Demon romantic hero. Poem "Demon" M

Cycles of "small tragedies" and "History of Belkin" wrote in the full sense of the word in parallel: in Pushkin's papers, instructions for the time of working on each work included in these two cycles are preserved. The cycles analyzed in aggregate make it possible to judge the versatility of the interests of Pushkin, about its ability to show reality in infinitely diverse forms and on the perception of human life to them as a totality of a variety phenomena, both tragic and comic.

The cycle of "Lovenkina" was the first completed prosaic creation of Pushkin. For a realistic writer, a recreation, reproducing life, the forms of the story and novel in prose were particularly suitable. They attracted Pushkin to their much greater than poems, absolutely beneficial circles. "Tale and novels are read by all and everywhere," he said.

Russian cultural context: characters and scenes from the life of the Russian depths

Specific present:

"Shot": Mention of the rebellion of Alexander Ipsilanti and the battle under the scoles, in which the main character was killed;

"Mistel": the action covers 1811-1816, the Borodino battle of 1812 is mentioned, after which the protagonist Vladimir dies;

"The Ultimate": it is reported that the main character "In 1799, the first coffin was requested, and even pine for oak",

"Stationery" ": It is reported that in 1816 the Dunya is 14 years old, in the future the time calculation may be carried out with this date;

"Baryshnya-peasant woman": at the beginning of the story we learn that the eldest Berestov lives in the village since 1797

Movement from the tragedy ("shot") to a comedy with dressing and cheerful confusion ("young lady-peasant"). The world gradually stains more and more bright colors and perceived optimistic

The cycle of five leaders is united by the figure of Ivan Petrovich Belkin, which, however, is not a acting person, but acts as a "collector" of stories.

1) Pushkin plays the role of the publisher;

2) I. P. Belkin - collector;

3) Biography of Belkin is set forth in the preface "from the publisher" on behalf of the landlord with. Non-trial

4) Each of the five stories was once told Belkin in one of the four storytellers, the references to which are given in the note to the preface: the "caretaker" is told by the titular adviser A. G. N., "Shot" by Lieutenkite I. L. P., "Undeller" by Customer B.V., "Blizzard" and "Baryshnya" Maiden K. I. T.

In the "Handes" we see the movement from the pessimistic perception of the world to the optimistic, the opposite is what happened in the "small tragedies." In addition, when the conflict is characteristic, it should be noted that in four of the five stakes it has a well-established form of a "triangle", and one of the vertices of the triangle inevitably disappears. The conflict in the first two stakes exists in fact, in the middle position of the Tale "The Ultimate" presented two conflicts - the real and chosen hero, and in the last two conflict rates as such, it exists only in the imagination of the characters and is easily dispelled when a confluence with reality .

"Shot"

Sylvio - Count B. - Masha (wife of the graph)

The cause of the conflict is envy of Silvio to the graph; The conflict exists in fact, because the hostility generates it is not a fiction, but reality

Exodus Tale traged: Silvio dies in Greece, participating in the uprising; Count is disgraced in his own eyes, because during a duel gave the entire initiative of Silvio; The calm of his wife was broken by an unexpected visit of a stranger, trying to shoot a graph.

The safe resolution of the conflict was originally impossible. The death of one of the participants of the "triangle" was becoming a necessary condition for such permission.

"Misel"

Vladimir - Marya Gavrilovna - Burmin

The cause of the conflict is the reluctance of parents to bless children for marriage; Because of the blizzard, Vladimir is late for church, and Marree Gavrilovna has time for this time, mistaken to marry with passing by and who also intercourse officer

Exodus is tragic: marriage did not take place because of the error, Vladimir leaves for a war with Napoleon and dies there. There is a lumen: Marya Gavrilovna meets the person with whom she was mistaken by mistake, and not just meets, but it turns out that she is in love with him, as he is in her, and they are coming-gives a happy joint life.

It is impossible to safely resolve the conflict: the knot knot can only be with the death of one of the heroes (Marya Gavrilovna's husband immediately disappeared, to terminate the marriage impossible, to conclude repeated with Vladimir too)

"Coffin" (September 1830)

True conflict: the quarrel of Adrian Prokhorov's Ubdrian and Germans on the festival.

Fictional conflict: collision of the arter and dead, his former customers

The cause of the conflict is in reality - the insufficient respect of the Germans-Master to the craft of the Ultrasher; The conflict is really flared.

The reason for the fictional conflict is the desire of the dead to pay off the Ultrasher, who organized their funeral and got on it; The collision was brought in a sobrover in a dream

In a dream, the conflict is allowed to tragically, the dead are in the house to the artist and crush it with their mass. A prosperous outcome is impossible, because the dead - creatures from another world, their motives and actions are little to interpret and even more manage. The outcome is tragic, the conflict can only be resolved with the death of the Ultrasher.

In reality, the conflict has a prosperous resolution, the serve is ready to forgive his offenders, because the insult can be serious only in a state of intoxication. Exodus comient - the next day after the SSO-Rh, the hero is about-bold, recalls the promiscuity of him a terrible dream and understands that in fact nothing terrible happened. The death of some of the geroes to resolve the conflict is required

"Stationander"

Samson Vinin - His daughter Dunya - Gusar Minsk

The reason for the conflict - the imaginary betrayal of Minsk in relation to the Dun, for which I don't want to take revenge on the seducer of his daughter; Conflict exists only in the imagination of Osina, because in fact the Minsky marries the Dunya and not at all thinks to throw her

Exodus is optimistic: Minsk married the dun, they have three children; The tragic note contributes to the plot death of Samson Vyrina, but this is death random, it is not required to resolve the conflict

"Baryshnya-peasant woman"

Akulina - Lisa Murom - Alexey Berestov

The cause of the conflict - Alexei's love to the peasant of Akulin and the need to marry Lisa Murom; Conflict exists only in the imagination of Alexey, who until a certain point does not know that Lisa and Akulin is the same face

Exodus is optimistic: Alexey learns that Lisa and Akulin is one person, he readily comes into marriage; The story presents the comic image of the "death" of the peasant of Aku-Lina, which merges with the way the nobility of Lisa and disappears as an independent person

Philosophical Tale A.S. Pushkin "Peak Lady": the motive of a card game as a plot.

In 1833, Pushkin writes the story "Peak Lady", which continues the fantastic line in his work. The story is of particular interest to analyze due to the peculiar form of filing fiction. Fantastic elements in the "peak lady" do not invade the fabric of reality, while maintaining their alienity and do not exist in their special world, but are presented in such a way that the same structural element can be interpreted simultaneously and as a fantastic, and as a household, realistic. Such duality is due to the theme itself. The main topic in the "peak lady" is a card game, maps, i.e. the object shrouded in a mystical atmosphere and dual in nature. Maps, on the one hand, are a household subject existing in almost every home; On the other hand, they are used in mystical assignment rituals, speaking as an intermediary item between a real and other world. The same halo is surrounded by card games: part of the games is logical, the winnings depend on the skills and experience, but at the same time there are a number of games with cards, so-called gambling, where the winnings are defined only by luck. It is this category that makes a person confront not so much to other players as the most fate, the highest forces.

