Municipal treasury educational institution"Secondary school a. Gyuryuldeuk"

Competition

educational and research work

"Young Explorer"

« The image of the road in Russian literature XIX century »

Done by: 10th grade student

Alieva Alina

Leader: teacher of Russian and

Literature Aybazova A.M.

2013 - 2014 academic year.

Brief annotation.

Educational and research work "The image of the road in literatureXIXcentury is aimed at an in-depth study of the works of writersXIXcentury. The image of the road plays important role in creating the image of Russia, which is formed like a mosaic of different elements: descriptions of cities and villages, Everyday life people.

Objective:

Tasks :

Learn more about the works writers of the 19th century;

Reveal the variety of meanings of the concept of "road" in the work of writers;

Get to know the scientific-critical and methodical literature on the research topic;

To characterize the role of the road in revealing the idea of ​​N.V. Gogol and lyrics by A.S. Pushkin;

To present the artistic methods of depicting the road in the works of A.S. Griboyedov and M.Yu. Lermontov.

Correct and conduct a comparative analysis of the collected material.

Methods and techniques:

Research results:

this research work may be of interest, first of all, to high school students, and also be useful to those readers who study the work of the classics of Russian literatureXIXcentury, in particular, A.S. Pushkin, N.V. Gogol, A.S. Griboedov, M.Yu. Lermontov

Practical significance :

XIXcentury.

Table of contents

I .Introductory part. …………………………………………………………………FROM. four

1. Reason for choosing the topic…………………………………………………………. C.4

2. Relevance of the topic…………………………………………………………….. С.4

3. The role of the road in creating the image of Russia………………………………………...С.4

II .Main part……………………………………………………………… C.5

1. The road as a creative stimulus of N.V. Gogol……………………………….. P.5-7

2. Self-education of Chatsky through wanderings in comedy

A.S. Griboedov “Woe from Wit”……………………………………………………... P.7

3. The deplorable state of Russian roads in the works of A.S. Pushkin "The Captain's Daughter", "Eugene Onegin", "Snowstorm"……………………………………………. S.7-8

4. The road as a mixture of impressions in the novel by M.Yu. 9

III . Final part…………………………………………………. S.10-11

1. Summing up. ……………………………………………………………..С.11

Objective:

reveal the image of the road, identify different shades of the road motif in the works of A. S. Pushkin, N. V. Gogol, A. S. Griboyedov, M. Yu. Lermontov, present their role in revealing the themes and ideological orientation of the works, compare artistic means images of the road in the works of these classics.

Tasks :

1. Get acquainted in detail with the works of writers of the 19th century;

2. Reveal the variety of meanings of the concept of "road" in the work of writers;

3. Get acquainted with the scientific-critical and methodological literature on the research topic;

4. Describe the role of the road in revealing the idea of ​​N.V. Gogol and lyrics by A.S. Pushkin;

5. Present the artistic methods of depicting the road in the works of A.S. Griboyedov and M.Yu. Lermontov.

6. Correct and conduct a comparative analysis of the collected material.

Relevance:

Methods and techniques:

Problem-search method, method of synthesis and analysis, research, method of systematization and generalization.

Research results:

this research paper may be of interest. First of all, for high school students, and also to be useful to those readers who study the work of the classics of Russian literature XIX century, in particular, A.S. Pushkin, N.V. Gogol, A.S. Griboedov, M.Yu. Lermontov.

Practical significance :

such work forms interest in cognitive and creative activity. Independent activity contributes to a comprehensive acquaintance with the topic under study, the expansion of knowledge on this issue. Skills in working with literature develop critical thinking, the ability to analyze phenomena on a scientific basis. This research work may be of interest primarily to high school students, and also be useful to those readers who study the work of the classics of Russian literatureXIXcentury.

1. Introductory part.

In the life of every person there are such moments when you want to go out into the open and go “to a beautiful far away”, when the road to unknown distances suddenly beckons you.Every day I walk along the roads of my native village Gyuryuldeuk. Sometimes, looking at the simple streets, I think what kind of roads were in these parts inXIXcentury. Is there any similarity between the roads that A.S. Pushkin, A.S. Griboedov, M.Yu. Lermontov, N. V. Gogol. And when I was asked to write research work, I gladly responded and chose this topic for several reasons:

First, the need to study according to the program.
Secondly, the need to comprehend one's own life path.
Thirdly, determining the trajectory of one's own path through understanding the ups and downs of other people.

On the old field every year

New wheat will be born;

From old books, when the time comes,

New knowledge will be born.

These words of the remarkable English poet Geoffrey Chaucer fit perfectly as an epigraph to my work The Image of the Road in Russian Literature of the 19th Century.
Knowledge can be obtained in finished form, gleaned from a textbook, or it can be obtained by one's own labor as a result of research. I think the most interesting way- study.

1. The topic is important because a person is alive only when he moves forward.
2. It is interesting to see which path of a person and country was preferred by writers of the 19th century.

In my work, I tried to reflect the problems:

Images in the works of Russian literature of the XIX century, the path of a single person.

Where and how is the hero going?

What gives a person this movement?

What do writers say about Russia's path?

The image of the road is one of the oldest in literature, not only in Russian literature, but also in the world. The ribbon of the road leading into the distance and the frozen architecture of the building are images of search and peace, future and past, between which a short moment of the present is sandwiched.

The image of the road plays an important role in creating the image of Russia, which is formed as a mosaic of different elements: descriptions of cities and villages, the daily life of the people. The functions of the image of the road in the works of the authors of the 19th century. very extensive. But first of all, this is a description of society, people and the state as a whole.

Indeed, how can one describe everyday pictures of life in even more detail and versatile, except by traveling with the hero and watching everything that happens through his eyes?

I go out alone on the road;

Through the mist the flinty path gleams;

The night is quiet. The desert listens to God

And the star speaks to the star.
M. Yu. Lermontov

The road is an endless segment, which, however, has some kind of abstract starting point. And yes, there is an end to the road. But between these two points there is a country road, impenetrable forests, a whole life.

Naturally, in the process of the historical development of society, the image of the road in literature and in the minds of people underwent certain changes. However, he has not lost, and could not lose his significance. Firstly, people, as before, traveled, moved from one place to another, on the way they experienced some events that could become material for the writer. Secondly, the road can be understood not only in the narrow sense as a segment of the path connecting two points, but also as a human life. Of course, if approached from this point of view, it can be argued that the image of the road as a person's life path is present in any literary work. However, let us dwell on a narrower approach to understanding the image of the road and look at several examples of how writers of the 19th century comprehended this image.

2. The main part.

For a detailed study, I took textbooks-readers on Russian literature of grades 10 and 11 and re-read the works of N.V. Gogol, A.S. Pushkin, A.S. Griboyedov, M.Yu. Lermontov.

The poem by N.V. Gogol " Dead Souls", since this is a description of Chichikov's travels, adventures. Gogol set himself the task of showing all of Russia, and to complete this difficult task, he introduces the image of the road, which not only forms the image of Russia in the mind of the reader, but is also interesting in itself. The image of the road - one of the main ones in this work, it is also a bright mosaic, made up of many pieces.

