Features inherent in the literature of the Petrine era. A course of lectures on ancient Russian literature and literature of the 18th century for 1st year students of the Faculty of Russian Language, Literature and Foreign Languages

Practice Plans

Practical lesson 1. Man in the literature of Peter the Great

general characteristics Peter's time in literature.

The concept of "story" in relation to the literature of the Middle Ages. Genres and genre varieties of ancient Russian stories of the 17th century.

Tales of the time of Peter the Great ("Histories"). Analysis of the "History of the Russian sailor Vasily Koriotsky":

B) features of the compositional structure; traditions of folklore, ancient Russian literature, Western European stories and novels, business writing and their use in various parts of history;

C) the image of the main character and his difference from the heroes of medieval stories;

D) the system of images of the work;

E) "History about the Russian sailor ..." and the anonymous story about the Spanish gentry Doltorn as a possible prototype domestic work; similarities and differences;

E) the variegation and disorder of the style and language of the story;

G) features of depicting themes traditional for Russian literature (the theme of education, the theme of “fathers and children”, the theme of love).

4. "The story of Alexander, a Russian nobleman." Ideological and artistic originality.

Exercise:

Repeat the theme "Tales of the 17th century"; write out examples from the text of “History of the Russian sailor…” that confirm the lexical and stylistic disorder of the language of literature of the beginning of the century, its orientation to different traditions.

Literature:

"Histories about the Russian sailor Vasily Koriotsky ..."

"The Story of Alexander, the Russian Nobleman"

Panegyric, household and love poems of the Petrine era

"The Tale of Savva Grudtsyn"

"The Tale of Woe-Misfortune"

Baklanova N.A. Evolution of the Russian original everyday story at the turn of the 17th–18th centuries // Russian literature at the turn of two eras: the 17th–beginning of the 18th century. M., 1971.

Berkov P. N. On the literature of the so-called transition period// Russian literature at the turn of two epochs: XVII-beginning of the XVIII century. M., 1971.

Demin A. S. Russian Literature II half of XVII- beginning of the XVIII century: New artistic ideas about the world, nature, man. M., 1977.

Likhachev D.S. Relations between literary genres // D.S. Likhachev. Poetics of ancient Russian literature. L., 1971.

Panchenko A. M. Russian culture on the eve of Peter's reforms. L., 1984.

Practical lesson 2. Satires by A. D. Kantemir and their place in Literature XVII 1st century

Two meanings of the term "satire": principle artistic reflection reality and a special genre of poetry.

The connection of Cantemir's works with his modernity. Satire as the main genre of the writer's work. General characteristics of all satires.

A) socio-political issues and features of typification. Criticism of the vices of society and personality;

B) the Russian nobility in the image of Kantemir (2 satires);

C) the theme of education (7 satire);

D) the idea of ​​serving the fatherland and its expression in various satires;

E) the technique of self-disclosure of characters, "galleries of negative types", the principle of dialogue in the construction of satires, the features of names;

G) the originality of the language: simplicity, accuracy, aphorism.

4. Cantemir's satires in the assessment of Russian criticism of the 19th century. (V. G. Belinsky about Cantemir).

Tasks:

I. Make a summary of the article by V. G. Belinsky about Cantemir;

II. Write out lines from A. P. Sumarokov's "Epistle on Poetry" that characterize the genre of satire.

Literature:

Cantemir A. Satyrs 1, 2, 7.

Sumarokov A.P. Epistol about poetry. (Texts in the anthologies of V. A. Zapadov or A. V. Kokorev, G. P. Khrapchenko).

Batyushkov K. N. Evening at Kantemir // K. N. Batyushkov. Something about a poet and poetry. M., 1985.

Belinsky V. G. PSS in 13 vols. M., 1955. V.8.

Gershkovich Z. I. On the aesthetic position and literary tactics of Cantemir // XVIII century: Sat. 5. M.–L., 1962.

Gershkovich Z. I. On the history of the creation of the first satires of Cantemir // XVIII century: Sat. 5. M.–L., 1962.

Zhukovsky V. A. About satire and satires of Cantemir // V. A. Zhukovsky. Aesthetics and criticism. M., 1985.

Zapadov A. V. Poets of the 18th century: A. Kantemir, A. Sumarokov, V. Maikov, M. Kheraskov. M., 1984.

Stennik Yu. V. Russian satire of the 18th century. L., 1985.

Practical lesson 3. Reform of Russian versification

Russian syllabic verse, its origin, main characteristics. Linguistic reasons for the inorganic nature of Russian syllabics. National-historical reasons for reforming syllabic verse.

“A new and concise way to compose Russian poetry” by V. K. Trediakovsky:

A) new concepts: sound, syllable, foot, verse, rhythm; their ratio in the treatise;

B) tonic model (graphic scheme) of a new syllabo-tonic verse;

C) Trediakovsky's inconsistency and the reasons for the incompleteness of the reform.

3. M. V. Lomonosov - systematizer of Russian versification. "Letter on the rules of Russian poetry":

A) moments of coincidence in the theories of Lomonosov and Trediakovsky;

B) new poetic concepts in Lomonosov's "Letter";

C) elements of unproductivity in Lomonosov's theory.

Tasks:

I. Compile summaries of articles by V. K. Trediakovsky and M. V. Lomonosov;

II. Choose a poem for each question.

Literature:

Trediakovsky VK A new and short way to the composition of Russian verses.

Lomonosov M. V. A letter about the rules of Russian poetry // Lomonosov M. V. Selected works. L., 1986.

Aleksandrova I. B. Poetic speech of the 18th century: Textbook. M., 2005. Sec. I, ch. 3, 4.

Gasparov M. L. Essay on the history of Russian verse. M., 1984. Ch. 1.

Zhirmunsky V. M. Theory of verse. L., 1975. S. 68–70.

Kvyatkovsky A. Poetic Dictionary. M. 1966.

Thought armed with rhymes. Poetic anthology on the history of Russian verse / Comp. V. E. Kholshevnikov. L., 1984.

Kholshevnikov V. E. Fundamentals of versification. Russian versification. L., 1972.

Practical lesson 4. Genre varieties of ode in the work of M. V. Lomonosov

Definition of ode and its varieties.

Poetics of a solemn (commendable) ode: the concept of an odic canon, rhythm, stanza, themes, composition, usage features, typology of artistic imagery, the ratio of rhetorical and lyrical principles.

Poetics of the Anacreontic and spiritual ode as lyrical genres: ideological and plastic world images, forms of manifestation of the author's subjectivism.

Analysis of the "Ode on the day of the accession to the All-Russian throne of Her Majesty the Empress Empress Elisaveta Petrovna" 1747:

A) the problem of ode;

B) composition;

C) language and style (types of trails, their role in creating a solemn style).

Tasks:

I. Make graphic schemes of the verse and stanza of the solemn ode;

II. Prepare a table of key artistic techniques creation of odic figurativeness with examples from the odes of M. V. Lomonosov.

Literature:

Lomonosov M.V. Odes 1739, 1747, 1748 “Conversation with Anacreon”, “Poems composed on the way to Peterhof…”, “ Night darkness…”, “Morning reflection on God's majesty”, “Evening reflection on God's majesty” // Lomonosov M. V. Selected works. L., 1986.

Aleksandrova I. B. Poetic speech of the 18th century: Textbook. M., 2005. Sec. II, ch. 2.

Gukovsky G. A. On the anacreontic ode // G. A. Gukovsky. Early works on the history of Russian poetry of the 18th century. M., 2001.

Gukovsky G. A. From the history of the Russian ode of the 18th century (An attempt to interpret parody) // G. A. Gukovsky. Early works on the history of Russian poetry of the 18th century. M., 2001.

Stennik Yu. V. "Evening meditation on God's majesty" // Poetic structure of Russian lyrics. L., 1973.

Practical lesson 5. Russian tragedy of the XVIII century.

Tragedy as a high genre of classicism.

Conditions and prerequisites for the emergence of dramaturgy in Russian literature in the last quarter of the 17th - first half of the 18th centuries.

The problems of F. Prokopovich's tragicomedy "Vladimir", its genre originality. The satirical beginning in the play and its manifestation at the level of subject matter, plot, system of images, style of the work. The value of the play in the formation of the genre of tragedy.

Patriotic pathos of the tragedy of M. V. Lomonosov "Tamira and Selim". The problem of historical fidelity.

The main conflict in the play by A.P. Sumarokov "Dmitry the Pretender" and the features of its solution. How is the philosophical, ethical, aesthetic, social and political basis of classicism manifested in tragedy? The artistic role of the "three unities" in the play.

The polemical orientation of the image of Vadim and the theme of free Novgorod in the republican tyranny-fighting tragedy by Ya. B. Knyazhnin "Vadim of Novgorod". The historical concept of the play. Vadim Novgorodsky is the pinnacle of Russian classicism.

The Significance of the Tragedy Genre in Russian Literature and Russian Social Thought of the 18th Century.

Tasks:

I. Based on the texts “On the Art of Poetry” by F. Prokopovich and “Epistles on Russian Poetry” by A. P. Sumarokov, determine the tasks, the specifics of the tragedy genre in Russian preclassicism and classicism;

II. Formulate the main conflicts of these tragedies, show how the classic “rules of three unities” are implemented in them, identify the progressive development of the classic tragedy, its ideological and artistic originality, make the necessary extracts and abstracts from the scientific literature on the topic;

III. Making fun of the clichés of the tragedy of classicism in I. A. Krylov's joke tragedy "Trumph".

Literature:

Krylov I. A. Trumpf.

