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lyrical digression- an extra-plot element of the work: the author’s direct reasoning, reflection, statement, expressing an attitude towards the depicted or having an indirect relation to it (lyrical digressions in Eugene Onegin by A.S. Pushkin). Intentional... ... Dictionary of literary terms
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I. Introduction. Lyrical digression as an extra-plot element.
II. Types of lyrical digressions.
1. The role of lyrical digressions in the novel by A.S. Pushkin "Evgeniy"
2. The role of lyrical digressions in the composition of N.V.’s poem. Gogol
« Dead Souls».
I. Lyrical digression as an extra-plot element.
My essay is called “Lyrical digression in Russian literature”; I chose this topic because the author’s statements, although they are an extra-plot element, are very important for understanding the idea of the work.
Lyrical digressions allow, to address readers from the pages of a story or novel directly, and not on behalf of any of acting characters. With the help of author's digressions, writers and poets seem to lift the veil over their thoughts and feelings, forcing us to think about such enduring values as love for the motherland, for people, respect, kindness, courage and self-sacrifice.
A lyrical digression is the author’s expression of feelings and thoughts in connection with the image in the work. For example, at the end of the first volume
“Dead Souls” by N.V. Gogol, having mentioned that Chichikov loved driving fast, interrupts the narration, pauses the development of the plot and begins to express his thoughts about Russia, which he represents in the form of a fast-moving troika. This digression forces the reader to take a fresh look at the novel, to delve deeper into ideological plan author. Invading the work, the writer violates the unity of the figurative picture, slows down the development of the action, but a lyrical digression naturally enters into the work, since they arise in connection with what is depicted in it, imbued with the same feeling as artistic images. Their content is determined by the same views of the author as the artistic depiction.
Lyrical digressions are widespread in literature, including modern literature. They matter no less than the main text of the work.
Lyrical digressions can take a very long time great place in the work. These are the digressions in “Eugene Onegin” by A.S. Pushkin (only in Chapter I - digressions about the theater, youth, creativity, the plan of the novel, and others). These digressions, varied in topics and rich in content, contribute to the breadth of coverage of reality, making Pushkin’s novel in verse, according to Belinsky, a true “encyclopedia of Russian life.”
Lyrical digressions begin to play a leading role, and the reader’s main attention is directed to the feelings and thoughts of the great poet. In contrast to the life of the “lyrical man,” the digressions gradually reveal the fullness of the life of a person—a creator. In the same way in the poem “Don
Juan” by J. Byron, it is in the lyrical digressions that the most important theme for the work unfolds, the need to fight for freedom against tyranny and oppression.
The lyrical digressions in the poems of A.T. are filled with deep philosophical and journalistic content. Tvardovsky, O.F. Berggalts, E.A. Yevtushenko and other poets of the 20th century. In some cases, the literary digressions themselves constitute an entire poem (“Poem without a Hero” by A.A Akhmatova, 40 lyrical digressions from the poem “Triangular Pear” by A.A Voznesensky).
Lyrical digressions give the author the opportunity to directly address the reader. Their excitement and thoughtfulness have a special power of persuasion. At the same time, the lyricism of the digressions does not mean that writers are isolated in the world of their own “I”; they convey thoughts, feelings, and moods that are important for everyone. Generally significant content is expressed in them usually on behalf of the narrator or lyrical hero, embodying the typical position of a contemporary, his views and feelings. It is enough to recall the digressions in “Eugene Onegin” to be convinced that their themes are much broader than intimate, personal, love experiences. Lyrical digressions are often journalistic, expressing the author’s active civic position and the connection of his work with modern socio-political life.
II. Types of lyrical digressions, examined using the example of the novel by A.S.
Pushkin "Eugene Onegin".
Lyrical digressions can be divided into several groups:
Author's digressions. (Memories of youthful love in the first chapter, adjacent to a playful and ironic discussion about “legs”. Memories of the Moscow “beauty” in chapter 7 ( collective image). Biographical references at the beginning and end of Chapter 8. Digressions on the revaluation of romantic values in “Excerpts from Onegin’s Journey”).
Critical and journalistic digressions (conversation with the reader about literary examples, styles, genres). The poet comments on his novel as he writes it and, as it were, shares with the reader his thoughts on how best to write it. The general semantic dominant of these digressions is the idea of searching for a new style, a new manner of writing, offering greater objectivity and concreteness in the depiction of life (later this became known as realism).
