Aesthetic principles Karamzin, which formed the basis of his prose, were also reflected in program works, and in the theoretical articles of the writer. According to Karamzin, the feeling, and not the rationalistic task inherent in the poetics of classicism, should prevail in a literary work. Depicting a person's life with all its joys and sorrows, conveying his intimate experiences, the writer must be able to ʼʼtouch our heartʼʼ, ʼʼfill it with sad or sweet feelingsʼʼ, lead the reader to moral perfection.
Karamzin is characterized by attention not only to English and German poetry, but also to antiquity.
Theoretically substantiating the aesthetics of sentimentalism, Karamzin also relied on Rousseau, in whose works sensitivity, psychologism and a subtle understanding of nature were close to him. At the same time, Rousseau's criticism of pseudo-enlightened absolutism and his revolutionary sermons were alien to Karamzin. ʼʼRussoismʼʼ became for Karamzin not an incentive for the destruction of the feudal system, but a method of justifying freedom from politicsʼʼ Moderate liberalism, the desire to solve social issues in a moral and ethical plan, the desire to achieve the ʼʼcommon goodʼʼ through the gradual development of education were characteristic of Karamzin’s worldview.
Surrounding reality, the objective world was refracted through the prism of the author's subjective ʼʼIʼʼ' of the writer. Karamzin believed that only a truly humane person, able to sympathize with other people's misfortunes, can take up a pen. The writer argued that only pleasant, ʼʼelegant is really worthy of depiction, because only it is able to deliver aesthetic pleasure to the reader.
Subjective experiences, subjective-emotional perception and evaluation of life phenomena, and not reality itself, unlike Radishchev, occupy the main place in Karamzin's work. The author must ʼʼ paint a portrait of his soul and heartʼʼ, while at the same time helping his fellow citizens to think and speak betterʼʼ.
The most complete features of Karamzin's sentimental prose: the pathos of humanity, psychologism, subjective-sensitive, aestheticized perception of reality, the lyricism of the narrative and the simple ʼʼelegantʼʼ language - manifested themselves in his stories. They reflected increased attention the author to the analysis of love feelings, emotional experiences of the characters, increased attention to the analysis love experiences heroes, increased attention to psychological actions. The name of Karamzin is associated with the birth of the Russian psychological prose.
An important and progressive moment in creative activity The writer was the recognition of the right of the individual, regardless of class affiliation, to the exercise of inner freedom. From here ideological basis the story ʼʼPoor Lizaʼʼ was the writer's statement ʼʼand peasant women know how to loveʼʼ. Karamzin does not have sharp assessments, there is no pathos of indignation, he is looking for consolation and reconciliation in the suffering of heroes. Dramatic events are not intended to cause indignation, anger, but a sad, melancholic feeling. Despite the vitality of the situation, the author's subjective-emotional perception of reality interfered with true typification. The life of Lisa and her mother bore little resemblance to the real life of the peasants. Liza, like the heroines of sentimental idylls, lives in a hut.
The lyrical manner of narration creates a certain mood. This in the story is also served by the landscape against which the action develops, a landscape consonant with the moods of the characters, and a special intonational structure of speech that makes Karamzin's prose melodic, musical, caressing the ear and acting on the soul of the reader, who could not help but empathize with the characters.
For the first time in Karamzin's prose, the landscape became a means of conscious aesthetic influence. The readers of the story believed in the authenticity of the story, and the surroundings of the Simonov Monastery, the pond in which Lisa died, became a place of pilgrimage.
Success prose works Karamzin largely depended on the writer's stylistic reform. Levin, speaking about Karamzin's vocabulary, writes: "The stylistic coloring of the word here is not determined by the subject, but is superimposed on the subject, poeticizes it - and often the closer the subject is to everyday life, the less poetic it is in itself, the more necessary it is to poetize it with the help of the displayed words.
