental; it is like an image-experience of passing time. Autumn, as a transitional time between summer and winter, depresses the hero of the poem (“It would be better if there was snow and a blizzard...”, “When you go out, it’s hard against your will, even if you cry”).

The leitmotif of the poem by A.A. Feta is the spirituality of nature, intertwined with the complexity and uniqueness of life sensations associated with man.

It would seem that the image of autumn, the comparison of a flock of rooks with a net seems purely pictorial, but in the context of the poem its verbal and expressive side turns out to be no less important: the word “net” evokes in our minds the idea of ​​captivity, captivity.

A. Nekrasov “Late Autumn”

Late fall. The rooks have flown away

The forest is bare, the fields are empty,

Only one strip is not compressed...

She makes me sad.

The ears seem to whisper to each other:

“It’s boring for us to listen to the autumn blizzard,

It's boring to bow down to the ground,

Fat grains bathing in dust!

Every night we are ruined by the villages

Every passing voracious bird,

The hare tramples us, and the storm beats us...

Where is our plowman? what else is waiting?

Or are we worse born than others?

Or didn’t they bloom and spike together?

No! we are no worse than others - and for a long time

The grain has filled and ripened within us.

It was not for this reason that he plowed and sowed,

So that the autumn wind will scatter us?..”

The wind brings them a sad answer: -

Your plowman has no urine.

He knew why he plowed and sowed,

Yes, I didn’t have the strength to start the work.

The poor fellow is feeling bad - he doesn’t eat or drink,

The worm is sucking his aching heart,

The hands that made these furrows,

They dried up into slivers, hung like whips,

That he sang a mournful song,

How, placing your hand on a plow,

The plowman walked thoughtfully along the strip.

The image-landscape in the poem “The Uncompressed Strip” is permeated with despair and hopelessness. The orphaned land waits in vain for its owner, who is broken by back-breaking, exhausting labor.

N.A. Nekrasov endows nature with human feelings and experiences.

Hopelessness, fear and humility emanate from this dull autumn picture, which involuntarily evokes associations with the same painful state of the Russian people. The poet paints the autumn landscape in the poem with the same gloomy colors.

He achieves this feeling by using epithets (“sad thought”, “sad answer”, “sick heart”, “mournful song”); and personifications (“the forest has become bare,” “the ears are whispering,” “the hands have dried into slivers”).

The whisper of ripe ears of corn, which there is no one to harvest, tells a sad story about the fate of a peasant ruined by unbearable living conditions. The hopelessly ill plowman never appears in the poem, but it seems that you hear his mournful song, see how he thoughtfully walks along the strip, leaning on his plow.

Perhaps, let's start the comparative analysis with the poems of F.I. Tyutchev’s “Autumn Evening” and A.A. Fet’s “The Swallows Are Missing”, because the worldview of these poets largely coincides.

Let's try to answer the question what is the emotional assessment of autumn depicted in these two poems.

In Tyutchev's work, landscape lyrics are so closely intertwined with his philosophical thoughts about life that these main motives of his poetry should be considered in their inextricable unity.

It is not for nothing that in the work of Solovyov V.S. “On Tyutchev’s poetry” he notes “that Tyutchev’s advantage over many of them is that he fully and consciously believed in what he felt - he accepted and understood the living beauty he felt not as his fantasy, but as the truth.”

In this poem, depicting the onset of autumn, F.I. Tyutchev very accurately conveys the mood of light sadness, the idea of ​​the transience and beauty of life.

In this heartfelt autumn landscape, in addition to the specificity and accuracy of realistic details, Tyutchev’s remarkable ability to awaken the reader’s imagination is manifested.

Despite some melancholy and doom, Tyutchev’s poetry is optimistic. In his depiction of his autumn, he focuses, as I already wrote, on the mysterious beauty of the autumn evening.

A. Fet, like F. Tyutchev, reached brilliant artistic heights in landscape poetry. A.K. Tolstoy very subtly captured Fetov’s unique quality - the ability to convey natural sensations in their organic unity, when “the smell turns into the color of mother-of-pearl, into the glow of a firefly, and moonlight or a ray of dawn shimmers into sound.”

