On the topic: The conflict between the individual and the state in the poem The Bronze Horseman, Pushkin
Conflict between the individual and the state
Every schoolchild gets acquainted with Pushkin's work from an early age. These are rhyming poems, interesting stories, and prophetic tales. One of the most organic works is considered to be the poem “The Bronze Horseman”, in which the writer clearly, with the help of a number of metaphors and epithets, showed the conflict between the individual and the state.
In his opinion, such a conflict in Russia is inevitable, since it is impossible to govern such a huge state, taking into account the interests of everyone.
The main character of the work is the petty official Evgeniy,
Among the dead was Parasha, which affected the mental health of the main character. He lost interest in life and wandered mindlessly around the city for days on end. The culprit
The monument personified Peter I, and, as you know, it was this reformer ruler who came up with the idea of building a city in such an unsafe place. Reading the poem, we see that Pushkin, in spite of everything, loves his city, as he speaks affectionately about it:
A hundred years have passed, and the young city, full of beauty and wonder, From the darkness of the forests, from the swamps of cronyism, Ascended magnificently, proudly.
But the fact remains: the problem of the individual and the state occupies a fundamental place in his lines. He is concerned about the problem of the “little” person, whose interests were not taken into account either then or now. After the loss of Parasha, Eugene simply went crazy and decided to go to the stone statue of the culprit king to quarrel with him.
Since he had not eaten anything for several days and wandered aimlessly in the cold, he began to imagine that the monument had come to life and was pursuing him with a heavy tread.
After this incident, the hero walked around the monument, and if he happened to pass by, he took off his cap and lowered his eyes guiltily. Peter's guilt is undoubtedly noted, but at the same time, the author openly admires the transformations of this ruler. Pushkin also shows that the root of the conflict lies in the difference in thinking. If Eugene thought and worried about his personal good, then Peter I was guided by the good of the state.
As a result, the problem of the individual and the state, although discussed, remains unresolved.
Digest:
On the topic: The conflict between Eugene and the Bronze Horseman in the poem The Bronze Horseman, Pushkin The conflict between Eugene and the Bronze Horseman The poem “The Bronze Horseman” is one of the most artistically ideal creations of A. S. Pushkin. He wrote it in 1833 during his stay. .
The problem of the individual and the state in A. S. Pushkin’s poem “The Bronze Horseman” One of the main issues in A. S. Pushkin’s work was the question of the relationship between the individual and the state, as well as the ensuing problem of the “little man.” It is known that it was Pushkin who seriously developed this problem, which. .
On the topic: Description of the monument in the poem The Bronze Horseman, Pushkin Description of the monument The poem “The Bronze Horseman” is one of the most successful masterpieces in the work of A. S. Pushkin. In it, he described life in St. Petersburg as he saw it. On one. .
On the topic: the problem of the little man in Pushkin’s poem “The Bronze Horseman” We find a deeper interpretation of the theme of the little man in Pushkin’s poem “The Bronze Horseman”. Here the problem is solved in a socio-philosophical vein, and the central conflict becomes the contradiction between a small person. .
Based on the poem "The Bronze Horseman"; Pushkin In 1833 he wrote the poem “The Bronze Horseman”. The main characters of this work were a young man named Eugene and a copper monument to a horseman. The poet writes in a poem about this monument as Fr. .
Analysis of the poem The Bronze Horseman, Pushkin Analysis of the poem The poem “The Bronze Horseman” was written by Alexander Sergeevich Pushkin in 1833 and is one of the most artistically perfect works of Russian literature. Written in poetic form. .
Characteristics of the hero Peter 1, The Bronze Horseman, Pushkin Peter 1 Peter I is one of the two contrasting heroes of the poem “The Bronze Horseman”, a historical figure, the founder of St. Petersburg. Peter I is the personification of the state in the work of A. S. Pushkin. He is opposed to the poor. .
What is the meaning of the contrast between Peter I and “poor” Eugene in A. S. Pushkin’s poem “The Bronze Horseman”? At the center of the narrative of the poem are the images of Peter I and the nobleman Eugene. In The Bronze Horseman, Peter is shown not as a living figure in the Russian historical process, but as a monument, “an idol on a bronze horse.” Poet. .
