Like "Poltava", "Copper Horseman" - a poem is national-historical, but its action is confined to modernity and deployed in St. Petersburg in the alarming days of the Grozny november flood in 1824
Petersburg "Copper Rider" is not only a realistic prescribed place associated with flooding a narrative effect and not only created by Peter the capital of the Russian statehood transformed by him, but also an imaging-symbolic focus of its historical destinies, in many respects more problematic.
The image of the copper rider is just as many-meaning as the image of St. Petersburg. But moreover and frankly fantastic, because it turns under the end of the monument of Peter into an active face, angry with Bunlet Eugene and pushing it all night with his "hard-ringing jump."
Fantasy has psychological, and thereby realistic motivation, being the fruit of the patient's imagination Eugene. Like any realistic motivated fantasy, it has a symbolic, to the end a logical not definable meaning, suggested, however, the symbolism of the Falconett of the monument to Peter.
His composition embodies the traditional Epoch of Absolutism, but known to the art of Renaissance of the likeliradnik to the His horse, and his horse is a subject to the state or the people.
In Pushkin's poem, it becomes a new, unconventional, because of his duality, an apologetic, but not fully in relation to the rider, and hinting on the problem of the coming fate of them and rapidly carrying horse:
Where are you jumping, proud horse,
And where do you lower your hooves?
In this matter, the answer to which the poem does not give, - the problem of its epicenter. To whom is the question addressed? Essentially, to the Russian people and the state, textual to horse, "raised ones" with a copper rider - the symbolic twin of Peter. In the confused and hostile perception of the "poor" Eugene Copper Horseman - "Proud Istkan"; in it he recognizes who in the formidable flood clock is always
Motionlessly elevated
In the dark, copper head,
Of which whose will of the fatal
Under the sea, the city was founded ...
It is terrible in the surrounding Mol!
Terrible, but at the same time majestic and mysterious:
What a thought on the chel!
What power is hidden in it!
And in this horse what fire!
Where are you jumping, proud horse,
And where do you lower your hooves?
About Powerful Lord of Fate!
Aren't you over the abyss
At the height of the Teplo Iron
Russia raised on rapids?
But this impressions and thoughts no longer the hero of the poem, but her author. "Iron Uzda", "Raised Out", and even "over the abyss" - far from the best side characterize the case of Peter. In joining the poem, Peter and his case appear in a completely different light.
Entry is written in the form of an excited-lyrical monolor of the author, admired by the beauty and magnitude of the front facade of St. Petersburg - the "military capital" created by Peter of the Russian Empire.
The lyric part of the entry ends with the apotheosis of Peter and his case, the inviolability of which is the key to national dignity and greatness ("independence") of Russia renewed:
Wheel, hail of Petrov, and stand
Non-gas, like Russia,
Yes dying with you
And defeated elements;
Emoxy and captivity vintage
Let the Finnish waves forget
And in vicious malice will not
Anxious the eternal sleep of Peter!
The next "sad story" about the "terrible pore" of the St. Petersburg flood is a plot-shaped concretization of the "vain malice" by hostile Peter and defeated by Peter (Petersburg) of the swollen elements of the "Finnish waves".
What does this element mean? Is it just blind and formidable natural strength or something more and implied? If only the first, as in what sense is she defeated and captive by Peter? After all, the whole "sad story" about the "terrible pore" of its destructive action testifies to the opposite.
In addition (and most importantly): if the focus with which the story frame of the narration is inextricably linked, does not mean anything except himself, then the "copper rider" is not a national-historical poem, but with something like the St. Petersburg Hands of "Natural School".
It should be noted that Pushkin's poem anticipates many elements of the poetics of "Natural School" - the principles of the sympathetic image of a "little man" and the sharp exposure of social contrasts of the Petersburg reality, the victim of which is the "little man", for the most part, a small official.
But Evgeny "Copper Rider" - "Little Man" and an official of a special variety. He is the same as the author, the "birth of a fucking debris, and in misfortune, not one" ("My pedigree"), but unlike the author, forgetting about his generic prerogatives and turned out, like many of him like, in the present "traded ", The ordinary and humble Russian man in the era of the Nikolaev reaction.
This is said to "bright dreams" Evgenia to reach the "place" and find a quiet family pier, having combined with a legitimate marriage with the same poor as he himself, and his beloved Paras. We do not know anything about the paisha, except that she is poor and lives with a widowed mother in the "Old Domik" on the outskirts of St. Petersburg.
But we know that the economic, political, spiritual degradation of the nobility appeared, on the conviction of Pushkin, the direct and fatal consequence of Petrovsky reforms that have deprived Russia's social strength renewed by them, which could limit the autocracy arbitrariness and lead further national progress.
It seems that this is exactly the contradiction of Peter's reforms undoubtedly for Pushkin and forms a problem core of the symbolic conjugation of the plot-shaped tissue of the St. Petersburg Pushkin's poem with the whole complex of worried about his problems of the present, past and future Russia. Meshanskoye, philistine humility, characterizing Evgenia at the beginning of the poem, turns on its defenselessness during floods. Before? According to a direct, "natural" meaning of the narration - before the swollen elements of the "Finnish waves".
But their destructive elements are terrible not only to the small St. Petersburg people, to which Eugene belongs to Evgeny and his beloved, but also the "new capital" by Peter Russian statehood, the same Peter, "the will of the fatal" of the same Peter, founded "under the sea".
The "Will" of Peter, the inconsistency of his acts and there is a point of symbolic conjugation of all the plot-shaped components of the narrative of the poor Petersburg official, both natural and fantastic, with historical, in many ways the mysterious fate of the postpepest Russia.
In this regard, it is necessary to pay attention to the usually not taken into account that the expressive image of the flood is kept in the style of traditional for Russian literature of the first third of the XIX century, including for the creativity of Pushkin, metaphorical approaching historical shocks - rebellion, rebellion, ingenic invasion - "Thunder", "Bure", "Sea Customs" or simply "waves".
True, in the "Copper Horseman" there seems to be the opposite - the likelihood of the swirl of the natural element of the Grozny historical shock. But the essence of the case does not change from this, because the associative relationship between the direct and portable value of the likelihood remains the same. And it is impossible to neglect it.
Among other things, she clarifies and implied semantics mentioned in joining the poem "hostility" to Peter, the "futile" captured by the "Finnish waves". Finnish means ingenic, which makes you remember the following lines of poem Pushkin "Borodino anniversary" (1831):
Is Russia strong? War and mor
And riot, and external storms pressure
Her, concerned, shocked -
See: everything is worth it!
