"Gypsies" as a romantic poem (type of hero, environment, conflict). Poem issues

Grade 9 Russian Literature

Lesson topic:

The problem of human freedom

in the poem by Alexander Pushkin "Gypsies"

Lesson objectives:

- create conditions for the perception and analysis of the poem;

Develop the ability for critical thinking, for the formation of your own thoughts, the ability to defend your point of view, respect someone else's opinion;

Develop creative activity in the process of individual and collective work,

Formation of positive moral attitudes.

Methodological techniques: mini-lecture, conversation, student messages, work with the text of a work of art, "6 hats", "Author's chair",

"Two stars, one wish"

Organizational forms: frontal - conversation, group (text analysis), individual (problematic issue).

During the classes

1. Organizational moment. Motivation. Look guys what you see on the screen.

(fragment from the film "Tabor Goes to Heaven")

- What associations do you have with the word Gypsies?

Write in notebooks and a blackboard (fortune telling, dances, songs, will, freedom, steppe, music, bonfire, wagon, love, etc.)

2. Topic, lesson objectives

Today in the lesson we will talk about Pushkin's poem "Gypsies". We will plunge into the world of this freedom-loving people, together with them we will walk through the steppes of Bessarabia, sit by the night fire, listen to gypsy songs. At the same time, we will try to find out why it is in this poem that Pushkin raises the topic of human freedom.3. Answering the teacher's questions. - Why do you think Pushkin chose this particular nation?

(she was extraordinary to him)

4. The word of the teacher. - Pushkin had a special relationship with the gypsies. The fact is that while in southern exile among a people unfamiliar to him, he studied its history, folklore, literature and even comprehended the language so much that he understood spoken language. He knew many gypsy songs and loved them very much. The content of one of the songs of Moldavian gypsies Pushkin described as follows:"We are meek people, our virgins love freedom - what can you do with us" ... He wanted to take these words as an epigraph to his poem "Gypsies".

5. The teacher reading the beginning of the poem to the music of E. Doga "The Road"

Let's listen to the beginning of the poem.

(a fragment of an actor's performance - phono recording)

-What kind of pictures did you imagine? (Gypsies roam the steppes of Bessarabia, they spend the night in tattered tents under the stars, despite this their sleep is peaceful, life in the camp goes on as usual. They are accustomed to freedom, they are not embarrassed by the endless steppes, perpetual motion, bad weather, they just live.)- What is the attraction of such a life? (They are free, free. Nothing weighs them down, does not keep them in one place. They are in constant motion. Their life is full of romance.)6. The anticipatory task - a summary of the poem "Gypsies" prepared student.
7. Conversation on the teacher's questions.
- Why does Aleko leave the city, from civilized life?
support these thoughts with quotes from the text

(p. 111 is pursued by the law, p. 115 The bondage of stuffy cities, there are people ... ... or a brilliant shame) (Yes, he longs for freedom, he changed his life among a rich people "to wandering poverty and freedom", as the old gypsy says. He contemptuously rejects a society where people are ashamed of love, thoughts drive, ask for money and chains. "Natural" people, far from civilization, because .. believes that they are free from the passions and vices of an enlightened society, from greed and vanity.)

- Why does Aleko suffer, because he himself chose a life full of freedom, where everyone is free to do as he pleases? He could not completely reject the conventions of the world in which he had lived before and humble his passions, he, so striving for freedom, became the jailer of another heart, an evil jealous man ("my Zemfira") and therefore suffers.The wise old man, having learned that Zemfira has fallen out of love with Aleko, and seeing that there is confusion in Aleko's soul, tells him a story about himself, teaches him a lesson in kindness. - What is this story? Why is the old man telling it? Page 123 - why? more freely than a bird of youth, who is able to keep love? (So that Aleko understands that the will, not bound by laws, the life of a wild man is not so cloudless. "Fatal passions" bring troubles and suffering to them. He explains that there is no force on earth that could keep love. The gypsy is merciful, he forgives Mariula, wishing only the happiness of her beloved.)-What does Aleko say after listening to the old man's story. Words from the text

(Page 123, I'm not that kind ... humor would be funny and sweet) (Aleko does not know how and does not want to value the freedom of other people. He does not hesitate to encroach on it.

8. Staging - the final scenes of the poem.

9. 6 hats strategy Students discuss in groups 5-7 minutes.

(rule of work in groups), remind about the strategy:

Under white hat - the facts that we know.

Under green - what are the creative ideas

under yellow hat - pluses, positive points.

Under black hat - negative sides,

under blue - analysis, generalization and conclusions.

