1. The peculiarity of the language of Karamzin's works is that:
A) the writer brought it closer to live colloquial speech;
B) the writer used only "high" vocabulary;
C) the writer introduced words borrowed from other languages into active use.
2. Genre "Poor Lisa":
A) essay B) a story;
B) story.
3. The artistic originality of sentimentalism, the founder of which in Russia was Karamzin, consists of:
A) in the image of the inner world and feelings of a person;
B) in the study personal qualities person;
C) in the upbringing of the external beauty of a person.
4. The task of the narrator in "Poor Lisa":
A) highlight events without expressing their position;
B) give the events a subjective-emotional assessment;
C) historically accurately convey the features of the life of the inhabitants of Moscow at the end of the 8th century.
5. Portrait of Erast reflects:
A) only the appearance of the hero;
C) appearance, lifestyle of the hero, features of his character.
6. Karamzin contrasts the main characters - Lisa and Erast:
A) describing their appearance;
B) talking about their attitude to work;
C) talking about their parents.
7. “Until now, waking up with the birds, you had fun with them in the morning, and
a pure, joyful soul shone in your eyes, like the sun
glows in drops of heavenly dew ... ”- writes Karamzin about Lisa:
A) as a person with a pure soul;
B) with irony;
C) as a frivolous girl.
8. the words of a declaration of love for Lisa sounded from the lips of Erast as:
A) thunder from heaven
B) amazing music;
C) the rustle of leaves.
9. A person spiritually close to Lisa:
A) mother B) Erast; B) narrator.
10. Erast married a rich widow because:
A) welfare for him was more important than love;
B) could not continue relations with a peasant woman;
C) in the army he lost his estate and was left without funds.
11. pictures of nature in the work:
A) are the background of the story; B) show the change of seasons;
C) convey the mood of Lisa.
12. The phrase from "Poor Lisa", which became winged:
A) “However, Liza, it’s better to feed on your own labors and not take anything for free”;
B) “And peasant women know how to love”; C) "Death for the fatherland is not terrible ...".
13. The epithet "poor" in the title of the work means:
A) a beggar; B) destitute; B) unhappy.
14. Karamzin's innovation manifested itself:
A) in disguise social inequality heroes;
C) in a detailed image of the inner world of the heroine.
Test by ballads.
Performed)______________________________
Choose the signs of a ballad:
prose form.
Poetry form.
There is a plot
Magic transformations take place
The main character is a hero
Could be a tragic ending
Good conquers evil
The action is often transferred to ancient times.
Animals act under the mask of which people are hiding
Used hyperbole
Describes the reign of Russian princes.
There is mystery, mysticism.
There is a dialogue.
The hero is helped by a magical assistant.
Humor is used.
What was the skill of V.A. Zhukovsky in the ballad "Svetlana"? How does it evoke a mood of mystery, fear, joy in the reader?
Answer the questions:
In what image does the "comforter angel" appear to Svetlana?
What "frightens" Svetlana in her dream?
How is the theme of divination revealed in the ballad?
Name five folklore elements used by the author.
What are genre features Zhukovsky's ballads?
Main ideas of the ballad
What character traits of Svetlana create her romantic image?
What role does color play in the ballad?
Where does Svetlana experience the strongest feelings?
What and to whom does the author give instruction in the epilogue?
Literature test “Karamzin N.M. Poor Lisa"
Form start
1. What literary direction does the work of N.M. Karamzin "Poor Lisa"
2. What literary genre does "Poor Liza" belong to?
1) story
2) novel
3) story
4) poem
3. Specify main theme works.
1) love theme
2) the theme of nature
3) the theme of betrayal
4) the theme of motherhood
4. Where do the events told by the author in the work take place?
1) in St. Petersburg and its suburbs
2) in Moscow and its suburbs
3) in Kyiv and its suburbs
4) in Voronezh and its suburbs
5. How can you characterize Lisa's love for Erast?
1) reckless
2) limitless
3) random
4) the heroine did not love Erast
6. What is Erast's love for Lisa?
1) reliable
2) strong
3) insignificant
4) unable to withstand the test
1) The author loves Lisa, understands her and sympathizes with her.
2) N.M. Karamzin condemns the heroine for recklessness in love.
3) The author condemns the way Lisa passed away.
4) The author's attitude towards the heroine is not felt in the work.
8. How does N.M. Karamzin to Erast?
1) despises him
2) condemns the betrayal towards Lisa
3) understands him, sympathizes with him
4) the author's attitude to the hero is not traced in the work
9. What is the role of nature in the work?
1) nature is the background of the story
2) according to the pictures of nature, you can judge the time of year
3) nature conveys Lisa's mood
4) the author believed that without landscape sketches his work will be incomplete
10. The epithet "poor" in the title of the work means:
1) unhappy
2) beggar
3) destitute
4) cashless
11. What type literary heroes Can you take Lisa?
1) "extra person"
2) "little man"
3) resonator
4) "offended and offended"
Test on the story of A.S. Pushkin "The Captain's Daughter"
The narration in "The Captain's Daughter" is conducted on behalf of:
b) the narrator;
c) Masha Mironova;
d) Petr Grinev;
a) compositions
b) epigraphs
e) choosing a hero
3. What historical figures mentioned in the story?
a) Frederick II
b) Count Munnich
c) Grigory Orlov
d) Catherine the First
e) Elizabeth I
e) Catherine II
4. Name the artistic techniques that Pushkin did not use to create the image of Pugachev.
b) portrait
c) epigraphs
d) speech characteristic
e) the attitude of other characters
e) plug-in elements
5. What is the meaning of the title of the story? Masha Mironova - ...
a) the only female character in the story
b) is at the center of the story
c) bearer of high morality and honor
d) the daughter of a deceased Russian officer
6. Correlate the elements of the composition and the elements of the development of a love story.
a) exposition 1) scene of a duel with Shvabrin, letter from father
b) plot 2) release of Grinev, marriage to Masha
c) climax 3) Petrusha's childhood in the family estate
d) denouement 4) Grinev's acquaintance with main character story
7. For what purpose is Grinev's dream introduced into the story?
a) characterizes Grinev
b) portends the development of the relationship of two characters
c) characterizes Pugachev
d) emphasizes the bloodthirstiness of Pugachev
8. Who owns the statement "God forbid to see a Russian rebellion, senseless and merciless ..."?
b) Catherine II
c) Petrusha Grinev
e) Savelich
9. Match the pairs of heroes whose characteristics are based on the principle of antithesis.
a) Pugachev 1) Orenburg generals
b) Shvabrin 2) Catherine II
c) Pugachev's "generals" 3) Grinev
10. What folklore genres does A.S. Pushkin use to create the image of Pugachev?
a) epics d) songs
b) riddles e) proverbs, sayings
c) fairy tales e) myths
11. What chapter is preceded by an epigraph:
“At that time, the lion was full, even though he was ferocious from his birth.
