Features of writing letters. Components of a letter. Student assignment

The historical drama of Alexander Sergeevich Pushkin “Boris Godunov” is one of the outstanding works of Russian classical literature. The work was created during exile in Mikhailovskoye under the influence of reading “The History of the Russian State” by Nikolai Mikhailovich Karamzin. The drama is written in imitation of the historical works of Shakespeare and mainly uses blank verse (that is, verse that does not rhyme, but with clearly defined meters).

Pushkin began work on his new work around November-December 1824, but soon he took a “break” and worked on one of the chapters of the novel in verse “Eugene Onegin”. During this time, he manages to write everything up to the scene in the cell of the Chudov Monastery. After about four or five months, he again resumed work on the drama and in the summer of 1825 he completed its first part. At this time, he writes a letter to his friend Vyazemsky, in which he characterizes his work as a “romantic tragedy.” Already on September 12 of the same year, the second part of the drama came out from his pen, and by November he created the third, final part of the tragedy.

The original title of the new work was supposed to be “Dramatic story, Comedy about the real misfortune of the Moscow state, about Tsar Boris and about Grishka Otrepiev,” and there were several options for such a “long” title, but having slightly reworked the concept and removing the division into parts, Pushkin changes the name to the simple “Boris Godunov.”

However, the story of the drama does not end there. In the autumn of 1826 in Moscow, Pushkin reads “Boris Godunov” to his friends. The head of the Third Department, the body of political investigation and censorship, A.H. Benckendorf, learns about this. The chief of the gendarme corps demands the manuscript of the work from the writer, after which Emperor Nicholas I personally reads it, known for his severity and hostility to any dissent. Political and social problems, which the tragedy touches and shows did not please him. The Emperor does not approve of the drama and does not allow it to be published in full; only small excerpts and some scenes were allowed for publication. In 1830, Pushkin again turned to Benckendorff with a request for permission to publish the entire “Boris Godunov”. He agrees, however, on the condition that the book will be censored, and some scenes will be completely cut out, and by the end of 1830, in December, the drama was published.

But during Alexander Sergeevich’s lifetime, “Boris Godunov” will never be staged on the theater stage. Despite the dream of the writer himself, this was hampered not only by strict censorship, which prohibited tragedy from being presented on stage until 1866, but also by the fact that the majority considered drama to be simply “unstageable.” Only almost forty years after publication, on September 17, 1870, with large cuts and censorship exceptions, the legendary “Boris Godunov” was first performed on the stage of the Mariinsky Theater by artists of the Alexandrinsky Theater.

Option 2

His famous play A.S. Pushkin wrote while in yet another exile in the village of Mikhailovskoye. The writer got the idea for the work while studying Karamzin’s “History of the Russian State.” Inspired by history, Pushkin decides to create his own work within the framework of a theme that would reflect his point of view on many social issues.

The format of the work is similar to Shakespeare's historical cycles. The tragedy itself is written in blank verse with inserted prose fragments. This construction distinguishes the play from other works of Pushkin.

Work on the work proceeded slowly. Having started writing at the end of 1824, Pushkin soon took a break to work on Eugene Onegin. Six months later, the author again sat down to continue the tragedy, finishing the second part in the summer of 1825. By the end of the year, the entire text of the romantic tragedy, as Pushkin himself called it, was completely ready.

In the original version, the manuscript bore a rather long title “Dramatic story, Comedy about the misfortune of the Moscow state, about Tsar Boris and Grishka Otrepiev.” Later, the author reworks the text of the play, removing the three-act structure. He shortens the name to simply “Boris Godunov”.

Upon returning to Moscow from exile, Pushkin read the play at numerous meetings with university friends. This fact attracted the interest of the secret police, who requested the manuscript for verification. Nicholas I, who personally read it, was dissatisfied with the content of the work. As a result, the tragedy was banned from publication, limiting itself to small fragments.

For a long time the tragedy remained unpublished. Only six years after Pushkin’s repeated request, the play was allowed for publication with the removal of particularly controversial scenes; some parts of the tragedy were greatly modified to please censorship. For example, the scene on the maiden field of the Novodevichy Convent was completely removed.

However, the play was staged only after the death of the writer. The reactionary policies of Emperor Nicholas did not allow Pushkin to fully express himself on social and political topics in his works.

Despite all the obstacles caused by the government, this tragedy became one of the brightest works of A.S. Pushkin.

