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“Themes, ideas, images - Karamzin. Postage stamp with the image of Karamzin, issued in the Soviet Union

14.07.2020

The writing

A strange feeling grips the reader who has bothered to read the old story of N. Karamzin. It would seem how the fate of a peasant woman who was deceived by a rich gentleman and committed suicide can touch us - a banal plot, a banal denouement. Especially against the background of modern events: rampant crime, political chaos, terror ...

Yes, and books are now different in honor - adventure, fantastic, action-packed, with a lot of action.

But still! You read, read, and gradually a strange charm captures much more than the far-fetched stories of female investigators or supermen saving the planet. Extremely accurate phrases, like dope lace, pull us into the world of another dimension, into the world of sincere feelings and cruel betrayal, into a world simple and at the same time complex, how simple and complex real life is.

Sentimental romance. It only seems that he has outlived himself with crinolines and carriages. It is real and cruel, it is meticulously recreated by the writer's genius and therefore eternal.

The story also contains the image of the writer himself, conveyed through the description of Moscow, as substantive as if you were looking at a faded photograph, and the diverse nature, and the author's thoughts.
\\ "... I often come to this place and almost always meet spring there; I also come there on gloomy days of autumn to grieve with nature. There, leaning on the ruins of grave stones, I listen to the dull groan of the times, swallowed by the abyss of the past - the groan from which my heart trembles and trembles \\ ".

And how beautiful the heroine is, \\ "Lisa, who remained after her father of fifteen, - Liza alone, not sparing her tender youth, not sparing her rare beauty, worked day and night - weaving canvases, knitting stockings, in the spring tore flowers, and in the summer she took berries - and sold them in Moscow \\ "- from which breathes with the freshness of nature itself, inaccessible to today's empty-headed beauties.

The plot of the plot is described in one sentence, the stylistic skill of which is amazing: \\ "Liza came to Moscow with lilies of the valley. A young, well-dressed man, pleasant-looking, met her on the street. She showed him the flowers - and blushed. \\" Are you selling them, girl? \\ "- he asked with a smile. \\" For sale \\ "- she answered. \\" What do you want? \\ "- \\" Five cents ... \\ "- \\" It's too cheap. Here's a ruble \\ ".

Liza was surprised, dared to look at the young man, blushed even more and, looking down at the ground, told him that she would not take the ruble. \\ "For what? \\" - \\ "I don't need too much \\" \\ ".

Equally laconic and accurate is the characterization of the young master, who \\ "... led an absent-minded life, thought only of his pleasure, looked for him in secular amusements, but often did not find him: he was bored and complained about his fate. in his heart \\ ".

There is also a description of the girl's fall from grace. If we compare it with the detailed, naturalistic erotic scenes in current literature, with episodes illustrating bawdy and bad taste, more reminiscent of a medical atlas or outright pornography, then Karamzin's delicacy can serve as a lesson for today's hackers.
\\ "She threw herself into his arms - and at this hour purity should perish! Erast felt an extraordinary excitement in his blood - never Liza seemed so charming to him ... never her caresses touched him so much ... never her kisses were so fiery ... she knew nothing, suspected nothing, was not afraid of anything ... the darkness of the evening nourished desires ... not a single star shone in the sky ... no ray could illuminate delusion. also, not knowing why, but knowing what is happening to her ... Ah, Liza, Liza! Where is your guardian angel? \\ "
The writer Liza's death is just as lapidary. But the avarice of verbal expression does not diminish the power of influence on our feelings: \\ "Thus, her beautiful life, soul and body, passed away. When we see you there, in a new life, I recognize you, gentle Liza! they put a wooden cross on her grave. Here I often sit in thought, leaning on the container of Lizin's ashes; a pond flows in my eyes; leaves rustle above me \\ ".

It hardly makes sense to recall the biography of the writer, historian, political and statesman N.M. Karamzin. To say that from his / Poor Lisa \\ "many literary masterpieces came out, that this story served as a starting point for many writers who later glorified themselves, is almost nothing to say. Another thing is important. An excellent stylist and great scientist not only introduced Russia to sentimental literature. He showed how to write, and it's a shame that today's fiction writers learn more from other, less worthy examples.

Nikolai Mikhailovich Karamzin is the largest representative of Russian sentimentalism. In his work, the artistic possibilities of this literary direction ... The activity of Nikolai Mikhailovich Karamzin was the highest achievement of the aesthetic development of this period. In the field of literature, he gave samples of philosophical lyrics and almost all prose genres that Russian writers will turn to in the coming years: travel in letters, a sentimental story, a "Gothic" novella ("Bornholm Island"); finally, he gave complete examples of the "syllable" - "language of the heart", where the primacy of immediate feeling over rational knowledge manifested itself in emotional, often lyrical coloration, an increase in the melodic principle, richness, and sometimes sophistication of stylistic shades. To the general public, Karamzin is known as a prose writer and historian, author of Poor Lisa and History of the Russian State. Meanwhile, Karamzin was also a poet who managed to say his new word in this area. In his poems, he remains a sentimentalist, but they also reflect other aspects of Russian pre-romanticism. At the very beginning of his poetry, Karamzin wrote the program poem "Poetry". However, unlike classicist writers, Karamzin asserts not a state, but a purely intimate purpose of poetry, which, in his words. Looking back at the history of world literature, Karamzin reassesses its centuries-old heritage. Unlike the classicists, who did not recognize Shakespeare, who did not fit into the framework of their poetic rules, Karamzin enthusiastically glorifies the great English playwright. In him he sees the deepest psychologist. Karamzin seeks to expand the genre composition of Russian poetry. He owns the first Russian ballads, which will later become the leading genre in the work of the romantic Zhukovsky. The ballad "Count Guinos" is a translation of an old Spanish romance about the escape of a brave knight from Moorish captivity. It was translated from German by a four-foot chorea .. Karamzin's second ballad - "Raisa" - is close in content to the story "Poor Liza". Her heroine - a girl deceived by her lover, ends her life in the depths of the sea. The poetry of Karamzin is distinguished from the poetry of the classicists by the cult of nature. In the poem "Volga" Karamzin was the first of the Russian poets to glorify the great Russian river. This work was created from the direct impressions of childhood. The range of works devoted to nature includes the poem "Autumn". In the work "Autumn" - the lyrical landscape is associated with the author's sad thoughts not only about the wilting of nature, but also about the frailty of human life. The poetry of moods is affirmed by Karamzin in the poem "Melancholy". The poet refers in it not to a clearly expressed state of the human spirit - joy, sadness, but to its shades, "overflows", to transitions from one feeling to another:


Melancholy! the most gentle overflow

From sorrow and longing to the joys of pleasure!

There is no fun yet, and no more torment;

Despair has passed ... But the tears have dried,

You joyfully don't dare to look at the light

And you have a form of your mother, Sorrow.

The reputation of a melancholic was firmly established for Karamzin. Meanwhile, sad motives are only one of the facets of his poetry. In his lyrics, there was also a place for cheerful epicurean motives, as a result of which Karamzin can be considered one of the founders of "light poetry". His only poem “Ilya Muromets” remained unfinished. The repulsion of Karamzin from classical poetry was reflected in the artistic originality of his works. He strove to free them from the shy classicistic forms and bring them closer to the casual colloquial speech. Karamzin wrote neither one nor a satyr. His favorite genres were message, ballad, song. The overwhelming majority of his poems have no stanzas or are written in four lines. Rhyming, as a rule, is not ordered, which gives the author's speech a relaxed character. Both of his ballads are written in rhymeless verse, the poems "Autumn", "Cemetery", "Song" in the story "Bornholm Island".