Fet's landscape lyrics, in this case the image of autumn, like Tyutchev's, are inseparable from the human personality, his dreams, aspirations and impulses.

This is also the image of a flock of rooks, which spins against the background of the evening dawn, resembling a whimsically wriggling net, constantly changing its shape. These are specific details that convey the atmosphere of late autumn: early twilight, falling leaves, sharp gusty wind. These are also images of autumn nomadism - strings of birds flying south, tumbleweed bushes rushing across the steppe.

What is hidden in the first part “between the lines”, remaining outside the “bright field of consciousness” of the reader, in the second part is brought out and becomes more accessible to perception. Thus, the motive of bondage receives direct expression in the phrase: “If you go out, it’s against your will. It’s hard, even if you cry.”

We can achieve a deeper understanding of poems by turning to their structural features.

Upon careful examination, we can be convinced that A. Fet’s poem, written in trochaic trimeter, is clearly divided into two equal parts in its rhythmic structure. In the first of them (1-2 stanzas) there is a relatively calm rhythm, while 5 verses have an identical rhythmic pattern.

Tyutchev's poem is written in iambic pentameter, and we see how different moods they convey!

As I already wrote, if Tyutchev’s poem is imbued with light sadness, while it is optimistic, then Fet’s poem, the image of autumn, is imbued with a gloomy, depressing mood.

The same mood arises when reading a poem by N.A. Nekrasov.

Unlike Tyutchev, Nekrasov’s poems are always accompanied by some kind of conflict, disappointment, and hopelessness. In the poem "The Uncompressed Strip" there are phrases of this kind.

Nekrasov’s autumn is not indifferent to human suffering; she mourns along with the entire Russian people over his unfortunate fate.

Hopelessness, fear and humility emanate from this dull autumn picture, which involuntarily evokes associations with the same painful state of the Russian people.

Continuing the comparison of Nekrasov with the poets of his predecessors and contemporaries, it should be noted that, for example, in the work of Fet, the content of the lyrics is limited to the internal state of the subject, and there is no visible exit “to the outside world.”

Nekrasov takes a fundamentally different position in this regard. His creativity is not limited to the “external” or “internal” aspect. His position on this issue can be described as “average”. Nekrasov's lyrics absorb the entire space of the surrounding and internal world. Social motives, inner state, worldview, landscapes and descriptions are closely intertwined in his poems.

Using such visual means as epithets and personifications, the author endows the autumn landscape with human feelings and experiences.

1.1.1. What role does this episode play in the development of Grinev’s fate?

1.2.1. What is the connection between Nekrasov’s poem and Russian folklore?

Read the fragment of the work below and complete tasks 1.1.1-1.1.2.

The next day, early in the morning, Marya Ivanovna woke up, got dressed and quietly went into the garden. The morning was beautiful, the sun illuminated the tops of the linden trees, which had already turned yellow under the fresh breath of autumn. The wide lake shone motionless. The awakened swans swam importantly from under the bushes that shaded the shore. Marya Ivanovna walked near a beautiful meadow, where a monument had just been erected in honor of the recent victories of Count Pyotr Alexandrovich Rumyantsev. Suddenly a white dog of the English breed barked and ran towards her. Marya Ivanovna got scared and stopped. At that very moment a pleasant female voice rang out: “Don’t be afraid, she won’t bite.” And Marya Ivanovna saw a lady sitting on a bench opposite the monument. Marya Ivanovna sat down at the other end of the bench. The lady looked at her intently; and Marya Ivanovna, for her part, casting several indirect glances, managed to examine her from head to toe. She was in a white morning dress, a nightcap and a shower jacket. She seemed to be about forty years old. Her face, plump and rosy, expressed importance and calmness, and her blue eyes and light smile had an inexplicable charm. The lady was the first to break the silence.

You're not from here, are you? - she said.

Exactly so, sir: I just arrived from the provinces yesterday.

Did you come with your family?

No way, sir. I came alone.

One! But you are still so young.

I have neither father nor mother.

You are here, of course, on some business?

Exactly so, sir. I came to submit a request to the Empress.

You are an orphan: perhaps you complain about injustice and insult?

No way, sir. I came to ask for mercy, not justice.

Let me ask, who are you?

I am the daughter of Captain Mironov.

