We will talk about the next era after the Enlightenment and how it manifested itself in the Russian cultural space.
The Age of Enlightenment was built on the education of the senses. If we believe that feelings can be educated, then at some point we must admit that it is not necessary to educate them. You need to pay attention and trust them. What was previously considered dangerous will suddenly turn out to be important, capable of giving us an impetus to development. This happened during the transition from the Enlightenment to sentimentalism.
Sentimentalism- translated from French "feeling".
Sentimentalism offered not just to educate feelings, but to reckon with them, to trust them.
A cross-cutting theme of classicism in European culture is the struggle between duty and feeling.
A cross-cutting theme of sentimentalism is that the mind is not omnipotent. And it’s not enough to cultivate feelings, you need to trust them, even if it seems that this is destroying our world.
Sentimentalism first manifested itself in literature as classicism in architecture and theater. This is not accidental, because the word "sentimentalism" is associated with the transfer of shades of feelings. Architecture does not convey shades of feelings; in the theater they are not as important as the performance as a whole. Theater is a "fast" art. Literature can be slow and convey shades, which is why the ideas of sentimentalism were realized with greater force.
Jean-Jacques Rousseau's novel The New Eloise describes situations that were unthinkable in previous eras - the friendship of a man and a woman. This topic has only been discussed for a couple of centuries. For the era of Rousseau, the question is colossal, but then there was no answer. The era of sentimentalism is focused on those feelings that do not fit into the theory and contradict the ideas of classicism.
In the history of Russian literature, Nikolai Mikhailovich Karamzin became the first outstanding sentimentalist writer (see Fig. 1).
Rice. 1. Nikolai Mikhailovich Karamzin
We talked about his Letters of a Russian Traveler. Try to compare this work with "Journey from St. Petersburg to Moscow" by Alexander Nikolayevich Radishchev. Find common and different.
Pay attention to the words with "with": sympathy, compassion, interlocutor. What is in common between the revolutionary Radishchev and the sentimental Karamzin?
Having returned from his trip and having written “Letters from a Russian Traveler”, which were published in 1791, Karamzin proceeds to publish the “Moscow Journal”, where in 1792 a short story “Poor Liza” appears. The work turned all Russian literature upside down, determined its course for many years. The story of several pages has echoed in many classic Russian books, from The Queen of Spades to Dostoevsky's novel Crime and Punishment (the image of Lizaveta Ivanovna, the sister of an old pawnbroker).
Karamzin, having written "Poor Lisa", entered the history of Russian literature (see Fig. 2).
Rice. 2. G.D. Epifanov. Illustrations for the story "Poor Lisa"
This is a story about how the nobleman Erast deceived the poor peasant woman Lisa. He promised to marry her and did not marry, he tried to pay off from her. The girl committed suicide, and Erast, saying that he had gone to war, tied the knot with a rich widow.
There were no such stories. Karamzin changes a lot.
In the literature of the XVIII century, all heroes are divided into good and bad. Karamzin begins the story by saying that everything is ambiguous.
Perhaps no one living in Moscow knows the surroundings of this city as well as I do, because no one is more often than me in the field, no one more than me wanders on foot, without a plan, without a goal - where the eyes look - through meadows and groves. over hills and plains.
Nikolai Karamzin
We meet the storyteller's heart before we see the characters. Previously, in literature, there was a binding of characters to a place. If this is an idyll, events unfolded in the bosom of nature, and if a moralizing story, then in the city. Karamzin from the very beginning places the heroes on the border between the village where Lisa lives and the city where Erast lives. The tragic meeting of the city and the village is the subject of his story (see Fig. 3).
Rice. 3. G.D. Epifanov. Illustrations for the story "Poor Lisa"
Karamzin introduces something that has never been in Russian literature - the theme of money. In building the plot of "Poor Lisa" money plays a huge role. The relationship between Erast and Lisa begins with the fact that a nobleman wants to buy flowers from a peasant woman not for five kopecks, but for a ruble. The hero does it with a pure heart, but he measures feelings in money. Further, when Erast leaves Liza and when he accidentally meets her in the city, he pays her off (see Fig. 4).
Rice. 4. G.D. Epifanov. Illustrations for the story "Poor Lisa"
But after all, Lisa, before committing suicide, leaves her mother 10 imperials. The girl had already contracted the city's habit of counting money.