The poem "Dead Souls" begins with a description of a road cart; the main action of the protagonist is a journey. In the seventh chapter of the poem, the author again refers to the image of the road, and here this image opens the lyrical digression of the poem: “happy is the traveler who, after a long, boring road with its cold, slush, mud, clanging bells, coachmen, blacksmiths and all kinds of road scoundrels, finally sees a familiar roof with lights rushing towards…”. Next, Gogol compares the two paths chosen by the writers. One chooses the beaten path, on which glory and honors await him. Applause. "The great world poet is called him, soaring high above all the geniuses of the world ...". But “fate has no mercy” for those writers who chose a completely different path: they dared to bring out everything “that is every minute before our eyes and that indifferent eyes do not see - all the terrible, amazing mire of trifles that have entangled our life, the whole depth of cold , fragmented, everyday characters that our earthly life is teeming with, sometimes bitter and boring

road…". In this lyrical digression, the theme of the road grows to a deep philosophical generalization: the choice of a career, a path, a vocation. The road is the compositional core of the work. Piece by piece, Gogol composes the image of the road, polishes it, bringing it to perfection. These components are the villages, and the peasants who meet on the way, and the tavern where Chichikov meets Nozdrev, and the oncoming carriage, which in a whirlwind introduces into the narrative the gentle image of the governor's daughter, who so struck Chichikov. Perhaps, if these episodes are taken separately, they will not play such a big role, but combined into one image, they acquire undoubted artistic value. later life or fix something here and now. Chichikov on the road meets random people who form, unwittingly, his further way. Again and again Chichikov is on the road. The image of the road reveals the character of Chichikov. From the very beginning, the focus is on his britzka, in which bachelors, gentlemen of an average hand, usually go. This ironic "gentlemen of the middle hand" immediately grows to the hero. Subsequently, having got to know him better, we will understand that Gogol hid behind this apt definition Chichikov's helpfulness and politeness, and his subtle manners, and the ability to communicate correctly with the right people. In addition, most of the work is occupied by a description of Chichikov's trips, his "road" reflections. Our attention is drawn to the author's lyrical digressions in "Dead Souls", where the image of the road occupies a central position. Here Gogol spoke for the first time about the historical path of Russia, its bitter fate, and brought out the now famous image of the "troika bird", which expressed his hope for the revival of Russia. “And again, on both sides of the high road, versts, stationmasters, wells, carts, gray villages with samovars, women and a lively bearded owner began to write again ...” A whole life passes before the eyes of the traveler. He looks at the real world from his "road" world. He is an observer, who at the same time remains unnoticed. That is, he does not interfere at all in the lives of those who “flash” past him.

And such a running gallery of life positions and views on what is happening makes you think about your personal life. In this scenario, the traveler compares his situations with those that the unwitting witness has become. Or the road tape makes the memories of the past inspire. "Rus! Russia! I see you. I see you from my wonderful, beautiful distance ... "It is the road that turns out to be the only thread that connects the past and the present is no longer for the mainherobut for the author himself. And no matter how far a person is from his homeland, she is always next to him, as long as one end of the “magic” connecting thread is in his hands. Russia, which the author recalls, is all “striped” with roads. And all of them are open and accessible to any traveler.

It is possible that the road may turn out to be the cherished key to the mysterious Russian soul. Indeed, having visited the most remote places, one can say with the words of Gogol: “Everything in you is open, deserted and even ...” This phrase refers to Russia, but is it unfair to the road. Russian expanses are open to everyone, only now will everyone understand their magical charm.

Gogol also endows the road with a musical component. “Why is your melancholy one heard and born incessantly in the minds, rushing along your entire length and width. From

sea ​​and to the sea, song! And indeed, it is worth listening to the mysterious voice of the road tape. What is she singing about? Someone consoles, and someone seeks understanding and consolation. And it lulls someone, someone succumbs to its charm. Such a song takes notes from your soul and creates its own unique, musical composition. It sounds only for each individual, and for each it is its own, personal, individual. And what notes sound, sad and sad or cheerful and cheerful, depends on the "composer" himself. The author's song "Dead Souls" has its own shades. “What calls, and sobs, and grabs by the heart? What sounds kiss painfully and strive to the soul and curl around my heart?” The author asks what connection can be between him and Russia. And we can answer: this is the road. It does not make it possible to finally break the ties with a corner dear to the heart. This thread is very thin, but it exists. And the support and protection of the heart will be heartfelt love and affection for Russia.

And after boundless thoughts about Russia, born in the Road, the author begins to reflect on the very concept of the road. “What a strange, and alluring, and bearing, and wonderful in the word: road! and how wonderful it is, this road...” This definition contains all our observations on this object. Only Gogol was able to pick up simple, but very capacious and informative epithets.

The road not only passes in bright images past the traveler. It also appears in the sky: “... on the whitened cold sky there is a golden pale stripe ...” But that road is accessible only to views, thoughts, dreams. There is another world that lives by its own laws. And heavenly way forever remain an unattainable hope. But it is that long road that brings the glorious morning. And the author all admires: “God! how good you are sometimes, distant, distant road!

The writer sums up the phenomenon of the road in his life, which can be fully correlated with our conclusions. “How many times, like a perishing and drowning man, I grabbed hold of you, and every time you endured me and saved me!” It can be said that only the road has been given some kind of unspoken right to heal souls and inspire to go forward again, to new achievements. The road does not let you despair, but makes you think and not decide everything in a hurry. Poetic soul, the road gives "wonderful ideas", evokes "poetic dreams", provides an opportunity to "re-feel" a lot of "wonderful impressions". The road in "Dead Souls", one might say, serves as the primary source of the work itself. It seems to attract, attract, and there is no way to overcome this desire to travel. But travel also has a purpose.

For AS Griboyedov, the road plays the role of self-education. For Chatsky, the perfect path helps to see more clearly all the negative and unpromising aspects of the old society, which absolutely does not want to change with the times. The Famusovs remained at the beginning of the journey, they cannot and do not want to move forward. The mind, presented to Chatsky as a gift for his wanderings, brings him only grief. And he again sets off on a journey to find "where there is a corner for the offended feeling." The road again lured him into their nets. She and only she knows how to find right exit or decision. And this can be seen not only on the pages of famous books by various authors, but also in modern life. A long road gives you the opportunity to stop and think about what you are doing, what you are striving for. The road seems to slow down the passage of time. And yet it is incomprehensible

boundless space pulls you out of your usual environment. A person finds himself in completely new conditions, which, however, do not require him to react to the environment at all.

Thus, it is the road that creates a new vacuum around the traveler. And, as in the case of Chatsky, it involuntarily makes you think about your past, present and future. It gives you the opportunity to build your future life in a new way or correct something here and now. And in this context, the image of the road will already play a key, dominant role.

No less bright and important is the motive of the road in another Russian writer - A.S. Pushkin. In the story "The Captain's Daughter" in the description of Petrusha Grinev's trip to Orenburg and the fortress, we see the same Russia, but in a different historical time and through the eyes of another author. Now our attention is attracted by a strange counselor, as a representative of the people, with whom both Grinev and readers are just beginning to get acquainted. It is impossible not to say about the blizzard as a symbol of the popular movement. If the road symbolizes the development of Russian history, then this snowstorm is a ferment in the minds of the people, their discontent, from which (this is also very symbolic) this leader appears. The climax of this first meeting is the conversation between the "muzhik" and the owner of the yard, a Cossack. The inn is also, as it were, part of the road; all passing people stop on it. And the mysterious, full of incomprehensible meaning, the conversation of two Cossacks implies mystery, cunning, and even the danger of the Russian soul. This evening remains in the memory of both Petrusha and the readers, with it Pushkin begins the story of the people. In "Eugene Onegin" the image of the road is not expressed so clearly, but this does not detract from its significance. Pushkin ironically talks about the state of roads in Russia, describing the journey of the Larins to Moscow: "...forgotten bridges rot, at the stations, bugs and fleas do not let you sleep for a minute ...". However, at the same time, Pushkin describes Russia, traveling with Onegin, from the other side. He admires its diversity, sad about landscapes dear to the heart. Just like Gogol, Pushkin mentions the deplorable state of Russian roads. At the same time, the road near Pushkin and Gogol serves as an indicator of the character and social position of the hero. Onegin is a rich young man, "flying in the dust on the mail"; he does not bother himself with deep reflections; by the time he meets his readers, he is already an insensitive creature, living in balls, theaters and holidays, but not finding in them the purpose and meaning of life. The road bores Onegin, talking with Lensky, he barely restrains a yawn caused by the landscape. Unlike Onegin, Pyotr Grinev is "extremely" interested in road views. This is a very important point. From it we can conclude that the soul of this, albeit naive, young man is alive and unspoiled. He sincerely loves his homeland, reaches for the light, pities everyone, and we understand what will grow out of him. good man and a true patriot.

