In the disclosure of the content of the poem " Bronze Horseman"Plays an important role to the natural element, in particular, the flood - the most rare phenomenon of the element, which is already well studied in several articles. Four elements of natural elements (water, earth, air and fire) symbolize primitive forces and energy that exist in the world of nature and inside a person.

In the poem, these elements with their diverse forms are effectively depicted in each of the key plot episodes, and express various phenomena of the spontaneous forces. In the world of "copper rider" communicate

Natural forces on natural elements and heroes, phenomena and events occur from here.

Recall a few scenes from the poem. At the first appearances of both Heroes of Peter I and Eugene - each figure is given in the ratio with the natural elements: at the beginning, Petr I entry thinks about the great plan of the future capital, hearing the noise of desert waves and winds; The appearance of Eugene accompanies the storm weather, as if the storm predefinites him about the tragidity of life.

Community with natural elements, which is also characteristic of the poet's image in Pushkin poems, shows the originality of the heroes and sometimes indicates their autobiographicity. The natural element animates of these unusual characters with vital power and leads them to the exercise of their dreams and destination.

We turn to the climax of the poem, in which the metaphors of the natural elements are perfectly used in the collision of Eugene and the copper rider, when Eugene obsesses the rebellious elements, there is a transformation with him: no matter how "the heart I ran, I boiled blood."

At that moment and the copper rider focuses on anger, as if the explosion of the spiritual element of the first hero flammives and revives the second. Next, it should be noted that the emergency manifestation of the spontaneity is expressed through the comparisons of the heroes with the image wild beast. Evgenia and Peter I come closer on this basis: the gigantic powder strength of Peter I internally binds to the indemnity of the departing horse-beast; Eugene's lost mind becomes a semi-veneer being: "Neither a beast, nor a person. Their spontaneous characters are a spoken phenomenon of flood and a bora, which are also endowed with animal features.

In the "copper rider" there is hidden by the author's association of the Bunth and epidemic with the image of the beast. This association was established at Pushkin under the influence of two events experienced by him: a trip to the Caucasus in 1829 and cholera riots in the early 1830s. Analysis of this underlisted association not only detects that in several scenes the poems are facts from personal biography Pushkin, but also gives us the key to resolving the multilayer structure of historical eras, deeply laid in artistic world Poems.

Pushkin A. S. Copper rider, 1833 Method is realistic.

Genre - Poem.

History of creation . The poem "Copper Horseman" was written in Boldin in the fall of 1833. In this work, Pushkin describes one of the most terrible floods that occurred in 1824 and brought terrible destruction by the city.

In the work of the "copper rider" two main characters: Peter I, present in the poem in the form of a coming statue of the copper rider, and a small official Eugene. The development of the conflict between them defines the main idea of \u200b\u200bthe work.

Plot. The work opens with the "entry", in which Peter the Great and his "Creation" is famous - Petersburg. In the first part, the reader meets the chief hero - an official named Eugene. He falls, but can not fall asleep, raised by thoughts about his position, that the bridges were removed from the arriving river and that this is two or three days to separate him with a beloved parashine living on the other shore. The thought of Parasch gives rise to dreams of marriage and about the future happy and modest life in a family circle, along with loving and beloved wife and children. Finally, by sweet thoughts, Eugene falls asleep.

However, very soon the weather spoils and the entire Petersburg is under water. At this time, a fixed Eugene sits on the marble broadcasting area of \u200b\u200bLion. He looks at the opposite bank of the Neva, where it lives in his poor Domishka to his beloved with his mother. With his back to him, towering over the elements, "stands with a handwriter of the idol on the bronze horse."

When the water falls, Eugene discovers that Parasha and her mother died, and their home was destroyed and deprived of the reason. After almost a year, Eugene vividly remembers the flood. By chance it turns out to be a monument to Peter Great. Evgeny in anger threatens the monument, but suddenly it seems to him that the face of the Terrible Tsar appeals to him, and anger sparkles him in his eyes, and Eugene rushes away, hearing a heavy hiking of copper hoofs. All night unhappy messengers in the city, and it seems to him that the rider with a heavy hopping jumps everywhere.

P rellamatics. Brutal collision of historical need to doomed private personal life.

The problem of the autocratic power and the disadvantaged people

"Where are you jumping, a proud horse, and where do you lower your hooves?" - The question of the future of the Russian state.

Several thematic emotional lines: Apotheosis of Peter and St. Petersburg, the dramatic narration of Eugene, author's lyricism.

Confine: Symbolic clash of the two polar opposite forces - an ordinary little man and unlimited powerful power of the autocratic state

Evgeny The image of a shining, lively, lush city is replaced in the first part of the poem a picture of terrible, destructive flood, expressive images of the raging element, over which a person is not authorized. The element sweeps everything in its path, losing the wreckage of buildings and destroyed bridges in the flow streams, the "belongings of pale poverty" and even the coffins "with a blurred cemetery." Among those whose life destroyed the flood, it turns out to be Evgeny, about the peaceful concerns of which the author speaks at the beginning of the first part of the poem. Evgeny "Ordinary man" ("small" man): He has no money nor the ranks, "somewhere serves" and dreams of arranging the "shelter of humble and simple" to marry a beloved girl and go with her life path.

The poem does not indicate a surname of the hero, nor his age, nothing says not to the past Eugene, his appearance, character traits. Having degraded Eugene individual will accept, the author turns it into an ordinary, faceless person from the crowd. However, in an extreme, critical situation, Evgeny seems to awaken from sleep, and discharges with themselves the larva "nothingness" and opposes the "copperstuka".

Peter I. Starting from the second half of the 1820s, Pushkin looks for an answer to the question: can the autocratic power be reform and merciful? In this regard, it artistically explores the identity and state activities of the "Tsar Reformer" Peter I.

Peter's theme was for Pushkin painfully painful. Throughout his life, he repeatedly changed the attitude towards this epochable image. For example, in the poem "Poltava" he is famous for the king of the winner. At the same time, in Pushkin Abstracts for Labor "History of Peter I" Peter acts not only as a great statesman And Tsar-worker, but also as an unprofitable despot, tyrant.

Artistic study of the image of Peter Pushkin continues in the "copper rider." The poem "Copper Horseman" completes in the work of A. S. Pushkin, the topic of Peter I. The majestic appearance of the king of the converter is drawn in the first, virtually solemn, lines of the poem:

On the shore of the desert waves

He stood, the Duma of the Great full,

And Vdal looked.

Monumental figure of the king The author opposes the image of harsh and wildlife. The picture, against the background of which appears the figure of the king, irretrievable. Before the gaze of Peter, widely spread, carrying the distance of the river; Around the forest, "unknown rays in the fog of the hidden sun." But the governor's view is directed to the future. Russia must be established on the shores of the Baltic - this is necessary for the prosperity of the country. The execution of the "Great Duma" is becoming a confirmation of his historical right. After a hundred years, at the time when the story events begin, "Grad Petrov" became the "full" (Northern) "Div." In parades, they are called "Validious", on the shores of "Grounds Slims are crowded", "the crowd" crowds from all the ends of the Earth "come to the" rich marins ".

In the picture of St. Petersburg, it is not just a response to Peter's plan, it challenges the power of Russia. This is a solemn anthem of its glory, beauty, royal power. The impression is created with the help of towering epithets ("hail" - young, lush, proud, slim, rich, strict, shining, non-omitous), reinforced by antithesis with a "deserted" hostile man by nature and with "poor", poorly "Her" Pasyanka "- Little man. If the huts of Chukhones "Cherneli ... here and there", the forest was "unknowing", the sunshine, and the sun itself is hidden "in the fog", the main characteristic St. Petersburg becomes light. (shine, flame, shine, golden skies, dawn).

Nature itself seeks to drive the night, "Weighing Days" have come for Russia; The whole meaning of the depicted picture confirms and the fivefold repetition in the author's speech of the delightful "love."

Copyright to Peter the Grandomy ambiguous . On the one hand, at the beginning of the work of Pushkin, the enthusiastic hymn creation utters the creation of Peter, admits in love for the "young hail", which "Mot Moscow" was "fed. Peter in the poem appears as "idol on the bronze horse" as "Powerful Lord of Fate" ..

On the other hand, Peter-Self-adjacent is presented in the poem not in any particular acts, but in the symbolic image of the copper rider as an personification of inhuman statehood. Even in those lines where he admires Peter and Petersburg, anxiety intonation is already heard:

About Powerful Lord of Fate!

Aren't you over the abyss

At the height, the Scum

Russia raised on rapids?

"Proud Istukan" appears the king and before Evgeny. And this Istukan is opposed to a living person, the "man" of which burns from the wild wave of, in the heart there is a "constraint", "Flame", the soul "boils".

Conflict . The conflict of the "copper rider" consists in a collision of the person with the inevitable course of history, in the opposition of collective, social will (represented by Peter the Great) and the will of personal (represented by Eugene). How does Pushkin allow this conflict?

The opinions of critics about whose side of Pushkin, separated. Some believed that the poet substantiated the right of state to dispose of the life of a person and becomes towards Peter, as it understands the need and benefit of its transformations. Others consider the victim Eugene unjustified and believe that the sympathies of the author entirely and completely on the side of the "poor" Eugene.

The third version is most convincing: Pushkin has shown for the first time in Russian literature all the tragic and intractability of the conflict between the state and the state interests and interests of a private person.

Pushkin depicts the tragic conflict of the two forces (personality and power, man and state), each of which has its own truth, but both of these truths are limited, incomplete. Peter is right as a sovereign, behind him and on his side - history. Evgeny Right as an ordinary man, behind him and on his side - humanity and Christian compassion

The plot of the poem was completed, the hero was killed, but remained and transferred to readers the central conflict, not allowed and in reality, the anthombus of the "tops" and the "bottoms", the autocratic power and the disadvantaged people remained.

The symbolic victory of the copper rider over Evgeny is the victory of strength, but not justice. The question remains "" Where are you jumping, a proud horse, and where do you lower your hooves? " This is a metaphorically pronounced main question for the author, the question of the future of the Russian state.

(Search for an answer) The problem of the people and power, the topic of mercy - in "Captain her daughter". Even in vague times It is necessary to preserve the honor and mercy.

"... The best and most strongest changes are those that occur from improving morals, without any violent shocks"

Human relationships should be built in respect and mercy

Good life

The image of the natural element in the poem A. S. Pushkin "Copper Horseman"

The "Copper Horseman" is the first urban poem in Russian literature. Poom problems are complex and multifaceted. The poem is a peculiar reflection of the poet about the fate of Russia, about its path: the European, associated with the reforms of Peter, and the original Russian. Attitude towards the Acts of Peter and to the city, which he founded, was always ambiguous. The history of the city was presented in a variety of myths, legends and prophecies. In some myths, Peter appeared the "father of the Fatherland", the deity, founding some reasonable space, "Przellious degrees", "a kind of country", the stronghold of state and military power. These myths arose in poetry and officially encouraged. In other myths, Peter was a span of Satan, a lively antichrist, and St. Petersburg, founded by him, is the city of Nerusky, Satanic chaos, is doomed to inevitable disappearance.

Pushkin created synthetic images of Peter and St. Petersburg. Both concepts have completed each other. The poetic myth of the foundation of the city is deployed in the entry, oriented on a literary tradition, and the myth of its destruction, flooding - in the first and second parts of the poem.