Prokopovich F. About poetic art.

Russian literature - XVIII century. Tragedy / Comp., prepared. texts and comments. P. Bukharkina and others; Intro. Art. Yu. Stennik. M., 1991.

Sumarokov A.P. Epistol about Russian poetry. (Text in the anthology of G. P. Khrapchenko).

Aseev B. N. Russian drama theater from its origins to late XVII 1st century M., 1977.

Bochkarev V. A. Russian historical dramaturgy of the 17th–18th centuries. M., 1988.

Vsevolodsky-Gerngross V.N. The history of the Russian drama theater from its origins to the end of the 18th century. M., 1977.

Gukovsky G. A. About the Sumarokov tragedy // G. A. Gukovsky. Early works on the history of Russian poetry of the 18th century. M., 2001.

Gukovsky G. A. On the issue of Russian classicism (Competitions and translations) // G. A. Gukovsky. Early works on the history of Russian poetry of the 18th century. M., 2001.

Gukovsky G. A. About Russian classicism // G. A. Gukovsky. Early works on the history of Russian poetry of the 18th century. M., 2001.

Gukovsky G. A. Russian literature of the XVIII century. M., 2003.

History of Russian dramaturgy of the 17th – first half of the 18th centuries. L., 1982.

Moskvicheva G. V. Russian classicism. M., 1978.

Stennik Yu. V. Literary trends in Russian literature XVIII century. M., 1979.

Practical lesson 6. Genres of Russian comedy of the 18th century.

The evolution of the comedy genre in the work of A. P. Sumarokov: pamphlet comedies of the 1750s, intrigue comedy of the 1760s, comedy of manners of the 1770s.

Poetics of the comedy genre by A. P. Sumarokov: functions of a punning word, conflict-forming functions of concepts, features of word usage in the speech characteristics of vicious and virtuous characters, typology of artistic imagery, originality of conflict, typology of denouement.

Comedy of manners in the work of V. I. Lukin: ideology and aesthetics of the "adjective" direction, genre originality of the "tearful" comedy ("philistine tragedy"), rhetoric and everyday life in the comedies "Mot, corrected by love" and "Schepeter".

The high comedy "Yabeda" by V. V. Kapnist: poetics of the poetic high comedy genre, characterological, effective, world-modeling functions of the word, features of the conflict, typology of the denouement, typology of the high hero.

Tasks:

Prepare an essay on the topic: "Genres of Russian comedy 1750–1790."

Literature:

Sumarokov A.P. Tresotinius. Guardian. Cuckold by imagination // A. P. Sumarokov. Dramatic writings. L., 1990.

Lukin V. I. Mot, corrected with love. Scribbler. (Texts in the anthologies of V. A. Zapadov or A. V. Kokorev).

Kapnist V. V. Yabeda // V. V. Kapnist. Selected works. L., 1973.

Berkov P. N. History of Russian comedy of the XVIII century. L., 1977. Ch. 2, 4, 5, 11.

Gukovsky G. A. Russian literature of the XVIII century. M., 2003.

Comedy // Russian humanitarian encyclopedic Dictionary: In 3 t. M.; SPb., 2002. T. 2.

Moiseeva G. N. Ways of development of Russian drama in the 18th century. // Russian dramaturgy XVIII century. M., 1986.

Stennik Yu. V. Sumarokov-playwright // A. P. Sumarokov. Dramatic writings. L., 1990.

Practical lesson 7. Comedy by D. I. Fonvizin "Undergrowth"

The history of creation, the problems of comedy (the problem of education, the problem of serfdom, the problem of state supervision of the activities of landowners, the problem of a goodie).

The plot and system of images in comedy:

A) grouping characters moral principle, "talking" names, role secondary characters in comedy;

B) the multi-theme nature of the play, the main conflict in it, the features of the organization of the plot;

C) "the rule of three unities" and ways to create a broad picture of reality.

3. Genre traditions of satire and ode in comedy.

4. pun word and its function in comedy.

5. Disputes about the nature of realism in The Undergrowth. The value of comedy for the development of realism in Russian literature.

Tasks:

I. Repeat the material about the controversy between "Drone" and "All sorts of things" about satire; what satirical tradition does Fonvizin follow?

II. Compare the principles of creating a satirical image and ways of depicting characters in the satires of A. D. Kantemir and the comedy of D. I. Fonvizin "Undergrowth";

III. How is the semantics of the Skotinin family surname realized in the speech characteristics of everyday characters?

Literature:

Fonvizin D.I. Undergrowth. (Any edition).

Berkov P. N. History of Russian comedy of the XVIII century. L., 1977. Ch. 8, sec. 3.

Vsevolod-Gerngross V. N. Fonvizin-playwright. M., 1960.

Gukovsky G. A. Russian literature of the XVIII century. M., 2003.

The history of Russian dramaturgy of the XVII - the first half of XIX V. L., 1982. S.140–146.

Lebedeva O. B. Russian high comedy of the 18th century: Genesis and poetics of the genre. Tomsk, 1996. Ch. 1, 2, 5.

Makogonenko G.P. From Fonvizin to Pushkin: From the history of Russian realism. M., 1969.

Rassadin S. B. Satyrs are a brave ruler. M., 1986.

Practice 8. poetic world G. R. Derzhavina

Ode as the leading genre of poetry by G. R. Derzhavin.

Genre originality"Felice". Features of figurative and expressive means in a poem: language and style.

Poetics of philosophical odes (“On the Death of Prince Meshchersky”, “God”, “Waterfall”, etc.):

A) subject matter

B) composition;

B) figurative system;

D) depicted world;

D) style-forming means.

4. Genre and stylistic innovation of the poem "To the Rulers and Judges".

5. Innovation, specificity and psychologism of anacreontics by G. R. Derzhavin, its role in the development of anthological poetry of the 19th century.

6. Criticism and literary criticism about the originality and significance of the work of G. R. Derzhavin and his artistic method.

Exercise:

Prepare a scientific report on one of the following topics: a) issues of ethical reflection in the lyrics of G. R. Derzhavin; b) irony and joke in anacreontics by G. R. Derzhavin; c) dramaturgy by G. R. Derzhavin.

Literature:

Derzhavin G. R. Poems. L., 1957 (series "Poet's Library").

Bitsilli P. M. Derzhavin // V. Khodasevich. Derzhavin. M., 1988.

Griftsov B. A. Derzhavin // V. Khodasevich. Derzhavin. M., 1988.

Gukovsky G. A. The first years of Derzhavin's poetry // G. A. Gukovsky. Early works on the history of Russian poetry of the 18th century. M., 2001.

Zapadov A. V. Poets of the 18th century: M. V. Lomonosov, G. R. Derzhavin. M., 1979.

Ivanov Vyach. Sun. The Modernity of Derzhavin's Poetics // Vyach. Sun. Ivanov. Selected works on semiotics and cultural history. Articles about Russian literature. - T. II. - M., 2000.

Sadovskoy B. A. G. R. Derzhavin // V. Khodasevich. Derzhavin. M., 1988.

Serman I. Z. Derzhavin's literary position // XVIII century: Sat. 8. Derzhavin and Karamzin in the literary movement of the XVIII - early XIX century. L., 1969.

Tynyanov Yu. N. Ode as an oratorical genre // Yu. N. Tynyanov. Poetics. History of literature. Movie. M., 1977.

Uspensky B. A. The language of Derzhavin // From the history of Russian culture, volume IV (XVIII - early XIX century). M., 1996.

Khodasevich V.F. Derzhavin (On the centenary of his death) // Vladislav Khodasevich. Oscillating tripod. M., 1991.

Eikhenbaum B. Derzhavin // V. Khodasevich. Derzhavin. M., 1988.

Practical lesson 9. The genre of the story in creativity

N. M. Karamzina

Varieties of the genre of the story in the work of N. M. Karamzin.

The reasons for the emergence and rapid development of a sentimental story in Russian literature (F. Emin "Letters of Ernest and Doravra", A. N. Radishchev "Diary of a Week", N. M. Karamzin " Poor Lisa»).

The poetics of the stories of N. M. Karamzin:

A) external and internal conflicts in the story. The attitude of N. M. Karamzin to the heroes. The meaning of the title of the story "Poor Liza";

B) how does N. M. Karamzin reveal the origin and development of feelings in his characters? The dynamics and variability of feelings as a means of creating the psychological complexity of the character of the main characters of the story;

C) the psychological function of the landscape in the work; nature as an actor;

D) role speech characteristics, intonation, facial expressions, gestures, artistic details in creating an image; portrait and its meaning.

4. The stories of N. M. Karamzin in the history of Russian literature.

Tasks:

I. What new did Karamzin introduce into the development of the Russian story (cf.: Old Russian stories, "histories" of the time of Peter the Great, etc.) and how did he prepare the appearance of A. S. Pushkin's Belkin's Tales?

II. To give a comparative description of the "poor" Lisa from the story of Karamzin and the "poor" Anyuta A. N. Radishchev ("Journey from St. Petersburg to Moscow", chapter "Edrovo"). Is it possible to speak of two currents of Russian sentimentalism?

