What is the conflict of the Bronze Horseman poem. Essay on the topic: Conflict of personality and state in the poem The Bronze Horseman, Pushkin

Pushkin's work is comprehensive and multifaceted. No wonder V.G. Belinsky said about this poet: "Pushkin is our everything." In his works, this great Russian poet touched upon almost all the problems that worried not only a man of his time, but also captivating the minds of all mankind at all times.

One of these issues was the question of the relationship between the individual and the state, as well as the resulting problem of the “little man”. It is known that it was Pushkin who seriously developed this problem, which was later "picked up" by N.V. Gogol, and F.M. Dostoevsky.

Pushkin's poem "The Bronze Horseman" reveals the eternal conflict - the contradiction between the interests of the individual and the state. And Pushkin believed that this conflict was inevitable, at least in Russia. It is impossible to govern the state and take into account the interests of every “little person”. Moreover, Russia is a semi-Asian country, where despotism and tyranny have reigned since ancient times. And it was in the order of things, it was taken by both the people and the rulers for granted.

Undoubtedly, in The Bronze Horseman, Pushkin pays tribute to the power and talent of Peter I. This tsar largely “made” Russia and contributed to its prosperity. On the poor and wild banks of a small river, Peter built a grandiose city, one of the most beautiful in the world. Petersburg has become a symbol of a new, enlightened and strong state:

now there

On busy shores

The slender masses are crowding

Palaces and towers; ships

A crowd from all over the earth

They strive for rich marinas ...

The poet loves Petersburg with all his heart. For him, this is the homeland, the capital, the personification of the country. He wishes this city eternal prosperity. But the following words of the lyrical hero are important and interesting: "May the defeated element be reconciled with you ..."

After these "introductory" lines, the main part of the poem begins, in which main conflict works. The hero of the poem, Eugene, is a simple resident of the capital, one of many. His life is filled with pressing daily concerns: how to feed himself, where to get money. The hero wonders why some have been given everything, while others have nothing. After all, these "others" do not shine at all with either intelligence or diligence, and for them "life is much easier." Here the theme of the “little man”, his insignificant position in society, begins to develop. He is forced to endure injustices 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 a simple girl like him, Parasha. Beloved Evgenia and her mother live on the banks of the Neva in a small house. The hero dreams of starting a family, having children, he dreams that grandchildren will take care of them in old age.

But Evgeny's dreams were not destined to come true. A terrible flood interfered with his plans. It destroyed almost the entire city, but it also destroyed the hero's life, killed and destroyed his soul. The rising waters of the Neva destroyed Parasha's house, ruined the girl and her mother. What was left for poor Eugene? It is interesting that the whole poem is accompanied by the definition - "poor". This epithet speaks of the author's attitude to his hero - an ordinary inhabitant, an ordinary person, with whom he sympathizes with all his soul.

From the shocks he experienced, Eugene went crazy. Nowhere he could find peace for himself. The hero kept walking and walking around the city, as if looking for the culprit in what happened to his loved ones. And in an instant he realized who was responsible for all the grief that fell on him. It was "an idol with an outstretched hand", a monument to Peter. Eugene's crazy mind began to blame the tsar for everything and his embodiment - a monument.

It was Peter, according to Eugene, who built this city on the banks of the river, in places that are regularly flooded. But the king did not think about it. He thought about the greatness of the whole country, about his greatness and power. Least of all he was worried about the difficulties that could arise for ordinary residents of St. Petersburg.

Only in delirium is the hero capable of protest. He threatens the monument: "Already you!" But then the insane Eugene began to think that the monument was chasing him, running after him through the city streets. All the hero's protest, his courage immediately disappeared. After that, he began to walk past the monument, without raising his eyes and embarrassedly crumpling his cap in his hands: he dared to rebel against the tsar!

As a result, the hero dies:

At the threshold

They found my madman

And then his cold corpse

Buried for God's sake.