37. Sentimentalism as an artistic method. The originality of Russian sentimentalism. The story of N.M. Karamzin "Poor Liza"

The last decade of the 18th century - the heyday of sentimentalism. The penetration of elements of sentimentalism into Russian literature began already in the 60s and 70s. It is especially noticeable in the work of M. M. Kheraskov. The civic poetry of classicism and its "loudness", the forerunners of sentimentalism oppose the ideal of moral education of the individual, the poetry of "quiet" peace and dreamy solitude. The passion for Freemasonry was a rich breeding ground for sentimentalism. In line with the ideas of sentimentalism, it develops in the work of the same Muravyov and other poets and prose writers of the late 18th century. Sentimentalism. the main thing is the inner world of a person with its simple and simple joys, close friendly society or nature. At the same time, a close connection is established between sensitivity and morality. Conflicts between ordinary people, “sensitive” heroes and the prevailing morality in society are quite acute. They can end in death or misfortune of the hero. In prose, the story and the journey have become the typical forms of sentimentalism. Both genres are associated with the name of Karamzin. Poor Liza became an example of the genre of the story for the Russian reader. The popularity of "Poor Lisa" has not waned for several decades. The story is written in the first person, which means the author himself. Before us is a story-memory. The hero-author first informs in detail about himself, about his favorite places in Moscow, which attract him and which he willingly visits. This mood includes both romance and gloomy forebodings, inspired by the monastery cemetery and giving rise to thoughts about the mortality of man. Liza's sad story is told through the lips of the author-hero. Remembering Liza's family, about the patriarchal way of life, Karamzin introduces the famous formula “and peasant women know how to love!”, Which illuminates the problem of social inequality in a new way. The rudeness and bad manners of souls are not always the lot of the poor. Karamzin describes in full and detail the change in Lisa's moods from the first signs of an outbreak of love to deep despair and hopeless suffering that led to suicide. Lisa has not read any novels, and she did not have to experience this feeling before, even in her imagination. Therefore, it opened stronger and more joyfully in the girl's heart when she met Erast. With what extraordinary sublime feeling the author describes the first meeting of young people, when Lisa treats Erast with fresh milk. Liza 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 Liza in human terms - they are both natures, capable of rich emotional experiences. At the same time, Karamzin did not deprive the heroes of their individuality. Lisa is a child of nature and patriarchal upbringing. She is pure, naive, unselfish and therefore less protected from the external environment and its vices. Her soul is open to natural impulses of feelings and is ready to indulge in them without reflection. A 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. Karamzin's merit consisted in the fact that there is no villain in his story, but there is an ordinary “fellow” belonging to a secular circle. Karamzin was the first to see this type of young nobleman, to some extent the predecessor of Eugene Onegin. A naturally kind heart makes Erast related to Liza, but unlike her, he received a bookish, artificial upbringing, his dreams are lifeless, and his character is spoiled and unsteady. Without removing the guilt from Erast, the writer sympathizes with him. The hero's vices are rooted not in his soul, but in the morals of society, says Karamzin. Social and wealth inequality separates and destroys good people and becomes an obstacle to their happiness. Therefore, the story ends with a pacifying chord. The sentimental story contributed to the humanization of society, it aroused a genuine interest in a person. Love, faith in the salvation of one's own feelings, coldness and hostility of life, condemnation of society - all this can be encountered if you turn over the pages of the works of Russian literature, and not only of the 19th century, but also of the 20th century.

WAYS OF EVOLUTION

Novels occupy a special place in the work of Karamzin the writer. In total, during the period from 1791 to 1803, he wrote more than a dozen stories: "Frol Silin, a beneficent man" (1791), "Liodor" (1791), "Poor Liza" (1792), "Natalia, the boyar's daughter" (1792) , "Bornholm Island" (1793), "Sierra Morena" (1793), "Julia" (1794), "My Confession" (1802), "Martha Posadnitsa, or the Conquest of Novgorod" (1802), "A Knight of Our Time "(1803)," Sensitive and cold "(1803), etc. These works have some common features. They are small in volume, which was especially striking for readers accustomed to the multivolume novels of the 18th century. Very few characters act in the stories, and all of them are close and understandable to the reader, unlike the "tall" heroes of classicism. Not the outwardly entertaining adventures of the heroes, but their inner world becomes the subject of artistic research. Psychological observations of Karamzin as a narrator in fiction, and above all in the genre of the story, make it possible to establish the dependence of the processes taking place in a person's inner life on external circumstances and impressions (which corresponded to the spirit of a sensualist attitude to the problem of the soul). A person, according to the writer, is not originally virtuous or evil; he is endowed with only a certain temperament, which, by its nature, does not yet have an ethical coloration and can lead to both virtue and vice, both to happiness and to suffering, depending on the events that happen to a person on his life path ...

To understand the moods and experiences of the heroes in Karamzin's stories, speech helps first of all (saturated with emotional vocabulary, exclamations, confused phrases that directly show how excited the hero is). The inner world of a person is also revealed in the "drawing" of his behavior - how important are gestures imperceptible at first glance, the manner of moving or speaking, tears flashing in his eyes or a flickering smile! The author himself speaks about the moods and states of his heroes, and finally, one can understand the inner world of a person, as if “seeing” the world around him through his eyes; the landscape itself in Karamzin's stories becomes consonant with the state and mood of the heroes and the narrator. There are few events in the stories, and they are lined up clearly and consistently, the author avoids everything that could confuse and burden the thought. In addition, Karamzin creates in each of his stories the figure of a narrator (“story” was understood in Russian literature of the 18th and early 19th centuries, right up to Pushkin and Gogol, as a genre in which the very manner of presenting events - narration - is of particular importance. A story is what is being told, and how important it is to feel who the narrator is, what are his views on life, attitude towards people, understanding of the world around and the place of a person in it.



In most of his works, the Karamzin narrator appears as an independent person: a sensitive person who personally knows the characters or who has learned the story from friends, casual fellow travelers, acquaintances. He vividly responds to human joys and sorrows; nothing leaves him indifferent. The liveliness of the narrative, the illusion of the reality of the events described contributed to the awakening of sympathy in the hearts of readers. Karamzin's narrator seems to be in a constant dialogue with his readers, and this free communication is dedicated not only to the sad or touching, it can contain a slight irony, and a joke, and a literary game, the purpose of which is to remind readers of familiar literary clichés and laugh at them together.

The motive of love is of particular importance in the construction of the plots of the stories. In the writer's artistic world, love appears as a turning point in a person's life. By discovering the ability to love in themselves, the Karamzin heroes finally find themselves; thus, their moral formation is completed and at the same time, their inherent perception of the world around them is uniquely completed. After all, the kindred soul of the beloved, illuminated by the light of love, embodies in itself a kind of ideal view of the world - a look that is demanding and ready to perceive all that is good and beautiful, emotionally open to all “other” and thereby transforming this “other” into an integral part of one's own “I” ... A synthetic understanding of love not only as a very special psychological state, but also as a philosophical value that reveals to a person his higher purpose and deep patterns of being, Karamzin outlined in a small essay included in the "Letters of a Russian Traveler" under the title: "Thoughts about love." The way of interpreting love feelings proposed here can be regarded as a kind of key to understanding practically all the plots of Karamzin's stories: “Love is the crisis, the decisive moment in life, awaited with trepidation by the heart. The curtain rises ... Is he! she! the heart exclaims, and loses the personality of its being.<…> Charms are never the basis of passion; it is born suddenly from the juxtaposition of two tender souls in one look, in one word; it is nothing more than sympathy, a union of two halves, which languished in separation. Things burn out only once; loves the heart only once.<…> I don't know if there are atheists; but I know that lovers cannot be atheists. The gaze from a cute object involuntarily turns to the sky. He who loved understands me. "