Protection - 2- 3min

10. So how do the main characters understand freedom? (Aleko's freedom is combined with egoism. This is life at will, and at the same time, complete submission to him. He can be free, but Zemfira - not. She must obey him.For Zemfira, freedom is a cheerful, carefree life that does not commit to anything. She demands nothing and wants nothing demanded of her either.For the Old Man, freedom is peace, it is life in harmony with oneself and with others. He understands freedom as the ability to forgive and understand others.)- And what is the author's position in relation to his heroes?
He loves his heroes, he agrees with the old man, he regrets parting with Aleko. Admires Zemfira. And with all his work he shows thata civilized person cannot live in a world where there are no laws. Aleko's appearance in a world untouched (wild) by enlightenment led to a bloody drama.

A.S. Pushkin does not give a direct answer to the questions: what does it mean to be free?
Can a person be free? He gives the right to decide this for the reader himself.

11. Assignments for groups:

Group 1,2,3 - Essay "Has Aleko found freedom?", "What does it mean to be free?"4,5,6 group- perform a cluster dedicated to Aleko, Zemfira.

Condition: use quotes from the poem.

12.Author's chair -1- 2 students read their works at will. 13. Summing up the lesson. Wish on the stars for a lesson.

14. Homework: essay "Your attitude to the heroes of the poem", "What made me think about the poem?"

"Gypsies" analysis of the work - theme, idea, genre, plot, composition, characters, problems and other issues are disclosed in this article.

In the summer of 1821, during his exile in Chisinau, Pushkin traveled for several weeks with a gypsy camp. Impressed by those days, he began to write a poem "Gypsies", which he completed at the end of 1824 in Mikhailovsky. For the first time, excerpts from the poem were published in the almanac "Polar Star", then in the "Northern Flowers". Readers could get acquainted with the full text of "Gypsies" only in 1827, when the work was published as a separate edition.

"Gypsies" complete the cycle of Pushkin's "southern" poems. This is practically the last work of the poet, written in romantic style. It reflected the author's creative crisis, deep changes in his worldview. The main theme of the poem is the debunking of the romantic hero. But the poet did not find what could replace the usual ideals, which is why the finale of the work is so gloomy.

Motive flight from civilization to free savages was at that time quite popular. In Gypsies, Pushkin showed how false and utopian such an idea is. The hero of the poem Aleko is an exile persecuted by the law. But the young man not only wants to avoid responsibility for the crime he has committed. Aleko became disillusioned with civilization, hated city life. Among the gypsies, he seeks freedom and sincerity of feelings.

This plot of the plot is typical of a romantic work. The author does not report anything about Aleko's past, about the crime he committed. The reader can only guess about this from separate moments. It is clear that Aleko is an educated person, since he is aware of the fate of Ovid. Surely he knows city life well, about which he speaks as follows: "Crazy persecution of crowds or brilliant disgrace".

Aleko easily accepts the primitive life of the gypsies, quickly fits into their nomadic life. "Torn tents", "Poor dinner", rags of clothes and the need to walk around the villages with a tame bear in order to earn bread do not scare him. Love of the beautiful Zemfira and the desired freedom should make Aleko completely happy. But that did not happen.

The hero owns "Secret sadness", the reason for which even Aleko himself does not understand. This is a longing for a familiar life, comfort, communication with educated people. In fact, Aleko never became a part of the gypsy freeman, because he did not understand and did not accept the essence of this will - freedom of feelings and actions.

The heroines of the poem Zemfira and Mariula have no moral obligations to men and children. They blindly follow their desires, obey their passions. Pushkin deliberately created the image of Zemfira's mother, who left her daughter for a new love. In a civilized society, this act would have caused universal condemnation, but Zemfira does not condemn the mother. She does the same.

Gypsies do not consider treason a sin, because no one can hold back love. For an old man, the daughter's act is common. But for Aleko, this is an attempt on his rights, which cannot go unpunished. The murder of Zemfira and her lover clearly shows that in his soul the hero of the poem never became a gypsy. "I am not like that" Aleko admits.

The old man calls the young man a proud man, angry and brave as opposed to a peaceful and "Timid at heart" fellow tribesmen. He clearly defines the reason for Aleko's action - selfishness. "You only want will for yourself", - Zemfira's father accuses the murderer. Considering himself free, Aleko does not want to see others free.

For the first time, Pushkin depicted the expulsion of a romantic hero not only from civilized society, but also from the world of freedom. Aleko commits a crime not against prejudices and traditions, but against universal values. His jealousy and cruelty do not cause sympathy from readers. The hero turns out to be an egoist and a murderer.

At the same time, the poet destroys the romantic halo of the gypsy will. The colorfully described details of everyday life show the poverty and ignorance of the savage people, and freedom of love and action does not bring them happiness. This plot twist and assessment of the heroes' actions allowed critics to call the poem "atypical."