The pelican is the only bird of its kind that is part of the pelicanidae. These are large birds with a huge beak, which allows them to capture prey from the water, and large wings.

February 20, 1598 It has already been a month since Boris Godunov shut himself up with his sister in a monastery, leaving “everything worldly” and refusing to accept the Moscow throne. The people explain Godunov’s refusal to be crowned king in the spirit necessary for Boris: “He is afraid of the radiance of the throne.” Godunov’s game is perfectly understood by the “crafty courtier” boyar Shuisky, shrewdly guessing the further development of events:

The people will still howl and cry,
Boris will wince a little more, ‹…›
And finally, by my grace
He will humbly agree to accept the crown...

Otherwise, “the blood of the baby prince was shed in vain,” for whose death Shuisky directly blames Boris.

Events are developing as Shuisky predicted. The people, “like waves, next to each other,” fall to their knees and with “howling” and “crying” beg Boris to become king. Boris hesitates, then, interrupting his monastic seclusion, accepts “the Great Power (as he says in his speech from the throne) with fear and humility.”

Four years have passed. Night. In the cell of the Chudov Monastery, Father Pimen is preparing to complete the chronicle with the “last legend.” The young monk Gregory, who was sleeping right there in Pimen’s cell, awakens. He complains about the monastic life that he has had to lead since adolescence, and envies Pimen’s cheerful “youth”:

You reflected the army of Lithuania under Shuisky,
You have seen the court and luxury of John!
Happy!

Exhorting the young monk (“I lived a long time and enjoyed a lot; / But from that time on I only know bliss, / How the Lord brought me to the monastery”), Pimen cites the example of kings John and Theodore, who sought peace “in the likeness of monastic labors.” Gregory asks Pimen about the death of Demetrius the Tsarevich, the same age as the young monk - at that time Pimen was on obedience in Uglich, where God brought him to see an “evil deed,” “bloody sin.” The old man perceives the election of a regicide to the throne as a “terrible, unprecedented grief.” “With this sad story” he is going to complete his chronicle and transfer its further management to Gregory.

Gregory flees the monastery, declaring that he will be “tsar in Moscow.” The abbot of the Chudov Monastery reports this to the patriarch.

The Patriarch gives the order to catch the fugitive and exile him to the Solovetsky Monastery for eternal settlement.

Royal chambers. The king enters after a “favorite conversation” with the sorcerer. He's gloomy. For the sixth year he reigned “calmly,” but possessing the Moscow throne did not make him happy. But Godunov’s thoughts and deeds were lofty:

I thought my people
In contentment, in glory to calm, ‹…›
I opened the granaries for them, I am gold
Scattered them ‹…›
I built them new homes...

The stronger the disappointment that befell him: “Neither power nor life amuses me ‹…›, I have no happiness.” And yet, the source of the tsar’s severe mental crisis lies not only in his awareness of the futility of all his labors, but also in the torment of a bad conscience (“Yes, pitiful is the one whose conscience is bad”).

Tavern on the Lithuanian border. Grigory Otrepyev, dressed in a secular dress, sits at a table with the black tramps Misail and Varlam. He finds out from the hostess the way to Lithuania. The bailiffs enter. They are looking for Otrepyev, in their hands they have the royal decree with its signs. Gregory volunteers to read the decree and, reading it, replaces his signs with Misail’s signs. When the deception is revealed, he deftly escapes the hands of the confused guards.

House of Vasily Shuisky. Among Shuisky's guests is Afanasy Pushkin. He has news from Krakow from Gavrila Pushkin’s nephew, which he shares with the owner after the guests leave: Dimitri, “a sovereign youth, killed by Boris’s mania, appeared at the court of the Polish king...”. Dimitri is “smart, friendly, dexterous, everyone likes him,” the king brought him closer to him and, “they say, he promised to help.” For Shuisky, this news is “important news! and if She reaches the people, then there will be a great thunderstorm.”

Royal chambers. Boris learns from Shuisky about the impostor who appeared in Krakow, and “that the king and the lords are for him.” Hearing that the impostor is impersonating Tsarevich Dimitri, Godunov begins to excitedly question Shuisky, who investigated this case in Uglich thirteen years ago. Calming Boris, Shuisky confirms that he saw the murdered prince, but among other things mentions the incorruptibility of his body - for three days the corpse of Dimitri Shuisky “visited the cathedral ‹...›, But the prince’s childish face was clear, / And fresh, and quiet, as if put to sleep."