Conversations on everyday topics (“a novel requires chatting”). We are talking about love, family, marriage, modern tastes and fashions, friendship, education, etc. Here the poet can appear in a variety of guises (literary masks): we see either a convinced epicurean (mocking the boredom of life), or a Byronic hero, disillusioned with life, or a feuilletonist of everyday life, or a peaceful landowner accustomed to living in the countryside.
The image of the lyrical (as always in Pushkin), on the one hand, is kaleidoscopic and changeable, on the other, it remains holistic and harmoniously complete. Landscape digressions are also included in the lyrical digressions. Usually nature is depicted through the prism of the poet’s lyrical perception, his inner world, and mood. At the same time, some landscapes are shown through the eyes of the characters (“Tatyana saw through the window...”).
Digressions on a civil topic - about the heroic Moscow of 1812.
Some digressions are of a “mixed” type (they include autobiographical, critical-journalistic, and everyday-aphoristic elements.
1. The role of lyrical digressions in the novel by A.S. Pushkin "Eugene Onegin".
Experts count twenty-seven lyrical digressions and fifty different types of lyrical insertions in Pushkin’s novel “Eugene Onegin”.
Some of them occupy only one line. His enemies, his friends
(this may be the same thing). It was cleaned this way and that. Others are very extensive, and if they are combined, they form two independent chapters in volume.
“Now I’m not writing a novel, but a novel in verse - a devilish difference,” A.S. reported. Pushkin about the beginning of work on “Eugene Onegin”, emphasizing its unconventionality. Poetic speech presupposes a certain authorial freedom, which is why in the eighth chapter the author calls his novel in verse
"free".
Liberty Pushkin's work- this is, first of all, a relaxed conversation between the author and readers, an expression of the author’s “I”. Such a free form of narration allowed Pushkin to recreate historical picture contemporary society, in the words of V.G. Belinsky, write
"Encyclopedia of Russian life".
One of the most important topics The author's digression in “Eugene Onegin” is the depiction of nature. Throughout the entire novel, the reader experiences both winter with cheerful games of children and ice skating on the “neater than fashionable parquet” ice, and spring – “the time of love.” Pushkin paints a quiet “northern” summer,
“a caricature of southern winters,” and undoubtedly, he does not ignore his beloved autumn.
The landscape exists in the novel along with the characters, which allows the author to characterize them inner world through relationships with nature.
Emphasizing Tatyana’s spiritual closeness with nature, the author highly appreciates moral qualities heroines. Sometimes the landscape appears to the reader as Tatyana sees it: “... she loved to warn the sunrise on the balcony,” “... through the window Tatyana saw the white courtyard in the morning.”
It is impossible not to note the author’s descriptions of the life and customs of society of that time. The reader learns about how secular youth were brought up and spent their time; albums of county young ladies even open before him.
The author's opinion about balls and fashion attracts attention with the sharpness of his observation.
What brilliant lines are dedicated to the theater. Playwrights, actors... It’s as if we ourselves find ourselves in this “magical land”, where Fonvizin, a friend of freedom, and the fickle Princess shone, “we see flying like fluff from the lips of Aeolus,”
Istomin.
Some lyrical digressions in the novel are directly autobiographical in nature. This gives us the right to say that the novel is the story of the personality of the poet himself, a creative, thinking, extraordinary personality.
Pushkin is both the creator of the novel and its hero.
“Eugene Onegin” was written by Alexander Sergeevich over seven years in different times, under different circumstances. The poetic lines describe the poet’s memories of the days “when in the gardens of the Lyceum” people began to approach him.
“the Muse appears”, about forced exile (“will the hour of my freedom come?”).
The poet ends his work with sad and bright words about past days and departed friends: “Some are no longer there, and those are far away...”
As if with close people, Pushkin shares with us, readers, reflections on life:
He who lived and thought cannot
Do not despise people in your heart... or:
But it's sad to think that it's in vain
We were given youth...
The poet is concerned about his poetic fate and the fate of his creation:
Perhaps it won't drown in Lethe
A stanza composed by me;
Perhaps (a flattering hope!)
