Lyrical eventfulness in the poem by N. A. Nekrasov "Who Lives Well in Russia"

The interaction of the poetics and rhetoric in texts by N.A. Nekrasov produces a problem of Nekrasov's lyricism. This problem is particularly acute in the so-called "folk" poetry. The "genuine" lyrical feeling refracted harder in the poem, which the author called "an epic of modern peasant life". Lyrical eventfulness should be analyzed at different levels of the artistic structure. The article focuses on the meditative inserts as the manifestations of the lyrical presence most tangible for the reader. According to V.I. Tyupa, meditation is a discursive highlighted reasoning by the narrator about the course of events, its members or the current situation. As for the poem "Who lives well in Russia", at the moment of the meditation the lyrical beginning subjugates the epic beginning and demonstrates the connection with the plot through the details. The narrative point of view is refracted considering the spatial and discursive movement of the poem, thereby a lyrical voice forms. The use of traditional expressive means of the folk lyric song does not yet explain the increase of the lyrical beginning in meditation. Nekrasov deviates from the folk tradition reinterpreting its typical means. This is not a stylization, but a creation of a new poetic language with another form of syncretic unity of the lyrical subject. There is an example of where the lack of the lyrical "I" does not mean the absence of a lyrical plot. The meditative elements with the intonation of a genuine lyrical pathos should be distinguished from the retreats marked with a recognizable rhetoric "direction" - "didactic inserts" by which, according to P. Kovalevsky, Nekrasov began to "spoil" the poem "Who lives well in Russia" in favor of the direction. In these passages there is no orientation on the "secondary modeling" directed to the poetic language. According to the concept of Yu.M. Lotman, it distinguishes "good" verses from the "bad". The "wrong sound of lira " reveals itself through the cacophony and destroys itself with the contextual means of irony. Nekrasov's lyrics is able not only to exercise the "role" nature, but also to meet the expectations of the literary community; at the same time it preserves the poetic word sacrificing it to the tendency and displaces the "unpoetic" word to rhetoric. It is as if Nekrasov holds back the "lyrical impulses" throughout the poem, which is expressed in the pulsation of the lyrical plot. The poem conveys the idea of the impossibility of realization of the "genuine" poetically shaped lyrical beginning in the specific historical conditions when poetry is out of favour. The most "programmatic" of the works by Nekrasov detects the lyrical beginning that is muffled by the author's effort.

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