What is the essence of Karamzin's literary reform? In an effort to create a new Russian literary language to replace the three ʼʼcallsʼʼ adopted by classicism, Karamzin set himself the task of bringing the literary language closer to the spoken language. He believed that any ideas and ʼʼ even ordinary thoughtsʼʼ can be expressed clearly and ʼʼpleasantʼʼ.
Karamzin put forward a demand - to write ʼʼas they sayʼʼ, but he was guided by the colloquial speech of the educated noble class, clearing the language not only from archaisms, but also from common words. He considered it legitimate to enrich the Russian language through the assimilation of individual foreign words, new forms of expression. Karamzin introduced many new words: love, humane, public, industry, etc., which remained and enriched the vocabulary of the Russian language.
He seeks to create a single syllable ʼʼ for books and for society, to write as they say and speak as they write ʼʼ. And in contrast to Trediakovsky, Karamzin does this. It frees the vocabulary from excessive bookishness, remarkably simplifies the syntax, creates a logically and at the same time light, elegant, equally comfortable in pronunciation and writing ʼʼ new syllableʼʼ. All this had very important consequences. “His syllable amazed all readers, acted on them like an electric shock”, writes N. I. Grech in hot pursuit. “Scholastic majesty, half-Slavic, half-Latin,” Pushkin notes about the Lomonosov language, “has become extremely important: fortunately Karamzin freed the language from an alien yoke and returned its freedom, turning it to the living sources of the folk word”ʼʼ.
Opponents of Karamzin's stylistic reform severely reproached him for the Frenchization of the Russian language - for excessive contamination with Gallicisms. Karamzin's orientation towards the French language in the first period of his literary activity, indeed, sometimes took on the character of a mechanical transfer of French words, expressions and phrases into the Russian language, littering it no less than the former Slavicisms and Latinisms. At the same time, in the future, Karamzin himself tried to free himself from this
Lack of reform literary language Karamzin was a departure from the convergence of the Russian literary language with the language common people. The limitations of Karamzin's reform were due to the fact that his language was far from the folk basis. Pushkin managed to understand and correct this. At the same time, the merit of Karamzin was the desire that he carried out in his literary practice, to expand the boundaries of the literary language, free it from archaisms, bring the literary language closer to the living colloquial speech educated society.
48. Journalism of the 80s-90s ("Interlocutor", "Lover of the Russian word", "Moscow Journal", "Starodum, or friend honest people").
Fonvizin's struggle with Catherine and the evil reigning in the country especially intensified in 1782-83. She unfolded on the pages of the journal of the Academy of Sciences ʼʼInterlocutor of lovers of the Russian wordʼʼ. It was the most significant journal of the Academy of Sciences. It was published in parts. The journal published for the first time only original literary works. Still striving to guide public opinion, Catherine, during the period of revival of social thought in Russia, her greatest opposition and radicalism, decided to undertake the publication of a journal, the leader of which was herself. Fonvizin, Derzhavin, Kapnist, Knyaznin, Kheraskov, Bogdanovich collaborated in the journal. In ʼʼInterlocutorʼʼ Ekaterina prints feuilletons ʼʼThere were also fablesʼʼ. This is an attempt to revive the smiling satire ʼʼAll sorts of thingsʼʼ, but if earlier she met with controversy from Novikov, now Fonvizin entered into an argument with her. The controversy had a pronounced political character; it was not for nothing that Catherine was outraged by Fonvizin's audacity. In ʼʼQuestionsʼʼ, Fonvizin touched upon the internal situation in the country: favoritism, lack of publicity in court, and the moral decay of the nobility. Ekaterina put in the magazine and ʼʼAnswersʼʼ. So, Fonvizin asked: ʼʼWhy are well-known and obvious loafers accepted everywhere equally with honest people? why so many good people do we see retired? Why, in former times, jesters did not have ranks, but now they have, and very large ones? ʼʼ These answers were of such a kind that most of of them destroys questions without resolving them; almost everyone resounds with the idea that it shouldn't have been talked about, that this is free speech that has stretched too far. Another publicistic article by Fonvizin ʼʼThe General Court Grammarʼʼ (1783), in which the close empresses were subjected to satirical ridicule, was not allowed for publication in ʼʼInterlocutorʼʼ. The article was distributed among the reading public in lists and was one of the most striking examples of Fonvizin's satire. ʼʼCourt Grammarʼʼ is structured in the form of questions and answers, in which grammatical terms and rules are explained. ʼʼCourt grammar is defined as the science of cunningly flattering with tongue and penʼʼ. It is characteristic how F. defines the verb ʼʼ to be dueʼʼ. This verb is the most common, because at court no one lives without debt. Defining the ʼʼcourt caseʼʼ, Fonvizin writes: ʼʼThe court case is the inclination of the strong to arrogance, and the powerless to meanness. However, most of the boyars think that everyone is in front of them in accusative: win their favor and patronage usually in the dative case ʼʼ. This accusatory pathos, directed against Catherine's entourage, echoed the words of Starodum in ʼʼUndergrowthʼʼ that the court is sick ʼʼincurableʼʼ. Catherine could not forgive F. for his independence in the polemic with her on p.
