Literary and historical notes of a young technician. Whatever you turn to in our literature - Karamzin laid the foundation for everything: journalism, criticism, novella, historical story, publicism, the study of

Keywords: journalism, criticism, story, novel, historical story, publicism, the study of history. V.G. Belinsky

Nikolai Mikhailovich Karamzin is an outstanding reformer of the Russian language. He left a noticeable mark in science, art, journalism, but an important result of Karamzin's work in the 1790s was the reform of the language, which was based on the desire to bring written language with live colloquial speech educated stratum of society. Thanks to Karamzin, the Russian reader began to think, feel and express himself somewhat differently.

We use in our speech many words introduced into colloquial use by Karamzin. But speech is always a reflection of the intellect, culture, and spiritual maturity of a person. After Peter's reforms in Russia, a gap arose between the spiritual needs of an enlightened society and the semantic structure of the Russian language. All educated people were forced to speak French, since in the Russian language there were no words and concepts to express many thoughts and feelings. To express in Russian the diversity of concepts and manifestations human soul, it was necessary to develop the Russian language, create a new speech culture, overcome the gap between literature and life. By the way, at that time the French language really had a pan-European distribution; not only Russian, but, for example, the German intelligentsia preferred it to their native language.

In an 1802 article “On Love for the Fatherland and National Pride”, Karamzin wrote: “Our misfortune is that we all want to speak French and do not think of working on processing own language; Is it any wonder that we don’t know how to explain to them some of the subtleties in conversation ”- and urged us to give our native language all the subtleties of the French language. At the end of the 18th century, Karamzin came to the conclusion that the Russian language was outdated and needed to be reformed. Karamzin was not a king, he was not a minister either. Therefore, Karamzin's reform was not expressed in the fact that he issued some decrees and changed the norms of the language, but in the fact that he himself began to write his works in a new way and place translated works written in a new literary language in his almanacs.

Readers got acquainted with these books and learned new principles literary speech, which were focused on the norms of the French language (these principles were called "new syllable"). Karamzin's initial task was to get the Russians to write as they say and to noble society began to speak as they write. It is these two tasks that determine the essence of the writer's stylistic reform. To get closer literary language to colloquial, first of all, it was necessary to free literature from Church Slavonicisms (heavy, outdated Slavic expressions, which in spoken language have already been replaced by others, softer, more elegant).

Obsolete Old Slavonicisms such as: abie, byahu, koliko, ponezhe, ubo, etc., became undesirable. Karamzin’s statements are known: “To inflict, instead of doing, cannot be said in conversation, and especially to a young girl.” But Karamzin could not completely abandon Old Slavonicisms: this would have done great harm to the Russian literary language. Therefore, it was allowed to use Old Slavonicisms, which: a) retained a high, poetic character in the Russian language (“sitting under the shade of trees”, “I look at the image of miracles on the gates of the temple”, “this memory shook her soul”, “his hand ignited only one sun on vault of heaven"); b) can be used artistic purposes(“a golden ray of hope, a ray of consolation illuminated the darkness of her sorrow”, “no one will throw a stone at a tree if there are no fruits on it”); c) being abstract nouns, they are able to change their meaning in new contexts for them (“there were great singers in Rus', whose creations were buried for centuries”); d) can act as a means of historical stylization (“I listen to the muffled groan of the times”, “Nikon resigned his supreme dignity and ... spent his days dedicated to God and soul-saving labors”). The second step in reforming the language was the simplification of syntactic constructions. Karamzin resolutely abandoned the heavy German-Latin syntactic construction introduced by Lomonosov, which was inconsistent with the spirit of the Russian language. Instead of long and incomprehensible periods, Karamzin began to write in clear and concise phrases, using the light, elegant and logically harmonious French prose as a model.

In "Pantheon" Russian writers"He resolutely declared:" Lomonosov's prose cannot serve as a model for us at all: its long periods are tiring, the arrangement of words is not always in accordance with the flow of thoughts. Unlike Lomonosov, Karamzin strove to write in short, easily visible sentences. In addition, Karamzin replaces the unions of Old Slavic origin yako, paki, zane, koliko, etc. with Russian unions and allied words what, to, when, how, which, where, because (“Lisa demanded that Erast often visit her mother ”, “Lisa said where she lives, said and went.”) Rows subordinating unions give way to non-union and inventive constructions with unions a, and, but, yes, or etc .: “Lisa fixed her eyes on him and thought ..”, “Lisa followed him with her eyes, and her mother sat in thought”, “Already wanted she runs after Erast, but the thought: "I have a mother!" stopped her."