The ending of the story is incredible for that time. Karamzin talks about the death of heroes. Both in Russian literature and in European literature, the death of loving heroes has been spoken about more than once. A cross-cutting motive - the lovers united after death, like Tristan and Isolde, Peter and Fevronia. But for the suicide Liza and the sinner Erast to reconcile after death was incredible. The last phrase of the story: "Now, maybe they are reconciled." After the final Karamzin talks about himself, about what is happening in his heart.
She was buried near the pond, under a gloomy oak, and a wooden cross was placed on her grave. Here I often sit in thought, leaning on the receptacle of Liza's ashes; in my eyes a pond flows; Leaves rustle above me.
The narrator turns out to be no less important participant in the literary action than his characters. It was all incredibly new and fresh.
We said that ancient Russian literature valued not novelty, but the observance of rules. The new literature, of which Karamzin turned out to be one of the conductors, on the contrary, appreciates freshness, the explosion of the familiar, the rejection of the past, the movement into the future. And Nikolai Mikhailovich succeeded.
SENTIMENTALISM OF N. M. KARAMZIN’S STORY “POOR LISA”
1. Introduction.
"Poor Lisa" is a work of sentimentalism.
2. The main part.
2.1 Lisa is the main character of the story.
2.2 The class inequality of the heroes is the main reason for the tragedy.
2.3 “And peasant women know how to love!”
3. Conclusion.
The theme of the little man.
Under him [Karamzin] and as a result of his influence, heavy pedantry and schoolboyism were replaced by sentimentality and secular lightness.
V. Belinsky
The story of Nikolai Mikhailovich Karamzin "Poor Lisa" is the first work of Russian literature that most clearly embodies the main features of such a literary trend as sentimentalism.
The plot of the story is very simple: it is the love story of a poor peasant woman, Lisa, for a young nobleman who leaves her for an arranged marriage. As a result, the girl rushes into the pond, not seeing the point of living without her beloved.
An innovation introduced by Karamzin is the appearance in the story of a narrator who, in numerous lyrical digressions, expresses his sadness and makes us empathize. Karamzin is not ashamed of his tears and encourages readers to do the same. But not only the author's heart anguish and tears make us feel this simple story.
Even the smallest details in the description of nature evoke a response in the souls of readers. After all, it is known that Karamzin himself was very fond of walking in the vicinity of the old monastery over the Moscow River, and after the publication of the work, behind the monastery pond with its old willows, the name "Lizin's pond" was fixed.
There are no strictly positive or negative characters in the works of sentimentalism. So the heroes of Karamzin are living people with their own virtues and vices. Without denying
Lisa is not at all like a typical "Pushkin" or "Turgenev" girl. She does not embody the feminine ideal of the author. For Karamzin, she is a symbol of a person's soulfulness, his naturalness and sincerity.
The writer emphasizes that the girl did not read about love even in novels, therefore the feeling took possession of her heart so much, therefore the betrayal of her beloved led her to such despair. The love of Liza, a poor uneducated girl, for a noble young man "with a fair mind" is a struggle of real feelings with social prejudices.
From the very beginning, this story was doomed to a tragic ending, because the class inequality of the main characters was too significant. But the author, describing the fate of young people, places emphasis in such a way that his personal attitude to what is happening becomes clear.
Karamzin not only appreciates spiritual aspirations, experiences and the ability to love higher than material wealth and position in society. It is in the inability to love, to experience truly deep
feeling he sees the cause of this tragedy. “And peasant women know how to love!” - with this phrase, Karamzin drew the attention of readers to the joys and problems of the common man. No social superiority can justify the hero and save him from responsibility for his actions.
Considering it impossible for some people to manage the lives of others, the writer denied serfdom and considered his primary task to be the ability to draw attention to people who were weak and voiceless.
Humanism, empathy, indifference to social problems - these are the feelings that the author tries to awaken in his readers. The literature of the late 18th century is gradually moving away from civil topics and focuses its attention on the theme of personality, the fate of a single person with his inner world, passionate desires and simple joys.
The story of N. M. Karamzin "Poor Liza" was one of the first sentimental works of Russian literature of the 18th century.
Sentimentalism proclaimed a predominant attention to the private life of people, to their feelings, equally characteristic of people from all classes .. Karamzin tells us the story of the unhappy love of a simple peasant girl Lisa and nobleman Erast in order to prove that "peasant women know how to love."