All events in the story of Pushkin are associated with a card game. At the same time, what is happening has two sides, two possible interpretations, relative to the justice of each of which the author does not give any information.

The uprising of the Decembrists had a great influence on government policy. The active and purposeful struggle with any manifestations of societies became the most important component of the domestic political course of the new monarch - Nicholas I (1796-1855). During his thirty-year reign Nicholas I did everything to keep this oath. Prerequisite for strengthening land. Building the emperor considered the strengthening of the monarch's personal control at the work of the state. apparatus. Apogee autocracy. All levers in motion a complex state. The car was in the hands of a monarch. The importance of the Tsarist Secretariat - his own imperial majesty of the office, with the help of which Nicholas I carried out the management of a colossal power. In an effort to prevent the revolution in Russia, the emperor paid special attention to strengthening the repressive apparatus. Existing in the country in 1% of the XIX century. The system of political sizes needed, as the Decembrist uprising showed, in reorganization. From 1826 to provide "the safety of the throne and peace of mind in the state" was the III branch of his own imperial majesty of the Office. The executive body of the III department was the Corps of the gendarmes, formed in 1827. The country was divided into gendarme districts, headed by gendarm generals. In each province, the protection of the state security officer (senior officer) of gendarmerie. The total number of the housing was, however, is small. This, however, did not interfere with the III branch to deploy extremely active activities to protect the substantive. It organized a secret supervision of individuals, government agencies, literature, etc. Any glimsions of freedomity attracted the attention of the gendarm department. The subject of special concerns of Nicholas I was printing and education. In 1826, a new censorship charter was published, which received the name of the "cast-iron charter" from contemporaries. Indeed by its tough standards, he put a very heavy burden on publishers and authors. True, in 1828, a new charter somewhat softened the extremes of his "cast-iron" predecessor. Nevertheless, the petty and hard supervision of the seal remained. Nicholas I sought to make a school of class, and teaching to lead in a strict Orthodox monarchic spirit. It was forbidden to allow fortress peasants to medium and higher educational institutions. So, the gymnasium was intended for children of the nobles. The average and lowest school, as well as private educational institutions were under a tough supervision of the Ministry of Folk Enlightenment. The ruling circles were close attention to universities, which and the highest bureaucracy, and the king himself, not without reason, was considered to be a seatingman for "Pea and Volnightness". The goals of the ideological struggle with freedomiff of the S.S. The theory of official nationality: Orthodoxy, autocracy and nationality was served in 1833. In the spirit of this theory of teaching in educational institutions. The theory of official nationality was actively promoted in the press and literature. The Orthodox Church under Nicolae I finally turned into an integral part of the bureaucratic machine. The Synod became increasingly the "department of the Orthodox confession", which managed a secular officer - Ober-Prosecutor. All this could not not undermine the authority of the church. To seek strengthening the SUB. The system, Nicholas I was not confident in his durability. On December 6, 1826, Nicholas I formed a special committee, designed to consider the situation in the state and to develop a program of necessary reforms. "Committee on December 6, 1826" acted for 3 years. It was planned a rather extensive program of transformations, which provided for some restriction of landlord over the peasants, restructuring the central and local administration in the spirit of the principle of separation of the authorities, etc. Extremely conservative circles opposed these plans. The uprising in Poland, "Choler Bunty" 1830-1831. We finally buried most of the undertakings of this committee. To ensure the legality, a well-known importance was to have a codification of laws, completed by 1833 the result of this extensive work on the systematization of laws, which appeared after the Cathedral deployment of 1649, was the publication of the "Complete Assembly of the Laws of the Russian Empire" and "Code of Laws of the Russian Empire".

In the following years of his reign, Nicholas I repeatedly returned to the idea of \u200b\u200bthe need to settle the issue of serfdom. Various solutions to this problem were developed in 8 secret committees, which literally one after another were created by the emperor. The position of Nicholas I in the peasant question was very controversial. Disappointing results gave and conducted in life from the mid-30s of the XIX century. The reform of the management of state cereals: the reform turned to the government village with the strengthening of administrative care on the part of corrupt officials, the growth of the arbitrariness.

Nicholas I paid great attention to the issues of strengthening the position of the first estate of the empire - nobility. The process of gradual economy. The crown of the nobility gave himself to know as the confusion of the serf system. Manifesto on December 6, 1831, only those landowners who had no less than 100 souls of peasants or 3 thousand tents of the peasants or 3 thousand decishes of the Earth or 3 thousand tents of the unrealized land within the provincial positions were perpetrators. In 1845, a law was published, according to which the hereditary nobility was acquired in the military service only to achieve senior officers, and on civilian - rank V, and not the VIII class, as was practiced earlier. A peculiar obstacle to the revolt harassment on the noble rank was built by Manifesto on April 10, 1832. They created the institutions of "hereditary honorary citizens" (they included large entrepreneurs, scientists, children of personal nobles, etc.) and "Honorary Citizens" (lower officials, graduates of higher educational institutions). All of them received some of the noble privileges - freedom from corporal punishment, etc. To strengthen the material base of the first class in 1845, Nicholas I created the Institute of Reserved Hereditary Events (Majorates). In its economic policy, Nicholas I, to a certain extent, took into account the interests of the emerging bourgeoisie, the needs of the country's industrial development. This line was reflected in the patronage customs rates, the organization of industrial exhibitions, railway construction. Financial reform 1839-1843. Provided the sustainability of the ruble and had a positive effect on the development of domestic trade and industry. Revolution 1848-1849 In Europe, frightened the ruling circles of the Russian Empire. Stage began to print and school. To enhance the current censorship, special committees were formed. At the writers whose works were displeasted by the authorities, kara (Yu.F. Samarin, M. Saltykov-Shchedrin and I.S.Turgenhev) were collapsed. In higher education institutions, the teaching of philosophy was coincided, the reception was restricted to universities, which Nicholas I were generally not going to close. The results of the thirty-year reign of Nicholas I summed up the Crimean War of 1853-1856, which showed that while maintaining the existence. Organizations of Russia cannot compete at equal with the advanced states of Western Europe. The Nikolaev system went bankrupt. The autocracy reached its apogee was unable to ensure an effective responding to the conditions of the epoch, the functioning of the state. cars. The monarch who had unlimited power could not cope with corruption and incompetence of officialhood. From society, the bureaucratic apparatus did not depend on, and control from above, despite all the efforts of Nicholas I, did not bring any effect. In 1855, Nichola I died in the situation of military failures. The obvious inconsistency of the course held by him put forward on the agenda the question of holding reforms capable of updating the country to overcome the backlog of Russia from leading powers.

