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Presentation on the topic: Writers and poets of the 19th century

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Writers and poets of the 19th century 1. Aksakov S.T. 2. Ershov P.P. 3. Zhukovsky V.A. 4. Koltsov A.V. 5. Krylov I.A. 6. Lermontov M.Yu. 7. Marshak S.Ya. 8. Nekrasov N.A. 9. Nikitin I.S. 10. Prishvin M.M. 11. Pushkin A.S. 12. Tolstoy L.N. 13. Tolstoy A.K. 14. Tyutchev F.I. 15. Ushinsky K.D. 16. Fet A.A. 17. Chekhov A.P. Svetlana Alexandrovna Lyalina, primary school teacher, Kulebaki, Nizhny Novgorod Region

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Sergei Trofimovich Aksakov Famous Russian writer. Born into a noble family of the famous family of Shimon. Love for nature - the future writer inherited from his father. Peasant labor aroused in him not only compassion, but also respect. His book "Family Chronicle" was continued in the "Childhood of Bagrov's grandson".

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Pyotr Pavlovich Ershov Born March 6, 1815 in the Tobolsk province in the family of an official. Russian poet, writer, playwright. He was the initiator of the creation of an amateur gymnasium theater. He was directing in the theatre. Wrote several plays for the theatre: Rural Holiday, Suvorov and the Stationmaster. Fame Ershov brought his fairy tale "Humpbacked Horse"

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Vasily Andreevich Zhukovsky Born on January 29 in the village of Mishenskoye, Tula province. Father, Afanasy Ivanovich Bunin, landowner, owner of the village. Mishensky; his mother, a Turkish woman, Salkha, ended up in Russia among the prisoners. I lived and studied there for 3 years. Studied Russian and foreign literature. In 1812 he was in Borodino, wrote about the heroes of the battle. His books: A boy with a finger, There is no dearer native sky, Lark.

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Alexey Vasilyevich Koltsov A.V. Koltsov is a Russian poet. Born October 15, 1809 in Voronezh, in a merchant family. The father was a merchant. Aleksey Koltsov penetrated from the inside into a variety of economic concerns of the villager: gardening and arable farming, cattle breeding and forestry. In the gifted, receptive nature of the boy, such a life brought up the breadth of the soul and the versatility of interests, direct knowledge of village life, peasant labor and folk culture. From the age of nine, Koltsov learned to read and write at home and showed such outstanding abilities that in 1820 he was able to enter the county school, bypassing the parish. He started writing at the age of 16. He wrote a lot about labor, about land, about nature: Mower, Harvest, etc.

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Ivan Andreevich Krylov I.A. Krylov is a great fabulist. Born February 2, 1769 in Moscow in the family of a poor army captain, who received the rank of officer only after thirteen years of military service. Krylov was 10 years old when his father died and he had to work. Russian writer, fabulist, academician of the St. Petersburg Academy of Sciences. In St. Petersburg, in the Summer Garden, there is a bronze monument, where the fabulist is surrounded by animals. His works: Swan, Pike and Cancer. Chizh and Dove. A Crow and a fox.

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Mikhail Yuryevich Lermontov Born in Moscow in the family of Captain Yuri Petrovich Lermontov and Maria Mikhailovna Lermontova, the only daughter and heiress of the Penza landowner E.A. Arsenyeva. Lermontov's childhood passed in the estate of Arsenyeva "Tarkhany" of the Penza province. The boy received a metropolitan home education, from childhood he was fluent in French and German. In the summer of 1825, Lermontov's grandmother took him to the Caucasus; childhood impressions of the Caucasian nature and the life of the mountain peoples remained in his early work. Then the family moved to Moscow and Lermontov was enrolled in the 4th grade of the Moscow University Noble Boarding School, where he received a liberal arts education.

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Samuil Yakovlevich Marshak S.Ya. Marshak is a Russian poet. Born October 22, 1887 in Voronezh in the family of a factory technician, a talented inventor. At the age of 4 he wrote poetry himself. Good translator from English, Russian poet. Marshak was familiar with M. Gorky. He studied in England at the University of London. During the holidays, I traveled a lot on foot in England, listening to English folk songs. Even then he began to work on translations of English works.

