a) make an overview of the era (cultural, economic,
political situation)
b) introduce students to the literary movement
"classicism", note its main features and
characteristics
Developing:
a) assimilation by students of a complex of theoretical
concepts on the topic
Educational:
a) expand the horizons of students
b) develop the aesthetic taste of students

Literature: 1. V.Ya.
Korovina
2. Yu.M. Lotman Textbook on Russian Literature
3. Literary encyclopedic dictionary
1. Org. moment
Greeting students, checking for absentees.
In today's lesson, we will see what changes and transformations the 18th century brought with it, how these transformations affected literature.
We will also get acquainted with the literary movement "classicism" (one of the main trends in Russian literature of the 18th century)
It was that troubled time
When Russia is young
Straining strength in the struggles,
Husband with the genius of Peter.
The literature of the 18th century (as well as the literature of any other period) is inextricably linked with the era, with the cultural and socio-political life of the country.
Review of the cultural and political situation in Russia in the 18th century.
Russia of the 18th century (the initial period of the Petrine era) is undergoing a series of cardinal transformations in all areas of state, cultural, and political life.
Russia's independence is being strengthened, its military might is growing, and its influence in the European arena is growing. Thanks to all the transformations, autocratic power is also being strengthened. The 18th century is the century of enlightened absolutism with its ideas of citizenship, patriotism, and the unity of the nation.
Absolutism - autocracy
/ Moscow University opens, general education and vocational schools are created, a new calendar is introduced, the first Russian newspaper is founded, the Academy of Sciences, the Academy of Arts, the first permanent Russian theater are established /
To move the country forward, eradicate patriarchal foundations, superstitions, it was necessary to pay attention to the development of the following areas: - education
- the science
- culture
- seal
Literature is of particular importance in this regard.
The literature of the 18th century brings with it the image of a man who feels like a citizen and a patriot, who is ready to sacrifice personal well-being for the good of society, the state, ready to subordinate his feelings to public duty.
The dominant trend in the literature of the 18th century was classicism.
Classicism - (from Latin classicus - exemplary), artistic style and aesthetic trend in European literature of the 18th - early 19th centuries, one of the most important features of which was the appeal to ancient images as an ideal aesthetic standard.
/ The concept of beauty in the art of classicism is associated with symmetry and harmony. This was also reflected in the rules of behavior for people in a secular society: a violent expression of feelings was considered indecent in the 18th century and was perceived as a sign of low origin or bad education. The manifestation of even the strongest passions should be like deep waters enclosed in granite banks./
Features of classicism
1. Adoption of the ideas of enlightened absolutism - patriotism, citizenship, the unity of the nation.
2. Affirmation of the priority of reason.
3. At the heart of the aesthetics of classicism is the principle of rationalism: a work of art must be reasonably and consistently constructed, logically verified (from the principle of "imitation of nature").
4. Compliance with certain creative norms and rules (strict plot and compositional organization).
5. A clear division of heroes into positive and negative
6. "Invariance" of the hero (lack of internal development).
7. Idealization of the hero (odes of Lomonosov)
8. Interest in the folk language, use in the works of folk speech.
9. Objectivity of the narrative.
Features of classicism
1. The division of genres into "high" and "low".
High: (tragedy, epic, ode; their sphere is public life, historical events, mythology; their heroes are monarchs, generals)
Low: (comedy, satire, fable) depict the private, everyday life of middle-class people.
Each genre has strict boundaries and clear formal features; no mixing of the sublime and the base, the tragic and the comic, the heroic and the mundane is allowed.
The leading genre of classicism was tragedy, addressed to the most important social and moral problems of the century. Social conflicts appear in it as reflected in the souls of the characters, who are faced with the need to choose between moral duty and personal passions.
2. Law of "three unities" (unity of time, place and action)
unity of time - the action takes place within one day
unity of place - the action takes place in one place
unity of action - one-plot line, a large number of characters (connected with the plot)
Russian classicism originated in the 2nd quarter of the 18th century in the work of the founders of new Russian literature A.D. Kantemira, V.K. Trediakovsky, M.V. Lomonosov.
Features of Russian classicism.
connection with modern reality
satirical orientation
appeal to specific phenomena of Russian life
the predominance of national-historical themes
high level of development of the ode genre
3. Lesson summary
In the era of classicism, Russian literature mastered the genre and style forms that had developed in the West, joined the pan-European literary development, while retaining its national identity.
3. Homework a) to teach a lecture on classicism
b) preparation of reports on the activities of M.V.
Lomonosov (individual tasks)
Lesson topic: M.V. Lomonosov. reformist
activities in the field of the Russian language and
literature.
Lesson Objectives: Educational:
a) introduce students to the personality of one of the
the greatest figures of education - M.V.
Lomonosov
b) reveal the essence of the reforms of M.V. Lomonosov
Developing:
a) master a set of theoretical concepts on
this topic
Educational:
a) instill in children a sense of national pride,
patriotism
Literature:
Literary Encyclopedic Dictionary (articles:
ode, Lomonosov)
Yu.M. Lotman Textbook on Russian Literature for
middle classes
Textbook on Russian literature, ed.
V.Ya. Korovina
1. Org. moment
In today's lesson, we will get acquainted with the personality of an outstanding figure in Russian education - M.V. Lomonosov, and also evaluate the significance of his reform activities.
2. "A word about Lomonosov" Combining extraordinary willpower with
the extraordinary power of the concept,
Lomonosov embraced all branches of education.
The thirst for science was the strongest passion
this soul full of passions. Historian,
orator, mechanic, chemist, mineralogist,
artist and poet, he experienced everything
and penetrated everything.
A.S. Pushkin
Mikhail Vasilievich Lomonosov
(1711-1765)
M.V. Lomonosov was born on November 8 (19), 1711 in the village of Denisovka (now the village of Lomonosovo) of the Arkhangelsk province in the family of a Pomor peasant. He went with his father on ships for fish in the White Sea and the Arctic Ocean (hard work, endurance). He learned to read and write early and by the age of 14 had read all the books that he could get his hands on: Magnitsky's Arithmetic, Smotrytsky's Slavic Grammar and Simeon of Polotsky's Rhyming Psalter.
In December 1730 he left (against the will of his father) with a fish convoy to Moscow.
In January 1731, Lomonosov, posing as a noble son, entered the Moscow Spavian-Greek-Latin Academy, where he received good training in ancient languages ​​and other humanities (he knew more than 30 languages). He knew Latin perfectly, and was later recognized as one of the best Latinists in Europe.
At the beginning of 1736, as one of the best students, Lomonosov was sent to the university at the St. Petersburg Academy of Sciences, and in the autumn of the same year - to Germany, to the University of Marburg, where he studied natural and human sciences for 3 years. In 1739 he went to Freiburg, where he studied chemistry and mining at the Mining Academy. In 1741 Lomonosov returned to Russia. In 1745 he became professor of chemistry (academician) of the St. Petersburg Academy of Sciences. At this time, Lomonosov was engaged in astronomy, navigation, local history, geography, meteorology, and mathematics.
Let's listen to messages about Lomonosov's activities in the field of chemistry, physics, astronomy.
Student messages
/ Add. In 1748 M.V. Lomonosov created the chemical laboratory of the Academy of Sciences, where he conducted scientific research, including developing the composition of glass, porcelain, and smalt, which he used for his mosaics. He independently designed devices for chemical research, optical instruments. /
In 1755, on the initiative of Lomonosov, Moscow University was opened
Lomonosov's reforms in the field of the Russian language and literature.
Advances in language
1. In 1755 Lomonosov's Russian grammar was published. In it, for the first time, sounds were separated from letters, and the physiological and acoustic properties of sounds were also considered. The Grammar gives the first classification of the main dialects of the Russian language. The Russian and Church Slavonic languages ​​are clearly distinguished, their main differences are determined at different levels of organization of the sound system.
2. Lomonosov created the concept of "three calms" / reform in the field of language stylistics /
The essence of the reform
According to Lomonosov, each literary genre must be written in a certain "calm".
"High calm" is typical for heroic poems, odes, "prosaic speeches about important matters."
"Medium" - for poetic messages, elegies, satires, descriptive prose.
"Low" - for comedies, epigrams, fables.
Differences of "calms" in the field of vocabulary
"High calm" - Slavicisms + neutral words (common in both Church Slavonic and Russian)
"Medium calm" - common words + some Slavic words
"Low calm" - neutral vocabulary + colloquial words
Also excluded:
1. obsolete Slavicisms, already incomprehensible to Lomonosov's contemporaries (ovogda, ryasny)
2. rude, swear words (grunt, drag)
Examples
Church Slavism: daughter, Lord, I cry, opened
Common words for both Church Slavonic and Russian (neutral) words: hand, glory, god, now
Colloquial (not in Church Slavonic) I say, a stream that
Reform in the field of literature (in the field of versification)
Lomonosov sought to comprehend the secrets of language and the secrets of poetry. Back in 1736, he acquired a treatise by the theoretician of the Russian language V.K. Trediakovsky "A new and concise way to add Russian poetry", which he was extremely interested in. Lomonosov's answer was "Letter on the rules of Russian poetry" (1739).
The main provisions of the "letter"
1. Lomonosov extended the syllabic-tonic principle to the entire Russian versification (syllabic-tonic - syllable-stressed, previously it was syllabic, based on the length of syllables)
2. Lomonosov brilliantly showed the expressive possibilities of iambic.
3. Skillfully applied a combination of male and female rhymes (Trediakovsky insisted on using only female rhymes)