"Demon"

(subtitle "Eastern Tale")

"The sad demon, the Spirit of Exile" flies over the sinful of our land, remembers the time when he lived in paradise when he believed and loved. " He flew over the tops of the Caucasus: as a line of diamond, Kazbek sparkles, the lion features terek - and nothing but contempt is not experiencing. Evil and that bored the spirit of evil. Everything is in tightness: and indefinite loneliness, and immortality, and endless power over insignificant land. Landscape between theme changes. Under the wing of a flying demon is no longer coping cliffs and the abyss, but the lush valleys of happy Georgia: shine and breathing thousands of plants. Alas, and these luxurious paintings do not cause the inhabitant of the surveillance edges of new doom. Only for a moment, he delays the scattered attention of the demon festive revival in usually the silent possessions of the Georgian feudal: the owner of the manor, prince Gudal Suspered the only heiress, in his high house prepare for a wedding celebration.

Relatives gathered ahead of them, the wines are already poured, the groom will arrive at the sunset princess Tamara - Sinuing sanger Synodla, In the meantime, the servants roll up the vintage carpets: according to custom, on the recessed carpets of the bride, even before the appearance of the groom, should perform a traditional dance with a tambourine. Dance Princess Tamara! Oh, how she dances! That bird rushes, stealing above the head of a small tambourine, then freezes like a frightened lan, and a light cloud of sadness runs through a charming face. After all, this is the last day of the princessed in the house! Somehow will meet her someone else's family? No, no, Tamaru is not married not against her will. To her heart chosen by his father's fiance: in love, young, is good - what more! But no one shy her freedom, and there ... to beat the "secret doubt," Tamara smiles again. Smiling and dancing. The daughter of Gudal Gudal is proud of the daughter, guests are admired, the cozy horns are raised, they say magnificent toasts: "I swear, the beauty of such / under the sun is not blooming!" The demon and he loved someone else's bride. Kneaks and circling over the wide yard of Georgian castle. In the desert of his soul inexplicable excitement. Is the miracle happened? Truly happened: "In it, the feeling suddenly spoke / native once a language!" Well, and how does the free son of Ether, fascinated by a mighty passion for the earthly woman? Alas, the Immortal Spirit comes in the same way as a cruel and powerful Tirant would have received in his situation: kills the opponent. (On the way, the caravan drives the chapel, where "some prince, now the holy killed by a consuming hand". Each traveler brought a zealous prayer from the chapel, and "that prayer saved from Muslim dagger." But the remote bridegroom listened to the demon, presented how to kisses His beloved, despised the custom of the great-grandfather and slipped past.) On the groom Tamara, to bring the demon, the robbers attack. Holding down the wedding gifts, having interrupted the security and dispersion of the timid shields, the abreks disappear. The wounded prince is the faithful champ (priceless suit, golden) makes out of the battle, but also him, already in the darkness, catchies, on the tip of an evil spirit, an evil crazy bullet. With a dead owner in embroidered with colored silks, a horse saddle continues to ride in full support: the rider must keep the princely word: alive or dead to school on the marriage feast, and only reaching the gate, it falls.

In the family of the bride moan and crying. Cherry Tuchi Gudal, he sees in God's Accident. Having fallen into bed, as it was - in pearls and passing, sobs Tamara. And suddenly: voice. Unfamiliar. Magic. It consotes, wures, Doctors, tells fairy tales and promises to fly to her black-eye-eye - barely dissolve the night flowers - so that the golden eyelashes / dreams are hugged ... ". Tamara looks around: no one !!! Is it really imagined? But then where does the confusion come from? Who is not name! Under Morning, the princess still falls asleep and sees the strange - is not the first of the promised golden? - Sleep. Blind of unearthly beauty, a certain "newcomer" is inclined to her headboard. This is not an angel keeper, there is no glowing Nimba around His Kudrey, however, it seems to be not similar to hell: too sad, looking with love! And so every night: as soon as nightflowers will be woken, is. Guessing that she was confused by an irresistible dream of her dream, and the "Spirit's Spirit" himself, Tamara asks his father to let her go to the monastery. (The second part begins with the request of Tamara). Guadal is angry - the groom, one enviable the other, besieged their house, and Tamara - it denies everything. Tamara admits that she is tormented by the Spirit's spirit, and Gudal is inferior. And here it is in a secluded monastery, but here, in the sacred monastery, at the watch of solemn prayers, the same magic voice hears through church singing, sees Tamara, all the same image and the same eyes are irresistible as the dagger.

Falling on his knees in front of the Divine Icon, the poor Virgo wants to pray to the saint, and his naughty heart - "praying to him." A beautiful sinner is no longer deceived on your own expense: she is not just embarrassed by an unclear dream of love, she is in love with: passionately, sinful, as if captivating her with an unearthly beauty night guest was not a severity from the invisible, intangible world, but the earthly young men. The demon, of course, understands everything, but, unfortunately, it knows that the earthly beauty will pay for the moment of physical proximity to him, the creature of unearthly, death. Therefore, hemlit; He is even ready to abandon his criminal plan. In any case, it seems so. In one of the nights, already approaching the cherished cell, he tries to retire, and feels in fear that he can't wave the wing: the wing does not move! Then he drops one-sole tear - the inhuman tears burns the stone.

I realized that even he would seem to be allocated, could not change anything, the demon is Tamara no longer as an unclear nebula, but embodied, that is, in the image, although the winged, but beautiful and courageous person. However, the path to the bed of sleeping Tamara blocks her guardian angel and requires that the vicious spirit does not touch him, angelic, shrine. The demon, smiling insidiously, explains the Messenger of Paradise, which appeared that too late and that in his, demon, possessions - where he owns and loves, - the cherubs have nothing to do. Tamara, waking up, will not know in the random Gouth young man of his dreams. I don't like her and his speech (the dialogue of Tamara with a demon) - Adorable in a dream, in reality they seem dangerous. But the demon opens her soul to her - Tamara touched by the immenseality of the silent stranger, now he seems to her sufferer. And yet, something bothers her and in the appearance of the seam and in too difficult for the weakening of her mind. And she, about the holy naivety, asks him to swear, which is not glad, does not deceive her gullibility. And the demon swear. Than just he does not swear - and the sky that hates, and hell, who despises, and even the shrine that he does not have. He says he wants to reconcile with heaven, love, pray. A demon's oath - a brilliant sample of love male eloquence - which man does not promise a woman when the fire is burning in his "blood!" In the "impatience of passion", he does not even notice that he contradicts himself: it promises to take Tamar in the surveillance edges and make the queen of the world, then assures that it is here, on an insignificant land, it will build a lush - from turquoise and amber. And yet, the outcome of the fatal date is decided not words, and the first touch is hot men's mouths - to tremble female lips. Night Monastic Watchman, making a surrender, slows down the steps: in the noise of the new nuns, unusual sounds, like both "two graduation lobsa". Having embarrassed, it stops and hears: first moan, and then terrible, although weak - as if a suicide cry.