Essay on the topic of conflict between the state and the individual
Russia, it seems, is the only state whose history knows the existence of two capitals at once - Moscow and St. Petersburg. Officially, the title of capital was borne, of course, by only one city at different times, but in terms of its power and significance for the state, the second could rightly be called by this honorable name. In this they are twins, but there is a significant difference: Moscow is an old city, it grew out of ancient Slavic settlements, and the first mention of it (that is, its appearance in chronicles, which does not at all mean its birth at this time - it happened much earlier ) date back to 1147. Petersburg is the creation of the hands of Peter I, it was erected by the will of the emperor, it cannot in any way be called spontaneously appeared, Petersburg is a “synthetic” city. Even its names are not of Russian origin and sound unusual to Russian ears, unlike Moscow, whose name is somehow connected with Ancient Russia. Petersburg was built on a geographically inconvenient and even dangerous place for the population (the city was often subject to natural disasters - floods); however, on a national scale, its location was much more advantageous: the proximity of neighboring developed countries, the shore of the Gulf of Finland, the opportunity to “open a window to Europe” - all this contributed to the strengthening of Russia in the international arena. Nevertheless, for many Russian people, St. Petersburg remained a “non-Russian”, cold city, the personification of evil, the brainchild of Satan (who, accordingly, was Peter I). Any human tragedy within its borders could be imagined as a sacrifice to this merciless monster - St. Petersburg. For Russian classics, the city became somewhat akin to a living creature that could control human lives. Works with this image are also present among writers of the 19th century. - Gogol, Dostoevsky, and even among the symbolists belonging to the 20th century - Merezhkovsky, A. Bely. The image of “living” Petersburg is also found in Pushkin – in the poem “The Bronze Horseman”. In general, this image here is ambiguous: it is both a symbol of the entire era of Peter I, and simply 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 the sad fate, his bride Parasha was not saved. The house where she lived was washed away, as if it had never existed. Evgeny goes crazy from despair. These are the main events of the poem, which, not coincidentally, has the subtitle “The Petersburg Tale.” Having carefully read the work, we see Eugene in two roles. Firstly, he is a specific hero, with his own experiences and biography, to which Pushkin does not pay much attention, but still one fact related to his family history takes place: Pushkin hints that Evgeny 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 It sounded in native legends; But now it is forgotten by light and rumor. Only this fact sets him apart from the general mass of the population of St. Petersburg. In general, Evgeniy is every resident of the city; his life is like two drops of water similar to the lives 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, quiet life: Perhaps a year or two will pass - I’ll get a place - To Parasha I will entrust our household and the upbringing of the children... And we will live, and so we will both reach the grave Hand in hand, And our grandchildren will bury us... The dream is the most ordinary. Therefore, Eugene, with all his independent features and biographical facts, should be classified as a 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, which overflowed its 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, part of itself, is tearing the city apart from the inside, breaking out of its granite shackles. Petersburg, at the beginning of the work creating the impression of a somewhat mythical and even mysterious city, subsequently reveals its essence, the river lifts all the dirt from its bottom, carrying “coffins from a washed-out cemetery” through the streets. After the flood, the “sovereign” city reveals another side of itself - indifference, coldness towards its residents. In the image of St. Petersburg, both “evil children” appear, throwing stones at the mad Eugene, and coachmen lashing him with whips. The state has enormous power, and its symbol is the statue of Peter I. On horseback, the Bronze Horseman climbs onto a block of stone and extends his hand, protecting the city and at the same time asserting his power and authority. Against the backdrop of such power, people seem like 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 doll 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, dissatisfaction expressed to the monument is tantamount to an accusation thrown in the face of the emperor. “Welcome, miraculous builder! - He whispered, trembling angrily, - Too bad for you! Such a conflict cannot end with a determination of which of them - Eugene (one of the characteristic representatives of the “little” people) or the Bronze Horseman (who represents state power) - will be the winner and who will be the defeated. There is fundamentally no answer to such a question, which is what Pushkin shows: the chase ends in nothing, it is meaningless and ineffective. By this the poet wanted to say that the confrontation between man and power will never stop; he repeatedly developed this theme in other works. His point of view is this: the conflict will exist, each side is confident that it is right, but at the same time, both of them are mistaken 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 state interests, about the fate of Russia; undoubtedly, this is important, but this is like a bird’s eye view, which does not take into account the simple, everyday interests of all people and each individual. At first glance, the state is stronger than man, its authority is unshakable (after his “threat” Evgeniy, passing by the monument, shrinks in fear every time), but using the example of Peter I, who was unable to bind people with an “iron bridle” (or rather, his statue ), it is clearly noticeable how a person, with the power of his heart and memory, evokes the terrible, but powerless anger of the “idol”. Conflict in A. S. Pushkin’s poem “The Bronze Horseman” In 1833, the poet turned 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 between the glorious monarch and the pitiful, but in his own right, Eugene. Pushkin outlines the conclusion: the very nature of the autocratic state, and not the cruel character of the tsar, is the reason that the interests of the common man have to be neglected. The work, which is small in volume, is distinguished by its thoughtfulness and harmonious composition. The exhibition depicts the era of Peter. The poet gives a historical justification for the monarch's plan: Here on the new waves All the flags will visit us, And we will lock them in the open air. The king does not appear as a character anymore in the poem. He “erected an immortal monument to himself” - St. Petersburg, the apotheosis of which the entire second part sounds like. The first is devoted to a description of the flood that befell the city on November 7, 1824. The king himself is powerless in the face of the elements: He went out onto the balcony, sad and confused, And said: “With God's elements. Kings cannot control.” He sat down and in thought with sorrowful eyes looked at the evil disaster. Evgeniy, a small worker of St. Petersburg, a descendant of a once noble but impoverished noble family, “cannot cope” with the Neva. Before us is a poor man who has not remembered his “deceased relatives” for a long time. He knows that only through labor can he “give himself both independence and honor,” he understands “that God could add intelligence and money to him.” Evgeniy doesn’t ask much from fate: “Perhaps a year or two will pass, and I’ll get a place. To Parasha I will entrust our family and the upbringing of the children...” The hero’s ideal of life is simple and modest, like himself. However, the flood takes away the only happiness from life, Parasha. Evgeniy is looking for the culprit of the tragic fate. The victorious Bronze Horseman (monument to Peter I by Falconet) personifies the one who caused the poor man’s misfortune. Mad Eugene shouts to the Tsar with insolence: “Welcome, miraculous builder! “He whispered, trembling angrily, “Too bad for you!” This episode is the culmination of the poem. It is noteworthy that the Bronze Horseman comes into conflict not only with our hero. “Finnish waves” disturb “Peter’s eternal sleep.” Both the elements and a grief-stricken person have common features, which include the meaninglessness of rebellion against the cause of Peter. It is interesting that the epithet “mad” is often used by Pushkin to describe Evgeniy. The poet apparently wants to show that both the rebellion of nature and the rebellion of man are vain and useless. The “brazen riot” of the Neva crashed against the granite of Peter’s brainchild. Petersburg remained unshakable. The poet seems to call on the forces of nature to submit to the will of man: Let the Finnish waves forget their enmity and captivity and not disturb Peter’s eternal sleep with vain malice! Evgeniy’s protest is also meaningless. However, the poet poses another problem - the problem of just rebellion, the right of a poor person to happiness. His rage is insane because it is unfair. The hero hates the work of Peter, opposes his actions, which the poet glorifies in the introduction. The scene of Eugene's flight, when a revived horseman pursues him, confirms the injustice of the riot. Having uttered his words: “Too bad for you!..” - he feels their blasphemy. Confusion, conveyed by the word “suddenly” (“And, frightened, suddenly set off headlong”), covers the soul of the indignant hero. The king’s face (Eugene’s vision) lights up with a feeling of just anger: It seemed to Him that the formidable king, Instantly ignited with anger, His face quietly turned... The hero realizes the injustice of his evil threat, because a guilty person can feel “embarrassed”. Since then, whenever Evgeny 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 unfair protest. Therefore, the poet is unable to blame the common man; he admits that he is right. According to A.S. Pushkin, when solving public affairs, it is impossible to sacrifice individual people or neglect them. Therefore, the last lines are imbued with great melancholy: At the threshold They found my madman, And buried his same cold corpse 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 the other side of the tsar’s transformations, carried out by barbaric methods. The conflict between the individual and the state in the poem The Bronze Horseman (2nd option) At all times, the relationship between the individual and the authorities has worried people. Sophocles was one of the first to raise the topic of conflict between the individual and the state in literature back in the 5th century BC. This conflict was inevitable, this problem remained relevant in the 19th century, during the time of Pushkin, and it is still 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 current reader can see in it predictions that have come true in contemporary history. The conflict between the state and the individual still occurs today. As before, the individual risks his freedom and life, and the state, its authority. The poem begins with a wonderful picture of St. Petersburg, presented to the reader as “midnight lands of beauty and wonder.” Petersburg appears completely different to us in the poem “The Bronze Horseman,” written by Pushkin in 1833. This is the capital of a strong European state, brilliant, rich, magnificent, but cold and hostile for the “little man”. The sight of an incredible city, which, by human will, stood “on the banks of the Neva” is amazing. It seems that it is full of harmony and high, almost divine, meaning. Nevertheless, it was built by people who carried out human will. This man, to whose will millions are obedient, who embodied the idea of the state, is Peter. Undoubtedly, Pushkin