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ʼʼInterlocutorʼʼ. 1788 the magazine ʼʼStarodum or friend of honest peopleʼʼ was banned. The subtitle of the magazine read: ʼʼPeriodical Essay on the Truthʼʼ. Materials were distributed in handwritten form. In addition to ʼʼCourt Grammarʼʼ, among the satirical essays stood out ʼʼLetter to Starodum from the Dedilovsky landowner Durykinʼʼʼʼ, ʼʼConversation with Princess Khaldinaʼʼ, in which relations in noble houses to teachers were satirically depicted, the morals that dominated at that time, and the so-called upbringing of noble children, expressed in feeding them any household food. Here, in the letter of Princess Khaldina, an imitation of Parisian customs is shown: Khaldina changes clothes in front of men, etc. In a warning to readers, the author announced that his journal would be published "under the supervision of the writer of the comedy" Undergrowth ", which, as it were, indicated the ideological continuity of his new idea. The magazine opened with a letter to Starodum from" the writer of "Undergrowth", in which the publisher addressed to " friend of honest people" with a request to help him by sending materials and thoughts, "which, with their importance and moralizing, no doubt, Russian readers will like." In his response, Starodum not only approves the author's decision, but also immediately informs him of sending him letters received from "acquaintances", promising to continue to supply him with the necessary materials. Sophia's letter to Starodum, his reply, as well as "Taras Skotinin's letter to his sister, Mrs. Prostakova" should, apparently, have been the first issue of the magazine. Skotinin's letter is especially impressive in its accusatory pathos. Uncle Mitrofan, already familiar to the writer's contemporaries, tells his sister about the irretrievable loss he has suffered: his beloved motley pig Aksinya has died. In the mouth of Skotinin, the death of a pig appears as an event filled with deep tragedy. The misfortune so shocked Skotinin that now, he confesses to his sister, "I want to stick to moralizing, that is, to correct the morals of my serfs and peasants<...>birch.<...>And I want the action I need so much great loss felt by all those who depend on me." This little satirical letter sounds like an angry verdict on the entire system of feudal arbitrariness.
ʼʼMoscow Journalʼʼ was published monthly during 1791-1792, 12 books a year. Karamzin's journal was a new type of journal, which published original and translated works, distinguished by high aesthetic taste. The sections of criticism were as follows: ʼʼVarious small foreign works in pure translationsʼʼ, ʼʼCritical reviews of Russian booksʼʼ, ʼʼIzvestiya o theatrical playsʼʼ. This was a new understanding of the tasks of criticism: ʼʼGood and bad things will be noticed impartiallyʼʼ.
The most extensive was the department of ʼʼRussian works in verse and proseʼʼ, in which most of the works belonged to the publisher himself. Such works by Karamzin as ʼʼLetters of a Russian Travelerʼʼ, ʼʼPoor Lizaʼʼ, ʼʼFrol Silinʼʼ, essay ʼʼVillageʼʼ, poems, theater reviews, analyzes of Russian and foreign books, etc. were published here. Among the translated works are translations of Wieland, Herder, etc.