Notified of the death of the heiress, Gudal takes the body of the deceased from the monastery. He firmly decided to bury the daughter on a high-mountainous family cemetery, where some of his ancestors, in the atonement of many sins (robbery and scan), erected a small temple. In addition, he does not want to see his Tamaru, even in a coffin, in a coarse owner. According to his order, the women of his hearth dress up the princess as they did not dress up in the days of fun. Three days and three nights, more and higher, moves a sorrowful train, Guidal in front of a snow-white horse. He is silent, silently and the rest. So many days have passed from the death of the princessed, and it does not touch the vanity - the color of the Chela, like during life, white and cleaner covered. And this smile, as if frozen on the mouth?! Mysterious, as her death itself !!! Having gave his peri sullen earth, the funeral caravan begins in the opposite way ... I did everything rightly wise humation! The time of the River washed away from the face of the earth and his high house, where the wife gave him a beautiful daughter, and the wide courtyard, where Tamara played the diet. And the temple and the cemetery under it are intact, they can also be seen now - there, high, at the turn of the gear rocks, for the nature of his own power made the grave of the Beloved Demon inaccessible to humans. The soul of Tamara Angel took the heaven to heaven ("she suffered and loved, and the paradise opened for love"), and the demon again remained alone without hope and love.

Poem "Demon", launched in 1829 year, has eight editions, the eighth - December 1838 - January 1839 of the year.

At the heart of the poem - biblical myth About the spirit of evil, rebel against God, who was defeated and expelled from Paradise.

Created under the influence of the advanced ideas of the liberation movement of its time, it relies on literary and stencil sources, primarily on folklore Caucasian peoples and legends of Georgia.

The main ideological pathos of the poem "Demon" - leading man In his desire for freedom, to unlimited knowledge of the world. The Lermontov demon "denies the approval destroys for creation. it theme of the Movement of Eternal Update, Eternal Renaissance "(Belinsky).

In the poem "Demon" is widely used symbolism. In her fantastic - "cosmic" plot about the "spirit of exile" who loved the death of death, the earthly signs are clear.

This philosophical and socio-political work boldly puts the most difficult and urgent questions Being: On the meaning of life, rights and appointment of a person, about thoughtless faith and intelligent skepticism, about slavery and freedom, good and evil.

The demon in the full sense of the word is the "Hero of the Century". It is concentrated the main contradictions of the best people of the 30s: effective skepticism and criticism in relation to the dominant public relations and powerlessness to change them; mighty impulses to activities and forced passivity; painful-passionate search for the ideal of the socio-political, moral, aesthetic, and the bitter consciousness of the unsuccessfulness of these searches; The feeling of the terrifying political oppression and is nothing impressive desire for the will; The tireless thirst for happiness and the aimlessness of life.

Inexplicable excitement of the demon serves as if the string of the poem. Lermontov tells about the relationship between the demon and Tamara, focusing on the vertex episodes. The ideological opposition of the poem built on the struggle of good and evil, on the internal contradictions of the demon, was the cause of numerous stylistic antithesis.

Undoubtedly poem - "History of the Soul" Main character. But the "History of the Soul" of the Demon is a way, a form of solving social-philosophical and political. Problems.

"Demon" - a romantic poem, but completed into the transition number of acute struggle in the work of Lermontov of romantic and realistic trends. Such are the objective and descriptive images of the nature of the Caucasus, Georgia, the life of Gudana, the preparations for the wedding, the beauty of Tamara, the death of her bridegroom, the types of the monastery, the appearance of the guard, farewell to relatives with the dead Tamara.

The location of Lermontov is very often a monastery - the embodiment of asceticism, the laws of the Spirit, in the root of rejecting sinful land. Against the monastery holiness, the hot protests of his fantasy favorite children were directed against heavenly, in defense of other laws - the laws of the heart, they are the laws of human blood and flesh. Blasting speeches are clearly heard in the "McSyri", however, in a softened form. The same negative attitude towards the monastery and in all essays of the "demon", not excluding even the latter: in the walls of the Holy Resident, he forces the demon to seduce his beloved. So it is planned and deeper than this initial antithesis: earth and sky.

Inevitable struggle between them, the battlefield is the human soul. The demon closer is more delicious Lermontov than Angel. The demon is not uniform; Sullen, repeated, he always wanders "one among the worlds, without mixing with the crowd of formidable evil spirits." It is far away from both light and from darkness, not because it is not light and not darkness, but because it's not all the light and not all darkness; In him, as in any person, "met sacred with vicious", and the vicious won, but not finally, because "the fear (about the sacred) did not give God, and he would not take the cauldron." A resident of Celi, Holy Virgo - still not an angel, and she does not oppose him as an irreconcilable opposite. She will rather understand his spiritual flour and, perhaps healed it, will give him some of his strength to win over evil, without renounced at the same time from the earthly start. The demon violates the "oaths of fatal", loves pure love, refuses "from mens, hatred and malice" - he already wanted "on the path of salvation to return, forget the crowd of unkind deeds."

But the angel, who was on guard of absolute purity, not understood him, again opened his dark, cold thoughts in him, called him anger to action. Love, according to the fault of the angel, did not save the demon, and he, unreacted, remained with his former darkened suffering. The demon did not repent, did not accept God before; For this, he was too proud, too considered himself right. Not his fault that his soul is so dual; The Creator created it in such a way and thereby circumscribed on the irregular torment. It is necessary to call him, to ask him about the meaning of this spiritual torture.

In the cold world of everyday cruelty, where a man with the mind and heart was humoried and crushed, found himself in a life deadlock, the lyrical hero of late romantic poetry could not be an angel, he constantly feels the pressure of "general evil" and darkness, hence his stoic despair and calm longing, Definition in everything, proud contempt and conscious demonism of universal denial.

In Russia "demon" fully for the first time published only in 1860..

The poem "Demon," as artistic unity stands in the work of Lermontov himself, despite all its connections with the subjective lyrics of the poet, the drama "Masquerade" and prose. In it, with a perfect fit, the favorite image of Lermontov, who occupied his imagination from 14 years and looking for the best embodiment in many editions of the poem.

The early sketch was changed: the early sketches in various poems are interspersed with notes indicating the author's fluctuations between the previously elected lyrol-epic narration, prose or satirical story in verses about the adventures of the demon. From the editorial board, the place of action was changed - from the abstract-space landscape to the conditionally geographical, - and finally the real Caucasus is elected as a better decorative background.

All these searches are related to the concept nuances of the work. The ideological grain of the plan spoke in the first line of the poem: "Sad demon, the spirit of expellation ...". This line and passed through all the editions unchanged.

