The plan of the main events, poor Lisa. "Poor Lisa", analysis of Karamzin's story

Analysis of the work

This story is one of the first sentimental works in Russian literature XVIII century. Its plot was not new, as it was encountered more than once by domestic and foreign novelists. But feelings play a decisive role in Karamzin's story.

One of the main characters of the work becomes the narrator, who tells with immense sadness and. sympathy for the fate of the girl. The introduction of the image of a sentimental narrator turned out to be Karamzin's innovation in Russian literature, since earlier the narrator remained, as it were, on the sidelines and was neutral in relation to the events described. Already in the title of this story, a proper name is combined with a certain attitude of the author towards it. The plot of Karamzin develops in an unusual way, the ideological and artistic center is not the event and the constancy of the characters, but their experiences, that is, the plot is psychological in nature.

The exposition of the work is a description of the surroundings of Moscow, the author recalls the times when this city was waiting for help in severe disasters.

The plot is the meeting of Lisa, a poor girl, with a young nobleman Erast.

The culmination is a chance meeting between Lisa and Erast, during which he asks her to leave him alone because he is getting married.

The denouement is the death of Lisa. She chooses death to solve all problems, not to live deceived and abandoned by a loved one. For Lisa, life without Erast does not exist.

It was very important for the sentimentalist writer to address social issues. The author does not condemn Erast for the death of Lisa. After all, a young nobleman is just as unhappy as a peasant girl. For the rest of his life, he feels guilty before Lisa, his own life path did not work out.

Karamzin was one of the first in Russian literature to discover the subtle and vulnerable inner world of a representative of the lower class, as well as the ability to selflessly and selflessly love. It is from his story that another tradition of Russian literature originates - compassion for ordinary people, sympathy for their joys and experiences, protection of the disadvantaged and oppressed. Thus, we can say that Karamzin prepared the basis for the creativity of many writers of the 19th century.

Retelling plan

1. Description of the surroundings of Moscow.

2. Lisa's life.

3. Acquaintance with Erast.

4. Declaration of love.

5. Chance meeting with Erast in Moscow.

6. The death of Lisa.

7. Further fate Erast.

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Analysis of the work

This story is one of the first sentimental works in Russian literature of the 18th century. Its plot was not new, as it was encountered more than once by domestic and foreign novelists. But feelings play a decisive role in Karamzin's story.

One of the main characters of the work is the narrator, who tells with immense sadness and. sympathy for the fate of the girl. The introduction of the image of a sentimental narrator turned out to be Karamzin's innovation in Russian literature, since earlier the narrator remained, as it were, on the sidelines and was neutral in relation to the events described. Already in the title of this story, a proper name is combined with a certain attitude of the author towards it. The plot of Karamzin develops in an unusual way, the ideological and artistic center is not the event and the constancy of the characters, but their experiences, that is, the plot has a psychological character.

The exposition of the work is a description of the surroundings of Moscow, the author recalls the times when this city was waiting for help in severe disasters.

The plot is the meeting of Lisa, a poor girl, with a young nobleman Erast.

The culmination is a chance meeting between Lisa and Erast, during which he asks her to leave him alone because he is getting married.

The denouement is the death of Lisa. She chooses death in order to resolve all problems, not to live deceived and abandoned by a loved one. For Lisa, life without Erast does not exist.

It was very important for the sentimentalist writer to address social issues. The author does not condemn Erast for the death of Lisa. After all, a young nobleman is just as unhappy as a peasant girl. For the rest of his life, he feels guilty before Lisa, his own life path did not work out. material from the site

Karamzin was one of the first in Russian literature to discover the subtle and vulnerable inner world of a representative of the lower class, as well as the ability to selflessly and selflessly love. It is from his story that another tradition of Russian literature originates - compassion for ordinary people, sympathy for their joys and experiences, protection of the disadvantaged and oppressed. Thus, we can say that Karamzin prepared the basis for the work of many writers of the 19th century.

Retelling plan

1. Description of the environs of Moscow.
2. Lisa's life.
3. Acquaintance with Erast.
4. Declaration of love.
5. Chance meeting with Erast in Moscow.
6. Lisa's death.
7. The further fate of Erast.

The system of lessons on the work of N.M. Karamzin. Grade 9

Lesson #1 Subject : The concept of sentimentalism. N.M. Karamzin is a writer and historian.

Goals: N.M. Karamzin: biography; journalist, writer, philologist. The concept of sentimentalism.