The future ignorant will point out
To my illustrious portrait
And he says: that was the Poet!
Alexander’s literary preferences were also expressed in lyrical digressions
Sergeevich, his creative position, realized in the novel:
…I’ll just tell you about it
Traditions of the Russian family,
Love's captivating dreams
Yes, the morals of our side.
Friendship, nobility, devotion, love are qualities highly valued
Pushkin. However, life confronted the poet not only with the best manifestations of these moral values, which is why the following lines arose:
Whom to love? Who to believe?
The heroes of the novel are like “good friends” of its creator: “I love you so much.”
My dear Tatiana”, “Eugene was more bearable than many”, “...I sincerely love my hero.” The author does not hide his affection for the characters and emphasizes his difference with Onegin, so that the “mocking reader” does not reproach him for “messing up” his portrait. It is difficult to agree with Pushkin. His image lives on the pages of the novel not only in its characters.
The poet speaks to us in lines of lyrical digressions, and we, his descendants, have a unique opportunity to talk with Pushkin through the centuries.
Alexander Sergeevich put his mind, his powers of observation, life and literary experience, my knowledge of people and Russia. He put his soul into it. And in the novel, perhaps more than in his other works, the growth of his soul is visible. As A. Blok said, the writer’s creations are “the external results of the underground growth of the soul.” To Pushkin, to his novel in verse
“Eugene Onegin” applies this to the fullest extent.
2. The role of lyrical digressions in the composition of N.V.’s poem. Gogol "Dead Souls".
With each word of the poem the reader can say:
“The Russian spirit is here, it smells like Russia!”
This Russian spirit is felt in humor, and in irony, and in the expression of the author, and in the sweeping power of feelings, and in the lyricism of digressions...
V.G. Belinsky.
I know: if I now open “Dead Souls” at random, the volume will usually open on page 231...
"Rus! What do you want from me? What incomprehensible connection lies between us? Why are you looking like that, and why did everything in you turn its eyes full of expectation to me?... And still, full of bewilderment, I stand motionless, and a menacing cloud, heavy with the coming rains, has already overshadowed my head, and my thoughts are numb in front of your space. What does this vast expanse prophesy? Isn’t it here, in you, that a boundless thought will be born, when you yourself are endless? Shouldn't a hero be here when there is a place for him to turn around and walk? And the mighty space envelops me menacingly, with terrible force reflected in my depths, my eyes lit up with unnatural power: Ooh! What a sparkling, wonderful, unfamiliar land! Rus!"
This is a favorite. Read and re-read a hundred times. Therefore, the volume always opens on its own on page 231...
Why this? Why not this: “Eh, three!...” Or: “God, how good you are sometimes, long, long way!” Or... No, it’s still this. Here he is,
Gogol, embraced by the “mighty space” of Rus', which was reflected in its depth with “terrible power”... And what depth did the immortal writer give to the words that reflected all his “sparkling, wonderful, unfamiliar distance to the earth”... This is that “incomprehensible connection "between talent and the land that raised this talent.
"IN " Dead souls“everywhere his subjectivity is felt and tangibly revealed... which in the artist reveals a person with a warm heart... which does not allow him with apathetic indifference to be alien to the world, or to the depicted, but forces him to conduct living phenomena through his soul outside world, and through this I breathe life into them... the predominance of subjectivity, penetrating and animating Gogol’s entire poem, reaches high lyrical pathos and covers the reader’s soul with refreshing waves”... (V.G. Belinsky).
Reading the lyrical digressions (and not only them, but the entire poem) for the first time, without knowing the name of the author, you can confidently say: “Wrote by a Russian.” What precise expressions, the very construction of phrases, deep and extensive knowledge of the earth, what a writer! Truly Russian (smooth, slightly sad, rich in the most subtle shades of mood) poetry. You have to be a poet like Gogol was to write such a poem in prose! In “Dead Souls” Gogol became “a Russian national poet in the entire space of this word” (V.G. Belinsky)
Poet? Poem? Yes. Poet. And a poem. It was not for nothing that Gogol called his brainchild a poem. Neither in a story, nor in a novel, nor in a novel can the author so freely intrude his “I” into the course of the narrative.
Digressions in "Dead Souls" represent great value. They are valuable for their highly artistic quality, the extreme self-expression of the author, and their relevance in a particular context.