Lesson results: (1st)
Thus, Lomonosov gave scope to Russian verse, made it flexible, sonorous, expressive. He brought the literary language closer to the spoken language (= accessibility).
Lomonosov's reforms in the areas of literary language and versification met the cultural needs of the nation. To express significant social content, new literary genres were needed, and Lomonosov opened up wide artistic horizons for poetry. At the same time, the philological activity of the scientist also had a broader meaning: it reflected the spirit of transformation characteristic of the post-Petrine era, in which Lomonosov's scientific and poetic work unfolded.
Lesson topic: The genre of ode in the work of M.V. Lomonosov
Lesson Objectives: Educational:
a) introduce students to the work of M.V.
Lomonosov
Developing:
a) determine the main ideas and themes of M.V.
Lomonosov
b) identify linguistic and stylistic features
creativity of Lomonosov (based on odes)
Educational:
a) the development of a linguistic aesthetic ideal
students

1. Org. moment
In the previous lesson, we met with the personality of M.V. Lomonosov, his reform activities. In today's lesson, we will turn to the work of Lomonosov (specifically, to odes)
2. Lecture with elements of conversation
Before defining the main themes of M. V. Lomonosov's work, we need to understand what he saw as the purpose of the poet and poetry.
The poet, in the view of Lomonosov, cannot confine himself to singing the movements of the human heart alone, he must be excited and animated by events that are important for the entire state, the entire country.
The idea of ​​the state, serving it, underlies all the work of M.V. Lomonosov. The theme of the power and greatness of Russia, the patriotic pathos of the “benefit of society” were combined in Lomonosov’s poetry with the glorification of Peter 1 as an enlightened sovereign. And the solemn ode became the genre that Lomonosov chose to glorify the wealth and power of Russia.
Ode - / a genre of lyric poetry /, a poem of a solemn nature in honor of a person or event.
This genre arose in antiquity and at first was a song with a wide lyrical content. In Russian poetry, the ode was perceived as a genre of civil lyrics with an obligatory "high" content and "sublime" style. In his work, Lomonosov most often used two varieties of ode - spiritual and commendable.
Let's try to make a small scheme. But first, let's think - what could be included in the content of these odes, what are they about? (a spiritual ode? an ode of praise?)
Oh yeah
Commendable Spiritual
Created for solemn occasions (philosophical)
court life. Topics: glorification Main topics:
sciences, enlightenment, peace, monarchs as 1. imperfection
guardians of science and peace. Often society, loneliness
biblical, historical person are used.
associations. The main tone is enthusiastic. 2. the greatness of nature
3. Od analysis
Consider Lomonosov's ode "Evening meditation on the Majesty of God in the event of the great northern lights"
(Expressive reading by the teacher of the ode)
What type of ode does this one belong to? Prove it.
(Philosophical ode, since the author's reflections are given in it)
What is the author thinking about?
(About the greatness of nature, its incomprehensibility, mystery, power and man - a "grain of sand" in this unknown world)
But! Man seeks to penetrate the secrets of nature, that is, he is not a powerless contemplator, depressed and drooping. Man is a rational, thinking being. He admires the greatness of the Creator and his power, but does not leave attempts to penetrate into the essence of phenomena.
Conversation.
Analysis by stanza.
1st stanza - a majestic picture of nature is drawn (examples are given)
Look what a beautiful metaphorical image the author draws
The abyss has opened, the stars are full ...
What is the author talking about in this line?
(about the night sky)
Against the background of this gloomy solemn picture of nature is a person drawn? What does the author compare the person to?
(With a grain of sand, with a small spark, with a feather)
What extraordinary natural phenomenon does the author admire?
(northern lights)
To whom does the author turn for an explanation of this natural phenomenon?
(to scientists, sages)
On the one hand, the author admires the natural phenomenon as a miracle, on the other hand, he tries to understand and explain it.
What artistic and expressive means does the author use in the ode and for what?
(The author uses a lot of rhetorical questions, exclamations, special "high" vocabulary to create a special emotional mood, to create the importance and depth of the topic)
Now let's turn to the ode "On the day of the accession to the All-Russian throne of Her Majesty Empress Elizabeth Petrovna in 1747"
(expressive reading by students)
The day of accession to the throne occupied a central place in the annual cycle of court holidays. In 1747, the fifth anniversary of Elizabeth's accession was celebrated.
Can this ode be considered classical in content and form? (we will put this question at the forefront)
Note the features of classicism.
Sphere - public life; heroes - monarchs (Elizabeth, Peter); heroes are idealized; "high" content, "sublime" language.
What is glorified in the ode? We can understand it from the first lines
The joy of the kings and kingdoms of the earth, beloved silence ...