And the whole of her waves fell ...
In theory and style, these lines facing the external "enemies of Russia", threatening it in the days of the Polish uprising of 1830 by military intervention, consonant with one of the undoubted semantic shades of the symbolic imagery of the Pushkin's St. Petersburg poem - uncomprenerable, despite all military and internal shocks, international Power renovated by Peter Russian state.
As for the metaphorical approach of the natural element of flooding formous for Russia, internal shock, it is largely suggested by the lesson who extradited Pushkin from the Motion of Pugachev's movement.
Awful day!
Neva all night
Rushed to the sea against the storm
Do not defeat their violent dori ...
And there was a neme to argue her ...
And suddenly, how the beast is worse
The city rushed.
Siege! Attack! evil waves
Like thieves, climb into the windows. Chelny
From running glass beating feed.
Trays under wet veil,
Wreckage huts, logs, roofing,
Stock trading goods
Pale poverty belongings,
Thunderstorm demolished bridges,
Coffin with blurred cemetery
Swim through the streets!
The tries of God's wrath and execution awaits.
All this, up to concrete details, very close to the "disasters" of Kazan, Saratov and other departed cities described in the "History" of Pugacheva, and other deposited or captured by Pugachevs. One way or another, but is undoubtedly one thing: a catastrophic for Eugene and disgraceful for the "Grand Peter", the element is opposed to the poem in the poem, but heavy and terrible, frozen the power of the copper rider "with a simple handle", as if soaring "in non-optimous embroidery over Outstanding Neva. "
The last meeting with a molded Metal monument "Half Half" awakens in the madness of Evgeny, the memories of horror about the flooding days on the same, then flooded "Petrovaya Square" and the MiG turns the "poor madman" in the hovered and perturbation of the rebar.
It shy his chest. Man
The grille faced the clutter
Eyes tormented fog,
On the heart of the flame ran,
Blood boiled. He became buried
Before predetermined Istukan
And, her teeth grieved, thumbs squeezing,
Like a black for black
"Good, builder miracle! -
He whispered, viciously tremble, -
So you! .. "and suddenly
Running started.
It seems that the expressions of the "worked force of black", "viciously awesome" (Wed with a "vicious malicious" of Finnish waves) is equal to how and "stringly running to run" exclude the opportunity to see the "Bunte" Eugene and its "madness" by apotheosis, although the doomed on Defeat, but a heroic revolutionary act. Bunct Evgenia is unpromising and does not mean anything except the powerless outbreak of the protest of the declared nobleman against his own social and political "humiliation".
Here one of the most tragic for Pushkin his thoughts, to which he came to work on the "Pugachev history", is the idea of \u200b\u200bthe exhaustion of the progressive role of "enlightened" and "trotting" nobility in the history of Russia.
The thought of Pushkin-artist has always been ahead and, as it were, programmed his historical surveys and, in turn, was adjusted and enriched with them. Such correction and social concretization of the historical issues of the "copper rider" was the last, incomplete work of Pushkin "History Peter".
Her idea arose in 1827, but the Pushkin began to exercise only in 1834, that is, after he wrote "the history of Pugacheva" and created a "copper rider".
Thus, here, as it was with the "Pugachev history", which was preceded by "Dubrovsky" and the idea of \u200b\u200ba story about the nobleman-Pugachevts, Pushkin-artist ahead of Pushkin-historian, stimulating his thought, putting forward the task of an analytical, documented study of those The fundamental problems of national being, which were covered by a grandiose in theory and symbolic artistic synthesis of the "copper rider" in their structure.
By virtue of the exceptional volume of this synthesis, it can be called philosophical. But at the same time, it should be aware that his philosophy of the history of Pushkin did not create and did not strive to create.
Unlike the generation of Belinsky and Gogol and, like the Decembrists, he was not interested in the general theory of the historical process, but the specific socio-political history of Russia and other European countries in which he was looking for as concrete and mainly political answers to the most important problems of Russian life, generated The overall crisis of a serfdom, defeat of the Decembrists and coming after that brutal socio-political reaction.
The philosophical and historical understanding of these problems, for the first time felt and formulated by Pushkin, the artist and historian, was the case of subsequent literary generations, to which Pushkin himself did not reach.
But together with the problems themselves, the successors of Pushkin, starting with Lermontov and Gogol and ending with Dostoevsky and Tolstoy, inherit its concept of national progress, which is involved with overcoming the serfdom of national being and protection against the negative parties "European", i.e. bourgeois, civilization .
Her vices one of the first noticed Pushkin, and the opposition to them constitutes the essential aspect to the descendants of the ideal of the national "independence" of Russia - the collateral of its great future.
History of Russian literature: in 4 volumes / edited by N.I. Protkova and others - L., 1980-1983.
One of the main questions of creativity A. S. Pushkin was the question of the relationship of the personality and the state, as well as the problem of the "small person" problem. It is known that it was Pushkin who seriously developed this problem, which subsequently "picked up" and N. V. Gogol, and F. M. Dostoevsky.
Pushkin's poem "Copper Horseman" identifies an eternal conflict - a contradiction between the interests of the individual and the state. Pushkin believed that this conflict is inevitable at least in Russia. It is impossible to manage the state and take into account the interests of each "little man." Especially since Russia is the country of the semician, where the despotus and tyranny reigned from the ancients, which was perceived by the people and rulers as proper.
The poem has a subtitle - "Petersburg story", after which it follows the preface, emphasizing the reality of everything described: "The incident described in this story is based on the truth. Flood details are borrowed from the then magazines. Curious can cope with the news drawn up by V.N. Berch.
In joining the poem, the magnificent image of Peter I, which glorified his name by many acts. Without a doubt, Pushkin gives his due to the power and talent of Peter. This king largely "made" Russia and contributed to its prosperity. On the poor and wild shores of a little river Peter built a grand city, one of the most beautiful in the world. Petersburg has become a symbol of a new, enlightened and strong power:
Now there on the busy shores of the romance are climbing the palaces and towers; Ships crowd from all ends of the Earth to rich marins seek ... The poet loves Petersburg with all his soul. For him, it is homeland, the capital, the personification of the country. He wishes this city of eternal prosperity. But the following words of the lyrical hero are important and interesting: "Yes, you will die with you and the defeated element ..."
