This poem N. Nekrasov wrote in 1877, in the last years of his life. This work is one of the last of the poet. In it, the lyrical hero N. Nekrasov addresses his so-called Muse. Through a monologue with her, he makes a will, as it were. Testament of the latest ideas and thoughts.

The poem is written in the elegy genre, tk. imbued with a mood of mourning. It conveys the author's deep personal experiences. The poem carries the same role as A. Pushkin's poem "Monument".

The main theme of the poem - the theme of poet and poetry. Muse is a metaphor for the poet's creativity. N. Nekrasov wants his Muse (his work) to be recognized by the Russian people. He considers his lyre to be a folk one and says that his Muse “will not allow the living blood union to break,” an alliance with the people.

The lyrical hero carries on a dialogue with his Muse and tells her what awaits them in the future. The entire dialogue takes place continuously, as if the lyric hero is trying to finish his thought as soon as possible and not stretch it. He hurries to death.

The sound of the poem can be considered minor. The entire poem is permeated with grieving notes. Despite the fact that the poem is read loudly and loudly enough, which is served by a large number of exclamation sentences, it conveys the sad motive of the passing life.

The lyrical hero is a subject who has an abstract and generalized view of the world. We can only compare the lyric hero and N.A.Nekrasov himself with each other. As the lyrical hero writes his will before the "door of the coffin", talking with the Muse, so N. Nekrasov dies after writing his poem. Most likely N. Nekrasov identified himself with his lyrical hero.

Muse, the silent companion of the lyrical hero. The lyrical hero says to her: “Don't cry! Our lot is enviable. " The reader understands that the Muse feels worries about the fate of the hero.

The poet uses iambic tetrameter, a rhyme encircling with alternating masculine and feminine rhymes. This rhythm gives musicality to the piece.

The main idea of ​​the poem - summing up the life results of the poet. N. Nekrasov wrote a worthy epitaph to his work.

For us, the descendants of N. Nekrasov, this poem is not just an inscription overgrown with stubble on a gravestone, not just a suicide note. For us, “O Muse! I'm at the door of the coffin! " - this is an immortal monument to the works of the great poet to this day, who will never grow weeds, since his Muse still “does not allow the living, blood union between us, honest hearts to break” ...

The most popular poet of the 70s of the 19th century, according to many researchers and critics, was N.A. Nekrasov. In his work, he posed problems that worried more than one generation of poets: the purpose of the poet and poetry, civic motives, the problem of universal human ideals.

His work is sometimes called "poetic confession", into which lines filled with civic pathos are invariably interwoven. It is not surprising that it is to the reader-citizen, the reader-friend, that the poet addresses the Muse on the verge of death, hoping for support. He hopes for the understanding of like-minded people in serving the people.

The poem “O Muse! I am at the door of the coffin ... "when first published in the" Notes of the Fatherland "in 1878 was accompanied by a note:" This poem, according to the testimony of the sister of the deceased, A.A. Butkevich, was the last one he wrote. " Therefore, many researchers of Nekrasov's work tend to regard his "last word" as a kind of testament. What worries the poet "at the door of the coffin"?

Raising the theme of the appointment of a poet and poetry, Nekrasov uses the traditional method of addressing the Muse in the meaning of "poetry". But in this case, Muse also denotes the works of a famous poet directly. It is significant that Nekrasov himself does not think of himself separately from his work. He and his works are one whole. This emphasizes the pronoun "our":

... our lot is enviable,

They will not abuse us.

Poetry for Nekrasov is the thread that connects him with the people, and this connection is eternal:

Between me and honest hearts

You won't let me break for a long time

Alive, blood union!

In this case, the epithets: "living, blood union" are not accidental. A true poet lives as long as the memory of him lives in the hearts of the people. And since the “poet” and “his works” are, in the understanding of Nekrasov, synonyms, an indivisible whole, the “union” will always be “alive”. After all, the poet's creations are immortal.
By "blood union" the poet means a kindred union. This union is possible only with "honest hearts", that is, with people who understand their true vocation - "to be a citizen."

Even if I am to blame a lot

Let it increase a hundredfold

My guilt is human malice ...

Do not Cry! our lot is enviable,

They will not abuse us ...

Why does he say: "Our lot is enviable"? Apparently, because if the poet was able to excite the minds and hearts of people with his creativity, to move them to disputes, this is already a great merit. This is already a recognition both by "honest hearts" and by those who exude malice. The word "will be abused" is also noteworthy. The form of this verb expresses the duration of the action. Consequently, such disputes, positive and negative statements will last for a long time, not one or two generations.

The last poem by Nekrasov is a monologue, or rather, a hidden dialogue with the Muse. It is with an appeal to her that he begins his work and ends it with a mention of her. Nekrasov describes his Muse as follows:

... This pale, in blood,

A whip to the excised Muse ...

Poetry in Russia went through different periods: ups and downs. Many poets were persecuted and exiled for their works. Often, their creations did not reach the general public, since the censorship imposed a ban on the publication. After all, it is known that poetry touches the strings of the human soul much deeper than prose. That is why Nekrasov paints such a vivid image of the Muse: "pale, covered in blood, excised with a whip." And only a Russian person is able to understand this image. It is no coincidence that the author says:

Not Russian - will look without love ...