There is no doubt that the image of the road helps the author to express his position. We see a different Russia. In "The Captain's Daughter" it is a bare steppe, sad and despondent, submissive to its fate; in "Eugene Onegin" Pushkin, on the contrary, showed its striking diversity, expressed the idea of ​​​​the proper unity of the entire state.

The story "The Snowstorm" by A.S. Pushkin is, of course, well known to everyone. When writing this story, Pushkin wanted to laugh at the love stories that were fashionable at that time.

novels. But this does not mean that the work is devoid of deep meaning. Striking in its expressiveness and strength, the image of the road - the road, like fate, leading a person, is shown to us by Pushkin! In fact, a blizzard caught both young people Vladimir and Burmin on their way. It would seem that the road to the church, where Masha is waiting for him, is Vladimir's road, because they love each other and are determined to get married against the will of the girl's parents. “But as soon as Vladimir left the outskirts in the field, the wind picked up and there was such a snowstorm that he didn’t see anything.” As if nothing unusual: in a strong snowstorm, of course, it is difficult to see something. Is it any wonder that the young man went astray? However, this is what Burmin says about his journey into the same blizzard: “The storm did not subside; I saw a light and ordered to go there. It is worth paying attention to this difference in the description of the road of Vladimir and Burmin: it is as if someone is interfering with one, while the other, on the contrary, is showing the way. Another thing speaks in favor of this - despite the snowstorm, Burmin felt that he had to go. What Leads - this is how the ancient sages of Northern Europe called this inexplicable feeling. “... A terrible snowstorm arose, and the caretaker and the drivers advised me to wait. I obeyed them, but an incomprehensible uneasiness took possession of me; It felt like someone was pushing me." So, we see that in Pushkin's "The Snowstorm" the image of the road has not lost that mystical halo that it was fanned in the myths and legends of antiquity. In Pushkin's story, the road, as it were, leads one of the characters, at the same time hiding from the other; she is like a thread of fate that the goddesses spin for each person, which many peoples believed in ancient times.
We find a similar image of the road in another work by Pushkin - the novel The Captain's Daughter. On the way, Pyotr Grinev meets with officer Ivan Zurin and with the fugitive Cossack Emelyan Pugachev. These people will later meet again on the life path of a young man and play an important role in his fate. This applies in particular to Pugachev, who, remembering the good attitude of the young master, will save his life during the capture of the Belogorsk fortress, and then help him rescue his beloved. It is interesting to note that the meeting of Pyotr Grinev with the future leader of the popular uprising took place during a heavy snowstorm, but the unknown tramp, in whom only later the young man and his faithful servant recognize the formidable Pugachev, easily finds his way. “Where do you see the road?” the coachman, carrying a young officer, asks him doubtfully. Everything around is covered with snow, and it is really hardly possible to see the road. But the tramp finds her in a completely different way. He suggests waiting a little while until it clears up: "... then we will find the way by the stars." Sensing the smoke, he concludes that there must be human habitation nearby and turns out to be right. The road does not have to be seen as a strip of land running towards the horizon, it can be found thanks to signs that most people do not pay due attention to. So, we again find an echo of the most ancient ideas about the road, as about the fate of man. Those with whom the hero met by chance will have a great influence on his entire future.

The motives of the road in the lyrics of A.S. Pushkin can be considered, taking into account the evolution creative method author. In the early works of the poet, the image of the road is influenced by classic poetics.

Floats - and pale rays

Objects suddenly illuminated.

Alleys of ancient lindens opened before the eyes,

We looked both at the hill and at the meadow.

The romantic road is associated with the motives of exile, flight. There is an image of a lonely traveler, the motive of a futile escape:

Failed to leave forever

I have a boring motionless shore.

Congratulate you with enthusiasm

And direct along your ridges

My poetic escape.

Later creativity is the dominance of realism, the road here is part of the topographic landscape:

From high road on right,

Between field and village

You will see an oak forest,

To the left is a garden and a manor house.

Most often there is an image of a winter road. The images traditionally accompanying it are the moon, the coachman, the troika: “A greyhound runs along the winter road, a boring troika…”. The winter night road is accompanied by motifs of sadness, melancholy, mystery, wandering. It may be accompanied by premonitions, anticipation.

And now a little about philosophical reflection roads. At the heart of the philosophical understanding of the road in the lyrics of A.S. Pushkin is a metaphor: road, path, life path. The "cart of life" is built on a metaphorical series: the road is fate, the cart is life, the driver is time:

Though it is sometimes heavy in her burden,

The cart on the go is easy;

Dashing coachman, gray time,

Lucky, will not get off the irradiation.

The road is the destiny of each person. The motive of the road is correlated in Pushkin, as later in Gogol, with the theme of the Motherland:

Something is heard native

In the coachman's long songs:

That revelry is remote.

That heartache...

No fire, no black hut ...

Silence and snow...

towards me

Only miles striped

Come across alone.

But let us turn to the consideration of the image of the road in the novel by M. Yu. Lermontov "The Hero of Our Time". The chapter of "Bela" begins with the words of the author: "I rode on the bed-chambers from Tiflis." While traveling along mountain paths, the author meets Maxim Maksimych, who tells him the story of his friend Pechorin and the Circassian princess Bela. The author also makes many travel observations of the behavior of coachmen and those Ossetians, in whose sakla he and Maxim Maksimych had to stop because of a snowstorm, admires the wild beauty of the Caucasian mountains, reflects on what he saw and heard and comes to certain conclusions. In Lermontov's novel, the road appears precisely as a patchwork pattern of various events and impressions that may relate to different periods time (in particular, the events that Maxim Maksimych talks about took place several years ago). The untidiness of the Ossetian sakli and the difficulties that travelers experience when climbing a mountain slope are not too striking to the reader against the backdrop of a harsh romantic landscape and the story of the love of Bela and Pechorin. Thus, in Lermontov's novel, the road appears as a mixture of impressions, as a place where he found material for his work. The road is like a motley carpet, on which the fates of people and the imperturbable peaks of the mountains flicker: during the journey, the author and the plot of his work find each other, just as the heroes of ancient legends found a field for exploits and glory.

3. The final part.

Everything is in motion, in continuous development, the motive of the road is also developing. ATXXcentury, it was picked up by such poets as A. Tvardovsky, A. Blok, A. Prokofiev, S. Yesenin, A. Akhmatova. Each of them saw in it more and more unique shades of sound. The formation of the image of the road continues and in contemporary literature. Gennady Artamonov, a Kurgan poet, continues to develop the classical idea of ​​the road as a way of life:

Silence in our class today

Let's sit down before the long road,

From here it starts

Goes into life from the school threshold.

So, in the works of writers of the 19th century, the image of the road is very important. He reveals

the image of the motherland, its people, brings to mind the historical fate of Russia, helps to fulfill the author's intention: to show the native land without embellishment, in all its grandeur and ugliness. The road is space. And on it you can meet anyone: a traveler, evil spirits, a magician, the Virgin Mary.

In philosophical reflection, the road is the path of life. The fate of man, the Motherland.Having characterized the image of the road in the lyrics of A.S. Pushkin and the poem by N.V. Gogol "Dead Souls", we are well aware that this topic requires even more detailed analysis and in its further learning activities I think to continue working on it.

A person who has never been on the road will not be able to appreciate the beauty of a tempting road tape. It becomes a link not only between cities, but also between generations. And in whatever century we live, in the 19th or 21st, we are all united by one magical symbol-image - the road.

Material used:

1. A.S. Pushkin "The Captain's Daughter". Ed. ". Bustard", 2001

2. A.S. Pushkin "Snowstorm". M. Children's literature, 1972

3. A.S. Pushkin "Eugene Onegin". M. Children's literature, 1972

4. Gurevich A.M. Romanticism of Pushkin. M., 1993

5. M.Yu. Lermontov "The Hero of Our Time". Bustard, 2001

6. N.V. Gogol "Dead Souls". M., 1985

7. A.S. Griboyedov "Woe from Wit". M. Art, 1981.

8.A.S. Pushkin “Memories in Tsarskoye Selo”, 1814.v.3.