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K. considered ʼʼdiversityʼʼ and ʼʼ a good choice compositionsʼʼ. He sought to contribute to the moral and aesthetic education of readers by publishing materials in the journal. Before Karamzin we had periodicals, but there was not a single magazine: ʼʼhe first gave it to usʼʼ. ʼʼMoscow Journalʼʼ had 300 subscribers. The journal published works by Derzhavin, Dmitriev, Kheraskov and others.
ʼʼMoskovskij zhurnalʼʼ was a literary magazine designed primarily for the tastes of the noble reader. At the same time, the diverse material presented lively and entertainingly, the light, elegant language that appeared hallmark magazine, made it accessible to people of the lower classes. Karamzin deliberately refused to address political issues, he preferred not to enter into controversy, in particular, with satirical magazines, which disapproved of the new sentimental magazine. ʼʼCourtesy, friendliness is the color of the hostelʼʼ, - he believed and adhered to this rule.
On the pages of the ʼʼMoscow Journalʼʼ Karamzin appears as a new substantiation of the tasks of art. IN critical articles he rejects the conventionality and normativity of classicism, the age-old ʼʼmoralistic pedantryʼʼ.
Consciously refusing to portray the negative phenomena of life, the plight of the people, he justifies himself by sparing the sensitive heart of the reader.
V. G. Berezina in the article ʼʼKaramzin the Journalistʼʼ writes about the features that make it possible to consider Karamzin the founder of the ʼʼreal magazineʼʼ. ʼʼThese features are as follows: 1) a certain firm direction, 2) a strict selection of works
taking into account general direction editions, 3) variety of material, its cognitive character, 4) a sense of modernity, 5) permanent sections and rubrics, b) good staging department of criticism, 7) pure literary language, 8) the ability to speak with the reader in a fascinating, entertaining and lively way.
Peculiarities of Karamzin's Sentimental Prose and the Reform of the Russian Literary Language. - concept and types. Classification and features of the category "Features of Karamzin's sentimental prose and the reform of the Russian literary language." 2017, 2018.
Nikolai Mikhailovich Karamzin (1766–1826) completed those tendencies in the development of the literary language that were identified by his predecessors, and became the head of the sentimentalist literary direction, a theorist of new principles for the use of the literary language, which in history received the name of the "new syllable", which many historians consider the beginning of the modern Russian literary language.
Karamzin is a writer, historian, honorary member of the St. Petersburg Academy of Sciences, editor of the Moscow Journal and Vestnik Evropy magazine, author of The History of the Russian State, the first representative of sentimentalism in Russian literature (“Letters from a Russian Traveler”, “Poor Liza”, “ Natalia, boyar daughter”, “Marfa Posadnitsa”, etc.).
However, the assessment of the activities of Karamzin and the Karamzinists in the history of the Russian literary language is ambiguous. More than a hundred years ago, N.A. Lavrovsky wrote that judgments about Karamzin as a reformer of the Russian literary language are greatly exaggerated, that there is nothing fundamentally new in his language, that it is only a repetition of what was achieved before Karamzin by Novikov, Krylov, Fonvizin. Another 19th-century philologist, Ya.K. Grot, on the contrary, wrote that it was only under Karamzin's pen that "for the first time in the Russian language prose appeared even, pure, brilliant and musical" and that "Karamzin gave the Russian literary language a decisive direction in which it still continues to develop."
Karamzinists (M.N. Muravyov, I.I. Dmitriev, A.E. Izmailov, young V.A. Zhukovsky, V.V. Kapnist, N.A. Lvov, N.I. Gnedich) adhered to a historical approach to the development language. Language is a social phenomenon, it changes in accordance with the development of that public environment where it functions.
The norms of the Russian "new syllable" Karamzin focuses on norms French. Karamzin's task was to get the Russians to start writing as they say, and to noble society began to speak as they write. Otherwise, it was necessary to spread the literary Russian language among the nobility, since in secular society either spoke French or used vernacular. These two tasks determine the essence of Karamzin's stylistic reform.