Krakow. In the house of Vishnevetsky, Grigory (now he is the Pretender) seduces his future supporters, promising each of them what he expects from the Pretender: the Jesuit Chernikovsky promises to subjugate Rus' to the Vatican, promises freedom to the fugitive Cossacks, and retribution to the disgraced servants of Boris.

In the castle of Voivode Mnishka in Sambir, where the Pretender stays for three days, he ends up “in the net” of his lovely daughter Marina. Having fallen in love, he confesses to her that he is an impostor, since he does not want to “share his mistress with a dead man.” But Marina does not need the love of a fugitive monk; all her thoughts are directed towards the Moscow throne. Appreciating the “impudent deception” of the Impostor, she insults him until his self-esteem awakens and he gives her a proud rebuke, calling himself Dimitri.

October 16, 1604. The impostor with his regiments approaches the Lithuanian border. He is tormented by the thought that he “called his enemies to Rus',” but immediately finds an excuse for himself: “But let my sin fall not on me - but on you, Boris the regicide!”

At a meeting of the Tsar's Duma, it is discussed that the Pretender has already laid siege to Chernigov. The Tsar gives Shchelkalov the order to send “decrees to the governors everywhere” so that “people ‹…› are sent to serve.” But the most dangerous thing is that the rumor about the Pretender caused “anxiety and doubt”, “a rebellious whisper is wandering in the squares.” Shuisky personally volunteers to calm the people by revealing the “evil deception of the tramp.”

On December 21, 1604, the army of the Pretender defeated the Russian army near Novgorod-Seversky.

The square in front of the cathedral in Moscow. The mass in the cathedral has just ended, where anathema to Gregory was proclaimed, and now they are singing “eternal memory” to Tsarevich Demetrius. There is a crowd of people in the square, the holy fool Nikolka is sitting near the cathedral. The boys tease him and take away his money. The king comes out of the cathedral. Nikolka turns to him with the words: “Little children are offending Nikolka ‹…› Order them to be slaughtered, just as you stabbed the little prince.” And then, in response to the king’s request to pray for him, he throws after him: “No, no! You cannot pray for King Herod - the Mother of God does not command.”

At Sevsk, the army of False Dmitry was “completely” defeated, but the catastrophic defeat by no means plunges the Pretender into despair. “Providence, of course, protects him,” sums up the Pretender’s comrade-in-arms Gavrila Pushkin.

But this victory of the Russian troops is “vain.” “He again gathered the scattered army,” Boris tells Basmanov, “And he threatens us from the walls of Putivl.” Dissatisfied with the boyars, Boris wants to appoint the unborn, but intelligent and talented Basmanov as governor. But a few minutes after the conversation with Basmanov, the tsar “fell ill,” “He was sitting on the throne and suddenly fell - / Blood gushed from his lips and ears.”

The dying Boris asks him to be left alone with the prince. Fervently loving his son and blessing him to reign, Boris strives to take full responsibility for his deeds: “You will now reign by right. I, I alone will answer to God for everything...”

After the king’s parting words to his son, the patriarch, boyars, queen and princess enter. Godunov takes an oath of the cross from Basmanov and the boyars to serve Theodore “with zeal and truth,” after which the rite of tonsure is performed on the dying man.

Bid. Basmanov, highly exalted by Theodore (he “commands the army”), talks with Gavrila Pushkin. He offers Basmanov, on behalf of Dimitri, “friendship” and “the first rank according to him in the Muscovite kingdom” if the governor sets “a prudent example of proclaiming Dimitri king.” The thought of possible betrayal terrifies Basmanov, and yet he begins to hesitate after Pushkin’s words: “But do you know why we are strong, Basmanov? Not by army, no, not by Polish help, but by opinion; Yes! popular opinion."

Moscow. Pushkin on Execution Place addresses the “Moscow citizens” from Tsarevich Dimitri, to whom “Russia submitted,” and “Basmanov himself, with zealous repentance, swore his regiments to him.” He calls on the people to kiss the cross to the “rightful ruler” and to beat the “forehead to the father and sovereign.” After him, a man rises to the pulpit, throwing a cry into the crowd: “People, people! to the Kremlin! to the royal chambers! / Go! knit Borisov's puppy! The people, supporting the cry, “rush in a crowd” with the words: “Knit! Stoke! Long live Dimitri! / Let the family of Boris Godunov perish!”