Compositionally the work is built around the gypsy song of Zemfira, which is not accidentally occupying a central place, since it is culmination conflict. The poem consists of eleven parts. Nine of them are written with iambic tetrameter, and Zemfira's song - with two-legged anapest. Another song "The Birdie Does Not Know ..." is written by a chorea with four feet.

In addition to two songs, the poem contains two more stories of the old gypsy: about the exiled poet and about the unfaithful wife Mariula. They serve the development of the plot and reveal the characters of the heroes well. Parts of the work have completely different forms. There is a narration on behalf of the author, descriptions of the nature and life of gypsies, dialogues. All parts are masterfully connected into one whole and consistently implement the poet's plan.

"Gypsies" did not have much success in Russia, although some phrases of the poem became winged. The work was enthusiastically received by the European public. It was The Gypsies that inspired Merimee to write Carmen, and Rachmaninov, his first opera Aleko. The song “The Birdie of God Doesn't Know…” was transcribed to music by 32 composers. She entered many children's books and anthologies.

Genre and composition. Romanticism, realism, nationality and artistry of the poem "Gypsies".
The poem "Gypsies" was written by Pushkin during the years of exile (started in December 1823, finished in October 1824 during the growth of opposition moods. Their reflection in literature was Byronism, which in the conditions of that time was perceived by many as a direct protest against the feudal-serf regime Hence the quite natural appeal of the author of The Village to the genre of the romantic poem, the form of which he borrowed from Byron.

What are the features of the new genre, the pioneer of which in Russian literature is Pushkin?

In the heroic epic, the subject of the image was events of great historical and national significance. In accordance with this, the plot of this kind of works is rich in numerous branches, an abundance of characters and episodes.

In contrast, the plot of a romantic poem is characterized by a novelistic character. The subject of the image is one any event in the life of one person, by no means historical or heroic.

Most often, such an event in the life of this person is love. The number of characters in a romantic poem is not numerous. In most cases, the whole story is built around the relationship of three characters: 1) the hero; 2) the beloved of the hero; 3) the rival of the hero.

The action of a romantic poem usually unfolds in an exotic setting. In the center of the work is the hero, whose emotional experiences and actions are the main subject of the author's artistic attention. Various plot points and individual episodes mainly serve to reflect, reveal the inner world
the main character, his emotional conflict.

The very development of events is sustained in the spirit of one more or less standard plot scheme. The mutual love of the hero and the heroine finds an obstacle in the third person.

The conflict growing on this basis is resolved by the tragic death of the heroine, and sometimes the hero or his antagonist. This plot scheme varies in different ways in different works, in each case, but the plot framework remains largely unchanged.

The construction of the plot in the poem "Gypsies" is sustained in the spirit of the above principles. The subject of the image in the poem is the love of Aleko and Zemfira. The number of characters in it is very small - there are only four of them: Aleko, Zemfira, a young gypsy, an old man. There is a trio typical of a romantic poem: the hero is Aleko, his lover is Zemfira, their antagonist is a young gypsy.

The action of the poem takes place in the exotic setting of a gypsy camp. In the center of the author's artistic attention is Aleko, his emotional experiences and actions. Aleko becomes the cause of the death of Zemfira and her lover, a young gypsy.

In accordance with the artistic concept of the romantic poem and the nature of its plot, Pushkin uses its special construction.

Here, instead of the sequential development of the action in accordance with how it would be in reality, the author immediately brings us into the middle of the action. So, in "Gypsies" the real sequence of events is presented in the following stages:

Aleko's life in the city.
His "voluntary exile."
Zemfira brings Aleko to her father, and he remains to live with her and her father.
Aleko becomes aware of Zemfira's betrayal
Aleko kills Zemfira and her lover.
The gypsies leave Aleko.

However, in the poem, Pushkin immediately, suddenly brings the reader into the very middle of the action. This allows the author to immediately create a tense dramatic situation. Everything preceding the scene of the drive by Zemfira Aleko is given retroactively in a biographical reminiscence from the author:

Like a carefree bird
And he, a migratory exile,
I did not know a reliable nest

Another feature of "Gypsies" as a romantic poem is the following. Instead of a consistent, uniform development of all links in the plot chain, Pushkin breaks it into separate parts, which form independent dramatic pictures. Such an independent dramatic picture is, for example, a night scene in which Aleko is finally convinced of Zemfira's betrayal.

The dramatic peak here is the murder of Aleko Zemfira and a young gypsy. Omitting individual intermediate links, Pushkin concentrates his main attention on the most effective dramatic situations, which gives the composition of the poem a fragmentary character.