Creating a "new style", Karamzin starts from the "three calms" of Lomonosov, from his odes and laudatory speeches. The reform of the literary language carried out by Lomonosov met the objectives transition period from ancient to new literature when it was still premature to completely abandon the use of Church Slavonicisms. However, the theory of "three calms" often put writers in a difficult position, since they had to use heavy, outdated Slavic expressions where in spoken language they have already been replaced by others, softer, more elegant.
Karamzin decided to bring the literary language closer to the spoken language. Therefore, one of his main goals was the further liberation of literature from Church Slavonicism. In the preface to the second book of the almanac "Aonides" he wrote: "One thunder of words only deafens us and never reaches the heart."
However, the Karamzinists could not completely abandon the Old Church Slavonicisms: the loss of the Old Church Slavonicisms would have done great harm to the Russian literary language. Therefore, the "strategy" in the selection of Old Slavonicisms was as follows:
1) Obsolete Old Slavonicisms are undesirable: abie, byahu, koliko, ponezhe, ubo, etc. Karamzin’s statements are known: “To inflict, instead of doing, cannot be said in a conversation, and especially to a young girl”, “I seem to feel, as it were, a new sweetness of life, - says Izveda, but do young maidens speak like that? It would be very disgusting here, "" Colico is sensitive for you, etc. - A girl who has a taste can neither say nor write colic in a letter. "Bulletin of Europe" even in verse declared: Ponezhe, in strength, because they do enough in the light of evil.
2) Old Slavonicisms are allowed, which:
a) in the Russian language they retained a high, poetic character (“His hand ignited only single the sun in the sky");
b) can be used artistic purposes("Nobody don't throw a stone at a tree , if on onom no fruit");
c) being abstract nouns, they are able to change their meaning in new contexts (“There were great singers in Rus', whose creations were buried for centuries”);
d) can act as a means of historical styling ("Nikon laid down the supreme dignity And… spent his days devoted to God and soul-saving labors »).
The second feature of the "new syllable" was the simplification of syntactic constructions. Karamzin abandoned lengthy periods. In the Pantheon of Russian Writers, he resolutely stated: “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 line with the flow of thoughts.” Unlike Lomonosov, Karamzin strove to write in short, easily visible sentences.
Karamzin replaces Old Slavonic unions in origin yako, paki, zane, koliko, etc. and others, replacing them with Russian unions and allied words what, to, when, how, which, where, because. Rows of subordinating conjunctions give way to non-union and coordinating constructions with unions a, and, but, yes, or and etc.
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.
"Beautiful" and mannerisms of the "new style" were created by syntactic constructions of a periphrastic type, which in their structure and form were close to phraseological combinations (the light 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; to move to the mountain abode - to die, etc.).
In addition, Karamzin often quotes aphoristic sayings of this or that author, inserts passages in foreign languages into his works.
The third merit of Karamzin was to enrich the Russian language with a number of successful neologisms, which have become firmly established in the main vocabulary. “Karamzin,” wrote Belinsky, “introduced Russian literature into the sphere of new ideas, and the transformation of the language was already a necessary consequence of this matter.”
Even in the Petrine era, many foreign words appeared in the Russian language, but for the most part they replaced the words that already existed in the Slavic language and were not a necessity; in addition, these words were taken in raw form, and therefore were very heavy and clumsy (“ fortification" instead of "fortress", " Victoria " instead of "victory", etc.). 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".
Including new words and expressions in the text, Karamzin often left the word without translation: he was sure that a foreign word was more elegant than the Russian parallel. He often uses the words nature, phenomenon instead of nature, phenomenon. However, over time, Karamzin revised his views on barbarism and, when reissuing Letters from a Russian Traveler, replaced foreign words Russians: gestures- actions, voyage- journey, moral- moral fragment- excerpt visit– visiting, etc.