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Nikolai Alekseevich Nekrasov Nikolai Alekseevich Nekrasov is a famous Russian poet. He came from a noble, once rich family. Born November 22, 1821 in the Podolsk province. Nekrasov had 13 brothers and sisters. All the childhood and youth of the poet passed in the family estate of Nekrasov, the village of Greshnev, Yaroslavl province, on the banks of the Volga. He saw the hard work of people. They pulled barges across the water. He devoted many poems to the lives of people in Tsarist Russia: Green Noise, Nightingales, Peasant Children, Grandfather Mazai and Hares, Motherland, etc.

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Ivan Savvich Nikitin Russian poet, born in Voronezh to the family of a wealthy merchant, owner of a candle factory. Nikitin studied at the theological school, at the seminary. He dreamed of graduating from the university, but the family went bankrupt. Ivan Savvich continued his education himself. He composed poems: Rus', Morning, Meeting of Winter, Swallow's Nest, Grandfather.

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Mikhail Mikhailovich Prishvin Mikhail Mikhailovich Prishvin was born on January 23, 1873 in the Oryol province near Yelets. Prishvin's father is from a native merchant family of the city of Yelets. Mikhail Mikhailovich is educated as an agronomist, writes a scientific book about potatoes. Later he leaves for the North to collect folklore from folk life. He loved nature very much. He knew well the life of the forest, its inhabitants. He knew how to convey his feelings to readers. He wrote: Protecting nature means protecting the Motherland! His books: Guys and ducklings, Pantry of the sun, Calendar of nature, etc.

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Lev Nikolaevich Tolstoy Lev Nikolaevich is a great Russian writer. He wrote the first ABC for children and four Russian books for reading. He opened a school in Yasnaya Polyana and taught children himself. He worked hard and loved work. He himself plowed the land, mowed the grass, sewed boots, built huts. His works: Stories about children, Toddlers, Filipok, Shark, Kitten, Lion and dog, Swans, Old grandfather and granddaughters.

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Alexey Konstantinovich Tolstoy A.K. Tolstoy was born in St. Petersburg, and the childhood of the future poet passed in Ukraine, on the estate of his uncle. As a teenager, Tolstoy traveled abroad, to Germany and Italy. In 1834 Tolstoy was assigned as a "student" to the Moscow archives of the Ministry of Foreign Affairs. Since 1837 he served in the Russian mission in Germany, in 1840. received service in St. Petersburg at the royal court. In 1843 - the court rank of chamber junker. During Tolstoy's lifetime, the only collection of his poems was published (1867). Poems: The last snow is melting, Cranes, Forest Lake, autumn, etc.

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Konstantin Dmitrievich Ushinsky Konstantin Dmitrievich Ushinsky was born on February 19, 1824 in Tula in the family of Dmitry Grigorievich Ushinsky, a retired officer, a small estate nobleman. The mother of Konstantin Dmitrievich - Lyubov Stepanovna died when he was 12 years old. Konstantin Dmitrievich was a teacher, he created books himself. He called them Children's World and Rodnoe Slovo. He taught me to love his native people and nature. His works: Learned Bear, Four Wishes, Geese and Cranes, Eagle, How a shirt grew in a field.

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Afanasy Afanasyevich Fet Afanasy Afanasyevich - Russian lyric poet, translator. Born in the estate of Novoselki, Oryol province. Since childhood, he loved the poems of A.S. Pushkin. At the age of 14 they were taken to St. Petersburg to study. He showed his poems to Gogol. In 1840, the first book was published. His poems: A wonderful picture, The swallows are gone, Spring rain. For the last 19 years of his life, he officially bore the surname Shenshin.

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Anton Pavlovich Chekhov Anton Pavlovich Chekhov is an outstanding Russian writer, playwright, doctor by profession. Born January 17, 1860 in Taganrog, Yekaterinoslav province. Anton's early childhood passed in endless church holidays, name days. On weekdays, after school, he guarded his father's shop, and at 5 in the morning he got up every day to sing in the church choir. First, Chekhov studied at the Greek school in Taganrog. At the age of 8, after two years of study, Chekhov entered the Taganrog gymnasium. In 1879 he graduated from the gymnasium in Taganrog. In the same year, he moved to Moscow and entered the medical faculty of Moscow University, where he studied with famous professors: Nikolai Sklifosovsky, Grigory Zakharyin and others. His works: Beloloby, Kashtanka, Spring, Spring waters, etc.

Mamin-Sibiryak was not the discoverer of the working theme in his native literature. Reshetnikov's novels about the mining Urals, about the troubles, poverty and hopeless life of workers, about their search for a better life were the foundation on which Mamin's "mining" novels arose ("Privalovsky Millions", 1883; "Mountain Nest", 1884; "Three the end, 1890), and novels in which the action develops in the gold mines of the Urals (Wild Happiness, 1884; Gold, 1892).