Two parts of the story depict two rebellion against self-leveling: the rebellion of the elements and a rebellion of a man. In the finals, both of these rebells will be defeated: the poor Eugene will accept the recently, who has recently threatened the copper rider, will return to his rumble.

Interestingly, the poem itself is wicked in the poem. Neva, once enslaved, "captured" by Petro, did not forget his "old enmity" and with "vicious malicious" rebel to the enslave. The "defeated element" is trying to crush his granite shackles and goes to the attack on the "slender grudges of palaces and towers" arising in the way of autocratic Peter. The city turns into a fortress deposited by the Neva.

River Neva, on which the city lies, indignant and violent:

In the morning over her shores

People were crowded,

Admiring splashes, mountains

AND foam angry waters.

But the power of the wind from the bay

Overheaded Neva

Back walked , angry, burly,

And flooded the island.

… From indignant depth

waves got up and angry,

There is a storm

There were fragments ...

Folding narrative acquires folk-mythological color. Beckless Neva is compared with the disterney "beast", then with the "thieves", westing in the windows, then with the "villain", which burst into the village "with the fierce Shayochoy her." There is a mention of the river deity in the poem, a rue of the elements is compared:

… waters suddenly

Flowed into underground basements

Channels were hung to lattices,

And Petropol popped up like Titon,

The water belt is immersed.

For a minute it seems that the "defeated element" triumphs that fate itself is for her: "The people \\ God's angry anger and execution awaits. \\ Alas! Everything dies ... "

The riot of the elements depicted by Pushkin helps to reveal the ideological and artistic peculiarity of the work. On the one hand, Neva, the water element is part of the urban landscape. On the other hand, the wrath of the elements, its mythological color, remind the reader about the representation of St. Petersburg as the Satanian city, non-Russian, doomed to destruction. Another function of the landscape is associated with the image of Eugene, "Little Man." Flood destroys the humble dreams of Eugene. It turned out to be disastrous not for the city center and its inhabitants, but for the poor sitting on the outskirts. For Evgeny Peter - not "Half of the half," And just a culprit of disaster conversations, he "... whose will of the fatal \\ under the sea the city was founded ...", Who did not take into account the fate of small, not protected from the disaster of people.

The surrounding reality turned out to be hostile for the hero, he definitely, but Eugene turns out to be worthy of not only sympathy and condolences, but at a certain point causes admiration. When Eugene threatens "Proud Istukan", his image acquires the features of genuine heroicity. At these moments, a pitiful, humble inhabitant of Kolomna, who lost her shelter, the beggar of the straggings, dressed in exilest rags, is completely reborn, strong passions, hatred, desperate determination, will to revenge are broken up in it.

However, the copper rider reaches its goal: Eugene arms. The second rebellion is defeated as the first. As after the rust of the Neva "in order former everything went out." Eugene again became negligible from insignificant, and in the spring of his corpse, like a corpse

tramps, fishermen buried on the deserted island, "for God's sake."

Ege Pushkin "Copper Horseman"

Read the text fragment and perform the B1-B7 tasks; C1-C2.

Follow the tasks of B1-B7. Write your answer in the form of a word, combinations of words or a sequence of numbers.

Then, on Petrova's area,

Where the house in the corner ascended a new one

Where above the elevated porch

With pipped paw like alive,

There are two lions watchdown,

On the beast of marble verso

Without hat, hands squeezing with a cross,

Little sat, scary pale

Evgeny. He was afraid, poor,

Not for yourself. He did not hear

As the greedy shaft rises,

His soles are waving

How to rain in his face whoretal

Like the wind, drowning

From him and the hat suddenly threw.

His desperate eyes

On the edge one hooked

Lowly were. Like a mountain

From indignant depth

The waves got up there and angry,

There was a storm, we got

Wheel ... God, God! there -

Alas! Cornly to the waves,

Almost at the bay -

The fence is unthilled, yes Iva

And the old house: there is

Widow and daughter, his parasha

His dream ... Or in a dream

Does he sees it? il our whole

And life is nothing like a blank sleep,

Sky mock over the ground?

And he seemed to be done

As if the mramor was chained,

Can not go! In short

Water and nothing else!

And turned back to him

In non-omitable embroidery

Above the perturbation of Nevyu

Stands with a simple hand

Moid on a bronze horse.

IN 1. Specify the genre of the work

AT 2. What city occurs in the events described in this work?

Answer: __________________________________

Vz. In the "copper rider" Pushkin created a generalized artistic image of Eugene as a "little man." What kind of term is it called similar images?

Answer: __________________________________

AT 4. In the following fragment A.S. Pushkin uses the reception based on the repetition of homogeneous consonant sounds. Name it.

… Like a mountain

From indignant depth

The waves got up there and angry,

There the storm was angry, we were worn there

Chips ...

Answer: __________________________________

AT 5. A.S. Pushkin calls Peter I "Kumir on the Bronze Kone." Specify the trail that is a replacement of the name of the descriptive turnover "

Answer: __________________________________

AT 6. Call an infrared language based on comparison of items or phenomena.

… il our whole

And life is nothing how the sleep is empty,

Sky mock over the ground?

Answer: __________________________________

AT 7. The poet in the "Copper Horseman" perceives the flood not only as a natural phenomenon, but also as an analogue of life storms and deprivation. What is the name of such a sign image, the meaning of which goes beyond the objective value?

Answer: __________________________________

To fulfill the tasks C1 and C2, give a connected answer to the question in the amount of 5-10 proposals. Recommend the author's position, if necessary, set out your point of view. Argument the answer, relying on the text of the work. By performing the task C2, select for comparison two works of different authors (in one example, it is permissible to appeal to the execution of the author to which the source text belongs to); Indicate the names of the works and surname of the authors; Justify your choice and compare the works with the text proposed in the specified direction of analysis.

Responses Record clearly and picking up, observing the norms of speech.

C1. What role in this fragment is a description of various natural phenomena?

(C1. How has the fate of Eugene influenced the destructive flood?)

C2. In which works of Russian literature, natural forces participate in the destinies of heroes, as in the "copper rider", and what is their role like?

As in the poem A.S. Pushkin "Copper Horseman" The power of the state is opposed to the tragedy of a "little man" Eugene?

We use quotes and terms !!!

1. In joining, it is necessary to say about the time of writing the work, about the subject or problematics of the poem, to name the conflict of the work, which is indicated in the topic.

2. In the main part of the work, we reveal the main conflict of the work.

- The majestic image of Peter in joining the poem. The glorification of the main power of Russia. The historical need to base the city.

- The tragedy of the "little man" Eugene.

- a symbolic clash of the two polar-opposite forces - an ordinary small man and unlimited powerful forces of the autocratic state in the images of the copper rider and Eugene.

Conflict resolution. The victory of strength, but not justice.

3. In conclusion:

- A specific answer to the question announced in the subject. (How ...? - Symbolically in flood images as an analogue of life storms and deprivation. Symbolically in the images of the copper rider and drunk, who resigned Eugene.

Without love for the city, without love for the native country and its history, it was impossible to create a similar work, in which each line breathes with flashes, love or admiration. Such is A. S. Pushkin.

The poem describes the largest and destructive flood in the history of St. Petersburg. The poet himself was located in Mikhailovsky during the flood, and only from magazines and letters from witnesses of this disaster could know about the devastating disaster. And if you remember that in 1824 there were no cameras and moreover, video cameras, you can only admire that reliability and accuracy, with which poet describes the swelling element.

He started writing the poem in 1833, during his stay in Boldino. The whole poem consists of three parts:

1. Introduction.
2. First part.
3. The second part of.

The composition of the poem is based on opposition:

• The authorities of nature, and therefore God over all people are from the kings to the last trader or fisherman.
• The authorities of the kings and others with them - over small people.

No need to forget that by the 34th year, when this poem was written, Pushkin broke up with youthful maximalism, and freedom acquired a somewhat different meaning for him than just the overthrow of autocracy. And although censors found in the poem a line threatening the security of the state, it does not have a half-line for the overthrow of the royal power.

Entry is an enthusiastic soda dedicated to St. Petersburg and its creator. It uses the inherent archaisms and sublime words: the Great Duma, Grad,
Full countries, beauty and Divo, made of fusions Blat, porphyrony.

This part of the poem is a small excursion to the history of St. Petersburg. A.S. Pushkin briefly describes the history of the city. In this poem, they sound the words that have become the cruise defining policies of Emperor Peter I:

And he thought:
We will break to threaten the Swede
Here will be the city laid
For evil in charge of a neighbor.
Nature here we are destined
To cut the window to Europe
Need solid to become a sea.
Here on new waves
All flags will visit us,
And stamp on the square.

Pushkin was interested in Russian history, and in particular, the personality of the first reformer, its transformations, methods of government, attitudes towards people who were reflected in its decrees. The poet could not not pay attention to the fact that government transformations, even progressive, awakened sleepy Russia, broke fate ordinary people. For the construction of the city, which the poet admired, people were with thousands of people, separating them with relatives and relatives. Other sites in the fields of Swedish and Turkish wars.

The first chapter of the poem begins by exposure. In it, the reader meets the main hero of the poem - Eugene, a poor nobleman who has to serve to

deliver yourself
And independence and honor;

The solemn style of ODD is replaced by the ordinary narrative. Evgeny comes from home, completely tired, falls on the bed and dreams of the future. For the plot of the poem completely unimportant, where Eugene serves, in what a rank and how old he is. Because he is one of many. Little man from the crowd.

Eugene has a bride, and he imagines how he marries the girl. Over time, children will appear, then the grandchildren, whom they will bring up, and then they will be buried. The weather was rated outside the window, the rain knocked in the window, and Evgeny understood that because of the rouse weather he would not fall on the other side.

Through the reflections and dreams of the main character, the poet shows that this is for a person. Small employee, a little curling the idle lucky, the mind is unfulfilled, the sloths, who are lighter than life! Probrusive and honest Eugene dreams of family and career.

Nutrow Neva came out of the banks and flooded the city. The description of the element is a worship before nature. The rusty of nature from the exposition description at night turns into a defining part of the plot, in which Nheva comes to life and is a threatening force.

Poems describing flooding are great. In them, Nevva is represented by a revived beast that scored in the city. The poet compares it with the thieves that climb into the windows. To describe the elements of Pushkin, epithets applied: violent, angry, angry, burrow. Poems are saturated with verbs: rushed, did not defeat, flooded, raging, swollen, roared.

Evgeny himself, fleeing from the riot of water, climbed on the palace lion. Sitting on the king of animals, he worried about the expensive people to him - Parasha and her mother, absolutely not noticing how water licks his feet.

There was a copper rider not far from him - the famous monument to Emperor Peter I. The monument stands unshakable, and even the waves of the swelling element can not shake him.

In this episode, the reader sees the confrontation of the unshakable copper rider and a small man who is able to fall apart from a lion into a muddy, smoking element.

"The picture of the flood is written in Pushkin with paints that the price of life would be ready to buy the poet of the last century, which was preventing the thought of writing an epic poem of the Flood ... Here you don't know what the description of the description or his almost prosaic simplicity is more huge, that together comes to The greatest poetry, "so described the picture of flooding V. Belinsky.