treats Peter as a great man. That is why, in the first lines of the poem, he appears as such. Having squeezed out the meager nature, dressed the banks of the Neva in granite, creating a city that has never existed before, it is truly majestic. But Peter here is also a creator, and therefore a man. Peter stands on the shore of “full of 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, creating a fairy-tale city from scratch with his sovereign will, on the other hand, he is a man, a creator. But, having once appeared like this at the beginning of the poem, Peter will later be completely different. At the time when the action of the poem takes place, Peter’s human essence already becomes the property of history. What remains is 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, are all united in copper. A sonorous, but dull and greenish metal, very suitable for a “state horseman”. In contrast, Evgeny is a living person. He is the complete antithesis of Peter in everything else. Evgeniy did not build cities; he can be called a philistine. He “does not remember his kinship,” although his surname, as the author clarifies, is one of the noble ones. Evgeniy’s plans are simple: “Well, I’m young and healthy, I’m ready to work day and night, I’ll somehow arrange for myself a humble and simple shelter, and in it I’ll calm Parasha…”. To explain the essence of the conflict in the poem, it is necessary to talk about its third main character, the elements. Peter's force of will, which created the city, was not only a creative act, but also an act of violence. And this violence, having changed in a historical perspective, now, in the time of Eugene, returns in the form of a riot of elements. You can even see the opposite contrast between the images of Peter and the elements. Just as motionless, although majestic, Peter is, so unbridled and mobile is the element. An element that, ultimately, he himself gave birth to. Thus, Peter, as a generalized image, is opposed by the elements, and specifically by Eugene. It would seem, how can an insignificant man in the street even be compared with the bulk of a 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 his metamorphoses do not stop there. A beautiful, magnificent horseman reveals the ability to become something that most closely resembles a watchdog. After all, it is in this capacity that he chases Eugene around the city. Evgeniy is also changing. From an indifferent philistine he turns into a frightened philistine (the riot of the elements!), and then desperate courage comes to him, allowing him to shout: “Already for you!” This is how two personalities meet in conflict (for now Evgeniy is also a personality), each having gone their own way to it. The first result of the conflict is Eugene's insanity. But is this madness? Perhaps we can say that there are truths, the full meaning of which cannot be sustained by the weak human mind. The great emperor, like a watchdog chasing after 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, merciless 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 disturbing warning. The destruction in the city is enormous. The number of victims is high. Nothing can withstand the elements of flooding. The copper horseman itself stands, washed by muddy waves. He is also powerless to stop their onslaught. All this suggests that any violence inevitably entails retribution. The strong -willed, forcibly, Peter approved a city among wildlife, which will always be attacked by the elements. And who knows whether Eugene will become, so in vain and in passing the ruined, a small drop of anger, the gigantic wave of which will once sweep a copper idol? It is impossible for a state that endlessly suppresses subjects in the name of its goals. They, subjects, are more important and primary than the state itself. Figuratively speaking, “their ancient and captivity of their old” Finnish waves will forget when Eugene, for happiness with his parash, will not need a nobody of allowing. Otherwise, the element of a folk rebellion, no less terrible than the element of floods, will accomplish its court, without analyzing the right and guilty. Such, in my opinion, is the essence of the conflict between man and the state. There are a number of common opinions regarding the main idea of the poem “Copper Horseman”. V. G. Belinsky, who claimed that the main idea of the poem is the celebration of “General over the private”, with the obvious sympathy of the author to “suffer from this particular,” was obviously right. A.S. Pushkin sings the anthem of the capital of the Russian state: I love you, Petra Creation, I love your strict, slender species, Neva Holding, its coastal granite, your fences are cast -iron ... “Puffy, proud” ascended from the darkness of forests and wounded blat “The city has become the heart of a powerful state: Beching, a city of Petrov, and it is unshakable, like Russia.
The conflict between the individual and the state in the poem by A.S. Pushkin “The Bronze Horseman” (Pushkin A. S.)
The conflict between the individual and the state is central to the poem by A.S. Pushkin "The Bronze Horseman". The author tries to answer the question, what is more important: the happiness of the “little man” or progress, the development of society? Pushkin could not give an unambiguous answer to this question, and this was reflected in the artistic features of the poem.
The most striking artistic feature is the plot of the work.
In the exhibition, the reader is presented with a detailed description of the main character of the poem. Evgeny is a “little man” and the complete opposite of his namesake Eugene Onegin. The reader learns that he is not rich, “lives in Kolomna, serves somewhere” and wants little from life. Evgeniy dreams of simple human happiness: to get a “place”, marry his beloved Parasha, have children and peacefully while away his life. It would seem that what could prevent the fulfillment of such simple desires? But a person is not free to control his destiny when the elements come into play.