Karamzin uses a direct word order, which seemed to him more natural and corresponding to the train of thought and the movement of a person’s feelings: “One day Liza had to go to Moscow”, “The next day Liza picked the best lilies of the valley and again went to the city with them”, "Erast jumped ashore, went up to Lisa." The third stage of Karamzin's language program was the enrichment of the Russian language with a number of neologisms, which have become firmly established in the main vocabulary. Among the innovations proposed by the writer are the words known in our time: industry, development, sophistication, focus, touching, entertaining, humanity, public, generally useful, influence, future, love, need, etc., some of them did not take root in Russian language (realness, infantile, etc.) We know that even in the Petrine era, many foreign words appeared in the Russian language, but they for the most part replaced words that already existed in the Slavic language and were not necessary; in addition, these words were taken in raw form, and therefore were very heavy and clumsy (“fortecia” instead of “fortress”, “victory” instead of “victory”).

Karamzin, on the contrary, tried to give foreign words Russian ending, adapting them to the requirements of Russian grammar, for example, "serious", "moral", "aesthetic", "audience", "harmony", "enthusiasm". Karamzin and his supporters preferred words expressing feelings and experiences, creating “pleasantness”, for this they often used diminutive suffixes (horn, shepherd, stream, mother, villages, path, bank, etc.). Words that create “beautifulness” (flowers, turtledove, kiss, lilies, ethers, curl, etc.) were also introduced into the context. Proper names that call ancient gods, European artists, heroes of ancient and Western European literature, were also used by Karamzinists in order to give the narrative an elevated tone.

The beauty of speech was created with the help of syntactic constructions close to phraseological combinations (the luminary of the day is the sun; the bards of singing are the poet; the meek friend of our life is hope; the cypress trees of conjugal love - family life, marriage; move to the upper abode - die, etc.). From other introductions of Karamzin, the creation of the letter Y can be noted. The letter Y is the youngest letter of the modern Russian alphabet. It was introduced by Karamzin in 1797. It can be even more precise: the letter Yo was introduced by Nikolai Mikhailovich Karamzin in 1797, in the almanac "Aonides", in the word "tears". Before that, instead of the letter Yo in Russia, they wrote the digraph io (introduced around mid-eighteenth century), and even earlier they wrote the usual letter E. In the first decade XIX century, Karamzin's reform of the literary language was met with enthusiasm and gave rise to a lively public interest in the problems literary norm. Most of the young writers, modern Karamzin, accepted his transformation and followed him.

But not all contemporaries agreed with him, many did not want to accept his innovations and rebelled against Karamzin as a dangerous and harmful reformer. At the head of such opponents of Karamzin stood Shishkov, a well-known statesman that time. Shishkov was an ardent patriot, but he was not a philologist, so his attacks on Karamzin were not philologically justified and were more of a moral, patriotic, and sometimes even political nature. Shishkov accused Karamzin of spoiling mother tongue, in an anti-national direction, in dangerous free-thinking and even in the deterioration of morals. Shishkov said that only purely Slavic words one can express pious feelings, feelings of love for the fatherland. foreign words, in his opinion, distort rather than enrich the language: “Ancient Slavic, the father of many adverbs, is the root and the beginning Russian language, which was abundant and rich in itself, it does not need to be enriched with French words.

Shishkov proposed to replace the already established foreign expressions old Slavic; for example, replace "actor" with "actor", "heroism" - "kindness", "audience" - "hearing", "review" - "review of books". It is impossible not to recognize Shishkov's ardent love for the Russian language; it is impossible not to admit that the passion for everything foreign, especially French, has gone too far in Russia and has led to the fact that the common, peasant language has become very different from the language of the cultured classes; but it is also impossible not to recognize that it was impossible to stop the natural evolution of language; could not be forcibly returned to use already obsolete expressions, which were offered by Shishkov (“zane”, “ubo”, “like”, “yako” and others). In this linguistic dispute, history has shown a convincing victory for Nikolai Mikhailovich Karamzin and his followers. And the assimilation of his lessons helped Pushkin to complete the formation of the language of the new Russian literature.