Epigraph : 1. "Whatever you turn to in our literature - Karamzin laid the foundation for everything: journalism, criticism, story-novel, historical story, publicism, the study of history" (V.G. Belinsky)

2. “Surely not a single Russian soul will bring a worthy tribute to his memory? The Fatherland has the right to demand it. Karamzin belongs to history. (A.S. Pushkin)

Equipment: texts, textbooks, a portrait of Karamzin. (1766-1826)

During the classes:

1. Write down the topic of the lesson. Epigraphs.
2. Working with epigraphs
3. Individual message:Karamzin is a writer.

To help the teacher:Karamzin was born into the family of a poor landowner. He spent his childhood near Simbirsk, on his father's estate. For three years he lost his mother and grew up under the supervision of a nanny and an uncle, learned to read and write from a rural deacon, and German from a family doctor and home tutor.

The brightest impressions of childhood - from the books read and native nature. Karamzin recalls this in his autobiographical story "The Knight of Our Time". Her hero reads novels in which "many diverse people<...>, wonderful actions, adventures - a game of fate, hitherto completely unknown to him. IN adulthood the writer will return to his childhood impressions more than once.

13-year-old Karamzin was brought to Moscow to continue his education in the private boarding school of a German professor AND. M. Shaden. In three years he became a connoisseur German literature and philosophy, mastered several languages. At the insistence of his father, the future writer moves to St. Petersburg and enters military service, which is interrupted due to the death of his father. Soon he leaves her and devotes himself entirely to literature.

Karamzin becomes close to the members of the "Friendly Scientific Society", in which an educator, book publisher and public figure N.I. Novikov. Especially close to Karamzin were the ideas of philanthropy, "the brotherhood of all people", friendship, moral education preached by the "Friendly Learned Society". These ideas are reflected in the articles and stories of the magazine "Children's Reading for the Heart and Mind", which Karamzin edits on behalf of Novikov. In it, he published his first poems, the story "Eugene and Julia", the lyrical story "Walk". Interest in the inner world of a person becomes important in his work.

Having sold the estate inherited after the death of his father, Karamzin travels to Germany, Switzerland, France, and England. He visits museums, art galleries, meets with famous writers, philosophers, observes the life of the people. In Paris, he witnesses the first triumphs of the French Revolution, listens to the speeches of its speakers, sees its heroes.

The journey lasted two years, from 1789 to 1790. He returned to Russia three months after the conviction of Radishchev. In 1792, by decree of Catherine II, Novikov was arrested. It is during these years that the heyday of literary activity Karamzin. He publishes the Moscow Journal, where he publishes his stories Poor Lisa”,“ Natalia, boyar daughter ”, lyrical miniatures, poems, translations, articles philosophical content, reviews of books and performances. In the magazine, from issue to issue, he publishes a work of a new genre for Russia - “Letters from a Russian Traveler”, in which he talks about his impressions abroad. "Letters from a Russian Traveler" glorified Karamzin. The Moscow Journal was a huge success with readers. In his own way, Karamzin continued the work of Novikov, placing in his magazine in his defense the ode "To Mercy", addressed to Catherine. The queen became the most unfriendly reader of Karamzin. He stopped publishing the magazine and went to the countryside. TO literary work Karamzin will return two years later, when he begins to publish collections of his works one after another. Of great interest to readers were Karamzin's stories, which, according to Pushkin, were "a curiosity for us ...". They drew attention to the lives of ordinary, humble people, affirmed their closeness to nature, immersed them in a world of feelings and experiences previously unknown to Russian literature, and aroused the sympathy of readers.

In 1802, already during the reign of Alexander I, Karamzin founded new magazine"Bulletin of Europe", in which a large place is occupied by articles on socio-political and historical topics. Interest in history becomes the main thing in this period of the writer's work. The greatest success fell to the share of the largest, last prose work Karamzin - the story "Marfa the Posadnitsa". In its center is the image of a Russian woman who raised the Novgorodians to fight against the despotism of the Moscow Tsar Ivan III. The main task of literature Karamzin considers patriotic education. “Patriotism is love for the good and glory of the fatherland and the desire to contribute to them in every way,” he wrote. Karamzin saw the happiness of every citizen in love for the fatherland.

4. Work with a portrait of Karamzin.

Here's a cute creator! / Ile heart, il mind / He threatens you with captivity! / In Arcadia he would have been / a happy shepherd boy, / In Athens - Demosthenes.