Of course, only in the head of a crazy hero could such visions arise. But in the poem they acquire a deep meaning, are filled with the poet's bitter philosophical reflections. The flood is likened here to any transformations and reforms. They are similar to the elements, because, like it, they completely do not take into account the interests of ordinary people. It is not without reason that St. Petersburg was built on the bones of its builders. Pushkin is full of sympathy for "little" people. He shows the reverse side of reforms, transformations, thinks about the price of the greatness of the country. Symbolic in the poem is the image of a tsar who resigned himself to the elements, reassuring himself that "The Kings cannot cope with the elements of God." Indifferent to the grief of a single person and the same simple people like himself:

Already through the streets free

With its cold insensibility

People walked.

Unfortunately, the poet's conclusions are sad. The conflict between the individual and the state is inevitable, insoluble, and its outcome has long been known.

The main conflict of the poem "The Bronze Horseman" is the conflict between the state and the individual. He is embodied primarily in figurative system: opposition of Peter and Eugene.

The image of Peter is central in the poem. Pushkin gives in "The Bronze Horseman" his interpretation of the personality and state activities of Peter. The author depicts two faces of the emperor, in the introduction Peter is a man and a statesman:

On the shore of desert waves
He stood, full of great thoughts,
And looked into the distance.

He is guided by the idea of the good of the Fatherland, not arbitrariness. He understands the historical pattern and appears as a decisive, active, wise ruler.

In the main part of the poem, Peter is a monument to the first Russian emperor, symbolizing autocratic power, ready to suppress any protest:

He is terrible in the surrounding darkness!
What a thought on your forehead!
What power is hidden in him!

The conflict between history and personality is revealed through the depiction of the fate of an ordinary person. Although the researchers do not include Eugene in the gallery "little people", nevertheless, we find some typical features of such heroes in this image. Eugene is devoid of individuality. Peter I becomes for him that “significant person” who appears in the life of any “little person” in order to destroy his happiness.

The greatness, state scale of the image of Peter and the insignificance of the limited range of personal concerns of Eugene are emphasized compositionally. Peter's monologue in the introduction (“And he thought: From here we will threaten the Swede ...”) is contrasted with Eugene’s “thoughts” (“What was he thinking about? / That he was poor ...”).

The conflict is maintained stylistically. The introduction, the episodes associated with the "idol on the bronze horse" are sustained in the tradition of the ode - the state genre itself. Where Eugene is concerned, prosaicism prevails.

The confrontation between man and power, personality and state - eternal problem, the unambiguous solution of which Pushkin considers impossible.

What is the conflict of the Bronze Horseman poem (option 2)

To clarify the essence of the conflict in the poem, it is necessary to talk about its third main character, the element. The strong-willed pressure of Peter, who created the city, was not only a creative act, but also an act of violence. And this violence, having changed in the historical perspective, now, in the time of Eugene, is returning in the form of a riot of the elements. You can even see the opposite opposition between the images of Peter and the elements. As motionless, although majestic, Peter, so unbridled, mobile the element. The element, which, ultimately, he himself created. Thus, Peter, as a generalized image, is opposed by the elements, and specifically by Eugene. It would seem how an insignificant man in the street can even be compared with the huge copper giant? To explain this, it is necessary to see the development of the images of Eugene and Peter, which occurred at the time of their direct collision. Having long ceased to be a man, Peter is now a copper statue. But this does not stop his metamorphoses. A beautiful, magnificent rider discovers the property of becoming something that most resembles a watchdog. Indeed, it is in this capacity that he chases Eugene around the city. Eugene is also changing. From an indifferent man in the street, he turns into a frightened man in the street (rampant elements!), And then desperate courage comes to him, which allows him to shout: "Alright for you!" own way. The first result of the conflict is Evgeny's insanity. But is this insanity? I guess we can say that there are truths, full meaning which the weak human mind cannot withstand. The great emperor, like a watchdog chasing the smallest of his subjects, is a funny and terrible figure at the same time. Therefore, Eugene's laughter is understandable, but his mental illness: he came face to face with the state itself, with its copper, ruthless face. So, the conflict between the individual and the state: is it resolved in the poem? Yes and no. Of course, Eugene dies, the person who directly opposed the state in the image of the Bronze Horseman dies. The revolt is suppressed, but the image of the elements that runs through the entire poem remains a worrying warning. The destruction in the city is enormous. The number of victims is great. Nothing can resist the elements of the flood. The Bronze Horseman himself stands, washed by muddy waves. He, too, is powerless to stop their onslaught. All this suggests that any violence inevitably entails retribution. In a strong-willed, violent way, Peter established a city among the wild, which will now forever be exposed to the attacks of the elements. And who knows if Yevgeny, so in vain and casually ruined, will become a small drop of anger, a gigantic wave of which will one day sweep away the copper idol? It is impossible for a state to endlessly suppress its subjects in the name of its own goals. They, subjects, are more important and more primary than the state itself. Figuratively speaking, Finnish waves will forget "their old enmity and captivity" when Eugene, for happiness with his Parasha, does not need anyone's permission. Otherwise, the element of popular revolt, no less terrible than the element of flood, will carry out its judgment, without examining the right and the guilty. This, in my opinion, is the essence of the conflict between man and state. There are a number of different opinions as to what is the main idea of the poem "The Bronze Horseman". V.G.Belinsky, who argued that the main idea of the poem lies in the triumph of "the general over the particular", with the author's obvious sympathy for the "suffering of this particular", obviously, he was right. Alexander Pushkin sings the anthem to the capital of the Russian state: I love you, Peter's creation, I love your strict, slender appearance, the Neva's sovereign current, its coastal granite, Your fences are a cast-iron pattern ... "the city became the heart of a mighty state: Flaunt, city of Petrov, and stand Unwavering, like Russia.