Without love, without trepidation, it is impossible to look at Russian poetry, knowing the history of its development. This is exactly what Nekrasov wanted to say to his readers "at the door of the coffin." On the one hand, he asserts the immortality of poetry. On the other hand, this is a hidden appeal, a call to fellow poets to continue their thorny path, despite all the obstacles.

With this poem, Nekrasov sums up his creative path. If given the opportunity, he would repeat it from beginning to end. A poet is not a profession, it is a state of mind, a life path.

The sincerity of the poem is impressive, as if the author really found old letters that stirred up those memories that, by their strength, cause pain. Although at the time of writing the work (1859) Afanasy Fet was barely forty years old, the lines are imbued with such powerful regret and nostalgia that they make the reader's heart squeeze. them. "Cherished traits", "dumb witnesses" - this is what the author calls either the lines of the letter, or his memories of the one who

Plan I. The crime committed by Rodion Raskolnikov. II. Motives of Raskolnikov's crime. 1. Characteristics of the main character 2. The idea of ​​protecting the "humiliated and insulted" .3. Strong personality theory. III. Punishment of Raskolnikov. In the center of FM Dostoevsky's novel "Crime and Punishment" is the character of a hero of the sixties of the 10th century, a commoner, a poor student, Raskolnikov. He commits a crime: he kills the old woman pawnbroker and her sister, the harmless, innocent Lizaveta. What made Raskolnikov commit the murders, what are the motives for the crime? As we read the novel, we follow step by step

The best psychological drama by A. N. Ostrovsky is considered to be "Dowry". It is often compared to The Thunderstorm, and to a certain extent this is true. "The Thunderstorm" is the main work of Ostrovsky's pre-reform dramaturgy, "The Dowry", however, incorporates many of the motives of the playwright's post-reform work. The comparison of these plays is also suggested by the fact that in both of them we are faced with a drama of an extraordinary female nature, leading to a tragic denouement. Finally, it is also important that in both plays an essential role is played by the collective image of the Volga city in which the action takes place. But ra

O Muse! I'm at the door of the coffin!
Even if I am to blame a lot
Let it increase a hundredfold
My guilt is human malice -
Do not Cry! our lot is enviable,
They will not abuse us:
Between me and honest hearts
You won't let me break for a long time
Alive, blood union!
Not Russian - will look without love
On this pale, in blood,
A whip to the excised Muse ...

Analysis of Nekrasov's poem “O Muse! I'm at the door of the coffin! ... "

According to the testimony of Nekrasov's sister Anna Butkevich, the poem “O Muse! I am at the door of the coffin! .. "- the last work written by Nikolai Alekseevich just before his death. It is not surprising that it touches upon the theme of the poet and poetry. It was she who was the most important for Nekrasov throughout his life. One of the first references to it is found in a small sketch of 1848 "Yesterday, at six o'clock ...". In this poem, the lyrical hero tells how, while walking along Sennaya Square in St. Petersburg, he saw a picture of a young peasant woman being beaten with a whip. In the last two lines, he called Muse the unfortunate woman's sister. Two Nekrasov's poems, written with an interval of almost thirty years, are surprisingly intertwined. In the work “O Muse! I'm at the door of the coffin! .. ”a similar idea is broadcast. Nekrasov characterizes the Muse in the following words: "pale", "covered in blood", "excised with a whip."

Naturally, the coincidence described above is no coincidence. Nikolai Alekseevich compared his muse to a peasant woman, emphasizing the nationality of his own poems. In addition, he had in mind the difficulties that he faced throughout the entire creative path. At various times, critics and official censorship found many reasons for persecuting Nekrasov. For example, after the reform of 1861, he was accused of an outdated approach to the problems of peasants. Allegedly, the common people began to live well, and the famous writer for some reason stubbornly continues to lament his hard lot. Nekrasov was criticized more than once for his devotion to social topics. Even Fet, who rarely participated in various public polemics, refused to consider Nikolai Alekseevich because of this a true poet.

In the poem “O Muse! I'm at the door of the coffin! .. "There is a reference to another work of Nekrasov -" "(1852). In it, the poet once again confirms his loyalty to his Muse - the expression of popular aspirations. Nikolai Alekseevich calls the union with her "strong and blood". In the last poem, this idea is somewhat modified. The muse becomes a link between the poet and "honest hearts". The place of the adjective "strong", referring to the union, is taken by the definition of "living". At the same time, Nekrasov does not refuse the epithet "blood". An alliance with "honest hearts" is extremely important for Nikolai Alekseevich. It serves as a kind of key to immortality. The poet is alive as long as the people remember his work, as long as the lyrics find a response in human souls.

At the beginning of the poem, the hero says that he is "to blame a lot." The motive of the poet's guilt before the Muse, before the people, is more than once found in Nekrasov. Nikolai Alekseevich often regretted that he had directed his talent in the wrong direction. As a rule, this refers to his works, written not at the command of the Muse, but to maintain the existence of the Sovremennik magazine, which he headed for almost twenty years.