These poems were published in 1803, and they belong to a friend of Karamzin, a famous poet and statesman Ivan Ivanovich Dmitriev. Madrigal is correct: from the miniature, which is stored in the State Literary Museum, a gentle young face, an attentive and calm look is directed at the viewer and at the same time somewhere into the distance, soft curls of dark hair are slightly powdered. In terms of clothing, in terms of the manner of depiction, the portrait dates back to the very beginning of the 19th century; such high white kerchief ties were worn in 1801-1802. Probably, the miniature was intended as a gift for the bride: on the reverse side, with silver threads and small pearls, the signature: Amor (that is, in French "love"):

By 1802, Nikolai Mikhailovich Karamzin had enough famous writer: "Letters of a Russian Traveler" came out as a separate edition and brought the author well-deserved fame. His story "Poor Liza" captivated readers so much that sentimental Muscovites went to the pond of the Simonov Monastery to sigh about the unfortunate fate of a simple girl who knows how to feel so subtly, to love so. However, his magazine hoax is not accidental: Karamzin sought to unite the best writers of his time around his magazine, to show the reader that his magazine is filled with works by different authors - unlike magazines of the 18th century, often written by one person. The poem was of a biographical nature: under the name of Emilia, his first wife, Elizaveta Ivanovna, was hiding, the loss of which he was destined to endure in the same 1802 - she died at the birth of her daughter Sophia, in the future a friend of Pushkin and mistress of the Karamzin salon after the death of her father. Elizaveta Ivanovna was the sister of Nastasya Ivanovna Pleshcheeva - Karamzin was friends with this family, Karamzin dedicated his Letters of a Russian Traveler to Nastasya Ivanovna and her husband Alexander Alekseevich Pleshcheev, in their house he met his Emilia. In his youth, Karamzin was very sensitive. G.R. Derzhavin in 1801 characterized the young author in this way: // Dear adorer of amiable charms / And a true descriptor of Russian sonorous deeds.//

Several statements by his contemporaries have been preserved about Karamzin's appearance. “Karamzin was handsome and very amiable,” recalled D.P. Runich, one of those who did not approve of the change in the character of the Russian Traveler, “on his return from foreign lands, he put on German pedantry, smoked a lot, talked about everything, he liked to stay up long after midnight, talk, listen to stories, eat well and drink tea to his heart's content. Another acquaintance of Nikolai Mikhailovich disagrees with this skeptical characterization: “He is tall. There is something written on his face that attracts every person to him. He talks a lot, but pleasantly and intelligently.”

This is how we see him in the portrait by the Italian artist Ortolani Damon (1805), who worked in Moscow in early XIX century. At this time, Karamzin lives in Ostafyev, since 1804 he is married to Ekaterina Andreevna Kolyvanova, the side sister of Prince P.A. Vyazemsky, and, after the death of his father, actually becomes the closest friend and guardian of the young prince. Here, in Ostafyev, Karamzin began to study Russian history. The man is extremely talented, he surprises not only his friends, but also our contemporaries, so quickly he got used to the ability to read and understand chronicles, to understand the hardest writing cursive writing of the 17th century, in the intricacies of boyar genealogies, in the most difficult problems formation of Russian statehood. He worked every day with extreme perseverance. Vyazemsky recalled that Karamzin always got up at 9 in the morning and immediately went for a walk or horseback ride: “Returning from a walk, he had breakfast with his family, smoked a pipe of Turkish tobacco and immediately after he went to his office and sat down to work until dinner<...>, during his work he had no rest, and his morning exclusively belonged to history ... ”In 1811, Karamzin traveled to Tver, where at court Grand Duchess Ekaterina Pavlovna read excerpts from his "History ..." to Emperor Alexander Pavlovich who visited his beloved sister. “He listened to my story, it seems, with unfeigned attention and pleasure, he did not want to stop our reading,” Karamzin wrote to I.I. Dmitriev.

The year 1812 shocked Karamzin. “I am glad to sit on my gray horse and, together with the Moscow daring squad, join our army,” he wrote to Dmitriev. Until recently, Karamzin remained in the capital. He did not believe that the French would enter Moscow: “The circumstances are such that anyone can be useful or have this hope: I adore my friend, I love children; but it pains me to look from afar at events that are decisive for our fatherland. Here one hears the voice of a historian who would like to be not only a diligent chronicler, but also a participant in the events. And then Karamzin bitterly writes: “My entire library has turned to ashes, but history is intact ...” Sending his wife and children from Moscow, Karamzin gave her a copy of his work to keep. Of course, he was deeply worried about the loss of his library, but, “no matter how sorry our peaceful dwellings and books turned into ashes,” he rejoiced “that the fatherland had survived and that Napoleon was running like a hare, having come as a tiger.” Deprived of books and annals, he cannot work. “Involuntary idleness exhausts the soul,” complains Karamzin. Only in the summer of 1813 did he manage to return to Moscow and get back to work.

However, Moscow is ruined, and Karamzin decides to move to St. Petersburg. To do this, it is necessary to achieve the official status of a historiographer, to get a paid job, because otherwise it will be very difficult for him, a person who is not rich, to be in the capital with his family. At the end of January 1816, after the birth of his son Alexander, Karamzin, together with Zhukovsky and Vyazemsky, left for St. Petersburg. He hoped to meet with the emperor, he wanted to work on the publication of his "History ...", for which money is needed. February 2, 1816 Nikolai Mikhailovich arrived in the capital. Describing to his wife his life in St. Petersburg, the keen interest that society showed in his composition, a masquerade in the palace and a visit to the Hermitage, Karamzin told her, among other things, everyday details: “You want to know my toilet: powdered, combed nicely for 30 rubles a month , mostly in a black tailcoat, in shoes - and at least where! They find that I am not so old. God forbid that you say the same about me when you return!” At the end of March, Karamzin returned to Moscow.