The psychologism of Karamzin the narrator acquires the most characteristic forms in the story Poor Liza (1792). The very first phrases of the work here became a kind of tuning fork, attuning the reader to a certain emotional and psychological mood. “Perhaps no one living in Moscow knows the surroundings of this city as well as I do, because no one is more often than mine in the field, no one else wanders on foot, without a plan, without a goal - wherever they look - through the meadows and groves, hills and plains ... ". This is how "Poor Liza" by N.М. Karamzin - at first glance, surprisingly clear (and thanks to the conciseness, as if predictability of the plot itself, and thanks to the special emotional flavor and "transparency" of the moral content) - but still paradoxically - one of the most "strange" stories of Russian literature. The structure of the sentence is too rhythmic, like a finely drawn ornament; it is based on commensurate syntactic segments that relate to each other due to verbal repetitions, structural parallels in the construction of a complex sentence, alternation of rows of homogeneous members. There is almost symmetry in the phrase - but the symmetry is not deathly, but leaves room for the unexpected, the source of which will be the psychological depths of the human personality. "Set" in the first sentence and a special emotional mood of inner concentration and at the same time - openness to impressions of being that do not need to look for - they themselves find a person who travels "without a plan, without a goal", "aimlessly" "through the meadows and groves, hills and plains. " This motive of movement as a discovery - at the same time of the world and the depths of one's own soul, is understood in the story not only as a spatial movement, in which life impressions pour into the soul, awakening sympathy in it. In a literary text, movement is also a “spiritual journey” in search of truth. The expression of this dynamics of the human spirit becomes the entire artistic structure of the work, those complex and often ambiguous relationships that arise between the author himself - and the narrator, or the "author" standing outside the text - and the heroes, and finally, the reader's relationship - both with the heroes and with the narrator, and with the "author". There can be a lot of these lines, and each of them gives that scope to the movement of the narrative, which makes it truly alive and organic - like a living whole.

The composition of Poor Lisa itself creates special conditions for the most lively and dynamic interaction of the narrator with his characters and readers. The use of the form of the compositional "frame" (in which the author's introduction and conclusion are not directly related to the event plot, act primarily as an emotional "setting") allowed Karamzin to "throw a bridge" from the heroes to the reader. The interaction of these figures is determined by the very structure of the story, and most of all, by that kind of "coordinate system" of time and space in which the narrator exists. He is separated from his characters by a time frame (the story took place "thirty years before this ..."), but remembering and talking about those events, from his "present" he looks into the past and feels a living, inextricable connection with it ( "... I love those objects that touch my heart and make me shed tears of tender sorrow!"). This means that such communication is possible - the reader involuntarily joins in it and already from his own “present” (like “reading time”, by analogy with the “telling time” of the narrator) rushes, as it were, into another sphere - the world of the narrator, and through it - and the world of the heroes of the story. The compositional frame makes it possible to realize the direction and dynamics of this movement, which, according to the sentimentalist Karamzin, is the ideal program for the perception of a literary text, reading-empathy, transferring the literary plot to reality itself to the limit.

Openness to the impressions of the outside world allows the Karamzin narrator to penetrate into another sphere - into the inner world of the heroes. At the same time, the narrator skillfully balances between objective analysis and subjective empathy, more precisely, he transforms empathy, "getting used to" the spiritual depths of the character, sympathy in the original sense of the word (simultaneous feeling) into a means of revealing the personality of objectively presented "other" I "- the heroes of the story ...

Psychologism becomes Karamzin's main artistic discovery in Poor Liza. The writer here, almost for the first time in Russian literature, refuses to present his heroes as unambiguously positive or negative (and such a division was characteristic of classicism). Erast is not at all a villain, he sincerely loves Liza, believes in the power of his love - but he is weak in soul and therefore destroys the one that is so dear to him. Even at the most tragic moment of the story, the author is ready, but cannot judge him: “My heart is bleeding at this very minute. I forget the person in Erast - I am ready to curse him, but my tongue does not move, I look at the sky - and a tear rolls down my face ... ". In a person, one cannot "forget a person"; you must always maintain compassion for the unfortunate, and especially when they need it most - at the moment of mistakes, even tragically irreparable ones. That is why in the story there is no condemnation of a terrible sin - the suicide of Liza, who in despair even forgot her debt to her own mother. And in this tragic weakness, she remains for the author "a beautiful body and soul." So is Erast, who “was unhappy until the end of his life<...>, could not be comforted and considered himself a murderer. " At the end of the story, we learn about the death of Erast, and the last phrase: "Now, maybe they have already made up!" - that moral and emotional outcome, which is most important for Karamzin the psychologist. Man is inexhaustible. His character is formed thanks to upbringing and external circumstances (recall the stories of the life of Liza and Erast, which the narrator told, before acquainting the reader directly with the story of the souls of the heroes). The essence of personality is also determined by the properties of innate temperament, which affect both the pattern of behavior and the appearance of a person, primarily the face. "He has such a kind face, such a voice ..." - Liza admires after the first meeting with a stranger. And in Karamzin's world, her exclamation is not evidence of helpless naivety; With her soulful eyes, with the gaze of love, she sees here the true essence of Erast, not even the present, but the future, which he will become after the catastrophe, having repented of his involuntarily committed crime.

The spiritual world of the characters is contradictory - and that is why the system of artistic means that help to reveal it is so complex. Karamzin avoids directly naming the feelings of the heroes or putting overly “sensitive” flowery phrases into their mouths. Their speech is emotional due to the feeling of the inner, hidden power of feeling, which, as if gradually, breaks through in words. Here is a scene of Erast's acquaintance with Liza's mother: "But how can we call you, kind, gentle master?"<...> "My name is Erastom"<...>... "Erastom," Liza said quietly. "Erastom!" "She repeated this name five times, as if trying to harden it." In this repetition - both the admiration of the heroine, and the incipient feeling of love, and tenderness for the young man, and Lisa's kindness in relation to all living things.

Internal emotion is inherent in the narrator himself, whose emotional word is also a window into the spiritual world of both the heroes and the narrator; moreover, speech often breaks off, and this break is already a window into the world of the reader's experiences, a certain opportunity for him to remain alone with himself and listen to his heart. In the most emotional scene of the explanation of the characters, the reader sees how the familiar metaphor “love burns the heart” turns into an almost real picture of seemingly visible light, fire: “Liza stood with her eyes downcast, with fiery cheeks, with a trembling heart - she could not take her hands from him , could not turn away when he approached her with his pink lips ... ah! He kissed her, kissed her with such fervor that the whole universe seemed to her on fire burning!<...> But I throw the brush ... ".

Karamzin often reveals the inner world of heroes through the external: a portrait, description details, a drawing of their behavior. So, Liza's lilies of the valley become a symbol of purity, timidity, shy beauty of a girl. It is no coincidence that when a love for an unfamiliar master has already arisen in her heart, who promised to always buy flowers from her, without meeting him the next day, Lisa throws flowers into the river with the words: "Nobody owns you!" This is how the unconditional symbolic analogy of the flower and the spiritual world of the heroine is fixed. Gestures are also expressive: rejoicing that Erast will come to their house every day, Liza “... looked at her left sleeve and pinched it with her right hand” - both joy, fear, and the expectation of a new unknown happiness are hidden in this gesture of the heroine.