Literature:

Karamzin N.M. Tales. (Any edition).

Radishchev A.N. Diary of one week. Journey from St. Petersburg to Moscow. (Any edition).

Vinogradov VV The problem of Karamzin in the history of styles of Russian literature // VV Vinogradov. Selected works. Language and style of Russian writers. From Karamzin to Gogol. M., 1990.

Gogol N. V. Karamzin // N. V. Gogol. Selected articles. M., 1980.

Orlov P. A. Russian sentimentalism. M., 1977.

Orlov P. A. Russian sentimental tale. M., 1977.

Pavlovich S. E. Ways of development of Russian sentimental prose of the 18th century. Saratov, 1974.

Piksanov N. K. "Poor Anyuta" and "Poor Lisa" // XVIII century: Sat. 3. M.-L., 1958.

Puryskina N. G. Word and gesture in the sentimental story "Poor Lisa" by N. M. Karamzin // Problems of studying Russian literature of the 18th century: Method and genre. L., 1985.

Toporov V. N. "Poor Liza" Karamzin: Reading Experience. M., 1995.

Independent work students

SRS Topics

V. K. Trediakovsky as the initiator of Russian philology. The reform of Trediakovsky's versification: the transition to syllabo-tonic versification (tracts of 1735 and 1752). Trediakovsky's creation of the Russian hexameter and the foundations of the epic style.

Magazine satire 1769–1774 "Infernal Mail" by F. A. Emin. Satirical magazines by N. I. Novikov: “Drone”, “Painter”, “Purse”.

Satirical works of I. A. Krylov. The style and language of the writer.

Poetics and genre originality of V. I. Lukin's comedies.

The satirical and anti-serf orientation of the comedies by M. I. Verevkin and comic operas M. I. Popov, A. O. Ablesimov, M. A. Matinsky.

Lyrics by V. V. Kapnist: genre composition and the specificity of the literary position of the poet. The comedy "Yabeda" and its place in the writer's work and the development of Russian comedy of the 18th century.

Dramaturgy by P. A. Plavilshchikov. His articles "Something about the innate property of Russian souls" and "Theater".

"Irocomic" poems by V. I. Maikov. Genre originality of Elisha.

Literary activity I. F. Bogdanovich. Love, anacreontic lyrics of the poet.

Lyrics and dramaturgy by M. M. Kheraskov. Kheraskov's classicism and the influence of Masonic ideas on his work.

Novels of F. A. Emin and their genre diversity.

Ideological and artistic originality of M. D. Chulkov’s prose.

The poetry of M. N. Muravyov is “a chronicle of the human soul of the 18th century.” Artistic innovation lyrical system Muravyov, the first pre-romantic poet in Russian literature.

The structure of the narrative "Journey from St. Petersburg to Moscow" by A. N. Radishchev: essay, journalistic and artistic beginning as a model of the learning process.

The question of the versatility, breadth of socio-philosophical and artistic searches for sentimentalism in the works of A. N. Veselovsky, G. A. Gukovsky, P. N. Berkov, N. K. Piksanov, D. D. Blagogo, G. P. Makogonenko, P. N. Orlova and others.

Variety of genres of dramaturgy Ya. B. Knyazhnina. National-historical problems, connection with educational ideology, genre originality, features of tragic and comedic characters and conflicts.

Artistic texts

Feofan Prokopovich. Epinikion. Vladimir.

A. D. Kantemir. Satyrs (1, 2, 7).

V. K. Trediakovsky. A new and concise way to compose Russian poetry. Poems of laudatory Russia. Poems in praise of Paris. Epistle on Russian poetry to Apollinus. Tilemachida. Riding to the island of love.

M. V. Lomonosov. A letter about the rules of Russian poetry. Preface on the Usefulness of Church Books. Ode to the victory over the Turks and Tatars and the capture of Khotyn, 1739. Ode to the day of accession to the All-Russian throne of Her Majesty Empress Elizabeth Petrovna, 1747. Conversation with Anacreon. I erected a sign of immortality for myself. Evening meditation on the majesty of God at the occasion of the great northern lights. Morning reflection on God's majesty. Letter about the benefits of glass. Grasshopper.

V. V. Kapnist. Yabed.

M. I. POPOV Anyuta.

A. A. Ablesimov. Miller-sorcerer, deceiver and matchmaker.

V. I. Lukin. Scribbler. Mot, corrected by love.

M. M. Kheraskov. Russia. Chesme battle. Poems.

I. F. Bogdanovich. Darling.

V. I. Maikov. Elisha, or irritated Bacchus.

A. P. Sumarokov. Epistle on poetry. Dimitri the Pretender. Tresotinius. Guardian. Cuckold by imagination. Poetry (satires and parables).

D. I. Fonvizin. Treasurer fox. Message to my servants. General Court Grammar. Brigadier. Undergrowth.

M. D. Chulkov. Bitter fate. Precious pike. Mockingbird, or Slavic fairy tales. Nice cook.

G. R. Derzhavin. Felitsa. Murza vision. rulers and judges. On the death of Prince Meshchersky. God. Waterfall. Noble. For the capture of Ishmael. Martin. Dinner invitation. Russian girls. "Eugene. Zvanskaya life. Snigir. Confession. To the lyre. Monument. Swan. River of time. Discourse on lyric poetry, or on the ode.

M. N. Muraviev. Lyrics.

A. N. Radishchev. About autocracy. A conversation about what is the son of the fatherland. Journey from St. Petersburg to Moscow. eighteenth century. Diary of one week.

I. A. Krylov. Spirit mail. Kaib. Trumpf (Podchipa). Lesson for daughters.

N. M. Karamzin. Poor Lisa. Natalya, boyar daughter. Martha the Posadnitsa, or the Conquest of Novgorod. Bornholm Island. Letters from a Russian traveler. History of Russian Goverment. Poetry. Autumn.

I. I. Dmitriev. The blue dove groans. fashionable wife. Inscriptions, epigrams, fables.

Types of control measures and forms of discipline certification

Questions for the exam

The main features of Russian literature of the XVIII century. as a new type of literature. 18th century - Age of Enlightenment.

culture first quarter XVIII V. (features of state policy and public consciousness; periodicals and book publishing, theatre). General characteristics of the literature of the time of Peter the Great (poetry, dramaturgy).

Tales (histories) of the time of Peter the Great. "History about the Russian sailor Vasily Koriotsky ...". Ideological and artistic originality.

Feofan Prokopovich is a public figure, writer and literary theorist.

The concept of classicism (socio-historical background and philosophical basis; the concept of personality). The originality of Russian classicism. Stages of development. Representatives. genre system.

Creativity V. K. Trediakovsky. Genre and style originality of lyrics. Translations Western European novels. Theoretical and literary works.

Satires by A. D. Kantemir. Tradition and innovation. Author's position and ways of its expression. Image system.

Reform of Russian versification (V. K. Trediakovsky, M. V. Lomonosov).

Philological works of M. V. Lomonosov. The theory of "three calms" and its role in the development of Russian literary language.

Solemn odes by M. V. Lomonosov (“Ode on the capture of Khotyn”, “Ode on the day of the ascension ... 1747”). The concept of the odic canon. Problems, composition, visual and expressive means. The position of the author.

Scientific and philosophical poetry of M. V. Lomonosov. Spiritual ode genre. Translations and transcriptions.

Versatility of M.V. Lomonosov and its historical and cultural significance.

A. P. Sumarokov - theorist of Russian classicism ("Epistole on poetry").

Dramaturgy by A.P. Sumarokov. Features of tragedies (themes, system of images, features of the conflict, language). The development of the genre of comedy ("Guardian", "Cuckold by imagination").

The tragedy of A. P. Sumarokov "Dmitry the Pretender".

Poetry of A.P. Sumarokov. Satires and parables. Love lyrics and its traditions in the poetry of the second half of the 18th century.

The main trends in the development of Russian literature in the second half of the XVIII century. ("Century of Catherine").

Satirical journalism of the 60s–70s Journal controversy. N. I. Novikov. Magazines "Truten", "Painter" and others. Literary and social position. Genre forms of satire.

Poetry of the 60s–90s General characteristics. Main directions of development.

G. R. Derzhavin. Characteristics of creativity. poetic innovation. Question about creative method Derzhavin.

The genre of ode in the work of G. R. Derzhavin. Ideological and artistic originality of the ode "Felitsa".

Philosophical lyrics of G. R. Derzhavin.

Anacreontic poems by G. R. Derzhavin.

Prose of the 60s–80s (F. A. Emin, M. D. Chulkov, M. M. Kheraskov).

Poems of the second half of the 18th century. genre varieties. The heroic epic of M. M. Kheraskov "Rossiyada".

Poem by V. I. Maikov "Elisha, or an irritated Bacchus". Ideological and artistic originality.

Poem by I. F. Bogdanovich "Darling". Ideological and artistic originality.

Creativity M. M. Kheraskov.

Dramaturgy of the second half of the 18th century. Main directions of development. Genres.

Comedy of the second half of the 18th century. Review. (V. I. Lukin “Schepetilnik”, “Mot, corrected by love”, V. V. Kapnist “Yabeda”, Ya. B. Knyaznin “Bouncer”, etc.).

Comic opera in literature of the second half of the 18th century. (works by A. A. Ablesimov, M. I. Popov, N. P. Nikolaev, Ya. B. Kniazhnin and other authors).