About how he looked later, we read in the memoirs of F.V. Bulgarin: “His face was oblong; the forehead is high, open, the nose is correct, Roman. Mouth and lips had some special pleasantness and, so to speak, breathed good nature. The eyes were small, tightly compressed, but beautifully cut, shone with intelligence and liveliness. Half gray hair was combed from the sides to the top of the head. His physiognomy clearly expressed spiritual simplicity and deep insight of mind. The distinguishing features of his face were two large wrinkles at the end of his cheeks, on either side of his mouth." This is how Karamzin is depicted in the portrait by A.G. Venetsianov. Before us is no longer a sentimental young man, as he is represented by Damon; Karamzin is depicted in a dark frock coat, with the Anninsky cross around his neck and the star of the Order of St. Vladimir; a fur coat is lowered from the shoulder, a tie-kerchief is around the neck. He is somehow quietly thoughtful, as if that huge internal work is being done in him, without which one cannot raise such a huge work as the “History of the Russian State” .. Pushkin called “History ...” Karamzin “the feat of an honest man”, pointing out that he was not politically engaged in his work; said that Karamzin discovered Russia, like Columbus discovered America: no one before him had revealed so fully the picture of the formation and development of a huge state, which was Russia. (Lessons of literature 2002-№7, see the portrait of the late Karamzin)

4. The work of Karamzin played an outstanding role in the history of Russian literature. A.S. Pushkin, who from an early age appreciated and distinguished him from all other writers, said: “The pure, high glory of Karamzin belongs to Russia ...”.Individual message:Karamzin is a historian.

To help the teacher:Creative searches led Karamzin to work on the history of Russia - he considered it the work of his whole life. In 1803 the tsar appointed him a Russian historiographer. Twelve years of his life, "having retired to the academic office during the most flattering successes" (A.S. Pushkin), Karamzin devoted "silent and tireless work." In 1818, the first eight volumes of The History of the Russian State were published. Karamzin continued to work on it until last hour life. His "History ..." consists of two parts: a fascinating story about historical events and their participants, permeated with the author's moral assessments, and notes, extracts, references to historical documents that take up most of the work. It allowed A.S. Pushkin to say: "Karamzin is our first historian and last chronicler." "History of the Russian State" became at the same time historical work, And artwork attracted the attention of thousands of readers.

Work on the "History ..." did not take the writer away from contemporary problems and events. Close to the tsar, Karamzin tried to express his opinion to him about the current state of the country. A defender of monarchical power, he fought against its abuses. “I was not silent about taxes in peacetime, oh absurd<...>about the financial system, about formidable military settlements, about the strange choice of some of the most important dignitaries, about the Ministry of Education or Darkening, about the need to reduce the army that fights only Russia, about the imaginary improvement of roads, so painful for the people, finally, about the need to have firm laws, civil and state,” he wrote in his diary.

Following the development of events, Karamzin predicts a military clash between Russia and Napoleon. In June 1812, Napoleon's army invaded Russia and began to approach Moscow. At the beginning of August 1812, Karamzin sent his family from Moscow, and he himself decided to join the militia. The writer left Moscow with the last detachments of the Russian army, firmly confident in the defeat of the enemy.

He spent the last years of his life in Petersburg. When the Decembrist uprising took place, Karamzin, being an opponent of revolutionary violence, called this uprising "an absurd tragedy of insane liberalists." The writer, however, tried to save its participants from the punishment that threatened them. During these bitter days, he caught a cold, fell seriously ill, and, not having lived to see the completion of the trial of the Decembrists, died.

Karamzin's position as a person and writer is clearly expressed in the words he said in a conversation with a German traveler: “A historian must rejoice and grieve with his people. He must not, guided by prejudice, distort the facts, exaggerate happiness, or belittle in his statement of distress; he must first of all be truthful; but maybe even he should convey everything unpleasant, everything shameful in the history of his people with sadness, and talk about what brings honor, about victories, about a flourishing state with joy and enthusiasm. Only in this way can he become a national writer of everyday life, which, first of all, should be a historian.