The dream of the freedom of the spirit and the thought of the inevitable rupture for it in a world that is not adapted for freedom is a tragic collision of the work. Middle-30 person self-consciousness, a better person endowed with "forces of immense", but coward chains of slavery on hand and on the legs; The suffering of Prometheus, which encroached the darkness of the Nikolaev reign - this is, first of all, the meaning of the humanistic poem Lermontov, aimed at protecting the rights and dignity of the oppressed human personality.

The plot of the legends about the rebels of angel, expelled for this from Paradise, with all his fantasticness reflected a very sober and progressive view of the story, dictating his laws to human consciousness.

All other elements of the philosophical concept (the demon as the spirit of Poznania, as the personification of evil, retaliation, the desire for good and self-cleaning, the revival of love, the celebration of "loaning", skepticism; a demon who enriched Tamara's soul with great passions, or a demon who destroyed her, the demon defeated Having lost to Tamar angel, etc., etc.) varied and modified with great freedom, approaching that one, then by their other side to the famous predecessors of Lermontov Demonian - "Lost Paradise" of Milton, "Caina" Bairon. "Eloa" de Vinyi, "Foust" Goethe, "Demo" Pushkin - and not approaching it completely to one of the sources.

The story of the poet A. P. Shang-Giray is deserved about how he displeased with the ending poem, he proposed to change her plan: "Your plan," Lermontov answered, - was not afraid, only brightens a lot on Elow, Sœur des Anges<Сестру ангелов> Alfred de Vinya.

One of the essential elements of the poem is its folk element. The Gorso Tale of the Stone of Amissian, chained to the rock, is not only shaking the main - "Prometheus" - the idea of \u200b\u200bthe work, but also relates it to the people's worldview.

The poem is saturated with the motives of Caucasian peoples creativity, reflecting their proximity to nature, vitality, militant, colorful life. Imprinting the triumphant strength of life, its press and heroic, these motives emphasize the tragedy of the alienation of the demon from earthly worries and joys.

The poetry of the edge of implausible beauty in the best way unites fiction in the poem with an objective, epic essence of images. Folk poetry enriched and artistic fabric of work, making new paints, new sounds in his verse and language.

A virtuoso four-stranded yum of poems in combination with singers, characteristic of folk poetry, creates an intonational pattern of a large expressive force - a melody of high passionate tension.

In accordance with the emotional tonality, the picturesque pictorial means of the poetic language, combining symbolic and real plans, are complicated from the editorial board. In the landscape, this is especially obvious about how the monastery of Tamara was issued. In the first edition (1829), this is just a one-color pattern - "and the tatter, blacks over the mountain of the wall of the holy and towers of strange vertices," which fully corresponds to the perception of the world "without joy, without grief."

In the editorial office of 1830, with the same psychological tonality, the other color motivation: in the light of the moon "whites under the mountain of the wall of the holy and towers strange vertices". In the third edition (1831), the colorfulness of the world increases: "Mostly brilliant luminaries on the sky. The young rose and the sea was a blue glass rays of the morning, as the demon saw the Wall of the Holy Holy Wall, and the tower white, and the celle, and under the lattice window flowering kindergarten "

Here a contrast reception was found. Characteristics of the inner state of the demon: "... but it is not available to fun." This tendency will grow to the last editions (1838), where the description of the monastery, spreading "between the two hills" of Georgia, turned into a picturesque, sparkling, "dismantling" picture of the blooming world, engaged in two heads of text and the distinguity of the real landscape - landscape Koyashur Valley at the foot of Kazbek.

In the unavailability of this world, as in the crash of hopes for the revival through love, they are witnessing the flour of "double retaliation", which heavily over the demon: Retribution from the outside Exell and retribution from the inside suffering of loneliness, rejection.

That is why so selectively strict and "theoretical" Lermontov in the colors, which captured the appearance of a demon. Essentially, in the final edition of the poem there is no direct portrait characteristic. It would seem that the romantic apoheosis found in the 5th edition, which took place in the magnificent image of the "king of Poznania and Freedom," was aesthetically adequate to the design:

How often on top of the ice

One between the sky and earth

Under the rootfough rainbow

He sat gloomy and dumb,

And the Belogriti blizzards,

Like lions, in his feet roared.

It would seem that this "mighty image" is the one that subsequently recalled the poet in the "Fairy Tale for Children":

Between other visions

As king, dumb and proud, he shine

Such a magical and sweet beauty,

What was scary ...

Meanwhile, just the direct visual characteristics of the very face of the demon from the final edition is excluded. Instead of the above rows, only the associative-color characteristics of the cosmic background remained, on which the demon (the blue "Eternal Ether", the crimson of the vortex, dressed with the "Link and Tuman", a lilap black "Thunder Tuch", etc.).

Generally, an abstract impression of Tamara at a meeting with the demon: "The foggy and dumb fog, the redness of the Blue unearthly ...". Multicalences of the current real earthly world (they include plastic portraits of Tamara with a jug, dancing Tamara, Tamara in the coffin) confront fantasticity, transparency, conditionality of the demon, seen as if only internal eyes.

Hence the persistent mention of the "unmanned" demon, whose oaths, monologues and dialogues occupy such a significant place in the poem. This is also "internal", internal hearing of speech, speech symbols, speech signs. In applied to visual impressions, this is said about this, admired by the artistic sensitivity of Vrubel, who managed to perceive the philosophical convention of the Lermontov Demon through the paints: "There is an unprecedented sunset, unprecedented blue-lilac mountains.

This is only our name of those prevailing three colors, which is still "no name" and which serve only a sign (symbol) that the fallen himself is in itself: "and evil bored him." The bulk of Lermontov thought is enclosed in the grudge of three colors of Vrubel. "

The poem, in his own way, freshen the world's magnitude and tragedy of the "fallen angel" - Bogobor, was the fruit of the author's literary and philosophical erudition. The admission of Lermontov to the up-to-date for modern theories of knowledge and philosophical and historical concepts on the relationship and collisions of the "Human Spirit" and the historical being contemporary to the dialectical decision of the urgent ethical problems: to the thoughts on the complex relationships of good and evil, about the relativity of these concepts, about their Historical conditionality, the driving potencies stated in the struggle of good and evil forces, about the relationship of this struggle with the area of \u200b\u200bchangeable ideals.

In a specific refraction, it was the problem of the time hero - the question of personality, her place and appointment in public life. The poem enriched the "moral composition" of the person, transformation and updating the souls, asking them to the feat, to the active knowledge and transformation of the world. Belinsky wrote that the demon Lermontov and Russian people of his generation, i.e. their skepticism, "denies the approval, destroys for creation ... This is a demon of movement, eternal renewal, eternal rebirth."

The history of the perception of the poem "demon" suggests that the combination of special, characteristic of Lermontov aesthetic effects carried in itself the psychology of the lifeful doubt, the search for the truth in their unity and contradictions. Understandable to people of all ages, this psychology is especially close to youth; Performed protest against any stagnation, it fulfiguously answered the historical situation of the late 30s. XIX century, but the facts talk about the immortality of the work that excited the vital activity of many generations up to our time.