The second chapter describes the consequences of floods, and how the life of Eugene has developed. As soon as

perfect destroying
And the brazen violence is tired,
Neva threw back

at the limits of their shores, Evgeny, concerned about the beloved fate, found a boatman who agreed to send him to the other side. Here Pushkin again compares the river with a gang of villains. The river has not yet calmed down, the boat jumpers on the waves, but it does not bother Eugene.

Having come to the street where his packet lived, he discovered that neither a house, nor the gate was not at the same place. It was so deeply struck by an unfortunate young man that he lost his mind. Parasha and her mother were the only expensive people for him. Having lost them, he lost the meaning of life. The little man turned out to be too weak to resist his misfortune.

He did not return to his home, and the owner in a few days passed his apartment "Poor Poet." Eugene wandered all day in the city, seeing nothing in front of him. Sometimes people out of pity served him a piece of bread, Kucher ruthlessly stealing his wagon when he climb under horses hoofs.

But one day, passing by Copper Peter, Evgeny fell into that fist. And it seemed to him that the expression of the Emperor's face had changed, and he heard himself behind his back of the hop of the rider. After this event, Eugene tried to pass by the monument with the head down. Of course, neither mystically nor really, the rider did not go from his place. This episode, the poet shows how frustrated by the psyche of his hero.

One day, the hopeless body of Eugene found on a small, deserted island. So the life of a young man ended. This ends and the poem ends.

Standing on the balcony, Alexander first with bitterness admits:

"From God's elements
Do not coperate the kings. "

The copper rider who personifies the king of Peter is opposed to a small man. Top Pushkin wants to show that the kings subject to much. They can command the peoples, make them build a city, affect other countries. Little people even their own destiny can always arrange as they want. But above the forces of nature, neither the kings nor ordinary people are not domineering over the elements.

Not powerful. But unlike small people living in dilapidated houses and basements, the kings are better protected. Alexander I stands on the balcony of the palace built by young people. The copper rider is installed on the stone, which was also brought here by ordinary peasants. The kings command, but move the story and build the city the most defenseless little people.

The time of creating a poem. Scene base and time of action. Topic

A.S. Pushkin wrote the poem "Copper Horseman" in October 1833 in Boldin.

Scene base of work - Petersburg flooding 1824.Pushkin emphasizes the strict historical accuracy of the events described in the poem. So, in the author's preface, he notes: "The incident described in this story is based on the truth."

The time frame of the poem is wider than its plot action. Poet performs excursion in the era of Peter I, talks about the grandiose a plan of autocrat. Then he talks about the changes that occurred in a hundred years. The author describes the focus of 1824 and events directly behind it. The most important theme of the work is also the fate of a "little man."

Problems

The main problem, set in the "Copper Horseman", - personalityand the state. Pushkin comprehends the deep contradiction between the identity of the "little man" and the autocratic power. In the context of this problem, Pushkin reveals the historical contradiction of Peteri's activities. On the one hand, the reforms have strengthened the Russian state. The city, built on the Neva, became a symbol of the greatness and glory of Russia. On the other hand, this city was the cause of misfortunes, suffering, the death of a "little man."

One more important problem Works are human and nature. In the natural elements of Pushkin showed a formidable divine force, a recalcitrant person, a non-luxury will of the kings.

Ideal orientation

The ideological point of the poem is ambiguous.

One side, Pushkin glorifies the acts of Peter, admires the beautiful city on the Neva, bowing to the greatness and glory of Russia.

On the other hand, the poet deeply sympathizes, making a "little man",who became the involuntary victim of Petrovsky transformations.

Genre peculiarity

"Copper Horseman" is laroepic poem. In it, the narration of events and characters is combined with the lyrical self-expression of the author. So, for example, joining the poem includes an agitated monologue of the poet, chanting Petersburg.

Pushkin gives her own genre definition to the "copper rider". In the subtitle he calls the work "Petersburg story." Pushkin his work approves the new genre of the St. Petersburg Tale of the Public Officer, a "little man" in Russian literature. Subsequently (already in prosaic form), this genre will be developed in the works of N.V. Gogol, F.M.Dostoevsky, other Russian writers.

Composition: Scene construction, Basic Images

The poem includes introduction and two parts.

Entry contains exposure petra's image I.. The king appears here as an outstanding statesman, who set itself the task of transforming Russia, to make it a great state, cut down the "window to Europe".

Although the king is described in the entry as a real historical person, it looks here is monumental here 1 . The majestic figure of the autocrat is shown on the background of wild, pristine nature:

On the shore of the desert waves

Stood is he, the spirit of the great full,

And Vdal looked.

The poet talks about the grand intention of Peter:

And he thought:

We will break to threaten the Swede

Here will be the city laid

I called a surrender neighbor.

Nature here we are destined

To cut the window to Europe

Need solid to become a sea.

Here on new waves

All flags will visit us,

It took a hundred years, and young hail,

Full countries of the Beauty and Divo,

From the darkness of forests, from the molding lot

Ascended magnificent, proudly ...

Pushkin does not hide his admiration for Peter's creation. From here a high style, use slavs ("Young Grad", "Full Countries of the Beauty and Divo", "From the Topi Blost").

Then follows lyric monologue The poet, where he speaks of his love for St. Petersburg. The poet admires the architecture of the city, the greatest course of the Neva, the beauty of white nights:

Love you, Peter Creation,

I love your strict, slim view,

Neva Purchase flow

Coastal granite

Your fence is a cast iron,

Your thoughtful nights

Transparent Sulk, shineless ...

Pushkin glorifies military power Russia:

I love warlike liveliness

Rosy Marse fields

Infantry Rate and Horse

Monotonous beautifulness

In their slender zyblel

Loskashy Banners of victorious,

Shiny caps of these copper

Through the rustled in battle.

These lines were reminded to the contemporaries of Pushkin about the glorious victory of Russia in the war of 1812.

The poet especially notes the meaning of such solemn moments in the life of the Russian Empire, as birth of the heir to the throne and victory over the enemy, and these events caused by these events is akin to the joy of contemplation of the Spring Awakening of the Neva:

I love, Military Capital,

Your stronghold smoke and thunder,

When full of queen

Gives a son to the royal house,

Or victory over the enemy

Russia tries again,

Or hacking your blue ice,

Neva carries it to the seas

And, if there are days, snakes.

Thus, Petersburg at Pushkin is a symbol of a new, transformed Russia.

Meanwhile, the reform activity of Peter, according to the poet, brought Russia and its people not only the greatness, but also serious suffering. "The cookie will be my story," the poet notes at the end of the entry, preparing the reader to the sorrowful events described in the first and second parts of the poem.

First part "Copper Rider" opens a gloomy picture autumn Nature. Neva is compared with a sick person:

Over dumbfounded Petrograd

Dyshalova on November autumn chlad.

Pretty noisy wave

In the edge of its fence is slim,

Neva rushed like a patient

At that time, from guests home

Evgeny came young ...

Exposition The image of the central character takes first half of the first part Poems. The poet explains why he chose the name "Eugene" for his hero:

We will be our hero

Call this name. It

It sounds nice; With him long ago

My feather is also friendly.

Eugene comes from an ancient aristocratic clan. However, in that era, when the poem takes place, his last name has already been talking about something about something:

You do not need to be nicknamed.

Although after the time

It can be shone

And under the pen of Karamzin

In their relatives, sounded,

But now light and molva

It is forgotten ...

Eugene - typical small official, "Little Man":

Our hero

Lives in Kolomna, somewhere serves

Signs noble and not fuss

Nor about honoring relatives

Neither about forgotten old.

It should be noted that "small people" - the benefit of Petrovsky transformations, which turned Russia into the state of officials.

We should not forget that the Gallery of "Little People" in Russian Literature goes back to Pushkin. Samson Vyrin from the "Stationander" - the first in their row, the second is Evgeny from the "Copper Rider". Later in Russian literature will include Heroes of Gogol (for example, Akaki Akakievich Bashmachkin from "Sineli"), writers of "Natural School", Dostoevsky.

ABOUT mirosozania "Little man" can be judged by his dreams:

What did he think about? About,

That he was poor to work

He had to deliver himself

And independence and honor ...

Marry? Well ... why not?

It is hard, of course,

But what, he is young and healthy,

Work day and night ready;

He will suit himself

Humble and simple

And in him the packet will calm down.

Evgeniya, unlike the dealer Tsar, worry not the grand plans of the state scale, and the urgent things: he dreams of family happiness, about raising children.

It is also significant that Eugene Eugene is not an aristocratic lady, but a simple parasha girl with which he is going to divide a modest and crowded family life.

In poet verses expressed sympathy "Little man" sincerely attention To his concerns.

When creating images of Peter and Evgenia Pushkin resorts to antithesewhich is already evoked already in joining the poem and in its first part. The majestic Figure of Peter on the background of a desert, calm Neva is opposed to Eugene-"Little" lounge and under state standards, a negligible person who returns home near the river journey, restless, inspiring the hero fear for loved ones.

The second half of the first part Poems are devoted to the description flood. Waketered nonsense It acts as a merciless natural element that takes the person to try to limit her freedom, stamped into granite. When describing the disaster, Pushkin uses deployed personification, comparisons, colorful epithets. Neva appears before us as a terrible beast, destroying everything around:

Neva swollen and roared

Boiler buboc and sunbathing

And suddenly, how the beast is worse

I rushed to the city ...

It is not by chance that Alexander I, under the end of the reign of which the flood of 1824 occurred, pronounces significant words: "With the elements of God, the kings do not cope." The Forces of Nature symbolizes here God's anger against people who decided to subjugate the element, and here even the king is powerless. Nature takes a person for arbitrary over it.

It is essential that Pushkin emphasizes inseparable communication Between the disasters caused by flooding, and the long-time decision of Peter to build the city in this place - contrary to the laws of nature. As a result, the terrible suffering of the inhabitants of St. Petersburg, primarily "small people", turned out to be a consequence of Peter's activities in the previous century.

Not by chance at the end of the first part of the poem, Peter I and Eugenerevenge opposed toonly autocrats acts here no longer as a historical personality, but as a statue, "idol". Eugene, rescued from flooding, sits "on the beast of marble riding" and sees in front of him a fixed sculpture of Peter. At the same time, the monument turns out to be "turned to it with backs": it turns out that the desperate "small person" can not count on the help:

And addressed to him back

In non-optimile embroidery

Above the perturbation of Nevyu

Stands with a simple hand

Moid on a bronze horse.

In the second part The poems are told by O. the death of Parasch, about madness Eugene, about him bunte against power finally about his own death.

The death of Parasha Acquires symbolic importance in the poem: this is a sign misfortune all ordinary people -residents of St. Petersburg , petrovsky transformations found by the hostages. The death of the bride also caused Eugene's madness. His consciousness could not stand grave tests:

But poor, poor Eugene ...

Alas! His confused mind

Against terrible shocks

Did not resist ...

It should be noted that the motive of madness due to the topic of St. Petersburg is widely covered in the subsequent Russian literature. Recall, for example, the "notes of the crazy" Gogol, Skolnikov's sleepmars in the "crime and punishment" of Dostoevsky.