Gogol ironically talks about “fat” and “thin” representatives of the nobility, about “gentlemen big hands” and “gentlemen of the middle class,” speaks of the Russian word and Russian song. All this is subtly and skillfully woven into the plot of the work.
Let us remember the beginning of the sixth chapter: “Before, long ago, in the years of my youth...”
Let us remember: “...Oh my youth! Oh my freshness! And a few pages later, “Near one of the buildings, Chichikov soon noticed some kind of figure... The dress she was wearing was modern, indefinable, very similar to a woman’s hood, on her head was a cap, the kind worn by village courtyard women, only one voice seemed to him somewhat hoarse for a woman.” . This is Plyushkin! Well, this one looks bad
“a hole in humanity” against the backdrop of such a lyrical break!
And between two beautiful digressions (“Rus! Rus'! I see you...” and
“How strange, and alluring, and carrying, and wonderful is the word: road!”), which at the beginning of the eleventh chapter sounds with a nightmarish dissonance: “Hold, hold, you fool!” - Chichikov shouted to Selifan. “Here I am with your broadsword! - shouted a courier galloping towards him with a mustache as long as an arshin - “Don’t you see, damn your soul: it’s a government carriage!”
The vulgarity, emptiness, baseness of life emerge even more clearly against the background of sublime lyrical lines. This technique of contrast was used by Gogol with great skill. Thanks to such a sharp contrast, we better understood the vile traits of the heroes of Dead Souls.
This is the role of lyrical digressions in the composition of the poem.
But the most important thing is that many of the author’s views on art and relationships between people are expressed in lyrical digressions. From these short passages you can get so much warmth, so much love for your native people and everything created by them, so much smart and necessary things that you can’t get out of some multi-volume novels.
Gogol brought to the pages of our books “all the terrible, amazing mud of little things, all the depth of everyday characters...”. Gogol, strong with the power of an uncontrollable mind, exposed the boring, vulgar little things of life in a prominent and bright way for the whole people to see and ridiculed them properly.
And here is the road. The way Gogol paints it: “Clear day, autumn leaves, cold air... tighter in your travel overcoat, a hat on your ears, snuggle closer and more comfortably to your mind... God! How good you are sometimes, long, distant road! How many times, like someone dying and drowning, have I grabbed onto you, and each time you generously carried me out and saved me! And how many wonderful ideas, poetic dreams were born in you, how many wondrous impressions were felt...” Honestly, I just want to get ready and hit the road.
But now they travel a little differently: by train, plane, car.
Steppes, forests, cities, stops, and clouds sparkling under the sun would only flash before our eyes. Our country is wide, there is something to see!
“Isn’t that right for you, Rus', that you’re rushing along like a brisk, unstoppable troika?...”
Rus' is rushing, forever moving towards the better. She is already beautiful, Rus', but is there a limit to the best, is there a limit to the human dream? And is this “distance unknown to the earth” familiar to us now? Familiar in many ways. But she still has a lot ahead of her, which we will never see.
It is impossible to analyze each lyrical digression separately, it is impossible to evaluate each passage: in “Dead Souls” there are many large and terse author’s digressions, assessments, comments, each of which requires and deserves special attention. They cover many topics. But the common thing is that from each digression we see one of the features of a writer dear to our memory, as a result of which we get the opportunity to draw the image of a true humanist, a patriotic writer.
3. Historiosophy L.N. Tolstoy in the novel "War and Peace".
In the novel “War and Peace” L.N. Tolstoy appears before the reader not only as an original, brilliant writer, stylist and artist. His original historical views and ideas occupy an important place in the plot.
In philosophical digressions and chapters of L.N. Tolstoy will repeat more than once the idea that historical events take place only because they should happen, and that the more we try to rationally explain historical phenomena, the more incomprehensible they become to us. To explain the phenomena of history, it is necessary to penetrate into the essence of the connection between a person and an event, and for this it is necessary to know “the history of all, without one exception, all people taking part in the event,” because all people spontaneously participate in the socio-historical process and, therefore, unconsciously making history.
And since it is not possible to do this, we inevitably have to admit fatalism in history.