“Why did you deign to come to my den?” -
he asked kindly. (A. Sumarokov)
a) "Court" d) "Uninvited guest"
b) "Arrest" e) "Rebellious Sloboda"
c) "attack"
12. What is the main problem of the story "The Captain's Daughter"?
a) the problem of love
b) the problem of honor, duty and mercy
c) the problem of the role of the people in the development of society
d) the problem of comparing tribal and service nobility
13. How is Savelich shown in the story?
a) downtrodden, voiceless serfs
b) obedient, slavishly devoted to their masters
c) deep, endowed with self-esteem
d) loving, faithful, selfless, caring assistant and adviser
14. Mark the correct judgment. Literary character is...
a) image specific person, in which typical features of time are expressed through individual qualities
b) artistic image of a person
c) personal traits inherent in the hero
15. What symbolic images are used by A.S. Pushkin in the story "The Captain's Daughter"?
a) path, road e) dagger
b) grave e) gallows
c) storm
d) eagle, raven
16. What are the features of a Russian national character shown by A.S. Pushkin in the image of Pugachev?
a) intelligence
b) laziness, inactivity
c) daring, breadth of nature
d) a tendency to drink
e) memory of kindness, gratitude
17. Whose portrait is this? “She was in a white morning dress, a night cap and a shower jacket. She seemed to be forty years old. Her face, full and ruddy, expressed importance and calmness, and Blue eyes and a slight smile had an inexplicable charm ... "
a) Maria Mironova
b) Vasilisa Egorovna
c) Catherine II
d) Avdotya Vasilievna
Literature test “Pushkin A.S. Captain's daughter "No. 1 for grade 8
Form start1. When was Pyotr Grinev enlisted as a sergeant in the Semyonovsky regiment?
1) after he turned 18 years old
2) after he turned 16 years old
3) even before birth
4) immediately after birth
2. Who was the hero Savelich?
1) father
2) godfather
3) uncle
4) friend
3. Why was Beaupre demoted by Grinev's father?
1) he did not have a teaching diploma
2) did not know any science
3) slept and drank a lot
4) chasing after women
4. Who are we talking about?
"He was a kind fellow, but windy and dissolute to the extreme."
1) Petr Grinev
2) Alexey Shvabrin
3) Zurin
4) French Beaupré
5. Find out the hero by description.
“The hair was cut in a circle; he was wearing a tattered coat and Tatar trousers.”
1) Emelyan Pugachev
2) Savelich
3) Alexey Shvabrin
4) Zurin
6. Recognize the hero by description.
"... a young officer of short stature, with a swarthy face and remarkably ugly, but extremely lively."
1) Zurin
2) Alexey Shvabrin
3) Emelyan Pugachev
4) Captain Mironov
7. What is the name of the technique used in the passage below?
“The road went along the steep bank of the Yaik. The river was not yet frozen, and its leaden waves blackened sadly in the monotonous banks covered with white snow. Behind them stretched the Kirghiz steppes.
1) interior
2) landscape
3) remark
4) portrait
8. What is the name of the technique used by the author in the passage below?
“I entered a clean room, decorated in the old way. In the corner stood a cupboard with dishes; on the wall hung an officer's diploma behind glass and in a frame; flaunted around him lubok pictures, representing the capture of Kistrin and Ochakov, as well as the choice of the bride and the burial of the cat.
1) landscape
2) portrait
3) interior
4) symbol
9. What words are taken out as an epigraph to the whole work?
1) We live in a fort, we eat bread and drink water.
2) Is it my side, my side. Unfamiliar side!
3) Take care of honor from a young age.
4) Take care of the dress again, and honor from a young age.
10. Why is the work, dedicated to a greater extent to Grinev, called "The Captain's Daughter"? Point out the wrong statement.
1) Masha is a person strong will. Her lot fell to severe trials, and she withstood them with honor.
2) Captain's daughter Masha Mironova is a carrier best features Russian national character.
3) Masha is the daughter of Captain Mironov, a Russian officer, a patriot who did not defect to the side of the impostor, who remained faithful to the Motherland, to the throne. Mironov raised a noble, honest daughter.
4) Masha is the most important character in the work.
End of form
1 option
Indicate the years of Pushkin's life
B) 1801-1837 d) 1799-1835
3) Indicate which fact does not apply to Pushkin's biography
A) Participated in the literary society "Arzamas"
B) Published the magazine "Contemporary"
C) Planned to write "History of Ukraine"
D) Died in a duel with a suitor of his wife
4) What genre does “Song of the Prophetic Oleg” belong to?
A) song c) ballad
B) poem d) ode
5) "The Song of the Prophetic Oleg" is written
A) during the years of study at the Tsarskoye Selo Lyceum
C) during the "Boldino autumn"
6) To whom the prophetic Oleg was going to take revenge
A) Pechenegs c) Cumans
B) Khazars d) Tatars
7) Who was present at the "feast of the deplorable Oleg"
A) Igor B) Olga
B) Vladimir d) Svyatoslav
8) With whom did Peter fight in "Poltava"
A) with the Germans B) with the British
B) with the Swedes d) with the Lithuanians
9) What was the original title of the poem
A) "Poltava battle" c) "Mazepa"
B) "Peter" d) "Kochubey"
10) What technique does Pushkin use in comparing Peter and Karl
A) allegory B) contrast
B) metaphor d) personification
12) How many times Gregory sees the same dream
A) 4 times c) 3 times
B) 2 times d) 5 times
13) What does Gregory Pimen ask for when he wakes up
A) pray for him B) bless him
B) help him hide d) help him run
14) How many murderers were caught immediately after the murder of Dimitri
A) two c) five
B) three d) one
15) Indicate which proverb serves as an epigraph to the story
A.S. Pushkin "The Captain's Daughter"
a) “He called himself a loader - climb into the back”
B) "Take care of honor from a young age"
C) "There is nothing to blame on the mirror, if the face is crooked"
D) “Without labor, you can’t pull a fish out of a pond”
16) Petr Grine was signed up for military service
A) upon reaching the age of majority
B) at the age of 14
D) before birth
17) What was the name of Grinev's teacher and faithful companion
A) Semenych B) Stepanych
B) Savelyich d) Arkhipych
18) His parents received a message about Grinev's participation in the duel from
A) Savelich c) Masha Mironova
B) Shvabrin d) Captain Mironov
19) How Shvabrin behaved after the capture of the fortress
A) redeemed
B) went over to the side of Pugachev
B) escaped from the fortress
D) hid in the houses of the priest
20) Indicate the name of Pugachev's favorite song
A) "Don't make noise, mother green oak tree"
B) "Dubinushka"
C) "Down the mother along the Volga"
D) "Captain's daughter, don't go for a walk at midnight"
A) Stepan Razin and Alexander I
B) Emelyan Pugachev and Catherine II
C) Catherine II and Stepan Razin
D) Nicholas I and Emelyan Pugachev
В 1 On the bank of which river were the bones of Oleg's horse?