So, between the scene when Aleko was brought to the camp and the moment when Zemfira, who had fallen out of love with him, was cheating on him, a considerable period of time passed. Pushkin does not give artistic embodiment to this period of his hero's life, limiting himself to a dry and brief statement: "Two years have passed."

The rest of the poem is constructed in this way. Separate dramatic passages, each of which has its own culmination, are united compositionally by short connecting links in a narrative form and by the general lyrical tone of the poem.

It has already been noted that one of the compositional features of "Gypsy" is a sudden start, an immediate introduction from the very beginning into the middle of the action. This beginning in "Gypsies" is preceded by a lyrical introduction, a kind of poetic overture, which creates, as it were, an artistic background, a decoration:

Gypsies in a noisy crowd
They roam around Bessarabia.
They are over the river today
They spend the night in tattered tents.

The compositional function of this introduction is not only to introduce action into the setting, but also to create a certain mood.

In accordance with the already noted sudden introduction into the middle of the action, at the end of the poem there is also a sudden break in the plot, its understatement.After Aleko killed Zemfira, his further fate remains unknown. However, the poem does not end at the moment of the murder of Zemfira.

Just as at the beginning of the poem a lyrical overture precedes a sudden introduction into the middle of the action, so here, behind a suddenly cut off plot, Pushkin places a lyrically colored picture-comparison, an expanded image, which should sound like the last chord to the drama of the romantic hero and at the same time serve as a vaguely romantic a hint of his future fate.

So sometimes before winter,
Foggy, morning at times,
When it rises from the fields
The village of late cranes
And with a cry into the distance to the south rushes,
Pierced by deadly lead
One sadly remains
Hanging with a wounded wing.
Night has come: in a dark cart
No one has spread the fire

In "Gypsies", as in almost all other "southern poems" by Pushkin, the presence of a special epilogue is noted, which forms an independent concluding chapter of the poem. The compositional function of the epilogue in "The Gypsies" is similar in character to the role of lyrical digressions, but with some very significant difference

As in the lyrical digressions, in the epilogue Pushkin directly expresses his attitude to various phenomena of reality, is reminisced, comes up with assessments of the political order. But all these statements are of a general nature. The epilogue in "The Gypsies" consists of two parts, the boundaries of which are clearly marked by Pushkin himself.

In the first part, along with the poet's biographical recollections directly related to the plot and pointing to the sources, the impressions that led him to this topic, there are also statements of a historical and political nature:

In a country where battle is long, long
The terrible hum did not stop,
Where are the imperative edges
Russian pointed out to Istanbul,
Where is our old two-headed eagle
Still rustles with past glory

These statements, which are alien in the romantic poem, indicate that Pushkin's historical interests have already manifested themselves here, which will then take such a significant place in his work, having received artistic expression in a number of works (Boris Godunov, Poltava, The Bronze Horseman "," The Captain's Daughter ").

The second part of the epilogue, as it were, sums up a short, but full of the deepest meaning, the result of the entire poem.

But there is no happiness between you,
Poor sons of nature! ..
And under worn out tents
There are painful dreams
And your canopy is nomadic

And everywhere fatal passions,
And there is no protection from fate.

These lines, which are, in essence, a form of the author's judgment over their heroes, did not like Belinsky, who believed that they were "in clear contradiction" with the whole "meaning" of the poem.

“The main thing,” wrote Belinsky, “the poet should have concentrated the thought of the whole poem in the concluding verses, so energetically expressed in verse:“ You only want will for yourself ... ”

Thus, Belinsky considered the compositional meaning of this part of the epilogue as a trial of his heroes, noting only as a defect that Pushkin, in accordance with the whole meaning of the poem, did not focus his attention on debunking the main character of the poem, Aleko.

Dramatic elements are one of the significant features of Pushkin's romantic poem. The romantic poet seeks to depict reality, its phenomena not externally, not descriptively, but to give them as the experience of the hero, from the inside. The elements
dramatic dialogue can be seen already in the "Caucasian Captive" and in the "Bakhchisarai Fountain".

However, the dramatization of the narrative in The Gypsies reaches its most complete form. Here they become the dominant form of storytelling. Pushkin introduces dramatic forms in their purest form, in some cases even giving remarks:
a knife into it, leaves and sings.

As already noted, one of the compositional features of a romantic poem is the presence in it of one central character around which the entire action is concentrated. Usually this romantic hero is presented as a rebel, an exile, sharply opposed to the society around him.

The same interpretation of the romantic hero is observed in The Gypsies. Aleko is sharply opposed to both the environment he came from and the environment he came to. Aleko is a consummate individualist. He "only wants will for himself."