"Silence" - that is, the peaceful state of the state as the best time for the development of sciences and arts. And Elizabeth is the keeper of this silence.
Elizabeth, Peter, Catherine are idealized as monarchs-enlighteners, patrons of the sciences and education. Lomonosov draws the image of an ideal sovereign, shows how he should be, gives a "lesson to the kings."
Through the glorification of Elizabeth as the guardian of education and the sciences, the sciences themselves are glorified. To whom is the author addressing (and for what purpose) in the passage?
O you who await...
(The author appeals to the sons of Russia with a call to prove that they are no worse than foreign craftsmen, scientists and can serve the development and prosperity of their country)
4. Lesson summary
We, having analyzed the odes of Lomonosov, see that they are imbued with high civic pathos and their main goal (as well as all of Lomonosov's work) was to glorify the wealth, power and greatness of enlightened Russia.
5. Homework
Analyze in writing an excerpt from the ode (On the day of the ascension ...)
O you who await...

Lesson topic: A.N. Radishchev "Journey from St. Petersburg
to Moscow"
Lesson Objectives: Educational:
a) introduce students to personality and creativity
A.N. Radishcheva
b) note the importance of social activities
writer
Developing:
a) identify the main themes and ideas of creativity
A.N. Radishcheva
Educational:
a) instill in children a sense of compassion,
philanthropy

Literature: Yu.M. Lotman Textbook on Russian Literature for
middle classes
Textbook on Russian literature, ed.
V.Ya. Korovina

1. Org. moment
In today's lesson, we will get acquainted with the personality and work of A.N. Radishchev. A thoughtful writer, a subtle observer, a sharp satirist, a man with a tragic fate, Radishchev left a deep mark on the history of Russian literature.
2. "A word about Radishchev"
Radishchev was born into the family of a wealthy landowner. He studied first at home, in the village, then in Moscow, at Moscow University. Then he was enrolled in the Corps of Pages (the relative gets acquainted with the empress, with high society, palace intrigues, sees the life of the world "from the inside")
The writer's reading circle included the works of enlightenment philosophers - Voltaire, Montesquieu, Rousseau. Radishchev traveled extensively abroad, where he studied jurisprudence, natural science, chemistry, medicine, and philosophy.
“Autocracy is the state most repugnant to human nature” – this is the thought that Radishchev took out of this journey. Returning to Russia, Radishchev entered the service. He tried everywhere and in everything to act according to his conscience and earned the respect of the best people of his era. with manifestations of autocracy, arbitrariness, despotism, with which his heart did not want to put up. The writer saw life without embellishment. Let's turn to his words:
I looked around me - my soul became wounded by the sufferings of mankind. He turned my gaze into my inwardness - and saw that the misfortunes of a person come from a person, and often only because he looks indirectly at the objects surrounding him.
Radishchev made a bold attempt to look directly at the objects. In the home printing house, innocently called the vigilance of the censor, he published the book “Journey from St. Petersburg to Moscow”
This work angered Catherine. Radishchev was sentenced to death, but then the execution was commuted to imprisonment. Alexander 1 returned Radishchev to court. The writer worked on the commission for the drafting of laws, proposed to introduce freedom of printing, freedom of trade. Radishchev also proposes to introduce a jury trial, to abolish torture during interrogations, to release serfs, to abolish corporal punishment. Naturally, this could not please the government. Not wanting to serve the state contrary to his principles, the writer commits suicide.
So, let's turn to the main book of Radishchev. "Journey from St. Petersburg to Moscow" - was an expression of such love of truth, which was one of the most notable phenomena in the history of Russian literature of the 18th century.
Radishchev describes his journey from the new capital of Russia to the old one. Naming the chapters by the names of the stations, he tells various incidents and incidents that he observed in life or which he himself witnessed. He meets with different people: peasants, nobles, merchants... All of Russia, with its misfortunes, poverty, filth, confronts the author.
3. Analysis of the chapter "Copper"
What terrible and cynical phenomenon of Russian life underlies the events of the chapter "Copper"? (examples!)
(sale of serfs)
How are those in power depicted (landlords, nobles)?
(cruel, cynical, dehumanized)
What human values ​​are violated in the chapter?
/ Human gratitude, faith (the sacrament of the wedding), moral duty, God's gift (child) /
We see people in positions of authority mock both human laws and God's laws. They lose their humanity.
What feelings fill the soul of the author after what he saw?
(pity, shame, compassion, rage)
4. The result of the lesson:
Without rose-colored glasses, Radishchev looked at the Russian reality of his time and, with exceptional courage, condemned the despotism reigning in Russia, the arbitrariness of the authorities, the lack of rights of subjects and the horrendous situation of the peasants.
5. Homework
Analyze the chapter "Lyubani" according to the plan.
A) How is the peasantry depicted in the chapter?
b) How does he feel about his position?
C) What is the author's attitude towards the peasants?
D) What thoughts does the author see?

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FORMATION OF RUSSIAN CLASSICISM