So, there are “two sides of life in every person: personal life, the more abstract its interests, and spontaneous, swarm life, where a person inevitably fulfills the laws prescribed to him.” In other words: “Man consciously lives for himself, but serves as an unconscious instrument for achieving historical, social goals.” So L.N. Tolstoy defines the boundaries of human freedom and independence, the area of his conscious activity and the area of necessity in which the will of providence reigns. This leads to a solution to the question of the role of personality in history. The general formula, often repeated in different ways by the author of War and Peace, sounds like this: “... one only has to delve into the essence of each historical event, that is, into the activities of the entire mass of people who participated in the event, in order to be convinced that the will historical hero not only does she not direct the actions of the masses, but she herself constantly led..." Role outstanding personality insignificant in history. No matter how brilliant a person is, he cannot at will direct the movement of history, dictate his will to it, predetermine the movement of history and control the actions of a huge mass of people living a spontaneous, swarm life.
History is made by people, the masses, the people, and not by a person who has risen above the people and taken upon himself the right to arbitrarily predict the direction of events. Tolstoy writes: “Fanaticism for a person is the same nonsense as arbitrariness in historical events.”
It follows from this that Tolstoy completely denied any role of man in history and that he reduced it to zero. He recognizes the right and even the obligation of every person to act within the boundaries of the possible, to consciously intervene in ongoing historical events. One of the people who, taking advantage of “every moment of freedom,” not only directly participates in events, but is also gifted with the ability, instinct and intelligence to penetrate the course of events and grasp and comprehend them general meaning; whoever is united with the people deserves the name of a truly great man, a genius personality. There are only a few of them. Kutuzov belongs to them, and his antipode is Napoleon.
We can rightfully call M. Sholokhov a chronicler Soviet era, its researcher, singer. He created a whole gallery of images that, by the power of their expressiveness and artistic value stood on a par with the most remarkable images of advanced literature.
« Quiet Don"- a novel about the fate of the people at a turning point. This is the author’s fundamental point of view on the revolution and civil war.
Showing the destinies, characters, quests and aspirations of his heroes, the writer constantly addresses the Don as a living being: “Oh, you, our father, the quiet Don!” - this is how the Cossacks address themselves in their songs great river. Novel
“Quiet Don” is dedicated to the fate of the Russian Cossacks.
Giving deep artistic analysis way of life, customs and morals of the Don Cossacks, the writer could not help but draw attention to the close connection between their life as farmers and the life of nature. The life of the cultivators is measured, somewhat reminiscent of the flow of a river: water flows - time passes, simple events of Cossack life replace one another - plowing, sowing, mowing, harvesting. And here, on the field, Gregory, after hard work, reflects: “Don! Don is ours! Quiet Don!
The steppe is mother, Don is father, breadwinner.” Wherever the Don Cossack wanders, upon his return he will be greeted by the Father Don, still full of water and quiet...”
But the calm, measured life of the Cossack ended and a war began, which claimed many lives. The economical Panteley Prokofievich works both at home and in the field alone. He is accompanying his sons to the war, it is very difficult for him. The war deprived him of his zeal for work, ruined him, took away his eldest son, and passed over his life like a storm over a plot of wheat. And again he looks sadly at the wheat field: “After the storm, the wheat rises and flaunts over the sun, its ears burn with fire, the land is rich and full.”
Tracing the difficult fate of the main character of the novel, Grigory Melekhov, the writer repeatedly compares him with the strong and mighty Don, his soul with the wide Don steppe, and sometimes showing him alone, like “the moon in the night sky.”
In the novel "Quiet Don" Sholokhov combines an epic depiction of great historical events with an amazing lyricism of the narrative, the transfer of the most subtle personal experiences of people, the revelation of their innermost feelings and thoughts. The author of “Quiet Don” showed us great people, workers who know how to stand up for the honor of their Motherland.
Sholokhov argues that history is made by their hands. Unlike N.V. Gogol, glorifying Rus' (the whole country) in the poem “Dead Souls”,
M.A. Sholokhov in his author’s digressions refers mainly to small homeland, but both writers are unanimous on one thing - you need to love her for who she is.
III. Conclusion. The meaning of lyrical digressions in literature.
The “abundance” of lyrical digressions in such important, perhaps central works writers - Pushkin, Gogol, Tolstoy and Sholokhov is explained by many general features, and some differences.