It is remarkable that Pushkin was almost one of the first, even at the dawn of the development of capitalism in Russia, to grasp and reflect in his work one of the typical contradictions of the latter - the contradiction between the individual and society and the individualistic worldview growing on this basis.

Then this opposition of personality to society will pass in a long line of characters through the entire Russian noble-bourgeois and bourgeois literature, giving a whole gallery of "superfluous people", renegades who have lost contact with reality.

Aleko is an outcast. His split is given in the above biographical description (and he, a migratory exile, did not know a reliable nest ... ").

This is even more fully expressed in the characterization given by Aleko to society:
What to regret? If you knew
Whenever you imagine
Bondage of stuffy cities!
There are people in heaps outside the fence,
Do not breathe the morning coolness
Not the spring smell of meadows;
They are ashamed of love, thoughts drive,
They trade by their will,
Heads before idols bow
And they ask for money and chains.

Aleko is not like the rest of the inhabitants of the "stuffy cities". He is a rebel, a man of strong passions ("But, God, how the passions played with his obedient soul ...").

Special methods of building his character are also associated with the romantic interpretation of the central character.

As in any romantic poem, in "Gypsies" the origin of the hero is almost unknown.
The author of a romantic poem is usually limited to the most general, vague allusions to his past. All that is known about Aleko is that he was “born among a rich people,” “accustomed to bliss,” “he is pursued by the law,” and he came to the gypsy camp “to share love, leisure and voluntary exile”.

The romantic half-dark poet envelops not only the past, but also the future of the hero. His further fate can only be guessed at from vague hints.

Thus, the author's attention is focused on only one, but the most colorful episode from the hero's life. In accordance with this, only one feature stands out in Aleko's character - the passion, impetuosity of his nature. Other traits of his character are not
disclosed. He is in no way like ordinary people, he is surrounded by an atmosphere of mystery, unusualness.

Such uncertainty and one-sidedness in the construction of the character of the hero is typical of a romantic poem and is explained by the far-fetched, unreality of the character himself, constructed by the poet in an abstract-logical way. This is also confirmed by the fact that the poet does not even care about finding a name for his hero. In a romantic poem, this is irrelevant.

In The Gypsies, Aleko is often referred to as a “youth”. Other characters are not named at all by
name. Such are the "old man", "young gypsy".

Usually in a romantic poem, great attention is paid to describing the appearance of the hero. At the same time, the facial features of the hero are not essential in themselves, but as an expression of those powerful passions that are the dominant moment in the character of the hero.

The portrait of the hero is composed in this case from a number of elements that are typical
for a given genre. Such elements can be considered the underlined
expressive look, changing complexion, special emphasis of posture and gesture, designed for a strong effect.

Turning to The Gypsies, we see that for all the parsimony of the external characteristics of the characters, individual features of the hero's portrait are given in the spirit of romantic poetics.

Thus, at the beginning of the poem, Aleko's gloomy gaze is emphasized (“The youth gazed dejectedly”); then, when Aleko begins to suspect about Zemfira's betrayal, it is emphasized in his face
an expression that inspires fear in others ("Oh, my father, Aleko is terrible ...", further: "you frightened me: you gnashed your teeth sleepily" and, finally, after the murder of Zemfira and the young gypsy: "the killer was terrible in person ...")

Almost nothing is known about Zemfira's appearance; only in one place does the poet casually drop the indication that she is black-eyed ("with him is black-eyed Zemfira").

In a typically romantic style, the spectacular pose of Aleko, struck by despair after the murder of Zemfira and the young gypsy, is sustained: Aleko is behind the hill, the Killer was terrible in his face;
Knife in hand, bloody, Gypsies timidly surrounded
Sat on a grave stone. His alarmed crowd ...
two corpses lay in front of him;

The traditions of romantic poetics, which exclude the possibility of individualizing the language of characters, Pushkin followed in the language of the poem. The characters here speak the same conventional poetic language, that is, the language of the author himself. So, an old gypsy turns to Aleko and Zemfira with these words: "Leave, children, the bed of bliss."

The gypsy woman Zemfira addresses Aleko: "Do not believe crafty dreams." Or: "Tell me, my friend, do you regret leaving forever?" It is quite obvious that this language has nothing to do with the real language of the Gypsy nomads.

One of the specific features of the romantic poem is the lyrical manner of storytelling. In contrast to the epic calmness, the objective tone of the narrative in the classical poem, the narrative of the romantic poem is never objective. The feelings and experiences of the characters are very often the feelings of the poet himself, which are expressed with particular intensity and expressiveness.

In The Gypsies, the poet's emotional interest in the fate of his hero finds expression in a variety of forms. Sometimes this is a short question, sometimes an unexpected exclamation, sometimes a more lengthy appeal to his hero, or a lyrical digression in which the poet speaks directly on his behalf, expressing certain assessments or indulging in his own memories and reflections.

