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Message about Sumarokov's fables. Short biography: Sumarokov Alexander Petrovich

Message about Sumarokov's fables. Short biography: Sumarokov Alexander Petrovich

29.08.2019

INTRODUCTION

The creative range of Alexander Petrovich Sumarokov is very wide. He wrote odes, satires, fables, eclogues, songs, but the main thing with which he enriched the genre composition of Russian classicism is tragedy and comedy. Sumarokov's worldview was formed under the influence of the ideas of the time of Peter the Great. But unlike Lomonosov, he focused on the role and duties of the nobility. A hereditary nobleman, a pupil of the gentry corps, Sumarokov did not doubt the legitimacy of noble privileges, but believed that a high position and possession of serfs must be confirmed by education and service useful to society. The nobleman should not humiliate the human dignity of the peasant, burden him with unbearable requisitions. He sharply criticized the ignorance and greed of many members of the nobility in his satires, fables and comedies.

Sumarokov considered the best form of government to be a monarchy. But the high position of the monarch obliges him to be just, generous, to be able to suppress bad passions in himself. In his tragedies, the poet depicted the disastrous consequences resulting from the oblivion of their civic duty by monarchs.

In his philosophical views, Sumarokov was a rationalist and looked at his work as a kind of school of civic virtues. Therefore, they put forward moralistic functions in the first place.

This course work is devoted to the study of the work of this outstanding Russian writer and publicist.

BRIEF BIOGRAPHY AND EARLY WORK OF SUMAROKOV

Brief biography of the writer

Alexander Petrovich Sumarokov was born on November 14 (25), 1717 in St. Petersburg into a noble family. Sumarokov's father was a major military officer and official under Peter I and Catherine II. Sumarokov received a good education at home, his teacher was the teacher of the heir to the throne, the future Emperor Paul II. In 1732 he was sent to a special educational institution for children of the higher nobility - the land gentry corps, which was called the "Knight's Academy". By the time the building was completed (1740), two Odes of Sumarokov were printed, in which the poet sang of the Empress Anna Ioannovna. The students of the Land Gentry Corps received a superficial education, but a brilliant career was provided to them. Sumarokov was no exception, who was released from the corps as an adjutant to Vice-Chancellor Count M. Golovkin, and in 1741, after the accession of Empress Elizabeth Petrovna, he became adjutant to her favorite, Count A. Razumovsky.

During this period, Sumarokov called himself a poet of “tender passion”: he composed fashionable love and pastoral songs (“Nowhere, in a small forest”, etc., about 150 in total), which were a great success, he also wrote shepherd idylls (7 in total) and eclogues (total 65). Describing Sumarokov's eclogues, VG Belinsky wrote that the author "did not think to be seductive or indecent, but, on the contrary, he was busy with morality." The critic based himself on the dedication written by Sumarokov to the collection of eclogues, in which the author wrote: “In my eclogues, tenderness and fidelity are proclaimed, and not malicious voluptuousness, and there are no such speeches that would be repugnant to hearing.”

Work in the eclogue genre contributed to the fact that the poet developed a light, musical verse, close to the spoken language of that time. The main meter used by Sumarokov in his eclogues, elegies, satires, epistles and tragedies was iambic six-foot, a Russian variety of Alexandrian verse.

In the odes written in the 1740s, Sumarokov was guided by the models given in this genre by M.V. Lomonosov. This did not prevent him from arguing with the teacher on literary and theoretical issues. Lomonosov and Sumarokov represented two currents of Russian classicism. Unlike Lomonosov, Sumarokov considered the main tasks of poetry not to raise national problems, but to serve the ideals of the nobility. Poetry, in his opinion, should not be majestic in the first place, but “pleasant”. In the 1750s, Sumarokov performed parodies of Lomonosov's odes in a genre that he himself called "absurd odes." These comic odes were, to a certain extent, autoparodies.

Sumarokov tried his hand at all genres of classicism, wrote safic, Horatian, Anacreontic and other odes, stanzas, sonnets, etc. In addition, he opened the genre of poetic tragedy for Russian literature. Sumarokov began to write tragedies in the second half of the 1740s, creating 9 works of this genre: Khorev (1747), Sinav and Truvor (1750), Dimitry the Pretender (1771) and others. In tragedies written in accordance with the canons of classicism, in full least manifested the political views of Sumarokov. So, the tragic ending of Khorev stemmed from the fact that the main character, the “ideal monarch”, indulged his own passions - suspicion and distrust. “The tyrant on the throne” becomes the cause of suffering for many people - this is the main idea of the tragedy Demetrius the Pretender.

The creation of dramatic works was not least facilitated by the fact that in 1756 Sumarokov was appointed the first director of the Russian Theater in St. Petersburg. The theater existed largely thanks to his energy.

During the reign of Catherine II, Sumarokov paid great attention to the creation of parables, satires, epigrams and pamphlet comedies in prose (Tresotinius, 1750, Guardian, 1765, Cuckold by imagination, 1772, etc.).

According to his philosophical convictions, Sumarokov was a rationalist, formulated his views on the structure of human life as follows: “What is based on nature and truth can never change, and what has other grounds is boasted, blasphemed, introduced and withdrawn at the discretion of each and without any mind." His ideal was enlightened noble patriotism, opposed to uncultured provincialism, metropolitan gallomania and bureaucratic venality.

Simultaneously with the first tragedies, Sumarokov began to write literary and theoretical poetic works - epistles. In 1774 he published two of them - Epistol about the Russian language and About poetry in one book Instruction for those who want to be writers. One of the most important ideas of epistle Sumarokov was the idea of the greatness of the Russian language. In the Epistle about the Russian language, he wrote: "Our beautiful language is capable of everything." Sumarokov's language is much closer to the spoken language of enlightened nobles than the language of his contemporaries Lomonosov and Trediakovsky.

What was important for him was not the reproduction of the color of the era, but political didactics, which the historical plot allowed to carry out to the masses. The difference also consisted in the fact that in the French tragedies the monarchical and republican forms of government were compared (in Corneille's "Zinn", in Voltaire's "Brutus" and "Julius Caesar"), in Sumarokov's tragedies there is no republican theme. As a convinced monarchist, he could only oppose tyranny with enlightened absolutism.