The conflict of personality and state in Pushkin's poem The Bronze Horseman

At all times, the relationship between the individual and the authorities worried people. Sophocles was one of the first to raise the topic of the conflict between the individual and the state in literature in the 5th century BC. This conflict was inevitable, this problem remained relevant in the 19th century, during the time of Pushkin, it is relevant to this day.

The poem "The Bronze Horseman" occupies a special place in Pushkin's work. This peculiarity lies in the fact that the present reader can see in it the predictions that have come true in contemporary history. The conflict between the state and the individual still takes place today. As before, the individual risks his freedom and life in him, and the state, its authority.

The poem begins with a wonderful picture of St. Petersburg, presented to the reader as "the midnight countries of beauty and wonder". Petersburg appears to us completely different in the poem "The Bronze Horseman", written by Pushkin in 1833. It is the capital of a strong European state, brilliant, wealthy, lush, but cold and hostile to the "little man." The view of the incredible city, by human will, has risen "on the banks of the Neva", is amazing. It seems that he is full of harmony and high, almost divine, meaning. Nevertheless, it was built by people who fulfilled human will. This man, to whose will millions are obedient, who embodied the idea of the state, is Peter. Undoubtedly, Pushkin refers to Peter as a great man. That is why, in the first lines of the poem, he appears as such. Having displaced the meager nature, dressing the banks of the Neva in granite, creating a city that has never existed, it is truly majestic. But Peter is also a creator here, which means he is a man. Peter stands on the bank of the "great thoughts". Thoughts, thoughts are another feature of his human appearance.

So, in the first part of the poem, we see the dual image of Peter. On the one hand, he is the personification of the state, almost God, with his sovereign will creating a fabulous city from scratch, on the other - a man, a creator. But, once presented as such at the beginning of the poem, Peter will continue to be completely different.

At the time when the action of the poem takes place, the human essence of Peter becomes the property of history. There remains the copper Peter - an idol, an object of worship, a symbol of sovereignty. The very material of the monument - copper - speaks volumes. This is the material of bells and coins. Religion and the church as the pillars of the state, finance, without which it is unthinkable, everything is united in copper. A sonorous, but dull and greenish metal, very suitable for a "state horseman".

Unlike him, Eugene is a living person. He is the complete antithesis to Peter and everything else. Eugene did not build a city, he can be called an inhabitant. He "does not remember kinship," although his surname, as the author specifies, is from the noble family. Evgeny's plans are simple:

"Well, I am young and healthy,

I am ready to work day and night,

I'll arrange it somehow for myself

The shelter is humble and simple

And I will calm Parasha in it ... ".