1. I want to read to youexcerpt from the article “What does an author need?” N.M. Karamzin.

“They say that the author needs talent and knowledge: a sharp, penetrating mind, a vivid imagination, and so on. Fair enough, but not enough. He also needs to have a kind, tender heart if he wants to be a friend and favorite of our soul; if he wants his gifts to shine with a flickering light; if he wants to write for eternity and collect the blessings of the nations. The Creator is always portrayed in creation and often against his will.<...>

But if everything that is sorrowful, everything that is oppressed, everything that weeps open the way to your sensitive chest; if your soul can rise to a passion for goodness, can nurture in itself a holy desire for the common good, not limited by any boundaries: then boldly call on the goddesses of Parnassus ... "

6. To get acquainted with the work "History of the Russian State" itself, you will need a lot of time and effort. A littlefrom the preface to this work.

“History is, in a certain sense, the sacred book of peoples: the main, necessary; a mirror of their being and activity: a tablet of revelations and rules; the covenant of ancestors to posterity; addition, explanation of the present and an example of the future.

Rulers and legislators act according to the instructions of history and look at its sheets, like navigators look at the blueprints of the seas. Human wisdom needs experiments, but life is short...

But even a simple citizen should read history. She reconciles him with the imperfection of the visible order of things, as with an ordinary phenomenon in all ages; consoles in state disasters, testifying that there have been similar ones before, there have been even more terrible ones, and the state has not collapsed; she has a moral sense and righteous judgment with its own disposes the soul to justice, which affirms our good and the consent of society.

Here is the benefit: what pleasures for the heart and mind! .. At the glorious Olympic Games, the noise was silent, and the crowds were silent around Herodotus, reading the traditions of the ages. Even without knowing the use of letters, people already love history: the old man points the young man to a high grave and tells about the deeds of the hero lying in it ... History, opening the coffins, raising the dead, putting life into their hearts and word into their mouths, from decay again creating kingdoms and imagining a series of ages with their distinct passions, customs, deeds, expands the limits of our own being; By its creative power we live with people of all times, we see and hear them, we love and hate them; not yet thinking about the benefit, we already enjoy the contemplation of diverse cases and characters that occupy the mind or nourish the sensitivity ...

Let the Greeks and Romans captivate the imagination: they belong to the family of the human race and are not strangers to us in their virtues and weaknesses, glory and disasters; but the Russian name has a special charm for us: my heart beats even stronger for Pozharsky than for Themistocles or Scipio. The World History with great memories adorns the world for the mind, and the Russian adorns the fatherland, where we live and feel. How attractive are the banks of the Volkhov, Dnieper, Don, when we know what happened on them in ancient times! Not only Novgorod, Kyiv, Vladimir, but also the huts of Yelets, Kozelsk, Galich become curious monuments and mute objects eloquent. The shadows of past centuries paint pictures everywhere before us...

Foreigners can miss what is boring for them in our ancient history; But aren't good Russians obliged to have more patience, following the rule of state morality, which makes respect for ancestors the dignity of an educated citizen? ..

Thanks to everyone, both the living and the dead, whose intelligence, knowledge, talents, art served as a guide to me, I entrust myself to the indulgence of my fellow citizens. We love one thing, we desire one thing: we love the fatherland; we wish him prosperity even more than glory; we wish that the solid foundation of our greatness never change... may Russia flourish... at least for a long, long time, if there is nothing immortal on earth except the human soul. December 7, 181

1. Karamzin is the founder of Russian sentimentalism.

Karamzin became the head of a literary trend in Russia, which in the West was called sentimentalism (from the French word sentiment -- feeling). This trend was based on A New Look on man as a sensitive being, on a new idea for literature about his happiness. The principles of sentimentalism were embodied in the stories and poetry of Karamzin, in his articles on literary topics.

Here are some of the writer's comments:

• “Whoever thinks that happiness consists in wealth and abundance of things, it is necessary to show many of the local Croesus, showered with means of enjoyment, losing their taste for all pleasures and dying in soul long before death.” ("Letters from a Russian Traveler")
• “A sensitive heart is a rich source of ideas; if reason and taste help him, then success is undoubted. ("The Tale "Sensitive and Cold: Two Characters")

SENTIMENTALISM IN RUSSIA

The very name "sentimentalism" (from English, sentimental - sensitive, French sentiment - feeling) indicates that feeling becomes the central aesthetic category of this trend. In this respect, the sentimentalists consciously opposed the reason (ratio) of the classicists. He originated in Western Europe in the XV1I1 century. Russian readers got to know him through the works of Lawrence Stern, English writer, whose " sentimental journey had a huge impact on Russian literature.

Representatives of sentimentalism.

France: the greatest sentimentalist writer Jean-Jacques Rousseau is the author of the novel in letters "Julia, or New Eloise".

Appeared in Russia in the 60-70s. 18th century (M.N. Muravyov, N.M. Karamzin, V.V. Kapnist, N.A. Lvov, young V.A. Zhukovsky).