Q 2 What color were the uniforms of the army of the enemy Peter (based on the poem "Poltava")
In 3 In which city was Pimen at the time of the death of Tsarevich Dimitri
(based on the tragedy "Boris Godunov")
In 4 Which chapter of the story "The Captain's Daughter" as
epigraph taken the saying "Worldly rumor - sea wave"
Test on the creativity of A.S. Pushkin
Option 2
In what city was A.S. Pushkin born
2) What date is associated with the formation of the Tsarskoye Selo Lyceum
3) Indicate which fact does not apply in the biography of A.S. Pushkin
A) Wrote "History of the Pugachev rebellion"
B) participated in the Decembrist uprising
B) Studied at the Tsarskoye Selo Lyceum
D) He died at the hands of his wife's admirer.
4) The basis of the "Song of the Prophetic Oleg" is a plot borrowed
A) from the "Life of Sergius of Radonezh"
B) from the Teachings of Vladimir Monomakh
C) from "The Tale of Igor's Campaign"
D) from "The Tale of Bygone Years"
B) poetic advanced old Russian text
B) part great work A.S. Pushkin
D) an independent literary work
6) What did Oleg offer as a reward when he asked for a fortune teller
about prophecy
A) horse B) money C) fulfillment of any desire
D) ring
7) When Oleg remembered his horse
A) in battle B) on the river bank C) at a feast
D) meeting the predictor again
8) What was the original name of the poem "Poltava"
A) "Poltava battle" B) "Mazepa" c) "Peter" d) "Kochubey"
9) Who led the enemy army in Poltava
A) Napoleon B) Charles XII c) Wilhelm II D) Friedrich II
10) In whose honor did Peter raise the “healthy cup” at the feast
A) for your friends B) for your enemies
B) for their teachers d) for themselves
11) Pushkin dedicated the tragedy "Boris Godunov" to the memory of
A) N.M. Karamzina B) V.K. Trediakovsky
B) G.R. Derzhavin d) M.V. Lomonosov
12) Where the scene of the conversation between Gregory and Pimen unfolds
A) In the Kiev-Pechersk monastery
B) In the Miracle Monastery
C) in the Trinity-Sergius Lavra
D) In the Vydubitsky monastery
13) Under what ruler, according to Pimen, Rus
“rejoiced in serene glory”?
A) under Ivan the Terrible B) under Fedor
B) under Vasily III D) under Ivan III
14) What does Pimen advise Grigory
A) humble yourself by fasting c) do not stop fighting
B) become a monk d) gather an army against Boris
15) They decided to send Pyotr Grinev to military service
Upon reaching them
A) 16 years old b) 20 years old c) 18 years old d) 22 years old
6) Indicate which printed matter has always had a strong
influence" on Andrey Petrovich Grinev
a) "Domostroy" B) "Court Calendar"
b) "Psalter" d) "Youth honest mirror"
17) Orenburg General Andrei Karlovich did not know the meaning
Russian expression
a) "Keep honor from a young age"
b) "Keep tight"
c) "To work carelessly"
D) "Do not renounce prison and the bag"
18) Indicate the reason for the duel between Grinev and Shvabrin
A) gambling debt
B) Unfair game of billiards
C) Transfer of Shvabrin to the side of Pugachev
D) Insult inflicted on Masha Mironova
19) Why Grinev was taken into custody
A) Pugachev said that Grinev is his spy
B) Shvabrin slandered him
C) arbitrarily left Orenburg
D) He was slandered by defectors unknown to him
20) Indicate which proverb on the pages of the story
uses Pugachev
A) “The Lord will not give out - the pig will not eat
B) "Debt in payment is red"
C) "A horse with four legs, but stumbles"
D) "At least a tuft of wool from a black sheep"
21) What historical characters act in the story
A) Stepan Razin and Alexander I B) Catherine II and Stepan Razin
B) Emelyan Pugachev and Catherine II D) Nicholas I and Emelyan Pugachev
В 1 At the gates of which city Oleg nailed his shield
At 2 What time of day did the battle of Poltava begin
B 3 Who lived in Pimen's cell before him
B 4 Name the main characters of the Kalmyk fairy tale, which
Pugachev told Grinev
Performed)
Final Literature Test Grade 8
1 option
Tell us about the features of CNT development (peculiarities of emergence, genres, authors, main works)
Creative task:
Option 2
Name the genera and their corresponding genres of literature
List the main sections of the development of literature
Tell us about the features of the development of Old Russian literature (peculiarities of origin, genres, authors, main works)
Creative task:
Mini-essay on the topic: “My favorite hero” (for the 8th grade course)
3 option
Name the genera and their corresponding genres of literature
List the main sections of the development of literature
Tell us about the features of the development of Literature of the 18th century (features of the emergence, genres, authors, main works)
Creative task:
Mini-essay on the topic: “My favorite hero” (for the 8th grade course)
4 option
Name the genera and their corresponding genres of literature
List the main sections of the development of literature
Tell us about the features of the development of Literature of the 19th century (features of the emergence, genres, authors, main works)
Creative task:
Mini-essay on the topic: “My favorite hero” (for the 8th grade course)
Literature tests for grade 8 (incoming control).
Test number 1.
What definition of folklore seems to you the most complete?
b) art created by the people and existing among the broad masses of the people;
c) oral folk art;
d) a set of works on various topics;
2. What language is the word "folklore" borrowed from?
a) Greek c) English;
a) a poet c) a singer-songwriter;
b) chronicler; d) the people;
4. Name the types of art in which elements of folklore can be used.
a) architecture; c) dance;
b) painting; d) literature;
5. What is a riddle?
a) child's play c) a short story with a witty ending;
b) folklore genre; d) figurative combination of words;
6. What poem brought fame to M.Yu. Lermontov?
a) "Sail"; b) "Duma";
c) "Borodino"; d) "Death of a poet";
15. Who was the closest friend of A.S. Pushkin?
a) K. Danzas; b) I. Pushchin;
c) P. Yudin; d) A. Illichevsky;
16. Where was the Lyceum where A.S. Pushkin?
a) in Moscow; b) in St. Petersburg;
c) in Tsarskoye Selo; d) in Mikhailovsky;
17. What was the name of the heroine from the story of A.S. Pushkin's "Young lady-peasant"
a) Nastya; b) Lisa;
c) Olga; d) Katerina;
18. What is the name of the collection, which included the story "Bezhin Meadow"?
a) "Notes of a traveler"; b) "Notes of a fisherman";
c) "Notes of a hunter"; d) Turgenev's Notes.