The main part of the poem tells about life, modern Pushkin. Petersburg is still beautiful as under Peter. But the poet sees another image of the capital. This city indicates a sharp boundary between the "strong world of this" and simple inhabitants. Petersburg is a city of contrasts, where "little people" live and suffer.
The hero of the poem, Eugene, is a simple resident of the capital, one of many. About his life is narrated in the first part of the work. Eugene's life is filled with pressing daily concerns: how to feed where to take money. The hero is thinking why it is all given, and nothing else. After all, these "others" are not blocked at all, either by the mind or hardworking, but they are "life is easy." Here the topic of a "little man", his insignificant position in society begins to develop. He is forced to endure injustice and blows of fate just because he was born "small."
Among other things, we learn that Eugene has plans for the future. He is going to marry the same as he, a simple Girl of Parasha. Evgeny's beloved with Mother lives on the banks of the Neva in a small house. The hero dreams of acquiring the family, to give birth to children, he dreams that in old age grandchildren will take care of them. But Eugene's dreams were not destined to come true. Terrible flood intervened in his plans. It destroyed almost the whole city, but it destroyed the life of the hero, killed and destroyed his soul. Raising Water Neva destroyed the paracted house, destroyed the girl itself and her mother. What remained poor Eugene? Interestingly, he is accompanied by the whole poem - "poor". This epithet says about the attitude of the author to his hero - an ordinary resident, a simple person to whom he sympathizes.
The second part of the poem draws consequences of flooding. For Eugene they are terrible. The hero is deprived of everything: the beloved girl, the beds, hopes for happiness. The culprit of his tragedy distraught Evgeny believes the copper rider - the twins of Peter himself. In his upset imagination, the copper rider - "Giddeal Eastukan", "Whose will of the fatal city here was founded," who raised on the Updoy Iron Russia. "
It was Peter, according to Eugene, built this city on the banks of the river, in places that regularly flood. But the king did not think about it. He thought about the greatness of the country, about his greatness and power. Its less worried about difficulties that could arise from ordinary residents of St. Petersburg. Only in delirium hero is capable of protest. He faces the monument: "To you!" But here the insane Eugene began to seem that the monument pursues him, runs behind him through the streets of the city. The whole protest of the hero, his courage immediately disappeared. After that, he began to walk past the monument, not lifting the eye and embarrassed lick his card in his hands: Moured against the king to rebel! As a result, the hero dies. Of course, only such visions could arise in the head of the crazy hero. But in the poem they acquire a deep meaning, filled with bitter philosophical reflections of the poet. Flooding is likened to any transformations and reforms here. They are similar to the elements, because, like she, do not take into account the interests of ordinary people at all. No wonder and Petersburg was built on the bones of his builders. Pushkin is full of sympathy for "small" people. It shows the current side of reforms, transformations, thinks about the price of the country's grandeur. Symbolized in the poem, the image of the king, who resigned with the element, soothing himself by the fact that "not to cope with the elements with God's elements." The conclusions of the poet are sad. The conflict of personality and the state is inevitable, intractable and the outcome of it has long been known.
The last poem written by Pushkin in Boldin in October 1833, - the artistic result of his reflection on the Personality of Peter I, about the "Petersburg" period of Russian history. The poem "met" two topics: the theme of Peter, the "builder of the miraculous", and the topic of the "simple" ("small") person, a "insignificant hero", who worried a poet from the late 1820s. Neat O. tragic fate The ordinary resident of St. Petersburg, who suffered during the flood, became the plot basis for historical and philosophical generalizations related to the role of Peter in the modern history of Russia, with fate of his brainchild.
The "Copper Horseman" is one of the most advanced poetic works of Pushkin. The poem is written as "Eugene Onegin", a four-stranded yamb. Pay attention to the variety of her rhythms and intonation, amazing sounding. The poet creates bright visual and auditory images using the richest rhythmic, intonational and sound possibilities of the Russian verse (repetitions, cesura, alliterations, associations). Many fragments of the poems have become a shittomest. We hear the festive multi-chain of St. Petersburg life ("and shine and noise and tie balls, / and at the hour of the pirushki idle / hiss of the foam glasses / and the punch of the blue"), we see confused and shocked Eugene ("He stopped. / Went back and grogied. / Looks ... goes ... still looks. / Here is the place where their house is worth, / here Iva. There were a gateway here, / demolished them, it seems. Where is the house? "), Were stunned" as if thunder rumble - / Heavy-ringing jumps / shocked pavement. " "On the sound image of the verse of the" copper rider "knows little rivals," said Poet V.Ya. Bryusov, a subtle researcher of Pushkin poetry.
In a short poem (less than 500 poems), history and modernity, the privacy of the hero with the life of historical, reality with the myth is connected. Perfection of poetic forms and innovative principles of the artistic embodiment of historical and modern material Made a "copper rider" a unique work, a kind of "monument of non-manual" Peter, St. Petersburg, "Petersburg" period of Russian history.
Pushkin overcame genre canons of the historical poem. Peter I does not appear in the poem as a historical character (he "idol" is a sculpture, a deified statue), about the time of his reigning, nothing is said. Petrovskaya Epoch for Pushkin - a long period in the history of Russia, not ended with the death of the king reformer. The poet is not drawn to the origins of this era, but to its results, that is, to modern times. The high historical point with which Pushkin glanced at Peter was the event of the recent past - Petersburg flood November 7, 1824, "terrible time", which, as the poet stressed, "Fresh Remembering." This is a living, not yet "cooled" history.
Flooding, one of many who fell into the city since its foundation is the central event of the work. Flood story forms the first sense plan of the poem - historical. The documentation of the story was noted in the author's "preface" and in "notes". In one of the episodes, the "deceased king" appears, unnamed Alexander I. Flooding for Pushkin is not just a bright historical fact. He looked at him as a kind of final "document" of the era. It's like the "Last Sale" in her Petersburg "Chronicle", began to establish the city on the Neva. Flooding is the historical basis of the plot and the source of one of the conflicts of the poem - the conflict between the city and the elements.
The second semantic plan of the poem is a conditionally literary, fictional - set by the subtitle: "Petersburg Tale". Evgeny is the central character of this story. The faces of the rest of St. Petersburg are indistinguishable. This "people", pushing on the streets, sinking during the flood (first part), and cold, indifferent Peterburg people in the second part. St. Petersburg became a real background of the story about the fate of Evgenia: Senate Square, streets and outdoors, where there was a "dilapidated house" parac. Pay attention to. The fact that the action in the poem was postponed to the street: during the flood of Eugene turned out to be "on Petrovaya Square", home, in his "deserted corner", he, distraught from grief, is no longer returning, becoming the inhabitant of Petersburg streets. The "Copper Horseman" is the first urban poem in Russian literature.