To explain this, it is necessary to see the development of the images of Eugene and Peter, which occurred at the time of their direct collision. Having long ceased to be a man, Peter is now a copper statue. But this does not stop his metamorphoses. A beautiful, magnificent rider discovers the ability to become something that most resembles a watchdog. Indeed, it is in this capacity that he chases Eugene around the city. Eugene is also changing. From an indifferent man in the street, he turns into a frightened man in the street (rampant elements!), And then desperate courage comes to him, which allowed him to shout: "Alright for you!" This is how two personalities meet in a conflict (for now Yevgeny is also a person), each passing its own way to him.

The first result of the conflict is Evgeny's insanity. But is this insanity? Perhaps it can be said that there are truths the full meaning of which the weak human mind cannot withstand. The great emperor, like a watchdog chasing the smallest of his subjects, is a funny and terrible figure at the same time. Therefore, Eugene's laughter is understandable, but his mental illness is also understandable: he came face to face with the state itself, with its copper, ruthless face.

So, the conflict between the individual and the state: is it resolved in the poem? Yes and no. Of course, Eugene dies, the person who directly opposed the state in the form of the Bronze Horseman dies. The revolt is suppressed, but the image of the elements that runs through the entire poem remains a worrying warning. The destruction in the city is enormous. The number of victims is great. Nothing can resist the elements of the flood. The Bronze Horseman himself stands, washed by muddy waves. He, too, is powerless to stop their onslaught. All this suggests that any violence inevitably entails retribution. In a strong-willed, violent way, Peter established a city among the wild, which will now forever be exposed to the attacks of the elements. And who knows if Yevgeny, so in vain and casually ruined, will become a small drop of anger, a gigantic wave of which will one day sweep away the copper idol?

It is impossible for a state to endlessly suppress its subjects in the name of its own goals. They, subjects, are more important and more primary than the state itself. Figuratively speaking, Finnish waves will forget "their old enmity and captivity" when Eugene, for happiness with his Parasha, does not need anyone's permission. Otherwise, the element of popular revolt, no less terrible than the element of flood, will carry out its judgment, without examining the right and the guilty. This, in my opinion, is the essence of the conflict between man and state.

There are a number of different opinions as to what the main idea of the poem "The Bronze Horseman" is. VG Belinsky, who argued that the main idea of the poem is the triumph of "the general over the particular," with the author's obvious sympathy for the "suffering of this particular," was obviously right. A.S. Pushkin sings the anthem to the capital of the Russian state:

I love you, Peter's creation,

I love your strict, slender look,

The sovereign current of the Neva,

Coastal granite

Your fences are a cast-iron pattern ...

"Lavishly, proudly" ascended "from the darkness of forests and swamp blat" the city became the heart of a mighty state:

Flaunt, city of Petrov, and stay

Unwavering like Russia.

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Russia, I think, is the only state whose history knows the existence of two capitals at once - Moscow and St. Petersburg. Officially, the title of the capital was, of course, at different times, only one city, but in its power, significance for the state, and the second could rightly be called this honorary name. In this they are twins, but there is also a significant difference: Moscow is an old city, it grew out of ancient Slavic settlements, and the first mention of it (that is, the appearance in the annals, which does not at all mean its birth at this time - it happened much earlier ) refer to 1147. Petersburg is the creation of Peter I, it was erected by the will of the emperor, it cannot be called spontaneously appeared, Petersburg is a “synthetic” city Even its names are not of Russian origin and sounds unusual to the Russian ear, unlike Moscow, whose name is somehow connected with Ancient Russia. Petersburg was erected on a geographically inconvenient and even dangerous place for the population (the city was often exposed to natural disasters - floods); However, on a national scale, its location was much more advantageous: the proximity of neighboring developed countries, the coast of the Gulf of Finland, the ability to “cut a window to Europe” - all this contributed to the strengthening of Russia in the international arena. Nevertheless, for many Russian people Petersburg remained a “non-Russian”, cold city, the personification of evil, the brainchild of Satan (which, accordingly, was Peter I). Any human tragedy within its boundaries could seem like a victim to this merciless monster - Petersburg.

For the Russian classics, the city became somewhat akin to a living being that could control human lives. Works with this way are also present in writers XIX v. - Gogol, Dostoevsky, and even among the Symbolists belonging to the XX century - Merezhkovsky, A. Bely. The image of "living" Petersburg is also eaten by Pushkin - in the poem "The Bronze Horseman". In general, this image is ambiguous here: it is both a symbol of the entire era of Peter I, and just a city suffering a flood, and a huge monument to its founder, and the personification of the entire state.