In the second part of the poem also contains culmination - story about bunte The hero against the power, which personifies the statue of Peter. The author prepares the reader in advance to this new confrontation of Eugene and the copper rider. The details of their first meeting, which happened during flooding is repeated:

Evgeny shuddered. Claimed

It is scary thoughts. He found out

And place where the flood played

Where the waves are predatory crowded,

Bunuya viciously around him,

And lions, and the square, and

Who is motionlessly elevated

In the darkness copper head ...

Poet B. lyrical monologue refers to the statue of Peter - a symbol of autocratic power:

Where are you jumping, proud horse,

And where do you lower your hooves?

About Powerful Lord of Fate!

Aren't you over the abyss

At the height, the Scum

Russia raised on rapids?

Pushkin emphasizes here all the grandeur of Peter's appearance. Meanwhile, Eugene's figure at the time of his rebellion against the idol is becoming a majestic. It is not by chance that the poet in the outcome of the "little man", as in the description of the statue of the autocrat, uses high-style vocabulary 1 :

Circle foot idol

Mantle poor bypassed

And the eyes of wild brought

On the face of the Half Half.

It shy his chest. Man

I faced the grill of Colding ...

Two opponents are stylistically "equalized": at the "Half of the half-one" - "Lick", at the rebel - "Man". Hero in a frenzy pronounces words performed by anger:

Good, builder miracle!

So you!

Ends riot nightmare Eugene. The copper rider pursues his sacrifice.

In peculiar epilga, not entitled by the author, but highlighted textually, talks about of death unhappy Eugenewho did not hold the fight with brutal fate:

Found my madness

And then the core corpse of him

Buried the sake of God.

An important role in the work is played symbols. Form Petersburgcarries the idea of \u200b\u200ba new, transformed Russia with its greatness and glory. At the same time, Petersburg is a symbol of misfortunes, suffering of ordinary people.

Waketered nonsense - The symbol of God's anger, who wrapped on a man who wondered to subjugate the natural element.

Finally, Bronze Horseman - The personification of the autocratic power in its tragic confrontation to the people. The horse is the Russian people, the rider - the autocratic, which raised his subjects "on the poks".

Questions and tasks

1. Where and when Pushkin wrote the poem "Copper Horseman"? What is the plot basis of the work? Outline the temporary framework of the events described in the poem. Name the main topics of the work.

2. What problems understand the poet in the "Copper Horseman"? What is the originality of the interpretation by the author of such a problem as a person and the state?

3. Describe the ideological orientation of the poem. Why the author's position can not be called unequivocal?

4. Why is the "Copper Horseman" Is LarEpic Production? What genre definition gave Pushkin's poem? What is the uniqueness of the "copper rider" as the St. Petersburg story? Who else from Russian writers created works in this genre?

5. What parts are Pushkin Poem? What composite elements includes accession? What appears before us Peter IO entry? What does the poet talk about the plan of Peter? What Pushkin paints Petersburg a hundred years after its foundation. Describe the lyrical monologue of the author. What exactly admires his "Peter Creation"?

6. What can you say about the exposition of Evgeny's image at the beginning of the first part of the poem? How does the author describe the Neva? How does he represent the reader of the central character? What Pushkin writes about the name and surname Hero, about his origin, classes, dreams, ideals? What can you say about the beloved Eugene? Why can Evgenia be called a "little man"? When and because of what reasons is this social and historical type of people? Which of the Russian writers first opened it? What other characters are Pushkin himself and other authors - can be attributed to this literary type?

What is the meaning of the antithesis "Peter - Eugene"?

7. How does Pushkin draw a swelling element? What artistic techniques does he use here? What is the meaning of the words of Alexander I given by the word poet? How is the topic of flooding 1824 associated with the theme of Petrovsky transformations? Expand the meaning of the episode of the confrontation of Eugene and the statue of Peter during flooding.

8. Name the main events of the second part of the poem. Why did the death of Paras and the madness of Eugene acquire a symbolic meaning?

9. Describe the climax of the poem? Why can we argue that images of Eugene and Peter at the time of the Bunta Hero are stylistically equalized? What does the Bunch Hero lead to? What is the symbolic meaning of the death of Eugene? What is the description of the epilogue function in the poem?

10. Tell the value of the image characters in the poem. Why is the symbolic image of St. Petersburg interpreted ambiguously? How can I interpret the difference in the image of the silent Neva? Comment on the Pushkin Interpretation of the Copper Horseman.

11. Make an abstract plan and prepare an oral message.

V.Ya. Bakhmutsky "Bronze Horseman"

"After all and we modern issues Came

through Pushkin, because for us it was the beginning of everything

what now we have. "

FM Dostoevsky

The reputation of a mysterious work is firmly established for the "copper rider", and this is despite the fact that it is studied from a wide variety of parties and is probably difficult to express a new judgment about the poem or make a new observation, which in one form or another no longer has been expressed. The mysteriousness of the poem itself is mysterious. It has no obscure places, dark symbols. Mysterious not separate particular, but an integer, general idea, the thought of the poet.

The diverse interpretations of the "copper rider", the rapids of his riddles are still rotating, as a rule, around one point - the conflict of Eugene and Peter, personality and state. We want to offer some other reading of the poem. Reading, which would relieve a huge work on the study of this work done by Russian Pushkin, to analyze the text itself, its artistic structure, of those complex shaped clips, in which it seems to us, the thought of Pushkin.

Introduction

The "Copper Horseman" opens with the introduction, which is a kind of overture of the poem. But this solemn overture and sense, and in stylistic terms he sounds counterpoint to the main text, to the sad "Petersburg story." Such a counterpoint devoid of the final, synthesizing, harmonizing chord, determines the entire structure of the "copper rider" and is manifested in its most different levels. Entry consists of five passages, each of which represents a relatively complete integer.

"On the shore of the desert waves // stood It The spirit of the great full // and in the distance looked. Before it is widespread // River broke down. " Two central heroes of the poem are indicated in these initial lines: "He" and the widespread river. The fact that the name of Peter is not named is significant. In drafts met and "Peter" and "Tsar", but Pushkin preferred more capacious and comprehensive? "It". Pushkin is historically concrete and accurate, but for each historically concrete detail, there is a different, wider symbolic meaning. "It" ? it is more than Peter, and more than the king; "It" ? This is a man taken in his tribal essence. (It was exactly that Peter Pushkin saw: "That academician, then the hero, // then the navigator, then the carpenter, // he is a comprehensive soul // on the throne of Eternal was a worker." According to Hegel, "not from aristocracy and preferences of noble persons, but in search of complete freedom in the desires and actions implemented in the presentation of the royalness."

And city? This is not only Petersburg, but an image of civilization, a form of life, where the will of a person triumphs over the elements, over natural wildness. This appears Petersburg and in Arape Peter the Great. "Cold dams, channels without promenade, wooden bridges were the victory of human will over the spots of the elements."

Symbolized and landscape. Forest (traditional wildlife symbol), widely carrying river, poor chaln lonely Chukhonza - all these attributes of the painting of the "natural state", which thought his XVIII century.

Dal, in which Peter's eyes are addressed, not so much spatial as temporary - distance of the future, the great future of Russia. ("Here will be The city is laid down, "" All flags to visit will be to us I. installation At the square "(italics ours). At the same time, "here" and "there" lose their spatial meaning, temporalize. "Here" becomes synonymous with "before", "there" - "Now" ("there will be a city here", but "now there, on the lively shores of romance, the slims are crowded with palaces and towers").

The great intent of Peter is deprived of personal arbitrariness. Peter peaks the will of history, carries out the aspirations and hopes of Russia. ("Nature here we are destined"" To cut the window to Europe, "" Nago solid to become a sea "(ourseligs). Peter says not from herself, but on the face of a whole, the collective power of the people and the strength of the Russian state is embodied in it.

The second excerpt "It took a hundred years and the young town" is the first summary of the results of Peter. It is written in the style of the XVIII century. In 1803, in connection with the century of the foundation of St. Petersburg, many verses devoted to this anniversary date appeared. They meet two formulas used and Pushkin: "One hundred years has passed" and "where before - now there." Both are related to the central problem of the "copper rider" - poems, summarizing the results of Petrovskiy civilization. The passage develops the topic of the beginning - the contrast of the "natural state" ("Darkness of Forests", "Top Blot", a lonely fisherman, throwing his dilapidated nem to unknown waters) and civilization (commander of palaces and towers, ships, seeking from all ends of the Earth to rich marins , Bridges, hung over waters). It seems that all the plans of Peter were carried out ("the city" raised "," Neva dressed in granite; // Bridges hung over the waters, // Dark green gardens were covered with the islands, "" Earl Moscow "). The city and the river form a single harmonic whole. The feeling of this harmony is created by the fact that the very nature itself, and not a person here is a subject of action: "Neva dressed in granite," the islands were covered with dark-green gardens ", etc.

But the Formula "Passed a hundred years" gives this passage the character of the quotation (after all, not a hundred, but one hundred and thirty years). Here we face an important part of the poetics of mature Pushkin. Pushkin conceived with literary styles and solid genres; The style was for him a definite literary mask and was perceived as one of the possible, but far from the only point of view on the world. In the "copper rider" between the author and the style of classic classic ODD used by it, there is no complete coincidence; The style as if taken in quotes, he half alien, and between the word and the subject there is a distance; The word only leads to the subject, the subject lives as if independent of the word own life. The image of St. Petersburg, how he is given in this passage is not the entire Petersburg, as his Pushkin knows. It has its own truth, its own poetry, but there is in it and its limitation, and Pushkin also feels sharply. Therefore, this passage simultaneously quotes, someone else's and own word of the poet.

The third passage "love you, Peter Creation" is the most difficult. It is usually perceived as a direct expression of Pushkin's poetic "I". Meanwhile, it cannot be correctly understood outside the context of the poem and above all the context of the entry itself.

We have all the same classic image of St. Petersburg, although this passage is written in a different stylistic manner. In St. Petersburg, strictness and slightness are emphasized, granite, in which the Neva, cast-iron fences, a slim-twisting system of infantry rates are stipulated. There is nothing dark, vague, mysterious - everything is extremely clear, everything is given in bright light of the day, and even "darkness night" is not allowed "on the golden skies." This light-flooded Petersburg is contrasting the beginning of the poem, where "Forest, an unknown rays, in the fog of the hidden sun rose noisy." In this strict order, in this clarity and the light appeared, however, something motionless and deadly: "the revived shores" was replaced by the "deserted streets" and the air itself became "real estate". The verbs disappear, they are replaced by the separable nouns ("Holding current", "Run Salo", "noise and tongue balls", "hissing of frothy glasses", "The radiance of these copper caps").

And that is especially important, the beauty of St. Petersburg itself acquires an ornamental character. The poet loves, more precisely, admires the view ("I love your strict, slender kind"), the appearance of the city, - in each phenomenon it emphasizes, how would the purely ornamental effect be removed from it, its visual and sound side: from the fence? "Pattern", from nights - "shineless", from balls - "glitter, noise and talk", from the pirushki idle - "The hiss of the foam glasses and the punch is a blue flame," from the girls - a blush ("Girlish faces brighter roses") , from victory over the enemy - "smoke and thunder" of cannonal flips. In this Petersburg, more external beautifulness ("monotonous beautifulness") than internal beauty.