In the 30-50s, the struggle between supporters and opponents of the Petrine reforms did not stop. However, Peter's successors on the throne turned out to be extremely mediocre people. The stamp of growing self-interest marked in this era the behavior of the nobility, which, while retaining its privileges, seeks to throw off all duties.
In the reign of Peter III on February 18, 1762, a decree was issued on the freedom of the nobility, which freed the nobles from compulsory service.
And yet, neither the inertia of the rulers, nor the predation of the favorites, nor the greed of the nobles could stop the progressive course of the development of Russian society. “After the death of Peter I,” Pushkin wrote, “the movement transmitted by a strong man still continued in the vast composition of the transformed state.” But now it was not the representatives of the authorities who became the bearers of progress, but the advanced noble and raznochintsy intelligentsia. The Academy of Sciences begins its activity. The first Russian professors appeared in it - V. K. Trediakovsky and M. V. Lomonosov. The Academy of Sciences publishes the journal "Monthly Works, for the benefit and amusement of employees." Future writers A.P. Sumarokov and M.M. Kheraskov studied in the Land Gentry Corps, established in 1732. In 1756, the first state theater was opened in St. Petersburg. Its core was an amateur troupe of Yaroslavl artists, headed by the merchant's son F. G. Volkov. The playwright A.P. Sumarokov was the first director of the theater. In 1755, thanks to the persistent efforts of Lomonosov and with the assistance of the prominent nobleman I. I. Shuvalov, Moscow University was opened and two gymnasiums were opened under it - for nobles and for raznochintsy. Serious changes are also taking place in the field of literature. It develops the first literary trend in Russia - classicism.
The name of this direction comes from the Latin word classicus, that is, exemplary. This was the name of ancient literature, which was widely used by the classicists. The most striking embodiment of classicism was in the 17th century. in France in the work of Corneille, Racine, Moliere, Boileau. The ideological basis of literary trends is always a broad social movement. Russian classicism was created by a generation of European-educated young writers who were born in the era of the Petrine reforms and sympathized with them. “The basis of this artistic system,” G. N. Pospelov writes about Russian classicism, “was the ideological worldview that developed as a result of awareness of the strengths of the civil transformations of Peter I.”
The main thing in the ideology of classicism is state pathos. The state, created in the first decades of the 18th century, was declared the highest value. The classicists, inspired by the Petrine reforms, believed in the possibility of its further improvement. He © seemed to them a rationally arranged social organism, where each estate performs the duties assigned to it. “Peasants plow, merchants trade, warriors defend the fatherland, judges judge, scientists cultivate science,” wrote A.P. Sumarokov. The state pathos of the Russian classicists is a deeply contradictory phenomenon. It reflected progressive tendencies connected with the final centralization of Russia, and at the same time - utopian ideas coming from a clear overestimation of the social possibilities of enlightened absolutism.
Equally contradictory is the attitude of the classicists to the "nature" of man. Its basis, in their opinion, is selfish, but at the same time amenable to education, the influence of civilization. The key to this is the mind, which the classicists opposed to emotions, "passions". Reason helps to realize "duty" to the state, while "passions" distract from socially useful activities. “Virtue,” Sumarokov wrote, “we owe not to our nature. Morality and politics make us useful to the common good in terms of enlightenment, reason and purification of hearts. And without that, people would have long ago exterminated each other without a trace.
The originality of Russian classicism lies in the fact that in the era of its formation it combined the pathos of serving the absolutist state with the ideas of the early European Enlightenment. In 18th century France absolutism had already exhausted its progressive possibilities, and society was facing a bourgeois revolution, which was ideologically prepared by the French enlighteners. In Russia in the first decades of the XVIII century. absolutism was still at the head of progressive transformations for the country. Therefore, at the first stage of its development, Russian classicism adopted from the Enlightenment some of its social doctrines. These include primarily the idea of ​​enlightened absolutism. According to this theory, the state should be headed by a wise, “enlightened” monarch, who in his ideas stands above the selfish interests of individual estates and requires each of them to serve honestly for the benefit of the whole society. An example of such a ruler was for the Russian classicists Peter I, a unique person in terms of mind, energy and broad state outlook.
In contrast to the French classicism of the XVII century. and in direct accordance with the Age of Enlightenment in Russian classicism of the 30-50s, a huge place was given to the sciences, knowledge, and enlightenment. The country has made the transition from church ideology to secular. Russia needed accurate, useful knowledge for society. Lomonosov spoke about the benefits of the sciences in almost all of his odes. The first satire of Kantemir “To your mind. On those who blaspheme the teaching." The very word "enlightened" meant not just an educated person, but a citizen who was helped by knowledge to realize his responsibility to society. "Ignorance" meant not only a lack of knowledge, but at the same time a lack of understanding of one's duty to the state. In the Western European educational literature of the 18th century, especially at the late stage of its development, "enlightenment" was determined by the degree of opposition to the existing order. In Russian classicism of the 30s-50s, "enlightenment" was measured by the measure of civil service to the absolutist state. The Russian classicists - Kantemir, Lomonosov, Sumarokov - were close to the struggle of the enlighteners against the church and church ideology. But if in the West it was about protecting the principle of religious tolerance, and in some cases atheism, then Russian enlighteners in the first half of the 18th century. denounced the ignorance and rude morals of the clergy, defended science and its adherents from persecution by church authorities. The first Russian classicists already knew the enlightening idea of ​​the natural equality of people. “The flesh in your servant is one-sided,” Cantemir pointed out to a nobleman who was beating a valet. Sumarokov reminded the “noble” class that “born from women and from ladies / / Without exception, all forefather Adam” . But this thesis at that time was not yet embodied in the demand for the equality of all classes before the law. Cantemir, based on the principles of "natural law", called on the nobles to humane treatment of the peasants. Sumarokov, pointing to the natural equality of nobles and peasants, demanded from the "first" members of the fatherland of education and service to confirm their "nobility" and command position in the country.
In the purely artistic realm, the Russian classicists faced such difficult tasks that their European counterparts did not know. French literature of the middle of the 17th century. already had a well-crafted literary language and secular genres that had developed over a long period of time. Russian literature at the beginning of the 18th century. had neither one nor the other. Therefore, the share of Russian writers of the second third of the XVIII century. the task was not only to create a new literary trend. They were supposed to reform the literary language, master genres unknown in Russia until that time. Each of them was a pioneer. Kantemir laid the foundation for Russian satire, Lomonosov legitimized the ode genre, Sumarokov acted as the author of tragedies and comedies. In the field of literary language reform, the main role belonged to Lomonosov. The lot of Russian classicists also fell to such a serious task as the reform of Russian versification, the replacement of the syllabic system with a syllabic-tonic one.
The creative activity of Russian classicists was accompanied and supported by numerous theoretical works in the field of genres, literary language and versification. Trediakovsky wrote a treatise entitled "A New and Short Way to Add Russian Poetry", in which he substantiated the basic principles of a new, syllabic-tonic system. Lomonosov, in his discussion "On the Usefulness of Church Books in the Russian Language," carried out a reform of the literary language and proposed the doctrine of the "three calms." Sumarokov in his treatise "Instruction to those who want to be writers" gave a description of the content and style of classic genres.
As a result of persistent work, a literary movement was created, which had its own program, creative method and a harmonious system of genres. Artistic creativity was conceived by the classicists as a strict adherence to "reasonable" rules, eternal laws, created on the basis of studying the best examples of ancient authors and French literature of the 17th century. There were "correct" and "incorrect" works, that is, corresponding or not corresponding to the classic "rules". Even Shakespeare's best tragedies were considered "wrong". Rules existed for each genre and required precise implementation. The creative method of the classicists is formed on the basis of rationalistic thinking. Like the founder of rationalism, Descartes, they seek to decompose human psychology into its simplest composite forms. It is not social characters that are typified, but human passions and virtues. This is how the images of a miser, a hypocrite, a dandy, a braggart, a hypocrite, etc. are born. It was strictly forbidden to combine different “passions” in one character, and even more so “vice” and “virtue”. Genres differed in exactly the same “purity” and unambiguity. Comedy was not supposed to include "touching" episodes. The tragedy excluded the display of comic characters. As Sumarokov said, one should not irritate the muses “with their thin success: with Tears of Thalia, // and Melpomene with laughter” (p. 136).
The works of the classicists were represented by clearly opposed high and low genres. Here there was a rationalistic thoughtful hierarchy. The high genres included ode, epic poem, laudatory speech. To low - comedy, fable, epigram. True, Lomonosov also offered "medium" genres - tragedy and satire, but tragedy gravitated more to high, and satire to low genres. Each of the groups assumed its own moral and social significance. In high genres, "exemplary" heroes were depicted - monarchs, generals, who could serve as an example to follow. Among them, Peter the Great was the most popular.
Special rules existed in the classic "code" for dramatic works. They had to observe three "unities" - places, times and actions. These unities subsequently caused a lot of criticism. But, oddly enough, the demand for "unities" was dictated in the poetics of the classicists by the desire for verisimilitude. The classicists wanted to create a kind of illusion of life on stage. In this regard, they sought to bring stage time closer to the time that the audience spends in the theater. “Try to measure my hours in the game with hours, / So that, forgetting, I can believe you” (p. 137), Sumarokov instructed novice playwrights. The maximum time allowed in classic plays was not to exceed twenty-four hours. The unity of the place was due to another rule. The theater, divided into an auditorium and a stage, gave the audience the opportunity to see someone else's life. Transferring the action to another place, the classicists believed, would break this illusion. Therefore, the best option was considered to be a performance with non-replaceable scenery, much worse, but acceptable - the development of events within the same house, castle, palace. And finally, the unity of action implied in the play the presence of only one storyline and the minimum number of actors participating in the events depicted.
Of course, such plausibility was too superficial. At that time, playwrights could not yet fully realize the fact that convention is one of the attributes of each of the types of creativity, without which it is impossible to create genuine works of art. “Credibility,” wrote Pushkin, “is still supposed to be the main condition and foundation of dramatic art ... What if they prove to us that the very essence of dramatic art excludes credibility? .. Where is credibility in a building divided into two parts, of which one is filled with spectators, who agreed etc.” .
And yet, in the stage laws proposed by the classicists, in the notorious "unities" there was also a rational kernel. It consisted in striving for a clear organization of a dramatic work, in concentrating the viewer's attention not on the external, entertaining side, but on the characters themselves, on their dramatic relationships. However, these demands were expressed in too harsh, categorical form.
Subsequently, in the era of romanticism, the indisputable rules of classic poetics caused ridicule. They were presented as shy bonds, holding down poetic inspiration. This reaction was absolutely correct for that time, since outdated norms interfered with the forward movement of Russian literature. But in the era of classicism, they were perceived as a saving principle created by enlightenment and the principles of state order.
It should be noted that, despite such regulation of creativity, the works of each of the classic writers had their own individual characteristics. So, Kantemir and Sumarokov attached great importance to civic education. Both writers painfully perceived the selfishness and ignorance of the nobility, their forgetfulness of their public duty. As one of the means to achieve this goal, satire was used. Sumarokov, in his tragedies, subjected the monarchs themselves to severe judgment, appealing to their civic conscience.
Lomonosov and Trediakovsky are absolutely not concerned about the problem of educating the nobles. They are closer not to the estate, but to the national pathos of the Petrine reforms: the spread of sciences, military successes, and the economic development of Russia. Lomonosov, in his commendable odes, does not judge the monarchs, the heirs of Peter I, but seeks to captivate them with the tasks of further improving the Russian state. This determines the style of each of the writers. Thus, Sumarokov's artistic means are subject to didactic techniques. Hence the desire for clarity, clarity, unambiguity of the word, for the logical thoughtfulness of the composition of works. Lomonosov's style is distinguished by splendor, an abundance of bold metaphors and personifications, corresponding to the grandeur of state reforms.
Russian classicism of the 18th century. went through two stages in its development. The first of them refers to the 30-50s. This is the formation of a new direction, when genres unknown until that time in Russia are born one after another, the literary language and versification are being reformed. The second stage falls on the last four decades of the 18th century. and is associated with the names of such writers as Fonvizin, Kheraskov, Derzhavin, Knyazhnin, Kapnist. In their work, Russian classicism most fully and widely revealed its ideological and artistic possibilities.
Every major literary movement, leaving the stage, continues to live in later literature. Classicism bequeathed to her a high civic pathos, the principle of a person's responsibility to society, the idea of ​​duty based on the suppression of a personal, selfish beginning in the name of common state interests.