For Reshetnikov, the main problem was to depict the whole "sober truth" about the working people. Mamin-Sibiryak, reproducing this truth, places a certain social mechanism (factory, mine) at the center of his novels.

The analysis of such a mechanism and the capitalist relations that have developed and are developing in it is the main task of the author. This principle of representation is somewhat reminiscent of some of Zola's novels ("The Womb of Paris", "Lady's Happiness"). But the resemblance is purely superficial.

In the novels of Mamin-Sibiryak, social issues obscure biological problems, and criticism of capitalist relations and serfdom remnants leads to the idea of ​​an urgent need for the reorganization of life, which contradicts the principles of rigid determinism accepted in the aesthetics of French naturalists as an unshakable postulate. Both pathos, and criticism, and emphasized sociality - all this firmly connects the work of the "singer of the Urals" with the traditions of Russian revolutionary democratic literature.

Mamin-Sibiryak did not escape the influence of populism (evidence of this is the novel "Bread", 1895). However, an analysis of the facts of reality itself gradually convinced the writer that capitalism is a natural phenomenon and already established in Russian life, and therefore his novels oppose populist ideas.

The polemic with populist concepts is organically included in the novels "Privalovsky millions", "Three ends" and other works. The main thing, however, is not polemics in them, but the comprehension of complex socio-economic issues related to the problem of Russia's modern development.

Sergei Privalov, the protagonist of "Privalovsky millions", "does not like the factory business and considers it an artificially created industry." Privalov dreams of a rational organization of the grain trade, which would be useful to both the peasant community and the working people, but his undertaking fails, as it finds itself in the circle of the same inhuman capitalist relations.

The depiction of the struggle for Privalov's millions makes it possible to introduce into the novel many individuals who embody the various features of a rapidly capitalizing life. Numerous journalistic digressions and historical digressions characterizing the life of the Urals serve as a kind of guide in this complex world of human passions, vanity and conflicting motives.

In subsequent novels of the writer, the emphasis is gradually transferred to the image of the life of the people. In The Mountain Nest, the question of the incompatibility of the interests of capitalists and workers becomes the main one, and in the Ural Chronicle, the novel Three Ends, it receives its greatest expression. This novel is interesting as an attempt by Mamin-Sibiryak to create a modern "folk novel".

In the 80s. the same attempt was made by Ertel, who recreated a broad picture of the folk life of the south of Russia (“Gardenins”). Both writers strive to talk about the results of the post-reform development of the country and, recreating the history of their region, they try to capture in the peculiar folk life of a particular region those patterns of the historical process that are characteristic of Russia as a whole.

In the novel by Mamin-Sibiryak, three generations replace each other, whose fate, thoughts and moods embody the transition from feudal Russia to capitalist Russia. The writer speaks about the raznochintsy intelligentsia, and about strikes, in which spontaneous protest against lawlessness and exploitation is expressed.

“Whoever wants to know the history of the existing relations in the Urals between two classes,” wrote the Bolshevik Pravda in 1912, “of the mining working population and the predators of the Urals, the possessors and others, will find in the writings of Mamin-Sibiryak a vivid illustration of the dry pages of history” .

In their general tendency, the novels of Mamin-Sibiryak oppose the novels of Boborykin. His work developed in the general mainstream of democratic literature of the second half of the 19th century: it took on its critical pathos and the desire to transform life. The concept of naturalism did not find its follower in the person of Mamin-Sibiryak.

At the same time, one cannot, of course, assume that acquaintance with the theory and work of Zola and his followers passed without a trace for Russian literature. In articles, letters, statements recorded by memoirists, the greatest writers responded in one way or another to the provisions put forward by Zola, which undoubtedly had a creative impact on them.

The younger generation of writers resolutely came out in favor of expanding the problems of literature. All life, with its light and dark sides, had to be included in the writer's field of vision. Very characteristic is Chekhov's response in 1886 to a letter from a reader complaining about the "dirt of the situation" in the story "Tina" and the fact that the author did not find, did not extract the "pearl grain" from the dunghill that attracted his attention.

Chekhov replied: “Fiction is called fiction because it depicts life as it really is. Its purpose is unconditional and honest truth. To limit its functions to such a specialty as getting “grains” is just as deadly for it as if you forced Levitan to draw a tree, ordering him not to touch the dirty bark and yellowed foliage<...>For chemists, there is nothing unclean on earth.