Sentimentalism as a trend in art developed in the era of the Enlightenment crisis. As is obvious from the name of the direction, sentimentalism chooses feeling as the dominant of "human nature", in contrast to classicism. In contrast to the class art of classicism, which chose the ideal of man aristocratic background, sentimentalism refers to the life of a commoner, showing his rich inner world, the world of his feelings and experiences.

The main idea is a peaceful, idyllic human life in the bosom of nature. "The village is sharply opposed (the center natural life, moral purity) to the city (a symbol of evil, unnatural life, vanity). New heroes appear - “villagers” and “village women” (shepherds and shepherds). Particular attention is paid to the landscape. The landscape is idyllic, sentimental: a river, murmuring streams, a meadow - in tune with personal experience.

Main theme- love.

If the main genres of classicism were poetic genres, then sentimentalism introduces into literature prose genres: epistolary novel, travel notes, diaries and other types of prose, in which confessional motifs and intonations prevail. Sentimentalism also aroused interest in the personality of the writer, making especially popular genres in which the author could most fully express his view of the world, his ideas about people, about events, tell about himself. A classicist writer, imitating book samples, could create without leaving his office. For sentimentalists, however, it is preferable to travel, enriching with impressions, giving a vast field of observation of mores and characters. It is no coincidence that the genre of travel has become especially widespread in the literature of sentimentalism.

Main genres: a sentimental story, a journey, in the lyrics - an idyll, or a pastoral. Sentimentalists also loved the epistolary genre (the genre of writing).

The pinnacle of Russian sentimentalism was the story of N. M. Karamzin "Poor Liza". Subverting all the canons of classic poetics, the writer makes the heroine of his story "a virtuous peasant woman", asserting the idea of ​​"natural equality of people": his exclamation "Even peasant women know how to love!" truly made a revolution in the minds of contemporaries and in literature.

In the center of the story is the image of the author. N. Karamzin argued that "the creator is always depicted in creation and often against his will", that any work is "a portrait of the soul and heart of the author." As in any work of sentimentalism, N. Karamzin presents reality through the prism of the author's perception, the author's emotion.

Ideological basis - a protest against the corruption of aristocratic society.

Main property- the desire to represent the human personality in the movements of the soul, thoughts, feelings, aspirations.

Setting as their goal to get as close to the reader as possible, sentimentalists changed their ideas about art space works. If in the work of a classicist it was very conditional, then for the first time sentimentalists introduce the real, easily recognizable description landscape. In "Poor Lisa" - this is the vicinity of the Simonov Monastery, which later became a place of pilgrimage for those struck by the new artistic reality readers.

Sentimentalists also use the method of direct appeal to the reader, involving him in the events described in the work, forcing him to sympathize with the characters, empathize with what is happening.

For the first time in sentimentalism, an emotionally colored landscape appeared. Moreover, unlike the classic, this is not a conditional, but a very specific and recognizable landscape of central Russia. The landscape becomes a lyrical accompaniment to the ongoing events and experiences of the characters, helps to reveal them emotional condition. No less important is the linguistic practice of sentimentalism.

Features:

Departure from the straightforwardness of classicism in the depiction of characters and their assessment;

Emphasized subjectivity of the approach to the world;

The cult of feeling;
- cult of nature;

The cult of innate moral purity, incorruptibility; rich spiritual world members of the lower classes.

Features of Russian sentimentalism.

Strong didactic setting;
- pronounced educational character;

Active improvement of the literary language through the introduction of colloquial forms into it.

You will get a more complete idea of ​​sentimentalism by reading Karamzin's story "Poor Liza".

1. Karamzin made a great contribution to the development of the Russian literary language. Rejecting the abundance of Church Slavonicisms and colloquial words, he enriched the language with the vocabulary of feeling and created a light, elegant phrase, though far from popular speech, but understandable to everyone, even to readers from the people. N.M. We owe Karamzin such words asindustry, public, human, image(in relation to art) and others. According to V. Vinogradov, Karamzin managed to "form a single language accessible to a wide readership" for books and for society "in order to" write as they say and speak as they write.
2. Today we talked a lot about Karamzin, learned a lot about him.
3. D / Z: 1. by heart Lomonosov, Derzhavin. 2. "Poor Lisa" - read.3.account page 103, question 2,

Lesson number 2. Theme: "Poor Liza" as a work of sentimentalism. New in Russian literature.

Lesson name : "And peasant women know how to love ...".

Purpose: plot and composition of the story; style features text; Erast and Lisa: psychologism in disclosure inner world heroes through love experiences.

During the classes:

1. Repetition of what was previously learned.

Tell us about the main periods of life and work of N.M. Karamzin.

List the main features of sentimentalism as a literary movement.

Why is Karamzin called the founder of sentimentalism?

2. Work on the text.

• You have read the story "Poor Lisa" that glorified Karamzin. Written more than 200 years ago, it caused before and now causes controversy and directly opposite assessments.