Pushkin A. C. Full. coll. op. T. 8, S. 121.
Pospelov G. N. Problems of literary style. M., 1970. S. 128.
Sumarokov A.P. Full coll. all essays. M., 1781. Part 6. C 277.
Sumarokov A. I. Full. coll. all essays. Ch. 10. S. 150.
Kantemir A. D. Sobr. poems. L., 1956. S. 75.
Sumarokov A.P. Fav. prod. L., 1957. S. 189. Further footnotes on this edition are given in the text.
Pushkin A. S. Full coll. op. T. 7. S. 212.

Russian classicism in literature, music, architecture

Russian classicism in literature

Classicism became the leading trend in Russian literature in the 18th century and is associated with the names of M. Lomonosov, A. Sumarokov, D. Fonvizin. Classicism is characterized by the following genre forms: ode, tragedy, poem, comedy, poetic satire, fable, elegy. Classicism, as a literary movement, originated in Italy in the middle of the 16th century. In the 17th century, it received full artistic expression in France in the works of Corneille, Racine, Molière, La Fontaine.

In general, European classicism is inextricably linked with the era of absolutism. The originality of Russian classicism lies in the fact that it developed in the era of the formation of national statehood. This seriously affected literature, which became the most important means of establishing the ideas of citizenship.

The first representative of Russian classicism in literature is Antioch Kantemir (1708-1744). He became the founder of satire in Russia and the predecessor of D. I. Fonvizin, A. S. Griboyedov, N. V. Gogol. Defending Peter's reforms, Cantemir opposed the reactionary nobility and clergy.

Another representative of classicism in Russian literature is V. K. Trediakovsky (1703-1768). He was the first Russian professor, he completed his education at the Sorbonne. Trediakovsky wrote poems, odes, tragedies, fables, elegies. One of his main merits was the reform of versification. M. V. Lomonosov (1711-1765) Belinsky called "Peter the Great of our literature." This outstanding person has proved himself in various fields of scientific knowledge. At the same time, Lomonosov was a poet and philologist. He completed the reform of versification, marked the beginning of the formation of the Russian literary language and created the genre of the Russian ode.

A.P. Sumarokov (1718-1777) set as his task the education of the nobility, the establishment of civil ideals in it. He wrote, for the most part, tragedies. The listed writers belong to the first period of the development of Russian classicism (30-50s of the 18th century). Their work is united by the desire to solve national problems: the development of education and science, the creation of literature and the national language.

The second period in the development of classicism in Russian literature falls on the end of the 18th century and is associated with the names of D. I. Fonvizin, G. R. Derzhavin, Ya. comedies: "Foreman" and "Undergrowth". In his work, he turned to the negative aspects of Russian life and subjected them to sharp criticism. The largest representative of high poetry was G. R. Derzhavin (1743-1816). He worked in a wide variety of genres, but the most famous were his odes, combining lyrics with satire.

