Russian literature of the 18th century passed big way in its development: from classicism to sentimentalism, from the ideal of an enlightened monarch to the intimate experiences of a person (of course, a nobleman).
The beginning of the 18th century was stormy for Russia. The creation of our own fleet, wars for access to sea routes, the development of industry, the flourishing of trade, the construction of new cities - all this could not but affect the growth of national consciousness. People of Peter's time felt their involvement in historical events, with Peter I, imitation of European customs came to the state, and with them, and European ideals. A stream of foreign specialists attracted by the sovereign poured into the country. Russian classicism appeared and began its development under the influence of the Enlightenment.

Since the cult of science, reason, and enlightenment flourished in the country, the main character in literature is an enlightened monarch or an ideal citizen who shares the ideas of Peter. The ideals of classicism are a harmonious order and harmony, embodied in a certain hierarchy. Will, a sense of social duty, patriotism were exalted by classicist poets. They glorified the superiority of the state over the personal, reason over feelings, order over chaos, civilization over nature. Hierarchy manifested itself in literature itself. Classicism sharply divided its genres. Civic theme clothed in the form of a solemn ode, and the description privacy got more "lower" genres.

to mid-eighteenth century, it became clear to many that the image of an ideal enlightened ruler is far from real life.

Under Catherine II, Russian absolutism reached unprecedented power. The nobility received unprecedented privileges, Russia became one of the first world powers. But peasant war 1773-1775, headed by E.I. Pugachev, showed the irreconcilable contradictions that existed between the ruling class and the disenfranchised people. The basic principle of the educational ideology about absolutism as the only rational power has failed

During this period, a new literary trend appeared - sentimentalism (M. Kheraskov, M. Muravyov, N. Karamzin, I. Dmitriev and others), characterized by an increased interest in the inner world of man. Sentimentalists believed that a person is by nature kind, devoid of hatred, deceit, cruelty, that social and social instincts are formed on the basis of innate virtue, uniting people into society. In the works of that time, the main place began to be given to the education of the soul, moral improvement. And again, Russian reality invaded the world of poetry and showed that only in the unity of the general and the personal, and in the subordination of the personal to the general, can a citizen and a person take place. This was proved in his work by the "father of Russian poets" G.R. Derzhavin, who managed to show with his works that all aspects of life are worthy of poetry. But in the poetry of the end of the 18th century, the concept of "Russian man" was identified only with the concept of "Russian nobleman". Derzhavin took only the first step in understanding national character, showing the nobleman both in the service of the Fatherland and at home. The wholeness and fullness of man's inner life has not yet been revealed.

2. Periodization of Russian literature XVIII century.

1st period (1700-1730) the moment of transition from the traditions of Russian medieval literature to the verbal culture of the pan-European type. This is a time of whimsical mixing of cultural attitudes ancient Russian literature- anonymous, handwritten, associated with the culture of the church - and orientation to the verbal culture of a new type - author's, printed, secular. The culture of the Petrine era is dominated by the so-called "panegyric style", generated, on the one hand, by the propaganda pathos of cultural figures of the era of state transformations, and, on the other hand, by the rapid assimilation of symbolism and imagery. European art. The most representative figure of this era is Feofan Prokopovich, the founder of secular oratorical eloquence, the creator of the genre of sermon - "Words", which served as a kind of proto-genre for the literature of the following decades.

At the end of this period begins its literary activity A. D. Kantemir. The year 1730 was marked by the publication of the translated novel “Riding to the Island of Love” by V. K. Trediakovsky, to which he also attached a collection of his lyrical poems. As the researcher rightly notes, “if Trediakovsky’s translation recorded qualitative shifts in literary consciousness generated by the situation that arose as a result of Peter the Great’s transformations, then in the works of Cantemir the choice of classicism as such art system, which is most organic to the spiritual needs of absolutism, which has established itself in its strength

2 period (1730-1770) Formation and development of Russian classicism (V. K. Trediakovsky, M. V. Lomonosov, Sumarokov). The period of formation, strengthening and domination of classicism (1730s - mid-1760s). During the 1730-1740s. the main normative acts of Russian classicism were implemented, the meaning of which was to create stable, orderly norms literary creativity: reform of versification, regulation of the genre system of literature, stylistic reform. Simultaneously with the theoretical activities of Russian writers, who at that time were also philologists, the genre system of Russian classic literature was also taking shape. In the work of Kantemir and Lomonosov, older genres are formed - satire and a solemn ode. Creativity Trediakovsky gives samples fiction, poetic epic and begins to form a genre system of lyrics. Under the pen of the "father of the Russian theater" Sumarokov, genre models of tragedy and comedy are formed. The central literary figure of this period is Sumarokov - both because the concept of Russian classicism is especially closely associated with his name, and because his literary orientation to the genre universalism of creativity led to the formation of the genre system of Russian literature of the 18th century.