The inner world of the heroes comes off in the author's narration so completely that it is often impossible to discern whose "voice" we hear. Here Liza recalls her deceased father: “Often tender Liza could not hold back her own tears - ah! ..” - and this and other emotional exclamations in the story are equally applicable to the character and to the narrator. The points of view of the author and, it would seem, objectively described characters are mutually intersecting, layering one on top of the other; it is no coincidence that sometimes a chain of life impressions, pictures that unfold in one episode or another, appears clearly through the prism of the hero's gaze (and more often - the heroine, Lisa herself). “Suddenly Liza heard the sound of oars - she looked at the river and saw a boat, and in the boat - Erast ...” - the sequence of impressions here is such that she clearly reveals a look from the shore, from the very edge of the water, a downcast look - the only possible one for the confused heroine.

Characterization of the complex system of interaction of the narrator with his heroes, and especially with the reader, is impossible without analysis and that semantic, philosophical and aesthetic content that is present in the story and allows its world to open up outside - to the fate of ideas and “big” genres of literature and art.

The problematic of the story is also enriched by a kind of "dialogue" that Karamzin, a narrator with a literary tradition, conducts in it. Sentimentalist writers often resorted to similar "references" to other works - this enlivened the reader's imagination, made perception more dynamic and emotional, and included the audience in a kind of game - recognizing allusions scattered in the text (the English novelist Lawrence Stern often resorted to this technique; Karamzin such "reminiscences" permeate "Letters of a Russian Traveler" and practically all the stories). In Poor Liza, the author creatively plays with the pastoral tradition - one of the oldest in world literature and extremely popular in the 18th century.

Pastoral in antiquity is, first of all, “a picture of the simplicity and peaceful course of rural life as seen by a city dweller<...>, a landscape inhabited by a man, where herds graze in the vicinity of cultivated fields, where the shepherd, having finished his easy labor, freely indulges in creativity<...>, the world of a simple and harmonious rural culture opposed to a civilization that has become too complicated and mired in the vices. " At first glance, in the art of modern times, the theme of "shepherdesses and shepherdesses", which penetrates not only literature, but also painting, sculpture, porcelain plastics, theater, music, even women's fashion of the Rococo era, may seem too conventional and frivolous, but it connected with a number of philosophical motives, which largely determine the idea of \u200b\u200ba person about the world, his sense of self.

The various genre varieties of the pastoral tradition are based on the myth of the "golden age" (the original age of mankind, the era of natural simplicity and goodness, which has forever passed for people who have known greed and enmity). Involuntarily arises in the pastoral and the idea of \u200b\u200bthe connection of everyday life with the laws of all life, the relationship of the most unpretentious with the most important spiritual values \u200b\u200b- precisely thanks to the highest spirituality (and not an empty desire for "decoration" or inattention to the real problems of a real village) becomes so elegant, harmonious and the life of the shepherds is beautiful, conventionally aestheticized in pastoral images. The pastoral also carries a certain anthropology and ethics - ideas about the natural essence of man and the conventions of social relations, about the relationship and opposition of natural and artificial, natural and social, emotional and intellectual, etc. A similar outlook echoed with philosophical ideas J.-J. Rousseau, who had a tremendous influence on Russian and, more broadly, European thought in the second half of the 18th century. The natural, natural beginning in man is beautiful, and the utopian hope for happiness can only be associated with the dream of returning to the eternal harmony between people - sons of nature, equal in their natural state.

Sentimentalism is close in pastoral, first of all, to the fragile grace of the figurative system, so helping in the depiction of the ideal of spiritual love. The sentimentalist desire to change, transform the world according to the laws of sensitivity is responded to by the very structure of pastoral plots, which are often based on the motive of changing conventional human "roles" (a king or queen appears as a shepherd or shepherdess; a noble person falls in love with a virtuous villager, she suddenly opens noble origin etc.) - in a word, everything is possible; the pastoral world reveals the true essence of man, usually hidden under the shell of the external, superficial. The pastoral motives of educational literature also carried the idea of \u200b\u200bdeep moral dignity, virtue, and nobility of an ordinary person, endowed, nevertheless, with all the riches of spiritual life. Such is the heroine of S. Richardson's novel Pamela, or the Rewarded Virtue (1740), extremely popular both in Europe and in Russia: a poor little girl, a servant, awakens love in the heart of her master, Lord B., fearlessly resists his insulting attacks, demanding self-respect, and this firmness, true nobility makes his tormentor change. “Even if I’m just a servant, my soul is immortal as well as the soul of a princess,” exclaims Pamela, as if anticipating the educational thought of Karamzin, the author of “Poor Lisa”, about the unconditional value of the feelings of an ordinary person.

The pastoral subsoil of Poor Lisa's plot is already set in the author's introduction: the panorama of Moscow includes a corner of undisturbed shepherd's happiness (“On the other side of the river is an oak grove near which numerous herds graze; there young shepherds, sitting under the shade of trees, sing simple, dull songs ... "). Pastorality determines the literary representations of Erast (“He read novels, idylls; he had a rather vivid imagination and often moved mentally in those days,<...> in which<...> all people walked carelessly in the meadows, bathed in clean springs, kissed like turtle doves, rested under roses and myrtles, and spent all their days in happy idleness. It seemed to him that he had found in Liza what his heart had been looking for for a long time. "Nature calls me into her arms, to her pure joys," he thought, and decided - by at least, for a while - leave the big light "); Thus, even before the unfolding of events, thanks to an extensive network of literary and cultural associations, a possible direction of the reader's expectations has been set: the story can develop either as an idyllic conflict-free reunion of heroes in the bosom of a simple rural world, or as a story about a vile seducer whose soul must ultimately be transformed by meeting true virtue.

But neither one nor the other expectations are true (as almost always, Karamzin does not justify exactly what seems inevitable to the reader). For the idyllic world, Erast is too often associated with the motive of money. The researchers noted that with them begins and ends his communication with Liza, and in between, let the materially expressed philanthropy of the hero come from a pure heart to contradict his own dream of returning to Arcadia; there, in the ideal times of primordial unity, in this world of absolute completeness and abundance, there should be no money.

However, there is also no Richardson's motive for the clash of fate and virtue. Erast is only weak, windy and fickle; but it is precisely these qualities that make him a stranger in that “golden age” that the hero dreams of: after all, as soon as impermanence arises, the seemingly eternal Love and Harmony perish, and Time and Death come to happy Arcadia. Erast Karamzina involuntarily becomes the personification of these principles; that is why it is associated with it, so important in the story of the motive of surprise, a sharp turn of events, expressed, as a rule, almost symbolic "suddenly". According to the researcher of the story V.N. Toporov, this word, "dynamizing a situation, so homogeneous and balanced", it is Karamzin that becomes an expression of surprise, "switching one situation to another." But the “joyful” “suddenly” when Liza and Erast met, in essence, prepare that tragic “suddenly” that will open up the possibility of a terrible outcome for the heroine (“... Suddenly I saw myself on the bank of a deep pond ...”); not so much opposition as a premonition of the inevitable is hidden in this verbal coincidence.

The pastoral background is also important immediately before the love explanation of the heroes, when Lisa seeks to realize the revolution that is taking place in her soul. The internal emotionality of this scene is especially enhanced by the fact that the reader familiar with pastoral motives involuntarily feels how displaced they are here. Pastoral is, albeit for a short moment, but still a return to the original harmony with nature. Liza, in this episode, for the first time feels that she is unable to rejoice together with the awakening world: “But soon the rising luminary of the day awakened the whole creation: the groves, bushes revived; the birds fluttered and sang; the flowers raised their heads to drink the life-giving rays of light. But Liza was still in a state of grief. " Of course, the landscape is an important means of psychological characterization in the Karamzin story; the author creates various pictures of the nature near Moscow, each of which is both a vivid, memorable description and at the same time a means of deep analysis of the emotional experiences of the heroes. Usually in sentimentalism, nature is in tune with the mood of a person, it seems to answer him ("the gloomy Gothic towers of the Simonov Monastery" at the beginning of the story predict a tragic development of events; in moments of happiness of the heroes, nature is permeated with happiness and light; the fall of Liza and Erast occurs when all nature seems to be plunged into the chaos of the elements: "The storm roared menacingly; rain poured from black clouds ..."; the picture of the heroine's death is surrounded by an atmosphere of despondency and gloom). Nature responds to the human world, but harmonious merging with her is just a utopia.