Kremlin. Boris's house is taken into custody. At the window are Boris's children - Feodor and Ksenia. Remarks are heard from the crowd that show pity for the king’s children: “poor children, like birds in a cage,” “the father was a villain, but the children are innocent.” The stronger the moral shock of people when, after noise, a fight, and a woman’s squealing in the house, boyar Mosalsky appears on the porch with the message: “People! Maria Godunova and her son Theodore poisoned themselves. We saw their dead bodies. (The people are silent in horror.) Why are you silent? shout: long live Tsar Dimitri Ivanovich! The people are silent."

The work was written by the great poet and writer in 1825, when Alexander Sergeevich Pushkin was in exile in the village of Mikhailovskoye. The author himself identified “Boris Godunov” as a “dramatic story”, its genre is a play, the work is characterized by features of tragedy and drama. The tragedy tells about the events surrounding the reign of Boris Godunov in the period from 1598 to 1605. Summary Action plays from Literaguru will help you quickly master literary material, remember the main events from the book, and contribute to your understanding of the plot.

Moscow Kremlin, February 20, 1598 Events take place after the death of Tsar Fyodor Ioannovich. The people, led by Patriarch Job, ask boyar Boris Godunov to take the royal throne, but he refuses and, together with his sister, locks himself in the Novodevichy Monastery, abandoning “everything worldly” for a whole month. At this time, the noble boyars Shuisky and Vorotynsky are discussing what is happening, while Shuisky claims that this is Godunov’s game - it is in his favor to wait time, convincing the people of his reluctance to ascend the throne. The perspicacious boyar predicts that Boris Godunov will eventually agree to the kingdom, showing himself to be humble and honest. At the same time, they argue that it was beneficial for the “chosen one of the people” to kill the baby prince Dimitri, the last direct heir to the throne, and also say that they themselves could rule, because they are representatives of the Rurik family.

As a result, events unfold according to Shuisky’s assumptions - the people on their knees beg Boris Godunov to accept rule, and he breaks his imprisonment in the monastery and becomes the new king. He, in his speech in the throne room, speaks of the humility and meekness with which he accepts rule. After her, Vorotynsky reminds Shuisky how true his words turned out to be, to which the crafty boyar replies that he no longer remembers the subject of the conversation, revealing himself as a court intriguer.

Miracles Monastery, 1603. In his cell, the young monk Grigory Otrepiev is having a conversation with the old monk Father Pimen, who is writing his chronicle. Waking up from sleep, Gregory connects his “strange dreams” with dissatisfaction with his monastic fate and argues that Pimen’s youth was much more interesting than his. To this, the old monk tells the monk that he found peace and bliss only in monastic life. He tells his interlocutor about the murder of Tsarevich Dimitri in Uglich, naming Boris Godunov as the culprit, and also mentioning the age of the murdered man, who would be the same age as Otrepyev. Pimen leaves his cell, and Grigory threatens Boris with “punishment”, planning an adventure.

After Gregory’s escape from the monastery, a conversation takes place between the abbot of the Chudov Monastery and the Patriarch of All Rus' Job. The abbot talks about how Otrepiev became a monk, and how he imagined himself to be the “future king of Rus'.” The angry patriarch demands that the fugitive be found and punished with exile.

Meanwhile, Tsar Boris Godunov, after meeting with a certain “sorcerer,” talks about his reign. He has been on the throne for six years, but the kingdom has not brought him happiness. Godunov is surrounded by conspiracies and gossip; he is blamed for all misfortunes, even the death of his sister. After a fire in Moscow, Godunov orders the construction new town, but he is also accused of starting the fire itself. The severity of his situation is aggravated by his secret sin - de facto he confesses to the murder of the crown prince.

Tavern on the Lithuanian border. Grigory Otrepiev is there with his companions, Misail and Varlaam. The fugitive heard from the owner that they were looking for him. Meanwhile, the bailiffs come looking for Otrepyev. They sit down with the travelers, gradually suspecting Misail as a fugitive. The bailiffs are looking for a literate person who could read the search warrant, and Grigory himself is called, and during the reading he replaces his signs with those of Varlaam. The trick failed, and Grigory had to escape from the tavern through the window.

Moscow, Shuisky's house. After dinner, one of the guests, Afanasy Pushkin, wants to tell the boyar important news: Gavrila, Pushkin’s nephew, wrote that the royal son Dimitri is alive and hiding at the court of King Sigismund. He is in favor with the king himself and his courtiers. Shuisky and Pushkin discuss the possibility of a coup, but agree to remain silent.