Ya. B. Knyazhnin (1742-1791) became famous for his comedies and the tragedy Vadim Novgorodsky, in which the heroic image of a citizen is proclaimed. On the whole, the second stage is characterized by civic motives that acquire a social connotation and a critical perception of Russian reality. The third stage in the development of Russian classicism in literature occupies the first third of the 19th century. It is associated with the names of A. S. Shishkov, A. S. Shirinsky-Shikhmatov, A. N. Gruzintsev. During this period, classicism begins to be supplanted by romanticism. Heavy odes and tragedies look outdated and do not meet the requirements of the times.

Russian classicism in architecture

In the history of Russian architecture, the period of classicism includes 1760-1820. In this area of ​​art, such signs of classicism as the cult of reason and ideal order and worship of ancient models were very clearly manifested. Classicism in architecture became a logical stage in the completion of the era of Peter's reforms and the rejection of the plastic redundancy of the Baroque.

The transition to classicism in architecture was based on the state structure of the Russian Empire, in which "enlightened absolutism" was proclaimed. Two state acts of Catherine II were of great importance. The reform of the administrative structure marked the beginning of city self-government. This led to the emergence of new types of public buildings: courts, treasuries, noble and merchant meetings, etc.

The decree of 1763 provided for the preparation of "special plans" for urban planning. The chaotic development of cities was replaced by clear planning. The flourishing of Russian culture led to the mass construction of theaters, museums, and libraries. A characteristic feature of Russian architecture was that the state always acted as the customer of large-scale construction. All the drawings of the era invariably contain the inscription of the emperor (empress): "Be according to this." The construction of palaces, estates, museums is often carried out on the personal orders of the imperial family. The initiators of the construction of outstanding architectural monuments were also often wealthy nobles: the Yusupovs, the Golitsyns, the Sheremetevs. Medium and small landowners could not use the services of famous architects. Nevertheless, equipping their estates, they imitated the general style of the era.

Merchants and industrialists in construction are also inclined towards classicism, thanks to the common sense and direct calculation proclaimed by them. The architecture of Russian classicism establishes a new system of values. "Enlightened monarchy" is identified with dignity and order. On one level with pomp and splendor rises "noble simplicity." Successes of the Russian army in the late 18th - early 19th centuries. lead to the fact that in architecture there are invariably military plots designed to emphasize the importance of military prowess.

Thanks to the development of education in Russia, a huge interest in ancient history is awakening. The art of Ancient Greece and Ancient Rome becomes a role model, which inevitably finds expression in Russian architecture. Antiquity is admired by both hardened serf-owners and representatives of the educated nobility. There are three periods in the development of classicism architecture in Russia: "early", "strict" and "high" classicism. The early period is characterized by the preservation of the influence of the Baroque style, which is steadily declining. This period falls on the reign of Catherine II and is associated with the names of Rinaldi, V. Bazhenov, D. Quarenghi, M. Kazakov and others.

The first third of the 19th century is the period of "strict" classicism, which is often called the term "Empire". Russian architecture is guided by French models. It is designed to emphasize the power of the Russian Empire in every possible way. Among the architects of this period, K. Rossi, A. Zakharov, A. Voronikhin and others stand out. The second third of the 19th century is "late" or "Nikolaev" classicism, which is characterized by official or "state" buildings. This period is represented by the names of V. Beretti, A. Melnikov and others.

Russian classicism in painting

In the 18th century, the nature of Russian painting changed significantly. In the Middle Ages, it was completely under the influence of the church. Artists were required to depict only God and the saints. In general, iconography dominated. The Age of Enlightenment freed the painters from this and turned their attention to the person. Portraiture begins to enjoy great popularity.

In the spirit of classicism, the so-called. ceremonial and allegorical portraits. The first is characterized by the image of a person in a proud pose, reflecting his greatness (portrait of A. B. Kurakin, artist V. L. Borovikovsky). In an allegorical portrait, a person appeared in the form of an ancient deity or hero. The most striking example is the painting by D. G. Levitsky "Catherine II - Legislator", in which the Empress is depicted in the image of the goddess of justice Themis.

The borrowing of European achievements begun by Peter allowed Russian artists to turn to new genres (landscape, still life) and master new techniques: chiaroscuro, linear and aerial perspective, oil painting. Classicism left the most noticeable trace in Russian historical painting. The artists took subjects for paintings from ancient history and mythology, which is considered a role model.

One of the most striking examples is the painting by A. P. Losenko "Farewell of Hector to Andromache". The scene was not chosen by chance: Hector appears as a true citizen and patriot, for whom the public good comes first. One of the outstanding artists of the era of classicism was I. N. Nikitin (1690-1742), who was the first to turn to portraiture. The most famous work of the master is a portrait of Chancellor G. I. Golovkin. He also owns the famous painting "Peter I on his deathbed".

A.P. Antropov (1716-1795) is known for two ceremonial portraits of Peter III. A. P. Losenko (1737-1773) is considered the founder of Russian historical painting. His most famous canvases are "Vladimir and Rogneda" (for this picture the artist received the title of professor at the Academy of Arts) and "Hector's Farewell to Andromache".

Russian classicism in music

Russian music remained dependent on the church longer than other areas of art. Church music until the end of the XVIII century remained the only form of creativity of Russian composers. At the same time, foreign musicians coming to Russia did not pay any attention to the established national musical traditions. This led to the fact that Russian music was "late" in the transition to classicism.

During the formation of the national school of composers (the last third of the 18th century), classicism was already beginning to lose its position in art. Therefore, in Russian music, classicism did not become the dominant trend, there was a mixture and mutual influence of various styles. The most famous Russian composers of this era include D. S. Bortyansky, V. A. Pashkevich, E. I. Fomin, in whose work elements of classical imagery are noticeable.

Fomin's "Orpheus" has become a unique work in which classicism is combined with pre-romantic and sentimentalist elements. Bortyansky's music contains the harmony, completeness and balance of form inherent in classicism. But at the same time, classical rigor is organically combined with romantic passion and sensitive tones akin to sentimentalism.

Russian music of the late 18th century was generally at the level of "early" European classicism. At that time, symphonism already dominated Europe as the leading method of artistic generalization in music. Russian composers were just beginning to master this method. The main feature of the work of Russian composers of the second half of the 18th century is the preservation of national characteristics with an active perception of European norms of musical thinking.

The most important achievement of this period was the formation of the Russian school of composers, which manifested itself in opera, in monumental choral music and in chamber genres.

• The invasion of classicism in architecture is vividly illustrated by the failure of the famous architect Rastrelli. In 1757 he designed the Gostiny Dvor in St. Petersburg in the baroque style. But the construction, at the request of the merchants, was completed in the spirit of "more simple" (i.e., cheaper) classicism, designed by J.-B. Wallen Delamotte.
• The window to Europe "cut through" by Peter I could not limit the traditional unlimited nature of tsarist power.
• In 1732, I. N. Nikitin, who is considered the main artist of Russia, was accused of "malice" against F. Prokopovich on a denunciation. Together with his brother, he spent five years in the Peter and Paul Fortress, and then was exiled to Tobolsk.
• One of the outstanding Russian architects of classicism, V. I. Bazhenov, was awarded a business trip abroad for his success. In France, his talent was appreciated: Louis XV offered Bazhenov to become the architect of the French court. The architect refused, explaining this with one phrase: "I can't live without a homeland."