Literature

1. Vinogradov V.V. Language and style of Russian writers: from Karamzin to Gogol. -M., 2007, 390s.

2. Voilova K.A., Ledeneva V.V. History of the Russian literary language: a textbook for universities. M.: Drofa, 2009. - 495 p. 3. Lotman Yu.M. Creation of Karamzin. - M., 1998, 382s. 4. Electronic resource // sbiblio.com: Russian Internet University for the Humanities. - 2002.

Today we will have a discussion on literature on the topic: “Two contradictions in the story of N.M. Karamzin "Poor Liza".

What two contradictions will be discussed, you have to guess for yourself, but a little later. (Slide #1)

II. Discussion on the topic of the lesson

- Read the epigraph. What does he tell us about the writer? (Slide #2)

- He is endowed good heart, sensitivity.

- Able to think.

- Cannot pass by troubles and suffering.

A story about the writer and his work, attitude, Karamzin's views on enlightenment and education, patriotism. (Slide #3)

- N.M. Karamzin was born on December 1 (12), 1766 in the Simbirsk province in a well-born, but not rich noble family. The Karamzins descended from the Tatar prince Kara-Murza, who was baptized and became the ancestor of the Kostroma landowners.

The writer's father, for his military service, received an estate in the Simbirsk province, where Karamzin spent his childhood. He inherited a quiet disposition and a penchant for daydreaming from his mother Ekaterina Petrovna, whom he lost at the age of three.

When Karamzin was 13 years old, his father sent him to the boarding school of Moscow University professor I.M. Shaden, where the boy listened to lectures, received a secular education, studied German and French read in English and Italian. At the end of the boarding school in 1781, Karamzin left Moscow and settled in St. Preobrazhensky Regiment to which he was assigned at birth.

At the time military service include the first literary experiments. writing inclinations young man brought him closer to prominent Russian writers. Karamzin started as a translator, edited the first in Russia children's magazine"Children's Reading for the Heart and Mind".

After the death of his father in January 1784, Karamzin retired with the rank of lieutenant and returned to his homeland in Simbirsk. Here he led a rather scattered lifestyle, typical of a nobleman of those years.

A decisive turn in his fate was made by a chance acquaintance with I.P. Turgenev, an active Freemason, an associate famous writer and publisher late XVIII century N.I. Novikov. For four years, the novice writer rotates in Moscow Masonic circles, closely approaches N.I. Novikov, becomes a member of the scientific society. But soon Karamzin is deeply disappointed in Freemasonry and leaves Moscow, (Slide number 4) going on a long journey through Western Europe.

- (SLIDE 5) In the autumn of 1790, Karamzin returned to Russia and from 1791 began to publish the Moscow Journal, which was published for two years and had big success the Russian reading public. Leading place it was occupied by artistic prose, including the works of Karamzin himself - “Letters from a Russian Traveler”, the stories “Natalia, the Boyar's Daughter”, “Poor Liza”. New Russian prose began with Karamzin's stories. Perhaps without knowing it himself, Karamzin outlined the features of an attractive image of a Russian girl - a deep and romantic nature, selfless, truly folk.

Beginning with the publication of the Moscow Journal, Karamzin appeared before the Russian public opinion as the first professional writer and journalist. In a noble society, literature was considered more of a fun and certainly not a serious profession. The writer, through his work and constant success with readers, established the authority of publishing in the eyes of society and turned literature into a profession, honorable and respected.

The merit of Karamzin as a historian is also enormous. For twenty years he worked on the "History of the Russian State", in which he reflected his view on the events of the political, cultural, civil life countries for seven centuries. A.S. Pushkin noted “a witty search for truth, a clear and correct depiction of events” in historical work Karamzin.

-Karamzin is called a writer - a sentimentalist. What is this direction?

V. Introduction of the concept of “sentimentalism” (SLIDE 6).

Sentimentalism is artistic direction(flow) in art and literature of the late XVIII - early XIX centuries. The very name "sentimentalism" (from the English. sentimental- sensitive) indicates that the feeling becomes central aesthetic category this direction.

What are the main genres of sentimentalism?

Tale, journey, novel in letters, diary, elegy, message, idyll

What is the main idea of ​​syntementalism?