Trying to develop in the Russian language the ability to express abstract concepts and subtle shades of thoughts, feelings, Karamzinists introduced into the sphere of scientific, journalistic, artistic speech:
– borrowed terms ( proscenium, adept, poster, boudoir, caricature, crisis, symmetry and etc.);
– morphological and semantic tracing papers ( location, distance, subdivision, focus, subtle, inclination, rapture and etc.);
- words composed by Karamzin ( industry, future, public, love, humane, touching, need etc.), some of them did not take root in the Russian language (realness, namosty, infantile, etc.)
Karamzinists, giving preference to words expressing feelings and experiences, creating "pleasantness", often used diminutive suffixes ( horn, shepherd boy, brook, birdies, mother, villages, path, shore and so on.).
To create “pleasantness” of feelings, Karamzinists introduced into the context words that create “beautifulness” ( flowers, turtledove, kiss, lilies, esters, curl etc.). “Pleasantness”, according to Karamzinists, creates definitions that, in combination with different nouns, acquire different semantic shades ( gentle ethers, tender flute, tenderest inclination of the heart gentle cheeks, gentle sonnet, tender Lisa, etc.). 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.
Such is the language program and language practice of Karamzin, which arose on the spiritual soil of sentimentalism and became its most perfect embodiment. Karamzin was a most gifted writer, thanks to which his "new style" was perceived as a model of the Russian literary language. 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 of the literary norm.
However, despite this, the limited sentimentalist aesthetics of Karamzin, his desire to create a gentle, beautiful, elegant style did not allow him to achieve a true synthesis of natural usage and historical linguistic tradition and become the founder of the modern Russian literary language.
List of used literature:
1. Voilova K.A., Ledeneva V.V. History of the Russian literary language: a textbook for universities. M.: Drofa, 2009. - 495 p.
2. Kamchatnov A.M. History of the Russian literary language: XI - the first half of the XIX century: Proc. allowance for students. philol. faculty of higher ped. textbook establishments. M.: Publishing Center "Academy", 2005. - 688 p.
3. Meshchersky E.V. History of the Russian literary language [Electronic resource] // sbiblio.com: Russian Humanitarian Internet University. - 2002. - Electron. Dan. – URL: //sbiblio.com/biblio/archive/milehina_ist/ (Accessed 12/20/2011). - Zagl. from the screen.
4. Yakushin N.I., Ovchinnikova L.V. Russian literary criticism XVIII- the beginning of the XX century: Proc. manual and reader. M.: Publishing House "Cameron", 2005. - 816 p.
1. First steps in psychological prose.
2. Artistic features of the story.
3. New techniques used by Karamzin.
N. M. Karamzin, the founder of sentimental-realistic literature, was a recognized master of creating wonderful stories telling about the fate of their contemporaries. It was in this genre that his talent as a sentimentalist writer was fully revealed.
Karamzin's stories: "Frol Silin", "Poor Liza", "Natalya, the Boyar's Daughter", "Julia", "The Knight of Our Time", "Sensitive and Cold", "Marfa Posadnitsa" - differing from each other in their artistic features and structure, are nevertheless bright examples psychological prose. Most often, due to their more mobile emotionality and openness of feelings, the main characters of Karamzin's stories were the fair sex. At the same time, the author sought to consider the characters of people belonging to completely different classes, which is why his characters are so diverse: the hawthorn Natalia, the "landscape" Liza, the secular lady Yulia, the posadnitsa Marfa, the boyar Lyuboslavsky. The writer does not just talk about the life of this or that person, but tries to reveal his inner world, to show his strengths and weaknesses. Perhaps that is why his characters are very realistic and how ordinary people they suffer and love, commit noble and not always worthy deeds. It can be said that Karamzin managed to deeply comprehend female soul their heroines, which means creating multifaceted and truthful female images.