Personal in the poem led to its publicity. The struggle for the rights of the human personality was based on advanced social and revolutionary movements, but with various nuances, which even more expanded the circle of those in whose hearts found the Otzvuk of Poem Lermontov.

So, for Belinsky in the Lermontov "Demone", the most importantly, the giant silence of thought and the "proud enmity" with the sky. In 1841-1842, the critic makes his own list of poems, without ending it reads and quotes, the work of the work in the "deepest content". For the Herzen, the vital energy of the poem, its crushing shackles aspiration, but the main psychological background at the same time for Herzen - "Horror and Tragism" of the existence of a demonstration protest.

The poem is consonant with the generation of Herzen and Ogarev primarily with the contradictory and tragic building of the feelings that combined love and hostility, mind and passion, riot and despair, faith and disappointment, the spirit of analysis and the desire for action, the apotheosis of the individualist personality and the longing of the spiritual unity of people.

"The human quality" of a fantastic demon, despite his symbolized essence, peculiarly declared himself in perception, it would seem very far from the world world of Lermontov Environment - the workers of the icon-painted workshop in the era of the first Russian revolution.

The reading of the poem, depicted in the autobiographical story of M. Gorky "in people," produced the same charming people to the souls, the same exciting impression as the poet's contemporaries. The call to the existing improving the best has retained the emotional and ethical power of impact in the new century, in new historical conditions.

History of Russian literature: in 4 volumes / edited by N.I. Protkova and others - L., 1980-1983.

Romantic hero, which was first discussed by A.S. Pushkin in the "Caucasian prisoner" and in the "Gypsies" and in which the author of those named poems, according to his own words, depicted the "distinctive features of the 19th century young people", found a complete development in the romantic image of a demon. In the "Demon" M.Yu. Lermontov gave his understanding and its assessment of the individual hero.

Lermontov used in the "Demone", on the one hand, the biblical legend about the spirit of evil, overthrown from the sky for his riot against the Supreme Divine power, and on the other - the folklore of the Caucasian peoples, among whom, legends about the mountain spirit, which absorbing the girl were widespread Georgian. This gives the plot of "Demon" allegorical character. But under the fantastics of the plot there is a deep psychological, philosophical, social sense.

The proud statement of the person, opposed negative world order, sounds in the words of the demon: "I am King Poznania and Freedom." On this basis, the demon is about attitude to reality, which the poet determines expressive two-bending:

And all that he had seen

He despised Ile hated.

But Lermontov showed that it is impossible to dwell on contempt and hatred. Becoming on albeit absolute denial, demon rejection and positive ideals. According to his own words, he

"All noble delayed

And all the wonderful bully. "

This led the demon to the agile state of internal devastation, carelessness, hopelessness, to the loneliness in which we find it at the beginning of the poem. "The shrine of love, good and beauty", which the demon again left and under the impression of the beautiful, opens to him in Tamara, is the ideal of a worthy person of an excellent free life. The tie of the plot is that the demon acutely felt the capture of the sharp ideal and rushed to him with all his creature. In this sense of the attempt of the "Renaissance" of the demon, which in the poem is told in conditional biblical-folklore images.

But in the future acknowledged these dreams "insane" and cursed them. Lermontov, continuing the analysis of romantic individualism, with a deep psychological truth, hides the reasons for this failure. It shows how in the development of experiences about the event a noble public ideal is replaced by another - individualistic and selfish, returning a demon to the initial position. Responding to "collaborated with complete speeches" to Moluba Tamara, "Angry Spirit" forgets the ideal of "love, good and beauty". The demon calls to the care of the world, from people. He offers Tamara to leave the "miserable light of his fate," suggests looking at the ground "without regret, without fate." One minute of his "unrecognized torment" the demon puts above "painful deprivation, works and misfortunes of the crowd of human ..." The demon could not overcome egoistic individualism. This was the cause of the death of Tamara and Demon defeat:

And again he left, properly

One, as before, in the universe

Without hopeful and love!.

Belinsky was correctly seen the inner meaning of the poem Lermontov: "Demon," the critic wrote, "denies for approval, destroys for creation. ... ".

Lermontov in a romantic form showed the futility of such mood of denial and put forward the need for other ways to fight for freedom.

Overcoming romantic individualism, the disclosure of the "demonic" denial declined to the Lermontov problem of effective ways to struggle for the freedom of personality, the problem of another hero.

Demon Lermontov - "Mighty image", "Silent and proud", which so many years shone the poet "magic and sweet beauty." In the poem Lermontov, God is depicted as the strongest of all tyrants of the world. And the demon is the enemy of this tyrant. The most cruel accusation of the Creator of the Universe is the same created by the Earth:

Where there is no true happiness,

Neither durable beauty

Where is the crime only yes execution,

Where passions are small only to live;

Where they don't know how without fear

Neither hate nor love.

This evil, unfair God, as if the actual face of the poem. He is somewhere behind the scenes. But he is constantly talking about him, they remember about him, the demon Tamara tells him, although he does not appeal directly, as the heroes of other works of Lermontov do. "You are guilty!" - Parent, who throws the heroes of Drum Lermontov, blaming the Creator of the Universe.

Lermontov loves shortness, he often says hints.

The demon was punished not only for Ropot: he was punished for the riot. And his punishment is terrible, sophisticated. Tyrant God, his terrible curse, hesitated the soul of the demon, made it cold, dead. He not only drove him out of Paradise - he devastated his soul. But this is not enough. All-powerful despot laid responsibility for the evil of the world. Upon the will of God, the demon "burns the stamp of the fatal" everything, for anything touches, harms everything alive. God made a demon and his comrades on rebellion angry, turned them in an evil to the gun. In this terrible tragedy of Hero Lermontov:

But what? Former fellow

Did not recognize any.

Exiles, for yourself,

I began to call in despair,

But words and faces and angry angry,

Alas, I myself did not recognize.

And in fear, I waving wings,

Russed - but where? What for?

I do not know - former friends

I was rejected as Eden,

The world became deaf for me and ...

Love that broke out in the soul of the demon meant for him a revival. "Inexplicable excitement", which he felt at the sight of a dancing Tamara, revived "Mute soul his desert",

And he jumped off the shrine

Love, Good and Beauty!

Dreams of the past happiness, about the time when he was "was not evil," woke up, the feeling spoke in him with a "native, understandable language." Return to the past did not mean for him reconciliation with God and the return to serene bliss in paradise. He was always looking for a thinker, such a thoughtless state was alien to him, he didn't need him and this paradise with carefree, calm angels for which there were no questions and was always clear. He wanted another. He wanted his soul to live in order to respond to the impression of life and could communicate with another native soul, testing large human feelings. Live! Full life live - that's what a revival for the demon. Feeling the love of one living being, he felt the love of everything alive, felt the need to make genuine, real good, admire the beauty of the world, was returned to him all that God deprived him of "evil".