Royal chambers. Godunov is informed that an ambassador from Krakow came to Pushkin, and while visiting Shuisky, he and the owner had a long conversation. The Tsar orders to seize the messenger and call Shuisky in order to call him to account, but the boyar guessed about the impending threat, and therefore tells the Tsar about the news he learned, wanting to aggravate Godunov’s precarious condition. The Tsar is shocked, and therefore asks Shuisky whether Dimitri was really killed, to which Shuisky convinces Godunov that the Tsarevich is dead.

Krakow. Chernikovsky's house. The impostor convinces Father Chernikovsky, a representative of the Catholic Church, of his support, guaranteeing the acceptance of his faith in Rus'. A group of people arrives under the leadership of Gavrila Pushkin, whom False Dmitry also convinces to join him, promising the disgraced Russians, persecuted by Boris, revenge and freedom.

Castle of Voivode Mniszek in Sambir. Vishnevetsky and Mnishek boast of their successes: Gregory is preparing to become a king, and Mnishek’s daughter, Marina, has fallen in love with an impostor, expecting to become a queen. Meanwhile, False Dmitry spends time with Marina, opening up more and more to her, and eventually admits that he is an impostor, to which Marina responds with disappointment and ridicule, which infuriates Gregory. He decides to lead troops against the Moscow state immediately.

October 16, 1604. Lithuanian border. The impostor is not happy that he invited the Lithuanians to his native land, but justifies his actions with hatred of Godunov.

Tsar's Duma. A meeting of boyars headed by the tsar takes place. Those gathered discuss the siege of Chernigov by the Pretender, Godunov orders the boyar Shchelkalov to ensure the collection of troops. Boris's reign is being undermined from within, as the news of the "return of the Tsarevich" is successfully spreading among the people. The Tsar orders Shuisky to deal with this, but Godunov’s authority is undermined - the boyars paid attention to Boris’s excitement during the meeting.

Square in front of the cathedral in Moscow. The people are waiting for the end of the mass: Grigory Otrepyev was anathema. On the porch there is the holy fool Nikolka, collecting alms. The children take his money and laugh at him. The mass is over, the tsar goes out to the people, and the holy fool complains to the tsar about the grievances, asking the offenders to be “stabbed to death, as you stabbed the young crown prince,” to which the boyars demand that Nikolka be punished. But Godunov, in response, asks the beggar to pray for him, to which the holy fool refuses, arguing his refusal by his reluctance to pray “for Tsar Herod.”

Sevsk. The impostor beats out the necessary information from the captive nobleman Rozhnov and learns that people accept his “resurrection” favorably. Even the defeat at Sevsk is not final for him.

Moscow. Royal chambers. Boris Godunov and his boyars discuss the defeat of the enemy troops. The king considers the victory futile, because the Pretender has already gathered his army again, and the king’s army has weakened considerably. Godunov wants to place Basmanov, who is not distinguished by talents, but a reasonable man, over the boyars. Suddenly the Tsar dies, and before his death he blesses his descendant to the kingdom, Basmanov is appointed executor of the Sovereign's will.

Bid. Pushkin arrives at the camp of the Russian army, sent there by False Dmitry, in order to convince Basmanov to go over to the side of the Pretender, to which Basmanov refuses. However, the boyar already anticipates defeat, knowing about the court intrigues and seeing the seriousness of the threat that hangs over the young Tsar Theodore, himself, and the state.

Execution place. Pushkin makes a speech to the people, convincing them to recognize False Dmitry as their king. People praise the Pretender and rush to the Kremlin to put an end to the “Godunov family.”

Kremlin. Borisov's house. Godunov's children, Feodor and Ksenia, are under lock and key. People pity them, not holding them responsible for “the sins of their father.” The boyars Mosalsky and Golitsyn, accompanied by archers, rise up to them. A struggle and screams are heard in the house, and then Mosalsky comes out to the people, who are horrified by what is happening, and announces the death of Godunov’s children “from poison,” demanding that “Tsar Dimitri Ivanovich” be glorified.

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Pushkin conceived "Boris Godunov" as a historical and political tragedy. The drama "Boris Godunov" opposed the romantic tradition. As a political tragedy, it addressed contemporary issues: the role of the people in history and the nature of tyrannical power.