L. Pmpyansky called the style of this jar of Oneginsky. This is true, but Onegin style is now perceived by Pushkin as something already gone. Nothing came out of the attempt to write this style of "Ezezersky", and the poem remained unfinished. And if Pushkin appealed to him in the "copper rider", then also as a special literary mask - the poet of the 20s
"Good friend", Onegin. This is emphasized by the note ("see Vymesky verse to the Countess 3".), Which, as it were, this passage is alienated from the current Pushkin, just as the preceding excerpt of the formula "Passed a hundred years" was alienated. "

Fourth passage "Write Hood Petrov and Stop" sounds like a kind of spell:

Yes dying with you

And defeated elements;

Emoxy and captivity vintage

Let the Finnish waves forget.

The direct link between the third and fourth passage is a cross-cutting image of a Neva, champed into granite, but still remaining to the end of the unbleached, free elements - the only rolling and therefore, and alive in this beautiful, but lifelong city, ( ... hacking your blue ice, // Neva to the seas carries it // and, si-hanging days, snakes). The fourth excerpt sums up the whole entry and therefore echoes his beginning. The great intent of Peter was carried out, but not to the end; The victory of rational will, strict about the elements turned out to be not complete. In the initial version, this thought was expressed more directly.

But defeated elements

The enemies permit sees in us ...

But Finnish waves more than once

On the Grozny attack went Bunkuya

And shocked, indigrant,

Granite foot Peter.

The initial line of the fifth pass "was terrible" rhythmically closes the previous passage and sounds like an answer to the words of the spell: "Yes, you will die with you and defeated elements." This is what is - the reality itself, as opposed to what was just worse, and maybe the terrible foreshadow of the future. In the white manuscript represented by Nicholas, the last lines sounded like this:

And be it, friends, for you

Evening terrible only story

And not ominous dedication.

But the words "there was a terrible time" at the same time and the beginning of the last, fifth passage, which is the transition to the main text of the poem. In these words, its main topic is formulated: "About her, my friends, for you I will start my own narrative." It is coming, of course, not only about a particular event ,? Flooding 1824. The huge historical scope of the entry attaches the words "terrible time" is a wider sense. We are talking about a whole strip of Russian history. Looking ahead, let's say right away that the epithet "terrible" is one of the keywords of the "copper rider". In the last line of accession, there is a new image of the poet - not the secession of the XVIII century, not the singer Peter, not the "good friend" of Onegin, and the author of the Petersburg story. The solemn tone disappears, the whole tonality of the poem changes: "The sadness will be my story."

Flood

Already from the initial lines of the first part, we enter into a different world, the entry into the contrast. June White Nights, clear sunny frosty days of the brutal Petersburg winter, the festive and solemn day of the spring ice drift are replaced by a dull autumn scenery. ("Tied November Autumn Grade" "The rain was angry with angrily and the wind blew, sadly"). Peterburg's illuminated by the light is now broken by a dusk ("over dormant Petrograd" "It was too late and dark"). The image of the river has changed. This is not a widespalice of the Neva start, and not holding the current Neva, according to which the ships "... From all the ends of the earth, they seek the rich marins," and not the Spring, who is jealous, who dropping ice shacks, strives for the sea. Now Nheva no longer wants to put up with the coastal granite, it does not fit in his "slender fence", in her "as a patient in his bed restless": and then "angry, burly", "boiler buboc and sebble" rushes on his long-time The enemy is a city and floods it: "And Petropol popped up as Triton, // on the water belt is immersed."

Before the description of the flooding Pushkin makes a note that refers to the poem of Mitskevich "Oleshkevich". In the poem of the Polish poet, the artist Oleshkevich welcomes the swelling element ("With the sunrise, the day of miracles will come." The attitude of Pushkin to the poem of Mitskevich sympathetic (it is called one of the best), but in the image of the flood, it lacks realistic description accuracy. "It is a pity that the description is not accurate. There was no snow, the Neva was covered with ice. Our description is rather, although there are no bright paints of the Polish poet. " It affects the difference between two art systems. The symbolism in Pushkin is never asked, it always grows from the inside of the most realistic picture, through the deepening of it.

However, the words of the poet: "Our description is more or rather," have another meaning. Pushkin is half alarmed with Mitskevich essentially. The motive of God's wrath is found in the "copper rider." "The people of the tricks of God's anger and execution is waiting." But in Pushkin Poem is the view of the people, and not the point of view of the poet itself. The flood in the eyes of Pushkin is not God's Kara, and the rebellion of the elements, which they tried to told, subjugate the help will, not believing with its nature, and she now takesct the city and man, becomes a hostile, destructive power. Civilization turned out to be weak before the elements, because it was violent towards her. Widely and calmly carrying his waters to the sea of \u200b\u200bthe river, who did not know any obstacles in its path, now "overheated" "back walked", "swollen and roared" "and flooded the shore." And the "strict slender kind" of St. Petersburg turned out to be, in the words of Tyutchev, just a "brilliant cover", followed by the abyss "with their fears and a lot,", and flood disrupts this cover, turns everything inside out, and what was hidden, harnessed And invisibly, now floated and filled the beautiful hail of Peter.

Wreckage huts, brica, roof,

Stock trading goods

Pale poverty belongings,

Thunderstorm demolished bridges,

Coffin with blurred cemetery

Swim through the streets!

Deployed comparisons and metaphors, in general not characteristic of the "copper rider" style, characterize the description of the flood, and even more so they are significant.

Siege! Attack! Evil waves

Like thieves, climb into the windows ...

... so the villain,

With a ferocious shaig

In the village brooded, lomit, cuts,

Crash and robs, screams, grinds,

Violent, brand, anxiety, howl! ..

Comparison of flooding with a robbery raid eloquent. Simultaneously with the "Copper Horseman" in Boldinskaya Autumn of 1833, Pushkin works on the "Pugachev Bunt" history. He returned to Boldino after a trip to the Ural, where she collected the material for his future book. The flood, of course, is not the allegory of the Pugachev uprising, the Menietic spontaneous rebellion, "meaningless and merciless". This is a multi-valued image of the rebeling element, which includes for Pushkin and the beginning of a folk rebellion.

In the same Bolden autumn of 1833, "Tale of Fisherman and Fish" was also written, echoing with his own motifs with "copper rider". A fairy tale unites with the poem common topic - Anger, revenge of the "free element" by excessive human claims. The motive is pure Pushkin. He was not in the source of the "Fairy Tales of Fisherman and Fish", the Pomeranian fairy tale about the "fisherman and his wife" in the Collection of Br. Grimm. There the old woman is punished for the desire to become the Lord himself. Pushkin has for what he wanted to become a "Lady of the Marine" and command the Golden Fish.

"A fairy tale about fisherman and fish brings closer with the" copper rider "and sad tonality, not peculiar to other Pushkin fairy tales. Everything comes back to the original charter, "broken trough", and metamorphosis that are undergoing the heroes look like something ghostly, like "sleep blank, mockery of the sky over the earth." Such a motive is present in the "copper rider", although, of course, does not determine the entire content of the poem. In the latter, the wedding poem, the "Island is small on the seaside", allocated in the white manuscript, represented by Nicholas, to a special part - conclusion - instead of "magnificent and proudly" ascended Hoods with his "slender grudges" and "lively shores" - again " The deserted island, "again a lonely fisherman (" Most with the nidget of there // Fisherman on catching late // and the poor dinner is brewing "). Again - "Domashka Old" - "He remained over the water as a dilapidated bush" (Wed. With the beginning: "Cherleli huts here and there, shelter the wretched Chukhonza").

The famous intimacy of the poem and fairy tales does not exclude the differences existing between them. In fairy tales, the element of Grozny, but reasonable power. She has a human face. In Saltan, the soul of this element - the swan - turned out to be an excellent princess, without having lost its natural strength, his cosmic majesty ("a month is shining for oblique, and the star is burning in the forehead"), and the goldfish is gold, keeping to the end all his mysteriousness , I still, "the voice of a man with a person" and peers over the heroine, but the right, fair court. In the "copper rider" otherwise: Mitzkevich saw the divine retribution of the Russian king in the flood, but Pushkin shows that they suffer primarily not the obey heroes: poor Eugene and his Parasha. The element acts as wild, faceless, destructive power:

AND suddenlylike a beast of worst

The city rushed. Before neo

All ran, everything around

Suddenly empty - water suddenly

Flounce in underground basements ...

The irrationality of the element here is emphasized by a three-year repetition of the word "suddenly." And also suddenly, "fastening the destruction and brazing awesome, the Neva became illuminated, he admiring the indignation," but under the waves, the fire continues to smooth, ready to flash with a new destructive force every minute. And yet, in this furious element, in this suddenly exposed the abyss enclosed for Pushkin a huge force and power, its own special poetry, perhaps, no less attractive than in a slender romance built by Peter civilization.

The attitude towards the elements was Pushkin complex. In the elements, this "incomprehensible mind" was concluded for him, the mysterious force, at the same time the productive and destructive, which Goethe once called the demonic one. Pushkin knew that without contact with this force, without his own, nothing is born, as it is not born and without resistance, without confrontation. The poet felt what Chara was lighted in the "wild liberty", in the game of the spontaneous forces, in the "angry Ocean" and "Dange of the Plague". But he himself always preferred to stay from the "gloomy abyss on the edge", "from the coast" ("I left the coast"). When Pushkin wrote that the poet, as "the wind and the eagle and the heart of the Virgin, there is no law," he meant that, having gone to his "dreams secret", the poet in the elements seems that the block calls "the clarity of God's face" (" God, oh muse, be obedient "), but Pushkin at the same time was afraid of the elements, for it knew that she had another person -" Dusk Nevili "," Crack of the devils ugly in the minute month. "

Food, food in a clean field

Dean Dean Dean bell

Scary, scary to

Important unknown plains.

This demonic, mysterious, attractive and frightening power of Pushkin felt in all "poetic persons" of Russian history; Not only in Razane and Pugachev, embodying the element of peasant insurrection, but also in Peter, the great converter of the Russian state, and belonged to them with the "Piothetic delight and Horror". He himself recognized that he looked at Peter "with fear and trepidation."

Leaves Peter. His eyes

Shine. His face is terrible.

Movement Fast. He is beautiful.

He is all like God's thunderstorm.

Such Peter during the Poltava battle. This is in many respects at the beginning of the "copper rider". Peter is able to tame the element and carry out his audacious intent - "the city under the sea is to establish" only because he himself besides the element in himself, her "fatal will", its creative and destructive energy. ("Peter I at the same time Robespierre and Napoleon, embodied revolution" - VIII, 585). But a hundred years passed, and there is no more than this daring creative spirit in the "insignificant heirs" of "Northern Giant", and on one pole is beautiful as a monument to the city, and on the other - a complete destructive energy rebelled Neva. Now the excerpt "love you, Peter Creation can be read in a new way. Pushkin persistently, five times repeats the word "love", and it sounds almost like a spell: I love, because I am afraid of a faceless destructive element, I love, because I know the dangerous charity of wild liberty melting in it, despite the fact that in this "lush The city "reigns the" Spirit of Cry "," boredom, cold and granite. "

The indignant element is given by Pushkin in relation to three heroes: Eugene, Alexander and the copper rider. Three heroes, who changed Peter the entry, in which a person, king and the power of Russian statehood were merged into one. Now (this is the result of the past years) - a person is represented by Evgeny, the king - Alexander, and the power of the Russian state, already alienated not only from the "poor Eugene", but also from the reigning Alexander, the Falcone statue.