A writer must be as objective as a chemist; he must renounce worldly subjectivity and know that dunghills in the landscape play a very respectable role, and evil passions are just as inherent in life as good ones.

Chekhov speaks of the writer's right to portray the dark and dirty sides of life; this right was persistently defended by the writers of the 1980s. R. Disterlo drew attention to this, who, characterizing the main trend in the work of representatives of the new literary generation, wrote that they strive to paint reality “as it is, in the form in which it manifests itself in a particular person and in specific cases of life.” The critic correlated this trend with Zola's naturalism.

Fiction writers really turned to such themes and plots, to those aspects of life that had not previously been touched or hardly touched by Russian literature. At the same time, some writers were carried away by reproducing the "wrong side of life", its purely intimate sides, and this was the basis for their rapprochement with naturalist writers.

Disterlo stipulated in his review that "the resemblance is purely external",106 other critics were more categorical in their judgments and spoke of the appearance of Russian naturalists. Most often, such judgments applied to works of a certain kind - to novels like Stolen Happiness (1881) by Vas. I. Nemirovich-Danchenko or "Sodom" (1880) by N. Morsky (N. K. Lebedev).

In the article "On Pornography" Mikhailovsky considered both of these novels as a slavish imitation of Zola, as works indulging the base tastes of the bourgeoisie.

However, the novels of Morskoi and Nemirovich-Danchenko have nothing to do with naturalism as a literary movement and can only be called naturalistic in the most ordinary, vulgar sense of the word. This is the naturalism of piquant scenes and situations, in which the main meaning of the depicted lies.

Among the authors who paid great attention to the "life of the flesh" were writers who were not devoid of talent. In this regard, criticism spoke of "moral indifference", which arose on the basis of "refinedly depraved sensations", as a characteristic feature of the era of timelessness. S. A. Vengerov, to whom these words belong, had in mind the work of I. Yasinsky and V. Bibikov. The novel of the latter "Pure Love" (1887) is the most interesting in this sense.

On the subject, he is close to Garshin's "Incident": the provincial cocotte Maria Ivanovna Vilenskaya, the main character of the novel, herself establishes her spiritual relationship with the heroine of Garshin, but this relationship is purely external. Bibikov's novel is devoid of that sharp protest against the social system that forms the basis of The Incident.

The fate of Vilenskaya is depicted by the author as the result of a combination of special circumstances and upbringing. The father was not interested in his daughter, and the governess from the Parisian singers aroused unhealthy feelings in the young girl; she fell in love with the assistant accountant Milevsky, who seduced her and left her, and her father kicked her out of the house. The heroine Bibikov has many rich and charming patrons, but she dreams of pure love. She fails to find her and commits suicide.

Bibikov is not interested in the moral issues traditionally associated with the theme of "fall" in Russian literature. His heroes are people drawn by a natural feeling, and therefore, according to the author, they can neither be condemned nor justified. Sexual attraction, debauchery and love can be both “clean” and “dirty”, but in both cases they are moral for him.

"Pure Love" was not accidentally dedicated to Yasinsky, who also paid tribute to such views. Yasinsky also explores love and passion as natural inclinations, not burdened by a "moral burden", his numerous novels are often built on this very motive.

Bibikov and Yasinsky can be considered the immediate predecessors of the decadent literature of the early 20th century. Art, according to their concepts, should be free from any "tendentious" questions; both proclaimed the cult of beauty as a cult of feeling, free from traditional moral "conventions".

As already mentioned, Yasinsky stood at the origins of Russian decadence; Let us add to this that he was also one of the first to aestheticize the ugly in Russian literature. Motives of this kind can be found in the novel The Lights Out, the hero of which paints the painting A Feast of Freaks. Peru Yasinsky owns a novel under the characteristic title "Beautiful Freaks" (1900). But these processes have no direct relation to naturalism as a trend either.

Naturalism is a special literary and aesthetic trend that organically took shape in a certain historical period and exhausted itself as a system, as a creative method by the beginning of the 20th century. Its emergence in France was due to the crisis of the Second Empire, and its development is associated with the defeat of the Paris Commune and the birth of the Third Republic, this "republic without republicans."

Conditions and features of the historical development of Russia in the second half of the XIX century. were significantly different. The fate of the bourgeoisie and the search for ways to renew the world were different. This created the prerequisites for a negative attitude of Russian progressive aesthetic thought towards the theory and practice of naturalism.