An example of the author's emotional interest in the fate of his hero is the question in the narrative passage preceding the murder scene:

The lips tremble, the knees tremble,
Goes ... and suddenly ... or is it a dream?
Suddenly he sees two shadows close ...

Sometimes this emotional interest of the narrator in the fate of the hero reaches such strength that the characterization of the latter unfolds in the form of a series of lyrical memories and questions:

But God, how passions played In his tortured chest!
His obedient soul! How long, how long have they pacified?
With what excitement seethed They wake up: wait.

A lyrical digression is in the "Gypsies" epilogue, where Pushkin speaks directly on his behalf:

But there is no happiness between you,
Poor sons of nature! ..
And under worn out tents
There are painful dreams
And your canopy is nomadic
In the deserts they were not saved from troubles,
And everywhere fatal passions,
And there is no protection from fate.

However, for "Gypsies" the form of lyrical digressions, embedded in the mouth of one of the characters, is more characteristic. So, a number of lyrical maxims are put into the mouth of an old gypsy:

For what? more freedom than a bird's youth;
Who can hold on to love?
Joy is given to all in succession;
What was, it will not be again.

One of the forms of the lyrical manner of narration in a romantic poem is the technique of syntactic parallelism. This is expressed in various lyrical repetitions and anaphoric constructions.

As an example of such a lyrical construction, the story of Zemfira can be cited when she first brings Aleko to the camp:

“I found him in the wilderness. He is pursued by the law,
And she invited me to the camp for the night. But I'll be his friend.
He wants to be like us, a gypsy; His name is Aleko ... "
Or in Aleko's words to Zemfira:
... And the virgins ... How are you better than them
And without expensive outfits,
No pearls, no necklaces!

However, even in the works of the romantic period of Pushkin's work, we find elements that testify to the continuous growth of Pushkin's realism. First of all, it should be noted in "The Gypsies" a deeply realistic assessment of contemporary Pushkin's reality, which was experiencing an intensified process of development of capitalism.

Only the observation of a genius realist could at that time suggest to the poet an amazingly accurate and comprehensive, for all its Pushkin brevity, characterization of the reality that was beginning to take shape, the negative features of which were so correctly captured by Pushkin during the period. when they have not yet had time to show up in their entirety, to become visible to the simple eye.

In this regard, Pushkin's description of the "bondage of stuffy cities", where "people in heaps, outside the fence" "trade with their will" "and ask for money and chains", can be considered a classic.

The presence of elements of gypsy folklore, as well as purely narrative elements, can be considered more specific manifestations of realism in The Gypsies. So, Pushkin introduces into the poem a gypsy folk song "Old husband, formidable husband ..."

As for the introduction of narrative elements into a romantic poem by Pushkin, approaching a story in verse, the most indicative in this regard is the completed excerpt "Two years have passed ..." will lead him to a story in verse (Count Nulin), to a novel in verse (Eugene Onegin), and then to authentic prose (Arap of Peter the Great, Belkin's Tale, etc.).

One of the most remarkable features of Pushkin, which ensured him a dominant position in the history of Russian literature, is the folk character of his work.

Already in his first major works, dating back to the period when realism had not yet won a final victory in his work, Pushkin appears as a folk poet, who for the first time fell to his lot not only to appreciate the significance of folk art, but also to be the first to draw from this inexhaustible treasury
material for their works.

“First of all,” Gorky notes on this occasion, “Pushkin was the first Russian writer who drew attention to folk art and introduced it into literature, without distorting it to please the state idea of“ nationality ”- the hypocritical tendencies of the court poets, he decorated a folk song and a fairy tale with the brilliance of his talent, but
left their meaning and power unchanged. "

The nature of the reflection of the reality surrounding the poet, which is given in the "Gypsies" in terms of sharp criticism, a kind of interpretation of the central character of Aleko's poem - this romantic hero, given in many ways in a realistic sense, and, finally, the use of elements of gypsy folklore - all this testifies to the fact that that Pushkin had already firmly embarked on the path that later led him to the role of the spokesman for all the feelings and thoughts of the people.

When studying Pushkin's work, the figure of an innovative writer rises up to his full height, boldly breaking the dilapidated literary canons, a writer who is always in search, in motion. In this sense, it is quite possible to speak of the revolutionary role of Pushkin in the history of Russian literature.

So, for example, in "The Gypsies" the genre of the romantic poem explodes from within with the genre of tragedy. Such facts are far from unique in Pushkin's work.