Thus, the possibility of lyrical digressions was stated by both Pushkin and Gogol in the genre. A.S. Pushkin especially emphasizes the combination of epic and lyrical genres. His novel in verse is not only a story about the lives of the heroes, but also lyrical work, filled with the author's individuality.
The same thing happens in the prose “poem” (this is how Gogol defines his creation) “Dead Souls”. After all, in fact, this is not only the story of Chichikov’s adventure, but a song about Russia, Gogol’s deeply personal thoughts and experiences.
Lyrical digressions serve to expand artistic space, creating the integrity of the image: from everyday details of generalization to large-scale, filled philosophical content images
Bibliography.
1. Alekseev M.P. "Pushkin and world literature" – I., 1987 – 683 p.
2. Veresaev V.V. "Pushkin's Companions". Volume 1, 2, Moscow, 1993.
3. Voevodin V. “The Tale of Pushkin”, Leningrad, 1955.
4. Newspaper “Literature” No. 35, 1999.
5. Hertz A. (A. Sinyavsky) “Walking with Pushkin”, St. Petersburg, 1993.
6. Gogol N.V. "Dead Souls", M. " Fiction", 1979.
7. Ivanov V.A. Pushkin and his time - M, 1977 - 480 p.
8. Pushkin A.S. Works in three volumes. Volume 2, Moscow, 1986.
9. Russian literary criticism 1860s, Moscow, “Enlightenment” 1984.
10. Tolstoy A.N. “War and Peace”, St. Petersburg, 1993.
11. Sholokhov M.A. “Quiet Don”, Moscow, 1987.
12. Electronic encyclopedia “Around the World”.
13. encyclopedic Dictionary young literary critic, Moscow, “Enlightenment”
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(336 words) Some readers think that the lyrical digressions in the novel “Eugene Onegin” are just a manifestation of the author’s desire to express his opinion on pressing issues. However, in fact, they have a number of important functions, which I will try to describe in the following paragraphs.
Firstly, lyrical digressions play a compositional role. The author sometimes interrupts the story about the characters when no significant events occur in their lives. These breaks in the plot are filled with lyrical digressions and landscape sketches. For example, between Tatiana’s explanation with Onegin and the meeting at the name day, about six months pass. Pushkin skips this period of time and connects the episodes through his reasoning. Secondly, with the help of such digressions the image of the author is created. For example, when he comments
Tatiana's letter then protects her from sanctimonious views. He explains to the reader that the heroine’s action is not motivated by immorality, but, on the contrary, by purity of feeling. This speaks of Alexander Sergeevich’s humanism, of his ability to understand other people’s experiences and not submit to secular conventions. In the seventh chapter we see lines dedicated to Moscow. They express the patriotic feelings of the author. He is proud of her, because she did not submit to Napoleon. In lyrical digressions, the poet also talks about his own work, here his ability for self-irony is manifested:
Or after a boring lunch
A neighbor wandered into my place,
Having caught him unexpectedly on the floor,
Soul tragedy in the corner...
Thirdly, in lyrical digressions an image of the era is created. The novel contains Pushkin’s discussion about the upbringing and education of noble youth: “We all learned a little, Something and somehow.” In addition, the author talks about the theater of his time. We can find out that plays by Fonvizin and Knyazhnin were staged, that Didelot was a famous ballet director, and that the ballerina Istomina, who had beauty and talent, was very popular. The poet also touches on the problem of the development of the Russian language, which was actively discussed in society in his time. The struggle was between the views of Karamzin and Shishkov. Karamzin's followers believed that it was necessary to borrow vocabulary from European languages, and Shishkov’s supporters opposed this. Pushkin believed that it was possible to use foreign words if there were no corresponding Russian words: “But trousers, a tailcoat, a vest - All these words are not in Russian.”
Thus, lyrical digressions form the composition of the novel, express the image of the author and provide comprehensive information about the place and time of action in the work.
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Often, when reading works, you can encounter a special style of narration: the authors seem to be distracted from the main plot, action, flaunting their personal thoughts, experiences, memories, or directly addressing the reader himself. This literary device is called a lyrical digression.
If we give this concept exact value, then it will sound like this: a lyrical digression is a compositional and stylistic element of a work, which represents the reasoning, thoughts or expression of the writer’s feelings, which reflect his direct (or indirect) attitude to the plot itself.