9. A.S. Pushkin "To the sea", 1824. v.2.

10. A.S. Pushkin “If you happen to go ...”, 1835, v.3.

11. A.S. Pushkin "The Cart of Life", 1823, v.2.

12. A.S. Pushkin "Winter Road", 1826, v.2.

13. G. Artamonov "Goodbye, school!". Sat. poems, M., 1987.

14. http:// www.google.ru

15.http:www.binc.com/images/

16. http: yandex. en

17 .Applications.

1. Travel-return.
2. Travel-search.
3. Travel-service.
4. Travel-temptation and travel-entertainment.
5. Travel-anti-search.

The travel motif is one of the most widespread and ancient in world literature. Of course, this is not accidental. In ancient times, when there were no modern means of communication and communication, travel was one of the few ways to expand your horizons. At the same time, military campaigns and trade caravans also meant travel by land or sea. However, there is another dimension of travel - symbolic, philosophical. Human life It is also a kind of journey. And the attention of the authors of works of art has always been directed to human destiny, to the development of the individual and the events that affect it. The motley change of background, the hero's isolation from his usual way of life, the dramatic nature of situations that force him to make a choice every now and then - all this is a fertile field of activity for those who seek to show personality in development.

It is easy to see that in most cases the hero's journey is not a mindless wandering, but a purposeful movement. However, the purpose and reasons for travel may be different. Thus, the protagonist of Homer's Odyssey travels long years not by their own will, but because of the wrath of Poseidon. The goal of Odysseus is to return home, that is, to achieve good. Therefore, the journey itself acts as a test of the hero. But did Odysseus live badly with the immortal goddesses - Circe and Calypso? Why does the hero always strive to move on? Narrating the wanderings of Odysseus, Homer promotes the idea of ​​choice and fidelity. On the path of life, a person is inevitably subjected to temptations, but the goal, if it is chosen correctly, remains unchanged. Odysseus puts love for his homeland and his wife higher than the opportunity to become the husband of a goddess and gain immortality. The stubbornness of Odysseus cannot be broken either by the wrath of Poseidon, or by the caresses of Circe and Calypso, therefore, it must be, the hero finally reaches the shores of his Ithaca.

In the literary tradition, another kind of travel is also very common - the search. However, the journey of Odysseus is a kind of search - he is looking for ways to return home. However, this is a search for what the hero already knows well, moreover, what belongs to him. Often, the heroes have to look for something that they know only by hearsay and do not know at all. An exaggerated expression of such a situation is the fabulous formula "go there, I don't know where." However, even if the direction of the search and its purpose are more or less determined, the heroes will have to go through a series of trials. Most often, the hero faces two options for the outcome of his search: growth (spiritual, career) or death.

Similar tendencies are found in the service journey. An example of such a journey is the preaching of Christ. He and his disciples went from city to city proclaiming the truth to the people. However, the purpose of Christ - and this should be emphasized - is by no means personal intentions. God is above all else. Its goal is the spiritual growth of people, their return to it, their search for God and the paths to him, the acquisition of the Promised Land.

Another example of service travel can be given. These are legends about the search for the Holy Grail. Attention should be drawn to the difference between the usual search for some significant object in order to take possession of it and the search for the Holy Grail. In the latter case, possession of the object is impossible, and the most worthy can only be its custodian. Fortunately, the purpose of the journey-search is the spectacle of the wonders of the Grail, which is awarded not only to those who are brave and well-wielded weapons (which is often enough to take possession of any object), but to those who are virtuous. Thus, the search for the Holy Grail approaches a pilgrimage - a journey in the name of spiritual purification and atonement for sins. However, to put an equal sign between these two types of travel is still illegal. Yes, and the very desire for the Grail is a powerful spiritual impulse to the rebirth of the individual, but to see the Grail, this is not enough.

The motive of the test, which is present in any journey, sounds most strongly in the drama of J. W. Goethe "Faust". It is for this purpose that Mephistopheles shows Faust the world, so that his soul succumbs to earthly temptations and becomes an easy prey for the devil. The dream of the hero himself “of a magic cloak”, which would give him the opportunity to visit different parts, is a desire for search and service: the hero of Goethe’s drama yearns for knowledge and its application for the benefit of people. This turns out to be his salvation: selfless service to others likens a person to God, and service only to oneself - to the rebellious spirit Lucifer.

There is also a motive for entertainment in Faust's journey - Mephistopheles tried to show his ward what, according to the devil, could entertain Faust.

The theme of travel-entertainment was developed by D. Byron in the poem "Childe Harold's Pilgrimage". This topic was also touched upon by A. S. Pushkin in the novel in verse "Eugene Onegin". Satiated with all the pleasures, the hero is no longer looking for something significant, be it material or spiritual - rather, he runs away from boredom, from himself, hoping to find momentary entertainment in successive travel experiences. However, this is also a search, albeit turned inside out, a search devoid of its very essence, purpose.

As we can see, all types of travel are rather conditional, since they have a lot in common. D. Tolkien in his epic The Lord of the Rings created an example of a journey in which the characteristic features of all types of travel come through sharply. The journey of the nine Ring-bearers is, of course, a journey of service. The fate of all Middle-earth depends on how their campaign ends. Of no small importance is the fact that the Keepers overcome only part of the way together - each has his own trials, his own temptations. There is also no doubt that this is a journey-search: the heroes need to find their way to Mount Doom, where it is possible to destroy the Ring of Omnipotence. However, this test falls entirely on the shoulders of the hobbits Frodo and Sam. The paths of the rest of the Guardians play an important role in uniting the peoples of Middle-earth before a common enemy.

In The Lord of the Rings, the theme of an unfinished journey also sounds: Boromir, seized by the temptation to use the Ring for the good of his homeland (as it seems to the hero), dies in battle with the orcs. The theme of returning home is presented no less vividly than other aspects of the journey. Almost like Odysseus, hobbit heroes have to fight for their native land. However, in addition to all the above motives, in The Lord of the Rings one more hypostasis of travel was identified - anti-search. After all, the heroes wander and fight not in order to gain something valuable and significant, but in order to destroy the magic Ring, which has sinister properties. This does not mean, of course, that the heroes do not gain anything: their common gain is the peace and freedom of Middle-earth, in addition, almost all of them get what they aspired to. Only Frodo did not find peace of mind - that's why he has a new journey-pilgrimage to the Beyond, Gandalf also goes there, but for the magician this journey-return, because there is his home.

So, we see how diverse and deep the meaning of the motive of travel in the literary tradition is. However, it should be noted that the journey usually has a starting point and a goal, and the images of the House, the Road and some goal of the journey are inextricably linked together.

And literature

MBOU secondary school No. 36

Tomsk - 2012

Objective: to consider the features of the travel genre in Russian literature of the 18th-19th centuries.

The achievement of this goal will be facilitated by the solution of the following tasks:

Analyze the history of the appearance of the genre of travel;

· Using the texts of works of art, identify the features of the travel genre in the works of N. Karamzin, A. Radishchev, M. Lermontov, N. Gogol.

Abstract structure

The abstract consists of an introduction, the main part, a conclusion and a list of references.

Introduction - p.3 - 4

Main part - p.5 - 12

Conclusion - p.13

References - p.14

Introduction

There are two types of travel:

One - to start off from a place into the distance,

The other is to sit still

Scroll back the calendar.

The genre of travel has been and remains the most beloved in Russian literature: Afanasy Nikitin's Journey Beyond the Three Seas, Radishchev's Journey from St. Petersburg to Moscow, Pushkin's Journey to Arzrum. Roads in Russia have always represented more than just the direction of travel. classical works Russian literature is directly related to the road. Here is a wagon moving with Chichikov, who is buying "dead souls". And officer Pechorin wanders along the Caucasian roads on official business. There was a snowstorm on the road, and the newlyweds got lost, which became the basis of Pushkin's story "The Snowstorm". In my work, I consider the genre of travel in Russian literature, the importance of the genre for revealing the characteristics of the character of the characters, expressing the author's thoughts.

Travel - a literary genre based on a description of the hero's wanderings. This may be information about the countries and peoples seen by the traveler in the form of travel diaries, notes, essays, and so on.