The desire to present human personality in the movements of the soul

What is the role of Karamzin in the direction of sentimentalism?

- Karamzin approved in Russian literature an artistic opposition to fading classicism - sentimentalism.

What do you expect from the works of sentimentalism? (Students make the following assumptions: these will be works that are “beautifully written”; these are light, “calm” works; they will talk about a simple, Everyday life person, about his feelings, experiences).

Show more clearly features paintings will help us sentimentalism, because sentimentalism, like classicism, manifested itself not only in literature, but also in other forms of art. Look at two portraits of Catherine II ( SLIDE 7). The author of one of them is a classicist artist, the author of the other is a sentimentalist. Determine which direction each portrait belongs to and try to justify your point of view. (Students unmistakably determine that the portrait made by F. Rokotov is classic, and the work of V. Borovikovsky belongs to sentimentalism, and prove their opinion by comparing the background, color, composition of paintings, posture, clothing, Catherine's facial expression in each portrait).

And here are three more paintings of the 18th century (SLIDE 8) . Only one of them belongs to the pen of V. Borovikovsky. Find this picture, justify your choice. (On the slide of the painting by V.Borovikovsky “Portrait of M.I. Lopukhina”, I. Nikitin “Portrait of Chancellor Count G.I. Golovkin”, F. Rokotov “Portrait of A.P. Struyskaya”).

I draw your attention to the reproduction of the painting by G. Afanasyev "Simonov Monastery", 1823, and I propose, together with lyrical hero take a walk around the outskirts of Moscow. The beginning of what work do you remember? (“Poor Liza”) From the height of the “gloomy, Gothic” towers of the Simonov Monastery, we admire the splendor of the “majestic amphitheater” in the rays of the evening sun. But the eerie howl of the winds in the walls of the deserted monastery, the dull ringing of the bells portend tragic ending the whole story.

What is the role of the landscape?

Means psychological characteristics heroes

slide 9.

-What is this story about?(About love)

Yes, indeed, the story is based on a plot that is widespread in the literature of sentimentalism: a young rich nobleman won the love of a poor peasant girl, left her and secretly married a rich noblewoman.

-What can you say about the narrator?(The guys note that the narrator is involved in the relationship of the characters, he is sensitive, it is not by chance that “Ah” is repeated, he is noble, vulnerable, acutely feels someone else's misfortune.)

How did you see the main characters? How does the author feel about them?

-And what do we learn about Erast?

Kind, but spoiled.

Incapable of thinking about his actions.

He didn't know his character well.

The intention to seduce was not part of his plans ...

Can it be said that his way of thinking was formed under the influence of sentimental literature?(Yes. He read novels, idylls; he had a rather lively imagination and was often transported to those times in which ... people walked carelessly through the meadows ... and spent all their days in happy idleness. ” Soon he “could no longer be satisfied with just pure embraces He wanted more, more, and, finally, he could not want anything.”

Erast Karamzin determines the reasons for the cooling quite accurately. The young peasant woman has lost the charm of novelty for the master. Erast breaks up with Lisa rather coldly. Instead of words about a "sensitive soul" - cold words about "circumstances" and a hundred rubles for a heart given to him and a crippled life. How does the “money theme” illuminate human relationships?

(The guys say that sincere help should be expressed in actions, in direct participation in the fate of people. Money serves as a cover for unclean intentions. “I forget a person in Erast - I’m ready to curse him - but my tongue does not move - I look at the sky, and rolling down my face.")

- How is the theme of love of Lisa and Erast resolved?(For Liza, the loss of Erast is tantamount to the loss of life, further existence becomes meaningless, she lays hands on herself. Erast understood his mistakes, “could not be consoled”, reproaches himself, goes to the grave.)

Is Karamzin's story similar to the works of classicism ?

I invite the guys on one side of the paper "hearts" (they were cut out of paper in advance and are on the desks) to write words - inner experiences that speak O Lisa's love. Show "hearts", read: « Confusion, excitement, sadness, crazy joy, happiness, anxiety, longing, fear, despair, shock.

I offer students reverse side"hearts" to write words characterizing Erast's love ( I read: “Deceiver, seducer, egoist, unintentional traitor, insidious, at first sensitive, then cold”)

What was the main thing in Lisa's attitude towards Erast?

p/o: Love

What word can be replaced?

p / o: Feelings.