Types of lyrical digressions
Lyrical digressions are usually divided into several groups:
- Copyright.
- Critical-journalistic.
- Digressions on everyday topics.
- The image of the lyrical.
- Digressions on civil topics.
- Mixed.
The author's digression, as a rule, contains a direct expression of the author's thoughts on what is happening. It is characterized by an abrupt break in the narrative, an unexpected transition to the writer’s comments about the actions committed by the characters, or his attitude to the ongoing events in the society of that time, descriptions of the era when the actions take place.
By including such a technique in his works, the author demonstrates freedom and non-subordination to the rules of sequential presentation, slows down all the actions taking place, and sets his own pace. Application of such literary device more typical for lyrical-romantic poems.
Vivid examples can be found in the poems of Byron, and.
The poem “Eugene Onegin” is almost entirely built on the alternation of the author’s digressions, for example, in the first chapter we read about the memories of the first love that comes in his youth, the author ironically talks about “legs”; Chapter 7 presents a collective image of the capital’s “beauty”. Chapter 8 begins with biographical notes from the author and ends with the same. And in “Excerpts from Onegin’s Travels,” Alexander Sergeevich discusses the rethinking of romantic values, their changeable and fickle nature.
Critical-journalistic digressions represent a kind of monologue addressed to the reader about styles and genres in literature. During the process of writing the work itself, the author makes his comments and shares his thoughts with us on how best to write it. The meaning of this retreat is the search for a new style, a manner of presenting events.
If we take literally the statement of A.S. himself. Pushkin that “a novel requires chatter,” then the next type of lyrical digression – conversations on everyday topics – precisely reflects the meaning of what was said. In such digressions, the focus is on discussions about family, love, children, marriage, friendship, fidelity, education, fashion, morals, etc. Often the author speaks out on such topics through the monologues of his characters.
The lyrical image includes digressions that reveal the inner world of the characters, their moods; these can also be landscape sketches.
Digressions on civil topics are devoted to the described historical events, relationships in society, social trends, etc.
The mixed type of lyrical digression contains a kind of mixture of the above types, or some facts from the author’s biography.
Lyrical digression is an integral and important part of the work. Through them, the author reveals the invisible, subtle world of his emotional experiences, feelings, thoughts, attitudes towards people, love, homeland, moral values, kindness.
Gives you the opportunity to penetrate into the depth of the work, understand its idea, design and, perhaps, take a fresh look at some life situations. This is the role of lyrical digressions.
Lyrical digression in literature
Lyrical digression in literature is quite widespread, both in classical and modern literature. Their value is no less than the main part of the work.
Lyrical digressions in the works of Russian authors are numerous; examples include Tolstoy’s novel “War and Peace”, Sholokhov’s “Quiet Don”, the poem “Poem without a Hero”, Voznesensky’s poem “Triangular Pear”, Gogol’s poem “Dead Souls” and others.
The role of lyrical digressions in the poem “Dead Souls” by N.V. Gogol
Lyrical digressions in “Dead Souls” are an integral part of the entire work; the author’s monologues occupy the lion’s share of the entire content. Thanks to this, we feel the presence of the author on every page. Reading the poem, in the course of events, we look forward to the author’s caustic, precise comments, his personal opinion, and assessment of actions. The author himself becomes a necessary guide, a silent interlocutor. At first, lyrical digressions concern only the heroes themselves, but as events develop, the topics become more numerous.
Talking about Manilov and Korobochka, the author stops his narration, fades into the background, allowing us to independently experience the created atmosphere of that life. The digression at the moment of the story about Korobochka appears before the reader with a comparison with a “sister from the society of aristocrats”, who is similar to the landowner-mistress, despite the change in her appearance.
An example of a lyrical digression in a poem of a slightly different nature, not at all related to the characters, is found at the conclusion of Chapter 5, where the author talks about the entire Russian people, about their power and strength. It may seem that there is absolutely no connection between this lyrical digression and the main events of the work, but it is they that carry the semantic load of the poem: real Russia- these are not nostrils, boxes and dogs for everyone, but whole people, powerful and irresistible.