Among liberal-minded people of the second half of the nineteenth century, Nekrasov's work was very popular. Despite this, contemporaries could not fully appreciate the lyrics of Nikolai Alekseevich. Such an important task fell on the shoulders of literary critics of the twentieth century. It is quite obvious that at times Nekrasov was too fond of acute social topics to the detriment of the artistic value of poems. He himself understood this perfectly, asking not to include some of his works in collections. Nevertheless, the novelty and originality of the style of Nikolai Alekseevich had a huge impact on Russian-language poetry.

O Muse! I'm at the door of the coffin!
Even if I am to blame a lot
Let it increase a hundredfold
My guilt is human malice -
Do not Cry! our lot is enviable,
They will not abuse us:
Between me and honest hearts
You won't let me break for a long time
Alive, blood union!
Not Russian - will look without love

On this pale, in blood,
The mutilated Muse with a whip ...

Analysis of the poem “O Muse! I'm at the door of the coffin! " Nekrasov

The poem “O muse! I'm at the door of the coffin! " (1877) is considered the last work of Nekrasov, written by him on the eve of his death. The great civic poet does indeed address his main source of inspiration with dying words. To some extent, the poem can be considered the poetic testament of Nekrasov.

The work summarizes the general brief summary of the poet's reflections on his life and poetic vocation. Earlier, Nekrasov already quite fully outlined his views in the poem "Muse" (1852).

The dying poet (Nekrasov was very sick in the last years of his life and had a presentiment of his imminent death) as the last interlocutor he chooses his Muse, to whom he has always been faithful. He honestly confesses to her that he was "a lot to blame." Although, as Nekrasov himself believed, his fault lies in the fact that he did not care enough about the peasantry in practical terms. The poet's main weapon in the fight against injustice was his bold and accusatory works. For this, Nekrasov throughout his life was subjected to fierce critical attacks, even from his fellow writers. He has a presentiment that "human malice" will significantly embellish all his involuntary sins in order to discredit the name of the defender of the common people.

Nekrasov is not afraid of such a bleak prospect. He does not give up and turns to the Muse with the words: "Don't cry!" Misunderstanding of contemporaries is a common occurrence that accompanies all progressive ideas. The poet is sure that his poetic creativity nevertheless found a response in "honest hearts". Thanks to this, there is a "blood union" of people who love their unhappy homeland and dream of achieving the triumph of good and justice.

In the finale of the work, Nekrasov directly points to the national character of his work. A foreigner ("not Russian") will never be able to understand and feel with his own heart all the sufferings of the Russian people. Nekrasov's muse is not a beautiful and gentle girl who inspires poets to sing love and flowers. His Muse is a “pale” peasant woman “whipped with a whip” cut to blood, whose only fault is that she does not belong to the upper class.

Nekrasov was too critical of his own activities. His work inspired many people and aroused great interest in the plight of the common peasantry. The exhausted Muse of the poet has earned her right to exist in Russian poetry.

Nikolai Alekseevich Nekrasov is a Russian poet, writer and publicist.
The most popular poet of the 70s of the 19th century, according to many researchers and critics, was N.A. Nekrasov. In his work, he posed problems that worried more than one generation of poets: the purpose of the poet and poetry, civic motives, the problem of universal human ideals. His work is sometimes called "poetic confession", into which lines filled with civic pathos are invariably interwoven. It is not surprising that it is to the reader-citizen, the reader-friend, that the poet addresses the Muse on the verge of death, hoping for support. He hopes for the understanding of like-minded people in serving the people.
The poem “O Muse! I am at the door of the coffin ... "when first published in the" Notes of the Fatherland "in 1878 was accompanied by a note:" This poem, according to the testimony of the sister of the deceased, A.A. Butkevich, was the last one he wrote. " Therefore, many researchers of Nekrasov's work tend to regard his "last word" as a kind of testament.
Without love, without trepidation, it is impossible to look at Russian poetry, knowing the history of its development. This is exactly what Nekrasov wanted to say to his readers "at the door of the coffin." On the one hand, he asserts the immortality of poetry. On the other hand, it is a hidden appeal, a call to fellow poets to continue their thorny path, despite all the obstacles. With this poem, Nekrasov sums up his creative path. If given the opportunity, he would repeat it from beginning to end. A poet is not a profession, it is a state of mind, a life path.
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O Muse! I'm at the door of the coffin!
Even if I am to blame a lot
Let it increase a hundredfold
My guilt is human malice -
Do not Cry! our lot is enviable,
They will not abuse us:
Between me and honest hearts
You won't let me break for a long time
Alive, blood union!
Not Russian - will look without love
On this pale, in blood,
With a whip, the excised Muse ...

Alexander Aleksandrovich Kalyagin (May 25, 1942, Malmyzh) - Soviet and Russian actor, director. People's Artist of the RSFSR (1983). Laureate of two USSR State Prizes. A.A. Kalyagin is one of the largest artists of contemporary Russian theater and cinema.