On November 7, 1824, a flood occurred in St. Petersburg. Many residents died. The main character of the poem, Eugene mentally connected the raging elements that brought him misfortune with the city itself, where it happened, and the city with its founder Peter I. Thus, drawing a parallel, he placed all the blame on the emperor. The flood turned into a tragedy for him: although he himself escaped a sad fate, his bride Parasha was not saved. The house where she lived was washed away, as if it did not exist at all. Eugene goes mad with despair.

These are the main events of the poem, which is not accidentally subtitled "The Petersburg Story." Having carefully read the work, we see Eugene in two roles. Firstly, he is a concrete hero, with his experiences and biography, to which Pushkin does not pay much attention, but nevertheless one fact relating to his family history takes place: Pushkin hints that Eugene may belong to the previously famous , but to an impoverished family:

We don't need his nickname.

Although in times gone by

It may have shone

And under the pen of Karamzin

In native legends sounded;

But now by light and rumor

It is forgotten.

Only this fact distinguishes him from the general mass of the population of St. Petersburg. In general, Eugene is every resident of the city, his life is like two drops of water similar to the life of others. That is why we only know about him that he “serves somewhere”, is poor, but full of strength and desire to work, dreams of marrying Parasha and living a long, calm life:

Perhaps a year or two will pass -

I'll get a place - Parashe

I will entrust our farm

And the upbringing of children ...

And we will live, and so on until the grave

Hand and hand we both reach,

And the grandchildren will bury us ...

The dream is the most ordinary one. Therefore, Eugene, with all his independent features and biographical facts, should be attributed to the class of so-called "little" people.

Nevertheless, he is a separate representative of this group of people, and it is in this capacity that he is opposed to the stormy elements - the Neva that has overflowed the banks. This river in Pushkin is to some extent correlated with the state: it also controls human lives.

Basically, Pushkin's depiction of St. Petersburg is built on contrast: at the beginning of the poem, “the city of Petrov” is seen as “a window to Europe”, a formidable personification of the power of the state, its “strict slender appearance” inspires awe; during a flood, the northern capital is no less formidable, but already helpless: the Neva, a part of it, tears the city apart from the inside, breaking free from the granite shackles. Petersburg, which at the beginning of the work creates the impression of a somewhat mythical and even mysterious city, subsequently reveals its essence, the river raises all the dirt from its bottom, carries through the streets “a coffin from a washed-out cemetery”. After the flood, the “sovereign” city reveals another side of it - indifference, coldness towards the inhabitants. In the image of St. Petersburg, both “evil children” appear, throwing stones at the insane Evgeny, and the coachman, whipping him with whips.

The state has tremendous power, and its symbol is the statue of Peter I. Riding a horse The Bronze Horseman climbs a stone block and stretches out his hand, protecting the city and at the same time confirming his power and authority. Against the background of such power, people seem to be puppets. Indeed, Pushkin presents Petersburg in such a way that the reader becomes clear: in this city a person is not an independent person, but only a puppet controlled “from above” (by the city). And in such a situation, only the insane Eugene has the courage to “threaten” the mighty ruler, even if he turns to the Bronze Horseman. Although he is out of his mind, for him the statue is alive, so in this situation, the dissatisfaction expressed to the monument is tantamount to an accusation thrown in the face of the emperor.

“Good, miraculous builder! -

He whispered, trembling angrily, -

Already you! .. "

But the power of the state's influence on the minds is great, and even to the insane Eugene it seems as if the Bronze Horseman breaks down from his pedestal and rushes after him in order to punish him for insolence.