What could help her cope with this feeling?

p / o: Mind. (slide 11)

What are feelings?

What is mind? (Slide 12)

What prevailed in Lisa's feelings or reason?

(Slide 13)

Lisa's feelings are distinguished by depth, constancy. She understands that she is not destined to be Erast's wife, and even repeats twice: “He is a gentleman; and between the peasants…”, “However, you can’t be my husband!.. I’m a peasant…”

But love is stronger than reason. The heroine, after the confession of Erast, forgot about everything and gave all of herself to her beloved.

What prevailed in Erast feelings or reason?

What words support this? Find in the text and read .(Slide 14)

This story was perceived as a true story: the neighborhood of the Simonov Monastery, where Liza lived and died, "Lizin's Pond", became for a long time a favorite place of pilgrimage for the reading noble public .

- (Slide 16) Pay attention to the words of the narrator. What feelings overwhelm him?

(Slide 17) - Are there similar stories today?

Why do lovers break up?

(Slide 18) -So what is the meaning of the name? ( You can refer to the article explanatory dictionary. As a rule, students say that "poor" means "unfortunate".) (Slide 19)

Outcome.-What does the author of the story warn us about?
By : warns of the need for reason in love
How should a person build his happiness?
By: a person builds his happiness on the harmony of feeling and reason
What does this story teach us? sympathizing with your neighbor, empathizing, helping, you yourself can become spiritually richer, cleaner Homework.

Textbook, pp. 67-68 - questions. Record answers to questions:

Why did Karamzin's story become a discovery for his contemporaries? What tradition of Russian literature was initiated by Karamzin?

N.M. Karamzin - journalist, writer, historian "Moscow Journal" "Moscow Journal" "Letters from a Russian Traveler" "Letters from a Russian Traveler" "Natalia, Boyar's Daughter" "Natalia, Boyar's Daughter" "Poor Lisa" "Poor Liza" History of the Russian State” “History of the Russian State” N.M. Karamzin. Hood. A.G. Venetsianov. 1828

Sentimentalism An artistic direction (flow) in art and literature of the late 18th - early 19th centuries. Artistic direction (flow) in art and literature of the late 18th - early 19th centuries. Direction From English. SENTIMENTAL - sensitive. From English. SENTIMENTAL - sensitive. “An elegant image of the basic and everyday” (P.A. Vyazemsky.) “An elegant image of the main and everyday” (P.A. Vyazemsky.)

"Poor Liza" What is this piece about? What is this piece about? From what perspective is the story being told? From what perspective is the story being told? How did you see the main characters? How does the author feel about them? How did you see the main characters? How does the author feel about them? Is Karamzin's story similar to the works of classicism? Is Karamzin's story similar to the works of classicism? O. Kiprensky. Poor Lisa.

Classicism Classicism Line of comparison Sentimentalism Sentimentalism Raising a person in the spirit of loyalty to the state, the cult of reason The main idea The desire to represent the human personality in the movements of the soul ordinary people Auxiliary, conditional Role landscape Means of psychological characterization of heroes Tragedy, ode, epic; comedy, fable, satire

Homework 1. Textbook, p. Write down the answers to the questions: Why did Karamzin's story become a discovery for his contemporaries? Why did Karamzin's story become a discovery for his contemporaries? What tradition of Russian literature was initiated by Karamzin? What tradition of Russian literature was initiated by Karamzin?

Lesson Objectives

Educational:

Contribute to the upbringing of a spiritually developed personality, the formation of a humanistic worldview.

Developing:

To promote the development of critical thinking, interest in the literature of sentimentalism.

Educational:

Briefly acquaint students with the biography and work of N.M. Karamzin, give an idea of ​​sentimentalism as a literary trend.

Equipment: computer; multimedia projector; Microsoft power point presentation<Приложение 1>; Handout<Приложение 2>.

Epigraph to the lesson:

Whatever you turn to in our literature - everything has been given a start to journalism, criticism, the novel-tale, the historical story, publicism, the study of history.

V.G. Belinsky

During the classes

Introduction by the teacher.

We continue to study Russian literature XVIII century. Today we are going to meet amazing writer, from whose work, according to the famous criticism of the XIX century V. G. Belinsky, “began new era Russian Literature". The name of this writer is Nikolai Mikhailovich Karamzin.