In the early editors, the joy of a demon who felt the thrill of love, the young poet describes very naively, primitively, somehow childish, but surprisingly simple and expressive:

That iron Son.

Passed. He can love

And in fact he loves!.

So much near the cell

Through the stone is visible

Tear hot, like a flame,

Inhuman tear.

The image of a stone, lighting a tear, appears in the poem created by seventeen-year-old boys. The demon was for many years a poet's companion. He grows and husbands with him. And Lermontov more than once compares its lyrical hero with the hero of his poem:

I am not for angels and paradise

All-grade God created;

But for what I live, suffering

He knows about it more.

The sense of genuine good, the young demon arguing in it also exists in that he helps people lost in the mountains during a blizzard, blows snow from the face of the traveler "and is looking for protection."

Poetic landscapes of the Caucasus at Lermontov have the nature of the documentary, these gray, naked rocks are comparable to the devastation of the soul of their hero. But the action of the poem develops. And the demon has already flew over the Crusade Pass:

And in front of him another picture

Craces Live bloomed ...

This sharp change of the scenery truth. She is striking everyone who drives through the crusade:

Luxurious Georgia Valley

The carpet spread away away.

And Lermontov with the same skill, with what he just described the harsh and majestic landscape of the Caucasian Range to the Cross Pass, now draws "Luxurious, lush edge of the Earth" - with bushes of roses, nightingales, ravines, cracked ivy china, and "ringing streams" . Full life The luxurious picture of nature prepares us to something new, and we begin to unwittingly wait for events. Against the background of this pruburate land, the poem's heroine appears for the first time. The image of the demon is complemented by the landscape of the Rocky Mountains, and the image of the young, full life of the beauty of Georgian Tamara becomes brighter in combination with the lush nature of her homeland. On the roof, elited by carpets, among the friends spends his last day in his native home Daughter of Prince Gudala Tamara. Tomorrow her wedding. The thought of the "fate of slave" was a protest, a back against this fate, and this rebellion felt in it. It was her who he could promise to open the "Bay of Proud Poznan". Only to the girl, in whose character was laid the features of the rebel, could see the demon with such words:

Leave the same desire

And the miserable light of his fate;

Bay of proud Poznanya

In return I will open you.

Between the hero and the heroine of the poem "demon" there is some kind of characteristic of characters. The philosophical work at the same time and the poem is romantic and psychological. In it and huge social sense. The hero of the poem wears the features of living people, the contemporaries of the poet.

Summarizing the foregoing, we note that all the features inherent in romanticism as an art method are brightly traced in the poem "Demon":

· The main character is a single, who threw the challenge, not even human society - God himself

· Demon - the personality is bright, strong, as applies to the romantic hero.

· Landscapes of the Caucasus play a huge role in the poem: the demon is akin to these mountains, he is the same independent, also doomed to eternity

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Bashkir State University

poem Lermontov Demon

on the topic: "Demon" as a bright romantic poem

Completed: 3rd year student

philological Faculty Ozo T / R

Akhmetova Aislu I.

Creation of the poem "Demon"

Poem "Demon" M.Yu. Lermontov began to compose at a fifteenth age and worked on it about ten years. Many times he was accepted for her, left, then I started again. But it is interesting: the first line is "the sad demon, the spirit of expellation" - passed through all the editions of the poem and was preserved in it to the end. In the first embodiments, the action of the poem occurs outside the time and space, in an unreal, conditional situation. Already in this first experience, the informant character of the poem, the denial of the Divine power is clearly expressed.

Poet only 15 years old. After these verses, new and new plans arose. And now I will imagine: living in Moscow, on a small silence, in a one-story house with mezzanine, a low, chunky and dark teenager with tremendous dark eyes, sits at the table, in his hubby under the roof, from time to time, breaking away from the paper, throws his eyes She sees the roofs of squat Arbatian mansions and writes about the spirit of evil, about the demom of the destroyer. He has friends - this boy, friends who love him, highly appreciate his poems, sometimes tearing a little over him. And he is serious, and cheerful, wit. He loves them. But deep in the soul is infinitely alone. He is completely different than they. He hates a secular society, would like to escape from this stuffy environment, from its laws. He is full of contempt and anger. And the heroes of his poems and tragedies, like he, alone in the world, their surrounding. And every time he dying or wrapped out lonely days. As Pushkin Captive, as Gary, like Aleco. As the heroes of Bayronov's poems. No, he is more often dying!

Starting work on the poem "Demon" in 1829, the poet in 1829-1831. Writes or outlines four editions of it. In 1833-1834 Lermontov creates the fifth editorial office of the poem, in 1838 - sixth. The appearance of the heroine changes. She gradually losing the features of an abstract romantic sinner and received a psychologically motivated biography. In the sixth edition, Lermontov found the final place of action - the Caucasus, and the plot turned out to be immersed in the atmosphere of folk legends and enriched with details of life and ethnography, and Princess Tamara appeared as a lively and full-blooded image. With the advent of such an image, the demon received the measure of the values \u200b\u200bof his acts. In his philosophical and ethical content, the image of Tamara is equal to the image of a demon. It is endowed with that complete experience that disappeared in the modern world; The love of her is selfless and is connected to the atoning suffering. Therefore, destroying Tamaru, the demon is not only punished by hopeless loneliness (as it was in the early, "butronized" editors), but also defeated at the very moment with his imaginary victory - for his sacrifice elevated over him. This last stage of the evolution of the plan was associated with the overall reassessment of an individualistic idea, touched by all the work of Lermontov late 30s. The demon remained the creature of rebellious and suffering; The denial of the existing world order sounded in his monologues, and his voice began to merge with the voice of the author. In the "Demon" found the most clear embodiment of the Mozborhood's peculiar to Lermontov. They were the reason for the prohibition of the poem to print. By 1839, Lermontov considered the design of the "Demon" exhausted. In 1840, by 1839, the last edition of the "Demon" belongs.

Work on the "demon" Lermontov did not finish, and was not going to print. Neither an authorized copy, no one of the more autograph of the poem in this edition. It is printed according to the list by which it was printed in 1856 by A.I. Philosopher, married to relatives Lermontova, A.T. Stolypina. A.I. The philosophers was an educator of one of the great princes and printed this version of the "Demon" in Germany. The book was published very small circulation, especially for courtiers. On the title list of the list of philosophical written: "Demon". Eastern Tale, composed by Mikhail Yurevich Lermontov 4th of December 1838 ... "There is also the date of the list:" September 13th of 1841, "which indicates that this list was done after Lermontov's death.