Verification work on foreign literature
Provide detailed answers to the following questions:
Composition of Dante's comedy. The symbolism of numbers in comedy.
Define a sonnet. Sonnet structure.
What is the humanism of Francois Rabelais?
The main characters of the novel Gargantua and Pantagruel.
Shakespeare question.
External and internal conflict of the hero of Shakespeare's tragedy "Hamlet".
Eternal images of Cervantes' novel Don Quixote.
Theater of the Classical Era.
Composition of the novel Gulliver's Travels.
The main idea of the novel "Gulliver's Travels".
The history of the creation of the novel by Daniel Defoe "Robinson Crusoe" .
The image of the main character Goethe's novel The Sorrows of Young Werther.
Figurative antithesis of Faust - Margaret in Goethe's tragedy "Faust".
The aesthetic principles of Karamzin, which formed the basis of his prose, were reflected both in program works and in the writer's theoretical articles. According to Karamzin, the feeling, and not the rationalistic task inherent in the poetics of classicism, should prevail in a literary work. Depicting a person's life with all its joys and sorrows, conveying his intimate experiences, the writer must be able to "touch our heart", "fill it with sad or sweet feelings", lead the reader to moral perfection.
Karamzin is characterized by attention not only to English and German poetry, but also to antiquity.
Theoretically substantiating the aesthetics of sentimentalism, Karamzin also relied on Rousseau, in whose works sensitivity, psychologism and a subtle understanding of nature were close to him. However, Rousseau's criticism of pseudo-enlightened absolutism and his revolutionary sermons were alien to Karamzin. “Russoism” became for Karamzin not a stimulus for the destruction of the feudal system, but a method of justifying freedom from politics.
The surrounding reality, the objective world were refracted through the prism of the author's, subjective "I" of the writer. Karamzin believed that only a truly humane person, able to sympathize with other people's misfortunes, can take up a pen. The writer argued that only the pleasant, “elegant, is really worthy of depiction, for only it is capable of delivering aesthetic pleasure to the reader.
Subjective experiences, subjective-emotional perception and evaluation of life phenomena, and not reality itself, unlike Radishchev, occupy the main place in Karamzin's work. The author must "paint a portrait of his soul and heart", at the same time helping "fellow citizens to think and speak better."
The most complete features of Karamzin's sentimental prose: the pathos of humanity, psychologism, subjective-sensitive, aestheticized perception of reality, the lyricism of the narrative and the simple "elegant" language - manifested themselves in his stories. They reflected the author's increased attention to the analysis love feelings, emotional experiences of the characters, increased attention to the analysis love experiences heroes, increased attention to psychological actions. The birth of Russian psychological prose is connected with the name of Karamzin.
An important and progressive moment in the creative activity of the writer was the recognition of the right of an individual, regardless of class affiliation, to exercise inner freedom. Hence, the ideological basis of the story "Poor Liza" was the writer's statement "and peasant women know how to love." Karamzin does not have sharp assessments, there is no pathos of indignation, he is looking for consolation and reconciliation in the suffering of heroes. Dramatic events are not intended to cause indignation, anger, but a sad, melancholic feeling. Despite the vitality of the situation, the author's subjective-emotional perception of reality interfered with true typification. The life of Lisa and her mother bore little resemblance to the real life of the peasants. Lisa, like the heroines of sentimental idylls, lives in a hut.
The lyrical manner of narration creates a certain mood. This is also served in the story by the landscape against which the action develops, a landscape consonant with the moods of the characters, and a special intonational structure of speech that makes Karamzin's prose melodic, musical, caressing the ear and acting on the soul of the reader, who could not but empathize with the characters.
For the first time in Karamzin's prose, the landscape became a means of conscious aesthetic influence. The readers of the story believed in the authenticity of the story, and the surroundings of the Simonov Monastery, the pond in which Lisa died, became a place of pilgrimage.
The success of Karamzin's prose works largely depended on the writer's stylistic reform. Levin, speaking about Karamzin's vocabulary, writes: “The stylistic coloring of the word here is not determined by the subject, but is superimposed on the subject, poeticizes it - and often the closer the subject is to everyday life, the less poetic it is in itself, the more necessary is its poetization with the help of displayed word.
What is the essence literary reform Karamzin? In an effort to create a new Russian literary language to replace the three “calms” adopted by classicism, Karamzin set himself the task of bringing the literary language closer to the spoken language. He believed that any ideas and "even ordinary thoughts” can be expressed clearly and “pleasantly”.
Karamzin put forward a demand - to write "as they say", but he was guided by the colloquial speech of the educated noble class, clearing the language not only from archaisms, but also from common words. He considered it legitimate to enrich the Russian language through the assimilation of individual foreign words, new forms of expression. Karamzin introduced many new words: love, humane, public, industry, etc., which remained and enriched the vocabulary of the Russian language.
He seeks to create a single style "for books and for society, to write as they say and speak as they write." And in contrast to Trediakovsky, Karamzin does this. It frees the vocabulary from excessive bookishness, remarkably simplifies the syntax, creates a logically and at the same time light, elegant, equally comfortable in pronunciation and writing "new syllable". All this had very important consequences. “His style amazed all readers, acted on them like an electric shock,” writes N. I. Grech in hot pursuit. “Scholastic majesty, half-Slavic, half-Latin,” Pushkin notes about the Lomonosov language, “has become a necessity: fortunately, Karamzin freed the language from an alien yoke and returned its freedom, turning it to the living sources of the people's word.”
Opponents of Karamzin's stylistic reform severely reproached him for the Frenchization of the Russian language - for excessive contamination with Gallicisms. Karamzin's orientation towards French in the first period of his literary activity, indeed, sometimes took on the character of a mechanical transfer into the Russian language of French words, expressions and phrases that littered it no less than the previous Slavic and Latinisms. However, in the future, Karamzin himself tried to free himself from this
The disadvantage of the reform of the literary language of Karamzin was a departure from the convergence of the Russian literary language with the language common people. The limitations of Karamzin's reform were due to the fact that his language was far from the folk basis. Pushkin managed to understand and correct this. At the same time, the merit of Karamzin was the desire that he carried out in his literary practice, to expanding the boundaries of the literary language, freeing it from archaisms, bringing the literary language closer to the lively colloquial speech of an educated society.
Nikolai Mikhailovich Karamzin (1766–1826) completed those tendencies in the development of the literary language that were identified by his predecessors, and became the head of the sentimentalist literary direction, a theorist of new principles for the use of the literary language, which in history received the name of the "new syllable", which many historians consider the beginning of the modern Russian literary language.
Karamzin is a writer, historian, honorary member of the St. Petersburg Academy of Sciences, editor of the Moscow Journal and the Vestnik Evropy magazine, author of The History of the Russian State, the first representative of sentimentalism in Russian literature (“Letters from a Russian Traveler”, “Poor Liza”, “ Natalia, boyar daughter”, “Marfa Posadnitsa”, etc.).