The writer's story "Poor Lisa" became the most popular. It is believed that the creation of such an image of Karamzin was prompted by the work of another well-known writer in his time, M. N. Muravyov, who was one of the first to realize the extra-class value human personality: “I was struck by the reflection that on the same day a simple peasant inspired respect in me when I looked with contempt at a noble, unworthy of his breed. I felt the full power of personal dignity. It alone belongs to man and elevates every state. Like the heroes of Muravyov's prose, Liza, according to literary critics, lives in the suburbs, "near a birch grove, among a green ravine", which allows her to be close to nature.
Main character " Poor Lisa”, a young girl, born presumably in peasant family, brought up in accordance with strict moral ideals. Her late father "loved work, plowed the land well and always led a sober life." From childhood, parents instilled in their daughter the rule “to feed on their own labors and take nothing for nothing.” Lisa's mother, having lost her husband early, remained faithful to his memory for long years, “for even peasant women know how to love!”
Throughout the work, Nikolai Mikhailovich's sympathy for his heroine is noticeable. Perhaps he deliberately does not reveal the true social environment of his characters, so Lisa and her mother can be attributed both to poor townspeople and to representatives of the impoverished noble family. Nothing indicates that the women were serfs. However, this is not excluded, since the writer emphasizes that Lisa "worked day and night - weaving canvases, knitting stockings, picking flowers in the spring, and picking berries in the summer - and selling all this in Moscow." Peasant life and daily activities of the main characters are also shown by the author in a deliberately pastoral manner: “... helpful Lisa ... ran to the cellar, brought a clean pot covered with a clean wooden circle, grabbed a glass, washed it, wiped it with a white towel.”
The relationship between Lisa and the nobleman Erast is also filled with sentimental idyllic moods. And tragic ending dictated not by the social inequality of the beloved, but by unfavorable circumstances and the frivolity of the protagonist. This most clearly manifests the ideological difference between Karamzin's story and the works of Radishchev, who, on the contrary, attached great importance to the social environment of his characters. Even the attitude of Lisa and Erast towards each other bears a touch of sentimental-romantic mood. The main characters are completely disconnected from real life. Moreover, if it is forgivable and even characteristic of the rich young man who “read novels”, then, logically, it should be completely alien to a peasant girl who is used to early childhood to deal with real life. Nevertheless, young people often perceive themselves as characters from a shepherd's idyll. Even Lisa in her dreams often presents herself and her chosen one not as they are in everyday life: "If the one who now occupies my thoughts, was born simple peasant, a shepherd, - and if he now drove his flock past me: ah! I would bow to him with a smile and say affably: Hello, dear shepherd boy! Where are you driving your flock? And here green grass grows for your sheep; and flowers bloom here, from which you can weave a wreath for your hat.
At the same time, the language and speech patterns of the main characters of the story further emphasize the sentimental and romantic mood of the whole work. Words such as "soul", "dear friend", "love", "scarlet flowers" initially set the reader in a more romantic mood. Under close attention Karamzin falls primarily on internal state Erast and Liza. The author, as a skilled artist, subtly shows all the shades of this love. Image main character striving to acquire true love, is revealed rather unilinearly. Karamzin here does not seek to somehow break out of the established rules: Lisa is sensitive and virtuous, and her “fall” does not go beyond ethical standards. However, this genre is completely uncharacteristic of the tragic denouement of the work. For the first time in Russian sentimental prose, everything does not end with a wedding and reunion loving hearts but the death of one of the heroes. Lisa committed suicide. Nevertheless, the story of Nikolai Mikhailovich is distinguished by its humanistic orientation, and this applies not only to the girl, but also to her chosen one. When describing the image of Erast, the author finally decides to move away from the generally accepted classical norms, turning to natural laws. Young man having noble character, condemned himself. He felt guilty for the death of the girl and experienced moral anguish until the end of his life.