If in “Eugene Onegin” a harmonious composition appeared through a “collection of motley chapters,” here it was masked by a collection of motley scenes. "Boris Godunov" is characterized by a lively variety of characters and historical episodes. Pushkin broke with the tradition in which the author lays a proven and complete thought as the basis and then decorates it with “episodes.”

With "Boris Godunov" and "Gypsies" a new poetics begins; the author seems to be setting up an experiment, the outcome of which is not predetermined. The meaning of the work is in posing the question, and not in solving it. The Decembrist Mikhail Lunin wrote down an aphorism in Siberian exile: “Some works communicate thoughts, others make you think.” Consciously or unconsciously, he generalized Pushkin's experience. Previous literature "informed the thoughts." Since Pushkin, the ability of literature to “make one think” has become an integral part of art.

In "Boris Godunov" two tragedies are intertwined: the tragedy of the authorities and the tragedy of the people. Having before his eyes eleven volumes of Karamzin’s “History...”, Pushkin could have chosen a different plot if his goal had been to condemn the despotism of the tsarist government. Contemporaries were shocked by the unprecedented courage with which Karamzin depicted the despotism of Ivan the Terrible. Ryleev believed that this is where Pushkin should look for the theme of a new work.

Pushkin chose Boris Godunov, a ruler who sought to win the love of the people and was not alien to state wisdom. It was precisely such a king who made it possible to reveal the pattern of the tragedy of power alien to the people.

Pushkin's Boris Godunov cherishes progressive plans and wants good for the people. But to realize his intentions, he needs power. And power is given only at the price of crime - the steps of the throne are always covered in blood. Boris hopes that power used for good will atone for this step, but the unmistakable ethical sense of the people forces him to turn away from “Tsar Herod.” Abandoned by the people, Boris, despite his good intentions, inevitably becomes a tyrant. The crown of his political experience is a cynical lesson: The people do not feel mercy: Do good - they will not say thank you; Rob and execute - you won't get any worse.

The degradation of power, abandoned by the people and alien to them, is not an accident, but a pattern (“... the sovereign, at idle times/ interrogates informers himself”). Godunov senses danger. Therefore, he hurries to prepare his son Theodore to rule the country. Godunov emphasizes the importance of science and knowledge for the one who rules the state: Study, my son: science reduces the experiences of fast-flowing life for us - Someday, and soon maybe, All the areas that you have now depicted so cunningly on paper will all be at hand yours - Study, my son, and you will comprehend the work of the Sovereign more easily and clearly.

Tsar Boris believes that he has redeemed himself (the death of Dmitry) by skillfully managing the state. This is his tragic mistake. Good intentions - crime - loss of public trust - tyranny - death. This is the natural tragic path of a government alienated from the people.

In the monologue “I have reached the highest power,” Boris confesses to the crime. He is completely sincere in this scene, since no one can hear him: And everything is sick, and the head is spinning, And the boys are bloody in their eyes... And he is glad to run, but there is nowhere... terrible! Yes, pitiful is the one whose conscience is unclean.

But the path of the people is also tragic. In his depiction of the people, Pushkin is alien to both educational optimism and romantic complaints about the mob. He looks with "Shakespeare's eyes." The people are present on stage throughout the tragedy. Moreover, it is he who plays a decisive role in historical conflicts.

However, the position of the people is contradictory. On the one hand, Pushkin’s people have an unmistakable moral sense - its exponents in the tragedy are the holy fool and Pimen the Chronicler. Thus, communicating with Pimen in the monastery, Grigory Otrepiev concludes: Boris, Boris! Everything trembles before you, No one dares to remind you About the lot of the unfortunate baby - And meanwhile the hermit in a dark cell Here writes a terrible denunciation against you: And you will not escape from the court of the world, Just as you will not escape from God's court.

The image of Pimen is remarkable in its brightness and originality. This is one of the few images of a chronicler monk in Russian literature. Pimen is full of holy faith in his mission: to diligently and truthfully record the course of Russian history. May the descendants of the Orthodox of their native land know the past fate, remember their great kings for their labors, for glory, for good - And for sins, for dark deeds, they humbly beg the Savior.

Pimen instructs the young novice Grigory Otrepiev, advising him to subdue his passions with prayer and fasting. Pimen admits that in his youth he himself indulged in noisy feasts, “the fun of his youth.” ...Believe me: We are captivated from afar by glory, luxury and women's crafty love. I have lived a long time and enjoyed much; But from that time on I only know bliss, How the Lord brought me to the monastery.