Historical and political tragedy. General characteristics of the works of A. P. Sumarokov, N. P. Nikolaev, Ya. B. Knyazhnin.

The creative path of D. I. Fonvizin. Satirical works ("Fox Treasurer", "Message to my servants ...", "Universal Court Grammar").

The originality of the action and the system of images of the comedy by D. I. Fonvizin "The Brigadier".

Comedy D. I. Fonvizin "Undergrowth". Genre originality, system of images, features of the conflict.

The originality of Russian sentimentalism. Representatives.

Creativity N. M. Karamzin. Literary and aesthetic views. History in the work of the writer.

"Poor Lisa" by N. M. Karamzin as a sentimental story.

The story of N. M. Karamzin "Natalya, the boyar daughter." Features of the interpretation of the love theme. The position of the author.

Prose N. M. Karamzin. "Letters from a Russian Traveler". Genre types of stories. Pre-romantic tendencies ("Bornholm Island").

Creativity I. I. Dmitriev.

General characteristics of the work of I. A. Krylov in the XVIII century. Joker-tragedy "Trumph" ("Podshchipa").

Journals of I. A. Krylov. Satirical prose ("Kaib").

The creative path of A. N. Radishchev.

"Journey from St. Petersburg to Moscow" by A. N. Radishchev. History of creation and publication. Content and problems.

"Journey from St. Petersburg to Moscow" by A. N. Radishchev. Genre-compositional originality. Traveler image. Question about the creative method of the writer.

The main patterns and results of the development of Russian literature of the XVIII century. and its place in the history of Russian literature.

^ Exam Ticket Sample

2007 / 2008 academic year year

^ TICKET #1

1. The main features of Russian literature of the XVIII century. as a new type of literature. 18th century - Age of Enlightenment.

2. Creativity M. M. Kheraskov.

Art. teacher________________________________ Ch. A. Gorbachevsky

Head of the Department ____________________________ E. V. Ponomareva

South Ural State University

Department of Russian language and history of literature

Discipline "History of Russian Literature"

2007 / 2008 academic year year

TICKET #2

Periodization of Russian literature of the 18th century.

2. Comedy of the second half of the 18th century. Review. (V. I. Lukin “Schepetilnik”, “Mot, corrected by love”, V. V. Kapnist “Yabeda”, Ya. B. Knyaznin “Bouncer”, etc.).

Art. teacher _________________________________ Ch. A. Gorbachevsky

Head of the Department _____________________________ E. V. Ponomareva

“Our literature suddenly appeared in the 18th century,” wrote Pushkin, knowing full well that its origins go back to ancient times. With the word "suddenly" Pushkin emphasized the special, unparalleled nature of the dynamic development of Russia at that time. 18th century - this is the era of the rapid formation of new Russian literature. For several decades, Russian literature has made up for its backlog from Western literature. The literary phenomena of this period are so compressed in time that elements of sentimentalism appear already in the era of classicism; new syllabo-tonic versification(see more about this below) coexists with archaic verses. Speaking about the literature of the 18th century, we often come across such phenomena that, while not being of interest from an aesthetic, artistic point of view, have great importance from the point of view of the historical and literary process. Poems by V.K. Trediakovsky is almost impossible to read, but he is the creator of modern versification. And none other than Pushkin stood up for Trediakovsky when I.I. Lazhechnikov, in his historical novel The Ice House, brought out the poet of the 18th century. in the form of an insignificant jester: “His philological and grammatical researches are very remarkable. He had the most extensive ideas about Russian versification ... In general, the study of Trediakovsky is more useful than the study of our other writers.

Periodization of Russian literature of the 18th century. traditionally relies on the leading stylistic trends in the artistic culture of that time. In general, it can be presented in the form of the following table:

1. Literature of the time of Peter the Great

First quarter of the 18th century was marked by major transformations in the economic, political and cultural life of Russia. Peter's reforms marked the beginning of the process of Europeanization of Russia, and this process also captured the field of literary creativity. The literature of the new time resolutely emerged from under the influence of the church, assimilated the European concept of enlightened absolutism, having before its eyes the living example of Peter I. Peter I, in turn, sought to use literature for state needs, to promote new ideas. The especially instructive, openly didactic character of Russian literature of the Petrine era will be preserved throughout the entire 18th century. and acquires a new quality in the Russian classics of the 19th century.

However, Russian literature of the first quarter of the 18th century in terms of its artistic capabilities, it clearly lagged behind the needs of the time, from the scope of Peter's reforms. It is not for nothing that the Petrine era is often called the most “non-literary era” in Russian history. Literature 1700-1720s represents strange picture mixture of old and new, it still has a transitional character as a whole. In the time of Peter the Great, the old handwritten tradition of Old Russian literature continues to exist and develop - it remains on the periphery of the general literary process in Russia until the end of the 18th century, and some of its phenomena survive to this day (Old Believer estachological writings and journalism).

The secularization of culture entailed the liberation of artistic creativity; another thing is that the writer often did not know how to dispose of this freedom. Literature under Peter not only serves practical purposes, it also entertains, masters new, once forbidden topics for it. Old Russian literature almost did not know the theme of love (with rare exceptions, love is interpreted as an obsession of the devil; only conjugal love was recognized). In the Petrine era, it spreads love lyrics(the so-called "kants"), in which folklore images from folk poetry peacefully coexisted with ancient mythological motifs. Secular story with an exciting adventure story. These stories were distributed in manuscripts, were anonymous and were built according to the type popular in the late 17th - early 18th centuries. translated short stories and adventure novels. However, the hero of these stories was a young man, typical of the Petrine era. Usually humble, but educated, energetic and enterprising, he achieved fame, wealth, recognition solely due to his personal merits. Such is the "Story of the Russian sailor Vasily Koriotsky and Princess Heraclius of the Florentine land." The style of this story is distinguished by amazing eclecticism - along with the traditional gallant vocabulary of translated chivalric novels - barbarism and clericalism, dating back to the business writing of Peter the Great, the language of the Vedomosti and Chimes newspapers, and even the language of translated textbooks on natural science and exact sciences. These stories most clearly revealed the Achilles' heel of Peter's culture as a whole: the lack of a literary language that could adequately convey those new concepts in the field of culture, philosophy, and politics that the era of Peter's transformations brought with it. The task of creating a new literary Russian language was bequeathed by the writers of the Petrine era to a new generation of writers.

In Petrine literature, the traditions of school drama continued to develop. Here the emergence of a school theater within the walls of the Slavic-Greek-Latin Academy played a big role. Religious stories in this dramatic genre were supplanted by secular ones, telling about political topical events, containing panegyrics to Peter I and his associates. In the future, the journalistic and panegyric nature of dramaturgy is further enhanced. The genre of school drama occupied a central place in the work of Feofan Prokopovich (1681-1736), a brilliant orator, publicist, playwright and poet. The tragicomedy "Vladimir" (1705) occupies a central place in his work. Depicting in this play the events connected with the adoption of Christianity in Rus' under Vladimir, Feofan allegorically glorified the transformations of Peter and satirically ridiculed his opponents. The tragicomedy "Vladimir" carried the features of the future classicist dramaturgy: the conflict between passion and reason, the unity of action and time, the clarity and clarity of the composition.

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LITERATUREXVIIICENTURIES

DEVELOPMENT OF LITERATURE IN 1700 - 1730

(LITERATURE OF THE PETROVSK AGE)