Lisa is the ideal of nature. She is not only “beautiful in soul and body,” but is also able to sincerely love a person who is not quite worthy of her love. Erast, although, of course, surpasses his beloved in education, nobility and material condition, turns out to be spiritually smaller than her. He also has a mind and a kind heart, but is a weak and windy person. He is not able to rise above class prejudices and marry Liza. After losing at cards, he is forced to marry a rich widow and leave Lisa, which is why she committed suicide. However, sincere human feelings did not die in Erast and, as the author assures us, “Erast was unhappy until the end of his life. Having learned about the fate of Lizina, he could not be consoled and considered himself a murderer.
For Karamzin, the village becomes a hotbed of natural moral purity, and the city becomes a source of temptations that can destroy this purity. The heroes of the writer, in full accordance with the precepts of sentimentalism, suffer almost all the time, constantly expressing their feelings with abundantly shed tears. Karamzin is not ashamed of tears and encourages readers to do the same. He describes in detail the experiences of Lisa, left by Erast, who had gone to the army, we can follow how she suffers: “From now on, her days were days of longing and sorrow, which had to be hidden from her tender mother: her heart suffered all the more! Then it was only relieved when Liza, secluded in the dense forest, could freely shed tears and moan about separation from her beloved. Often the sad dove combined her mournful voice with her groaning.
The writer is characterized by lyrical digressions, at every dramatic turn of the plot we hear the author's voice: "my heart bleeds ...", "a tear rolls down my face." It was essential for the sentimentalist writer to address social issues. He does not blame Erast for the death of Lisa: the young nobleman is just as unhappy as the peasant woman. It is important that Karamzin is perhaps the first in Russian literature who discovered the "living soul" in the representatives of the lower class. This is where the Russian tradition begins: to show sympathy for ordinary people. You can also notice that the very title of the work carries a special symbolism, where, on the one hand, it indicates the financial situation of Lisa, and on the other hand, the well-being of her soul, which leads to philosophical reflections.
The writer turned to another no less interesting tradition of Russian literature - the poetics of the speaking name. He was able to emphasize the discrepancy between the external and internal in the characters of the story. Liza - meek, quiet surpasses Erast in the ability to love and live in love. She does things. requiring decisiveness and willpower, going into conflict with the laws of morality, religious and moral norms of behavior.
Philosophy, assimilated by Karamzin, made Nature one of the main characters of the story. Not all characters in the story have the right to intimate communication with the world of Nature, but only Liza and the Narrator.
In "Poor Lisa" N. M. Karamzin gave one of the first samples of sentimental style in Russian literature, which was guided by the colloquial and everyday speech of the educated part of the nobility. He assumed the grace and simplicity of the style, the specific selection of words and expressions that "sound" and "do not spoil the taste", the rhythmic organization of prose, bringing it closer to poetic speech. In the story "Poor Lisa" Karamzin showed himself to be a great psychologist. He managed to masterfully reveal the inner world of his characters, primarily their love experiences.
Not only the author himself got along with Erast and Lisa, but also thousands of his contemporaries - readers of the story. This was facilitated by the good recognition not only of the circumstances, but also of the place of action. Karamzin quite accurately depicted in "Poor Lisa" the surroundings of the Moscow Simonov Monastery, and the name "Lizin's Pond" was firmly entrenched behind the pond located there. ". Moreover: some unfortunate young ladies even drowned themselves here, following the example of the main character of the story. Lisa became a model that they sought to imitate in love, however, not peasant women, but girls from the nobility and other wealthy classes. The rare name Erast became very popular in noble families. "Poor Lisa" and sentimentalism corresponded to the spirit of the times.
Having affirmed sentimentalism in Russian literature with his story, Karamzin took a significant step in terms of its democratization, abandoning the strict, but far from real life schemes of classicism.
The story "Poor Liza", written in 1792, became the first sentimental story in Russian literature. The love story of a peasant woman and a nobleman did not leave readers of that time indifferent. So what is the sentimentalism of "Poor Lisa"?
Sentimentalism is a direction in literature where the feelings of the characters come first, despite their low or high position.
The plot of the story unfolds before the reader the love story of a poor peasant girl and a nobleman. The author, from an enlightening position, defends the extra-class value of a person, refuses prejudices. “Even peasant women know how to love,” writes Karamzin, and this statement was new for Russian literature.