Since the adoption of Christianity, travel from Kievan Rus to Constantinople and the Christian East, mainly to Palestine, has become more frequent. In addition to the commercial and military interests that guided the travelers of the pre-Christian era, the tasks of the Russian church organization were now added. Representatives of the Russian church went to the East either for books, icons and other items, or simply in search of church leadership and to strengthen ties with more authoritative church organizations. More than seventy works written in the genre of "walking" are known, they made up a significant part in the reading circle Ancient Russia. Among the "journeys" the so-called "travelers" are known - brief route indicators containing only a list of points through which the pilgrim's path from Russia to the Holy Land ran.

Pilgrimages to "holy places" created in Russian literature a special literary genre of "walking", "wanderers", "travellers" - descriptions of pilgrimages. The most famous works of the genre of "walking" or "walking" of ancient Russian literature of the XII-XV centuries are: "Walking" by Hegumen Daniel, "Walking over three seas" by Athanasius Nikitin, a work of the XV century.

The definition of the genre of travel is formulated and included in the "Literary encyclopedic Dictionary"(1987) and" Literary encyclopedia of terms and concepts "(2001). emphasizes that a literary "journey" can take various forms of presentation: "notes, notes, diaries (magazines), essays, memoirs", and also focuses on the reliability of the narrative. .

1) The genre of travel notes has its own specifics, which is manifested in the principles of selection of material and features of the narrative. The genre of travel notes has its own subject matter, genre content and form. The travel notes are based on a description of the movement in space and time of the traveling hero, a story about the events that occurred during the trip, about the traveler's impressions, his thoughts about what he saw.

2) Travel notes appear as a genre at the end of the 18th century on the basis of the evolution of pilgrimage and secular travel.

The golden age of travel in Russian literature is divided into two parts:

years are characterized by the growth of travel descriptions performed by journalistic and literary means. This is the era of expansion. Formerly tongue-tied, Russian literature acquired a language, a voice, a color. Simultaneously with the expansion of the territory of the empire, works of literature appear, mastering new regions and countries. Pushkin set the tone with his Journey to Arzrum. Later, the novels of Gogol, Turgenev, Dostoevsky, Goncharov were written (in passing they described the images of the host countries).

The second part of the golden era of travel - 1840-1910s. In the 1840s, Russian literature began to master all the wealth of travel. The basis was the genre of "physiological" essays on the customs, life of cities and localities in Russia (the essay "Caucasian"). The greatest success was achieved at the beginning of the 20th century. Vasily Rozanov, whose essays about the Volga (“Russian Nile”), about travels to Italy, Germany, the Caucasus are still read in one breath.

The central figure, the measure of all things in travel literature is a person, he wanders, finds himself in unknown states and areas, comprehends their history, geography and ethnography, social structure and laws, sees from the inside other living cultures, the life of the people, studies languages. That is, he develops spiritually and enriches himself, becomes a citizen of the universe. At the same time, on the way, a person comprehends himself, better understands his character, interests, spiritual roots and traditions, his country and his people, learns everything in comparison. The attraction of this genre for writers and its popularity among readers are understandable.

Main part

"Journey Beyond the Three Seas" by Afanasy Nikitin is of considerable value as a kind of harbinger of essay literature, as an indicator of the high cultural level of the Russian people.

In Journey Beyond the Three Seas, the protagonist Afanasy Nikitin describes his journey. It describes how people live in other countries. He describes the customs of the peoples living in India: “And here is the Indian country, and simple people they walk naked, but their heads are not covered, and their breasts are bare, and their hair is braided in one, and they all walk, belly, and children are born every year, and they have many children. Of the common people, men and women are all naked and all black. Wherever I go, there are many people behind me - they marvel at the white man.

The autobiographical and lyrical nature of Journey Beyond Three Seas, which conveys the author's emotional experiences and moods, were new features in ancient Russian literature, characteristic of the 15th century. The personal nature of the "Journey", the ability of its author to reveal to us his state of mind, his inner world - with all these features, the diary of Afanasy Nikitin became a kind of basis for creating new works in the "travel" genre.

The protagonist of the novel N. Karamzin "Letters from a Russian Traveler", written already in the 18th century, goes on a long-awaited journey and in letters reflects his impressions and emotions caused by him during this journey. In the first letter sent from Tver, the young man tells that the realized dream of travel caused in his soul the pain of parting with everything and everyone that was dear to his heart, and the sight of Moscow receding made him cry. In St. Petersburg, the hero learns that the passport received in Moscow does not give the right to travel by sea, and the hero has to change his route and experience inconvenience from the endless breakdowns of wagons, wagons and wagons.

The cherished dream of the traveler was a meeting with Kant. He goes to him on the day he arrived in Konigsberg. Quite quickly, he gets to Berlin and hurries to inspect the Royal Library and the Berlin menagerie mentioned in the descriptions of the city. Arriving in Dresden, the traveler went to inspect art gallery. He not only described his impressions of the famous paintings, but also added biographical information about the artists to his letters: Raphael, Correggio, Veronese, Poussin, Giulio Romano, Tintoretto, Rubense and others. From Dresden, the traveler decided to go to Leipzig, describing in detail the pictures of nature, open to the view from the window of a mail carriage or long walks. Leipzig struck him with an abundance of bookstores, which is natural for a city where book fairs are held three times a year. Switzerland - the land of "freedom and prosperity" - began for the hero from the city of Basel. Later, in Zurich, the author met Lavater on several occasions and attended his public speeches. The events taking place in France are indicated very carefully - for example, a chance meeting with Count D'Artois with his retinue, who intended to go to Italy, is mentioned.

The traveler enjoyed walks in the Alpine mountains, lakes, visited memorable places. He discusses the peculiarities of education and expresses the opinion that in Lausanne one should study French, and comprehend all other subjects at German universities.

The village of Ferney was also a place of pilgrimage, where “the most glorious of the writers of our century” lived - Voltaire. The Traveler noted with pleasure that on the wall of the room-bedroom of the great old man there was a portrait of the Russian empress sewn on silk with an inscription in French: “Gifted to Voltaire by the author.”

On December 1, 1789, the author turned twenty-three years old, and from early morning he went to the shores of Lake Geneva, reflecting on the meaning of life and remembering his friends. After spending several months in Switzerland, the Traveler went to France. Lyon was the first French city on his way. Everything was interesting to the author - the theater, Parisians stuck in the city and waiting to leave for other lands, ancient ruins. The ancient arcades and the remains of the Roman plumbing made the author think about how little his contemporaries think about the past and future, do not try to "plant an oak tree without the hope of resting in its shade." Here, in Lyon, he saw the new tragedy of Chenier "Charles IX" and described in detail the reaction of the audience, who saw the current state of France in the performance. The Young Traveler writes: "Without this, the play could hardly have made an impression anywhere."

Soon the writer goes to Paris, impatient before meeting with the great city. He describes in detail the streets, houses, people. Anticipating questions from interested friends about French Revolution, writes: “Do not think, however, that the whole nation participates in the tragedy that is now being played in France.” The Young Traveler describes his impressions of meeting with royal family, accidentally seen by him in the church. He does not dwell on the details, except for one - purple clothes.

In Paris, the young Traveler visited almost everywhere - theaters, boulevards, Academies, coffee houses, literary salons and private houses. At the Academy, he became interested in the Lexicon of the French Language, which was praised for its rigor and purity, but condemned for its lack of proper completeness. He was interested in the rules for holding meetings at the Academy, established by Cardinal Richelieu. Conditions for admission to another Academy - the Academy of Sciences; activities of the Academy of Inscriptions and Literature, as well as the Academy of Painting, Sculpture, Architecture.

Coffee houses attracted the attention of the author by the opportunity for visitors to speak publicly about the latest in literature or politics, gathering in cozy places where you can see both Parisian celebrities and ordinary people who wandered in to listen to reading poetry or prose.