Sensitive to the spirit of the era, Alexander Sergeevich Pushkin compared Russia in the 18th century with a ship launched "at the sound of an ax and the thunder of cannons." The “knock of an ax” can be understood in different ways: either as the scope of construction, the remaking of the country, when St. Petersburg, from the shores of which the ship departed, still resembled a hastily put together theatrical scenery, had not yet been dressed in granite and bronze for centuries; whether the knock of the ax meant that they were in a great hurry to launch the ship, and on it, already departing, work continued; whether it was the sound of an ax cutting off unruly heads. And the "crew" of this ship was in a great hurry to enter Europe: they hastily cut the ropes that connected the ship with its native shore, with the past, forgetting traditions, forgetting cultural values ​​that seemed barbaric in the eyes of "enlightened" Europe. Russia moved away from Rus'.

And yet you can't get away from yourself. You can change your Russian dress to German, cut your beard and learn Latin. There are external traditions, and there are internal ones that are not visible to us, developed by our ancestors over hundreds and hundreds of years. What changed in the 18th century? Much, but the deepest, most intangible and most important national values ​​remained, migrated from ancient history to the new, from ancient Russian literature they imperceptibly but surely entered the literature of the 18th century. This is a reverent attitude to the written word, faith in its truth, faith that the word can correct, teach, enlighten; this is a constant desire to see the world with "spiritual eyes" and create images of people of high spirituality; it is inexhaustible patriotism; it is closely related to folk poetry. Writing never became a profession in Rus', it was and remained a vocation, literature was and remained a guide to a correct, high life.

According to an established tradition, from the 18th century we begin the countdown of new Russian literature. Since that time, Russian literature began to move towards European literature, in order to finally merge into it already in the 19th century. The so-called "belles-lettres" stands out from the general stream, that is, fiction, the art of the word. Fiction, author's fantasy, and amusement are encouraged here. The author - a poet, playwright, prose writer - is no longer a copyist, compiler, recorder of events, but a creator, creator of artistic worlds. In the 18th century, the time of author's literature comes, it is not the veracity of what is described, not following the canons, not similarity with samples, but, on the contrary, the originality, originality of the writer, the flight of thought and fantasy that begins to be valued. However, such literature was just being born, and Russian writers at first also followed the traditions and models, the “rules” of art.

One of the first cultural acquisitions of Russia from Europe was classicism. It was a very harmonious, understandable and uncomplicated system of artistic principles, quite suitable for Russia at the beginning and middle of the 18th century. Classicism usually arises where absolutism, the unlimited power of the monarch, is strengthened and flourishes. So it was in France in the 17th century, so it was in Russia in the 18th century.

Reason and order must prevail both in human life and in art. A literary work is the result of the author's imagination, but at the same time a reasonably organized, logically, according to the rules, built creation. Art should demonstrate the triumph of order and reason over the chaos of life, just as the state personifies reason and order. Therefore, art also has a great educational value. Classicism divides all literary genres into "high" and "low" genres. The first are tragedy, epic, ode. They describe events of national importance and the following characters: generals, monarchs, ancient heroes. "Low" genres - comedy, satire, fable show the life of people of the middle classes. Each genre has its own educational value: tragedy creates a role model, and, for example, an ode sings of the deeds of the heroes of our time - commanders and kings, "low" genres ridicule the vices of people.

The originality of Russian classicism was already manifested in the fact that from the very beginning it began to actively interfere in modern life. It is significant that, unlike France, the path of classicism in our country begins not with tragedies on ancient themes, but with topical satire. The founder of the satirical direction was Antioch Dmitrievich Kantemir(1708-1744). In his passionate satires (accusatory poems), he stigmatizes nobles who evade their duty to the state, to their well-deserved ancestors. Such a gentleman does not deserve respect. The focus of attention of Russian classicist writers is the education and upbringing of an enlightened person who continues the work of Peter I. And Cantemir in his satires constantly refers to this topic, which was cross-cutting for the entire 18th century.

Mikhail Vasilievich Lomonosov(1711 - 1765) entered the history of Russian literature as the creator of odes, solemn poems on "high" topics. The purpose of the ode is glorification, and Lomonosov glorifies Russia, its power and wealth, its present and future greatness under the enlightened guidance of a wise monarch.

In the ode dedicated to the accession to the throne of Elizabeth Petrovna (1747), the author refers to the new queen, but the glorification turns into a lesson, into a "lesson to the kings." The new monarch must be worthy of his predecessor, Peter the Great, of the rich country he inherited, and therefore he should patronize the sciences, maintain "beloved silence", that is, peace: Lomonosov's odes glorify both the achievements of science and the greatness of God.

Having "borrowed" classicism from the West, Russian writers nevertheless introduced into it the traditions of ancient Russian literature. This is patriotism and instructiveness. Yes, tragedy created the ideal of a person, a hero, a role model. Yes, satire made fun. Yes, the ode glorified. But, giving an example to follow, ridiculing, glorifying, the writers taught. It was this instructive attitude that made the works of the Russian classicists not an abstract art, but an intervention in their contemporary life.

However, so far we have named only the names of Kantemir and Lomonosov. And V. K. Trediakovsky, A. P. Sumarokov, V. I. Maikov, M. M. Kheraskov, D. I. Fonvizin paid their tribute to classicism. G. R. Derzhavin and many others. Each of them contributed something of his own to Russian literature, and each deviated from the principles of classicism - so rapid was the development of 18th century literature.

Alexander Petrovich Sumarokov(1717-1777) - one of the creators of the Russian classicist tragedy, the plots for which he drew from Russian history. So, the main characters of the tragedy "Sinav and Truvor" are the Novgorod prince Sinav and his brother Truvor, as well as Ilmena, with whom they are both in love. Ilmena reciprocates Truvor. Consumed by jealousy, Sinav pursues his beloved, forgetting about the duty of a just monarch. Ilmena marries Sinav because her noble father demands it, and she is a man of duty. Unable to bear the separation, Truvor, expelled from the city, and then Ilmena, commit suicide. The reason for the tragedy is that Prince Sinav did not curb his passion, could not subordinate feelings to reason, duty, and this is exactly what is required of a person in classical works.
But if the tragedies of Sumarokov generally fit into the rules of classicism, then in love lyrics he was a true innovator, where, as you know, feelings always defeat the mind. What is especially noteworthy is that in poetry Sumarokov relies on the traditions of folk female lyrical songs, and often it is the woman who is the heroine of his poems. Literature sought to go beyond the range of themes and images prescribed by classicism. And Sumarokov's love lyrics are a breakthrough to the "inner" person, interesting not because he is a citizen, a public figure, but because he carries a whole world of feelings, experiences, suffering, love.