However, the assessment of the activities of Karamzin and the Karamzinists in the history of the Russian literary language is ambiguous. More than a hundred years ago, N.A. Lavrovsky wrote that judgments about Karamzin as a reformer of the Russian literary language are greatly exaggerated, that there is nothing fundamentally new in his language, that it is only a repetition of what was achieved before Karamzin by Novikov, Krylov, Fonvizin. Another 19th-century philologist, Ya.K. Grot, on the contrary, wrote that it was only under Karamzin's pen that "for the first time in the Russian language prose appeared even, pure, brilliant and musical" and that "Karamzin gave the Russian literary language a decisive direction in which it still continues to develop."
Karamzinists (M.N. Muravyov, I.I. Dmitriev, A.E. Izmailov, young V.A. Zhukovsky, V.V. Kapnist, N.A. Lvov, N.I. Gnedich) adhered to a historical approach to the development language. Language is a social phenomenon, it changes in accordance with the development of that public environment where it functions.
The norms of the Russian "new syllable" Karamzin focuses on the norms of the French language. Karamzin's task was for the Russians to start writing as they say and for the noble society to begin to speak as they write. Otherwise, it was necessary to spread the literary Russian language among the nobility, since in secular society either spoke French or used vernacular. These two tasks determine the essence of Karamzin's stylistic reform.
Creating a "new style", Karamzin starts from the "three calms" of Lomonosov, from his odes and laudatory speeches. The reform of the literary language carried out by Lomonosov met the objectives transition period from ancient to new literature, when it was still premature to completely abandon the use of Church Slavonicisms. However, the theory of "three calms" often put writers in a difficult position, since they had to use heavy, outdated Slavic expressions where in the colloquial language they had already been replaced by others, softer, more elegant.
Karamzin decided to bring the literary language closer to the spoken language. Therefore, one of his main goals was the further liberation of literature from Church Slavonicism. In the preface to the second book of the almanac "Aonides" he wrote: "One thunder of words only deafens us and never reaches the heart."
However, the Karamzinists could not completely abandon the Old Church Slavonicisms: the loss of the Old Church Slavonicisms would have done great harm to the Russian literary language. Therefore, the "strategy" in the selection of Old Slavonicisms was as follows:
1) Obsolete Old Slavonicisms are undesirable: abie, byahu, koliko, ponezhe, ubo, etc. Karamzin’s statements are known: “To inflict, instead of doing, cannot be said in conversation, and especially to a young girl”, “I seem to feel, as it were, a new sweetness of life, - says Izveda, but do young maidens speak like that? It would be very disgusting here, "" Colico is sensitive for you, etc. - A girl who has a taste can neither say nor write colic in a letter. "Bulletin of Europe" even in verse declared: Ponezhe, in strength, because they do enough in the light of evil.
2) Old Slavonicisms are allowed, which:
a) in the Russian language they retained a high, poetic character (“His hand ignited only single the sun in the sky");
b) can be used for artistic purposes ("No one don't throw a stone at a tree , if on onom no fruit");
c) being abstract nouns, they are able to change their meaning in new contexts (“There were great singers in Rus', whose creations were buried for centuries”);
d) can act as a means of historical styling ("Nikon laid down the supreme dignity And… spent his days devoted to God and soul-saving labors »).
The second feature of the "new syllable" was the simplification of syntactic constructions. Karamzin abandoned lengthy periods. In "Pantheon" Russian writers"He resolutely declared:" Lomonosov's prose cannot serve as a model for us at all: its long periods are tiring, the arrangement of words is not always in accordance with the flow of thoughts. Unlike Lomonosov, Karamzin strove to write in short, easily visible sentences.
Karamzin replaces Old Slavonic unions in origin yako, paki, zane, koliko, etc. and others, replacing them with Russian unions and allied words what, to, when, how, which, where, because. Rows of subordinating conjunctions give way to non-union and coordinating constructions with unions a, and, but, yes, or and etc.
Karamzin uses a direct word order, which seemed to him more natural and corresponding to the train of thought and the movement of a person's feelings.
"Beautiful" and mannerisms of the "new style" were created by syntactic constructions of a periphrastic type, which in their structure and form were close to phraseological combinations (the luminary of the day is the sun; the bards of singing are the poet; the meek friend of our life is hope; cypresses of conjugal love - family way of life, marriage; move to the mountain cloisters - die etc.).
In addition, Karamzin often quotes aphoristic sayings of this or that author, inserts passages in foreign languages into his works.
The third merit of Karamzin was to enrich the Russian language with a number of successful neologisms, which have become firmly established in the main vocabulary. “Karamzin,” wrote Belinsky, “introduced Russian literature into the sphere of new ideas, and the transformation of the language was already a necessary consequence of this matter.”
Back in the Petrine era, many foreign words appeared in the Russian language, but they for the most part replaced words that already existed in the Slavic language and were not necessary; in addition, these words were taken in raw form, and therefore were very heavy and clumsy (“ fortification" instead of "fortress", " Victoria " instead of "victory", etc.). Karamzin, on the contrary, tried to give Russian endings to foreign words, adapting them to the requirements of Russian grammar, for example, "serious", "moral", "aesthetic", "audience", "harmony", "enthusiasm".
Including new words and expressions in the text, Karamzin often left the word without translation: he was sure that a foreign word was more elegant than the Russian parallel. He often uses the words nature, phenomenon instead of nature, phenomenon. However, over time, Karamzin revised his views on barbarism and, when reissuing Letters from a Russian Traveler, replaced foreign words Russians: gestures- actions, voyage- journey, moral- moral fragment- excerpt visit– visiting, etc.
Trying to develop in the Russian language the ability to express abstract concepts and subtle shades of thoughts, feelings, Karamzinists introduced into the sphere of scientific, journalistic, artistic speech:
– borrowed terms ( proscenium, adept, poster, boudoir, caricature, crisis, symmetry and etc.);
– morphological and semantic tracing papers ( location, distance, subdivision, focus, subtle, inclination, rapture and etc.);
- words composed by Karamzin ( industry, future, public, love, humane, touching, need etc.), some of them did not take root in the Russian language (realness, namosty, infantile, etc.)
Karamzinists, giving preference to words expressing feelings and experiences, creating "pleasantness", often used diminutive suffixes ( horn, shepherd boy, brook, birdies, mother, villages, path, shore and so on.).
To create “pleasantness” of feelings, Karamzinists introduced into the context words that create “beautifulness” ( flowers, turtledove, kiss, lilies, esters, curl etc.). “Pleasantness”, according to Karamzinists, creates definitions that, in combination with different nouns, acquire different semantic shades ( gentle ethers, tender flute, tenderest inclination of the heart gentle cheeks, gentle sonnet, tender Lisa, etc.). Proper names that call ancient gods, European artists, heroes of ancient and Western European literature, were also used by Karamzinists in order to give the narrative an elevated tone.