King

About Alexandra said:

In that terrible year

The deceased king still Russia

With glory rules. On the balcony

Heat, Smart, he came out

And Milns: "From God's elements

Do not coperate the kings. " He sat down

And in the Duma sorrowful eyes

On evil disaster looked.

Contrast Peter is stripped. The name of Alexander, as the name of Peter, is not named. But instead of Peter - "He", instead of Alexander - King. The image of Peter Dan in the epic was given, in the zone of "absolutely past", not correlated with the singer time. (The excerpt "on the shore of the desert waves" could be written in the poet of the 18th century and our contemporary.) Peter-monument ("Only you erected, the hero of Poltava, a huge monument to yourself"), seized from running time, towering over it.

In non-omitable embroidery

Above the outraged Nevyu

Stands with a simple hand

Moid on a bronze horse.

On the contrary, the epithet "deceased" relates Alexander with Pushkin of 1833, withdrawing it from the timeless present, in which Peter dwells, includes a real stream of historical movement with its destructive strength.

In contrast to non-slip-standing Peter, Alexander sits, and in this position, in this movement (villages) is expressed by his confusion (Smant), his impotence before the swelling elements. The Duma Peter is great, the Duma of Alexander - mournful. In the draft version, the contrast of Peter and Alexander is still sharper. At the beginning "He stood, the Duma of the Great full" opposed: "He sat and looked at the darkness." Alexander - the king of "terrible pores", the hero of the sad "Petersburg story" ("Peacon will be my story"). In his mournful impotence, he is closer to "poor Eugene" than Peter. Communication with Eugene is underlined and rhythmically. The theme of Alexander is given in the same intermittent stumbling, replete rhythm transfer, as the topic of Eugene.

Pushkin's thought is clear: autocravery ceased to be a force capable of curbing the element, and the ISSless words of Alexander "not to cope" are contrasting the Cottal Words of Alexander.

Human

Evgeny is the central hero of the Petersburg story. It appears at the beginning of the first part, and his death ends the poem. In the world of the historical poem, where everything is "based on truth" and even the flood is described on the documents ("Curious can cope with the news drawn up by V.N. Bercha"), a fictional hero, created by the imagination of the poet, is important that Pushkin found it necessary This emphasizes how to expose your artistic technique.

At that time, from guests home

Evgenya came young ...

We will be our hero

Call this name. It

It sounds nice; With him long ago

My feather is also friendly.

In itself, the combination of one work of a great historical personality and a fictional character was not for the Pushkin era news. It constituted the most important feature of the historical novels of Walter Scott and its numerous continuents and imitators and was considered an indispensable condition for the truthful image of history. The feature of the "copper rider" is that history and fiction, the fate of Russia and the fate of a separate personality, the past and modernity, politics and life here are conjugate without any attempt to organic synthesis, based on a sharp genre and stylistic counterpoint. The theme of Petra is given in the style of the epic poem and ODD classicism, the topic of Eugene - in the roman genre of the "Petersburg story", facing modernity and based on free artistic fiction. Having emphasizing that Eugene fictional, not a real hero, Pushkin not only depicts the historical past, but also by their artistic construction and style expresses it. The genre-stylistic dispersion of the "copper rider" acquires a figurative meaning, becomes an expression of a historical change of epoch.

But it's not only that. As a fictional image, Eugene becomes in a row with other creatures of the poet. Pushkin himself establishes the relationship between him and other Eugene, the hero of his poetic novel. In the last stanzas "Onegin" Pushkin says goodbye to the whole of the Onegin world as a whole strip of its own life and a whole strip of Russian history, the end of which put an uprising on the Senate Square and the beginning of a new reign.

But those who are in a friendly meeting

I read the first read ...

There are no other things, but those

……………………….

About a lot, a lot of rock departed.

The eighth head of the novel was written in the Bolden autumn of 1830, and at the same time, "Belkin's story" marked the beginning of a new stage of Pushkin creativity were created.

The image of Eugene, of course, belongs, rather, "Belkin" than the "Oneginsky" Russia - and according to the social situation ("lives in Kolomna, somewhere serves, he has been signed", "he was poor" and "He had to work To deliver both independence and honor "), and in their aspirations, the most ordinary, prose-greatly ... Get a" place ", arrange" shelter smyster and simple "and in it Parish to calm down, etc.). However, there are significant differences between Evgeny and heroes of Blinkinsky stories: the heroes of the "History of Belkin" still remain on the periphery of Russian life-spatial (province) and historical. Evgeny, on the contrary, stands in the very center ("Citizen Metropolitan"), on the highway of Russian history, he became a hero of time, changing Onegin - the hero of the twenties.

Evgeny and Onegin not only two historical types time; They are the objectified lyrical images of the poet itself, living with his lyrical energy. True, in the "copper rider" distance between the author and his hero is much more than in Onegin, but the lyrical relationship between them is no less deep. The topic of Eugene echoes the lyrics and journalism of Pushkin of the late twentieth and early thirties. Familiar reader with his hero, Pushkin writes:

You do not need to be nicknamed.

Although after the time

It can be shone

And under the pen of Karamzin

In their relatives sounded;

But now light and molva

It is forgotten ...

In these lines, the most important formula of the entire poem "where there is now there" (before "shone" - now "forgotten"). The social fate of Eugene is also one of the outcome of Petrovsky civilization. On the other hand, these lines establish a connection between the poet and its hero.

Childbirth flip bugs.

(And, in misfortune, not one)

Boyar vintage I'm a descendant

I, brothers, petty tradesman

("My pedigree")

The same motifs sound in Pushkin journalism: the name of my ancestors, says the poet, "meets almost every page of our story" (VII, 195). "My genus is one of the oldest noble" (VII, 194). But now the old nobility "makes the genus of the middle state" (VII, 207), "We climb from the bar to Tiers? Tat" (IV, 344), "I'm just a Russian tradber (III, 208). The focus of the authorities stands "the new nobility, who received his origin under Peter the First and Emperors" (VII, 207). Last remark for our topic is especially essential. Pushkin's attitude to Petrovsky transformations has always been dual. This duality is already tangible in "Notes on the Russian history of the XVIII century", written at the very beginning of the 20s.

Highly appreciating the identity of Peter ("Strong Man", "Northern Giant") and the progressiveness of his transformations (Peter introduced the European enlightenment, which should have had his inevitable consequence of popular freedom), Pushkin does not closes his eyes into the shadow sides of Petrovsky reforms: disagreement of enlightened, Europeanized parts of the nobility and the people, universal slavery and silent obedience ("The story suddenly represents his universal slavery ... All states counted without parsing were equal before it dubinskoy. Everything trembled, everything was silently obeyed "). And nevertheless the poet is full of historical optimism. It seemed to him that the Russian nobility deprived of political freedoms will replace the third estate in Russia and, despite the cultural disconnection with the people, will be connected to him in the struggle against the controversial evil, and it will be able to win, not even resorting to bloodshed. "The buoy of the best connects all the states" and the "hard peaceful unanimity", and not the "terrible shock" will destroy in Russia "Nortified slavery" and "soon put us along with the enlightened nations of Europe." (VIII, 125-127).

But it was not destined to be hoped. Pushkin meditated a lot over the failure of the December uprising. In the "note on public education", he wrote that people who were separated by the image of the thought of conspirators, "on the one hand, ... they saw the insignificance of their plans and funds, with the other-immense power based on the strength of things." Under the "strength of things" Pushkin meant the "spirit of the people" and the missing public opinion in Russia. ("General opinion, not yet existing"). This means that the gap between the Europeanized enlightened part of the Russian nobility and the people who managed to "keep his beard and Russian caftan", and does not undergo a gift "Universal slavery", universal silent obedience.

Therefore, the assessment of Petrovsky transformations is also changing. According to Pushkin, it was Petr who managed the "ranks" to destroy the offacarious nobility as a public strength, who played such an important role in the Moscow period of Russian history. And in the place of an old hereditary nobility, the main qualities of which are independence, courage and honor, and the appointment of which to be "powerful defenders" of the people "1a sauvegarde of the hardworking class", bureaucracy came. "Despotism surrounds itself with devoted mercenaries and this is suppressed by any opposition and any independence. The heardness of the highest nobility is a guarantee of this independence. The opposite is inevitably connected with tyranny, or rather, with low and soft despotism. " Hence the conclusion: the end of the nobility in the monarchist state means slavery of the people (VIII, 147-148).

But the people do not silently and do not put together with their slavery. The theme of the folk rebellion becomes one of the central in the Pushkin creativity of the thirties. ("History of Pugachev Bunt", "Captain's daughter", "scenes from knightly times", "Kirdzhali", "Dubrovsky"). As we saw, she found her reflection in the "copper rider" - in the image of the rebeling element. (The image itself of St. Petersburg, how he is given in the poem - the city, which has grown out "from the molding of Blat," - symbolizes the inorganicity of Petrovskaya civilization, which had an unable to accommodate the original life of the people). The topic of the folk rebellion was caused by life itself. Over Russia again hung the threat of the peasant war. In 1831, in connection with the cholera epidemic in different cities of the country, folk riots broke out. They even rushed to St. Petersburg. "You, right, I heard about the perturbations of the Novgorod and Old Russia," wrote Pushkin Vyazemsky. - Horror. More than one hundred people of generals, colonels and officers are cut in Novgorod settlements with all the thinities of the malice ... Bad, your fortification "(X, 373). It seems that "not a solid peaceful unanimity," and "terrible shock" one can only destroy the "short slavery" in Russia, and this is also one of the consequences of Petrovsky transformations.

Pushkin has always been proud of his six hundred-year nobility ("Wildness, meanness and ignorance, he wrote, does not respect the past, pressessed before one real"): And at the same time, although with some challenge, but at the same time seriously and even proud , I called myself "Russian Trashman" with pride, for "there is a dignity above the knowledge of the genus, it is: the dignity of personal" (VII, 196) and "Independent man - the key to his greatness."

The tradesman in the eyes of the poet is the one who, "the work was to be delivered to himself and independence and honor," and let his life be limited to the "homemade circle", within this small circle it comes into contact with the first-pool of being - work, family and love. All this merges now for Pushkin in the concept of the house. "Youth has no need for at home, a mature age is terrified by his privacy. Blessed who finds a girlfriend - then he managed home.I will soon postpone my fenats to the village - fields, gardens, peasants, books; Poetic works - family, love ETS. - Religion, death "(III, 521).

The motive of "houses" as a small cosmos, opposed chaos of Russian reality, becomes one of the most important in Pushkin lyrics since the late twenties. It is usually given in opposition to the road, or more precisely, to off-road, to the absence of a path. In this sense, a particularly expressive poem "Road complaints", where the way of the road arises as a life path metaphor, in which the poet lies in various kinds of troubles and deaths, one absurdly different, and the only refuge, the only rescue from all of this unhappiness russian life It turns out the house.

Whether the Ryumka Roma case,

At night, sleep, in the morning tea;

Whether it's, brothers, at home!

Well, I went, chase!