Sumarokov's tragedies are a kind of school of civic virtues, designed not only for ordinary nobles, but also for monarchs. This is one of the reasons for the unfriendly attitude towards the playwright Catherine II. Without encroaching on the political foundations of the monarchical state, Sumarokov touches upon its moral values in his plays. A conflict of duty and passion is born. Duty commands the heroes to strictly fulfill their civic duties, passions - love, suspicion, jealousy, despotic inclinations - prevent their implementation. In this regard, two types of heroes are presented in Sumarokov's tragedies. The first of them, entering into a duel with a passion that has seized them, eventually overcome their hesitation and honorably fulfill their civic duty. These include Horev (the play "Horev"), Hamlet (a character from the play of the same name, which is a free adaptation of Shakespeare's tragedy), Truvor (the tragedy "Sinav and Truvor") and a number of others.

The problem of curbing, overcoming the personal “passionate” beginning is accentuated in the replicas of the characters. “Overcome yourself and ascend more,” the Novgorod boyar Gostomysl teaches Truvor,

During the life of Sumarokov, the complete collection of his works was not published, although many poetry collections were published, compiled according to genre.

Sumarokov died in Moscow, aged 59, and was buried in the Donskoy Monastery.

After the poet's death, Novikov twice published the Complete Collection of All Sumarokov's Works (1781, 1787).

Biography

Fame brought him published in 1747 and played at the court of his first tragedy "Khorev". His plays were played at the court by the troupe of F. G. Volkov, ordered from Yaroslavl. When a permanent theater was established in 1756, Sumarokov was appointed director of this theater and for a long time he remained the main "supplier" of the repertoire, for which he is rightfully called the "father of the Russian theater". Chorev was followed by eight tragedies, twelve comedies and three operatic librettos.

In parallel, Sumarokov, who worked extremely quickly, developed in other areas of literature. In 1755-1758 he was an active contributor to the academic journal Monthly Works, in 1759 he published his own satirical-moralizing journal The Hardworking Bee (the first private journal in Russia). In 1762-1769, collections of his fables were published, from 1769 to 1774 - a number of collections of his poems.

Despite the proximity to the court, the patronage of nobles, the praise of admirers, Sumarokov did not feel appreciated and constantly complained about the lack of attention, the nitpicking of censorship and the ignorance of the public. In 1761 he lost control of the theatre. Later, in 1769, he moved to Moscow. Here, abandoned by his patrons and ruined, he died on October 1 (12), 1777. He was buried at the Donskoy Cemetery in Moscow.

Creation

Creativity Sumarokov develops within the framework of classicism, in the form that he adopted in France XVII - early. 18th century Modern admirers, therefore, more than once proclaimed Sumarokov the "confidant of Boileau", "Northern Racine", "Moliere", "Russian La Fontaine".

Sumarokov's literary activity is distinguished by its external diversity. He tried all genres: odes (solemn, spiritual, philosophical, anacreontic), epistles (messages), satires, elegies, songs, epigrams, madrigals, epitaphs; In his poetic technique, he used all the meters that existed at that time, made experiments in the field of rhyme, and applied a variety of strophic constructions.

However, Sumarokov's classicism is different, for example, from the classicism of his older contemporary Lomonosov. Sumarokov "reduces" classical poetics. "Decrease" is expressed in the striving for a less "high" theme, in the introduction of motives of a personal, intimate order into poetry, in the preference for "medium" and "low" genres over the "high" genres. Sumarokov creates a large number of lyrical works in the genre of love songs, works of many satirical genres - fables, comedies, satires, epigrams.

Sumarokov sets a didactic task for satire - “to correct temper with a mockery, to make her laugh and use its direct charter”: Sumarokov ridicules empty estate swagger (“not in title, in action should be a nobleman”), warns against abuse of landowner power (see in particular “ Chorus to the perverted world, where the “titmouse” says that “overseas they don’t trade people, they don’t put villages on the map, they don’t rip off the skin of the peasants”).

Sumarokov is one of the initiators of Russian parody, a cycle of "Wonderful Odes" ridiculing Lomonosov's "frantic" odic style.

Notes

Categories:

Personalities in alphabetical order
Writers alphabetically
November 25
Born in 1717
Born in Moscow
Deceased October 12
Deceased in 1777
Deceased in Moscow
Writers in the public domain
Sumarokovs
Graduates of the First Cadet Corps
Writers of Russia of the 18th century
Russian writers of the 18th century
18th century poets
Poets of Russia
Russian poets
Russian playwrights
fabulists
Parodists
Buried at Donskoy Cemetery

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See what "Sumarokov, Alexander Petrovich" is in other dictionaries:

Famous writer, born in 1718, died on October 1, 1777 in Moscow. About the place of his birth, S. speaks in verse to the Duke of Braganz: Where is Wilmanstrand, I was born there in the vicinity, As the Golitsyn region of Finland was defeated. From the ancestors of S. known ... ... Big biographical encyclopedia

Sumarokov, Alexander Petrovich- Alexander Petrovich Sumarokov. SUMAROKOV Alexander Petrovich (1717-1777), Russian writer, representative of classicism. In the tragedies Horev (1747), Sinav and Truvor (1750), Demetrius the Pretender (1771) combined love themes with social and philosophical ... ... Illustrated Encyclopedic Dictionary

Sumarokov (Alexander Petrovich) is a famous writer. Born in 1718, in Finland, near Vilmanstrand. His father, Pyotr Pankratievich, the godson of Peter the Great, was an educated man for that time, especially in terms of literature, and ... ... Biographical Dictionary

Russian writer. He came from an old noble family. In 1732 40 he studied at the land gentry corps, where he began to write poetry. The popularity of the poet was brought by love songs, ... ... Great Soviet Encyclopedia

- (1717 77) Russian writer, one of the prominent representatives of classicism. In the tragedies Horev (1747), Sinav and Truvor (1750) posed the problem of civic duty. Comedies, fables, lyrical songs... Big Encyclopedic Dictionary

- (1717 1777), Russian writer, one of the prominent representatives of classicism. In the tragedies "Khorev" (1747), "Sinav and Truvor" (1750) posed the problem of civic duty. Comedies, fables, lyrical songs. * * * SUMAROKOV Alexander Petrovich SUMAROKOV ... ... encyclopedic Dictionary

- (1717, Moscow 1777, ibid), poet and playwright, one of the leading representatives of Russian classicism, real state councilor. Born in a mansion that belonged to his grandfather in Bolshoi Chernyshevsky Lane, 6 (now). In 173240… … Moscow (encyclopedia)

Famous writer. Genus. in 1718, in Finland, near Wilmanstrand. His father, Pyotr Pankratievich, the godson of Peter Vel., was an educated person for that time, especially in terms of literature, and belonged to sincere supporters ... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

Plan
Introduction
1 Biography
2 Creativity
Bibliography

Introduction

Alexander Petrovich Sumarokov (1717-1777) - Russian poet, writer and playwright of the 18th century.