The soul, seized by an impulse of feelings, anticipates misfortune; A person immersed in thought at the most unexpected moment feels his loneliness in a beautiful, joyful world living with natural life: “Ah, Liza! What happened to you? Until now, waking up with the birds, you rejoiced with them in the morning, and a pure, joyful soul shone in your eyes, like the sun shines in drops of heavenly dew; but now you are thoughtful and the general joy of nature is alien to your heart. " Suddenly, the discord between human existence and nature, realized here, seems to be a harbinger of a romantic feeling of human loneliness in the world. In the Karamzin story, this motive almost immediately loses its sharpness - upon learning that she is loved by Erast, Liza will again feel even more vividly the merging with the harmony of the surrounding life (“The larks never sang so well, the sun never shone so brightly, never the flowers didn't smell nice! "). But nevertheless, the return of a bright mood occurs only until the moment when, abandoned by Erast, the heroine again falls into a feeling of loneliness - this time absolute (“The sky does not fall, the earth does not vibrate! ..”); the end of this disorder is the heroine's suicide.

The way to Arcadia is closed, and the shepherd boy passing in the distance, whom Lisa is looking at before explaining with Erast, and the heroine's thoughts about the desired happiness are another symbol of his unattainability and fragility: “Meanwhile, a young shepherd on the river bank drove the flock, playing the flute. Liza fixed her eyes on him and thought: "If the one who now occupies my thoughts was born a simple peasant, a shepherd, and if he now drove his flock past me<...>... He would look at me with an air of affection - he would take, perhaps, my hand ... Dream! "" The parallelism of the picture unfolding in the consciousness of the heroine and the real action of Erast ("... he looked at her with an air of affection, took her hand ")only confirms that harmony is illusory in a world where cruel inevitability reigns. The "Golden Age" has disappeared from earthly life, a universal reconciliation of contradictions is possible only in heaven - this idea sounds in the last lines of the story.

On the whole, the very poetics of the ingeniously sensitive story in Poor Liza becomes the best expression of the peculiar artistic philosophy of sentimentalism, which stood at the borderline between the age of rationality and the elements of feeling, the age of normativity and the rule of absolute individuality. Sentimentalism turns out to be a brief moment of equilibrium of these principles, when the mind has not yet been replaced by irrational spontaneity, when the manifestations of feeling are harmonious and outwardly restrained, when the tragic contradictions of life are already realized, but the compassionate openness and sociability of a person still does not allow the bonds of being to collapse. The artistic expression of this is the inextricable sympathetic connection between the narrator, the heroes and the reader, which determines the structure of the narrative in the prose of sentimentalism and becomes the basis of the poetics of the most striking sentimentalist work in Russian literature - the story of Karamzin.

A special place among the sentimental stories of Karamzin is occupied by "Natalia, the boyar's daughter" (1792) . This is not just the first experience of turning to a historical theme (the story takes place during the time of Tsar Alexei Mikhailovich, in pre-Petrine Russia, although here Karamzin does not strive to create a historical flavor as such). The past for him is the world of perfectly pure, artless relationships, the time "when the Russians were Russian, when they dressed up in their own dress, walked in their own gait, lived according to their own custom, spoke in their own language, that is, spoke as they thought."

The naivete of the touching and not always believable plot does not scare Karamzin: he admires the beautiful young heroes, rejoices at the purity and nobility of their relationship, admires the fidelity of their love - one who does not believe in such feelings is not worthy of the title of a sensitive person. At the same time, there is a place for a joke in the story. Karamzin sneers at the methods of adventure novels, well known to readers of that time. In such works, secrets and riddles are needed - and now the boyar Matvey, not understanding why his daughter suddenly became sad in her parents' house, goes into the dense forests to his “hundred-year-old aunt,” who was reputed to be a witch and could explain the reason for Natalya's melancholy. Imagine how much mysterious and fabulous there could be in such an episode of the story! But Karamzin writes only one phrase: "The success of this embassy remained in the unknown: however, there is no great need to know it" - joking either at the gullible reader, or at the authors who use such techniques in order to interest them at any cost. Further, when it is narrated about how Natalya and her nanny and her mysterious fiance arrive to the place where he is hiding, an atmosphere of mystery is also whipped up: a dense forest, a hut, bonfires, gloomy bearded men around ... The frightened nanny begins to shout that these are robbers - and the Karamzin storyteller reacts with lightning speed: “Now I could present a terrible picture to the eyes of readers - a seduced innocence, a deceived love, an unhappy beauty in the power of barbarians, murderers, the wife of the ataman of robbers, a witness to villainy and, finally, after a painful life, dying on a scaffold under with the ax of justice, in the eyes of the unfortunate parent "- he listed all the possible horrors that could arise in the plot from this situation and ... immediately" reassured "us:" No, dear reader, no! This time, take care of your tears - calm down - the old nanny was mistaken - Natalia is not with the robbers! "

The joke here does not destroy the sentimental intonation, it only makes it richer - after all, you can sympathize not only in trouble, but also in joy. A similar artistic manner also corresponded to the content of the story - a cheerful, imbued with the spirit of youth and hope - because what seemed a fatal step here becomes the only opportunity to achieve happiness. It is no accident that the impact of this story by Karamzin on Pushkin's works ("Snowstorm" and "The Young Lady-Peasant"), in which the heroes also find their happiness, even when it seems to have been lost forever.

All biographers of the writer unanimously recognize 1793 as a milestone in the creative and philosophical development of Karamzin - a period of a sharp exacerbation of the political situation in France (in the summer of 1793, the Jacobin dictatorship was established in Paris, which was the signal for the deployment of a bloody revolutionary terror that horrified Europe). Who saw the beginning of the revolution during his trip abroad. Karamzin learned with extreme excitement and bitterness about the terrible consequences of what had once arisen right before his eyes. In the finale of the short story "Life of Athens" (1793), the writer made an autobiographical digression, which depicted his condition in the best possible way: "I sit alone in my rural study, in a thin dressing gown, and I see nothing in front of me except a burning candle, a stained leaf papers and Hamburg newspapers, which ... will inform me of the terrible madness of our enlightened contemporaries. "

The shock seems to split the writer's soul, and the embodiment of the accomplished inner breakdown becomes his two heroes - Philalet and Melodor, whose "voices" are "the voices of the soul of Karamzin himself," who with tragic clarity felt the collapse of former hopes, the utopian belief in the good nature of man and the possibility of a reasonable reorganization of society on the basis of goodness and justice: “With the axle-hope the century ends; what do you see on the stage of the world? - With the axis of hope the century ends, and the unfortunate philanthropist measures his grave in two steps in order to lie in it with his deceived, torn heart and close his eyes forever.<…> Where are the people we loved? Where is the fruit of science and wisdom?<…> Age of Enlightenment! I don’t recognize you - in blood and fire I don’t recognize you - in the midst of murder and destruction I don’t recognize you! .. ”(“ Melodor to Philalet ”). Man tries to keep hope (“Let us, my friend, let us also now be comforted by the thought that the lot of the human race is not an eternal delusion and that people will someday stop tormenting themselves and each other” - “Philalet to Melodor”). But on what to base such a belief - this is the question that from now on will agonize Karamzin, will become the source of the mysterious mystery of the world around him, and of fate itself for his heroes.