The first decades of the 18th century are the time of the formation of a new art, the time of the creation of literature that is qualitatively different from the literature of the previous period. The most important sign of the new in literary creativity was the view of writers on reality from the point of view of the nationwide. The horizon of the author's vision is expanding. Literary heroes are taken out of the Russian state. The image of other countries is freed from the air of fantasy. Increasingly, the idea is heard that a person is a member of society, that this imposes certain duties on him: a person must bring real benefits to society, the state (this idea sounds in the second satire of A. Cantemir). An attempt has been made in the literature to reflect human psychology. If Russian literature of the 18th century as a whole can be called a creative laboratory that prepared the artistic achievements of the 19th century, then the experimental principle manifested itself especially strongly in the literature of the first decades of the 18th century, when there was no literary direction, literary life developed spontaneously, and writing had not yet become a large and internally organized part of the ideological struggle, had not yet become a profession. This period went down in history under the name "the era of Peter's reforms." Peter I did a lot to bring Russian culture closer to European. As noted by A.S. Pushkin "Russia entered Europe like a lowered ship at the sound of an ax and the thunder of cannons." Peter I in his transformations, in his reforms gravitated toward the enlightening humanistic West. This was inevitable historically. From a monarchy of the old type, from a state bound by obsolete class prejudices, Russia came to a powerful state of a different, European type, to an "enlightened" monarchy. In accordance with this, a completely new worldview was taking shape in Russia. There is an interest in the sciences, and in connection with this, faith in the power of the human mind is gradually being established. Reason becomes the measure of everything (this is how the ground is prepared for the formation of classicism). And this measure is gradually, imperceptibly pushing into the background many traditional religious performances. The authority of the church is replaced by the authority of the state, which has subjugated ecclesiastical authority. Service to the state becomes a criterion of the value of a person, his moral qualities. Public benefit is gradually becoming the highest ethical standard. These new ideas, which have arisen in the West, together with new concepts, enter into Russian everyday life: public benefit, public cause, citizen, patriot. There is a conviction that civil laws are not written on a whim from above, but are created according to the laws of reason, determined by "natural law" and not "divine providence." The first textbooks are published (Arithmetic by Magnitsky, Grammar by Smotritsky), the first Russian printed newspaper Vedomosti begins to appear. Educational institutions are opened (Ernst Gluck gymnasium, higher educational institution - Slavic-Greek-Latin Academy). At the end of 1702, a certain Johann Kunst, a German from Danzig, on the initiative of Peter I himself, opened the first theater in Russia (the theater lasted only one year - Kunst died and performances ceased), where all the roles were played by men. New standards of communication are being established. Guides appear on how to behave for youths and young men (“Youth is an honest mirror”), how to write gallant and business letters (“Butts, how different compliments are written”). These books should emphasize the desire for affirmation human dignity. In 1724, the "Academy of Sciences and Curious Arts" was founded. With the opening of the Academy, the development of science in Russia was finally centralized and taken under the tutelage of the state. Literature acquires a purely secular character. new customs, new way life also demanded other words for their reflection in literature, a new literary language, new genres, new forms. New genera arise literary works, previously unknown in Russia, in particular, love lyrics arise. Initially, these poems were created according to folklore traditions. Gradually there is a book lyrics. Lyric poetry of this time, artistically weak, extremely important in the historical and literary sense, because it opened up to the reader, opened up to Russian art a completely new, previously unknown area of ​​\u200b\u200bhuman life - the sphere of personal experiences. Literary creativity, however, had great "internal resistance" and was difficult to renovate. This is due to the peculiarities of medieval poetics. Very durable in ancient Russian literature stylistic traditions lived for a long time in the literature of the 18th century 5 . In the first decades, the genres characteristic of the 16th-17th centuries retained their significance. In the 17th century, the genre of the story was most widespread in Russian literature. It remains popular in the first decades of the new century. And here, in the usual genre, the old, both in content and in stylistic form, begins to come into conflict with the new, while continuing to coexist with the new on the whole. This phenomenon can be traced on the example of the most common stories of the time of Peter the Great. First of all, this is “History about the Russian sailor Vasily Koriotsky and about beautiful princess Heraclius of the Florensky land. The fashionable word "history" or "history" is very often introduced into the title of such works. The anonymous authors of the stories wanted to emphasize the authenticity and typicality of the events depicted in these works, and also, as it were, to distinguish them from the stories of the 17th century. In this work, a conflict develops, familiar already from the stories of the 17th century. Before us is a clash of old and new ideas about the goals of life, about moral values, about the moral foundations of society, a clash of the ideology of fathers and children. But if in the stories of the 17th century such a clash usually acquired a very sharp character and was portrayed as an antagonistic conflict (The Tale of Sava Grudtsyn, About Grief-Misfortune), then there is no direct clash between Vasily and his father. Moreover, the father does not interfere with the desire of the son to "live his own mind." There is no enmity between father and son, and the hero, who lives in his own way, wins, reaches the highest rung of the social ladder. This is a fundamentally new solution to the conflict - quite in the spirit of the stormy time of Peter the Great. The theme of love is posed and solved in a new way. If in the stories of the 17th century love is a diabolical feeling, the hero falls in love with a "husband's wife", sells his soul to the devil, then in the stories of the Peter the Great era this noble feeling, the mutual love of the characters, contributing to the achievement of the goal, it is the love conflict that drives the action of the story. In the stories of the Petrine era, a Russian person is depicted as a European. He was given qualities that were alien to the old Russian story: independence, resourcefulness, gallantry - something that the new way of life, the new reality imperiously demanded. All these works were closer to the folklore than to the book literary tradition. They were not printed, but distributed in lists, varied, which brought them closer to folklore and contributed to the traditionality and saturation of the works. common places. One of important features One of the most characteristic signs of the literature of the 18th century was that already in the first decades literature ceased to be anonymous. From the history of nameless works, in the creation of which many unknown co-authors participated, it turns into the history of the work of individual writers, each of whom has his own well-defined manner, worldview, and poetics. The first places in this row are occupied by Antioch Kantemir and Feofan Prokopovich.

Lecture 2

LITERARY TRENDSXVIIICENTURIES

PRECLASSICISM OF THE BEGINNING OF THE CENTURY

The literature of the 18th century, in contrast to the literature of Ancient Rus', developed along literary lines. characteristic features the prevailing literary trend, as a rule, are: the clarity of the concept that determines the activities of writers, the presence of a well-known team of authors connected by common creative and worldview principles. Usually both of these features are developed in the manifesto-declaration, where the literary and public position representatives of this trend, their requirements for literary creativity. So, the famous "Poetic Art" of Boileau was the manifesto of French classicism, Sumarokov's "Insisting to those who want to be writers" and partly Lomonosov's "Conversation with Anacreon", Russian sentimentalism - Karamzin's article "What does the author need?" and his letters. The literary trend is always based on a certain artistic method, on well-known creative principles. No artistic method can manifest itself in the history of literature otherwise than through one literary trend or another. At the same time, the artistic method acquires specific historical and social features inherent in a given direction, and, strictly speaking, each direction is the bearer of a completely specific method. In other words - how many methods - so many literary trends. The literary direction offers a fairly complex organization of literary work, the presence of a fairly developed structure of social thought and a relatively high public assessment of literary work, requires a clear definition of the writer's personality, the writer's individuality in the overall creative process. The literary trend is also characterized by well-known stylistic signs of a general nature, its inherent poetics, within which, of course, there are individual styles of a greater or lesser number of individual authors. Thus, a balance is established between creative personality and the literary community, moreover, between the society where the creative person operates, and this creative person as the bearer of the innovative principle. A clear idea of ​​the generality of tasks that pistaels representing a given literary movement should have is formed only if the given literature is printed literature. Only the text fixed in print can reliably preserve the individual, original, unique features of the author's personality. So one of important conditions the emergence of literary trends is the development of printing and its secularization. Therefore, any medieval literature, being as a rule handwritten literature, is not able to develop any developed literary trend. At best, we can talk about the beginnings of certain trends, about certain schools. The literature of the beginning of the century is traditional, spontaneous, unconscious in the nature of the manifestation of certain creative patterns in it, just like the literature of the 17th century. It is also closely related to oral folk art. But at the beginning of the 18th century, literary creativity collided with a radically changed reality. The enormous changes that had taken place in social life required fundamentally new ways of reflecting them in literature. Such methods could not be provided by literature operating with traditional categories, fettered by the stability of images, the stability of poetics. And the literary phenomena characteristic of the beginning of the century can be united by a common conventional name Russian preclassicism. The literature of pre-classicism at the beginning of the century has a number of new features that do not appear in the literature of the preceding period, features that did not lead to the formation of a genuine literary trend, but taken together prepared the development of the first literary trend - classicism. What are these traits? First of all, this period is characterized by an interest in some new genres, only partially used in the literature of the 17th century. This is the genre of lyric poetry. Such is also dramatic creativity, attempts to organize a theater not only with spiritual, but also with secular themes. Such, finally, are the handwritten stories of the beginning of the century, which, in many respects echoing the stories of the 17th century, are at the same time, as a rule, characteristic name"histories" and are distinguished by their desire for a fundamentally new solution to the conflict between fathers and children, for the transfer of action to European soil and all sorts of underlining of the present, the relevance of the conflicts depicted. For the stories of the beginning of the century, everydayism is typical, the tendency to display all the details Everyday life of people. On the one hand, this was an unconscious protest against the church coloring of many works of medieval literature, on the other hand, it testified to how far the shift in the worldview of people of that time had gone. The desire to reveal the inner world literary heroes- the second essential sign of Russian preclassicism. Interest in the inner world of people is closely connected with increased attention to the role of a person's personality, with a reassessment of the importance of a person's individual activity in public life. If in medieval literature predestination played a huge role in the development of the plot, fate and the conflict of works usually grew not due to the activity of the hero, but due to predetermined external, usually otherworldly forces, now more and more often the attention of authors is attracted by the activity human personality. In its infancy in the literature of preclassicism, the problem of the relationship between the personal and the public, the problem of the role of the individual in the social process, in the social struggle, is also posed. But this is still just a groping for the problem, the first timid attempts at posing the question. For example, in "Excerpts from a novel in verse" for the first time the question of the emancipation of women is raised. Interest in the individual leads to the formulation of the problem of civic duty, civic obligations member of society. In the literature of this period, this question is only outlined, finding some development in the work of Feofan Prokopovich. Close attention to the reality surrounding the author, to everyday life, to all manifestations of the new in Russian life, also led to a decrease in the influence of translated literature. Written literature, as it were, turned its face to "home" plots, to a renewed Russian reality, leaving its former repertoire at the disposal of oral literature. In stylistic terms, the literature of Russian preclassicism is characterized by a tendency to colorful, exotic situations. This is noticeable both in dramatic works, often saturated with melodramatic episodes, and in stories, as well as in an elevated, sometimes somewhat saturated dictionary of lyric poems. Here we can talk about baroque trends. Russian preclassicism paved the way for Russian classicism.