The house is a symbol of not happiness and not even will, and rest ("My ideal is now a hostess, // My desires of peace"). Pushkin hoped: "I'm getting married to the trades, Nadvyuchi" (x, 333). Peace, however, turned out to be a unrealized dream. Pushkin wrote to his wife: "It is possible to live without political freedom; without family inviolability, InvioLabit? De La Famille, it is impossible; Katorga is not an example better "(x, 487-488).

The motive of the house occupies the central meco and in the "Copper Horseman". A lot was written about the opposition of the "Great Duma" Peter and "Small Dreams" Eugene. one

Marry? Well ... why not?

It is hard, of course,

But what, he is young and healthy,

Work day and night ready;

He will suit himself

Humble and simple

And in it, Paras will calm down ...

More importantly, the self comparison, it would seem at first glance, such incommensurable values. It is full of deep meaning. Peter seeks to establish the city, Eugene - the house. But after all, the city is not only the romance of palaces and towers, coastal granite, the Admiralty needle, the rich marins, to which ships are striving from all the ends of the earth, bridges that hung over the waters. This is primarily at home in which people live. The house is the condition of the life of the city and the highest goal of it. And the dreams of Eugene about happiness, the house for Pushkin is not small, private, but, on the contrary, universal, unconditional and primary. And they would have to be confronted, but to complement, continue the great Duma Peter. But the house and the city in the "copper rider" become opposite, even excluding each other with the concepts - they constitute the most important opposition of the poem. And the modest dream of Eugene to find peace in the "Domishka Old", where they live "the widow and daughter, his parasha", it turns out to be less feasible than the grandiose, dear plans of Peter. The happiness of the heroes was destroyed without any guilt on their part: Parasha died, Eugene goes crazy, the house was demolished by flooding. "Where is the house?" - Evgeny exclaims with horror. Where is the house? - With horror, I ask the poet, is it, is it possible in this proudly and magnificently waiting for young town?

Only at the beginning of the poem we see the Pushkin Hero in the four walls of the house (actually, this is not a house, but the "deserted corner", which, how the term will be released, the owner will give a poor poet - to the same sniffed wallet), and then only on the streets And the squares of St. Petersburg, nothing protected, open to all evil winds of history. And in the poem there is a new comparison of Evgenia and Peter, other than at the beginning.

On the beast of marble riding

Without hat, hands squeezing with a cross,

Evgeny…

Eugene here is correlated not only with a copper rider (about it later), but also with Peter entry. This is underlined by the Napoleonic gesture crossed on his chest with their hands (about the connection of Napoleon and Peter, I have already spoken), the place (according to legend, it was here that Petr stood, plotting to establish the city). Evgeny's eyes are addressed to that very far, in which Peter looked: "His desperate eyes on the edge of one induced the immovable." This is finally emphasized with a fivefold repetition of the word "there." ("The waves got up and angry there, // there was a storm, we were worn // Wheel ... God, God! There ..." "The fence is unpacked, yes Iva // and the Old House: there is, // Widow and Daughter, His Paras "). Here again sounds main formula "Copper rider": "Wherever, now there." This is another important result of the past years: Eugene sees what Peter did not see, which did not see the master of the XVIII century, which the Pushkin of Onegin Pored himself was not seen.

Peter saw a magnificent hail. Eugene - Domishko Old; Peter worried about the fate of Russia, Eugene - the fate of a separate person; Peter was thinking about the future, Eugene - about the present.

There are two opposite, two irreconcilable points of view. That Peter the fate of Eugene and Parasha and in generally small, when the grand task is to establish a beautiful city in front of him, create a mighty military power ("We will blunder to threaten"), to overcome the century-old Russian backwardness, to put Russia into the age with other European powers, and humanity Peter According to Pushkin, despised even more than Napoleon.

And what is Eugene a magnificent city, if he has no house in this city and "Water around him and nothing else"? What does his city in which his Paras died, "His Dream" and where evil children will throw out the stones, and the Kucher's scourge to jet? What is the future to him, when there is no real, "and the life is nothing like a sleep empty, // Mock the sky above the earth"?

But the comparison of Eugene with Peter is not limited to this. It arises in the second part of the poem. Stunned by the "noise of internal anxiety", continuing to hear "rebellious noise of the Neva and Winds," Eugene was "terrible doom silently full." For the first time, Pushkin in relation to the thoughts of Eugene makes the solemn word "Duma" (earlier: Different reflections; "Dreamed" - something uncertain). This is significant. The image of Evgenia Dan in evolution. At first he thinks about himself, during the flooding "not for himself", and for another, but a person close to him, now his thought concerns the common destiny, the fate of Russia and therefore meets, enters the conflict with the thought of Peter. This is emphasized with a stylistic repetition: "The Duma of the Great Polyn" and "terrible doom is silent." Peter's Great Duma - they are about the great future of Russia, the Duma Eugene is terrible - they are about the "terrible day", about the "terrible pore" of Russian history. Peter clothes his thoughts into chashanno constructed phrases, Evgeny Sobemlen. Too troubled, his Duma is too terrible to be clothed in words, but when his thoughts clearly clarify and the word will be found, let the vague, let it be unclear, - "You already", Evgeny will turn it no longer to Peter, but to "proud toastor" , The copper rider is the polar hero of the poem.

"Kumir on the Bronze Kone"

Next to the "outraged Neva" and "poor Eugene" by the acting person of the poem is the Falconetov monument of Peter. He performs, on the one hand, as a thing as an element of the architectural ensemble of St. Petersburg, as a statue created from copper (copper rider) and, on the other, - as a sense, as a symbolic image, which enters the entire concept of Russian history. At the same time, the idea embedded in the monument of Falcone, and the idea that Pushkin removes from the monument, is not identical to each other.

Falcone outlined his idea in a famous letter to Didro. In the spirit of the century of enlightenment, the sculptor seeks to show in his hero "the personality of the creator, legislator, benefactor of his country." "My king does not hold any rod, he extends his benefactor over a circulating country. He rises to the top of the cliff, who serves him a pedestal,? This is the emblem of difficulty defeated by him. So, this father's hand, this jump on a steep rock? Here is the plot given to me by Peter Great. "

In the Falcon Statue, the rider and horse are sharply opposed to each other: the spiring horse, which took off the peak of the rock, and the head of the rider, besieged the steep horse, who stopped his run over the most abyss. But the wilts of the rider and the spontaneous movement of the horse not only contradict each other: the stop at the scop itself is motivated by the position of the horse in front of the sheer cliff. Hence the plastic unity of the horse and rider arises. Pouring a snake - the emblem of anger and cunning, the horse, as it were, performs the will of the rider. Such an art decision answered the historical concept of Falcone. In Peter, he saw a vivid expression of the dormant forces of Russia itself, which she had to personify the horse. Didro wrote Falcone: "The hero and horse in your statue merge in a wonderful Centaur, a human thinking part of which is a wonderful contrast with an animal rumbled part." Here received an expression and a wider philosophical idea - the harmonies of civilization and nature, the mind and the elements, the central for the whole century of enlightenment.

A similar understanding of the historical role of Peter was not alien and Pushkin. ("What a Duma on the brow! // What a strength in it is hidden! // And in the seven cone what kind of fire!"). But overall his concept is different. The very name "Copper Rider" concludes in itself an oxymoron: an inanimate material (copper) and an animated character (rider), and the "slowness" rider enters the very concept of Pushkin's image, acquires a metaphorical meaning). The borders of the living and non-living in the poem of Zybki. The statue comes to life, Living Peter turns into an "Istukan". The revival of the statue occurs not only in the sore imagination of insane Evgeny. Already in the description of the monument and the boundaries between Peter and its sculpture, it is so shifted that it is difficult to say who towers "copper chapter" is the idol or Peter himself.

He found out...

And lions and the square and

Who is motionlessly elevated

In the dark, copper head,

Of which whose will of the fatal

Under the sea, the city was founded ... (this is already Peter),

and everything merges into one indecomposable integer in the following lines:

It is terrible in the surrounding Mol!

What a thought on the chel!

What a strength in it is hidden!

But the most interesting is that this violation of the borders of the living and inanimate concerns not so much a statue, but also a person, "poor Eugene", in the first part of the poem.

On the beast of marble riding

Without hat, hands squeezing with a cross,

Little sat, scary pale

Evgeny…

"Beast Marble" - the same oxymoron, like the copper rider: Lions are marble - like alive ("with a pipped paw like a living, there are two lions watching"), and living Eugene like sculpture ("and it seemed to be wild as if Mramor is chained, can't go away. "

In the contrast with Eugene, squeezing on Marble Lion, at the end of the first part, the capital hero of the poem, "Cummy on the Bronze Kone" appears for the first time.

And, addressed to him back

In non-omitable embroidery

Above the outraged Nevyu

Stands with a simple hand

Moid on a bronze horse.

The rider who protects the city created by him is a motive that is often found in Russian poetry (in Petrov, Kostroma, Shevyov and others). The "copper rider" is partly adjacent to this tradition. The swelling element seems to be powerless to tall "Eternal Son Peter". But in Pushkin's image of the monument, other semantic overtones are noticeable: the rider is turned back to Eugene, and his "half-hand", according to Falcone, "benefactor", "deceo", does not serve anyone's defense. Yes, and its real estate is dual. She is not only an expression of the majestic contempt for the rebeling Neva, confidence in the non-flashability of the hail created by him ("Write, hail of Petrov, and stand non-ozoble, like Russia"), but also a cold indifference to her victims, and maybe impotence before it. It is this side of the rider that shams and emphasizes the image of another rider - Eugene, chained to a marble lion, but driving to the action and the immigrained real estate of the sweeping elements ("Water and nothing else"). In a contrasting comparison with tragicomic, almost grotesque, pitiful, but deeply humane figure Eugene, we are particularly sharply feeling the inhumanity of the immovable greatness of the copper idol.

The new and most deployed image of the Falconetov monument arises in the second part of the poem. He is the same as at the end of the first part, and at the same time another.

And right in dark embroidery

Over the fenced cloth

Culman with a simple hand

Sat on a bronze horse.

Pay attention to the last two lines. Compared to the first part, their syntactic structure has changed. There was: "It is standing with a moody handle on the bronze horse" ("Moid on a bronze horse" is not only syntactic, rhythmic, but also semantic integer). Now "idol" as it may be separated from the horse. This department and even the opposition of the rider and the horse is underlined in the poem and near other details: the horse is proud, the iducan - proud; horse - bronze, rider - copper; Horse - Flame, Rider - Cold. (In the option: "How is this immovable look, and in seven cone what fire!"). The counterpart of the rider and the horse will notice, finally, in the most interpretation of the monument: the horse is full of dynamics, he jumps ("Where are you jumping, a proud horse?"), Horseman with a rider of iron over the most abyss lifts him on rapid. Vyazemsky claimed that the expression "Russia raised on the pillas" belongs to him: "My expression, said Pushkin, when we passed by the monument; I said that this monument is symbolic: Petr Russia rather raised on rapids, than he drove her forward. "

The picture of the poet was preserved, exactly reproducing the Falconetov monument, but without a figure of Peter himself. According to A. Epros, the drawing is associated with the first idea of \u200b\u200bthe "copper rider". "Peter disappears from the peder, but not with the horse, as in the final edition, and one, that is, Evgenia pursues the bronze figure of Peter, as the marble figure of the commander kills Don Juan in the Stone Guest."