Such a conflict cannot end by determining which of them is Eugene (one of typical representatives"Little" people) or the Bronze Horseman (represented by government) - will be the winner, and who will be defeated. In principle, there is no answer to such a question, which is what Pushkin shows: the pursuit ends in nothing, it is meaningless and fruitless. By this the poet wanted to say that the confrontation between man and power will never end; he repeatedly developed this theme in other works as well. His point of view is this: the conflict will exist, each side is sure that it is right, but at the same time, both of them are wrong in their own way, pursuing only their own benefit. Man and power are interconnected, and this connection is sometimes tragic. The legendary "He" mentioned in the Preface is the personification of the state and cares only about the state interests, about the fate of Russia; undoubtedly, this is important, but it is like a bird's-eye view, which does not provide for the simple, everyday interests of all people and each individually. At first glance, the state stronger than human, his authority is unshakable (after his “threat”, Eugene, passing by the monument, every time shrinks with fear), but on the example of Peter I, who was unable to tie people with an “iron bridle” (or rather, his statues), it is clearly noticeable as a person , by the power of his heart, memory, causes a terrible, but powerless anger of the “idol”.

Conflict in the poem by Alexander Pushkin "The Bronze Horseman"

In 1833, the poet turns to the poem "The Bronze Horseman". In it, he declares the sacrifices on which the progressive cause was built.

The conflict is based on the clash of a glorious monarch with a pitiful, but in his own way right-wing Eugene.

Pushkin outlines the conclusion: the very nature of the autocratic state, and not the cruel nature of the tsar, is the reason that one has to neglect interests common man.

The work, small in volume, is distinguished by thoughtfulness and harmony of the composition. The exposition depicts the era of Peter. The poet gives a historical basis for the plan of the monarch:

Here on new waves
All flags will visit us,
And we'll lock it in the open.

More in the poem the king actor does not appear. He "erected an immortal monument to himself" - Petersburg, the apotheosis of which is the whole second part. The first is devoted to the description of the flood that befell the city on November 7, 1824. The king himself is powerless before the elements:

To the balcony
Sad, confused he came out
And he said: “With the elements of God.
The kings cannot cope. " He sat down
And in thought with mournful eyes
He looked at the evil disaster.

"Not to cope" with the Neva and Eugene, a small toiler of St. Petersburg, a descendant of a once noble, but impoverished noble family.

Before us is a poor man who has not remembered for a long time about his "reposed relatives." He knows that only through work he can "achieve both independence and honor", he understands "that God could add wisdom and money to him." Eugene does not ask fate for much:

“Perhaps a year or two will pass -
I'll get the place. Parashe
I will entrust our family
And the upbringing of children ... "

The hero's ideal of life is simple and modest, like himself. However, the flood takes away from life the only happiness, Parasu. Eugene is looking for the culprit of the tragic fate. The victorious Bronze Horseman (a monument to Peter I by Falcone) personifies the one who caused the poor man's misfortune. Mad Eugene boldly shouts to the tsar:

“Good, miraculous builder! -
He whispered, trembling angrily, -
Already you! .. "

This episode is the culmination of the poem. It is noteworthy that the Bronze Horseman comes into collision not only with our hero. "Finnish waves" disturb the "eternal sleep of Peter". Both the elements and the grief-stricken person share common features, in which - the senselessness of rebellion against the work of Peter. Interestingly, the epithet "insane" is often used by Pushkin to describe Eugene. The poet wants, apparently, to show that both the rebellion of nature and the rebellion of man are vain, useless. The "insolent riot" of the Neva was smashed against the granite of Peter's brainchild. Petersburg remained unshakable. The poet seems to call on the forces of nature to obey the will of man:

Ancient enmity and captivity
Let the Finnish waves forget
And they will not be a vain malice
Disturb Peter's eternal sleep!

Eugene's protest is also meaningless. However, the poet poses another problem - the problem of a just rebellion, the right of a poor person to happiness. His madness is insane, because it is unjust. The hero hates the deed of Peter, opposes his deeds, which the poet glorifies in the introduction.

The scene of Eugene's escape, when the revived horseman pursues him, confirms the injustice of the riot. Having uttered his words: "Already you! .." - he feels their blasphemy. The confusion conveyed by the word "suddenly" ("And, frightened, suddenly set off headlong"), seizes the soul of the indignant hero.

The Tsar's face (Eugene's vision) lights up with a sense of just anger:

It seemed
Him that formidable king,
Instantly ignited with anger,
The face quietly turned ...

The hero realizes the injustice of his evil threat, because a guilty person can feel “embarrassed”. Since then, whenever Yevgeny passed through the square, he "did not raise his eyes in embarrassment ..."