3 period (1780-1790) the final design of Russian classicism and in parallel the development of sentimentalism and enlightenment realism. (Fonvizin, Radishchev, Derazvin, Karamzin).

Literature of the Petrine era

The Petrine era is often called the most "non-literary era" in Russian history. Literature 1700-1720s represents strange picture mixture of old and new, it still has a transitional character as a whole. In the time of Peter the Great, the old handwritten tradition of ancient Russian literature continues to exist and develop - it is preserved on the periphery of the general literary process in Russia until the end of the 18th century, the secularization of culture led to the liberation artistic creativity; another thing is that the writer often did not know how to dispose of this freedom. Literature under Peter not only serves practical purposes, it also entertains, masters new, once forbidden topics for it. Old Russian literature almost did not know love theme). In the Petrine era, it spreads love lyrics(the so-called "kants"), in which folklore images from folk poetry peacefully coexisted with ancient mythological motifs. Secular stories with a fascinating adventure story gained particular popularity. These stories were distributed in manuscripts, were anonymous and were built according to the type popular at the end of the XVII _ early XVIII centuries translated short stories and adventure novels. However, the hero of these stories was a young man, typical of the Petrine era. Usually humble, but educated, energetic and enterprising, he achieved fame, wealth, recognition solely due to his personal merits. Such is the "Story of the Russian sailor Vasily Koriotsky and Princess Heraclius of the Florentine land." These stories most clearly revealed the Achilles' heel of Peter's culture as a whole: the lack of a literary language that could adequately convey those new concepts in the field of culture, philosophy, and politics that the era of Peter's transformations brought with it. Traditions continued to develop in Petrine literature school drama. Here the emergence of school theater within the walls of the Slavic-Greek-Latin Academy. Religious stories in this dramatic genre were supplanted by secular ones, telling about political topical events, containing panegyrics to Peter I and his associates. In the future, the journalistic and panegyric nature of dramaturgy is further enhanced. The genre of school drama occupied a central place in the work of Feofan Prokopovich (1681-1736), a brilliant orator, publicist, playwright and poet. The tragic comedy "Vladimir" (1705) occupies a central place in his work. Depicting in this play the events connected with the adoption of Christianity in Russia under Vladimir, Feofan allegorically glorified the transformations of Peter and satirically ridiculed his opponents. The tragic comedy "Vladimir" bore the features of the future classicist dramaturgy: the conflict between passion and reason, the unity of action and time, the clarity and clarity of the composition.

In Russian Literature XVII I century reflected changes in public life Russia, which are associated with the activities of Peter I. During this period, they begin to publish more books scientific and journalistic content. The Russian language includes many foreign words, which denoted new concepts for Russian people. At the same time, at the direction of the tsar, books began to be written not in Church Slavonic, but in common Russian.

Many genres of literature of the 18th century were borrowed from the 17th century: drama, short story and verse poetry. However, new living conditions give rise to new image literary hero Therefore, the form and language of works written in these genres also change in accordance with the requirements of the time. New genres also appear, for example, love lyrics.

In the middle of the 18th century, Russian literature was strongly influenced by classicism, a literary trend that developed in Western Europe and taking samples of the work ancient Greece and Rome.

In accordance with the traditions of classicism, there are "high" and "low" genres of literature. The first included tragedies, odes and poems, the second - comedies, satires and fables. The works of each genre were created in accordance with clear principles, the displacement of genres was not allowed.

The works of the "high" genres were written in an elevated language, they developed a certain range of topics that reflected significant events from history and mythology, and only rulers, famous historical figures and legendary characters could be heroes. In the works of the "low" genres, ordinary colloquial language was allowed, the plots were closer to the common people.

Tragedy, which became one of the widespread genres in the era of classicism, had to comply with the rule of "three unities": place, time and action. The basis of the plot of the tragedy is always a collision strong personality with insurmountable obstacles, which in ancient mythology personifies Fate, Fate. The tragedy usually ends with the death of the protagonist, but first he goes through trials in which his personal feelings and desires conflict with duty. According to the rules of the genre, duty always wins. The characters of classical tragedy are conditional and are the personification of a certain trait, either positive or negative.

The poem is epic work, in which poetic form tells about an important event in the life of kings or heroes.

An ode is a solemn poetic work that praises kings or generals, or is created in honor of victory over enemies.

Russian classicism, although it followed the basic rules of this literary trend, still had a number of features. Firstly, in the works of Russian classicists one feels a close connection with modern reality. Secondly, in Russian classicism significant place belongs to the genre of satire. Thirdly, many works of Russian writers of the 18th century were created on the basis of domestic plots, which indicates an interest in their native history.

Russian literature of the 18th century, like many other cultural phenomena in Russia at that time, went through a long and difficult path of intensive development. She is associated with best traditions ancient Russian literature: its patriotism, reliance on folk art, growing interest in human personality, accusatory orientation. reform activity Peter I, the renewal and Europeanization of Russia, extensive state building, the transformation of the country into a strong world power with the cruelty of the feudal system - all this was reflected in the literature of that time. Classicism became the leading literary trend of the 18th century.