Captain Mironov! the same one who was the commandant in one of the Orenburg fortresses?

Exactly so, sir.

The lady seemed touched. “Excuse me,” she said in an even more affectionate voice, “if I interfere in your affairs; but I am at court; Explain to me what your request is, and maybe I will be able to help you.”

Marya Ivanovna stood up and thanked her respectfully. Everything about the unknown lady involuntarily attracted the heart and inspired confidence. Marya Ivanovna took a folded paper out of her pocket and handed it to her unfamiliar patron, who began to read it to herself.

At first she read with an attentive and supportive look; but suddenly her face changed, and Marya Ivanovna, who followed all her movements with her eyes, was frightened by the stern expression of this face, so pleasant and calm for a minute.

Are you asking for Grinev? - said the lady with a cold look. - The Empress cannot forgive him. He accosted the impostor not out of ignorance and gullibility, but as an immoral and harmful scoundrel.

Oh, that's not true! - Marya Ivanovna screamed.

How untrue! - the lady objected, flushing all over.

It's not true, by God it's not true! I know everything, I will tell you everything. For me alone, he was exposed to everything that befell him. And if he did not justify himself before the court, it was only because he did not want to confuse me. - Here she eagerly told everything that my reader already knows.

A. S. Pushkin “The Captain's Daughter”

Read the work below and complete tasks 1.2.1-1.2.2.

N. A. Nekrasov

Explanation.

1.1.1. The fate of Grinev, convicted - and, from the point of view of the formal legality of the noble state, rightly so - is in the hands of Catherine II. As the head of a noble state, Catherine II must administer justice and therefore condemn Grinev. Her conversation with Masha Mironova is remarkable: “You are an orphan: are you probably complaining about injustice and insult?” - No way, sir. I came to ask for mercy, not justice.” The opposition of mercy and justice, impossible neither for the enlighteners of the 18th century nor for the Decembrists, is deeply significant for Pushkin. The basis of the author's position is the desire for a policy that elevates humanity into a state principle that does not replace human relations with political ones, but turns politics into humanity... Catherine II pardoned Grinev, just as Pugachev pardoned Masha and the same Grinev.

1.2.1. In the images of the poem “Uncompressed Strip” it is easy to notice the connection with the traditions of oral folk art. In the poem, the poet creates the image of a tormented worker, exhausted by constant work, who, having a piece of his own land, is not able to collect a meager harvest, but necessary for life. Even the signs of the autumn landscape - “the fields are empty” are given through the perception of the plowman. The trouble is also understood from the peasant point of view: it is a pity for the unharvested harvest, the “unharvested strip.” The earth-nurse also becomes animated in a peasant way: “It seems that the ears of corn are whispering to each other...” Using the technique of animating inanimate objects, the author, on behalf of the unharvested wheat, asks the question: “Where is our plowman? What else are you waiting for?

The poem “The Uncompressed Stripe” was presumably written in 1854, published in Sovremennik No. 1 for 1856 and included in the collected works of 1856. The image of the uncompressed stripe could have been suggested by the folk song “It’s my stripe, but it’s my stripe.” The poem was set to music several times in the 19th and 20th centuries.

Literary direction and genre

The poem belongs to the genre of civil elegy, like the classic work of this genre - the elegy “Let changing fashion tell us.” It is precisely about the suffering of the people, according to the behest of the lyrical hero of that elegy, that this one tells us. The circumstances of the illness of the serf peasant are typical of Nekrasov’s modern times and evoke in the memory of the lyrical hero the typical image of a sick plowman. No one will be deceived by the appearance of a fairy-tale character - the wind, bringing a sad answer. In fact, this image of a sick plowman, a man whom the lyrical hero has never seen and will never see, is brought to life by Nekrasov’s artistic thinking of a realist, and the fairy-tale frame is just an entourage.

Theme, main idea and composition

The poem can be roughly divided into three parts. The first part is a peaceful landscape of late autumn. The second part is the imaginary complaints of the ears of the unharvested strip. The third part is the imaginary response of the wind. The lyrical hero in the poem seems to withdraw from himself and does not show himself. His role is to eavesdrop on the conversation between the dying ears of corn and the wind, but the whole conversation actually takes place “as if,” that is, it reflects the innermost thoughts of the lyrical hero.