Pushkin understands that only endless mental pain could push his hero to an unjust protest. Therefore, the poet is unable to accuse the common man, he admits that he is right. According to A.S. Pushkin, it is impossible to sacrifice individual people when solving state affairs, to neglect them. Therefore, the last lines are imbued with great anguish:

At the threshold
They found my madman
And the same cold corpse of him
Buried for God's sake.

The conflict between the tsar and the "little man" eliminates the possibility of idealizing the image of Peter I. Probably because of this, the Bronze Horseman was not published during the poet's lifetime.

For the first time in his poem, A.S. Pushkin showed reverse side transformations of the king, carried out by barbaric methods.

The conflict of personality and state in the poem The Bronze Horseman (option 2)

"Well, I am young and healthy,

I am ready to work day and night,

I'll arrange it somehow for myself

The shelter is humble and simple

And I will calm Parasha in it ... ".

I love you, Peter's creation,

I love your strict, slender look,

The sovereign current of the Neva,

Coastal granite

Your fences are a cast-iron pattern ...

"Lavishly, proudly" ascended "from the darkness of forests and swamp blat" the city became the heart of a mighty state:

Flaunt, city of Petrov, and stay

Unwavering like Russia.

The poem "The Bronze Horseman" was written by Alexander Pushkin in 1833. It reflects a contemporary event for Pushkin - the flood of 1824. In the poem there is no traditional division of heroes into major and minor, and next to heroic theme Peter, another theme sounds - the theme of "little people", the urban poor, their joys and sufferings. This mixture of characters contains an important ideological meaning: fate an ordinary person assessed from a historical perspective.

Peter I is the hero of the poem. This is the sovereign-reformer, he symbolizes the new Russia. In the poem, his image and the image of the Bronze Horseman coincide. The reared horse is ready to carry its proud rider across the dark waters of the rebellious Neva. This image conveys the character of the reformer tsar and his reforms. Peter I is not raising a horse on its hind legs, but all of Russia. In his impulse, he forgets about everything, he only looks far ahead and does not notice what is here, next to him.

And next to the Great King there are ordinary mortals who, by his will and desire, became hostages of the elements. Another hero of the poem is Eugene - a petty official from an impoverished noble family. His life is simple and uncomplicated. Only simple worldly joys brighten up the days of his life, where every next day is similar to the previous one. And there is only one dream, one bright spot in the sequence of these days - his beloved Parasha, who lives on Vasilievsky Island in a small house with her mother. But the flood of 1824 destroys not only houses and embankments, the raging elements destroy Eugene's dream world. A terrible flood finds the hero on the banks of the Neva. To protect himself from streams of water washing away everything in his path, Eugene is looking for a high place and does not himself remember how he finds himself on the square next to the monument to Peter I. Now they are side by side and together are equally equal in front of the forces of the raging water. Eugene watches with horror and delight what is happening, probably the same feelings could have been experienced by the creator of the great city. The water gradually subsides, and Eugene's first thoughts about Parasha, he aspires to the other side, to the island to a nice house. But horror seizes the hero at the sight of a picture of destruction - there is no small house on the shore, the water did not spare him, he was washed away, the water took both Parasha and her mother.

Grief, despair give way to bitterness. Not remembering himself, Eugene returns to the place where he waited out the flood, that is, to the monument to Peter. But now completely different feelings overwhelm the soul of the hero. He was almost distraught with grief. Only the pain of loss and the horror of the experience live in him. He is looking for the culprit of what happened. He looks up and sees the Great Peter above him, proud and strong. And Eugene suddenly realizes that it is the tsar who is to blame for everything that happened. Terrible words of accusation and threats burst from the lips of the hero, and he turns these words to the king.

The clash of two unequal forces is presented by Pushkin in the poem: on the one hand, the forces of nature. And the power of the Tsar, who managed to subjugate all of Russia, forced other countries and states to reckon with Russia, is akin to these spontaneous forces. And on the other hand, the power of feelings of a "little man" who has nothing in life, or even if there is something - beloved, hope for simple, ordinary human happiness - then all this can be destroyed in an instant by the forces of nature or the autocrat because no one will ever think about the common man.