Historical and conditionally literary plans dominate realistic story narution (first and second parts).
An important role is played third semantic plan - legendary mythological. He is set by the headline of the poem - "Copper Horseman". This semantic plan interacts with the historical entry in joining, the plot story of flooding and the fate of Evgenia, from time to time reminding itself (first of all the figure "idol on the bronze horse"), and in the climax of the poem (the pursuit of the copper rider for Eugene) dominates. The mythological character appears, the revived statue is copper rider. In this episode, Petersburg seems to lose real outlines, turning into conditional, mythological space.
Copper rider - unusual literary image. It is a figurative interpretation of the sculptural composition that embodies the idea of \u200b\u200bits creator, the sculptor E. Falcon, but at the same time it is an image of a grotesque, a fantastic, overcoming the boundary between the real ("believable"), and mythological ("wonderful"). The copper rider, awakened by the words of Evgenia, climbing from his pedestal, ceases to be only a "idol at the bronze horse", that is, a monument to Peter. He becomes the mythological embodiment of the "Terrible Tsar".
Since the founding of St. Petersburg, the real history of the city was interpreted in a variety of myths, legends and prophecies. "Hrad Peter" appeared in them not as an ordinary city, but as the embodiment of mysterious, fatal forces. Depending on the assessment of the Personality of the Tsar and its reforms, these forces were understood as divine, good, who gave the Russian people by the city of Ray, or, on the contrary, as evil, demonic, and therefore anti-people.
In the XVIII - early XIX century. In parallel, two groups of myths, mirror reflecting each other. In some myths, Peter appeared the "father of the Fatherland", the Diviety, founded a certain reasonable space, "The Most Housing Grad", "Caverny Country", the stronghold of state and military power. These myths arose in poetry (including in the sides and epic poems A.P.Sumokov, V.K. Trediakovsky, G. Pedzavina) and officially encouraged. In other myths that have developed in the folk tales and prophecies of Raskolnikov, Peter was the span of Satan, a lively antichrist, and St. Petersburg, founded by him, is the city of "Nerusky", Satanic chaos, is doomed to inevitable disappearance. If the first, semi-official, poetic myths were myths about the wonderful foundation of the city, from which the Golden Age began in Russia, the second, folk, the myths about his destruction or launching. "Petersburg to be empty", "the city burns and hurts" - so answered the opponents of Peter those who saw the man-made "Northern Rome" in St. Petersburg.
Pushkin created synthetic images of Peter and St. Petersburg. Both mutually exclusive mythological concepts complemented each other. The poetic myth of the foundation of the city is deployed in the entry, oriented on a literary tradition, and the myth of its destruction, flooding - in the first and second parts of the poem.
The originality of the Pushkin Poem is in the complex interaction of historical, conditionally literary and legendary-mythological semantic plans. In the entry, the foundation of the city is shown in two plans. First - legendary mythological: Peter appears here not as a historic character, but as a non-name hero of legends. It - Founder and future builder of the city, acting by the will of nature itself. However, his "Duma Great" is historically specific: the city is created by the Russian king "for evil to the gathering neighbor", in order for Russia to "cut the window to Europe." Historical semantic plan They emphasize the words "one hundred years". But these same words envelop the historical event by the mythological haze: at the site of the story about how it was "the city", as it was built, - a graphic pause, "Speech". The emergence of "young hail" "From the darkness of forests, from the molding of the Blat" like a miracle: the city is not built, but "ascended magnificent, proudly". The story of the city begins from 1803 (this year St. Petersburg has been one hundred years). The third - conditional literary - The semantic plan appears in the poem immediately after the historically reliable picture of the "drenched Petrograd" on the eve of the flood (the beginning of the first part). The author claims the meaning of the name of the hero, hints at his "literature" (in 1833 the first complete edition of the novel "Evgeny Onegin" appeared),
Note that in the poem there is a change of semantic plans, and their imposition, intersection. Let us give a few examples illustrating the interaction of historical and legendary mythological plans. The poetic "report" of the essentialness of the elements is interrupted by comparison of the city (his name is replaced by a mythopoietic "pseudonym") with a river deity (here and then it is impossible to ours - Auto): "Waters suddenly / flowed into underground basements, channels were hung, / And Petropol surfaced as Triton, / Belt is immersed».
The begging Neva is compared with the walled "beast", then with the "thieves", letting themselves in the windows, then with the "villain", which burst into the village "with the fierce Shayochoe". Frozing story gets folklore-mythological color. Water element causes sustainable associations with Bunlet, the villainous raid of robbers. In the second part, the story of the "Torgasha brazier" is interrupted by ironic references to the modern mythhustwar - the Graph and Graph Movement, which "I sang the immortal poems / misfortune of the Nevsky Beachs."
There are many composite and semantic parallels in the poem. Their base is the relationships that are established between the fictional hero of the poem, the water elements, the city and the sculptural composition - the "Kumir on the Bronze Kone". For example, the parallel to the "Things of the Great" founder of the city (entry) - "Volatos of different reflections" Eugene (part of the first). He thought about the city and state interests, Eugene - about simple, everyday: "He will suit himself / shelter, smyster and simple / Yves a packet will calm down." The dreams of Peter, the "builder of the miraculous", came true: the city was built, he himself became a "powder hem". The dreams of Evgeny about the family and the house collapsed with the death of Parasch. Other parallels arise in the first part: between Peter and the "deceased king" (the legendary twin of Peter "Vdal looked" - the king "in the Duma sorrowful eyes / for evil disaster looked"); The king and the people (the sad king "said:" It's not to cope with the elements of the elements / kings "- the people of God's angry and execution awaits"). The king is consumed against the elements, confused by the citizens feel abandoned by the arbitrary of fate: "Alas! Everything dies: shelter and food! / Where will you take? ".
Evgeny, sitting "on the beast of marble riding" in Pospene Napoleon ("Hands with a cross"), compared with the monument to Peter:
And turned back to him
In non-omitable embroidery
Above the perturbation of Nevyu
Stands with a simple hand
Moid on a bronze horse.
The compositional parallel to this scene was carried out in the second part: a year later, Mad Evgeny was again on the same "empty square", where the waves were splashed during floods:
He found himself under the columns
Big house. On the porch
With pipped paw like alive,
Stood lions watchdogs,
And right in the dark embroidery
Over the fenceful cloth
Moid with a speed of hand
Sat on a bronze horse.