IN late XVIII and in the first decade of the nineteenth century. the story was read with delight, withstood six editions, became an object of imitation both in life and in literature (the novels by A.E. Izmailov “Poor Masha”, A. Popov “Poor Lily”, etc.) appeared. In the late 20s and early 30s of the XIX century. she seemed already a tribute to a bygone fashion.

However, a modern scholar (V. Muravyov) is convinced that the story "Poor Lisa" "did not know for two centuries either oblivion or loss of reader love." And this means that even now the story is read with interest. Express your opinion and you as readers. Are you interested in this story? If yes, then what? What attracts her? Is it true, in your opinion? What do you think is true and what is not? Try to understand your feelings and experiences while reading and explain them.

• Compare these statements of Karamzin (epigraphs). What do they tell us about the writer?

Karamzin cannot pass by the troubles and misfortunes of a person. He is endowed with a kind heart, sensitivity.

- What does "groan" mean?(Moan - moan, scream with a groan. Moan - from mental pain.)

• Listen to the words of Karamzin. Are these words of Karamzin relevant for our time?

“It seems to me that we are too humble in our thoughts about our national dignity, and humility in politics is harmful. Whoever does not respect himself, others will not respect him either ... Let us stand boldly along with other peoples, say clearly our name and repeat it with noble pride.

- “Like a person, so a people always begins by imitation, but must eventually be itself. It is good and should be studied, but woe to both the person and the people, who will always be a student!

• Teacher's word. The story "Poor Liza" (1792) was enthusiastically received by contemporaries. It 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. At a chance meeting with a lover, everything is revealed, he tries to make amends for his misdeed with money. The poor girl could not bear the grief and drowned herself. The reason for the popularity of "Poor Liza" was that the author brought living life into the traditional plot of unhappy love, instead of heroes uttering pathetic phrases about love, he put heroes who truly love, suffer, showed love as a multifaceted, but changeable feeling.

- From whose perspective the story is being told? (From the point of view of the narrator.)

- Is the role of the narrator exhausted only by this? Prove the presence of the narrator from the text.(The narrator is mentally involved in the relationship of the characters. The guys note the invisible presence of the author, characteristic of sentimentalism, lyricism. The narrator seems to them even overly sensitive, they smile, reading the repeated "Ah!", But they see in him a noble, humane person, vulnerable, keenly feeling someone else's the narrator is sad, joyful, angry).

What is this story about?

What do we see the main character in the parental family? What did her father and mother teach her? What was Lisa's mother's name?

Let us trace the character of the characters' feelings, how they develop, and what they lead to. First of all, the feelings of the main character of the story - Lisa. What was the flashing feeling for Lisa?

(You can identify internal experiences that speak of Lisa's love: embarrassment, excitement, sadness, crazy joy, happiness, anxiety, longing, fear, despair, shock. Lisa's feelings are distinguished by depth, constancy, selflessness. She perfectly understands that she is not destined to be wife of Erast, and even speaks about it twice in the story: "Mother! mother! how can this be? He is a gentleman; and among the peasants ...", "However, you cannot be my husband! .. I am a peasant woman ..." But love turns out to be stronger than reason. Erast's confession filled Lisa's heart with a "pure and at the same time passionate feeling" that she cannot and does not want to hide. The heroine forgot about everything and gave herself to her beloved).

- How does the author convey this or that state of Lisa?(Liza “blushed even more and, looking down at the ground, said ...”, “sang mournful songs in a quiet voice”, “followed him with her eyes”, “all the veins in her throbbed”, “got up, wanted to go, but could not ", etc. We conclude that exactly found by the writer external manifestations experiences allow you to understand what is happening in the soul of the heroine. Lisa's soul is distinguished by richness and depth. “And peasant women know how to love!”)

Why do you think Lisa expresses herself in such correct and poetic language?

(Karamzin in the story decided the question of the extra-class value of a person, he wanted to reveal the beauty and nobility of the feelings of his heroine, because such a language.)

What does the reader learn about Erast before meeting Lisa?

What is your opinion about him? What was the flared feeling for Erast, who had already tasted "secular amusements"?

(The selfless character of a peasant woman is opposed by the character of a kind, but spoiled gentleman, unable to think about the consequences of his actions. Lisa attracted him primarily with her appearance. The intention to seduce a gullible girl was not part of his plans: “It seemed to him that he found in Lisa what the heart has been searching for a long time.” Note that such an impact female beauty on the male soul - a constant motif of sentimental literature. Initially, he thought "of pure joys", intended to "live with Lisa, like brother and sister." One senses the author's irony. But still, Erast is depicted by Karamzin as not a treacherous deceiver-seducer. According to the author, “a rather rich nobleman” with a “naturally kind” heart, but “weak and windy, he led a dispersed life, thinking only about his pleasure ...”. His betrayal is unintentional, but all the more insidious).