Together with classicism, the ideas of the Enlightenment came to Russia from the West. All evil comes from ignorance, the Enlighteners believed. They considered ignorance to be tyranny, the injustice of laws, the inequality of people, and often the church. The ideas of the Enlightenment echoed in literature. The ideal of an enlightened nobleman was especially dear to Russian writers. Let's remember the Starodum from the comedy Denis Ivanovich Fonvizin(1744 (1745) - 1792) "Undergrowth" and his sayings. The monologues and remarks of the hero, reasoner, mouthpiece of the author's ideas, reveal the educational program. It boils down to the demand for justice in the broadest sense - from the administration of the state to the management of the estate. The author believes that justice will prevail when the laws and the people who implement them are virtuous. And for this it is necessary to educate enlightened, moral, educated people.

Enlightenment ideas permeated one of the most famous books of the 18th century - "Journey from St. Petersburg to Moscow". Radishcheva(1749-1802), the author of this work, Catherine the Great called "a rebel worse than Pugachev." The book is built in the form of travel notes, life observations, scenes and reflections that lead the author to the idea of ​​the injustice of the entire system of life, starting with autocracy.

The literature of the 18th century looks more and more closely not at clothes and deeds, not at social status and civic obligations, but at the soul of a person, at the world of his feelings. Under the sign of "sensibility" literature says goodbye to the 18th century. On the basis of enlightenment ideas, a literary trend is growing - sentimentalism. Do you remember the little story Nikolai Mikhailovich Karamzin(1766-1826) "Poor Liza", which to some extent became a turning point for Russian literature. This story proclaimed the inner world of man as the main theme of art, demonstrating the spiritual equality of all people, as opposed to social inequality. Karamzin laid the foundation for Russian prose, cleared the literary language of archaisms, and narration from pomposity. He taught Russian writers independence, because true creativity is a deeply personal matter, impossible without inner freedom. But inner freedom also has its outer manifestations: writing becomes a profession, the artist no longer needs to tie himself to the service, for creativity is the most worthy state field.

"Life and poetry are one," VA Zhukovsky proclaims. “Live as you write, write as you live,” K. N. Batyushkov will pick up. These poets will step from the 18th century into the 19th century, their work is another story, the history of Russian literature of the 19th century.

Educational: to introduce the main genres and representatives of Russian literature of the 18th century; to give a concept of the literary direction, in particular to introduce the term classicism and the main features of classicism;

Developing: develop analytical skills and independent activities of students, develop oral and written speech, expressive reading, logical thinking;

Educational: to instill in students a sense of mercy and disinterestedness, interest in classical fiction.

DURING THE CLASSES:

I .Organizational stage

II .Checking homework /children read the learned sonnets of Petrarch and Shakespeare/

III . Setting the objectives of the lesson: In today's lesson, we will see what changes and transformations the 18th century brought with it, how these transformations affected literature.
We will also get acquainted with the literary movement “classicism” (one of the main trends in Russian literature of the 18th century)
It was that troubled time When Russia is young Straining strength in the struggles, Husband with the genius of Peter

IV . Learning new material:

1) Lecture with elements of conversation

18th century literature (like the literature of any other period) is inextricably linked with the era, with the cultural and socio-political life of the country.
Review of the cultural and political situation in Russia in the 18th century.
Russia of the 18th century (the initial period of the Petrine era) is undergoing a series of cardinal transformations in all areas of state, cultural, and political life.
Russia's independence is being strengthened, its military might is growing, and its influence in the European arena is growing. Thanks to all the transformations, autocratic power is also being strengthened. 18th century - the century of the enlightenedabsolutism with his ideas of citizenship, patriotism, the unity of the nation.
Absolutism - autocracy
/ Moscow University opens, general education and vocational schools are created, a new calendar is introduced, the first Russian newspaper is founded, the Academy of Sciences, the Academy of Arts, the first permanent Russian theater are established /
To move the country forward, eradicate patriarchal foundations, superstitions, it was necessary to pay attention to the development of the following areas: - education

The science
- culture
- seal
Of particular importance in this connection is literature.
The literature of the 18th century brings with it the image of a man who feels like a citizen and a patriot, who is ready to sacrifice personal well-being for the good of society, the state, ready to subordinate his feelings to public duty.
The dominant trend in the literature of the 18th century wasclassicism. Classicism - (from Latin classicus - exemplary), artistic style and aesthetic trend in European literature of the 18th - early 19th centuries, one of the most important features of which was the appeal to ancient images as an ideal aesthetic standard.
/ The concept of beauty in the art of classicism is associated with symmetry and harmony. This was also reflected in the rules of behavior for people in a secular society: a violent expression of feelings was considered indecent in the 18th century and was perceived as a sign of low origin or bad education. The manifestation of even the strongest passions should be likedeep waters enclosed in granite shores ./
Features of classicism

Adoption of the ideas of enlightened absolutism - patriotism, citizenship, the unity of the nation.

The affirmation of the priority of reason.

The aesthetics of classicism is based on the principle of rationalism: a work of art must be reasonably and consistently built, logically verified (from the principle of “imitation of nature”).

Compliance with certain creative norms and rules (strict plot and compositional organization).

A clear division of heroes into positive and negative

“Immutability” of the hero (lack of internal development).

Idealization of the hero (odes of Lomonosov)

Interest in the folk language, the use of folk speech in the works.

Narrative objectivity.

Genres of classicism

inhigh
tragedy, epic, ode

nlow
comedy, satire, fable

Social life and history are mastered in them: heroes, generals, monarchs act; mythological and biblical subjects were also used. Time is enlightened absolutism: the idea of ​​serving the state, the idea of ​​civic duty is very important. WrittenAlexandrian verse , the use of colloquial phrases was not allowed, and specific names were often replaced by generic ones (for example, instead of “wolf” - “beast”, etc.)

They described the life of ordinary people, ridiculed human vices. They allowed the use of prose or various verses, the introduction of everyday details, and the colloquial style of speech.

Each genre has strict boundaries and clear formal features; no mixing of the sublime and the base, the tragic and the comic, the heroic and the mundane is allowed.
The leading genre of classicism was tragedy, addressed to the most important social and moral problems of the century. Social conflicts appear in it as reflected in the souls of the characters, who are faced with the need to choose between moral duty and personal passions.
The law of "three unities" (unity of time, place and action)

unity of time - the action takes place within one day

unity of place - the action takes place in one place

unity of action - one storyline, a limited number of characters (5–10), all characters must be connected by a story.

Russian classicism originated in the 2nd quarter of the 18th century in the work of the founders of the new Russian literature A.D. Kantemira, V.K. Trediakovsky, M.V. Lomonosov.
Features of Russian classicism.

connection with modern reality

satirical orientation

appeal to specific phenomena of Russian life

the predominance of national-historical themes

high level of development of the ode genre

IV . Working with textbook material page

V .Summarizing. Evaluation.

What is classicism?

What genres are typical for it?

What are the main features of classicism.

VI . Homework assignment.

Learn lecture material.

Prepare reports about Lomonosov (individually.)

1

8

2

23

7

3

1