Such is the language program and language practice of Karamzin, which arose on the spiritual soil of sentimentalism and became its most perfect embodiment. Karamzin was a most gifted writer, thanks to which his "new style" was perceived as a model of the Russian literary language. First decade XIX century, Karamzin's reform of the literary language was met with enthusiasm and gave rise to a lively public interest in the problems of the literary norm.
However, despite this, the limited sentimentalist aesthetics of Karamzin, his desire to create a gentle, beautiful, elegant style did not allow him to achieve a true synthesis of natural usage and historical linguistic tradition and become the founder of the modern Russian literary language.
List of used literature:
1. Voilova K.A., Ledeneva V.V. History of the Russian literary language: a textbook for universities. M.: Drofa, 2009. - 495 p.
2. Kamchatnov A.M. History of the Russian literary language: XI - the first half of the XIX century: Proc. allowance for students. philol. faculty of higher ped. textbook establishments. M.: Publishing Center "Academy", 2005. - 688 p.
3. Meshchersky E.V. History of the Russian literary language [Electronic resource] // sbiblio.com: Russian Humanitarian Internet University. - 2002. - Electron. Dan. – URL: //sbiblio.com/biblio/archive/milehina_ist/ (Accessed 12/20/2011). - Zagl. from the screen.
4. Yakushin N.I., Ovchinnikova L.V. Russian literary criticism XVIII- the beginning of the XX century: Proc. manual and reader. M.: Publishing House "Cameron", 2005. - 816 p.
One of the most important merits of Karamzin to Russian culture is the reform of the Russian literary language that he carried out.
The Karamzin reform was prepared by the efforts of his predecessors.
Karamzin felt that the new tasks set by him as a writer could not be embodied in the forms of the old language, which was not flexible enough, light and elegant. He spoke out against the ecclesiastical orientation of the “high calm” of eighteenth-century literature, seeing in it, on the one hand, a reactionary ecclesiastical-feudal tendency and provincial isolation from Western linguistic culture, on the other hand, the pathos of civicism, too radical for him (Radishchev’s type of use of Slavism ). Deciding to create a new literary style, Karamzin did not want to turn to the source of folk, lively, realistic speech.
Aestheticization of the world by Karamzin was a way to throw a cover of art on reality, a cover of beauty, invented and not derived from reality itself. The gracefully cutesy language of Karamzin, replete with rounded and aesthetic paraphrases, replacing the simple and “rough” for him names of things with emotional patterns of words, is extremely expressive in this sense.
Karamzin in his reform was a European, a Westerner who sought to saturate Russian speech with the achievements of Western culture, moreover, advanced culture.
In building his own style, Karamzin made extensive use of French constructions, phrases, and French semantics. At first, he deliberately imitated foreigners, not considering it a sin to get close to them. In the language of Karamzin, researchers have established a considerable number of elements French descent. There are many barbarisms in his writings of the early 1790s. Barbarism almost completely disappears in The History of the Russian State, where Karamzin returned both to the elements of the Slavicization of speech and to some conscious archaization of it.
Karamzin achieved lightness, freedom of expression, and flexibility from the language. He sought to bring the literary language closer to the lively colloquial speech of the noble society. He strove for the pronunciation of the language, its light and pleasant sound. He made the style he created widely available to both readers and writers. He radically revised the Russian syntax, revised the lexical composition literary speech, developed samples of new phraseology. He successfully struggled with cumbersome constructions, working to create a natural connection between the elements of the phrase. He "develops complex and patterned, but easily visible forms of various syntactic figures within a period." He discarded the outdated vocabulary ballast, and in its place introduced many new words and phrases.
He built Russian words again sometimes according to the principle of the so-called tracing paper, translating, for example, a French word with a semantically similar construction, sometimes creating Western-style words.
He introduced a number of new words: public, ubiquitous, improve, humane, generally useful, industry, love, etc. Karamzin gave new meanings, new shades of meaning, thereby expanding the semantic, expressive possibilities language, he expanded the meanings of words: image, need, development, subtleties, relationships, positions, and many others.
Nevertheless, Karamzin was unable to accomplish the great deed that fell to Pushkin's lot. He did not create that realistic, lively, full-fledged folk language, which formed the basis for the development of Russian speech in the future, he was not the creator of the Russian literary language.
He brought written speech closer to spoken language, and this is his great merit, but his ideal of colloquial speech was too narrow; it was a speech of the noble intelligentsia, nothing more. He was too alien to the pursuit of genuine linguistic realism.
Karamzin, in principle, abolished the division into three styles introduced by Lomonosov. He developed a single, smooth, graceful and easy style for all written speech. For Karamzin, it is not so much interesting what is being said, how interesting is the speaker, his psychological world, his moods, his inner being divorced from reality.
Karamzin's prose tends to be poetic. Melody and rhythm play an essential role in its organization, accompanying the disclosure of a psychological theme. The very word-creation of Karamzin, his very innovation in all elements of the language, has primarily a psychological orientation. He is looking for new words and phrases not for a more accurate depiction of the objective world, but for a more subtle depiction of experiences and their shades, for the depiction of their shades and feelings.
Literary and journalistic activity of N.M. Karamzin in the 1790s.
Karamzin's journalistic activity began with children's magazine « Children's reading". This was the first children's magazine in Russia, in general, the first major publication intended for children. This magazine was mainly filled with translations, but this did not diminish its significance.
The Moscow Journal had a broader meaning. It was a very lively, interesting magazine, giving the reader good poetry and excellent prose, systematically acquainting him with Western literature, which developed his literary taste and expanded his cultural horizons. “I will try to make the content of the magazine as diverse and entertaining as possible.”
Karamzin managed to achieve cooperation in the "Moscow Journal" of the best poets and his time. Derzhavin was a regular contributor to his publication. He was followed by Kheraskov, Neledinsky-Meletsky, Kapnist, Dmitriev and others.
A significant share was occupied by translations from the most famous French, German and English writers of that time: from Marmontel, Florian, Harve, Moritz, Stern. Reviews, book reports, critical articles Karamzin in the "Moscow Journal" were one of the merits of this publication.
Between the two journals, Karamzin published three volumes of Aonid, the first Russian poetic almanac, and a series of translations.
During this period, his largest work, Letters from a Russian Traveler, was written. a large number of poems (all dates can be found in the answers below), many stories and essays (“Martha ..” and “a knight of our time” were written in nineteenth century). In 1794, the almanac "Aglaya" was published.
Genre and style features"Letters of a Russian traveler" N.M. Karamzin.
The largest work Karamzin were "Letters of a Russian Traveler", which were printed in parts in 1791 - 1792. in the Moscow Journal. They revealed the features of his creative method, his aesthetic principles.