Pimen witnessed the death of Tsarevich Dimitri in Uglich. He tells the details of what happened to Gregory, not knowing that he was planning to become an impostor. The chronicler hopes that Gregory will continue his work. In Pimen’s speech there is folk wisdom that puts everything in its place and gives its strict and correct assessment to everything.

On the other hand, the people in the tragedy are politically naive and helpless, they easily entrust the initiative to the boyars: “... the boyars know / They are no match for us...”. Welcoming the election of Boris with a mixture of trust and indifference, the people turn away, recognizing him as “Tsar Herod.” But he can only oppose the authorities with the ideal of a persecuted orphan. It is the impostor’s weakness that turns into his strength, as it attracts the sympathy of the people to him. Resentment against the criminal government degenerates into rebellion in the name of the impostor. The poet boldly brings the people into action and gives them a voice - The man on the pulpit: People, people! To the Kremlin! To the royal chambers! Go! Knit Borisov's puppy!

The popular uprising was victorious. But Pushkin does not end his tragedy with this. The impostor has entered the Kremlin, but in order to ascend the throne, he must still commit murder. The roles have changed: the son of Boris Godunov, young Fyodor, is now himself a “persecuted baby,” whose blood, with almost ritual fatality, must be shed by the impostor ascending the steps of the throne.

In the last scene, Mosalsky comes out onto the porch of Boris’s house with the words: “People! Maria Godunova and her son Theodore poisoned themselves. We saw their dead corpses. (The people are silent in horror.) Why are you silent? Shout: long live Tsar Dimitri Ivanovich !"

The sacrifice is made, and the people notice with horror that he has elevated to the throne not an offended orphan, but the murderer of the orphan, the new king, Herod.

The final remark: “The people are silent” says a lot. This phrase symbolizes the moral judgment of the new king, and the future doom of another representative of the criminal government, and the powerlessness of the people to break out of this circle.

In the tragedy “Boris Godunov” A.S. Pushkin reflected the historical fact that characterizes the era, as well as the mood of Russia in 1824-1825, the main one of which was the people’s dissatisfaction with serfdom and autocracy. In addition, the author acted here as an innovative playwright, creating a unique genre. "Boris Godunov" is a historical tragedy and folk drama at the same time.

Pushkin's attitude to his work

The play “Boris Godunov” was completed by A. S. Pushkin at the end of 1825 in exile. The center of the poet’s literary life in 1825 was the village of Mikhailovskoye: there he created and studied the historical works of Shakespeare. Pushkin himself, in his letter to his comrades at that time, reported that his spiritual powers had “reached full development,” and he considered the writing of “Boris Godunov” one of the most important events of his life in Mikhailovsky.

Taking an example from Shakespeare's historical plays, Pushkin describes the era of the 17th century in Russia in detail, without paying attention to details, without spectacular scenes and pathos. “Boris Godunov” was his experiment, the success of which, according to the author’s plan, could reform existing Russian drama.

The author's plan was a success, Pushkin was satisfied with his work. The memoirs of A.S. Pushkin himself say that after writing “Boris Godunov,” he reread his work aloud, was in an enthusiastic mood, clapped his hands and said: “Oh, Pushkin!” “My favorite composition” - that’s what the poet called this work of his.

The plot of the work

By order of Boris Godunov, the heir to the throne, Dmitry Tsarevich, was killed. This made it possible for Godunov himself to ascend the throne.

The murder of the heir was witnessed by the monk Pimen, who, some time later, told this story to the monk Grigory Otrepiev. The monk's age coincided with the age of Tsarevich Dmitry. Gregory, who complained about his monastic life, decided to pass himself off as the heir to the throne. He fled from the monastery to Lithuania, and then to Poland, where he gathered an army for a campaign against Moscow.

The impostor brought enemies to Russian soil. As a result of several battles and betrayal of Moscow military leaders, the army of False Dmitry was victorious. At this time, Boris Godunov himself died, but an heir remained - his son, who suffered the fate of Tsarevich Dmitry.

When the boyar who came out onto the porch announced that Maria Godunova and her son had poisoned themselves, the people fell silent in horror, experiencing spiritual shock. Therefore, no doubt arises when considering the work “Boris Godunov”. What genre is this? Of course, this is a folk drama.