In the framework of the poem coexist two, it would seem opposite principles - the principle of similarity and the principle of contrast. Parallels and comparisons not only indicate the similarity arising between different phenomena or situations, but also detect unresolved (and intractable) contradictions between them. For example, Eugene, rescued from the Element on Marble Lion, is a tragicomic "double" of the city custodian, "idol on the bronze horse" standing in the non-isolated embroidery. The parallel between them emphasizes a sharp contrast between the magnitude of the ascended "idol" and the miserable position of Eugene. In the second stage, the "idol" itself becomes another: losing her greatness ("he is terrible with the neighboring Mol!"), He looks like a captive sitting surrounded by "Lviv Watchtail", "Over the fenceful rock". The "non-heekeeper" becomes "dark", and the "idol", in front of Evgeny, turns into a "proud idukan".
The majestic and "terrible" type of the monument in two scenes reveals contradictions, objectively existed in Peter: the greatness of the statesman who took care of the welfare of Russia, and cruelty, the inhumanity of the autocrat, many decrees of which, as Pushkin noted, "wring the whip." These contradictions are merged in the sculptural composition - the material "twin" of Peter.
The poem is a living artiform, resisting any unambiguous interpretation. All aspects of the poem - multivalued image images. Images of St. Petersburg, the Copper Rider, Neva, "Poor Eugene" are independent importance, but, deploying in the poem, enter into complex interaction with each other. Apparent "close" space of a small poem expands.
The history and modernity of the poet explains, creating a capacious symbolic picture of St. Petersburg. "Grad Petrov" is not only a historical scene on which genuine, and fictional events are deployed. Petersburg is a symbol of the Petrovsk era, the "Petersburg" period of Russian history. The city in Pushkin Pushkin Polybel: This is the "monument" to its founder, and the "monument" of the entire Petrovsk era, and the usual city, a disaster and occupied by everyday bustle. The flood and fate of Eugene is only part of the St. Petersburg history, one of the many plots suggested by the life of the city. For example, in the first part, it is not planned, but the plot line associated with the unsuccessful attempts of the military general governor of St. Petersburg Count MA M.Miloradovich and the Adjutant General A.Kh. Banekenfore to help the residents of the city, to encourage them: "In a dangerous way, the medium of stormy The waters / his generals / save and the fear of the learn / and home the sinking people ". This was written in the historical "news" about the St. Petersburg floods, compiled by V.N. Tov, to which Pushkin refers to the "preface".
The St. Petersburg world appears in the poem as a certain closed space. The city lives according to its laws, in the founder. It's like new civilization, opposed and wildlife, and former Russia. "Moscow" period of its history, whose symbol is "Old Moscow" ("Porphyron widow"), went to the past.
Petersburg is full of sharp conflicts, intractable contradictions. Majestic, but internally contradictory image of the city was created in joining. Pushkin emphasizes the duality of St. Petersburg: he "ascended magnificently, proudly", but "from the darkness of the forests, from the molding lot." This is a city-Colossus, under which the marsh molding. Peter conceived as a spacious place for the coming "Pir", he is cracked: on the shores of the Neva "Grounds are grieving". Petersburg - "Military Capital", but this is done by parades and thunder of cannonal salutes. This is a "stronghold", which no one storms, and Marse fields - the fields of military glory - "fun".
Introduction - Pepachechnik St. Petersburg by the state, parade. But the more the poet speaks about the lush beauty of the city, the more the impression is that it is some kind of fixed, ghost. "Crowd's ships" "seek rich marins", but there are no people on the streets. The poet sees the "Sleeping Comb / Desert Streets". The air itself is "real". "Running a sledge along the Neva is wide", "and shine and noise and talk balls", "hissing foam glasses" - everything is beautiful, sound, but people are not visible. In the proud appearance of the "youngest" of the capital hides something alarming. Five times in joining the word "love" repeats. This is a recognition in love for St. Petersburg, but it is pronounced as a spell, one's understanding. It seems that the poet is trying to love the beautiful city with all their might, causing contradictory, disturbing feelings.
Anxiety sounds in the wish "Hoodie of Peter": "Write, hail of Petrov, and stand / non-cool, like Russia. / Yes, you will die with you / and defeated elements ... "The beauty of the city-hardness is not eternal: it stands firmly, but can be destroyed by the element. In the comparison of the city with Russia - a dual meaning: here and the recognition of non-omitance of Russia, and the feeling of the city's asylum. For the first time, an image of not tamed to the end of the water element appears: it appears a powerful substantive being. The element is defeated, Nona "dying". "Finnish waves", it turns out, did not forget "hostility and captivity ancient one." The city, founded "on evil to the gathering neighbor," can be disturbed by the "vicious malicious" of the elements.
In the entry is scheduled chief Principle Images of the city, implemented in two parts of the Petersburg Tale, - contrast. In the first part, the appearance of St. Petersburg is changing, the mythological gilding will fall from it. "Golden Heavens" disappear, they are replaced by "rainy night" and "pale day". This is no longer a magnificent "young hail", "full-friendly countries of the Beauty and Divo", and "Overting Petrograd". He is in the authority of the "autumn grade", the furring wind, the "angry" rain. The city turns into a fortress deposited by the Neva. Please note: Neva is also part of the city. In it, the evil energy was loaded, which the "violent fool" exempts. Neva, stopping his "Holding flow" in granite shores, breaks out to the will and destroys the "strict, slim view" of St. Petersburg. As if the city himself takes himself an attack, breaking his whisp. Everything is exposed that it was hidden behind the front facade of "Grand Peter" in the entry, as unworthy of anyone enthusiasm:
Trays under wet veil,
Wreckage huts, logs, roofs,
Stock trading goods
Pale poverty belongings,
Thunderstorm demolished bridges,
Coffin with blurred cemetery
Swim through the streets!
The people appear on the streets, "close up" on the banks of the Neva, the king is coming to the balcony of the Winter Palace, Eugene with fear looks at the raging waves, anxious about the parse. The city was transformed, filled with people, having ceased to be only a city-museum. The whole first part is a picture of a folk disaster. PETAY PETERSBURG officials, shopkeepers, hut inhabitants. There is no rest and dead. For the first time, the figure of "Kumir on the Bronze Kone" appears. Live king is powerless to withstand the "God's Element". Unlike the calm "idol", he "sad", "Smart".
