Gypsies" as a romantic poem (type of hero, environment, conflict). Problems of the poem. Poem "Gypsies" (Pushkin): analysis of the work Conflict of the poem Gypsies

The time of creation of the poem “Gypsies”

The poem began in 1823 and was completed in 1824 in southern exile.

The conflict of the poem “Gypsies”

The main conflict of the poem “Gypsies” lies in the opposition of ideas about the life of two worlds - the world of the city, civilization and the world of nomadic primitiveness, not burdened by difficult conditions of survival. Civilization gives a person a certain stability and external diversity of life, but significantly reduces the original freedom of man complex rules- not only written laws,

but also rituals, the limits of which are also practically impossible to go beyond.

The life of the gypsies in the poem is simple and unstressful; the number of events in it per unit of time is significantly less. A simple nomadic life in the lap of nature with minimal effort spent on survival (there are civilized neighbors around, ready to pay for gypsy exoticism) places minimal demands on the responsibility of each member of such a community.

The motive of Aleko's escape from the city and coming to the gypsies

Aleko flees the city because his ardent heart with powerful passions cannot bear life in artificial restrictions, where everything is imbued with falsehood and hypocrisy and where the essence of a person is hidden and draped by many conventions. He understands that with his sincerity he is doomed to misunderstanding and persecution in a world full of deception and luxury, which at all times has been synonymous with spiritual emptiness. To put it very briefly, Aleko chooses content, despising form.

Freedom of the gypsies. Unfreedom of man in a civilized society

The freedom of the gypsies is ensured by the fact that they are in demand by their civilized neighbors. Gypsies earn their living by singing, dancing and playing games, which is why these aspects of life are so well developed among them. Otherwise, they would have had to seriously engage in cattle breeding and carefully guard against attacks from similar neighbors, which would have required the creation of a military organization and strict discipline, which in fact distinguished all nomadic peoples.

Pushkin, of course, spoke somewhat differently. He used the exotic gypsies in Russia at that time in order to express the idea that one cannot look for harmony and the dream of a Golden Age in the past. Despite the apparent lack of conflict and simplicity of morals, that life was also full of disappointments, and the desired will of one became the cause of drama for another.

Pushkin criticized the civilized society of his time even more. He understood well that people in it, for imaginary external benefits, even give up the freedom to pour out their feelings and generally lose themselves, being forced to surround almost every manifestation of them with complex rituals. This is an anticipation of Gogol's masks, tightly fused with a person.

He also understood that the luxury of the civilized world inevitably carries chains in which a person chains himself, and gypsy freedom just as inevitably implies poverty.

Gypsies are much more integral, because their simple desires are not constrained by rules and laws, but are realized immediately. The disadvantage can be considered the low level of consciousness of such people, which does not allow them to control their desires, as a result of which they are primitive and fraught with conflicts. That is, the point is the lack of conscious social discipline among the Roma. Civilized peoples have such discipline, but only externally - in the form of laws. It would be ideal to combine internal discipline of feelings with external freedom.

Role lyrical digression about the moon

When Pushkin wrote about the moon “set in the fogs” and the “incorrect light” of the slightly fading stars, he wanted to show by this the cloudy state of the Soul of the awakened Aleko, its darkness. The description of nature here acts as an indirect description of what is happening inside the hero.

The artistic role of the image of Mariula, the wife of the Old Gypsy, in the conflict and composition of the poem

The image of Mariula, of course, was not created by chance. The appearance of this character in the Old Man’s story sets a certain chronological depth, a vector for the narrative, shows the non-randomness of what is happening to the main characters, and typifies a specific event. And at the same time, he shows Pushkin as an expert on human souls, because he actually makes us understand that Zemfira fulfills the generic program laid down by her mother.

It should be noted that the Old Man’s decision - not to take revenge - shows a path to solve the problem that is diametrically opposite to Aleko’s chosen one, that is, this inserted plot has great value For better definition differences between the rules of the civilized and wild world. And it clearly shows at the same time that the relations within this wild world are also far from perfect, and the freedom of the gypsies has its downside.

Pushkin harshly criticizes his contemporary society and performs a thought experiment, plunging a person from this society into an environment of wild freedom. And he answers: in the freedom of the gypsies there is also no true happiness. Therefore, striving for a non-binding nomadic lifestyle is also pointless.

Artistic sense final scene. The role of the epilogue

The final scene is a symbolic demonstration of how alone Aleko remained with his duality - like an abandoned cart in the middle of the steppe. Not a home, but a barren place - that’s what’s in this man’s soul.

The epilogue anchors the story in a real time and place. People can live completely differently. Powerful Russia crushed the Turks, the gypsies roamed peacefully across the steppe. The meanings of their existence were completely different, although they were realized simultaneously. These two were connected so much different worlds only that both there and there there is no salvation from fate and fatal passions.