It is no coincidence that Russian criticism was almost unanimous in its rejection of naturalism. When Mikhailovsky wrote that in Zola's critical articles "there was something good and something new, but everything good was not new for us Russians, but everything new is not good", he expressed exactly this general idea. The fact that in Russia naturalism did not find the ground for its rooting and development was one of the evidence of the deep national originality of its literature.

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983

The nineteenth century is called the golden age of Russian poetry. During this period, classicism, beloved by writers, was replaced by romanticism and sentimentalism. A little later, realism is born, gradually replacing the idealization of the world. It was in the nineteenth century that literature reached its peak, and the contribution made by Russian poets of the nineteenth century is invaluable. The list of them is really great, among such famous names as Alexander Pushkin, Mikhail Lermontov, Afanasy Fet, there are also little-known but talented Vladimir Raevsky, Sergei Durov and many, many others.

Nineteenth century in literature

The nineteenth century was far from being an easy period for Russia: a series of wars for trade routes swept through, Napoleon's military campaign began, followed by wars again. All this became a huge upheaval for the country. Against the backdrop of such events, literature developed. The great Russian poets of the 19th century in their work wrote about love for the motherland, the beauty of Russia, the difficult fate of the common man and the idleness of noble life, they talked a lot about the place of a person in this world, about the opposition of the individual to society. Classicism created the image of romanticism elevated it above the dullness of life, sentimentalism surrounded the lyrical hero with stunning landscapes - the poetry of the early nineteenth century strove to idealize the world. They used a huge number of tropes, played with foreign words, perfected the rhyme - all to display the ideal. Later, realism began to appear, within which classical poets no longer shunned colloquial expressions, experiments with the form of a poem: the main task was to demonstrate reality with all its shortcomings. The nineteenth century is a century of contradictions, it surprisingly combined the ideality and imperfection of the world in which the poets lived.

Ivan Andreevich Krylov (1769-1844)

Krylov laid the foundation for fables in Russian literature. His name is so strongly associated with this genre that it has become something like "Aesop's fables". Ivan Andreevich chose this form of lyrics, unusual for that time, to demonstrate the vices of society, showing them through the images of various animals. The fables are so simple and interesting that some of their lines have become popular expressions, and the variety of topics allows you to find a lesson for any occasion. Krylov was considered a role model by many Russian poets of the 19th century, the list of which would be far from complete without the great fabulist.

Ivan Zakharovich Surikov (1841-1880)

Nekrasov is most often associated with realism and the peasantry, and few people know that many other Russian poets sang of their people and their lives. Surikov's poems are distinguished by their melodiousness and simplicity. This is what allowed some of his works to be set to music. In some places, the poet deliberately uses words that are characteristic not of the lyricists, but of the peasants. The themes of his poems are close to every person, they are far from being as sublime as the idealized poetry of Pushkin, but at the same time they are in no way inferior to it. An amazing ability to demonstrate the life of ordinary people, show their feelings, talk about some everyday situations in such a way that the reader is immersed in the atmosphere of peasant life - these are the components of Ivan Surikov's lyrics.

Alexei Konstantinovich Tolstoy (1817-1875)

And in the famous family of Tolstoy were Russian poets of the 19th century. The list of eminent relatives was replenished by Alexei Tolstoy, who became famous for his historical plays, ballads and satirical poems. In his works there is love for his native land, the glorification of its beauty. A distinctive feature of the poems is their simplicity, which gives sincerity to the lyrics. The poet was inspired by the people, which is why there are so many references to historical themes and folklore in his work. But at the same time, Tolstoy shows the world in bright colors, admires every moment of life, trying to capture all the best feelings and emotions.

Pyotr Isaevich Weinberg (1831-1908)

Many poets in the nineteenth century were engaged in translating poetry from other languages, Weinberg was no exception. They say that if in prose the translator is a co-author, then in poetry he is a rival. Weinberg translated a huge number of poems from the German language. For the translation from the German drama "Mary Stuart" by Schiller, he was even awarded the prestigious Academy of Sciences Prize. In addition, this amazing poet worked on Goethe, Heine, Byron and many other eminent writers. Of course, it is difficult to call Weinberg an independent poet. But in his arrangement of verses, he retained all the features of the original author's lyrics, which allows us to speak of him as a truly poetically gifted person. The contribution that Russian poets of the 19th century made to the development of world literature and translations is invaluable. Their list would be incomplete without Weinberg.