The third part shows Petersburg after the flood. But urban contradictions are not only not removed, but even more strengthened. Potion and peace make a threat, the possibility of a new conflict with the elements ("But the victory is full, / still boiled viciously waves, / As if under them the fire"). Petersburg's outskirts, where Eugene rushed, reminds "Field of the combat" - "The view is terrible," but the next morning "in order former everything entered." The city again became cold and indifferent to a person. This is the city of officials, calculating merchants, "evil children", throwing stones in insane Eugene, Kucher, standing by his vacuisers. But this is still "holding" the city - the "Moid on the Bronze Kone" is PARI.
The line of realistic image of St. Petersburg and the "small" person is developed in the Petersburg Hundreds of N.V. Gogol, in the works of F.M.Dostoevsky. The mythological version of the St. Petersburg theme was picked up and Gogol, and Dostoevsky, but especially the symbols of the beginning of the XX century. - Andrei White in the novel "Petersburg" and D.S. Melezhkovsky in the novel "Peter and Alexey".
Petersburg is a huge "man-made" monument to Peter I. The contradictions of the city reflect the contradictions of its founder. The poet considered Peter a man exclusive: a genuine hero of history, a builder, an eternal "employee" on the throne (see "Stans", 1826). Peter, emphasized Pushkin, is a solid figure, which combined two opposite principles - spontaneous-revolutionary and despotic: "Peter I at the same time Robespierre and Napoleon, embodied revolution."
Peter appears in the poem in his mythological "reflections" and material incarnations. He is in a legend about the foundation of St. Petersburg, in the monument, in the urban environment - the "commander's grudge" of the palaces and towers, in the granite of the Nevsky Beast, in the bridges, in the "warlike livestock" of "funny Marsh fields", in the Admiralty needle, as if piercing the sky. Petersburg - as it were, emitted will and Peter's case, which turned into stone and cast iron, cast in bronze.
Images of statues are impressive images of Pushkin's poetry. They are created in the poems of "Memories in the Tsarskoye Selo" (1814), "To the Bust of the Conqueror" (1829), "Tsarskoselskaya Stah-Tuya" (1830), "Artist" (1836), and the images of the "artist", whipping people - in Tragedy "Stone Guest" (1830) Yves "Tale about the Golden Cockerel" (1834). The two material "lips" of Peter I in Pushkin's poem is its statue, "Mud on the Bronze Kone", and a revived statue, a copper rider.
To understand these Pushkin images, it is necessary to take into account the idea of \u200b\u200bthe sculptor, embodied in the monument to Peter. Monument is a complex sculpture composition. Its main meaning is set by the unity of the horse and the rider, each of which has an independent value. The author of the monument wanted to show the "personality of the creator, legislator, benefactor of his country." "My king does not hold any rod," said Etienne-Maurice Falcone in a letter to D. Didro, "he extends his benefactor over the country circulated. He rises to the top of the cliff, who serves him a pedestal, is the emblem of the difficulties defeated them. "
Such an understanding of the role of Peter partly coincides with Pushkinsky: the poet saw in Peter "Powerful Lord of Fate", which managed to subordinate the elemental power of Russia. But his interpretation of Peter and Russia is richer and more significant than the sculptural allegory. The fact that in the sculpture is given in the form of an approval, Pushkin sounds like a rhetorical question that does not have a unambiguous answer: "Don't you still be over the abyss, / at an altitude, raised by the Teply Iron / Russia?" Pay attention to the difference in the intrinsic speech intonations, converted alternately to the "idol" - Peter and to the "bronze horse" - a symbol of Russia. "He is terrible in the neighboring Mol! / What is the thought of the chel! What power is hidden in it! " "The poet recognizes the will and creative genius of Peter, who turned the cruel force of the" iron ultrasound ", which took the rustic Russia. "And in seven horses what fire! / Where are you jumping, proud horse, / and where do you lower your hooves? " - Exclamation is replaced by the question in which the thought of the poet is not concerned about the country, curled by Peter, but to the riddle of Russian history and to modern Russia. She continues to run, and not only the natural element, but the folk riots are disturbing "Eternal Sleep" Peter.
Bronze Peter in Pushkin Poem is a symbol of the state will, the power of power, freed from the human principle. Still in the poem "Hero" (1830), Pushkin called: "Leave the hero of the heart! What / He will be without him? Tyrant...". "Kumir on the Bronze Kone" - "Pure embodiment of autocratic power" (V.Ya. Bruzov) is deprived of the heart. He "Builder Miraculor", in the manual of his hands "ascended" Petersburg. But the brainchild of Peter is a miracle, created not for a person. The window to Europe drove the autocratic. The future Petersburg has conceived him as a state city, the symbol of the autocratic power, alienated from the people. Peter created a "cold" city, uncomfortable for a Russian person ascended over it.
Faced in the poem of the Bronze Peter and the poor Petersburg official Eugene, Pushkin stressed that state power and man are divided by the abyss. By equalizing all the estates of one "club", pacifying the human element of Russia "Iron Udoka", Peter wanted to turn her into a humble and supportive material. Evgeny was supposed to become the embodiment of the Dream of the autocrat of a man-puppet, deprived of historical memory, forgetting and "native devotes", and his "nickname" (that is, the name, genus), which "after the time" "can be, and shone / and Under the pen of Karamzin / in their relatives, it sounded. " Partly the goal was achieved: Pushkin Hero - the product and sacrifice of the St. Petersburg "civilization", one of the countless many officials without "nickname", which "serve somewhere", without thinking about the meaning of their service, dream of "Meshchansky happiness": a good place , home, family, well-being. In the sketches of the unfinished poem "Ezersky" (1832), which many researchers are compared with the "copper rider", Pushkin gave a detailed description of his hero, the descendant of a notable kind, which turned into an ordinary Petersburg official. In the "copper rider", the story of the pedigree and about the daily life of Evgenia is extremely concise: the poet stressed the generalized meaning of the fate of the hero of the "Petersburg story".
But Evgeny, even in his humble desires, separating him from the authority Peter, is not humiliated by Pushkin. The poem's hero - the prisoner of the city and the "Petersburg" period of Russian history is not only a reproach to Peter and the city created by it, the symbol of Russia, who, deserved from the angry look of the "Terrible Tsar". Eugene - Antipode "Kumir on the Bronze Kone". He has something that is deprived of a bronze Peter: heart and soul. He is able to dream, sadness, "fear" for the fate of the beloved, to be squeezed by torment. The deep meaning of the poema is that Eugene is compared with a Peter-man, namely with the "idol" Peter, with a statue. Pushkin found his "unit of measurement" of an unbridled, but custodized power - humanity. Measured by this measure, the "idol" and the hero are closer. The "insignificant" in comparison with the real Peter, "poor Eugene", compared with the dead statue, turns out to be near the "builder of the miraculous".