A realistic method and an exceptional breadth of coverage of reality, a genuine nationality, an amazing variety of genres and bold innovation - all these are features that are indisputably inherent in the creation of the great poet.

However, perhaps the most remarkable thing that was given to us in Pushkin, which ensured him the unfading fame of “the creator of the Russian literary language and the founder of the new Russian literature,” is the unmatched artistry of his works.

Prosper Mérimée's appraisal of the artistic features of The Gypsies is quite remarkable, he extremely highly appreciated and carefully studied Pushkin, whose works he translated into French. “From this poem,” writes Mérimée, “not a single verse and not a single word can be thrown out. In my opinion, The Gypsies are the most accurate expression of Pushkin's manner and genius. Simplicity of the plot, skillful selection of details, wonderful restraint of execution.

The French language does not have the ability to convey the conciseness of Pushkin's verse. The images given by Pushkin are always full of truth and life, rather outlined than developed to the end, but all this is done with a truly Hellenic taste that commands the attention of readers. "

Consider the compositional features and artistic merits of the poem, as well as the features of romanticism and realism in it.

The composition of the poem is based on the conflict: Aleko and "civilized" society. The hero's attempt to get out of this conflict leads to another clash, now between Aleko and a new environment, living according to the laws of "free" life. This second conflict drives the plot and leads to a tragic end.

The development of the plot, which reaches its climax and denouement unusually quickly, passes through a series of episodes, sometimes narrative, sometimes purely dramatic. The poem merges epic and drama.

Scenes-episodes are selected and combined into a deliberate and harmonious whole. The dramatic element is very strong in Gypsies. It manifests itself in the swiftness of the development of the action, and in the replacement of the narrative with episodes with dialogues, monologues, stage directions of the author.

In this sense, The Gypsies are, as it were, the preparation of the poet for work in a dramatic manner - for the creation of Boris Godunov, where the principle of constructing a tragedy by a thoughtful selection of short scenes will be fully implemented.

"Gypsies" are included in a number of Pushkin's romantic poems. The plot points and the character of the protagonist are romantic in the poem. A young man from an educated society finds himself in the exotic atmosphere of a gypsy camp. You can say: "an exceptional person in exceptional circumstances."

Elements of folklore and the introduction of lyric and autobiographical moments, despite the drama of the poem, the image of the narrator appears in it, are also characteristic of the romantic poem.

V. Belinsky, highly appreciating "Gypsy", at the same time noted their transitional nature: "It cannot be said that in all these respects the poem does not respond to something else ... not that immature, but something still not quite ripe. So, for example, Aleko's character and the scene of the murder of Zemfira and a young gypsy, despite all their dignity, have a somewhat melodramatic flavor ... "

Along with the features of romanticism in the poem there is already a transition to realism. The life and life of the "wild tribe" are presented in a truthful, realistic image. Aleko bears the typical features of a young man of the Russian noble intelligentsia of the 20s of the 19th century.

The significance of "Gypsies" in the history of Russian literature is determined by their place in Pushkin's work, and the development of Pushkin's work determined, in turn, the development paths of Russian literature as a whole. The victory of realism began with the debunking of the romantic hero. This task was fulfilled by Pushkin's poem.

The southern period of Pushkin's work is characterized, especially at its beginning, by his passion for Byron. “The subjective spirit, so powerful and deep ... personality, so colossal, proud and unyielding,” V. Belinsky described Byron.

The rebellious aspiration of the works of the great English poet had a significant impact on Pushkin, which was reflected in his lyrics. But Pushkin did not become Byron's imitator. In his development, he quickly saw the weak side of the romanticism of the English poet. Rebellious in nature, Byron's heroes were individualistic to the point of selfishness.

Contact with romantic poems by Byron enriched Pushkin, but later he came to overcome romanticism, to condemn the romantic hero-individualist, which manifested itself with particular force in "The Gypsies".

One more important aspect of the meaning of "Gypsies" should be pointed out: the nationality of literature was created along the lines of developing an interest in the life and life of ordinary people of different "tribes and states".

In Pushkin's poem, an important step has been taken in this direction as well. It is no coincidence that the "Gypsies" were
were greeted with laudatory reviews of the advanced group of Russian writers, primarily the Decembrists and writers close to them.

Ryleev wrote that he and his friends "are crazy about" Gypsies ". On the contrary, the writers of the conservative camp reacted coldly to Pushkin's poem.

The poem has been highly regarded by leading Western European literature and critics.

2.8 / 5. 4

"Gypsies" is the last romantic work, the plot of which was gleaned during and the poet's stay in Bessarabia. It was there that Pushkin met the gypsies of the camp and heard this sad story from them. He began working on it while in Moldavia, and completed it in the fall of 1824 in Mikhailovsky.