Conclusion

Russian poets have always been an integral part of literature. But it was the nineteenth century that was especially rich in talented people, whose names forever entered the history of not only Russian, but also world poetry.

Mommy, I'm about to die...
- Why such thoughts ... because you are young, strong ...
- But Lermontov died at 26, Pushkin - at 37, Yesenin - at 30 ...
- But you're not Pushkin or Yesenin!
- No, but still...

Vladimir Semenovich's mother recalled that such a conversation took place with her son. For Vysotsky, early death was something of a test of the "realness" of the poet. However, I cannot be sure of this. I'll tell about myself. Since childhood, I "knew for sure" that I would become a poet (of course, a great one) and die early. I won't live to be thirty, at the very least, forty. Can a poet live longer?

In the biographies of writers, I always paid attention to the years of life. Consider the age at which the person died. Tried to understand why it happened. I think that's what a lot of writers do. I do not hope to understand the causes of early deaths, but I will try to collect materials, collect existing theories and fantasize - I can hardly be a scientist - my own.

First of all, I collected information about how Russian writers died. Entered the age at the time of death and the cause of death in the table. I tried not to analyze, just to drive the data into the right columns. Looked at the result - interesting. Prose writers of the 20th century, for example, often died from oncology (the leader is lung cancer). But after all, in the world in general - according to WHO - among oncological diseases, lung cancer is the most common and causes death. So is there a connection?

I cannot decide whether to look for "writer's" diseases, but I feel that there is some sense in this search.

Russian prose writers of the 19th century

The average life expectancy of Russian people in the 19th century was about 34 years. But these data do not give an idea of ​​how long the average adult lived, since the statistics were heavily influenced by high infant mortality.

Russian poets of the 19th century

In 19th century Russia, poets died differently than prose writers. The second death often came from pneumonia, and among the first, no one died from this disease. Yes, the poets have gone before. Of the prose writers, only Gogol died at 42, the rest - much later. And of the lyricists, it is rare who lived to 50 (long-liver - Fet).

Russian prose writers of the 20th century

There are theories according to which diseases can be caused by psychological causes (some esotericists believe that any disease is caused by spiritual or mental problems). This topic has not yet been sufficiently developed by science, but there are many books in stores like "All diseases are from nerves." For lack of a better way, let's resort to popular psychology.

Russian poets of the 20th century

Cancer associated with a sense of resentment, a deep emotional wound, a sense of the futility of their actions, their own uselessness. Lungs symbolize freedom, willingness and ability to receive and give. The twentieth century in Russia is a century, many writers "suffocated", were forced to remain silent or say not everything they considered necessary. The cause of cancer is also called disappointment in life.

Heart diseases caused by overwork, prolonged stress, belief in the need for stress.

colds people get sick, in whose life too many events happen at the same time. Pneumonia (pneumonia) - desperate.

Throat diseases - creative impotence, crisis. In addition, the inability to fend for themselves.

The century before last was an interesting stage in the development of human history. The emergence of new technologies, faith in progress, the spread of enlightenment ideas, the development of new social relations, the emergence of a new bourgeois class that became dominant in many European countries - all this was reflected in art. The literature of the 19th century reflected all the turning points in the development of society. All shocks and discoveries are reflected in the pages of novels by eminent writers. 19th century literature– multifaceted, diverse and very interesting.

Literature of the 19th century as an indicator of public consciousness

The century began in the atmosphere of the Great French Revolution, the ideas of which captured all of Europe, America and Russia. Under the influence of these events, the greatest books of the 19th century appeared, a list of which you can find in this section. In Great Britain, with the coming to power of Queen Victoria, a new era of stability began, which was accompanied by a national upsurge, the development of industry and art. Public tranquility produced the best books of the 19th century, written in all sorts of genres. In France, on the contrary, there was a lot of revolutionary unrest, accompanied by a change in the political system and the development of social thought. Of course, this also influenced the books of the 19th century. The literary age ended with an era of decadence, which is characterized by gloomy and mystical moods and a bohemian lifestyle of representatives of art. Thus, the literature of the 19th century gave works that everyone needs to read.

Books of the 19th century on the site "KnigoPoisk"

If you are interested in 19th century literature, the list of the KnigoPoisk site will help you find interesting novels. The rating is based on the feedback from visitors to our resource. "Books of the 19th century" - a list that will not leave anyone indifferent.