The hero of the Petersburg story, becoming a madman, lost social certainty. Evgeny's fortune-minded "His unfortunate age / wore, nor a beast neither a man, nor the same, nor a resident of the world, nor the ghost of the dead ...". He wanders in St. Petersburg, without noticing the humiliation and human evil, stunned by the "noise of internal anxiety." Pay attention to this comment of the poet, because it is the "noise" in the soul of Eugene, which coincided with the noise of the natural element ("was gloomily: / Rain Capal, the wind was sad") awakens in madness that for Pushkin was the main sign of a person - memory : "Jumped Yevgeny; I remembered the lively / he is a past horror. " It is the memory of the movement of a flood leads to the Senate Square, where he meets the second time with the "Kumir on the Bronze Kone".
This climax episode of the poem, completed the chase of the copper rider for the "madman poor," is especially important for understanding the meaning of the whole work. Starting with V.G. Belinsky, he was interpreted differently in different ways. Often in the words of Eugene, addressed to the bronze Peter ("Good, the builder of the miracle! - / he whispered, viciously trees, - / so much! .."), they see a riot, an uprising against the "Half-Mair" (sometimes analogies between this episode and rebellion of the Decembrists). In this case, the question inevitably arises: who is the winner - the statehood, embodied in the "proud of the Istukan", or humanity embodied in Eugene?
However, it is hardly possible to consider the words of Eugene, who, whispeting them, "suddenly, striking / running", Bunlet or uprising. The words of the insane hero were caused by memory awakened in him: "Evgeny shuddered. Claimed / in it scary thoughts. " This is not only a memoir about the horror of last year's flood, but above all historical memoryIt would seem that I would have etched in the Petrovsk "Civilization". Only then, Eugene found out "and Lviv and the square, and in addition, / who was motionlessly towered / in the dark of the head of chapter, / th, whose will of the fatal / under the sea was founded." Again, as in joining, the legendary "twin" of Peter - he appears. The statue comes to life, what is happening loses real features, the realistic narration becomes a mythological story.
Like a fabulous, mythological character (see, for example, "a fairy tale about the dead princess and about seven heroes", 1833), without smart Evgeny "comes to life": "Eyes have been filled with fog, / in the heart the flame ran, / boiled blood." It turns into a man in his generic essence (note: the hero of this fragment is never named Eugene). It, "Terrible Tsar", the personification of power, and Humanhaving a heart and endowed with memory, inspired by the demonic power of the element ("as a worked force of black"), agreed in the tragic confrontation. In whisper of a clear man, the threat and promise of retaliation, for which the statue of the statue, "instantly anger is grieving, punishes the" madness of the poor ". "Realistic" explanation of this episode depletes his meaning: all the happened turned out to be the fruit of the patient's imagination of insane Eugene.
In the pursuit scene there is a second reincarnation of "Kumir on the Bronze Kone" - It turns in Copper rider. The man jumps a mechanical being that has become a pure embodiment of power that punishes even a robust threat and reminder of retaliation:
And illuminated the Luna pale
Sketch of hand in the embroidery,
Her rider is copper
On the ringing horse.
The conflict is moved to mythological space than its philosophical meaning is emphasized. This conflict is fundamentally unresolved, it can not be a winner and defeated. "All night", "everywhere" behind the "maddenness of the poor" "Copper rider / with a heavy hopping rider", but the "hard-ringing jump" does not end. A meaningless and unsuccessful chase, reminiscent of "running on the spot," has a deep philosophical meaning. Contradictions between man and power can not be allowed to resolve or disappear: the person and power are always tragically interconnected.Such a conclusion can be made from the Pushkin poetic "study" of one of the episodes of the "Petersburg" period of Russian history. The first stone in his foundation was laid by Peter I - "Powerful Lord of Fate", built Petersburg and new Russia, but who did not manage to pull a person with the Izdoy. The power is powerless against the "human, too human" - the heart, memory and elements of the human soul. Any "idol" is only a dead statue that a person can crush or at least make break from place in unrighteous and powerless anger.
Poem A. S. Pushkin "Copper Horseman" joined both historical and social issues. This is the reflection of the author about Peter Great as a reformer, a meeting of various opinions and assessments about his actions. This is a poem - one of his perfect writings with philosophical meaning. We offer for review a brief analysis of the poem, the material can be used to work in the lessons of literature in the 7th grade.
Brief analysis
Year of writing - 1833
History of creation - In the period of his "Golden Autumn", when Pushkin was forced to be in Boldinsky estate, the poet had a creative rise. In the "Golden" time, the author created many ingenious works that made a big impression both in the public and critics. One of these works of the Boldin period was the poem "Copper Horseman".
Subject- The Board of Peter First, the attitude of society to his reforms is the main topic of the "copper rider"
Composition- The composition consists of great accession, it can be viewed as a separate poem, and two parts in which we are talking about the main character, the devastating flooding of 1824, and the hero meeting with the copper rider.
Genre - Genre "Copper Rider" - Poem.
Direction - a historical poem describing valid events, direction - Realism.
History of creation
At the very beginning of the history of the poem, the writer was in the Boldinsky estate. He reflected a lot about the history of the Russian state, about his rulers and autocratic power. At that time, the society was divided into two types of people - some fully supported the politics of Peter the Great, belonged to him with adoration, and another type of people found a similarity with unclean power in the Great Emperor, considered it to make hell, and they treated him.
The writer listened to different opinions about the Board of Peter, the result of his reflection and collecting various information, was the poem "Copper Horseman", which completed his Boldinsky flowering of creativity, the year of writing the poem - 1833.
Subject
In the "copper rider" analysis of the work displays one of the main topics - Power and a small person. The author reflects on the rule of the state, about the collision of a small man with a huge Machina.
Self meaning of the name - "Copper rider" - concludes the main idea of \u200b\u200bthe poetic work. The monument to Peter is made of bronze, but the author preferred another epithette, more severe and gloomy. Thus, through expressive artistic agents, the poet describes a powerful state car, for which the problems of small people suffering from the authorities of the autocratic board are indifferent.
In this poem, conflict of a little man with power It does not have its continuation, a person is so crayon for the state, when "the forest is chicken - sicks fly."