Historical situation

The main thing in the play is the reflection of a certain historical situation, which is repeated at different turns of history. Therefore, the genre of the work “Boris Godunov” is called historical tragedy.

After all, the monarch who eliminated his predecessor was both Napoleon Bonaparte and Richard III, described by Shakespeare. History also shows how a monarch who comes to power, who initially wants to be good for the people, gradually reveals himself as a despot, which is reflected in the play. But the ruler who does not enjoy the support of the people or does not have the moral right to do so is doomed to death and to being exposed by his descendants in the future.

A. S. Pushkin loved his Fatherland and dedicated the poem “Boris Godunov” to its history, the genre of which makes the reader think about learning lessons from the history of the state.

Folk drama

In drama there is usually no description of the characters. The plot of the work is conveyed through the conversation of its characters. This is how the plot of Pushkin’s poem “Boris Godunov” is structured, the genre of which is based on elements of drama. The author only occasionally gives meager remarks, and the main revelation of the plot, the secret thoughts of the characters - all this happens during their conversation.

Reflecting on the principles of drama, Pushkin asked the question: “What is the purpose of tragedy? What is the main theme of the play? Both the author of “Boris Godunov” and the genre of the work give the following answer: “This is the people and their destiny.”

But contemporaries were critical of the poet’s first attempt at an artistic description of history. His innovation in dramaturgy was not appreciated by critics.

Indeed, the author used many new techniques: iambic pentameter, as well as the use of prose. The work includes 23 scenes; it is not divided into acts, as was customary at that time. In addition, the main conflict of the tragedy - the contradictions between representatives of the people and the authorities - is not resolved, as was customary for writing tragedies by contemporaries. On the contrary, the conflict only gets worse, as the next usurper ascends to the throne in the same way as his predecessor ascended.

The tragedy of the main character

The play claims that Boris Godunov is guilty of the death of the prince, although there is no evidence of the guilt of the corresponding historical figure. oppress Godunov, make his life joyless, which is very well confirmed by his following words:

Reproach hammers in my ears like a hammer,

And everything feels nauseous and my head is spinning,

And the boys have bloody eyes...

And I’m glad to run, but there’s nowhere... - terrible!

Yes, pitiful is the one whose conscience is unclean.

The poet understood that he was writing for the stage, and the hero’s words must be confirmed by the actor’s performance.

The author introduced in the poem the monk Grigory Otrepyev, an adventurer who was able to use a unique opportunity to achieve ascension to the throne. The people called False Dmitry an impostor, and the Tsar, hearing such a nickname, understood that it corresponded to him too. But Tsar Boris did not repent, as a result his fate ended in death, and then the death of the heir occurred.

The place of the people in the play

The people are the bearers of high morality. He condemns the crime of his king and wants just power. By deception, the authorities make the people accomplices of their crimes. For example, in the play, a crowd, incited by False Dmitry's accomplices, deals with the Tsar's heir, hoping for the triumph of justice. But as a result, the people get another impostor. This is his tragedy.

Realizing this, the people remain silent. What is hidden behind this silence? This is the confusion of the people, and the condemnation of criminals, and a silent threat. The genre of “Boris Godunov” is a folk historical tragedy; it contributes to the portrayal of the people as an exponent of the highest moral truth and a fair judge of any government.

Opera by Modest Mussorgsky

In 1869, Modest Mussorgsky completed work on the opera Boris Godunov. The text by A. S. Pushkin was used by him to write the libretto. The author managed to stage the opera only in 1874. But in 1882 she was removed from the stage. The public responded to the opera in two ways: part of it spoke with delight about the folk spirit embodied on stage, the correctness of the description of the era, the vividness of the images, but another part of the public noted the technical shortcomings of the work, which include, in particular, the inconvenience of the parts and the fragmentary phrases.

N.A. Rimsky-Korsakov, being a friend of Mussorgsky and appreciating his talent, made several technical adaptations of the opera, which did not affect the author’s plan.

What is the genre of the opera "Boris Godunov"? This is a genre of musical drama, which, being an opera, obeys the laws of dramatic theater.

Pushkin, as a true son of his Fatherland, was always concerned about the fate of the people and the state. Without giving any recommendations in this work, Pushkin the playwright realistically shows the problems of all social strata and a specific person. Therefore, the genre of “Boris Godunov” is classified as historical tragedy and folk drama, the use of which in literature was a revolutionary phenomenon of that time.

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