1. Biography

Born into a noble family on November 14 (25), 1717 in Moscow at house number 6 on Voznesensky Lane. He studied at home, continued his education in the Land Gentry Corps, where he began to engage in literary work, transcribing psalms in verse, composing “congratulatory odes” to Empress Anna on behalf of the cadets, songs - modeled on French poets and V. K. Trediakovsky ( Tredyakovsky). After graduating from the corps in 1740, he was enrolled first in the military field office of Count Munnich, then as an adjutant to Count A. G. Razumovsky.

In parallel, Sumarokov, who worked extremely quickly, developed in other areas of literature. In 1755-1758, he was an active contributor to the academic journal Monthly Works, and in 1759 he published his own satirical and moralizing journal The Hardworking Bee (the first private journal in Russia). In 1762-1769, collections of his fables were published, from 1769 to 1774 - a number of collections of his poems.

Despite the proximity to the court, the patronage of nobles, the praise of admirers, Sumarokov did not feel appreciated and constantly complained about the lack of attention, the nitpicking of censorship and the ignorance of the public. In 1761 he lost control of the theatre. Later, in 1769, he moved to Moscow. Here, abandoned by his patrons, ruined and drunk, he died on October 1 (12), 1777. He was buried at the Donskoy cemetery in Moscow.

2. Creativity

Creativity Sumarokov develops within the framework of classicism, in the form that he adopted in France XVII - early. 18th century Modern admirers, therefore, more than once proclaimed Sumarokov "the confidant of Boileau", "Northern Racine", "Molière", "Russian Lafontaine".

The literary activity of Sumarokov stops attention with its external diversity. He tried all genres: odes (solemn, spiritual, philosophical, anacreontic), epistles (messages), satires, elegies, songs, epigrams, madrigals, epitaphs; In his poetic technique, he used all the meters that existed at that time, made experiments in the field of rhyme, and applied a variety of strophic constructions.

However, Sumarokov's classicism is different, for example, from the classicism of his older contemporary Lomonosov. Sumarokov "reduces" classical poetics. The "decrease" is expressed in the striving for a less "high" theme, in the introduction of motives of a personal, intimate order into poetry, in the preference for "medium" and "low" genres over the "high" genres. Sumarokov creates a large number of lyrical works in the genre of love songs, works of many satirical genres - fables, comedies, satires, epigrams.

Sumarokov is one of the initiators of Russian parody, the cycle of "Naughty Odes", ridiculing the "frantic" odic style of Lomonosov.

Bibliography:

1. Donskoy cemetery

Alexander Petrovich Sumarokov (1718 - 1777). The son of a general and an aristocrat. At the age of 14 he entered the gentry cadet corps, opened in 1732 by the government of Anna Ioannovna. Art, including literature, occupied a significant place in the building. Sumarokov is the first who took up the literary business professionally.

Sumarokov's life was extremely sad. He was a nervous man who reacted sharply to the surrounding savagery of morals; had extraordinary ideas about serving the Fatherland, honor, culture, and virtue. He was the creator of a new type of drama, the first director, theater director.

Sumarokov’s first poems are odes of 1739 in a brochure entitled: “To Her Imperial Majesty, the Most Gracious Empress Anna Ivanovna, Autocrat of the All-Russian Congratulatory Ode on the First Day of the New Year 1740 from the Cadet Corps, composed through Alexander Sumarokov.

He was influenced by the work of Trediakovsky, and then by Lomonosov, with whom he was friendly. In the late 40s - early. 50x - disagreement with Lomonosov.

Sumarokov believed that his poetic activity is a service to society, a form of participation in the political life of the country. According to his political views, he is a nobleman-landowner. He considered serfdom necessary, believed that the state was based on two classes - the peasantry and the nobility. Nevertheless, the nobleman, in his opinion, does not have the right to consider the peasants his property, to treat them like slaves. He must be the judge and chief of his vassals and has the right to receive food from them. Sumarokov believed that the tsar must obey the laws of honor embodied in state laws.

From January 1759, Sumarokov began publishing his own journal, The Hardworking Bee. Published monthly, published in the Academy of Sciences. Published mainly by one person. In the eyes of the government, such a body of independent noble public opinion was undesirable, and the magazine had to be closed down.

Being one of the friends of Nikita Panin, after the coup, as a result of which Catherine the Second came to power, Sumarokov was close to the palace, received support as a writer. However, by the end of the 60s, he fell into disgrace, because. Catherine began to crack down on all sorts of freethinking. Sumarokov gradually made enemies for himself. Was in the life of Sumarokov and unhappy love. He fell in love with a simple girl - his serf, married her. Relatives of Sumarokov's first wife started a process against him, demanding to deprive the rights of his children from his second marriage. Although the case ended in favor of Sumarokov, it caused damage to his health, he began to drink; he became so impoverished that when he died, there was no money even for a funeral. The coffin of the writer was carried in their arms to the cemetery by the actors of the Moscow theater. In addition to them, two people came to see him off.

As a poet and theorist, Sumarokov completed the construction of the classicist style in Russia. The basis of Sumarokov's concrete poetics is the requirement of simplicity, naturalness, and clarity of poetic language. Poetry must avoid the fantastic and the vaguely emotional. He preaches simplicity in verse and prose.

Sumarokov argues a lot with Lomonosov, disagrees with his grammar and word usage. Sometimes he refers directly to the analysis of Lomonosov's works. Sumarokov considered the change in the meaning of a word as a violation of the correctness of the grammatical nature.