"Letters", conveying Karamzin's direct impressions of the countries he visited, are distinguished by their free composition, in which various pictures of the political and cultural life western states, the customs and customs prevailing there; author's meeting with famous philosophers, writers, statesmen. The book contains many philosophical and moral-aesthetic reflections of the author himself, caused by what he saw and heard.
"Letters" is literary processing diary entries made by Karamzin during his travels abroad. "Letters" were written in Moscow, but Karamzin managed to create the illusion of directly written letters to friends.
Karamzin with great subtlety conveys everything he saw abroad. And although everything seen is passed through the author's "I", the writer goes beyond subjective experiences and fills his letters with a lot of extensive and specific information about the culture and art, geography and life of the countries he visits. V.V. Sinovsky: “He studies the life of Europe in theaters, in palaces, at universities, in the study of a scientist and in a quiet family environment ... Salon Parisian ladies, witty abbots, street screamers, poets, artists, scientists, Prussian officers, English merchants, German students, - all this motley, noisy crowd attracts Karamzin's attention and from all this plentiful field he gathers a rich harvest, not getting lost from the abundance of material, finding in everything essential, characteristic ... "
In the "Letters" the reader meets many names of the greatest writers and philosophers, many of whom he gives characteristics, recreates their portrait appearance (Richardson, Lessing, Stern, Shakespeare, Goethe, Schiller, Wieland, Herder, Rousseau Raphael, Rubens, Van Dyck, Veronese, etc.)
The contemplation of nature, the description of which the writer so often refers to, purifies a person, and Karamzin expresses gratitude to God for the opportunity to live in communion with nature.
Letters from England are very interesting. He talks about the prim complacency of the English bourgeoisie, who consider poverty a vice, hiding it in every possible way (“Whoever is poor with us is not worthy of a better share with us”). The arrogant attitude of the British towards other peoples. "To live here for the pleasures of a hostel is to look for flowers on a sandy valley."
Lots of stories about cultural life in England. Watching a worthless performance in an English theatre. Karamzin's visits to England, France, Switzerland prompted him to reflect on the phenomena of the political life of these countries.
Ironic attitude to the meeting English Parliament. "All civil institutions must be in keeping with the character of the people: what is good in England will be bad in another country." Of course, Karamzin here compared England with his own country.
It is especially characteristic for the definition of social - political views Karamzin, his attitude to the French Revolution. Karamzin is convinced that only those changes are lasting that are achieved through slow, gradual enlightenment, the success of the mind and education. Condemning the Jacobin dictatorship, he considers the revolution a violation of the established order and argues that “any civil society, established for centuries, is a shrine for good citizens; in the most imperfect, one must be surprised at the wonderful harmony, improvement, order.
Watching European life, Karamzin reflects, compares Russia with Western Europe. He passionately loves his homeland.
"Letters" by Karamzin are covered with lyricism, emotionally saturated. Poetically described nature causes inexplicable excitement and happiness of life in the author himself. People close to nature are kind, pure, capable of deep feelings. In nature, Karamzin sees, and this is what his idealistic worldview says, a manifestation of the divine principle. Description of Switzerland.
Lyrical digressions, a poetic description of nature, subtle humor, emotional richness of style, a special intonation system that creates a mood, made the "Letters" a deeply artistic work that reflected the views and aesthetic principles of Karamzin, who affirmed in practice the triumph of a new literary style.
This literary work has been translated into many languages. Among them are English, French, Polish German and Dutch.
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In 1791, after the publication revolutionary book A. N. Radishchev, a description of the journey of another author began to be printed, which played a very important, but completely different role in the development of Russian literature. These were “Letters from a Russian Traveler” by the young writer Nikolai Mikhailovich Karamzin.
Karamzin, although much younger than Radishchev, belonged to the same era of Russian life and literature. Both were deeply disturbed by the same events of the present. Both were innovative writers. Both sought to bring literature down from the abstract mythological heights of classicism, to depict real Russian life. However, in their worldview, they differed sharply from each other, the assessment of reality was unlike, and in many ways the opposite, and therefore all their work is so different.
The son of a poor Siberian landowner, a pupil of foreign boarding schools, and for a short time an officer in the capital regiment, Karamzin found his true calling only after retiring and becoming close to the founder of the Printing Company N. I. Novikov and his circle. Under the leadership of Novikov, he participates in the creation of the first children's magazine in our country, Children's Reading for the Heart and Mind.
In 1789, Karamzin traveled through the countries of Western Europe. The trip served him as material for the “Letters of a Russian Traveler”. In Russian literature, there has not yet been a book that spoke so vividly and meaningfully about life and customs. European nations, O Western culture. Karamzin describes his acquaintances and meetings with outstanding figures of European science and literature; enthusiastically talks about visiting the treasures of world art.
A kind of revelation for Russian readers were the moods of a “sensitive traveler” found in the “Letters of a Russian Traveler”. Karamzin considered the special sensitivity of the heart, “sensitivity” (sentimentality) to be the main quality necessary for a writer. In the concluding words of "Letters ..." he, as it were, outlined the program of his subsequent literary activity.
Karamzin's sensibility, frightened by the French Revolution, which he felt as a harbinger of a "worldwide revolt", eventually led him away from Russian reality into the world of imagination.
Returning to his homeland, Karamzin began to study the Moscow Journal. In addition to the Letters of a Russian Traveler, his stories from Russian life were published in it - Poor Liza (1792), Natalya, the Boyar's Daughter, and the essay Flor Silin. In these works, the main features of the sentimental Karamzin and his school were expressed with the greatest force.
The work of Karamzin was very important for the development of the literary language, spoken language, book speech. He sought to create one language for books and for society. He freed the literary language from Slavicisms, created and put into use big number new words, such as "future", "industry", "public", "love".
At the beginning of the 19th century, when literary youth — Zhukovsky, Batyushkov, Pushkin the lyceum student — fought for the linguistic reform of Karamzin, he himself was increasingly moving away from fiction.
In 1803, according to him own words, Karamzin “shorn in historians”. He devoted the last twenty-odd years of his life to a grandiose work - the creation of the “History of the Russian State”. Death found him at work on the twelfth volume of "History ...", which tells about the era of the "Time of Troubles".
Karamzin had a huge influence on Russian literature, he transformed the Russian language, removing it from the stilts of Latin construction and heavy Slavicism and bringing it closer to live, natural, colloquial Russian speech ...
Under him, and as a result of his influence, heavy pedantry and scholasticism were replaced by sentimentality and worldly lightness, in which there was much that was strange, but which were an important step forward for the literature of society. V. G. Belinsky
IN late XVIII century, Russian nobles experienced two major historical events - peasant uprising under the leadership of Pugachev and the French bourgeois revolution. Political oppression from above and physical destruction from below - these were the realities that confronted the Russian nobles. Under these conditions, the former values of the enlightened nobility underwent profound changes.