About my emotional drama the hero himself tells the author: “Erast was unhappy until the end of his life. Upon learning of the fate of Lizina, he could not console himself and considered himself a murderer. I met him a year before his death. He himself told me this story and led me to Liza's grave ... ". Due to the deviation from classic norms, the character of Erast looks more vital and believable. With his work, Karamzin once again wants to prove that there are no declared villains who do evil only for the love of evil itself and hate good only because it is good: “People do a lot of evil - no doubt - but there are few villains; delusion of the heart, recklessness, lack of enlightenment through the guilt of evil deeds... A perfect villain or a person who loves evil because it is evil and hates good because it is good is almost a bad poetic invention, at least a monster outside of nature, a being inexplicable according to natural laws. On the example of Erast, the author shows that bad deeds are sometimes characteristic and noble people. The complex and multifaceted human nature, according to Karamzin, cannot fit within the strict framework of classicism. There was a need to search for new directions in Russian literature artistic expressiveness.
The writer's work "Poor Lisa" was rather favorably received by the literary community. This was largely due to the use by the author of new forms of artistic expression. According to V. V. Sipovsky, Karamzin, like I. V. Goethe, revealed to the Russian reader that “new word”, which everyone had been waiting for a long time. The writer continued his literary activity in the field of sentimental-psychological direction.
Soon another of his stories appeared - "Natalya, the boyar daughter." Thinking how historical work, it nevertheless tells more about the tender feelings of the main characters than about real historical events. Karamzin's innovation is manifested in a subtle image inner world their characters, moreover, the feelings of the main characters are transmitted in development, in dynamics. Natalya, in her essence, turns out to be almost a double of Lisa, since she is endowed with the same attributes as all the heroines sentimental stories end of the 18th century.
2. Genre "Poor Lisa":
A) essay B) a story;
B) story.
5. Portrait of Erast reflects:
A) only the appearance of the hero;
A) describing their appearance;
B) with irony;
A) thunder from heaven
B) amazing music;
C) the rustle of leaves.
C) convey the mood of Lisa.
Test. N.M. Karamzin. "Poor Lisa"
1. The peculiarity of the language of Karamzin's works is that:
A) the writer brought it closer to live colloquial speech;
B) the writer used only "high" vocabulary;
C) the writer introduced words borrowed from other languages into active use.
2. Genre "Poor Lisa":
A) essay B) a story;
B) story.
3. Artistic originality sentimentalism, the founder of which in Russia was Karamzin, consists of:
A) in the image of the inner world and feelings of a person;
B) in the study personal qualities person;
B) in education external beauty person.
4. The task of the narrator in "Poor Liza":
A) highlight events without expressing their position;
B) give the events a subjective-emotional assessment;
C) historically accurately convey the features of the life of the inhabitants of Moscow at the end of the 8th century.
5. Portrait of Erast reflects:
A) only the appearance of the hero;
C) appearance, lifestyle of the hero, features of his character.
6. Karamzin contrasts the main characters - Lisa and Erast:
A) describing their appearance;
B) talking about their attitude to work;
C) talking about their parents.
7. “Until now, waking up with the birds, you had fun with them in the morning, and a pure, joyful soul shone in your eyes, like the sun shines in drops of heavenly dew ...” - writes Karamzin about Lisa:
A) as a person with a pure soul;
B) with irony;
C) as a frivolous girl.
8. the words of a declaration of love for Lisa sounded from the lips of Erast as:
A) thunder from heaven
B) amazing music;
C) the rustle of leaves.
9. A person spiritually close to Lisa:
A) mother B) Erast; B) narrator.
10. Erast married a rich widow because:
A) welfare for him was more important than love;
B) could not continue relations with a peasant woman;
C) in the army he lost his estate and was left without funds.
11. pictures of nature in the work:
A) are the background of the story; B) show the change of seasons;
C) convey the mood of Lisa.
12. The phrase from "Poor Lisa", which became winged:
A) “However, Liza, it’s better to feed on your own labors and not take anything for free”;
B) “And peasant women know how to love”; C) "Death for the fatherland is not terrible ...".
13. The epithet "poor" in the title of the work means:
A) a beggar; B) destitute; B) unhappy.
14. Karamzin's innovation manifested itself:
A) in disguise social inequality heroes;
C) in a detailed image of the inner world of the heroine.