In 1747, Sumarokov published his first tragedy, Chorev, and the following year, Hamlet. "Khorev" was put in the cadet corps in 49. Something like a cadet troupe was created, which played at the court. Sumarokov was her soul. Later he was the director of the theater organized by F. Volkov. (see ticket about the tragedy)

Sumarokov wrote tragedies and comedies. He was a brilliant comedian, but soon he was surpassed in this by Fonvizin, Knyazhnin, Kapnist. As an author of tragedies, he was not surpassed. In total, Sumarokov wrote 12 comedies: Tresotinius, Empty Quarrel and Monsters, written in 1750. Then after 14 years - "Dowry by deceit", "Guardian", "Likhoimets", "Three brothers joint", "Poisonous", "Narcissus". Then three comedies in 1772 - "Cuckold by Imagination", "Mother Daughter's Companion", "Squat". Sumarokov's comedies have a minimal connection with the traditions of French classicism. All his comedies are written in prose, none of them have the full volume and correct arrangement of the composition of the classical tragedy of the West in five acts. Eight comedies have one action, four have three. These are small pieces, almost interludes. Sumarokov very conditionally withstands the three unities. There is no unity of action. In the first comedies, there is a vestige of the plot in the form of a couple in love, who at the end marry. The composition of comic characters in them is determined by the composition of the stable masks of Italian folk comedy. They are enlivened by Sumarokov's language - lively, sharp, cheeky in its unadornedness.

The six comedies of 1764-1768 differed markedly from the first three. Sumarokov moves on to the type of comedy of characters. In each play, one image is in the center of attention, and everything else is needed either to shade it or to create a fiction of the plot. The undoubted masterpiece of all Sumarokov's comedic work is his comedy Cuckold by Imagination. (Actually, I don’t think there’s a need for a lot of detail about comedy, because they mostly went through tragedy, so I think that’s enough.)

Sumarokov's poetic work is striking in its diversity, richness of genres and forms. Considering himself the creator of Russian literature, Sumarokov sought to show his contemporaries and leave to posterity samples of all types of literature. He wrote exceptionally much and, apparently, quickly. Sumarokov wrote songs, elegies, eclogues, idylls, parables (fables), satires, epistles, sonnets, stanzas, epigrams, madrigals, solemn, philosophical odes, etc. He also translated the Psalter.

In total, Sumarokov wrote 374 parables. It was he who discovered the fable genre for Russian literature. He borrowed a lot from La Fontaine. Sumarokov's parables are often topical, aimed at ridiculing the specific disorders of the Russian social life of his time. Sometimes they were very small in volume. The most important theme of the fables is the Russian nobility. The language of fables is lively, bright, sprinkled with sayings, colloquial turns. In the middle of the 18th century, the main direction in the development of the fable was determined. 1st model: the fable is written in the middle style, in Alexandrian verse. A moralistic story. 2nd model (Sumarokov's model): offers a multi-layered verse, elements of a low style - a fable story. In the satirical works of Sumarokov one can feel acrimony, conceit, scandalous temperament.

In Lyrica Sumarokov seeks to give a generalized analysis of a person in general. The love face gives the image of love in its “pure form”. In songs and elegies, Sumarokov speaks only of happy or unhappy love. Other feelings and moods are not allowed. We will also not find the features of the individual characteristics of those who love and are loved. There are no facts, events of real life in lyrical verses. Sumarokov wrote songs on behalf of a man and a woman. The text consists of repetitive formulas, devoid of the specific character expression. Sumarokov created the language of love as a high feeling. Sumarokov did not publish his songs. Pastoral motifs appear in a number of songs and idylls. The elegies and eclogues are written in iambic six-foot, the songs give all sorts of rhythmic combinations.

1747 "Epistole on language", "Epistole on poetry". The Epistle on Language gives general principles for the assimilation of antiquity. The Epistle on Poetry has its own theory, exemplary writers, and genres. (first general characteristics, then main samples, then characteristics of individual genres.)

The tragedy of Sumarokov.

Sumarokov, the author of the first Russian tragedies, used the example of the French tragedians of the 17th and 18th centuries. A number of characteristic features of their system are the Alexandrian verse (iambic six-foot with a caesura on the 3rd foot), 5 acts, the absence of extra-plot inserts and digressions, the absence of comic elements, “high syllable”, etc. Sumarokov transferred to his tragedies. However, it cannot be said that Sumarokov borrowed the tragedy from the French, since it was constantly developing there, and, borrowing, he should have transferred the final version to Russian soil, i.e. variant of Voltaire. Sumarokov built his tragedy on the principles of extreme cost savings, simplicity, restraint, and naturalness. The simplicity of the dramatic plot of his plays does not allow talking about intrigue, because. there is no node of events, all action tends to be limited to one vicissitudes. The initial situation stretches through the entire tragedy and is removed at the end. The roles of Sumarokov are also usually motionless. The tragedy is filled to a large extent with the disclosure of the main situation in its significance for each pair of heroes separately. Dialogues, especially the central characters (lovers) receive a lyrical coloring. No narrative inserts. The central place of the drama is the third act, which is marked mainly by an extra-plot device: the characters draw swords or daggers from their scabbards. (because there is no plot climax). The action of most of the tragedies of Sumarokov is attributed to ancient Rus'; here Sumarokov violates the custom of depicting distant epochs and distant countries in tragedy. Unlike the French tragedy, Sumarokov has almost no confidants, their role is extremely small. He either turns into a herald, or vice versa, becomes a separate hero. The departure from the system of confiding led to the development and abundance of monologues, since a monologue can replace a false dialogue with a confidante. The monologue is used to inform the viewer about the thoughts, feelings and intentions of the characters. The desire to reduce the total number of characters. Thus, Sumarokov created a very unified compositional system of tragedy, in which all elements are merged and conditioned by the principle of simplicity and economy.

Sumarokov believed that “the tragedy is done in order ... to put love for virtue into the caretakers, and extreme hatred for vices.” She wanted to correct the souls of the audience, not the minds, not the state apparatus. Hence the predominance of happy endings. (Tragically for the heroes, only Horev and Sinav and Truvor end.) The presence of a distinct moral and evaluative characteristic. Before us are either wise virtuous heroes (Semira, Dimisa, Truvor) or black villains (Demetrius the Pretender, Claudius in Hamlet), villains die, virtuous heroes emerge victorious from disasters.

Conflict is understood as a conflict between a person's life and how he should live. (“Demetrius the Pretender”) is not a conflict between feeling and duty. The tragedy of a man who does not live the way he should live. The collision of man with fate. At these moments, the scale of the hero's personality is revealed. In tragedies, the location is not important. Heroes are devoid of character traits. Classicism negatively perceived everything concrete - it was perceived as a distortion of human nature. Existential image of life. The tragic hero must be unhappy. Kupriyanova writes that “the hero of a classical tragedy should be neither good nor bad. He must be unhappy." Tragedy elevates viewers and readers (catharsis… blah blah blah ).