Compared to the grandiose plans and ideas of Peter, Eugene's dreams are insignificant. But Pushkin is far from thinking that his hero is wretched and spiritually poor. On the contrary, the pursuit of personal happiness is quite natural and natural. In the image of Pushkin, Eugene is honest, striving for independence, he dreams of "giving himself both independence and honor." Moreover, it should be noted that Eugene is a thinking person. He understands that the “idol on a bronze horse” is the culprit for the death of his happiness.

After the flood, Eugene's attitude to Peter changes, and the very image of the Great Transformer also changes:

He is terrible in the surrounding darkness!

What a thought on your forehead!

What power is hidden in him! ..

Eugene sees before him a terrible, formidable, merciless king. The statue seems to come to life. Against the Bronze Horseman, who now personifies the stronghold of autocratic power, Eugene rises:

Already you!

The Bronze Horseman and Eugene embody the tragic contradictions of history, in which state and personal interests coexist in opposition.

Ticket number 12 1 question "Thunderstorm" Ostrovsky's most decisive work

After Ostrovsky's drama "The Thunderstorm" was published and staged, contemporaries saw in it a call for a renewal of life, for freedom, because it was written in 1860, when everyone was waiting for the abolition of serfdom in the country.
In the center of the play is a socio-political conflict: a conflict between the masters of life, representatives of the “dark kingdom,” with their victims.
The unbearable life of ordinary people is drawn against the background of a beautiful landscape. But now the picture of nature begins to change gradually: the sky is covered with clouds, thunderclaps are heard. A thunderstorm is approaching, but is this phenomenon only in nature? No. So what did the author mean by a thunderstorm?
There is a deep meaning in this name. For the first time this word flashed in the scene of farewell to Tikhon. He says: "... For two weeks there will be no thunderstorm over me." Tikhon wants to get rid of the feeling of fear and dependence at least for a short time. A thunderstorm in the work means fear and liberation from it. This is the fear of tyrants - the fear of retribution for sins. "A thunderstorm is sent to us as punishment," he teaches Wild Kuligin... The power of this fear extends to many characters in the drama and does not even pass by Katerina. Katerina is religious and considers it a sin that she fell in love with Boris. “I didn’t know that you were so afraid of a thunderstorm,” Varvara tells her. “How, girl, do not be afraid! - answers Katerina. - Everyone should be afraid. Not that it is scary that it will kill you, but that death will suddenly find who you are, with all your sins ... ”Only the self-taught mechanic Kuligin was not afraid of a thunderstorm, he saw in it a majestic and beautiful spectacle, but not at all dangerous for a person who can easily calm down its destructive power with the help of a simple lightning rod. Addressing the crowd, engulfed in superstitious horror, Kuligin says: “Well, what are you afraid of, please tell me. Now every grass, every flower rejoices, but we are hiding, we are afraid, as if we are in a misfortune! .. All of you have a thunderstorm! Eh, people. I'm not afraid. "
If in nature a thunderstorm has already begun, then in life, according to further events, its approach is visible. Undermines " dark kingdom“Reason, common sense of Kuligin; Katerina expresses her protest: although her actions are unconscious, she does not want to come to terms with the painful conditions of life and decides her fate herself: she rushes into the Volga. All this is the main meaning of a realistic symbol, a symbol of a thunderstorm. However, it is ambiguous. There is something spontaneous, natural in Katerina's love for Boris, just like in a thunderstorm. However, unlike a thunderstorm, love brings joy; however, this is not the case with Katerina, if only because she is a married woman. But Katerina is not afraid of this love, just as Kuligin is not afraid of a thunderstorm. She says to Boris: "... If I was not afraid of sin for you, will I be afraid of human judgment?" The thunderstorm is hidden in the very nature of the heroine, she herself says that as a child, offended by someone, she ran away from home and sailed alone in a boat along the Volga.
The play was perceived by contemporaries as a sharp denunciation of the order existing in the country. Dobrolyubov said about Ostrovsky's drama: “... The Thunderstorm is, without a doubt, Ostrovsky's most decisive work ... There is something refreshing and encouraging in The Thunderstorm. This "something" is, in our opinion, the background of the play, indicated by us and revealing the precariousness and imminent end of tyranny ... "
The playwright himself and his contemporaries believed in this.