So, love has become a test for the hero?

(He did not know his character well, he overestimated his moral strength too much. Erast's sentimental ideals were formed under the influence of books: “He read novels, idylls; had a rather vivid imagination and often mentally moved to those times (former or non-former), in which, according to poets, all the people walked carelessly through the meadows<...>and they spent all their days in happy idleness. Soon, according to Karamzin, he “could not be satisfied with<...>one clean hug. He wanted more, more, and finally, he could not want anything. There comes satiety and a desire to get rid of the bored relationship. There is no depth in his feeling, it is selfish).

In "Poor Liza" the theme of money occupies a significant place. How does everything related to money illuminate human relationships?

(The leitmotif of money accompanies the image of the nobleman Erast, and not poor Lisa. The heroine has no selfish thoughts. During one of their dates, Lisa tells Erast that the son of a rich peasant from neighboring village and that her mother really wants this marriage. "And you agree?" Erast is worried. "Cruel! can you ask about it? Lisa scolds him. Having broken the girl’s heart, Erast wants to pay off her: “Here is a hundred rubles - take them (he put the money in her pocket) - let me kiss you on last time- and go home. He marries a rich widow to improve his business.)

How can you call Erast at this moment? What is he? Choose words to describe.

(Vocabulary: selfish - striving for personal gain, profit, greedy mercenary - stingy in trifles, overly prudent, mercantile)

And how to regard the act of Lisa? With these hundred rubles, does she not “pay off” from her mother?

(In sentimental literature, money has always evoked a condemnatory attitude towards itself. Sincere, real help should be expressed in actions, in direct participation in the fate of people. Money, on the other hand, creates only the appearance of participation and often serves as a cover for impure 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 a tear rolls down my face").

How is the love theme of the peasant woman Liza and the nobleman Erast resolved? (A person in the literature of sentimentalism is devoid of fighting spirit, does not fight for his feelings, obeying circumstances. For Lisa, the loss of Erast is tantamount to the loss of life. Further existence becomes meaningless, and she lays hands on herself).

What do we learn about Erast from the end of the story? Has the soul been cleansed?

(Yes, he understood his mistakes, “could not be consoled”, cruelly reproaches himself, goes to Lisa’s grave. Karamzin talks about the meeting and reconciliation of their souls in another world).

We conclude: on the example of the life of Erast, Karamzin shows what a big role the feeling of love plays in the formation human personality, but also warns of the need for reason in love.

- In whose mouth does the writer put these thoughts?(Mothers of Liza and the Narrator. They are mature, wise people, they know life better, they understand that a person builds his happiness on the harmony of feeling and reason ...)

How to understand the final phrase of the story?

To achieve maximum credibility, Karamzin connected the plot of his story with specific places in the then suburbs of Moscow. Lisa's house is located on the banks of the Moskva River, not far from the Simonov Monastery. The dates of Erast and Lisa took place near Simonov Pond, which, after the story of Karamzin, was called Liza Pond. In the spirit of sentimentalism, the author combines the description of nature with the depiction of thoughts and moods of a person.

- Let's turn to the landscape, how is it related to other aspects of the story?

(Children analyze landscape sketches, give an interpretation to the symbols of spring, lily of the valley, fog, autumn; note the connection of nature with Lisa (“The sad dove connected her plaintive voice with her lamentations” and other examples) and the absence of such a connection with Erast. They talk about light and darkness in the story. The author, in their opinion, endows nature with reason.

To summarize: how do the features of sentimentalism appear in the story? What episodes of hers seemed especially touching to you?

What is the meaning of the title?(Poor - unhappy. As Y. Lotman noted, in the epithet poor - emotional reaction narrator for the events of the story. The title "is built on the combination of the heroine's own name with an epithet that characterizes the Narrator's attitude towards her. Thus, not only the world of the object of narration is introduced into the title, but also the world of the Narrator, between which a relationship of sympathy is established. For the storyteller we are talking not only about a fact that requires moralizing, but about the fate of people, one of whom was familiar to him, and the grave of the other becomes a favorite place for his walks and thoughts).

What, in your opinion, “good feelings” does Karamzin’s story bring up in readers? Can today's young people learn moral lessons from it? If so, which ones?

(Karamzin teaches to appreciate a person not by class, but for spiritual wealth, manifested in love. Teaches responsibility for one's actions)

How different is the work we read from those discussed in previous lessons? How did Karamzin's contemporaries see this difference?

D/Z: 1. Descriptions of nature play a big role in the story. Her life is included in the relationship of heroes, helps to understand the state of mind of the heroine.See how communication with nature conveys the feeling of Lisa.

1. Write an essay on the topic: “Why did Karamzin call his story “Poor Liza”.

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