The tragedy of Sumarokov gave birth to a tradition. His successors - Kheraskov, Maikov, Knyaznin - nevertheless introduced new features into the tragedy.

In his philosophical views, Sumarokov was a rationalist and looked at his work as a kind of school of civic virtues. Therefore, they put forward moralistic functions in the first place.

This course work is devoted to the study of the work of this outstanding Russian writer and publicist.

1. BRIEF BIOGRAPHY AND EARLY WORK OF SUMAROKOV

1.1 Brief biography of the writer

During the life of Sumarokov, the complete collection of his works was not published, although many poetry collections were published, compiled according to genre.

Sumarokov died in Moscow, aged 59, and was buried in the Donskoy Monastery.

After the poet's death, Novikov twice published the Complete Collection of All Sumarokov's Works (1781, 1787).

1.2 Sumarokov as the founder of the tragic genre

Literary fame was brought to Sumarokov by tragedies. He was the first to introduce this genre into Russian literature. Admiring contemporaries called him "Northern Racine." In total, he wrote nine tragedies. Six - from 1747 to 1758: "Khorev" (1747), "Hamlet" (1748), "Sinav and Truvor" (1750), "Artiston" (1750), "Semira" (1751), "Yaropolk and Demiza ” (1758). Then, after a ten-year break, three more:

“Vysheslav” (1768), “Dmitry the Pretender” (1771) and “Mstislav” (1774).

Sumarokov widely used in his tragedies the experience of French playwrights of the 17th-18th centuries. - Corneille, Racine, Voltaire. But for all that, there were distinctive features in Sumarokov's tragedies. In the tragedies of Corneille and Racine, along with political ones, there were also purely psychological plays (“Sid” by Corneille, “Phaedra” by Racine). All the tragedies of Sumarokov have a pronounced political coloring. The authors of French tragedies wrote plays based on ancient, Spanish and “oriental” subjects. Most of Sumarokov's tragedies are based on domestic themes. In this case, an interesting pattern is observed. The playwright turned to the most distant eras of Russian history, of a legendary or semi-legendary nature, that “Take your love and master yourself” (Ch (3. S. 136), his daughter Ilmena echoes Gostomysl.

Sumarokov decisively reworks one of Shakespeare's best tragedies, Hamlet, specifically emphasizing his disagreement with the author. “My Hamlet,” Sumarokov wrote, “is hardly like Shakespeare’s tragedy” (10. p. 117). Indeed, in Sumarokov’s play, Hamlet’s father is killed not by Claudius, but by Polonius. Carrying out retribution, Hamlet must become the murderer of the father of his beloved In this regard, Hamlet's famous monologue, which begins with Shakespeare's words "To be or not to be?", changes beyond recognition:

What should I do now?

Don't know what to start? Is it easy to lose Ophelia forever!

Father! Mistress! About other names...

Before whom will I transgress? You are equally kind to me (3. S. 94 - 95).

The second type includes characters in whom passion triumphs over public debt. These are, first of all, persons vested with supreme power - princes, monarchs, i.e. those who, according to Sumarokov, should fulfill their duties especially zealously:

The monarch needs a lot of insight,

If he wants to wear a crown without censure.

And if he wants to be firm in glory,

Must be righteous and strict and merciful (3. p. 47).

But, unfortunately, power often blinds the rulers, and it is easier than their subjects to become slaves of their feelings, which most sadly affects the fate of people dependent on them. So, the victims of the suspiciousness of Prince Kyi are his brother and his brother's fiancee - Osnelda ("Khorev"). Blinded by love passion, Prince Sinav of Novgorod drives Truvor and his beloved Ilmena to suicide (“Sinav and Truvor”). The punishment for unreasonable rulers is most often repentance, pangs of conscience that come after a belated insight. However, in some cases, Sumarokov allows more formidable forms of retribution.

The most daring in this regard was the tragedy "Dmitry the Pretender" - the only one of Sumarokov's plays based on reliable historical events. This is the first tyrannical tragedy in Russia. In it, Sumarokov showed a ruler convinced of his right to be a despot and absolutely incapable of repentance. The Pretender declares his tyrannical inclinations so frankly that it even harms the psychological credibility of the image: “I am used to horror, furious with villainy, // Filled with barbarism and stained with blood” (4. p. 74).

Sumarokov shares the enlightenment idea of the right of the people to overthrow the tyrant monarch. Of course, the people are not meant to be commoners, but nobles. In the play, this idea is realized in the form of an open action by soldiers against the Pretender, who, in the face of imminent death, stabs himself with a dagger. It should be noted that the illegitimacy of the reign of False Dmitry is motivated in the play not by imposture, but by the tyrannical rule of the hero: “If you didn’t reign in Russia maliciously, // Dimitry or not, this is equal to the people” (4. p. 76).

The merit of Sumarokov before Russian drama is that he created a special type of tragedy, which turned out to be extremely stable throughout the entire 18th century. The unchanging hero of Sumarokov's tragedies is a ruler who has succumbed to some kind of pernicious passion - suspicion, ambition, jealousy - and because of this, causing suffering to his subjects.

In order for the tyranny of the monarch to be revealed in the plot of the play, two lovers are introduced into it, whose happiness is hindered by the despotic will of the ruler. The behavior of lovers is determined by the struggle in their souls of duty and passion. However, in the plays, where the monarch's despotism assumes destructive proportions, the struggle between duty and the passion of lovers gives way to the struggle with the tyrant ruler. The denouement of tragedies can be not only sad, but also happy, as in "Dmitry the Pretender". This testifies to Sumarokov's confidence in the possibility of curbing despotism.

The heroes of Sumarokov's plays are little individualized and correlate with the social role assigned to them in the play: an unjust monarch, a cunning nobleman, a selfless military leader, etc. Lengthy monologues attract attention. The high structure of the tragedy corresponds to the Alexandrian verses (iambic six-footed with a paired rhyme and a caesura in the middle of the verse). Each tragedy consists of five acts. The unity of place, time and action is observed.