The authorized copy of this edition of the poem, presented by Lermontov V.A. preserved Lophukhina (on her husband of the Bakhmetyeva) and his brother, a friend, Lermontov and his comrade in Moscow University. The precious manuscript reached us. A large notebook of excellent dense paper is sewn with white thick threads, as usually stitched Lermontov his creative notebooks. It is stored in Leningrad, in the library named after Saltykov-Shchedrin. The cover is yellowed, torn and then someone twisted. Although the manuscript is rewritten in a foreign smooth handwriting, the cover is made by the poet himself. From above - large - signature: "Demon". Below to the left of Melko: "1838 of September 8 days." The title is diligently derived and enclosed in oval vignette. Lermontov Handwriting We also meet on one of the pages of the poem at the very end. Lines written by Lermontov in a notebook donated to them with his beloved woman, among the soullessly written pages, acquire a special intimate meaning. They are perceived with excitement, as an inappropriately open alien mystery.

Features of romanticism in the poem M.Yu. Lermontov "Demon"

The proud statement of the person, opposed negative world order, sounds in the words of the demon: "I am King Poznania and Freedom." But Lermontov showed that it is impossible to dwell on contempt and hatred. Becoming on albeit absolute denial, demon rejection and positive ideals. This led the demon to the agile state of internal devastation, carelessness, hopelessness, to the loneliness in which we find it at the beginning of the poem. "The shrine of love, good and beauty", which the demon again left and under the impression of the beautiful, opens to him in Tamara, is the ideal of a worthy person of an excellent free life. The tie of the plot is that the demon acutely felt the capture of the sharp ideal and rushed to him with all his creature. In this sense of the attempt of the "Renaissance" of the demon, which in the poem is told in conditional biblical-folklore images. But in the future acknowledged these dreams "insane" and cursed them. Lermontov, continuing the analysis of romantic individualism, with a deep psychological truth, hides the reasons for this failure. It shows how in the development of experiences about the event a noble public ideal is replaced by another - individualistic and selfish, returning a demon to the initial position. Responding to "collaborated with complete speeches" to Moluba Tamara, "Angry Spirit" forgets the ideal of "love, good and beauty". The demon calls to the care of the world, from people. He offers Tamara to leave the "miserable light of his fate," suggests looking at the ground "without regret, without fate." One minute of his "unrecognized torment" the demon puts above "painful deprivation, works and misfortunes of the crowd of human ..." The demon could not overcome egoistic individualism. This was the cause of the death of Tamara and Demon defeat.

Lermontov in a romantic form showed the futility of such mood of denial and put forward the need for other ways to fight for freedom. Overcoming romantic individualism, the disclosure of the "demonic" denial declined to the Lermontov problem of effective ways to struggle for the freedom of personality, the problem of another hero. Demon Lermontov - "Mighty image", "Silent and proud", which so many years shone the poet "magic and sweet beauty." In the poem Lermontov, God is depicted as the strongest of all tyrants of the world. And the demon is the enemy of this tyrant. The most cruel accusation of the Creator of the Universe is the same established land.

"Iron Sleep" stifled a demon and was the result of God's curse, it was a punishment for the battle. Lermontov's things say, and the strength of the sufferer of his hero of the poet transfers the way a stone-free tear. Feeling for the first time the "longing of love, her excitement", a strong, proud demon crying. One-sole buying, heavy tear and falls on a stone from his eye. The image of a stone, lighting a tear, appears in the poem created by seventeen-year-old boys. The demon was for many years a poet's companion. He grows and husbands with him. And Lermontov more than once compares her lyrical hero with the hero of her poem.

"As a demon, I evil the chosen one," the poet says about himself. He himself is the same rebel as his demon. The hero of the early editions of the poem is a cute, touching young man. He, I want to pour out my weighing soul to someone. Having loved and feeling "good and beauty", the young demon is removed on the top of the mountains. He decided to abandon his beloved, not to meet with her not to cause her suffering. He knows that his love will destroy this earthly girl, locked in the monastery; It is strictly punished on Earth and in the sky. On the terrible punishments of "sinless" nuns told many times in works of literature, foreign and Russian. The sense of genuine good, the young demon arguing in it also exists in that he helps people lost in the mountains during a blizzard, blows snow from the face of the traveler "and is looking for protection." Poetic landscapes of the Caucasus at Lermontov have the nature of the documentary, these gray, naked rocks are comparable to the devastation of the soul of their hero. But the action of the poem develops. And the demon has already flew over the Crusading Pass. This sharp change of the scenery truth. She is striking everyone who drives through the crusade.

All features inherent romanticism as an art method are brightly traced in the "Demon" poem:

The main character is a single, who quoted the challenge, not even human society - God himself

Demon - the person is bright, strong, as befits a romantic hero.

The scenery of the Caucasus play a huge role in the poem: the demon is akin to these mountains, he is the same independent, also doomed to eternity.

Conclusion

The poem "demon" breathes the spirit of those years when she was created. Everything was embodied in it than they were thinking about what the best people of Lermontov's time suffered. It concludes in itself and the contradiction of this era. The advanced people of the 30s of the last century were passionately looking for the truth. They abruptly criticized the surrounding autocratic reality, with her slavery, cruelty, despotism. But they did not know where to find the truth. Lost in the kingdom of evil, they fought powerlessly and protested, but did not see the way to the world of justice and felt infinitely lonely.

The demon suffers from loneliness, rushes to life and to people, and at the same time this pride despises people for their weakness. For one minute of his "unrecognized torment", he puts higher "painful deprivities, works and troubles of the crowd of human." But the demon is also a symbolic image. For the poet itself and for his advanced contemporaries, the demon was a symbol of breaking the old world, the collapse of the old concepts of good and evil. The poet embodied in him the spirit of criticism and revolutionary denial.

In the poem "Demon", created by Lermontov for a decade, a lot of contradictions. They are preserved in the last stages of work. He did not finish his work on the poem Lermontov. At the end of the 1930s, Lermontov was departed from his demon and in the poem "Tale for children" (1839-1840) called him "Children's Brad." In the poem there are all the features of romanticism: extreme dissatisfaction with reality, opposition to her beautiful dream; Folk legends, folklore, beautiful and majestic world of nature, the pronounced attitude of the author - in the demon the traits of the poem itself. Romantic heroes are always in conflict with society. They are exile, wanderers. Single, disappointed, heroes challenge an unfair society and turn into rebels, rebels. All this we see in the work of M.Yu. Lermontov "Demon".

poys Lermontov demon

Literature

Krementev L.P. Russian literature of the XIX century. 1801-1850: studies allowance / - 3rd ed. -M.:, 2008. - 248c.

2. N.M. Fortunate, MG Urtmintseva, I.S. Yukhnova History Russian

literature of the XIX century: studies. benefit. - M.: Higher. Schools., 2008.- 671 p.

3. Yakushin N.I. Russian literature of the XIX century (first half): studies.

manual for studies Higher. Schools: - M.: 2001. - 256c.

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