The theme of the poem is the hard life of a serf peasant, for whom even if the harvest fails, illness will occur.

The main idea is sympathy for a lonely sick person who has lost his health due to hard work; awareness of the mortality of all things and humility with this fact.

Some believed that the poem is an allegory, the image of the plowman is Nicholas I, who shouldered the burden of the Crimean War and died during it. But the poem needs to be interpreted more broadly.

The creation of the image of the plowman could have been influenced by Nekrasov’s serious illness in 1853. He associated himself with a sick plowman who could not do his job (to sow the reasonable, the good, the eternal), the song he sang at the plow fell silent.

Paths and images

The landscape in the first part is written in the best traditions of landscape poetry. Verbs associated with the dying of nature: rooks flew away, forest exposed, fields empty, stripe not compressed. Epithets are traditional for the autumn landscape: late autumn, autumn snowstorm. The parallelism in the state of nature and man (the boredom of the ears of grain and the sad thought of the lyrical hero) allows us to personify nature and hear the conversation of the ears of grain.

In the second part, the ears of corn complain that they are wasted, fat grains bathe in dust(metaphor). They face various dangers. The strip is ravaged by flocks (stanitas) of birds (metaphor), a hare tramples and a storm hits. The reader associates ears of corn with weak people who cannot defend themselves even from “hares,” although they carry enormous wealth - bread, that is, with serfs. The ears ask a rhetorical question about what they did wrong, and they themselves answer: “No! We are no worse than others." The ears of corn are like the peasants themselves, who do not understand where their efforts and strength go, why they plow and sow.

In the third part, the wind, the personification of natural forces that destroy labor and human life itself, responds to the ears of corn. He is all-knowing, like a pagan god. The wind, like God, evaluates the life of a plowman: the peasant knew why he plowed and sowed, “but he started the work beyond his strength.” The reader does not understand the reason for the plowman’s illness and loneliness: perhaps he is old, perhaps he has strained himself at work. Nekrasov's contemporaries understood that the unharvested strip meant the starvation of the plowman who did not harvest bread for the winter, and of his family, if he had one.

Nekrasov depicts the inner world of a farmer: he is purposeful, but thoughtful, usually singing sad songs while working. The portrait of a plowman is written using metaphors and comparisons: the plowman has no lobe, a worm is sucking his aching heart, his hands have dried up to a sliver, they hang like whips, his eyes have dimmed, his voice has disappeared.

It is not for nothing that Nekrasov ends the description of the plowman with his missing voice, as if returning again to that moment when the peasant was plowing that very strip and singing. The mournful song is a prophecy of the sad fate of the peasant, which, like work, is inseparable from the song.

The ears of corn dying in the dust share the lot of their owner, the plowman. Elegiac discussions about the frailty of existence acquire a generalized meaning and go beyond the description of the bitter fate of the serf.

Meter and rhyme

The poem is written in dactyl tetrameter, the rhyme is paired, female rhyme alternates with male rhyme.

• “It’s stuffy! Without happiness and will...", analysis of Nekrasov’s poem
• “Farewell”, analysis of Nekrasov’s poem

The Russian poet Nekrasov had to leave his father's house early, but he never for a moment forgot everything he saw as a child. The problems of serfdom always worried the poet, so soon the poetry “The Uncompressed Strip” came out from his pen, which touched on exactly this topic.

The main idea of ​​the poem was that villagers should be free, work on their land and not feel any need in life. Unfortunately, the poet’s opinion was wrong, because the abolition of serfdom not only further oppressed the common people, but also took away their greatest value - land.

Indeed, at that time, plowing for peasants was the most important thing, a source of well-being, as the author of the poetic work shows. It depended on the yield of the fields whether the family would not starve in the winter. However, sometimes the harvest remained unharvested, since the plowman “took on the work beyond his strength.” So it was this poor fellow’s pain that Nekrasov showed.

All poetry consists of 15 stanzas. The poem “The Uncompressed Strip” is written in a distich (couple). This allows the work to be perceived as a folk song. An autumn landscape opens before our eyes. An uncompressed stripe can be seen against its background. These remaining ears of corn in the field give the plowman a “sad thought,” because it cannot be that a peasant who grew bread would do this, dooming his family to starvation in the winter.