The hero leaves Paris and goes to London. Already the very first English impressions of the author testify to a long-standing interest in this country. The first acquaintance with the best English audience took place in Westminster Abbey at the annual performance of Handel's oratorio "Messiah", where The Royal Family. The author immediately drew attention to the fact that well-bred Englishmen, who usually know French, prefer to express themselves in English. He visited London courts and prisons, delving into all the circumstances of the legal proceedings and the detention of criminals. He noted the benefits of a jury trial, in which a person's life depends only on the law, and not on other people. His reasoning about English literature and theater is very strict, and he writes: “I repeat again: the English have one Shakespeare! All their newest tragedians only want to be strong, but in fact they are weak in spirit.

The last letter of the Traveler was written in Kronstadt and is full of anticipation of how he will remember what he has experienced, “be sad with my heart and be consoled with friends!”.

A sentimental journey is necessary in order to reveal the spiritual qualities of a person, to show weaknesses and virtues, the inconsistency of character and the importance of momentary impressions for its formation.

The protagonist of the work A. Radishcheva "Journey from St. Petersburg to Moscow" travels from Petersburg to Moscow. Choosing his genre, Radishchev consciously relied on the Russian tradition of travel, but put a fundamentally new content into the old form. The writer filled it with topical political content; instead of scattered notes and observations of a traveler, deep in his own thoughts and experiences, occupied only with himself, we find in Radishchev a completely different hero - a Citizen, a Fighter, living in the interests of his people, Russia.

At different stations and in different cities, he meets new people who tell him about their lives. The traveler thinks about their problems and reassures himself that this is not happening to him and that he is doing well.

For example, when the hero is heading from Tosna to Lyuban, he sees a peasant who plowed "with great care", despite the fact that it was Sunday. The plowman said that six days a week his family cultivates the land of the lords and, in order not to die of hunger, he is forced to work on a holiday, although this is a sin. The hero reflects on the cruelty of the landlords, and at the same time reproaches himself for the fact that he also has a servant over whom he has power.

On the way from Chudovo to Spassky Polest, a fellow traveler sits next to the hero and tells him his sad story: having trusted his partner in matters of ransom, he was deceived, lost all his fortune and was brought to criminal court. His wife, surviving what had happened, gave birth ahead of time and three days later she died, and the premature baby also died. Friends, seeing that they had come to take him into custody, put the unfortunate man in a wagon and ordered him to go "wherever his eyes look." The hero was touched by the story of his fellow traveler, and he thinks about how to bring this case to the ears of the supreme authority, "for it can only be impartial." Realizing that he is unable to help the unfortunate man in any way, the hero imagines himself to be the supreme ruler, whose state seems to be prospering, and everyone sings his praise.

At the Podberezye station, the hero meets a seminarian who complains about modern education. The hero reflects on the science and work of the writer, whose task he sees as enlightenment and praise of virtue.

In Zaitsev, at the post office, the hero meets an old friend Krestyankin, who served in the criminal chamber. He retired, realizing that in this position he could not benefit the fatherland. Krestyankin told the story of a cruel landowner whose son raped a young peasant woman. The bridegroom of the girl, protecting the bride, broke the rapist's head. Together with the groom there were several other peasants, and according to the Code of the Criminal Chamber, the narrator had to sentence them all to death or life imprisonment. He tried to justify the peasants, but none of the local nobles supported him, and he was forced to resign.

In Krestsy, the hero witnesses the separation of his father from his children, who are going to serve. The hero shares his father’s thoughts that the power of parents over children is negligible, that the union between parents and children should be “based on tender feelings of the heart” and that a father should not see his son as his slave.

through plot"Journey" is the story of a man who knew his political delusions, discovered the truth of life, new ideals and "rules" for which it was worth living and working, the story of the ideological and moral renewal of the traveler. The journey was supposed to educate him. The writer pays great attention to the personality of the traveler. Closely following his hero, he exposes his moral riches, emphasizing his spiritual delicacy, responsiveness, merciless demands on himself. An intelligent and subtle observer, he is endowed with a sensitive heart, contemplation and indifference to people are alien to his active nature, he knows how not only to listen, but always strives to help those who need it.

After Radishchev, the genre of travel in Russian literature was firmly associated with the theme of Russia. It was the image of the road that made it possible to organize art space endless Russian open spaces and the diversity of Russian customs.

Structure of the novel "Hero of Our Time" fragmentary, so the novel is a system of disparate episodes-stories, united common hero- Pechorin. Such a composition is deeply meaningful: it reflects the fragmentation of the life of the protagonist, his lack of any goal, any unifying principle. The life of the hero passes at crossroads in the eternal search for the meaning of human existence and happiness. Pechorin is on the road almost all the time. “This is the world on the road,” Gogol said about the “Hero of Our Time”. The motive of wandering is one of the leading ones in the novel "A Hero of Our Time". Pechorin calls himself a "wandering officer". Indeed, in almost every chapter of the novel, he appears for a while, and then leaves again, so as not to return back. The only exception is the chapter "The Fatalist".

The novel consists of five parts, the action in which takes place at different times, in different places. The characters change, the narrators on whose behalf the story is told change. With the help of this creative technique, the author manages to give a versatile characterization of his main character. called such a composition of the novel "five paintings inserted in one frame."

A young officer goes on business to the Caucasus. On the way, he stops in Taman. There he meets with smugglers, they rob him and even try to drown him. (The story "Taman".)
Arriving in Pyatigorsk, the hero is faced with a "water society". An intrigue ensues, leading to a duel. For participation in the duel in which Grushnitsky dies, Pechorin is sent to serve in the fortress. ("Princess Mary")

While serving in the fortress, Pechorin persuades Azamat to steal Bela for him. When Azamat brings his sister, Pechorin helps him steal - Karagez, Kazbich's horse. Kazbich kills Bela. (The story of Bela.)
"Once it happened (Pechorin) to live for two weeks in a Cossack village." Here the hero tests in practice the theory of predestination, fate. At the risk of his life, he disarms a drunken Cossack who had killed a man shortly before. (The story "The Fatalist")

Having survived a lot, having lost faith in everything, Pechorin sets off to travel and dies on the road. (The story "Maxim Maksimych".)

In each of the parts of The Hero of Our Time, Pechorin is shown in a completely different environment, in a different environment: either they are free, accustomed to living according to the harsh laws of nature and patriarchal life, mountaineers (“Bela”), then the world of “honest smugglers” (“Taman” ), then an idle secular society, on the Caucasian mineral waters ("Princess Mary"). There is a kind of “wandering” of Pechorin through various layers modern author public life Russia. The plot of the novel is constructed in such a way that the hero is involved in all the spheres of life depicted, but at the same time is constantly rejected, separated from them, finds himself in the position of a wanderer, a wanderer.

The motive of wandering, wandering in the novel deepens more and more, takes the central character beyond the concrete fate. And in "The Fatalist", the final chapter of "The Hero of Our Time", in Pechorin's bitter reflection, wandering directly correlates with the theme of the generation. Pechorin, reflecting on himself and on the character of his generation, directly speaks on behalf of this generation, writing the following in his diary: “And we, their miserable descendants, wandering the earth without conviction and pride, without pleasure and fear, except for that involuntary fear, squeezing the heart at the thought of the inevitable end; we are no longer capable of great sacrifices, either for the good of mankind, or even for our own happiness, because we know its impossibility, and indifferently we pass from doubt to doubt.

Sadly, I look at our generation!

His future is either empty or dark,

Meanwhile, under the burden of knowledge and doubt

It will grow old in inaction.

The travel genre continues with its work "Dead Souls". It was on him that Gogol pinned his main hopes. The plot of the poem was suggested to Gogol by Pushkin. Gogol began work on the poem in the autumn of 1835. As the writing of "Dead Souls" Nikolai Vasilyevich calls his creation not a novel, but a poem. He had an idea. Gogol wanted to create a poem similar to the Divine Comedy written by Dante. The first volume of "Dead Souls" was conceived as "hell", the second volume - "purgatory", and the third - "paradise".

The censorship changed the name of the poem to "The Adventures of Chichikov, or Dead Souls" and on May 21, 1842, the first volume of the poem came out of print.