1.3 Comedies and satires

Sumarokov owns twelve comedies. According to the experience of French literature, the “correct” classical comedy should be written in verse and consist of five acts. But Sumarokov, in his early experiments, relied on another tradition - on interludes and on the commedia dell'arte, familiar to the Russian audience from the performances of visiting Italian artists. The plots of the plays are traditional: the matchmaking of several rivals for the heroine, which gives the author the opportunity to demonstrate their funny sides. The intrigue is usually complicated by the goodwill of the bride's parents to the most unworthy of the applicants, which, however, does not interfere with a successful denouement. Sumarokov's first three comedies Tresotinius, Empty Quarrel and Monsters, which consisted of one action, appeared in 1750. Their heroes repeat the characters of Del'arte's commedia: a boastful warrior, a clever servant, a learned pedant, an avid judge. The comic effect was achieved by primitive farcical techniques: fights, verbal skirmishes, dressing up.

So, in the comedy Tresotinius, the scientist Tresotinius and the boastful officer Bramarbas woo the daughter of Mr. Orontes - Clarice, Mr. Orontes - on the side of Tresotinius. Clarice herself loves Dorant. She feigningly agrees to obey her father's will, but secretly from him enters not Tresotinius, but Dorant into the marriage contract. Orontes is forced to come to terms with what has happened. The comedy Tresotinius, as we can see, is still very much connected with foreign models, characters, the conclusion of a marriage contract - all this is taken from Italian plays. Russian reality is represented by a satire on a specific person. In the image of Tresotinius, the poet Trediakovsky is bred. In the play, many arrows are directed at Trediakovsky, up to a parody of his love songs.

The next six comedies - “Dowry by deceit”, “Guardian”, “Likhoimets”, “Three brothers together”, “Poisonous”, “Narcissus” - were written in the period from 1764 to 1768. These are the so-called comedies of characters. The main character in them is given close-up. His "vice" - narcissism ("Narcissus"), slander ("Poisonous"), stinginess ("Likhoimets") - becomes the object of satirical ridicule.

The plot of some comedies of Sumarokov's characters was influenced by the “philistine” tearful drama; it usually depicted virtuous heroes who were materially dependent on “vicious” characters. The motive of recognition, the appearance of unexpected witnesses, and the intervention of representatives of the law played an important role in the denouement of tearful dramas. The play The Guardian (1765) is most typical for comedies of characters. Her hero is the Outsider, a type of miser. But unlike the comic versions of this character, Sumarok's miser is terrible and disgusting. Being the guardian of several orphans, he appropriates their fortune. Some of them - Nisa, Pasquin - he keeps in the position of servants. Sostrata prevents her from marrying a loved one. At the end of the play, Outlander's machinations are exposed and he must stand trial.

By 1772, “everyday” comedies include: “Mother is a daughter’s partner-in-law”, “Scrabble” and “Cuckold by imagination”. The last of them was influenced by Fonvizin's play "The Brigadier". In The Cuckold, two types of nobles are opposed to each other: the educated, endowed with subtle feelings Floriza and Count Cassander - and the ignorant, rude, primitive landowner Vikul and his wife Khavronya. This couple eats a lot, sleeps a lot, plays cards out of boredom.

One of the scenes picturesquely conveys the features of the life of these landowners. On the occasion of the arrival of Count Cassandra, Khavronya orders a festive dinner for the butler.

This is done enthusiastically, with inspiration, with knowledge of the matter. An extensive list of dishes colorfully characterizes the uterine interests of rural gourmets. Here - pork legs with sour cream and horseradish, a stomach with stuffing, pies with salted milk mushrooms, “frucas” from pork with prunes and “slurry” porridge in a “gritted” pot, which, for the sake of a noble guest, was ordered to be covered with “Venice” (Venetian) plate.

The story of Khavronya about her visit to the St. Petersburg theater, where she watched Sumarokov's tragedy "Khorev", is amusing. She took everything she saw on stage as a genuine incident, and after Khoreva's suicide, she decided to leave the theater as soon as possible. “A Cuckold by Imagination” is a step forward in Sumarokov's dramaturgy. Unlike previous plays, the writer here avoids too straightforward condemnation of the characters. In essence, Vikul and Khavronya are not bad people. They are good-natured, hospitable, touchingly attached to each other. Their trouble is that they have not received proper upbringing and education.

Sumarokov owns ten satyrs. The best of them - "On Nobility" - is close in content to Cantemir's satire "Filaret and Eugene", but differs from it in laconism and civic passion. The theme of the work is true and imaginary nobility. The nobleman Sumarokov is hurt and ashamed of his brothers in class, who, taking advantage of their position, forgot about their duties. Genuine nobility is in deeds useful to society:

The antiquity of the family, from the point of view of the poet, is a very dubious advantage, since the ancestor of all mankind, according to the Bible, was Adam. Only enlightenment gives the right to high positions. A nobleman of revezhda, a loafer nobleman cannot claim nobility:

And if I am not fit for any position, -

My ancestor is a nobleman, but I am not noble (4.S. 191).

In his other satires, Sumarokov ridicules mediocre but ambitious writers (“On the Bad Rhymers”), ignorant and greedy judicial officials (“On the Bad Judges”), gallomaniac nobles who disfigure Russian speech (“On the French Language”). Most of Sumarokov's satires are written in Alexandrian verse in the form of a monologue, full of rhetorical questions, appeals, and exclamations.

A special place among Sumarokov's satirical works is occupied by "Chorus to the Perverted Light". The word "perverse" here means "other", "other", "opposite". "Chorus" was commissioned to Sumarokov in 1762 for the public masquerade "Triumphant Minerva" on the occasion of the coronation of Catherine II in Moscow. According to the plan of the organizers of the masquerade, it was supposed to ridicule the vices of the previous reign. But Sumarokov violated the boundaries offered to him and spoke about the general shortcomings of Russian society. “Chorus” begins with the story of the “titmouse”, who flew in from behind the “midnight” sea, about the ideal orders that she saw in a foreign (“perverse”) kingdom and which are sharply different from everything that she meets in her homeland. The “perverse” kingdom itself has a utopian, speculative character in Sumarokov. But this purely satirical device helps him to denounce bribery, the injustice of clerks, the nobles' disregard for science, and their passion for everything “foreign”. The verses about the fate of the peasants looked the most daring: “They don’t skin the peasants there, // They don’t put villages on the cards there, // They don’t trade people across the sea” (6. p. 280).

2. POETRY AND PUBLICISM OF A.P. SUMAROKOVA

2.1 Poetic creativity

Sumarokov's poetic work is extremely diverse. He wrote odes, satires, eclogues, elegies, epistles, epigrams. Among his contemporaries, his parables and love songs were especially popular.