II. Recording the topic, epigraph (SLIDE 1).

Presentation

III. The teacher's story about N.M. Karamzin. Compilation of a cluster (SLIDE 2).

N.M. Karamzin was born on December 1 (12), 1766 in the Simbirsk province in a well-born, but not rich, noble family. The Karamzins descended from the Tatar prince Kara-Murza, who was baptized and became the ancestor of the Kostroma landowners.

The writer's father, for his military service, received an estate in the Simbirsk province, where Karamzin spent his childhood. He inherited a quiet disposition and a penchant for daydreaming from his mother Ekaterina Petrovna, whom he lost at the age of three.

When Karamzin was 13 years old, his father sent him to the boarding school of Moscow University professor I.M. Shaden, where the boy listened to lectures, received a secular education, studied German and French to perfection, read in English and Italian. At the end of the boarding school in 1781, Karamzin left Moscow and decided in St. Petersburg to the Preobrazhensky Regiment, to which he was assigned at birth.

By the time of military service are the first literary experiments. The writing inclinations of the young man brought him closer to prominent Russian writers. Karamzin started as a translator, edited the first children's magazine in Russia, Children's Reading for the Heart and Mind.

After the death of his father in January 1784, Karamzin retired with the rank of lieutenant and returned to his homeland in Simbirsk. Here he led a rather scattered lifestyle, typical of a nobleman of those years.

A decisive turn in his fate was made by a chance acquaintance with I.P. Turgenev, an active Freemason, an associate of the famous writer and publisher of the late 18th century N.I. Novikov. For four years, the novice writer rotates in Moscow Masonic circles, closely approaches N.I. Novikov, becomes a member of the scientific society. But soon Karamzin is deeply disappointed in Freemasonry and leaves Moscow, setting off on a long journey through Western Europe (SLIDE 3).

- (SLIDE 4) In the autumn of 1790, Karamzin returned to Russia and from 1791 began to publish the Moscow Journal, which was published for two years and was a great success with the Russian reading public. The leading place in it was occupied by artistic prose, including the works of Karamzin himself - “Letters from a Russian Traveler”, the stories “Natalya, the Boyar's Daughter”, “Poor Liza”. New Russian prose began with Karamzin's stories. Perhaps without knowing it himself, Karamzin outlined the features of an attractive image of a Russian girl - a deep and romantic nature, selfless, truly folk.

Beginning with the publication of the Moscow Journal, Karamzin appeared before Russian public opinion as the first professional writer and journalist. In a noble society, literature was considered more of a fun and certainly not a serious profession. The writer, through his work and constant success with readers, established the authority of publishing in the eyes of society and turned literature into a profession, honorable and respected.

The merit of Karamzin as a historian is also enormous. For twenty years he worked on the "History of the Russian State", in which he reflected his view on the events of the political, cultural, civil life of the country over the course of seven centuries. A.S. Pushkin noted “a witty search for truth, a clear and correct depiction of events” in the historical work of Karamzin.

IV. Conversation about the story "Poor Lisa", read at home (SLIDE5).

You have read N.M. Karamzin's story "Poor Liza". What is this piece about? Describe its content in 2-3 sentences.

From what perspective is the story being told?

How did you see the main characters? How does the author feel about them?

Is Karamzin's story similar to the works of classicism?

V. Introduction of the concept of “sentimentalism” (SLIDE 6).

Karamzin approved in Russian literature an artistic opposition to fading classicism - sentimentalism.

Sentimentalism is an artistic direction (flow) in art and literature of the late 18th - early 19th centuries. Remember what a literary movement is. (You can check on the last slide of the presentation). The very name “sentimentalism” (from the English sentimental - sensitive) indicates that feeling becomes the central aesthetic category of this direction.

A friend of A.S. Pushkin, the poet P.A. Vyazemsky, defined sentimentalism as “an elegant depiction of the basic and everyday”.

How do you understand the words: “elegant”, “basic and everyday”?

What do you expect from the works of sentimentalism? (Students make the following assumptions: these will be works that are “beautifully written”; these are light, “calm” works; they will tell about the simple, everyday life of a person, about his feelings, experiences).