Nekrasov very skillfully depicted the dialogue between ears of wheat and the wind walking in the field, using a technique such as personification. It’s as if the living “whispered ears of corn” with pain: “Where is our plowman?” The wind gives them the answer, telling a sad story about an aging plowman who is losing his strength from hard work. It is these lines of the work that are thoroughly permeated with despair.

With the help of the refrain (repetition) “we are bored,” the author focuses on the hopelessness of the grain field and builds a difficult mood. In poetry there are many contrasts of images, in particular, “fat grains” are compared with hands that “have dried up into slivers.”

The rhyme of the verse is paired, the rhyme is alternating (female - masculine). The poetic meter is a tetrameter dactyl (a three-syllable foot with stress on the first syllable). The main artistic means are not very colorful epithets (“sad thought”, “mournful song”) and personifications (“the forest is naked”, “ears are whispering”, etc.)

It must be said that a thoughtful reading of the poem “Uncompressed Strip” reveals to us a picture that is associated with the difficult situation of the entire Russian people of that time.

Late fall. The rooks have flown away
The forest is bare, the fields are empty,

Only one strip is not compressed...
She makes me sad.

The ears seem to whisper to each other:
“It’s boring for us to listen to the autumn blizzard,

It's boring to bow down to the ground,
Fat grains bathing in dust!

Every night we are ruined by the villages1
Every passing voracious bird,

The hare tramples us, and the storm beats us...
Where is our plowman? what else is waiting?

Or are we worse born than others?
Or did they bloom and spike unharmoniously?

No! we are no worse than others - and for a long time
The grain has filled and ripened within us.

It was not for this reason that he plowed and sowed
So that the autumn wind will scatter us?..”

The wind brings them a sad answer:
- Your plowman has no urine.

He knew why he plowed and sowed,
Yes, I didn’t have the strength to start the work.

The poor fellow is feeling bad - he doesn’t eat or drink,
The worm is sucking his aching heart,

The hands that made these furrows,
They dried up into slivers and hung like whips.

As if laying your hand on a plow,
The plowman walked thoughtfully along the strip.

Analysis of the poem “Uncompressed Strip” by Nekrasov

Nekrasov spent his childhood on his father’s family estate, so from an early age he was familiar with peasant life and way of life. Many of the poet's poems are based on childhood experiences. Nekrasov's father was a vivid example of an inveterate serf owner who treated his peasants as slaves. The boy saw how hard a servile life was. The peasants were directly dependent not only on their master, but also on backbreaking physical labor. The poem “The Uncompressed Strip” (1854) is dedicated to the picture of the ruin of the peasant economy.

At the beginning of the work, the author depicts late autumn, which is associated with the end of the agricultural cycle. The sad landscape is broken by a lonely strip of unharvested grain. This indicates some kind of emergency event. The life of a peasant directly depended on his plot of land. The harvest became a means of payment to the owner and the basis for food. Bread left on the field meant inevitable death by starvation.

The author personifies lonely ears of corn that are destroyed by animals and bad weather. The wheat is burdened by the long-ripened grain and makes a plea to its owner, who for some reason has forgotten about his field. The answer to the ears of corn is given by the “autumn wind.” He says that the plowman could not forget about his work. He was struck down by a serious illness. The peasant understands that time for harvesting is running out, but he cannot do anything. Nekrasov does not describe the feelings that a sick person experiences. And it is so clear that the peasant says goodbye not only to the grain, but also to his own life. Having not paid the due quitrent and not having worked the corvee, he can hardly hope for the lord’s help.

The peasant is not at all to blame for what happened. He sowed his field in a timely manner, rejoiced at the first shoots, and protected the wheat from birds and animals. Everything pointed to a rich harvest, which was supposed to be a worthy reward for all the work. The tragedy is that an ordinary person could only rely on his own strength. As long as he is physically healthy, he is not in danger of death. But any illness, even a temporary one, can dash all hopes forever.

Nekrasov shows the strong connection between ordinary people and nature. But this connection becomes fatal due to serfdom. The peasant, shackled by debt and hunger, cannot even try to change his situation. The destruction of the crop will inevitably lead to the death of its owner and his family.