The most striking innovative work of Karamzin of this period was the story "Bornholm Island". According to the author's plan, it adjoined the "Letters of a Russian Traveler", reminding the reader of the already familiar hero, who so vividly empathized with everything that came his way. He returns from England to Russia; on the way, the ship lands on the shore, where the narrator meets a mysterious stranger. He was a pale and dull young man, "more a ghost than a man." "He looked at the blue sea with his motionless black eyes, in which the last ray of dying life shone," played the guitar and sang a mysterious song about a beautiful but criminal love, about terrible punishment and loss, about the island of Bornholm, where his soul strives in vain, about parental curse ...

Laws condemn

The object of my love

But who, oh heart! Can

Oppose you?<...>

Sacred nature!

Your gentle friend and son

Innocent before you.

You gave me a heart ...

Who he is and where he is from, the narrator did not manage to find out - the ship sails away and the secret remains unsolved. Only a few days later, when the ship was off the coast of Denmark, the traveler sees the island of Bornholm and decides to go ashore in the hope of solving the stranger's secret. He finds himself in a dilapidated castle, whose owner is a silent gray-haired old man, dejected by mysterious grief, and everything around him is imbued with an atmosphere of destruction and imminent death: “Everywhere was gloomy and empty. In the first hall, surrounded by a Gothic colonade inside, a lamp hung and barely poured a pale light onto the rows of gilded pillars, which from antiquity had begun to collapse; in one place were parts of the cornice, in another, fragments of pilasters, in the third, whole fallen columns ... ".

The traveler finds a dungeon cave in the garden in which a beautiful woman is imprisoned. She utters incoherent speeches: I kiss the hand that executes me - I still love the one for whom I was punished so terribly - let him know about it in his exile - my end is near ... And the elder tells the traveler the secret of his family - “a secret terrible! "," terrible story<...> which you will not hear now, my friends, ”adds the Karamzin narrator. So the story ends almost in mid-sentence.

The actual "plot" of the story told by the narrator-traveler is omitted, and so exhaustively that, in essence, the very event line of the story is destroyed here. The Karamzinsky narrator consistently saves introductory, emotionally attuning descriptions to the reader - and takes outside the text what, in fact, should have been preceded by these descriptions - the very content of the narrated story, which could be familiar to a literary educated reader from numerous examples of "Gothic" extremely popular in Europe in the late 18th - early 19th centuries. The mystery that intrigued the reader remains unsolved, because the main thing here is not just a plot, but a special mood

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Nikolay Mikhailovich Karamzin

Teacher's lecture plan 1 Biography 2 In service. New meetings 3 Trip to Europe 4 Return to homeland 5 Works of Karamzin 6 Reform of language 7 Karamzin - historian 8 Karamzin - translator 9 Works of N. M. Karamzin 10 “... and we will perpetuate the past”

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(December 1 (12), 1766, Mikhailovka (Preobrazhenskoye) village of Buzuluk district of Kazan province (according to other sources - Znamenskoye village of Simbirsk district of Kazan province) - May 22 (June 3) 1826, St. Petersburg) - Russian historian-historian, writer, poet, honorary member of the St. Petersburg Academy of Sciences (1818). Creator of "History of the Russian State" (volumes 1-12, 1803-1826) - one of the first generalizing works on the history of Russia. Editor of the "Moscow Journal" (1791-1792) and "Bulletin of Europe" (1802-1803).

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THE BEGINNING OF THE WAY

Nikolai Mikhailovich Karamzin was born on December 1 (12), 1766 near Simbirsk. He grew up in the estate of his father - retired captain Mikhail Yegorovich Karamzin (1724-1783), a middle-ranked Simbirsk nobleman, a descendant of the Crimean Tatar murza Kara-Murza. He was educated at home, from the age of fourteen he studied in Moscow at the boarding school of a professor at Moscow University of Shaden, while attending lectures at the university.

Slide 5

In 1783, at the insistence of his father, he entered the service in the St. Petersburg Guards Regiment, but soon retired. The first literary experiments date back to the time of military service. After his resignation, he lived for some time in Simbirsk, and then in Moscow. During his stay in Simbirsk he entered the Masonic lodge of the "Golden Crown", and upon arrival in Moscow during four years (1785-1789) was a member of the Friendship Scientific Society Freemason. In Moscow, Karamzin met with writers and writers: N. I. Novikov, A. M. Kutuzov, A. A. Petrov, participated in the publication of the first Russian magazine for children - "Children's reading". In 1778 Karamzin was sent to Moscow to the boarding school of Moscow University professor I. M. Shaden.

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Trip to Europe

In 1789-1790 he undertook a trip to Europe, during which he visited Immanuel Kant in Koenigsberg, was in Paris during the great French revolution. As a result of this trip, the famous "Letters of a Russian Traveler" were written, the publication of which immediately made Karamzin a famous writer. Some philologists believe that it is from this book that modern Russian literature begins its countdown. The phrase "They steal ..." became famous, uttered by Karamzin during this trip in response to a compatriot's question about his homeland. In the presentation of Sergei Dovlatov, this historical anecdote sounds like this: Two hundred years ago, the historian Karamzin visited France. Russian emigrants asked him: "What, in a nutshell, is going on at home? Karamzin didn't even need two words." They steal, "answered Karamzin ...

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Homecoming

Upon his return from his trip, Karamzin settled in Moscow and began his career as a professional writer and journalist, starting to publish Moskovsky Zhurnal 1791-1792 (the first Russian literary magazine, in which, among other works of Karamzin, the novel Poor Liza, which strengthened his fame, appeared) , then published a number of collections and almanacs: "Aglaya", "Aonids", "My trinkets", which made sentimentalism the main literary movement in Russia, and Karamzin - its recognized leader. Emperor Alexander I, by a personal decree of October 31, 1803, bestowed the title of historiographer to Nikolai Mikhailovich Karamzin and 2 thousand rubles. annual salary. The title of historiographer in Russia was not renewed after the death of Karamzin. Since 1804, having received the title of historiographer, he stopped all literary work, "taking the tonsure as a historian." In 1811, he wrote "A Note on Ancient and New Russia", which clearly showed dissatisfaction with the course of liberal reforms. Exactly to the middle, the text was an excursion into the history of Russia, while the second part examined the modern historian's reign of Alexander I. In 1816, Karamzin published the first eight volumes of the History of the Russian State, three thousand copies of which were sold within a month. In subsequent years, three more volumes of "History" were published, a number of translations of it into the main European languages \u200b\u200bappeared. The coverage of the Russian historical process brought Karamzin closer to the court and the tsar, who settled him near him in Tsarskoe Selo. By the end of his life, he was a staunch supporter of absolute monarchy. The unfinished volume XII was published after his death. Karamzin died on May 22 (June 3) 1826 in St. Petersburg. His death was the result of a cold received on December 14, 1825. On this day, Karamzin was at Senate Square ...