A new philosophy is born in the depths of Russian enlightenment. Rationalists, who believed that reason was the main engine of progress, tried to change the world through the introduction of enlightened concepts, but at the same time they forgot about a specific person, his living feelings. The thought arose that it was necessary to enlighten the soul, to make it cordial, responsive to other people's pain, other people's suffering and other people's worries.
Karamzin and his supporters argued that the way to the happiness of people and the common good is in the education of feelings. Love and tenderness, as if pouring from person to person, turn into kindness and mercy. “Tears shed by readers,” wrote Karamzin, “always flow from love for goodness and nourish it.”
On this basis, the literature of sentimentalism is born, for which the main thing is the inner world of a person with its simple and simple joys, close friendly society or nature. This establishes the closest connection between sensitivity and morality. The conflicts between ordinary people, "sensitive" heroes and the prevailing morality in society are quite sharp. They can end in the death or misfortune of the hero.
In prose, the story and the journey became typical forms of sentimentalism. Both genres are associated with the name of Karamzin. An example of the genre of the story for the Russian reader was "Poor Lisa", and travel - his "Letters of a Russian Traveler".
The popularity of "Poor Lisa" has not waned for several decades. It is still being read with keen interest. The story is written in the first person, which refers to the author himself. Before us is a story-remembrance. The hero-author first tells in detail about himself, about his favorite places in Moscow, which attract him and which he willingly visits. This mood also includes romance (“ great picture, especially when the sun shines on it; when its evening rays blaze on countless golden domes, on countless crosses ascending to the sky!”), and pastorality (“Fat, densely green, flowering meadows spread below”), and gloomy forebodings inspired by the monastery cemetery and giving rise to thoughts about the mortal part of man.
The sad story of Liza is told through the lips of the author-hero. Remembering Lisa's family, oh patriarchal life, Karamzin introduces the famous formula “and peasant women know how to love!”, which illuminates the problem of social inequality in a new way. Rudeness and bad manners of souls are not always the lot of the poor.
Karamzin describes with completeness and detail the change in Lisa's moods from the first signs of a flash of love to deep despair and hopeless suffering, which led to suicide.
Lisa hadn't read any novels, and she hadn't experienced that feeling before, even in her imagination. Therefore, it opened stronger and more joyfully in the girl's heart when she met Erast. With what an extraordinary elevated feeling the author describes the first meeting of young people, when Liza treats Erast with fresh milk. "The stranger drank - and the nectar from the hands of Hebe could not have seemed tastier to him." Lisa falls in love, but along with love comes fear, she is afraid that the thunder will kill her like a criminal, for "the fulfillment of all desires is the most dangerous temptation of love."
Karamzin deliberately equated Erast and Lisa in the universal sense - they are both natures capable of rich emotional experiences. At the same time, Karamzin did not deprive the heroes of their individuality. Liza is a child of nature and patriarchal upbringing. She is pure, naive, disinterested and therefore less protected from external environment and her vices. Her soul is open to natural impulses of feelings and is ready to indulge in them without reflection. The chain of events leads to the fact that Erast, having lost at cards, must marry a rich widow, and Lisa, abandoned and deceived, rushes into the pond.
The merit of Karamzin was that in his story there is no villain, but an ordinary "small", belonging to the secular circle. Karamzin was the first to see this type of young nobleman, to some extent the predecessor of Eugene Onegin. “Erast was a fairly wealthy nobleman, with a fair mind and good heart, kind by nature, but weak and windy. He led a distracted life, thought only of his own pleasure, looked for it in secular amusements, but often did not find it: he was bored and complained about his fate. A naturally kind heart makes Erast related to Lisa, but unlike her, he received a bookish, artificial education, his dreams are lifeless, and his character is spoiled and unsteady.
Without removing the blame from Erast, the writer sympathizes with him. The vices of the hero are rooted not in his soul, but in the mores of society, Karamzin believes. Social and property inequality separates and destroys good people and becomes an obstacle to their happiness. Therefore, the story ends with a soothing chord.
“Poor Liza” caused a whole wave of imitations: “Poor Masha” by Izmailov, “Alexander and Yulia” by Lvov, “Seduced Henrietta” by Svechinsky and many others. Diverse in character, these works are grouped according to the way in which “sensibility” is expressed. Some authors prefer to open their hearts, digressing from any plot. Others, on the contrary, use a plot with many conflicts and conflicts. “Speculative” works also appeared, in which the benefits of sentimental education were substantiated. Georgievsky's story "Eugene, or Letters to a Friend" served as an example of such writings. The hero writes letters to a friend, in which he tells how he got married, how he and his wife talk about raising their son. The letters convey not so much the external outline of events as the intense inner life of the hero.
In the 18s, signs of a crisis of sentimentalism are revealed. Many imitators and epigones appeared, simplifying philosophical meaning ideas of Karamzin and his supporters. False sensitivity, pompous and pompous language increased the dissatisfaction of readers with a sentimental story.
However, it must be said that stylistic cliches and an ornate style are characteristic of all writers of this direction. Prose in those years was just looking for its own style. Expression psychological states human was a huge difficulty due to the rawness of the Russian literary language.
Under these conditions, the language of poetry served as a model for expressing the emotional state. Therefore, the features of the language of poetry were directly transferred to prose, and writers tried to write prose the way poetry is written. But this gave rise to the “sweetness” of the style, over which the writers themselves were ironic. Thus, P. Shalikov was the author of “mass” sentimentalism. The poet Tumansky wrote about him:
Shepherd's child
The writer Nulikov sings so sweetly,
What would it be time to call him without the hassle
Confectioner of Literature.
But the life of the genre is not over. As for the journey, which absorbed the story, history, memoirs, political essay, everyday life, it acquired other literary forms: adventure novel, travel novel, travel essay. The depth of the content of the journey was now determined by the entire spiritual world of the author. The best works Russian writers in the genre of travel - "Letters of a Russian Officer" by F. Glinka, travel journalism by V. Kuchelbecker, "Journey to Arzrum" by A. Pushkin, "Frigate Pallada" by I. Goncharov - meet new reader's expectations, as they represent the personality of the traveler - interlocutor.
The sentimental story contributed to the humanization of society, it aroused genuine interest in man. Love, faith in salvation own feeling, the coldness and hostility of life, the condemnation of society - all this can be encountered if one turns over the pages of works of Russian literature, and not only of the 19th century, but also of the twentieth century.
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Classicism |
Sentimentalism |
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Public life of a person |
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3. Rules and regulations |
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Violation in the image of heroes, in speech, the role of the landscape is great, elements of psychologism |
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Karamzin is a theorist of a new literary trend - sentimentalism - who practically developed its principles in his works.