Paintings will help us to show the distinguishing features of sentimentalism more clearly, because sentimentalism, like classicism, manifested itself not only in literature, but also in other forms of art. Look at two portraits of Catherine II (SLIDE7). The author of one of them is a classicist artist, the author of the other is a sentimentalist. Determine which direction each portrait belongs to and try to justify your point of view. (Students unmistakably determine that the portrait made by F. Rokotov is classic, and the work of V. Borovikovsky belongs to sentimentalism, and prove their opinion by comparing the background, color, composition of paintings, posture, clothing, Catherine's facial expression in each portrait).

And here are three more paintings of the 18th century (SLIDE 8). Only one of them belongs to the pen of V. Borovikovsky. Find this picture, justify your choice. (On the slide of the painting by V.Borovikovsky “Portrait of M.I. Lopukhina”, I. Nikitin “Portrait of Chancellor Count G.I. Golovkin”, F. Rokotov “Portrait of A.P. Struyskaya”).

VI. Independent work. Drawing up a pivot table (SLIDE 9).

In order to summarize the basic information about classicism and sentimentalism as literary directions XVIII century, I suggest you fill out the table. Draw it in your notebooks and fill in the blanks. Additional material about sentimentalism, some important features of this direction, which we have not noted, you can find in the texts lying on your desks.

The time to complete this task is 7 minutes. (After completing the task, listen to the answers of 2-3 students and compare them with the slide material).

VII. Summing up the lesson. Homework (SLIDE 10).

Textbook, pp. 210-211.
Record answers to questions:

Why did Karamzin's story become a discovery for his contemporaries?
What tradition of Russian literature was initiated by Karamzin?

Literature.

Egorova N.V. Universal lesson developments in literature. 8th grade. - M.: VAKO, 2007. - 512 p. - (To help the school teacher).
Marchenko N.A. Karamzin Nikolai Mikhailovich - Literature lessons. - No. 7. - 2002 / Supplement to the journal "Literature at School".

Related educational materials:

1. Formation of literary activity.
2. The beginning of Russian sentimental-romantic prose and poetry.
3. Karamzin's innovation and its significance for Russian literature.

N. M. Karamzin was born into the family of a Simbirsk nobleman and spent his childhood in a village located on the banks of the Volga. The future literary figure received an excellent education at the boarding school of Shaden, a professor at Moscow University. While still a student, the young man shows interest in Russian literature, moreover, he tries himself in prose and poetry. However, Karamzin for a long time cannot set a goal for himself, determine his destiny in this life. He is helped in this by I. S. Turgenev, a meeting with whom turned the whole life of a young man upside down. Nikolai Mikhailovich moves to Moscow and becomes a visitor to the circle of I. A. Novikov.

Soon the young man is noticed. Novikov instructs Karamzin and A. A. Petrov to edit the magazine "Children's Reading for the Heart and Mind". This literary activity undoubtedly brings great benefits to the young writer. Gradually, in his works, Karamzin refuses complex, overloaded syntactic constructions and high lexical means. His worldview is greatly influenced by two things: enlightenment and Freemasonry. Moreover, in the latter case, the Masons' desire for self-knowledge, interest in inner life person. It is the human character, personal experiences, soul and heart that the writer puts at the head of the table in his works. He is interested in everything that is in any way connected with inner world of people. On the other hand, all the work of Nikolai Mikhailovich leaves an imprint and a peculiar attitude towards the order established in Russia: “I am a Republican at heart. And I will die like this... I do not demand either a constitution or representatives, but in my feelings I will remain a republican, and, moreover, a loyal subject of the Russian tsar: this is a contradiction, not only an imaginary one! At the same time, Karamzin can be called the founder of Russian sentimental-romantic literature. Although literary heritage this talented person is relatively small, it has not been fully collected. There are many left diary entries and private letters containing new ideas for the development of Russian literature that have not yet been published.