Glossary:

What is the motivation for Aleko’s escape from the city and coming to the gypsies?
gypsy poem
what is the conflict of the poem gypsy
essay on the poem gypsies
the history of the creation of the poem Gypsies

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The main conflict of the poem “Gypsies” lies in the confrontation between ideas about the life of two worlds - the world of the city, civilization and the world of nomadic primitiveness, not burdened by difficult conditions of survival. Civilization gives a person a certain stability and external diversity of life, but to a significant extent reduces the original freedom of a person with complex rules - not only written laws, but also rituals, the limits of which are also virtually impossible to go beyond. The life of the gypsies in the poem is simple and unstressful; the number of events in it per unit of time is significantly less. A simple nomadic life in the lap of nature with minimal effort spent on survival (there are civilized neighbors around, ready to pay for gypsy exoticism) places minimal demands on the responsibility of each member of such a community. The motive of Aleko's flight from the city and coming to the gypsies Aleko flees from the city, because for his ardent heart with powerful passions, life in artificial restrictions is intolerable, where everything is imbued with falsehood and hypocrisy and where the essence of a person is hidden, draped by many conventions. He understands that with his sincerity he is doomed to misunderstanding and persecution in a world full of deception and luxury, which at all times has been synonymous with spiritual emptiness. To put it very briefly, Aleko chooses content, despising form. Freedom of the gypsies. Unfreedom of man in a civilized society The freedom of the gypsies is ensured by the fact that they are in demand by their civilized neighbors. Gypsies earn their living by singing, dancing and playing games, which is why these aspects of life are so well developed among them. Otherwise, they would have to seriously engage in cattle breeding and carefully protect themselves from attacks by similar neighbors, which would require the creation of a military organization and strict discipline, which in fact distinguished all nomadic peoples. Pushkin, of course, spoke somewhat differently. He used the exotic gypsies in Russia at that time in order to express the idea that one cannot look for harmony and the dream of a Golden Age in the past. Despite the apparent lack of conflict and simplicity of morals, that life was also full of disappointments, and the desired will of one became the cause of drama for another. Pushkin criticized the civilized society of his time even more. He understood well that people in it, for imaginary external benefits, even give up the freedom to pour out their feelings and generally lose themselves, being forced to surround almost every manifestation of them with complex rituals. This is an anticipation of Gogol's masks, tightly fused with a person. He also understood that the luxury of the civilized world inevitably carries chains into which a person chains himself, and gypsy freedom just as inevitably implies poverty. Gypsies are much more integral, because their simple desires are not constrained by rules and laws, but are realized immediately. The disadvantage can be considered the low level of consciousness of such people, which does not allow them to control their desires, as a result of which they are primitive and fraught with conflicts. That is, the point is the lack of conscious social discipline among the Roma. Among civilized peoples such discipline is present, but only externally - in the form of laws. It would be ideal to combine internal discipline of feelings with external freedom.

"Gypsies" is the last one, it is believed romantic poem Pushkin. The cycle of poems written during the period of southern exile, along with the poems “The Robber Brothers”, “Caucasian Prisoner” and “Bakhchisarai Fountain”, is also called “Byronic”. But whether the poem “Gypsies” is a romantic poem, and even more so a “Byronic” poem, is a debatable question.

According to the official version, Pushkin began writing this poem after spending several days in a camp with Bessarabian gypsies. It is difficult to say whether this is true or just another semi-literary anecdote from his life. In any case, most biographies talk about this in passing, without details. Another curious thing is that, unlike other southern poems, “Gypsies” was completed not in the south, but in Mikhailovskoye. Involuntary loneliness and the point of growth associated with a life crisis certainly helped make this poem wiser.

The plot, or rather its external side, at first glance, is as simple as, for example, in " Caucasian prisoner"If you don't read this poem, but simply retell the plot, then it will seem like another a romantic work among many similar ones: the hero runs away from civilization to the “children of nature”; they cannot accept him, and he himself cannot live in this society. But in "Gypsies" not everything is as simple as it might seem at first glance.

Let us remember with what large strokes Pushkin sketches the internal portrait of the main character in “Prisoner of the Caucasus”:

He experienced people and light

And he knew the price of an unfaithful life,

In the hearts of friends I found betrayal,

In the dreams of love - a crazy dream.

In "Gypsies" Pushkin no longer depicts Aleko with such thick and imprecise colors. Moreover, Aleko’s description is not shown separately in any way in the poem, and he himself is revealed through dialogues and the plot, so he is a completely living character, not a literary one. As quoted in all school essays, he escaped “from the captivity of stuffy cities,” but this escape is the result of a search, reflection, and not a pose, as in the same “Prisoner of the Caucasus.”

Zemfira deserves special attention. She is often positioned as a free savage. Serious doubts arise about her inner freedom. This is what she says with such delight:

But there are huge chambers there,

There are colorful carpets,

There are games, noisy feasts,

The maidens' attires there are so rich.

One gets the impression that if Aleko had offered her to escape to these most stuffy cities, she would have immediately agreed, just to live in the wards among the colorful carpets. Aleko does not notice this, but lies to himself and idealizes Zemfira. Even the most smart people(how can one not recall the poet’s personal drama associated with Natalya Goncharova). Trying to hold on to the romantic phantom, Aleko calls out to his beloved: “Don’t change, my gentle friend!” If he says so, then there is a reason for it. It’s as if Pushkin himself is sorry to be disappointed in the heroine, but artistic and life truth take their toll. Needless to say, he himself will follow Aleko’s path, marrying Goncharova.

Why does Pushkin include an episode about Ovid in the poem? It is known that, while in the south, Pushkin liked to compare himself with him. Ovid, like Aleko, like Pushkin, is a son of civilization. They are united by a common longing for their natural environment. Probably, this story is a turning point for Aleko, even though after this he wanders with the camp for another two years: the chimera about happiness in supposed freedom still lives in him, but the denouement is already inevitable.

An old husband, a formidable husband,

Cut me, burn me!

These are the songs Zemfira sang. And Aleko says: “I don’t like wild songs.” Apparently, he never loved. Immediately after their altercation there follows a very intriguing scene of Aleko's nightly delirium. At first, in a dream, he pronounces Zemfira’s name, but after a while he begins to pronounce another name. Whose? It's hard to say, but this name is obviously from the one past life. A very meaningful and mysterious episode.