Simple and straightforward. Throughout the entire poem, there is one storyline, and three main literary heroes. The gypsy woman Zemfira met a man who managed to gain everyday experience and get tired of life. Captivated by the beauty of the girl, the man decides to give up everything and join the gypsy camp. He does not tell anything about himself, but in his attitude towards the cities where he lived, and the people among whom he had to move, we can conclude that Aleko acquired a sad life experience. Perhaps his departure from the gypsy camp was an attempt to escape from a society in which he did not find a place for himself, from himself, from his memories. Zemfira says that he is being prosecuted by the law, but does not specify why: for disagreement with the existing system, or for criminal atrocity.

For two years he roamed with the camp, became the husband of Zemfira. But the young girl gave herself up to Aleko not so much because she loved him, but simply allowed him to love herself. Finally, “the time has come - she fell in love,” as the poet said in another of his works. But the young gypsy woman fell in love not with her own husband, but with a young gypsy, the same as herself.

One night, Aleko woke up, and not finding his beloved wife nearby, he went to look for her, and found her near someone's old grave with a young lover. Insulted in his feelings, he stabbed with a knife first the young lover of his wife, and then Zemfira.

The gypsies modestly buried the young lovers, and the old man drove Aleko out of the camp.

The poem begins with a beautiful and lyrical exposition - a description of the nature of Bessarabia, a camp life, which Pushkin had a chance to see with his own eyes. Perhaps that is why the description of the camp's camp is so harmonious, colorful and visible. The tattered tents, half-hung with carpets, the ringing of the marching anvil, the neighing of horses show the unassuming, even somewhat poor way of life of the Gypsies. But these people are not constrained by conventions. They are happy with their freedom, unity with the nature of the places where they stay. In the camp, everyone, and even the children, are busy with their own business.

The opening begins with a description of an old gypsy who is expecting his daughter from a walk. The old man worries that the girl has been gone for a long time, and the old man's poor supper is getting cold. Finally, Zemfira appears in the company of an unknown man. Here the poet acquaints the reader with the main characters of the poem: the old man, Zemfira's father, Aleko, a man of non-gypsy origin, and Zemfira. Perhaps the man's name was Alexander, and Zemfira gave him the name Aleko. The poem is equipped with dialogues, which brings it closer to a dramatic work.

The second part describes the collection of the camp on the road. The gypsies quickly dismantled the tents with their usual movements, put their modest belongings on the carts, and the steppe was empty. Tabor set off, and with them Aleko, a free inhabitant of the world.

Here the poet compares Aleko to a migratory bird that does not have a permanent nest, that is, a house, a family. The lyrical digression about the carefree bird is written in a different rhythm than the whole poem. Thus, as a separate song stands out from the general narrative and resembles verse 26 from the 6th chapter of Matthew. The allusion to the Gospel is not accidental here. Pushkin thus emphasizes that people who consider themselves civilized, in their actions, have torn away from God and his commandments, one of which is not to kill.

The entire poem is written with iambic tetrameter, and the song about the bird is written with a four-legged chorea.

The third part of the poem takes the reader two years ahead in time. During this time, Zemfira became Aleko's wife, but managed to understand that she did not love him. She hints to her husband by singing that she has fallen out of love with him, in the secret hope that he will let her go. The song irritates Aleko, but he does not hear a clear hint. Zemfira's song is written in two-tone iambic and is a kind of preface to the climax.
The song reminds the old man of his wife, who, having fallen in love, left him and left with her lover. We can say that the old man's story is a separate storyline, woven into the narrative by contrast. The old man told about his ex-wife Aleko, to which he remarked that he would not be able to let the woman go so calmly if she did the same to him. He will have to enjoy revenge.

The scene at the grave is the culmination of the poem. The lovers' funeral and the old man's last conversation with Aleko are the denouement.

Leave us, proud man!
We are wild; we have no laws
We do not torment, we do not execute -
We don't need blood and groans -
But we don't want to live with the killer ...

The camp leaves, Aleko is left alone.

In the epilogue, Pushkin recalls his meetings with gypsies, conversations around the fire. And he makes a sad conclusion:

But there is no happiness between you,
Poor sons of nature! ..

According to the well-known literary critic, Prince DS Mirsky, the main idea of the work is “the tragic inability of a complex, civilized person to discard habitual feelings and passions, especially the feeling of ownership in relation to his chosen one. At first glance, the poem is a decisive affirmation of freedom - the freedom of a woman in relation to a man - and a decisive condemnation of unnatural evil - revenge and punishment. "

"Gypsies", a summary of the chapters of Pushkin's poem

"Gypsies" as a romantic poem (type of hero, environment, conflict). Poem issues

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