Lyrical digressions are one of the stylistic devices, expressed by the author’s deviation from the plot of the work. This is the author's reflection related to what is written, direct or indirect. Digressions can be memories, the writer’s appeals to readers. Most often found in lyrical works.
What are they needed for?
The role of lyrical digressions is important, because they allow you to look at the work from a different angle, to see the ideological plan. With the help of them, the author seems to “slow down” the development of events in the narrative, which gives the reader the opportunity to think about important life values.
Lyrical digressions are also an opportunity for the author to directly communicate with readers, as if revealing his thoughts. This gives people the feeling that they were able to truly understand the work; the feeling that the writer shared something important with them.
Lyrical digressions are thoughts filled philosophical meaning, which help to prepare readers for a more serious perception of the work. Or they can reflect the author’s civic position and sound like a call to action. These reflections can be organically woven into the fabric of the work, because are directly related to the plot of the work itself.
Types of lyrical digressions
They are divided into several groups:
- author's - they can be written in the form of memories or discussions about values;
- critical-journalistic - the writer “comments” on the work with them, discussing how his creation could be written better;
- conversations on everyday topics - the writer can act in various roles, which may differ depending on his point of view;
- landscape - beautiful abstract descriptions of nature help the reader to better imagine the picture of what is being described;
- on a civil topic - author's statements about important historical events.
Digressions in "Eugene Onegin"
A lyrical digression in a novel is not just reflections on life, the writer, with the help this technique creates the impression that he is a direct participant in the events. Such reflections became a distinctive feature of the novel "Eugene Onegin". Topics of lyrical digressions in this work extensive:
- The love theme is one of the important foundations of the novel itself, and for the author it is vital. For the poet, life and love are inseparable.
- Discussions about freedom - the author's attitude towards it changed throughout the novel: at the beginning it is only the external side of life, and towards the end - freedom as a state of mind, independence from public opinion.
- About creativity - thanks to the poet’s thoughts about the creative component of the novel, the reader gets the feeling that he is a friend to Pushkin, who can appreciate his jokes, who can support any small talk.
- Reflections on life are discussions about the meaning, purpose of it, how it changes.
- Nature - the simplicity of the syllable reflects the simplicity of the nature of Russia. Most of these descriptions are given in the perception of Tatiana and the poet himself.
- Spiritual life of Russian society - theatrical performances, literature, art - this is all an integral part secular people, which included Evgeny Onegin. Therefore, the poet’s discussions on this topic are organically woven into the novel.
Lyrical digressions in "Dead Souls"
One more famous work, which uses this stylistic device, is the poem "Dead Souls". In these digressions, the writer reflects on Russia, what awaits it in the future, distinctive features Russian people. In “Dead Souls” they can be divided into two groups:
- lyrical digressions of a detailed plan, in which the author talks about Russia and its future;
- characterization of individual characteristics of the Russian people or character traits.
Deployed retreats
- About the power of the Russian word and how talented the Russian people are.
- A lyrical digression about youth and what the author’s perception was in teenage years, which opens the sixth chapter.
- Reasoning about the creative fate of the writer. In these digressions, the author expresses his views on creativity.
- About the author’s love for Rus' and its future - this digression in chapter 11 is perhaps the most famous of the entire poem. With the help of the description of the road and the flying troika, pictures of Russian nature are drawn. But the most important question for Gogol, what will happen to Russia in the future, remains unanswered. And so open ending makes the reader think for himself about the future of the Russian people.
Other digressions in the poem
Shorter reflections allow the reader to better imagine the image of the heroes of the poem, in which one can see the weaknesses of human character. In "Dead Souls" short lyrical digressions are the author's reflections on human nature, on the reasons for any actions of people. They are organically woven into the poem, making it even more expressive, and immerse the reader in the world of Chichikov and the landowners. These small digressions are not philosophical nature, and more reasoning on life topics and about creativity.
Analysis of the lyrical digression will make it possible to understand why the author introduced it in one place or another of the work. The reader can speculate on how natural and appropriate it is. Also, during a detailed analysis of the digression, you need to determine what topic it relates to. A lyrical digression is an opportunity for the author to become a real participant in the narrative and communicate with the reader. This technique allows you to understand the full depth of the creation, expand the boundaries of the narrative, so that the reader can see how multifaceted a literary creation can be.