The purpose of the poem is to show Russia through the eyes of one hero, from which the theme of the journey follows, which has become the pivotal and connecting theme in Dead Souls, since the main action of the protagonist is the journey.

The image of the road performs the function of characterizing the images of the landowners whom Chichikov visits one after another. Each of his meetings with the landowner is preceded by a description of the road, the estate. For example, this is how Gogol describes the way to Manilovka: “Having traveled two versts, we met a turn onto a country road, but already two, and three, and four versts, it seems, were done, and the stone house with two floors was still not visible. Here Chichikov remembered that if a friend invites you to a village fifteen miles away, it means that there are thirty miles to it. The road in the village of Plyushkin directly characterizes the landowner: “He (Chichikov) did not notice how he drove into the middle of a vast village with many huts and streets. Soon, however, he noticed this remarkable jolt, produced by a log pavement, in front of which the city stone was nothing. These logs, like piano keys, rose up and down, and the unguarded rider acquired either a bump on the back of his head, or a blue spot on his forehead ... He noticed some special dilapidation on all village buildings ... "

"Dead Souls" is rich in lyrical digressions. In one of them, located in Chapter 6, Chichikov compares his worldview to the objects around him on a journey.

“Formerly, long ago, in the years of my youth, in the years of my irretrievably flashed childhood, it was fun for me to drive up to an unfamiliar place for the first time: it doesn’t matter whether it was a village, a poor county town, a village, a suburb, - I discovered a lot of curious things in him a childlike curious look. Any building, everything that bore only the imprint of some noticeable feature - everything stopped me and amazed me ... Pass by the county official - I was already wondering where he was going ... Approaching the village of some landowner, I looked curiously at a tall narrow wooden bell tower or a wide dark wooden old church…

Now I indifferently drive up to any unfamiliar village and look indifferently at its vulgar appearance; my chilled gaze is uncomfortable, it’s not funny to me, and what in previous years would have awakened a lively movement in the face, laughter and incessant speeches, now slips by, and my motionless lips keep an indifferent silence. Oh my youth! Oh my freshness!

The image of the road arises from the first lines of the poem; one can say that he stands at its beginning. “A rather beautiful spring small chaise drove through the gates of the hotel in the provincial city of NN ...”, etc. The poem ends with the image of the road; the road is literally one of the last words of the text: “Rus, where are you rushing to, give me an answer?”.

But what a huge difference between the first and last images of the road! At the beginning of the poem, this is the road of one person, a certain character - Pavel Ivanovich Chichikov. In the end, this is the road of the state, Russia, and even more, the road of all mankind, on which Russia overtakes "other peoples."
At the beginning of the poem, this is a very specific road along which a very specific britzka is dragging, with the owner and two of his serfs: the coachman Selifan and the footman Petrushka, harnessed by horses, which we also imagine quite specifically: both the native bay, and both harness horses, chubar and brown, nicknamed the Assessor. At the end of the poem, it is quite difficult to imagine the road specifically: it is a metaphorical, allegorical image, personifying the gradual course of all human history.

In a lyrical digression about the "bird troika" at the end of the poem, words are heard that fully express the author's attitude to the road. For Gogol, the whole Russian soul is on the road, all its simple and inexplicable charm, all its scope and fullness of life: “Oh, troika! three bird! Who made you up? To know that you could only be born among a lively people ... ". Gogol draws an open parallel between the “bird troika” and Russia: “Isn’t it you, Rus, that the brisk, unbeatable troika, are rushing about?” Thus, the road for Gogol is Russia. What will happen to Russia, where does the road lead, along which it rushes so that it can no longer be stopped: “Rus, where are you rushing?” This was the question that bothered the writer, because in his soul there lived an unlimited love for Russia. And, most importantly, Gogol, unlike many of his contemporaries, believed in Russia, believed in its future. Therefore, we can say with confidence that the road in Gogol's work is the road of Russia to a brighter future.

Conclusion

People wandered at all times, there were different journeys ... But they always loved to listen and read the stories of wanderers both in ancient times and in modern times. A person embarks on a journey in search of happiness, answers to questions, in search of a way out of difficult life situations, in the hope of salvation. The result of the path - moral, spiritual - a person became better, changed internally.

1. The genre of "journey" is based on a description of the movement of a traveling hero in space, a narrative about the events that occurred during the trip, a description of the traveler's impressions, his thoughts after what he saw, and a broad information and cognitive plan. In literary travels, unlike scientific and other types, information material is covered on the basis of the author's artistic and ideological concept.

2. Literary travel emerges as a genre in the 18th century on
the basis of the evolution of "journeys" into travel notes, for further development
The genre is influenced by European patterns of literary travel.
Subsequently, in the 19th century, the genre continued to develop in the form of diary
epistolary and memoir travel notes of an artistic or
artistic and journalistic character.

3. Reading works in the travel genre, we can follow how the hero behaves in different situations throughout his journey, we can see changes in his character, soul. The journey embodies the idea of ​​a spiritual search, the motive of the journey becomes one of the ways to reveal the character of the hero.

Literature

1. Literary encyclopedia of terms and concepts, ed. . RAN. M.: NPK "Intelvak", 2001

2. Afanasy Nikitin "Journey beyond three seas". 1466-1472.

3. Karamzin, N. Selected works in two volumes. M.; L., 1964.

4. Lermontov,. Poems. Masquerade. Hero of our time. M.: Artist. Lit., 19s.

5. Gogol, souls: Poem. M.: Statistics, 19s.

6. Creativity Gogol. Meaning and form: Yuri Mann. Moscow, St. Petersburg University Press, 2007.

7. Radishchev, A. Journey from St. Petersburg to Moscow. Liberty. Prose/Notes , . L.: Artist. Lit., 19s.

Internet resources:

8. http:///feb/irl/il0/il1/il123652.htm

9.http:///read. php? pid=10884

10. http:///puteshestviye-radishev

11. http:///nikolaev/205.htm

12. http://dic. /dic. nsf/enc_literature/3857/%D0%9F%D1%83%D1%82%D0%B5%D1%88%D0%B5%D1%81%D1%82%D0%B2%D0%B8%D0%B5

13. http://palomnic. org/bibl_lit/drev/andr_perets/

Sep 16 2011

Travel Experience- feudal reality, nakedly presented before his eyes, meetings with the victims of the autocratic serf system (“Chudovo”, “Zaitsovo”, etc.) convince him of the failure of hopes. Thus began the third, and last, stage of the hero's ideological and moral renewal - the formation of revolutionary convictions. The traveler begins to understand that neither the monarchy, no matter how "enlightened" it may be, nor the "great otchinniks" (that is, large landowners) can give freedom. The people can gain freedom only by themselves, by rebelling against the oppressors, forced to do so by the “weight of enslavement” (“Copper”, “Gorodnya”, “Tver”).

In the traveler's mind the meeting with the author of the ode "Liberty" (chapter "Tver"), that is, with Radishchev himself, played a huge role on the path of the revolution. The traveler eagerly listened to the "prophecy about the future lot of the fatherland." Separate thoughts, observations, conclusions - a consequence of one's own travel experience - under the influence of the "soothsayer of liberty", who read and interpreted the ode "Liberty" to him, add up to a system of revolutionary beliefs. He feels like an avenger. As an avenger, he arrives at Gorodnya station.

Starting from Gorodnya the traveler communicates only with the peasants, is only in their midst, courageously seeks means and ways to establish ties with them on the basis of mutual respect and trust. So the people invade the book, the Russian serf, becoming its hero, occupying the most important place in the narrative. It is in these chapters that the traveler, who accepted the revolutionary faith of the “new-fashioned poet”, the author of the ode “Liberty”, acts as an ally, like-minded person of Radishchev. Therefore, the question of the people as the political force that will renew Russia is equally important for the traveler and for Radishchev. Radishchev and portrayed the people in Journey in a way that he had not yet been portrayed either in Russian or in the world.