ANTIOKH DMITRIEVICH KANTEMIR

Antioch Dmitrievich Kantemir - the first Russian writer-classicist, author of poetic satires. Cantemir was brought up in a spirit of sympathy for the Petrine reforms, and during the years of reaction that followed the death of Peter the Great, he boldly denounced the militant ignorance of noble nobles and churchmen. He wrote nine satires. satirical activity the writer clearly confirms the organic connection of Russian classicism with the needs of Russian society. Unlike all previous literature, Cantemir's works are purely secular in nature. The early satires of Cantemir were created in the era that came after the death of Peter, in an atmosphere of struggle between the defenders and opponents of his reforms. One of the points of disagreement was the attitude towards the sciences and secular education. Cantemir in his work realizes himself as a poet-citizen, as a writer-educator he cannot stand aside, seeing the shortcomings and vices of society. The first satire “On those who blaspheme the teachings. To your mind”, written in 1729, was a work of great political resonance. It was directed against the ignorance of a certain social and political force , and not an abstract vice, ignorance, denounced by the authority of state and church authorities. This satire was of a pronounced anti-clerical nature and was directed against the party of churchmen Stefan Yavorsky and Grigory Dashkov, who sought to re-establish the patriarchate and pre-Petrine orders. Kantemir stands in defense of the sciences, enlightenment, and although his reasoning was somewhat abstract, nevertheless they were caused by Russian reality and addressed to it. He believed that state progress and the correction of morals depended on the development of education. With sharp satirical features, he draws portraits of the opponents of enlightenment: Crito, Silvan, Medora. These names are arbitrary, but the abstract images created by Cantemir bear the features of the satirist's true contemporaries. They all blaspheme science, believing that it is obscene for a nobleman to engage in science, there is no use in it, why “work in something that suddenly doesn’t make your pocket get fat”. In their opinion, science is a hindrance: Crashing over a book and damaging your eyes? Isn't it better to skip days and nights with a cup? The image of the bishop is critically depicted, the prototype of which, as Cantemir himself pointed out in the notes to this satire, was the head of the church reaction, Georgy Dashkov. Cantemir portrays the greed and ignorance of the churchmen, considers them dangerous enemies of enlightenment. He reveals with great expressiveness the features of the external appearance of the bishop, which correspond to his inner essence: hang a chain around your neck from gold, Cover your head with a hood, belly - with a beard, Klyuk was magnificently ordered to carry before you; Inflated in the carriage, when the heart cracks with anger, bless everyone right and left. I must recognize you as an archpastor in these Signs, call you reverently father. The second satire "Filaret and Eugene" (On the envy and pride of the malevolent nobles) (1730) is also directed against the enemies of Peter's reforms, against representatives of the tribal aristocracy, dissatisfied with the rise in modern times of people who were not noble, but capable. The satire is built in the form of a dialogue between supporters Peter's "Table of Ranks" Filaret (translated from Greek - virtuous) and the defender of boyar privileges Eugene (noble). Eugene is deeply offended by the fact that he was passed over both by promotion and by awards. He is especially outraged by his promotion to command posts of people of humble origin. Among them, A.D. Menshikov is also mentioned (who rubbed his shoulders with a hearth pot. ..), who sold pies as a child. Eugene tries to assert his right to ranks and awards on the merits of his ancestors and on the antiquity of his kind, but the author shows that times have changed and Eugene's claims look ridiculous and archaic. Filaret pays tribute to the glorious ancestors of Eugene, but believes that the merits of fathers and grandfathers should not pave the way to high ranks and reward their lazy and mediocre descendant. Filaret lists a number of positions that Eugene could have taken - commander, judge, treasurer - but which he neglected because of his laziness and ignorance. The question of nobility is also posed in a new way. “It differs,” Filaret declares, “to be a descendant of noble ancestors, or to be noble.” In this satire, the idea of ​​the natural equality of people was first expressed, a thought characteristic of the Enlightenment. Kantemir notes that "the same blood flows in the veins of the serf and the master." The satires of Cantemir have not lost their interest to this day. They show the personality of Cantemir, a humane, intelligent, observant person, who in his satires reflected the mores of the people of his time. He fought for enlightenment, for the future of Russia, by the force of a negative example. Belinsky was right, who in 1845 wrote that "... occasionally deploying the satirist Kantemir and reading one of his satires is true bliss." 8 Cantemir was the first to introduce such terms as "idea", "observations", "matter" into scientific use. And as Belinsky wrote: "He was the first in Rus' to bring poetry to life, while Lomonosov himself only divorced them for a long time." 9

VASILY KIRILLOVICH TREDIAKOVSKY

Literary activity of Tredaikovskiy is represented by artistic and scientific works. As a theoretician and experimental writer, opening up new paths in Russian literature, Trediakovsky deserves the most serious attention. “His philological and grammatical research,” wrote A.S. Pushkin, - very remarkable. He had a broader understanding of Russian versification than Lomonosov and Sumarokov ... In general, the study of Trediakovsky is more useful than the study of our other old writers. 10 In 1730, immediately upon his return from abroad, Trediakovsky published the novel French writer Paul Talman in his translation entitled "Riding to the Island of Love". It's typical love story about experiences actors- Thyrsis and Amyntas. These experiences are clothed in allegorical form. Each feeling of the characters corresponds to the conditional toponymy of the “Island of Love”: “Cave of Cruelty”, “Direct Luxury Castle”, “Gate of Love”, etc. Along with real ones, conditional characters such as “Pity”, “Sincerity”, “Eye-lovingness” are presented (Trediakovsky translated this word into Russian as coquetry). Trediakovsky's book is interesting because on its last pages he placed his own poems written in French titled "Poems for Different Occasions". This is Trediakovsky's pre-classical lyrics, which presents a purely personal, autobiographical theme. All the lyrics presented in the book are written in syllabic verse, but in four years Trediakovsky will decisively abandon the syllabic and propose a new system of versification instead. Trediakovsky's great merit to Russian poetry, not only contemporary to him, but also subsequent, was the reform of versification carried out by him, the principles of which are set forth in the treatise "A New and Short Method for Composing Russian Poetry" (1735). In this treatise, Trediakovsky pointed out the main drawback of syllabics - the fuzziness of the manifestation of rhythm, as a result of which, as Trediakovsky wrote, "it is more decent ... to call prose going by a certain number" 1 1 syllabic poetry. He replaced the syllabic system of versification with a syllabic-tonic, or, in his terminology, "tonic", from the word "tone", i.e. stress, stressed syllable. When creating a new type of versification, Trediakovsky sought to proceed from the peculiarities of the Russian language. The new system differed from the old one in the rhythmic organization of the verse. Rhythm is created by the correct alternation of stressed and unstressed syllables, occasionally complicated by pyrrhic (a foot consisting of two unstressed syllables) and spondei (a foot of two stressed syllables). The unit of rhythm is the foot, i.e. connection of one stressed with one unstressed syllable. The Russian language has stressed and unstressed syllables, but no long and short ones. Therefore, the fundamental difference between Russian versification and ancient versification, according to Trediakovsky, is that longitude and brevity in Russian versification are tonic, i.e. "consisting in a single voice stress." Trediakovsky suggested writing only "long" - eleven- and thirteen-syllable poems. He called the first "Russian pentameter", the second - "Russian hexameter". In the treatise On Ancient, Middle and New Russian Poems (1755), Trediakovsky makes an attempt to present the history of Russian poetry from ancient times. Trediakovsky divides the history of Russian poetry into three periods. He relates the first to the times of paganism and, in the absence of "proper and worthy examples," characterizes it purely hypothetically. The poets of that time, in his opinion, were clergy, that is, pagan priests. The establishment of Christianity exterminated "idol worship" and "deprived us of almost six hundred years of a god-worshiping poem." 1 2 The second period falls on the 17th and early 18th centuries. It is represented by poetic works by Simeon Polotsky, Sylvester Medvedev, Karion Istomin, Ivan Ilyinsky, Antioch Kntemir. The poetry of this time is syllabic. It is devoid of stops, rhythm, but has acquired rhyme. The third period was marked by the appearance of tonic versification, the discoverer of which was Trediakovsky himself. In 1766, Trediakovsky published a book called Tilemachida or the Wanderings of Tilemakh, the son of Odysseus, described as part of an iroic poem - a free translation of the novel by the early French educator Fenelon "The Adventures of Telemachus". Fenelon wrote his work in the last years of the reign of Louis XIV, when France suffered from devastating wars, the result of which was the decline of agriculture and crafts. The historical and literary significance of "Tilemakhida" lies not only in its critical content, but also in the complex tasks that Trediakovsky set himself as a translator. In essence, this is not a translation, but a radical reworking of the very genre of the book. Trediakovsky created on the basis French novel heroic poem on the model of the Homeric epic and, according to his task, he called the book not "The Adventures of Telemachus", but "Tilemachis". As noted in the preface, the plot of a heroic poem should not be connected with ancient world, its heroes cannot be historically reliable persons of either ancient or modern times. The heroic poem should be written, according to Trediakovsky, only in hexameter. The choice of characters and the plot of "Tilemachida" fully meets the theoretical requirements of the author. Trediakovsky carefully preserved the enlightening pathos of Fenelon's novel. The subject of condemnation is the supreme power, it is said about the despotism of the rulers, about their addiction to luxury and bliss, about the inability of kings to distinguish virtuous people from greed and money-grubbers, about flatterers who surround the throne and prevent monarchs from seeing the truth. Condemning both despotism and anarchy, the author arrives at a purely enlightening thought about the need to issue laws in the state that are binding on both the monarch and the subjects: I asked him, what does tsarist sovereignty consist in? He answered: the king is powerful in everything over the people, But the laws are powerful over him in everything, of course. 1 3 "Tilemakhida" caused a different attitude towards itself both among contemporaries and descendants. Novikov and Pushkin praised her. Radishchev made one of her poems the epigraph to his Journey from Petersburg to Moscow. “His love for the Fenelon epic,” Pushkin wrote, “does him credit, and the idea of ​​translating it into verse and the very choice of verse proves an extraordinary sense of grace.” 1 4 Catherine II took an irreconcilably hostile position. Her ill will was caused by criticisms of the autocrats. She introduced a humorous rule in the palace: for a light guilt, one was supposed to drink a glass of cold water and read a page from the Tilemakhida, for a more serious one, to learn six lines from it. In Tilemakhida, Trediakovsky clearly demonstrated the variety of possibilities of the hexameter as an epic verse. Trediakovsky's experience was later used by N.I. Gnedich when translating the Iliad and V.A. Zhukovsky at work on the Odyssey.