Examples of sentimentalism in the story "Poor Lisa" include the constant experiences and suffering of the characters, the expression of their feelings. Also, this genre can be attributed to such features as the author's lyrical digressions, a description of nature.
Landscape sketches in the story create a certain mood and resonate with the experiences of the characters. So, the thunderstorm scene emphasizes the fear and confusion in Lisa's soul, tells the reader that ahead is a tragic turn of events.
The literature of sentimentalism opened the world of human feelings and experiences for readers of the 18th century, made it possible to feel the fusion of the human soul with nature.
“Poor Lisa” is a tragic love story. A simple, peasant girl Liza, who lives in the vicinity of Moscow, goes to the city to sell flowers. There she meets a young man named Erast. They fall in love with each other.
The plot of the story is based on a system of internal and external conflicts. The external conflict is a social contradiction: he is a nobleman, she is a peasant woman. The heroes suffer because of social prejudice, but then they begin to believe that the power of love will overcome them. And at some point it seems to the reader that the love story will have a happy ending. But there are other conflicts in the story that develop the action in a tragic way. This is an internal conflict in the soul of Erast, which arose due to the prevailing life circumstances. The hero leaves for the location of the active army, and Lisa remains to wait for him, believing the promises and confessions of her lover. Having lost money and property in cards, Erast is unable to pay the resulting debts. And then he finds the only way out: to marry a rich bride. Lisa accidentally learns about the betrayal and decides to drown herself. The motive for suicide was also new to Russian literature. Upon learning of the death of his beloved, Erasmt painfully experiences his betrayal. We learn about this at the end of the story.
This story causes sympathy in the hearts of readers for the characters of the story. The author also sympathizes with his characters. The author's position is visible in the title of the story. We also cannot call Erast a negative hero, this image evokes sympathy for the sincere repentance that he feels, realizing the horror of his act, the depth of betrayal that led to Lisa's death. The author's position is also expressed through direct statements belonging to the narrator in the story: “Reckless young man!
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Message about N.M. Karamzin: Karamzin the poet, Karamzin the publicist, Karamzin the historian
A teacher's word on sentimentalism
In the second half of the 18th century, a new literary trend "sentimentalism" emerged. Translated from English. means "sensitive", "touching". N.M. Karamzin is considered to be its head in Russia, and the direction itself is often defined as Russian “noble” sentimentalism. However, some researchers contrast the Karamzinist trend with “democratic” sentimentalism, headed by Radishchev. Sentimentalism arose in the West during the period of the disintegration of feudal-serf relations. Historical background dictates the emergence of certain principles in the aesthetics of sentimentalism. Let's remember what was the main task of art for the classicists? (for the classicists, the main task of art was the glorification of the state)
And in the center of attention of sentimentalism is a person, moreover, not a person in general, but this particular person, in all the originality of his individual personality. Its value is due not to belonging to the upper classes, but to personal merit. The positive characters of most sentimental works are representatives of the middle and lower classes. Usually, in the center of the works, a disappointed hero, who complains about fate, sheds a sea of tears. The task of the writer is to arouse compassion for him. The everyday life of a person is depicted. The scene is small towns and villages. Favorite meeting places for heroes are quiet, secluded places (ruins, cemeteries).
The inner world of a person, his psychology, shades of moods are the dominant themes of most of the works.
New content entails the emergence of new forms: the leading genres are the family psychological novel, diary, confession, and travel notes. Poetry and drama are replaced by prose. The syllable becomes sensitive, melodious, emotional. Received the development of "tearful" drama and comic opera.
In the works of sentimentalism, the voice of the narrator is very important. In the article “What does the author need?”, which became the manifesto of Russian sentimentalism, N.M. Karamzin wrote: “You want to be an author: read the history of the misfortunes of the human race - and if your heart does not bleed, put a pen, or it will portray us cold gloom your soul."
Sentimentalists:
England: Lawrence Sterne "Sentimental Journey", novel "Tristam Shandy", Richardson "Clarissa Harlow";
Germany: Goethe "The Suffering of Young Werther";
France: Jean-Jacques Rousseau "Julia, or New Eloise";
Russia: N.M. Karamzin, A.N. Radishchev, N.A. Lvov, M.N. Muravyov, young V.A. Zhukovsky
The origin of Russian sentimentalism in the 60s is explained by the fact that people of the “third rank” begin to play an important role in public life.