This can be judged by the role of one personality in the fate of the state. In his entry to the poem, the author gives the characteristic of Peter the first as a person of the striking mind, far-sighted and decisive. Being in power, Peter looked far ahead, he thought about the future of Russia, about her power and disadvantage. The actions of Peter the Great can be judged in different ways, accusing him in despotism and tyranny towards the simple people. It is impossible to justify the actions of the ruler, which built power on the bones of people.
Composition
The brilliant idea of \u200b\u200bPushkin in the peculiarities of the composition of the poem serves as proof of creative skill of the poet. The big entry, dedicated to Peter the first and erected city, can read as an independent work.
The language of the poem has absorbed all genre originality, emphasizing the author's attitude to the events described by it. In the description of Peter and St. Petersburg, the tongue is a pathos, a magnificent, completely harmonizing with the appearance of the emperor, the Great and Mighty.
A completely different language is the narration about the simple Eugene. The narrative speech about the hero is coming in the usual language, reflects the essence of the "little man."
The greatest genius of Pushkin is clearly visible in this poem, it is all written by one poetic size, but in different places the work, it sounds completely different. Two parts of the poem following the entry, can also be considered a separate work. In these parts, it is told about a conventional person who lost his beloved girl as a result of flooding.
Evgeny Vinit in this a monument to Peter, implying in it the emperor himself - autocrat. A man who dreams about a simple human happiness, lost the meaning of life, having lost his dear, lost his favorite girl, his future. Evgeny seems to be a copper rider chasing him. Eugene understands that the autocrat is cruel and ruthless. Crushed by grief, the young man is crazy, and then dies, remaining without the meaning of life.
It can be concluded that this way the author continues the topic of a "little man", developed at the time in Russian literature. By this, he proves how despotic the board towards the simple people.
main characters
Genre
The work of the "Copper Horseman" refers to the genre of a poetic poem with a realistic direction.
The poem is large-scale in its deep content, it includes both historical and philosophical issues. There is no epilogue in the poem, and the contradictions of a small person and a whole state remain open.
Test on the work
Rating Analysis
Average rating: 4.2. Total ratings obtained: 1022.
In the second Boldin autumn was written by Pushkin Poem "Copper Horseman", one of the highest and eternal creatures of his poetic spirit. The initial theme of the poem is the topic of Peter: it all starts in the poem. This topic in its historical and moral aspect has long been occupied by Pushkin. She was devoted to a large extent "stons". She had to play an important role in the incomplete novel "Arap Peter Great". She was one of the leading "Poltava" poem.
With the last "copper rider" has particularly close points of contact. Written in 1828, Poltava not only in the final part, but in general was inspired by the thought of Peter. From here, many important features of the poem are ideological and stylistic. The shadow of the Great Peter lay on all the creation of Pushkin and determined the overall coloring of the historical picture; She determined, in particular, the copyright to all the heroes of the poem. Consciously, or unconsciously Pushkin judges all the heroes with the name of Peter and his name will endure them a sentence. With this, the unusual Pushkin is connected in other cases some uninfections and unambiguity in the image of heroes. Belinsky wrote about this in relation to Mazepa: "... In Mazepé, we see one low-cost intrigue, aged in the goat." Recall that the impostor in Boris Godunov, Pushkin showed not so unicinerally.
Unlike Boris Godunova, Poltava is executed not only of historical, but also moralizing pathos. This is a poem, "single center", in a certain sense of "one-driven". In it, everything, one way or another, is connected with Peter, directed to Peter, everything is checked. From the point of view of moral, and historical, too, in the poem there is only one unconditional positive value - Peter and everything that he is close, which serves his cause. Opponents of his business with this approach become villains historically insignificant and flawed. That is exactly the Mazepa. In it, everything causes the reader repulsion, a feeling of dislike. And even; Love, inspired by Mary, is represented by the reader strange and, most importantly, almost completely deprived of poetry.
A truly high poetry is executed by the third part of the poem, entirely dedicated to Peter. This part is truly crowded in the poem, for Pushkin it is the main. From the very beginning to the end, and in the description of the Poltava battle, and in subsequent paintings and reasoning, it sounds like a high Oda Peter, as Praise Peter and his dollars. In the final of the poem about Peter says:
Passed a hundred years - and what remains from strong, proud of these husbands, so full of passion will? Their generation was passed and the bloody trace of effort, disasters and victories disappeared with him. In citizenship of the Northern Power, in her militant fate, only you erected, Hero Poltava, a huge monument to yourself.
It is wonderful that these final motives "Poltava" ("a hundred years", a monument to Peter) become the main motives of the "copper rider". Moreover, the "copper rider" begins with the same ends of "Poltava": with high Oda Peter and his cause. The theme of Peter in its sublime-other solution sounds in the "Copper Horseman" and further:
"Write, hail of Petrov, and standing non-rounds, like Russia, and you will be pacified with you and the defeated element."
All this is very similar to Poltava. But by this, however, the similarity ends, and the differences begin. And fundamentally important differences. First of all, in the "copper rider" there is no plot "one-polypeneism" and "one-drivenity", and there is no morality of the author's pathos, even if they understand it in the highest sense of the word. In the new poem Pushkin, along with Peter, there is another hero opposed to him. This is a small person, a simple official named Eugene:
So, I come home, Evgeny shook the chinel, undressed, lay down. But long he could not sleep in an excitement of different reflections. What did he think about the fact that he was poor, that he should have been able to deliver and independence and honor; That God could add mind and money to him. That after all there are such idle lucky, the mind is short-sighted sloth, who is light enough!
Evgeny is opposed to Peter not only by the situation, not just like a small person, but also stylistically, how he is characterized by the author. If the characteristic of Peter is withstanding in a high speech style, the very first characteristic of Eugene is an introductory characteristic - it looks like a very ordinary language and even deliberately reduced. All this defines the emotional background on which the heroes are perceived. They are not just opposed, they are abruptly opposed, they are antipodes.
But in the artistic and ideological moral sense, they are at the same time equivalent. They embody different areas of historical life, but at the same time having the same right to exist equally legal. Moreover: their position as a high and small hero is not absolutely. A small hero with a person known to him, with a human point of view, it turns out to be completely small, but even greater and, maybe even even greater and high than the one who is traditionally referred to. With a Pushkin Little Man, with Evgeny, in the course of the poetic narration, it is such a revaluation and happening.
The initial theme of the poem "Copper Horseman"
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