Introduction……………………………………………………….3

Chapter I Prose of the Petrine era…………………………..4-6

Chapter II Poetry of the early 18th century……………………7-9

Chapter III Dramaturgy and theater of the Petrine era………...10-12

Conclusion…………………………………………………. 13

References………………………………………….14

Introduction:

One of the most important achievements of the transitional period, and of the Petrine period in particular, was the development of a new concept of man, a new solution to the problem of personality. Man ceases to be only a source of sinfulness. He is perceived as an active personality, valuable both in itself and even more for “services to the fatherland”, when not the wealth and nobility of the family, but public benefit, intelligence and courage can elevate a person to one of the highest rungs of the social ladder.

Peter I in practice carried out one of the main postulates of enlightenment - the requirement of a non-estate value of a person. Later, in 1722, he would fix this provision by legislative means in the “Table of Ranks of all ranks of military, civil and courtiers”, which opened up the possibility for non-nobles to receive a noble rank for services to the state. It is possible that, first of all, it was this legislative act that Belinsky had in mind when he assessed the reforms of Peter I: “The reform of Peter the Great did not destroy, did not destroy the walls that separated one class from another in the old society, but it undermined the foundation of these walls, and if she didn’t knock them down, then she tilted them to one side, and now from day to day they lean more and more.

A person in Peter's time already deserves to be explained to him public policy so that he does not act blindly on orders, but imbued with the consciousness of the necessity and benefit of certain government measures.

Against the backdrop of great achievements in many areas of economic, political and social life, successes in the literature of the transitional period were much more modest, although the literary process itself was very complex.

The inner world of a person becomes bifurcated. Instead of a “coincidence of opposites”, there appears “an antagonistic struggle of two hostile principles in all living things. These two principles - body and soul, passion and reason, natural attraction and moral dictates, folk life and laws - coexist, but do not pass into each other. Each of them seeks to subdue and suppress the other. Hence such characteristic themes for baroque works as “life is a dream”, (remember death), as well as irrational (intuitive) knowledge of reality, a penchant for mysticism.

Chapter I. Prose of the Petrine era

As Lebedeva notes, despite the rapid development of book printing in the era of Peter I, the main reading circle of the mass Russian reader was traditional handwritten collections of stories, or “histories”, as they began to be called at that time. The process of making these collections in the transition period was very intensified. According to the composition of handwritten collections of stories, the genre composition of mass Russian fiction of the first quarter of the 18th century can be reconstructed, in the depths of which a type of authorless history of the Petrine era was formed - and with its obvious dependence on the Old Russian narrative tradition (anonymity and handwriting - characteristics stories of the Petrine era, related to ancient Russian literature), as well as from the Western European model of the genre (typological adventurous plot), authorless histories, oriented towards their historical modernity and created by people of their era, reflected the novelty of Russian social life at the beginning of the 18th century, and new type consciousness of their nameless authors.

One of the most typical examples of the genre is "History of the Russian sailor Vasily Koriotsky and the beautiful princess Heraclius of the Florensky land." Compositionally, the work is divided into two unequal parts: the first, more concise, tells about the life of a young nobleman Vasily Koriotsky, who went to state service, and the second, more lengthy, about his incredible adventures in Europe. The first part has a pronounced everyday descriptive character; the second, more conditional, is built partly on the model of Russian folk epics and robber tales, and partly on the model of a Western European love-adventurous story. However, against the background of this well-tangible narrative tradition, the novelty of the real signs of the life of the Petrine era, recorded in the story, as well as the novelty of the hero and the principles of narration, becomes even more obvious.

"Histories" about the sailor Vasily differ significantly from the narrative writings of the second half of the 17th century. Histories are entirely secular works, their plot is fictitious and develops along the line of revealing the character of the protagonist, whose fate is the result of his actions.

Innovations begin literally from the beginning of the story: "In Russian Europe, some lively nobleman ...". It is quite obvious that Russia could be called “Russian Europes” not earlier than by the end of the reign of Peter I, and only in them could that typical biography of a young nobleman of the Petrine era be realized, the initial stage of which is quite traditional - the hero leaves home from “great poverty ”, but further events are directly due to the novelty of the Russian way of life, because Vasily Koriotsky enters the service not just anywhere, but in the fleet. The fleet is a symbol of everything new in Russian life at the beginning of the 18th century, Peter's favorite brainchild, the most convenient springboard for a career, since it was sailors and naval officers who most often went abroad for education.

Most importantly, than the historical era of the first thirty years of the XVIII century. determined the poetics of the authorless history that arose at that time, and the brightest

characterizes the belonging of this genre to the new literature, is the dominant position of the category of the hero in the system of aesthetic categories of narration. Both the plot, the composition, and the style of the story are determined by the central position of the character, the task of its fullest disclosure. All plot episodes of the story are built on the principle of contrast, the difference in life situations from happiness to misfortune, from poverty to prosperity, in which personal virtues and character traits can best manifest themselves.

New in Russian novels of the early 18th century. is the development of a love theme. This theme not only forms the beginning of the plot, but also serves to reveal the character of the hero. The European culture of love feeling, which manifests itself in kneeling, playing the harp, chanting the beautiful lady in verse and the refined courtesy of relationships, has found its embodiment in the story of mutual love a Russian sailor and a beautiful princess.

Tales of the first decades of the 18th century. also reflected the enlightenment ideas of the time of Peter the Great. This was most clearly reflected in such qualities of the hero as "sharpness of mind", his success in the sciences. It is these personal virtues that are revealed both in the author's direct statements and in the opinions of other heroes of the story.

The compositional feature of the Russian stories of the time of Peter the Great is the inclusion in them of songs - “arias”, which are performed by the characters in the course of the action.

In their composition, these “arias” are typical examples of love lyrics of the early 18th century, which combine features of the Renaissance and Baroque styles: allegorism, hypertrophied emotionality, mention of ancient gods and goddesses (Cupid, Fortune, Mars).

These songs-arias are not the fruit of the personal creativity of the authors of the "histories". Common in everyday life and in handwritten collections, they are included in the fabric of the narrative almost mechanically, not expressing the individual feelings of the hero, but conveying their typology.

“The history of the Russian sailor Vasily Koriotsky ...”, standing on the eve of new Russian literature, marked the timid and at first difficult to discern the origins of one of the most important ideological and aesthetic trends in the development of Russian literature not only in the 18th, but also in the 19th century: the search for an epochal type personality, the desire to comprehend a person through his historical era, and the history and essence of the historical era - through the type of personality formed by it. Thus, the authorless histories of the Petrine era underlie one of the most powerful genre traditions of Russian literature - the tradition historical novel and contemporary novels.

Chapter II. Early 18th century poetry

Peter's reforms concerned primarily the practical sphere. A thin layer of the Russian intelligentsia, willingly or unwillingly, was absorbed in this work and had no strength left to study art. Bookish monasticism was rapidly losing its dominant position in verbal culture, and its replacement was gradually being prepared. Nobles served until death, old age, or serious injury. However, it was precisely in the era of Peter the Great that fundamental changes took place in Russian literary life, which predetermined the powerful development of poetry and prose.

Literature was allowed to perform not only practical functions, which Peter considered the most important. She was also supposed to entertain; for entertainment, everyone could write freely - as a private person, outside and apart from official duties. The writer has become a private man, the private man has become a writer. This, it seems to me, is the meaning of the upheaval in literary life that took place under Peter. It was also a kind of reform, and a reform with far-reaching consequences. If the transformation of a writer into a commissioned worker, into an employee, into a literary day laborer meant a manifold increase in the flow of natural science, legal, medical, etc. translations aimed at the public good, then his transformation into a private person, independent of "Christian freedom", immediately echoed in the thematic and genre areas. Two consequences immediately appeared: the prohibitions on laughter and on love were lifted.