Analysis of the story "Poor Liza"
- One of the most striking works of sentimentalism is N.M. Karamzin's story "Poor Lisa" (1792).
Let us turn to the words of E. Osetrov "B.L." - this is an exemplary work, dedicated not to external events, but to the "sensitive" soul.
You read the story at home and probably thought about the problems that the author poses in his work. Let's find out with you what is the main theme and idea of this work. Let's see how the images of the main characters of the story are presented. Let's try to explain the actions of the main characters (when answering questions, be sure to use the text).
How would you define the theme of this story? (the theme of the search for personal happiness). This theme was new for the literature of that time. We have already said that sentimentalist writers focus on the private, individual person.
Who are the heroes of this story? (young girl Liza, her mother, young man Erast)
What is Lisa's life with her mother before meeting with Erast? (Lisa "worked day and night - weaving canvases, knitting stockings, picking flowers in the spring, and picking berries in the summer - and selling all this in Moscow")
What is the dignity of the personality of Lisa and her parents? (father - “loved work, plowed the land well and always led a sober life”; mother is faithful to the memory of her husband, brings up her daughter in strict moral terms, in particular, inspires her with the rule: “feed on her labors and take nothing for nothing”, Liza is pure , open, faithful in love, caring daughter, virtuous)
What epithets and for what purpose does Karamzin endow his heroine? (poor, beautiful, amiable, tender, obliging, timid, unhappy).
What is the life of Erast? ("Erast was prettya rich nobleman, with a fair mind and a good heart, kind by nature, but weak and windy. He led a distracted life, thinking only about his own pleasure, looking for it in secular amusements, but often did not find it: he was bored and complained about his fate; he read novels, idylls, had a rather lively imagination and often mentally moved to those times (former or not former) in which, according to the poets, all people carelessly walked through the meadows, bathed in clean springs, kissed like doves, rested under roses and myrtles and spent all their days in happy idleness.
The plot of the story is based on the love story of Lisa and Erast. How does YaKaramzin show the development of feelings between young people? (at first, their love was platonic, pure, immaculate, but then Erast is no longer content with pure hugs, and Lisa sees her happiness in Erast's contentment)
What was the flaring feeling for Lisa and for Erast, who had already tasted secular amusements? (For Lisa, this feeling was the whole meaning of her life, and for Erast, simplicity was another fun. Lisa believed Erast. From now on, she obeys his will, even when a good heart and common sense prompt her to behave in the opposite way: she hides from her mother a meeting with Erast, a fall into sin , and after the departure of Erast - the strength of his longing)
Is love possible between a peasant woman and a gentleman? (It seems impossible. At the very beginning of her acquaintance with Erast, Lisa does not allow the thought of her possibility: the mother, seeing Erast, says to her daughter: “If only your fiancé was like that!” Liza’s whole heart fluttered ... “Mother! Mother! How can this be? He is a gentleman, and among the peasants ... - Lisa did not finish her speech. " After Erast visited Lisa's house, she thinks: "If the one who now occupies my thoughts was born a simple peasant, a shepherd ... A dream!" in a conversation with Erast after his promises to take Lisa to him after the death of her mother, the girl objects: “However, you can’t be my husband”
- "Why?"
- "I'm a peasant"
How do you understand the title of the story? (poor - unhappy)
The feelings of the heroes, their condition are closely connected with nature. Prove that the descriptions of nature “prepare” the characters and readers, “tune in” for certain events (the description of the Simonov Monastery at the beginning of the story is set up for the tragic ending of the story; Liza on the banks of the Moskva River in the early morning before meeting with Erast; description of a thunderstorm when Liza counts herself a criminal because she lost her innocence, chastity)
The author loves Liza, admires her, deeply experiences her fall, tries to explain the reasons for it and mitigate the severity of condemnation, is even ready to justify and forgive her, but he repeatedly calls Erast cruel with Lisa’s words, and this is justified, although Liza puts a slightly different meaning into this epithet . He gives his assessments to everything that happens, which are objective)
Did you like the story? How?
D.z.:
1. Message about sentimentalism
2. Why is "Poor Liza" a piece of sentimentalism? (written reply)
Reflection
Knew-know-want to know (ZUH)