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Works of Karamzin

"Eugene and Julia", the story (1789) "Letters of the Russian traveler" (1791-1792) "Poor Liza", the story (1792) "Natalia, the boyar's daughter", the story (1792) "The beautiful princess and the happy Karla" (1792) "Sierra Morena", the story (1793) "Bornholm Island" (1793) "Julia" (1796) "Martha the Posadnitsa, or the Conquest of Novgorod", the story (1802) "My Confession", a letter to the magazine publisher (1802) " Sensitive and cold "(1803)" Knight of our time "(1803)" Autumn "()

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LANGUAGE REFORM

The prose and poetry of Karamzin had a huge impact on the development of the Russian literary language. Karamzin purposefully refused to use Church Slavonic vocabulary and grammar, bringing the language of his works to the everyday language of his era and using the grammar and syntax of the French language as a model. Karamzin introduced into the Russian language many new words - neologisms ("charity", "love", "free thinking", "attraction", "responsibility", "suspicion", "industry", "sophistication", "first class", "human" ), barbarism ("sidewalk", "coachman"). He was also one of the first to use the letter E. Changes in the language proposed by Karamzin caused a heated controversy in the 1810s. The writer AS Shishkov, with the assistance of Derzhavin, founded in 1811 the society "Conversation of lovers of the Russian word", whose purpose was to promote the "old" language, as well as criticize Karamzin, Zhukovsky and their followers. In response, in 1815, the literary society "Arzamas" was formed, which mocked the authors of "Conversation" and parodied their works. Many poets of the new generation have become members of the society, including Batyushkov, Vyazemsky, Davydov, Zhukovsky, Pushkin. The literary victory of Arzamas over Beseda consolidated the victory of the language changes introduced by Karamzin. In 1818, Karamzin was elected a member of the Russian Academy.

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Karamzin - historian

Karamzin became interested in history in the mid-1790s. He wrote a story on a historical theme - "Martha Posadnitsa, or the Conquest of Novgorod" (published in 1803). In the same year, by decree of Alexander I, he was appointed to the post of historiographer, and until the end of his life he was writing "History of the Russian State". Karamzin opened the history of Russia to the general educated public. According to Pushkin, “everyone, even secular women, rushed to read the history of their fatherland, hitherto unknown to them. She was a new discovery for them. Ancient Russia, it seemed, was found by Karamzin, as America was found by Columbus. In his work, Karamzin acted more as a writer than a historian - describing historical facts, he cared about the beauty of the language, least of all trying to draw any conclusions from the events he described. Nevertheless, his commentaries, which contain many extracts from manuscripts, mostly first published by Karamzin, are of high scientific value. AS Pushkin assessed Karamzin's works on the history of Russia: "In his" History "elegance, simplicity Prove to us, without any bias, the Need for autocracy And the charm of the whip."

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Karamzin - translator

In 1792 N. M. Karamzin translated a remarkable monument of Indian literature - the drama "Sakuntala" ("Shakuntala"), the author of which is Kalidasa. In the preface to the translation, he wrote: “The creative spirit dwells in more than one Europe; he is a citizen of the universe. Man is everywhere a man; everywhere he has a sensitive heart, and in the mirror of his imagination he contains heaven and earth. Everywhere Natura is his mentor and the main source of his pleasures. I felt this very vividly, reading "Sakuntala", a drama composed in the Indian language, 1900 years before this, the Asian poet Kalidas ... "

Slide 12

N. M. Karamzin's works

History of the Russian State (12 volumes, until 1612, library of Maxim Moshkov) Poems Karamzin, Nikolai Mikhailovich in the library of Maxim Moshkov Nikolai Karamzin in the Anthology of Russian poetry Karamzin, Nikolai Mikhailovich "Letters to Ivan Ivanovich Dmitriev" 1866 - facsimile reprint of the book "Bulletin of Europe" published by Karamzin, facsimile pdf reproduction of magazines. Nikolay Karamzin. Letters from a Russian traveler, M. "Zakharov", 2005, information about the publication ISBN 5-8159-0480-5 N. M. Karamzin. A note on ancient and new Russia in its political and civil relations. Letters from NM Karamzin. 1806-1825

Slide 13

"... and immortalize the past."

"Karamzin's passage" in Moscow. Monument to N.K. Karamzin in Simbirsk (Ulyanovsk).

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Postage stamp with the image of Karamzin, issued in the Soviet Union.

  • Slide 15

    Textual study of the story "POOR LIZA"

    Conversation on homework. Working with the text of the story. Formation of speaking skills.

    Slide 16

    Creating a problem situation

    “Death for the Fatherland is not terrible, dear Liza,” says Erast and leaves Liza. Can it be argued that the main theme of Karamzin’s story is the TOPIC OF DUTY TO THE FATHERLAND, and the main conflict is the CONTRADICTION BETWEEN LONG AND FEELING, in which debt wins? What is the main subject of the image for the sentimentalist Karamzin? (Students' answers).

    Slide 17

    What is the role of the narrator in the story? What kind of man is he? How does he relate to the heroes, to Lisa and her fate?

    The image of the narrator expands the depicted area of \u200b\u200bfeelings. This person is extremely sensitive, sentimental. Lisa's story deeply touched him (EXAMPLES from the text). He cannot restrain his feelings and often directly interferes with the action, assessing the behavior or feelings of the hero (EXAMPLES). The narrator is unusually sensitive to the beauties of nature (EXAMPLES). Its main feature is a keen interest in human feelings, first of all, in Liza. Moment after moment, he conveys the state of mind of the heroine, her experiences. (Students take notes in a workbook)

    Slide 18

    For what purpose was the image of Liza's mother introduced into the story?

    All the best that was in Liza (decency, hard work, good nature, the ability to love faithfully and faithfully, to feel deeply) is the fruit of her mother's upbringing. The mother acts as a mentor, guardian angel of her daughter. The example of a mother grieving for her husband, with whom she lived in love and harmony for many years, is very important for Lisa. ("And peasant women know how to love!") (Students make notes in a notebook)

    Slide 19

    In your opinion, is ERAST a positive or negative hero? How does his character manifest itself in relations with Lisa? Did he love HER or the IMAGE he created? How does the narrator feel about Erast?

    ERAST is a new hero for Russian literature. Karamzin, creating the image of Erast, seeks to show the psychology of a person, noting the positive and negative sides of his character ("a fair mind", "kind heart", but at the same time the heart is "weak and windy"). The scattered social life, the search for pleasure made Erast a bored and jaded person. The meeting with Lisa opened for him a new, unexplored area of \u200b\u200binnocent joys, which he read about in books, but which he did not know in life.

    Slide 20

    "Nature calls me into her arms, to her pure joys," he thought, and decided - at least for a while - to leave the big light. "

    This "for a while" and speaks of the superficial feelings of Erast. His idyllic dreams, dreams of being with Lisa as a brother and sister, soon vanished, and the thought of marrying Lisa did not occur to him. Erast says one thing, does another, and what he thinks, neither the narrator nor the reader knows. The time of platonic love ended, and the hero began to lose interest in Lisa. The beauty of novelty has been lost. Erast's attempt to buy off Lisa is the reason for the girl's suicide.

    Slide 21

    Erast at the end of the story.

    Erast is unhappy. He bitterly reproaches himself for the death of Lisa. The narrator says that Erast is no longer alive and hopes for a reconciliation between the hero and Liza ("Now, maybe they have already reconciled!"). Weak, superficially romantic, easily carried away and easily cooling down, kind and not knowing his own heart, capable of low deeds and deep repentance - such is Erast in Karamzin's story "Poor Liza".

    Slide 22

    Homemade

  • Slide 23

    1. Prepare an oral answer about Lisa's mother or about the narrator (optional), using the text of the story and notes made in the notebook. 2. Using the materials of the lesson, create a table about Eraste. Express your opinion about the hero.

    POSITIVE QUALITIES OF ERASTA NEGATIVE QUALITIES OF ERAST

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    We often use familiar words like charity, attraction and even falling in love. But few people know that if it were not for Nikolai Karamzin, then maybe they would never have appeared in the dictionary of a Russian person. Karamzin's work was compared with the works of the outstanding sentimentalist Stern, and even put the writers on the same level. Possessing deep analytical thinking, he managed to write the first book "History of the Russian State". Karamzin did this without describing a separate historical stage, of which he was a contemporary, but by presenting a panoramic image of the historical picture of the state.