With this hypothesis, it is difficult to agree. The drawing is in the draft "Tazita" and dates back to 1829, when Pushkin could hardly be born to the "copper rider". It is natural to assume another. The drawing follows the lines:

On the road procession is ready.

And the Arba tried. For her

Adahi follow the harsh

Smyshaya silently dust horses.

Pushkin's drawings on the fields of his manuscripts opens the secret move of his thoughts, its underlined associations. Like Adehi, the rider humoring the "sank of the horse" ("And in the seven cone what kind of fire!"), But the horse still drops the rider. This motive met Pushkin even in Boris Godunov, where the rider symbolized the king, and the horse was rebelled.

Boris: "Always the people to confuse secretly prone,

As a borzy horse gnawing up its brars. "

Basmanov: "Well, that a horse is calm the rider".

Boris: "The horse is sometimes knocking the saddle."

The possibility that the horse will assemble the saddle, and in the "copper rider", but here it threatens the danger and the horse himself, whom the Horseman holds the Rider at the very edge of the "abyss." After the words, "Russia raised on the pillas" - a note that sent to the poem Mitskevich "The monument to Peter Great, in which the Polish poet in the mouth of the Pushkin itself invests the following lines:

King Peter Konya did not told the Wood

In full support, the hill is flying,

Topcha people somewhere like rushing,

Eats everything, not knowing where the limit.

One jump on the edge of the cliff took off -

That's about it will collapse down and break.

(Per. V. Levik)

It should be remembered that the synonym for the "abyss" for Pushkin was an angry element.

There is an ecstasy in battle

And the abyss of gloomy on the edge

And in the angry ocean

Medium of the Terrible Waves and Stormy Darkness

And in Arabian hurricane

And in the blow of the plague. (italics ours)

In the "Copper Horseman" there is a roll call between the horse and rebeling the river.

But victory triumph is full,

still boiled viciously waves,

As if under them the fire,

more their foam covered,

And he breathed heavily,

As with the battle, he fought the horse.

(The rhyme-fire rhyme itself is important here, repeated in the description of the monument). This association follows from the very symbolism of the poem - the horse personifies Russia, the element of folk life.

This is how the most important alternative to the "copper rider" - the elements and the main will, the "abyss" and the "iron ultrasound". It determines the same structure of the poem, its composition: the first part is the celebration of the element, the second is the "iron ultrasound". But that and the other one is equally hostile to man, and when "in order former everything entered", nothing changed in the fate of "poor Eugene".

Like on the eve of the "terrible day", Petersburg in the second part of the poem is spread by dusk: "darkly", "the gloomy shaft splashed to the pier", "in the darkness", "in the dark embroidery" towers a copper head rider. Rain dripping, the wind will be sad, but "Iron Uzda" reigns above all this darkness. She is noticeable in the "fenced rock", which is not worth now, but "sits" on the bronze horse "Camir with a simple hand", in that, "like a journey at the door to him who are not inclusive judges", "Ropesch pen", about smooth steps Sleshing gloomy shaft; In the fact that with a sad willy wind now, "in the darkness, the night has crossed the clock."

This is the same image of "terrible pores", but horror is now not coming from the swirl of the element, but from the copper rider: "He is terrible in the neighboring Mol!". No wonder for the Eugene "Past Horror", the death of Paras, demolished by flooding a house, and the current horror embodied in a motionless rider in the darkness - merged into one.

The element has come to accept, but can not accept human personality. Full of "terrible doom", stunned by the "noise of internal anxiety", Evgeny challenges the "Iron Uzda", "Proud Istukan", the power of the Russian statehood, created by Peter and embodied in Monument, for it not only did not defend him, but deprived the foundations themselves Human Being. Riot Evgeny is justified and necessary. "Neither, nor Syu, nor a resident of the world, nor the ghost of the dead," he in the Bunte acquires the reality and life lost to them ("the heart ran, I boiled blood"). The riot is the only form of His human self-affirmation, and at the same time he is powerless - the power of the Terrible Tsar is immense. Evgenia is not pursuing, and the copper rider is the monument itself, something dead, mechanical ("as if thunder rumble // Heavy-ringing jumping // on a shocked pavement") - a symbol of an alienated inhuman, faceless state. Whether the rider is enough, the "Terrible Tsar" has a strength to cope with the rebeling element - in this Pushkin was not sure, but that he always would always get the force to suppress any personal protest - this poet was not doubted. He himself felt himself in the position of his hero, when he dared once to resign, and then "drunk", and well knew what "heavy-ringing jump on a shocked pavement."

This does not mean that the poet is fully merged with his hero. Distinctive trait The style of the "copper rider" - in the absence of a direct copyright word, not refracted, not taken in quotes of someone else's style. Pushkin, as it were, hiding behind various stylistic masks (the mask of the master of the XVIII century, his own style of the Onegin pore, the universal, domestic prose words of Eugene), not merging with any of them. Each of these masks, embodying a special point of view on the world, exists next to others, complementing, refuting or adjusting them. In this regard, significant and notes sending to Mitskevich. Pushkin is not just half alarms with a Polish poet, as it is customary, and does not solidize with it, using notes as a special cipher, as some researchers say, but it seems, attracts another point of view, introduces another voice to his polyphonic poem .

Noting this feature inherent in Pushkin style, M.M. Bakhtin wrote about "Onegin", that there "almost no word is a direct Pushkin word", and at the same time "there is a language (verbal and ideological) center." The author, "the researcher says," is located in the organizational center of intersection of the planes, and the various planes are removed from this author's center. "

Such an author's semantic center to fool in the "Copper Horseman" is unusually difficult. The fact is that the author's point of view in the poem is rather as a question of the issue than as an answer to it. Hence the mysteriousness of the poem. Each of its image is extremely multigid, includes many different meanings, sometimes opposite, which not only complement, but sometimes they exclude each other. Therefore, he is perceived as a question like a mystery. In fact, who is such a rider, "Powerful Lord of Fate" or Copper Easthan? And what is a "non-omitable height", with which he looks at the raging Neva, is the expression of his greatness or impotence before her? Riot Yevgeny is powerless, but is he so powerless if he could move the monument from his place and make him jump over the deserted and dark streets of St. Petersburg? No wonder the support phrases of the poems are expressed in the form of the question: "Where is the house", "Where are you jumping, a proud horse, and where do you lower your hoof?"

The last question is the most important for the whole poem, does not boil down to the alternative to the "iron ultrasound" and "abyss." This alternative is an alternative to the "terrible pore", when, according to the poet itself, "the absence of a general opinion, it is indifference to everything that is a debt, justice and truth, this cynical contempt for human thought and dignity - truly can lead to despair" ( X, 872-873). But Russia was not exhausted for Pushkin's "terrible sometimes", even the "Petersburg" period of its history. In the image of a flying distance, full fire horses with a powerful rider - Tensile Faith Poet in the melting huge forces Russia, pride of its past and contrary to all the hope of "special purpose". In the same letter to Chaadaev Pushkin wrote: "I would not like to change the fatherland or have another story, except for the history of our ancestors, such as God gave it."

"Copper Horseman" - summarizing by Petrovsky transformations, poet meditation over the future of Russia, over the mystery of its history.

The poem is imbued with the feeling of the end of the nobility period of the Russian liberation movement, with which it is connected from which the Pushkin creativity itself grows. The image of Eugene symbolizes this end. Uprising December 14 - an attempt at the best part of the nobility to fulfill its historical purpose - to be "1a sauvegarde of hardworking class" - in the eyes of Pushkin could not bring any practical results. He wrote: "Fall gradual nobility: what should be? Ekaterina II, December 14, etc. " (VIII, 148). Now the "immensual power of the government", the "iron ude" opposes the personal self-consciousness of a separate person and the formidable element of folk turbines.

"Where are you jumping, a proud horse, and where do you lower your hooves?"

Above this question, over this mystery will reflect all thinking Russia XIX. Century, giving a variety of different, sometimes opposite answers, but they all somehow, as an opportunity, as a hint already enclosed in Pushkin's "copper rider".

1975 g.

From the book: V. Bakhmutsky. In search of lost. M., 1994.

This counterpoint at the level of the poem's rhythmic structure was examined by A. White in his book "Rhythm as a dialectic and a" copper rider ". 1929. See also a book: Pospelova N.. Synthetic system of poetic works of Pushkin. M. 1960.

Hegel. Aesthetics. T. 1. M., 1968. S. 201.

Cm.: PMPYANSKY L.V."Copper rider" and the poetic tradition of the XVIII century "in the KN. Pushkin. Temperator of Pushkin Commission No. 45. M., 1938. P. 91-124.

In contrast to the traditional view of A. White, leaning on the poet's letters and some of his poems, in which dismisses were unambiguous to St. Petersburg, offered to read this passage something like this: "I do not love you, Peter the creatures ...". With A. White, it is impossible to agree, but his considerations are not devoid of interest and not quite unfounded.

Regarding the scene of the rebellion of Evgeny Breusus: "This is no longer" our hero ", which ..." lives in Kolomna, somewhere serves, "this is a rival of the" Terrible Tsar ", which should speak the same language as well as about Peter . See: Bruce W. Copper Horseman. In his book: My Pushkin. M.-L. 1929.

Masters of art of art. T. 2. M. 1936. S. 155. See: Arkin D. "Copper Horseman" (Monument to Peter I in Leningrad). L. Art. 1958.

Didro D.Falcone. - 6.12.1773. (Quote. Arkina. P. 42).

See the article La Statue Dans La Symbolyque de Pouchkine in the book: Jacobson R. Questions De Po? Tique Ed. Du seuil. P. 1973. Lotman Yu. M. Theme of maps and card games in Russian literature early XIX. century. In the book: Proceedings on iconic systems. № 7. Tartu. 1975. On this side of the "copper rider" drew attention to both M. G. Harlap. See literature questions. 1961. No. 7. P. 87-101.

From this point of view, the whole poem, including entry, can be considered as a peculiar interpretation of the Falconetov monument than, possibly, its name "Copper Horseman" is determined. "He" began - it's actually not Peter, but rather a riders come true. No wonder in the whole poem, Peter's name is essentially not found or, more precisely, it is mentioned three times, but in a special meaning: "Peter Creating", "Eternal Son Peter", "Grad Petrov". And all these three cases only emphasize that we are not a living person, but a monument erected by the hero of Poltava. In this sense, accession only reveals the content of that "Duma on the Chela", which Falcone captured in his creation. But also a rejected, the coming monument retains monumental statuarity and real estate "on the shore of the desert waves."

Cm.: SPASSIK V. D.Pushkin and Mitskevich at the monument to Peter the Great. Op. T. 2. SPb. 1889. P. 223-290. Harlap M. About the "copper rider" Pushkin: "Among the sophisticated techniques," writes M. Harlap, - with the help of which Pushkin discloses what the notes emphasize the highlights of his ideological concept: they have become particularly important: Forms as it were for a compressed expression of Pushkin thought, moving from Pagericik Peter to the destruction of his idol. " - Questions of literature. 1961. No. 7. P. 101.

Bakhtin M. M.. Decree. Op. P. 415-416.