With this word, denoting a short edifying story, the writer called his fables. Sumarokov can be considered the founder of the fable genre in Russian literature. He turned to him throughout his creative life and created 374 fables. Contemporaries spoke highly of them. “His parables are revered as the treasures of the Russian Parnassus,” N. I. Novikov pointed out in his “Experience of a Historical Dictionary of Russian Writers”. Sumarokov's parables reflect the most diverse aspects of Russian life of that time. Thematically, they can be divided into three main groups.

Sumarokov was the first in Russian literature to introduce diverse verse into the fable genre and thereby sharply increase its expressive possibilities. Not content with allegorical images from the animal and plant world, the poet often turned to specific everyday material and based on it created expressive genre scenes (“The Solicitor”, “Naughty”, “The Man and the Klyacha”, “Kiselnik”). In his parables, belonging, according to the poetic gradation of the classicists, to low genres, Sumarokov focused on Russian folklore - on a fairy tale, proverb, anecdote with their rude humor and picturesque colloquial language. In Sumarokov, one can find such expressions as “she ate molasses” (“Beetles and Bees”), “his grumbling in her ear tickled her” (“Legsless Soldier”), “neither milk, nor wool” (“Bobblehead”), “ and spat in the eyes” (“The Disputant”), “what nonsense you are spinning” (“Naughty”). Sumarokov coarsens the language of his fables. In the very selection of vulgar words, he sees one of the means to humiliate, ridicule the phenomena of private and public life he rejects. This feature sharply distinguishes the parables of Sumarokov from the gallant, refined fables of Lafontaine. In the realm of fables, Sumarokov is one of Krylov's predecessors.

Love poetry in the work of Sumarokov is represented by eclogues and songs. His eclogues, as a rule, were created according to the same plan. First, a landscape picture appears: a meadow, a grove, a stream or a river; heroes and heroines are idyllic shepherds and shepherds with ancient names Damon, Clarice, etc. Their love languor, complaints, confessions are depicted. The eclogues end with a happy denouement of an erotic, sometimes quite frank, character.

Sumarokov's songs, especially love ones, enjoyed great success among his contemporaries. In total, he wrote over 150 songs. The feelings expressed in them are extremely diverse, but most often they convey suffering, the torments of love. Here is the bitterness of unrequited passion, and jealousy, and longing caused by separation from a loved one. Sumarokov's love lyrics are completely freed from all sorts of realities. We do not know either the names of the heroes, or their social status, or the place where they live, or the reasons that caused their separation. Feelings, detached from everyday life and social relations of the characters, express universal human experiences. This is one of the features of the "classicism" of Sumarokov's poetry.

Some of the songs are stylized in the spirit of folklore poetry. These include: “The girls walked in the grove” with a characteristic chorus “Is it my viburnum, is it my raspberry”; “Wherever I walk or walk” with a description of folk festivals. This category should include songs of military and satirical content: “Oh you, strong, strong Bendergrad” and “Savushka is sinful”. Sumarokov's songs are distinguished by exceptional rhythmic richness. He wrote them in two-syllable and three-syllable sizes and even dolniks. Their strophic pattern is just as varied. The popularity of Sumarokov's songs is evidenced by the inclusion of many of them in printed and handwritten songbooks of the 18th century, often without the name of the author.

Sumarokov wrote the first elegies in Russian literature. This genre was known in ancient poetry, and later became a pan-European property. The content of elegies was usually sad reflections caused by unhappy love: separation from a loved one, betrayal, etc. Later, especially in the 19th century, elegies were filled with philosophical and civil themes. In the XVIII century. elegies, as a rule, were written in Alexandrian verse.

In the work of Sumarokov, the use of this genre to a certain extent was prepared by his own tragedies, where the monologues of the characters often represented a kind of small elegy. The most traditional in Sumarokov's poetry are elegies with love themes, such as “Playing and laughter have already left us”, “Another sad verse gives rise to poetry”.

A peculiar cycle is formed by elegies connected with the theatrical activity of the author. Two of them (“On the death of F. G. Volkov” and “On the death of Tatyana Mikhailovna Troepolskaya”) were caused by the premature death of the leading artists of the St. Petersburg court theater - the best performers of tragic roles in Sumarokov's plays. In two other elegies - “Suffer, unfortunate spirit, my chest is tormented” and “My annoyance has now surpassed all measures” - dramatic episodes of the theatrical activity of the poet himself were reflected. In the first of them, he complains about the intrigues of enemies who have deprived him of his director's position. The second is due to gross copyright infringement. Sumarokov categorically objected to the performance of the role of Ilmena in his play "Sinav and Truvor" by the mediocre actress Ivanova, whom the Moscow commander in chief Saltykov sympathized with.

The author complained about the arbitrariness of Saltykov to the Empress, but received in response a mocking insulting letter. The works of Sumarokov significantly expanded the genre composition of Russian classic literature. “... He was the first of the Russians,” wrote N. I. Novikov, “began to write tragedies according to all the rules of theatrical art, but he managed so much in them that he earned the name “northern Racine.” (8. p. 36)

2.1 Journalism and dramaturgy

Sumarokov was also an outstanding journalist, he keenly felt the purely artistic tasks that faced Russian literature. He outlined his thoughts on these issues in two epistles: “On the Russian language” and “On poetry”. Subsequently, he combined them in one work called “Instruction to those who want to be writers” (1774). Boileau's treatise The Art of Poetry served as a model for the Instruction, but in Sumarokov's work one can feel an independent position dictated by the urgent needs of Russian literature. The treatise Boileau does not raise the question of creating a national language, since in France in the 17th century. this issue has already been resolved. Sumarokov, however, begins his “Instruction” with this: “We need such a language as the Greeks had, // What the Romans had, And following them in that // As Italy and Rome now say” (1. p. 360) .

The main place in the “Instruction” is given to the characteristics of genres new to Russian literature: idylls, odes, poems, tragedies, comedies, satires, fables. Most of the recommendations are related to the choice of style for each of them: “In poetry, know the difference in gender // And what you start, look for decent words” (1. P. 365). But Boileau and Sumarokov's attitudes to individual genres do not always coincide. Boileau speaks very highly of the poem. He puts it even above tragedy. Sumarokov says less about her, being content only with a description of her style. He never wrote a single poem in his entire life. His talent was revealed in tragedy and comedy, Boileau is quite tolerant of small genres - the ballad, rondo, madrigal. Sumarokov in the epistle "On poetry" calls them "trinkets", and in the "Instruction" he bypasses complete silence.