In the magnificent old Moscow life, every day and every hour were scheduled to the smallest detail - and there was no room for laughter. Even the Greek shepherds of the same faith found Russian good manners to be difficult. The ban on laughter is explained by non-literary reasons. Under Peter, laughter became an indispensable ingredient in court life. As a sovereign, as a secular head of the church, and finally, as a parishioner, Peter was pious; he knew the church service to the subtleties and loved to sing on the krylos. Feofan Prokopovich, being the pastor of the church, criticized the exemplary preacher of the Polish baroque Tomasz Mlodzyanovsky for the comic effect that his concepts and applications produced. But in private life, Theophanes wrote playful epitaphs, for example, to Hierodeacon Adam, or the comic cycle “Thanksgiving from servants of brownies for malt, new-minded housekeeper Gerasim.” He did not hesitate to parody Scripture.

Numerous samples of love poems of the early 18th century, found in manuscript collections, allow us to get an idea of ​​their character. They differ in extreme variegation of vocabulary. Along with Church Slavonicisms, the presence of Ukrainian and Polish phraseology, there are inclusions of the business language of the time of Peter the Great, flavored with mannerisms and gallant sophistication, which indicates the active linguistic influence of translated literature, which played a significant role in the formation of the Russian language in the first decades of the 18th century. Metaphors, images and symbols associated with the traditions of the Western European Renaissance appear in book poetry. Love poems are full of the names of ancient gods and goddesses: the hero mourns his heart, shot through by the “sharp arrow of Cupid” (Cupid).

Love lyrics of the first decades of the 18th century. painted in sensitive - sentimental tones, equipped with an emotionally elevated phraseology: the hearts of lovers are "wounded by sadness", they shed "tearful rain", their love is a "flame", it "give birth to sparks in the heart", ignites a "fire". Spectacular Baroque comparisons of the beauty of a beloved with flowers, precious stones and metals (“the most fragrant color, the most beautiful sapphire”, “an invaluable treasure, a braliant”, “the eye has a magnet in itself”) create a peculiar character of these songs - early examples of Russian poetry.

In the formation of the "love phraseology" of literature, a certain role belongs to the folk lyrical song. Significant impact on love poetry This time was rendered by translated literature that came to Russia at the end of the 17th - beginning of the 18th centuries. through Poland.

The most important place in poetry was occupied by panegyric verses, solemn "cantes" and victorious "vivates" on the occasion of the military successes of Russia or other important state events. This phenomenon is extremely important for the history of Russian literature of the period under review as a clear indicator of the continuity of literary traditions. The "Kants" and "Vivats" have a predecessor - a collection of baroque poems "in case" by Simeon of Polotsk "Rhymologion". They also have a clearly distinguished "descendant" - a classic ode. As an example, we can cite the well-known cant of Dimitry of Rostov on the capture of Narva, which spoke of the struggle between the eagle, the symbol of Russia, and the lion, the symbol of Sweden. Everything is built on a skillful interweaving of mythological images: the lion - the emblem of Sweden - acquires the name "Nemean" and is thus associated with one of the labors of Hercules; Peter is a stone, and this translation often appeared in modern church sermons, a viva is a welcoming Latin cry, which it was Peter who officially introduced into Russian life.
In the poetry of the time of Peter the Great, there are also Horatian-Epicurean themes and motifs that are not characteristic of the previous literary tradition. Such, for example, is the “Drinking Song”, which was a half-retelling-half-translation of the famous student anthem “Gaudeamus igitur”. Its second part contains a number of specific details of the feast of epicurean nobles of the time of Peter the Great, who are immediately named by their names (princes Masalsky, Ivan and Boris Golitsyn, etc.).

The transformation of a writer into a private individual, not bound by "Christian freedom," seems to me the most characteristic and promising sign of the literary life of Peter the Great's time. The results of this metamorphosis were not long in affecting the lifting of the ban on laughter and love. In the first quarter of the XVIII century. these results were still in potency. The poetic quality was low, because amateurs were engaged in poetry. Somewhat later, the quality also changed.

Description of work

One of the most important achievements of the transitional period, and of the Petrine period in particular, was the development of a new concept of man, a new solution to the problem of personality. Man ceases to be only a source of sinfulness. He is perceived as an active personality, valuable both in itself and even more for “services to the fatherland”, when not the wealth and nobility of the family, but public benefit, intelligence and courage can elevate a person to one of the highest rungs of the social ladder.

One of the main themes of the Petrine era is, of course, the problem of the human personality. A person begins to be perceived as an active person, valuable both in itself and even more for "services to the fatherland." It is not wealth and not the nobility of the family that are valued, but public benefit, intelligence and courage: it is they who, in the new conditions, can elevate a person to one of the highest rungs of the social ladder. In 1722, the “Table of Ranks of all military, civil and court ranks” appeared, opening up the opportunity for people of non-noble rank to receive it for services to the state.

This new person should act not blindly on orders, but imbued with the consciousness of the necessity and benefit of certain government measures, therefore, it is necessary to explain the state policy to him. To this end, from the end of 1702, the first printed newspaper in Russia, Vedomosti, began to be published, which reported "on military and other matters worthy of knowledge and memory that happened in the Muscovite state and in other surrounding countries."

Peter unfolded a wide publishing, textbooks are printed (for example, “Arithmetic, that is, the science of numerals” by L. Magnitsky, 1703), historical books, political treatises and scientific works. Along with this, there are also unusual books, such as The Honest Mirror of Youth (1717), which could well be called a guide to etiquette, as it told how to behave for youths and young men. The first part of the "Mirror" includes teaching aids for literacy and the alphabet, as well as a set of Orthodox instructions, and the second contains clearly formulated rules of everyday behavior for young nobles written in a bright figurative style. One can read in it, for example, the following recommendation: “a young lad” should wash his hands before eating, and then he was asked: “don’t grab the first one in the dish, don’t eat like a pig ... don’t sip when you eat.”

Discussing the development of the Baroque style in the Petrine era, A.M. Panchenko draws attention to the existing opposition: “The word was the banner of the Moscow period of the Russian baroque, the thing became the banner of the St. Petersburg baroque. From the verbal “museum of rarities” of Simeon Polotsky to the St. Petersburg Kunstkamera, a real museum of monsters and curious things - such is the rapid evolution of Russian culture. The researcher drew attention to the fact that the rarities of poetry collections of Simeon Polotsky and the curiosities of Peter's Kunstkamera are phenomena of the same plane, the same baroque sensationalism. But Simeon of Polotsk is more often looking for sensations in the past, he is a historian par excellence, while Peter is only interested in the present; in the sensations of Simeon of Polotsk there was an element of a miracle, for Peter, sensationalism is a deviation from the norm, from the bored and bored, from the template.

The Petrine era is rightfully considered a turning point in cultural development Russia. On one side of this historical period lies the ancient literature, on the other, the new.

However, this new literature did not grow out of nowhere. Its roots are in the 17th century, in democratic prose, in syllabic poetry, in that baroque culture that has taken root in Moscow since the time of Tsar Alexei Mikhailovich. Under Peter, this culture was modified, rebuilt, but it was not discarded and abolished. On the contrary, it was during the time of Peter the Great that it reached its highest peak. The late baroque style became the official style of Russian culture.

Literature was dominated by rhetoric. solemn sermon, school drama and panegyric poetry - these are the genera that developed in literature. The sermon became not only the main genre, but also the leading aesthetic principle. Baroque literature early 18th century pursued educational goals, based on the principle: the more enlightened a person is, the more accessible moral perfection is to him.

At the beginning of the 18th century Baroque successes were great and undeniable. All the writers of Russia were under his influence. But gradually the leadership of culture began to pass to Peter. The baroque leaders began to lose his support. Peter moved on to the negation of the baroque and Ukrainian-Polish and in its Russian version. The reason for the denial could not be all sorts of private clashes between the tsar and the baroque elite. Rejection of the Baroque systems cannot be considered a whim of an autocratic monarch. In denial there was deep meaning: Peter was disposed to endure preachers, but the very type of baroque writer seemed to him an obstacle in the transformation of Russia.

According to Baroque philosophy, the poet must be accountable only to God. Peter, on the contrary, believed that poets do not constitute the elite of the nation and are no different from any subject. The entire population of Russia is subordinate to the sovereign. And Peter issued a decree, which said that writing should cease to be the privilege of learned monasticism.

Peter parted ways with Baroque writers for other reasons as well. The culture they created was purely humanitarian in nature, and this also did not suit Peter, who above all valued the principle of practical utility. Peter's reforms were permeated with the idea of ​​usefulness, and there was no benefit - direct, immediate, tangible - from monk writers. That is why Peter decided to reject this art.

Peter brought forward a different type of writer. The intellectual, who composed out of inner conviction, was replaced by an employee who wrote by order or by direct order. Peter put forward another type of culture. If for Baroque writers poetry was the queen of the arts, now it has become an adornment of natural science and practical publications. If before the whole world, all the elements of the universe, were perceived as word, now the word has become thing.

Under Peter, Russia produced many new "things" that supplanted the production of "words": the fleet, libraries, theater, the Academy of Sciences, parks and park sculpture; new clothes, manners, style of communication, even a new capital. The production of "things" has supplanted the production of "words", which is why the time of Peter the Great is called the "non-literary" era in the history of Russian culture. Did this mean the decline of literature? In a sense, yes, it did. The deterioration of style was natural. That is, if under Tsar Alexei Mikhailovich writing was the privilege of people with the right humanitarian education, then under Peter a tribe of dilettantes arose and multiplied. Amateurism is also a symptom of decadence.

But in all this there were fruitful moments. The results of the transformations were not slow to affect the field of culture. What new, significant things did the Petrine era bring to Russian culture?