    Childhood and adolescence of N. Karamzin

    The future genius was born on December 12, 1766. He grew up and was brought up in the house of his father Mikhail Yegorovich, who was a retired captain. Nikolai lost his mother early, so his father was completely involved in his upbringing.

    As soon as he learned to read, the boy took books from his mother's library, among which were French novels, works by Emin, Rollin. Nikolai received his primary education at home, then studied at the Simbirsk noble boarding school, and then, in 1778, he was sent to the boarding school of the Moscow professor.

    As a child, he began to take an interest in history. This was facilitated by a book on the history of Emin.

    Nikolai's inquisitive mind did not allow him to sit still for a long time, he took up the study of languages, went to listen to lectures at Moscow University.

    Carier start

    Karamzin's creativity dates back to the time when he served in the Preobrazhensky Guards Regiment of St. Petersburg. It was during this period that Nikolai Mikhailovich began to try himself in the role of a writer.

    Contributed to the formation of Karamzin as an artist of words and acquaintances, which he made in Moscow. Among his friends were N. Novikov, A. Petrov, A. Kutuzov. In the same period, he joined social activities - he helped in the preparation and publication of a magazine for children "Children's reading for the heart and mind."

    The period of service was not only the beginning of Nikolai Karamzin, but also shaped him as a person, made it possible to make many acquaintances that were useful. After the death of his father, Nikolai decides to quit the service so as never to return to it. In the light at that time, this was regarded as audacity and a challenge to society. But who knows, if he had not left the service, he would have been able to publish his first translations, as well as original works, which show a keen interest in historical topics?

    Trip to Europe

    The life and work of Karamzin abruptly changed their usual way, when from 1789 to 1790. he travels around Europe. During the trip, the writer visits Immanuel Kant, which made a remarkable impression on him. Nikolay Mikhailovich Karamzin, chronological table which is replenished by his presence in France during the Great French Revolution, later wrote his "Letters of a Russian Traveler." It is this work that makes him famous.

    It is believed that this book opens the countdown. new era Russian literature. This is not unreasonable, since such travel notes were not only popular in Europe, but also found their followers in Russia. Among them are A. Griboyedov, F. Glinka, V. Izmailov and many others.

    From here "legs grow" and the comparison of Karamzin with Stern. The latter's "Sentimental Journey" resembles Karamzin's works in terms of subject matter.

    Arrival to Russia

    Returning to his homeland, Karamzin decides to settle in Moscow, where he continues his literary activity. In addition, he becomes a professional writer and journalist. But the apogee of this period is, of course, the publication of "Moscow Journal" - the first Russian literary magazine, in which Karamzin's works were also published.

    In parallel, he published collections and almanacs that strengthened him as the father of sentimentalism in Russian literature. Among them are "Aglaya", "Pantheon of Foreign Literature", "My trinkets" and others.

    Moreover, Emperor Alexander I established the title of court historiographer for Karamzin. It is noteworthy that after that no one was awarded such a title. This not only strengthened Nikolai Mikhailovich, but also strengthened his status in society.

    Karamzin as a writer

    Karamzin joined the literary class when he was already in the service, since attempts to try himself in this field at the university were not crowned with great success.

    Karamzin's work can certainly be divided into three main lines:

    • fiction, which is an essential part of the heritage (in the list: stories, novellas);
    • poetry - it is much less;
    • fiction, historical works.

    In general, the influence of his works on Russian literature can be compared with the influence of Catherine on society - there have been changes that have made the industry humane.

    Karamzin is a writer who became the starting point of new Russian literature, the era of which continues to this day.

    Sentimentalism in the works of Karamzin

    Karamzin Nikolai Mikhailovich turned the attention of writers, and, as a result, of their readers, to feelings as the dominant of human essence. It is this feature that is fundamental to sentimentalism and separates it from classicism.

    At the heart of a normal, natural and correct existence of a person should not be a rational principle, but the release of feelings and impulses, the improvement of the sensual side of a person as such, which is given by nature and is natural.

    The hero is no longer typical. It was individualized, made it unique. His experiences do not deprive him of his strength, but enrich him, teach him to feel the world subtly, to respond to changes.

    Poor Liza is considered to be a programmatic work of sentimentalism in Russian literature. This statement is not entirely true. Nikolai Mikhailovich Karamzin, whose work exploded literally after the publication of the "Letters of a Russian Traveler", introduced sentimentalism precisely through travel notes.

    Poetry of Karamzin

    Karamzin's poems take up much less space in his work. But don't underestimate their importance. As in prose, Karamzin the poet becomes a neophyte of sentimentalism.

    The poetry of that time was guided by Lomonosov, Derzhavin, while Nikolai Mikhailovich was changing course to European sentimentalism. There is a reorientation of values \u200b\u200bin literature. Instead of an external, rational world, the author delves into the inner world person, is interested in his spiritual forces.

    Unlike classicism, the heroes are the characters of a simple life, everyday life, respectively, the object of Karamzin's poem is a simple life, as he himself argued. Of course, when describing everyday life, the poet refrains from lush metaphors and comparisons, using standard and simple rhymes.

    But this does not mean at all that poetry becomes poor and mediocre. On the contrary, to be able to select the available ones so that they produce the desired effect and at the same time convey the feelings of the hero - this is the main goal pursued by Karamzin's poetic work.

    The poems are not monumental. They often show the duality of human nature, two views of things, the unity and struggle of opposites.

    Prose by Karamzin

    Karamzin's aesthetic principles reflected in prose are also found in his theoretical works. He insists on moving away from the classic obsession with rationalism to the sensitive side of man, his spiritual world.

    The main task is to persuade the reader to maximize empathy, make them worry not only for the hero, but also with him. Thus, empathy should lead to an internal transformation of a person, make him develop his spiritual resources.

    The artistic side of the work is also built like that of poems: a minimum of complex speech turns, pomp and pretentiousness. But so that the same traveler's notes are not dry reports, in them the orientation towards the display of mentality, characters comes to the fore.

    Karamzin's stories describe in detail what is happening, focusing on the sensual nature of things. But since there were many impressions from the trip abroad, they passed to paper through the sieve of the author's "I". He does not get attached to the associations that are firmly established in consciousness. For example, he remembered London not for the Thames, bridges and fog, but in the evenings, when the lanterns are lit and the city shines.

    The characters find the writer themselves - these are his fellow travelers or interlocutors whom Karamzin meets during the journey. It should be noted that these are not only noble persons. He does not hesitate to communicate with socialites and poor students.

    Karamzin - historian

    The 19th century brings Karamzin to history. When Alexander I appoints him as a court historiographer, the life and work of Karamzin again undergo dramatic changes: he completely abandons literary activity and plunges into writing historical works.

    Oddly enough, but his first historical work, "A note on ancient and new Russia in its political and civil relations," Karamzin devoted to criticism of the emperor's reforms. The purpose of the "Note" was to show the conservative strata of society, as well as their dissatisfaction with liberal reforms. He also tried to find evidence of the futility of such reforms.

    Karamzin - translator

    The structure of the "History":

    • introduction - the role of history as a science is described;
    • history until 1612 from the days of nomadic tribes.

    Each story, narration ends with conclusions of a moral and ethical nature.

    The meaning of "History"

    As soon as Karamzin completed his work, "The History of the Russian State" literally flew like hot cakes. 3000 copies were sold in a month. Everyone was read by "history": the reason for this is not only the filled blank spots in the history of the state, but also the simplicity and ease of presentation. Later on, there was more than one on the basis of this book, since "History" also became a source of plots.

    "History of the Russian State" became the first analytical work on also became a template and example for the further development of interest in history in the country.