To Radishchev the people were not the hero of art. They only talked about him, mentioned him, regretted his fate. For classicism, this was a “low” theme, a “low” subject - that’s why the classicist writers portrayed not the people, but the individual peasant, and even then as a satirical character in a fable. Relegated by the feudal system to the position of "draft cattle", the working people were declared by the nobility to be a "mean" people, an "ignoble" estate, devoid of culture, dignity, and honor. The people for the nobles had no history, could not have a future. He was only obliged to work and feed the nobleman who created history, culture, and ruled the state.

In Russian literature the first detailed image of a fortress village we meet with Novikov in the journal Truten (1769). “Peasant replies” were placed there - letters from the serfs Filatka and Andryushka to their master, in which the tragically hopeless Russian peasant was revealed. Novikov was not a revolutionary. In accordance with his educational convictions, he protested against serfdom, showed a life humiliated by slavery and horrendous poverty, appealed to feeling, to philanthropy, to the pity of the nobles. Hence the nature of the image of the serf: the unfortunate Filatka only mournfully “weeps” at his fate, he does not protest, but prays to the master to be a gracious “father” to his serfs.

Radishchev, a revolutionary writer, made the people the hero of his book. Depicting the Russian peasants, reduced by serfdom to the position of a “captive in his fatherland,” he glorified them, seeing in the peasant a force dormant until chance, which would make him a true son of the fatherland, a patriot, a leader of the revolution. The strength, charm and morality of the Russian serfs in Journey are such that we feel in each of them the future liberator of Russia. Through the individual appearance of each, his potential destiny of a free person shines through. Radishchev wrote about the Russian people in this way because he believed and understood that it was the people who were to decide the fate of the Russian state, to renew the fatherland.

The image of a burlak opens a gallery of peasants "Journey". Asserting his faith in the people, Radishchev boldly challenges the nobility and the autocrat, declaring: “Burlak; going to a tavern hanging his head and returning bloodied from slaps in the face, he can solve a lot, hitherto guessing in Russian history. In Lyuban there is a meeting with a plowing peasant, and in the village of Edrovo with a peasant woman, Anyuta. Despite poverty, orphanhood, she is independent, proud, full of dignity. The basis of her life behavior, like that of a peasant from Lyuban, is work. In the image of Anyuta, her family, a new, previously unknown world opened up before the traveler. moral purity and beauty.

Peasant from Lyuban, Anyuta from Edrovo - serfs who managed, despite the oppression of slavery, to hard work, to preserve in themselves "the majestic advantages of a person." The recruit met in Gorodnya is a serf intellectual, by the will of the "philanthropic landowner" he was educated, and dormant spiritual forces, talents and abilities were awakened in him. The main thing in the moral character of an educated serf is the growth of self-consciousness; he says of himself: "I am, equal to all others." He is "steadfast in thought" and hates "timidity of spirit". The human dignity awakened in him makes him active and courageous. As a Russian person, he is patient, but to the limit; menacingly warning his tormentor, he says: “do not drive your soul to despair”, “be afraid!”

Next to the image of a serf intellectual - Lomonosov, the son of a Kholmogory fisherman ("The Tale of Lomonosov"). The serf intellectual is only a possibility, Lomonosov is an accomplishment. Lomonosov, a great figure of Russian national culture, is an irrefutable evidence of the talent of the Russian working people, their enormous potential strength, their ability for the greatest creative creativity.

With even more Radishchev's innovation manifested itself brilliantly in the creation of a collective people. The peasants are often shown in action, at the highest moment of their lives, when they made just retribution for their tormentors and enslavers. In the chapter "Zaitsovo" the peasants, driven to the extreme, kill their landowner. The chapter "Khotilov" directly speaks of the Pugachev uprising, which raised tens of thousands of peasants and made of them courageous warriors, animated by the desire to "free themselves from their rulers." Beautiful is the image of the people, unparalleled in poetry, created by Radishchev in the ode "Liberty", the people making a revolution and doing a fair trial over the villainous monarch.

Need a cheat sheet? Then save - "The image of the traveler in the poem by Radishchev. Literary writings!

Everyone read books about travel as a child. As it turned out, the heroes of adventure novels continue to inspire tourists today.

The Skyscanner portal conducted a survey among its Russian visitors “Which literary travelers do you remember most from childhood?”, During which it was found out which adventures literary heroes most memorable for tourists. Let's take a closer look at the most popular of them.

1. Robinson Crusoe

Robinson Crusoe turned out to be the most famous traveler with 19% of reviews.

By the way, the full title of the novel by Daniel Defoe is “The Life, Extraordinary and Amazing Adventures of Robinson Crusoe, a sailor from York, who lived for 28 years all alone on a desert island off the coast of America near the mouths of the Orinoco River, where he was thrown out by a shipwreck, during which the entire crew a ship besides him perished, outlining his unexpected release by pirates; written by himself."

Robinson Crusoe. Illustration by N.K.Wyeth

This character has real prototype- Scottish boatswain Alexander Selkirk. True, unlike Robinson Crusoe, Selkirk got to the uninhabited island not by the will of evil fate, but because of his own quarrelsome character. Constant quarrels and squabbles with the crew led to the fact that Selkirk was forced to voluntarily land on a desert island. Probably, an alternative option was to land on the open sea straight to the bottom.

To the credit of the crew of the Sank Port ship on which Selkirk served, it is worth saying that the quarrelsome boatswain was left with weapons with a supply of gunpowder and bullets, food, seeds and necessary tools. And he spent not twenty-eight, but only five years on the island.

By the way, the island on which Selkirk was landed today bears the name of Robinson Crusoe. It belongs to Chile and has not been uninhabited for a long time.

By the way, Crusoe's adventures did not end with his stay on a desert island. In the book The Further Adventures of Robinson Crusoe, Dafoe sent his character to ... Russia. So the title of the most famous literary traveler was given to Robinson quite rightly.

2. Children of Captain Grant

In second place in the ranking were the heroes of the most popular novel by Jules Verne "Children of Captain Grant". In search of the missing captain, Lord and Lady Glenarvan, Major McNabbs, Jacques Paganel, John Mangles, Mary and Robert Grant travel all over the 37th parallel, having many adventures in South America, Australia and New Zealand.

Illustration by Edouard Riou for the novel "Children of Captain Grant"

By the way, today anyone with the availability of funds and free time will be able to repeat this journey.

3. Baron Munchausen

The legendary dreamer Baron Munchausen, like Robinson Crusoe, has a very real person as his prototype.

The German baron Karl Friedrich Hieronymus Munchausen served as a captain in Russian Empire in 1739-54. And when he returned to his homeland, he entertained his compatriots with stories about his incredible adventures in Russia, many of which can only be called fiction.

“Usually he began to talk after dinner, lighting his huge meerschaum pipe with a short mouthpiece and placing a smoking glass of punch in front of him ... He gestured more and more expressively, twisted his little smart wig on his head, his face became more animated and reddened, and he was usually very a truthful man, in those moments he wonderfully acted out his fantasies, ”one of the listeners spoke of the stories of the baron.

These stories, as well as the irrepressible fantasy of the baron, inspired the German writer Rudolf Raspe to write the book " Stories of Baron Munchausen about his amazing travels and campaigns in Russia". The book instantly gained popularity, having gone through an innumerable number of translations and reprints.

Fictional and real Baron Munchausen. Engraving by Gustave Doré and portrait by G. Bruckner

By the way, the appearance of the real and literary Baron Munchausen differs like heaven and earth. The real Baron was a sturdy, chubby, physically strong man. Munchausen from books owes his appearance to the famous artist Gustave Dore, who portrayed him as a wizened old man with a huge nose, mustache and goatee. The image turned out to be incredibly successful, and this is how most readers imagine it.

The top five most famous literary travelers included Lemuel Gulliver, which came out from under the pen of Jonathan Swift, and Nils Holgersson from the book "The Wonderful Journey of Niels with wild geese by Swedish writer Selma Lagerlöf.

Not without domestic characters-travelers in the rating. Most often, Russian tourists recalled Dunno from the book "Dunno on the Moon" by Nikolai Nosov and Fedot-Archer from a play by Leonid Filatov.

The design of the article used images from the sites: jv.gilead.org.il, shkolazhizni.ru, aspenillustration.blogspot.com