The first literary steps of Karamzin have already attracted the attention of the entire literary community. To some extent, the great Russian commander A. M. Kutuzov predicted his future: French revolution... but years and experiences will once cool his imagination, and he will look at everything with different eyes. The commander's assumption was confirmed. In one of his poems, Nikolai Mikhailovich writes:

But time, experience destroy
Castle in the air of youth;
The beauty of magic disappears...
Now I see a different light,

The poetic works of Karamzin constantly affect, reveal, expose the essence of a person, his soul and heart. In his article “What does an author need?” the poet directly declares that any writer "paints a portrait of his soul and heart." So student years a talented young man shows interest in poets of a sentimental and pre-romantic direction. He speaks enthusiastically about Shakespeare due to his lack of selectivity in the object of his work. Great playwright of the past, according to Karamzin, opposed the classicists and approached the romantics. His ability to penetrate "human nature" delighted the poet: "... for every thought he finds an image, for every sensation an expression, for every movement of the soul the best turn."

Karamzin was a preacher of a new aesthetics, which did not accept any dogmatic rules and clichés and did not interfere at all free imagination genius. She acted in the understanding of the poet as a "science of taste." In Russian literature, conditions have developed that require new ways of depicting reality, ways based on sensitivity. That is why in work of art neither "lower ideas" nor a description of creepy scenes. The first work of the writer, sustained in a sentimental style, appeared on the pages of " Children's reading” and was called “Russian true story: Eugene and Julia”. It told about the life of Mrs. L. and her pupil Julia, who, “waking up with nature”, enjoyed the “pleasures of the morning” and read “the works of true philosophers”. However sentimental tale ends tragically mutual love Julia and the son of Mrs. L. Eugene does not save the young man from death. This work is not entirely characteristic of Karamzin, although it touches on some sentimental ideas. For the work of Nikolai Mikhailovich, a romantic vision of the surrounding world, as well as genre speciation, is more characteristic. This is evidenced by many poems of a talented writer, created in an elegiac tone:

My friend! Materiality is poor:
Play with your dreams
Otherwise, life will be boring.

Another famous work Karamzin's "Letters of a Russian Traveler" is a continuation of the tradition of travel, popular in those days in Russia thanks to the work of F. Delorme, K. F. Moritz. The writer turned to this genre not by chance. He was famous for the relaxed form of narration about everything that could meet the author's path. In addition, during the journey, the character of the traveler himself is revealed in the best possible way. In his work, Karamzin pays great attention to the main character and the narrator, it is his feelings and experiences that are fully manifested here. state of mind traveler are described in a sentimental manner, but the depiction of reality strikes the reader with its truthfulness and realism. Often the author uses a fictional plot invented by a traveler, but he immediately corrects himself, arguing that the artist should write everything as it was: “I wrote in the novel. That the evening was the most rainy; that the rain did not leave a dry thread on me ... but in fact the evening turned out to be the quietest and clearest. Thus, romance gives way to realism. In his work, the author acts not as an outside observer, but as an active participant in everything that happens. He states the facts and gives an acceptable explanation of what happened. The focus of the work is the problem of the socio-political life of Russia and art. That is, again, romance is closely intertwined with reality. The sentimental style of the writer is manifested in melodiousness, in the absence of rough, colloquial expressions in the text, in the predominance of words expressing various feelings.

Karamzin's poetic works are also filled with pre-romantic motifs, often characterized by moods of sadness, loneliness and melancholy. The writer for the first time in Russian literature in his poetry refers to the otherworldly, bringing happiness and peace. This theme sounds especially clear in the poem "Cemetery", built in the form of a dialogue between two voices. The first tells of the horror inspired in a person by thoughts of death, and the other sees only joy in death. In his lyrics, Karamzin achieves an amazing simplicity of style, abandoning vivid metaphors and unusual epithets.

Generally literary creativity Nikolai Mikhailovich played big role in the development of Russian literature. V. G. Belinsky rightfully attributed to the poet the discovery of a new literary era, assuming that this talented person"created an educated literary language in Rus'", which to a large extent helped "to make the Russian public want to read Russian books." The activities of Karamzin played a huge role in the development of such outstanding Russian writers as K. N. Batyushkov and V. A. Zhukovsky. From their very first literary experiments Nikolai Mikhailovich shows innovative qualities, trying to find his own way in literature, revealing characters and themes in a new way, using stylistic means, in particular in terms of prose genres.

As well as possible, Karamzin himself characterizes his work, speaking about the activities of W. Shakespeare, however, following the same principles: “he did not want to observe the so-called unities, which our current dramatic authors adhere to so tightly. He did not want to place narrow limits on his imagination. His spirit soared like an eagle and could not measure its soaring with the measure that sparrows measure theirs.