At the end of the reign of Empress Elizabeth, Sumarokov spoke out against the established form of government. He was outraged that the nobles did not correspond to the ideal image of the “sons of the fatherland”, that bribery flourished. In 1759, he began publishing the journal Hardworking Bee, dedicated to the wife of the heir to the throne, the future Empress Catherine II, with whom he linked his hopes for arranging life according to truly moral principles. The magazine contained attacks on nobles and scoundrels, which is why it was closed a year after its foundation.

Sumarokov's opposition was not least based on his difficult, irritable character. Everyday and literary conflicts - in particular, the conflict with Lomonosov - are also partly explained by this circumstance. The coming of Catherine II to power disappointed Sumarokov with the fact that a handful of her favorites, first of all, took up not serving the common good, but satisfying their personal needs.

The extremely proud and obstinate nature of Sumarokov served as a source of endless quarrels and clashes, even with his closest relatives. To undermine the literary authority of Sumarokov is not for his enemies.

succeeded, but in the attitude towards him of many persons from the highest and literary circles there was a lot of unfairness. The nobles teased him and made fun of his rage; Lomonosov and Tretyakovsky pestered him with ridicule and epigrams. They brutally attacked I. P. Elagin, when he, in his "satire on petimeter and coquettes," addressed Sumarokov in such terms:

Bualov's confidante, our Russian Racine,

Defender of truth, persecutor, scourge of vices. (5. p. 34)

Sumarokov, for his part, did not remain in debt: in his absurd odes, he parodied the high-flown stanzas of Lomonosov, and Tredyakovsky was portrayed in Tressotinius, in the person of a stupid pedant, now reading clumsy and ridiculous verses, from which everyone is fleeing, then talking about about which "firmly" correct ones - about three legs or about one. Emin and Lukin were also Sumarokov's opponents in the literary field, but Kheraskov, Maikov, Knyaznin, Ablesimov bowed to his authority and were his friends.

Sumarokov waged a constant struggle with censorship. In most cases, Sumarokov's intransigence was due to his relentless pursuit of the truth as he understood it. With the strongest nobles of his time, Sumarokov argued and got excited in the same way as with his fellow writers, and he could no longer be a jester with them or a flatterer in his own right; nature. Sumarokov's relationship with I. I. Shuvalov was imbued with sincere and deep respect.

Sumarokov did not manage the theater for a particularly long time: due to some exactly unknown clashes with the artists and misunderstandings, or rather intrigues, Sumarokov was, in 1761, dismissed from the title of director of the theater. Although this did not cool his passion for writing, he was very upset and met with particular joy the accession of Catherine II. In a eulogy written on this occasion, he attacked in strong terms ignorance, strengthened by predilection and force, as the source of untruth in life; he begged the Empress to fulfill what death prevented Peter the Great from fulfilling - to create "a magnificent temple of inviolable justice." Empress Catherine knew and appreciated Sumarokov and, despite the need to sometimes make suggestions to this "hot head", did not deprive him of her favor. All his writings were printed at the expense of the Cabinet.

It is curious both to characterize the time and customs, and to determine the mutual relations of Sumarokov and the Empress, his case with the owner of the Moscow theater Belmonti, whom he forbade to play his works. Belmonti turned to the Commander-in-Chief of Moscow, Field Marshal Count. P.S. Saltykov, and he, without delving into the matter properly, allowed him to play the works of Sumarokov.

CONCLUSION

The work of Sumarokov had a great influence on contemporary Russian literature. Enlightener N. Novikov took epigraphs to his anti-Catherine satirical magazines from Sumarokov's parables: “They work, and you eat their work”, “Strict instruction is dangerous, / Where there is a lot of atrocities and madness”, etc. Radishchev called Sumarokov a great husband. Pushkin considered his main merit that "Sumarokov demanded respect for poetry at a time of neglect of literature."

Racine and Voltaire served as a model for Sumarokov. His tragedies are distinguished by all the external properties of pseudo-classical French tragedy - its conventionality, lack of live action, one-sided depiction of characters, etc. Sumarokov not only reworked, but directly borrowed from French tragedies the plan, ideas, character, even entire scenes and monologues. His Sinavas and Truvors, Rostislavs and Mstislavs were only pale copies of the Hippolytes, Britannics and Brutes of French tragedies.

Contemporaries of Sumarokov's tragedy liked the idealization of characters and passions, the solemnity of monologues, external effects, the striking contrast between virtuous and vicious persons; they established the pseudo-classical repertoire on the Russian stage for a long time. Being devoid of national and historical flavor, Sumarokov's tragedies had an educational value for the public in the sense that the sublime ideas of honor, duty, love for the fatherland that prevailed at that time in European literature were put into the mouths of the characters, and the images of passions were clothed in an ennobled and refined form. .

Sumarokov's comedies were less successful than tragedies. And they are, for the most part, alterations and imitations of foreign models; but in them there is much more of a satirical element addressed to Russian reality. In this regard, Sumarokov's comedies, of which the best is The Guardian, together with satyrs, fables and some eclogues, provide rich material for studying the spirit of the era and society. The purpose of the comedy Sumarokov.

In difficult moments, Sumarokov's soul was seized by a religious feeling, and he sought consolation from sorrows in the psalms; he translated the psalter into verse and wrote spiritual compositions, but there is as little poetry in them as in his spiritual odes. His critical articles and reasonings in prose are currently only of historical significance.

REFERENCES

1. Aldanov, M.S. Russian literature in the era of classicism. / M.S. Aldanov. M., 1992. 468 p.

2. Arend, X.V. Formation of Russian classical literature. / H.V. Rent. M., 1996. 539s.

3. Bulich, N.P. Sumarokov and contemporary criticism. / N.P. Bulich. SPb., 1954. 351s.

4. Gardzhiev K.S. Introduction to Literary Studies. -M.: Logos Publishing Corporation, 1997.

5. Mekarevich E. Legal revolution/UDialog.1999. - No. 10-12.

6. Sumarokov A.P. Poly. coll. all Op. Part 4

7. Novikov N.I. Selected Works M., L., 1951.

8. Pushkin, A.S. Collected works./ A.S. Pushkin. M., 1987. 639s.

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