Classicism (from Latin classicus - exemplary) is a literary trend that has developed in European literature XVII century and appeared in Russia in the XVIII century. It turned to the ancient heritage as a norm and an ideal model. It is characterized by civil issues and educational tasks. The works of classicist writers reflected the ideas of a strong independent state with the absolute power of the monarch, and the education of a citizen was considered the main task. Therefore, the main conflict in the works of classicism is the conflict between duty and feeling. The aesthetics of classicism is based on the principle of rationality and strict normativity (hierarchy of genres, clear plot and compositional organization, division of heroes into positive and negative, schematism in their depiction, etc.). material from the site

Classicism is a pan-European phenomenon. But in different countries he had his own characteristics. Russian classicism was closely connected with the ideas of the European Enlightenment about the need for fair laws, education, recognition of the value of the human person, the development of science and philosophy, revealing the secrets of the universe. At the same time, the decisive role in the transformation of the state on this kind of basis was assigned to the enlightened monarch, whose ideal the Russian classicists saw in Peter I. But in modern times they did not find such a person, because great importance in their works, social and moral education of autocrats was given: an explanation of their duties in relation to subjects, a reminder of their duty to the state, etc. On the other hand, the negative phenomena of the Russian reality of this era were subjected to satirical ridicule and exposure, which further strengthened the connection of Russian classicism with modernity and gave it a satirical sharpness. Unlike European, Russian classicism is more closely connected with folk traditions and oral folk art. He often uses material from Russian history rather than antiquity. The ideal of Russian classicists is a citizen and a patriot, striving to work for the good of the Fatherland. He must become active creative personality, to fight with public vices and in the name of duty to give up personal happiness.

The achievements of Russian classicism are associated with poetic activity and theoretical works M.V. Lomonosov, poems by G.R. Derzhavin, fables by I.A. Krylov, comedies by D.I. Fonvizin and others. But already in the last quarter XVIII centuries, the canons of classicism were largely shaken by the classicist writers themselves, such as I.A. Krylov, D.I. Fonvizin and especially G.R. Derzhavin.

15. Russian literature of the 18th century: meanings, features, periodization, system of genres.

18 century - new period in literature. The transition from the literature of the Middle Ages to the literature of modern times.

Ancient Russian literature is handwritten, while literature of the 18th century is printed.

Representatives:

Kantemir is a comrade-in-arms of Peter the Great.

F. Prokopovich,

Sumarokov,

Trediakovsky,

Lomonosov,

Fonvizin

Radishchev (a rebel worse than Pugachev)

The literature of the 18th century is entirely secular literature.

There is a process of secularization of cultural life. The type of writer is changing.

Before us is not a learned monk, but a private person.

A feature of literature is an increased ideology. Enlightenment.

The idea of ​​the extra-class value of the individual,

The idea of ​​human equality.

Russia's ties with Europe are expanding (deadly! Note by Bream)

Russian literature of the 18th century is on an accelerated path of development. The whole system of genres is being updated. There is a rapid development of poetry. Poetry reform. The concept of stressed and unstressed syllables is introduced. There is a rapid development of prose.

democratization of literature. An image of a small man appeared.

Various trends are emerging. Sentimentalism arises, pre-romanticism is born, there is a growth of realistic tendencies in literature.

The transition did not happen immediately. The foundation of Russian literature of the 19th century is being laid.

The genre of history is developing. "The Story of Basil Iscariot"

The literature of the second third of the 18th century is changing. Enlightenment ideas come to the fore. Transition to the syllabic-tonic style of versification.

After the Pugachev uprising, 2 thoughts arise: educational and educational and revolutionary educational. Sentimentalism is born. Classicism gave priority to reason.

Against them is the principle of everyday plausibility. All heroes of classicism are either positive or negative. Heroes are one-liners. The aesthetic ideal of a person is a person who has mastered his passions. The principle of three unities was put forward: the unity of place, time (24 hours) and action. Mandatory presence of a love affair. The theory of three calms is being created. Lomonosov's theory delimits genres.

The originality of Russian classicism.

It was formed later than in the West. Russian classicists burned with the idea of ​​enlightenment. They combined the pathos of serving the fatherland with cutting edge ideas early education.

The idea of ​​enlightened absolutism.

The main thing in the formation of classicism is education. A. Kantemir "satire about education." Main feature- open tendentiousness.

In the 60-90s, classicism begins to transform. The genre of ode becomes popular.

16. Creativity A.D. Cantemir. Compositional and thematic originality of Cantemir's satires.

Prince Antioch Dmitrievich Kantemir, satirist, translator and diplomat of the first half of the 18th century, was born in 1708 in Constantinople.

He compiled the "Symphony on the Psalter" - a systematization of sayings taken from the Psalter, facilitating their use for practical purposes. The author presented the manuscript of his work, together with the dedication, to Empress Catherine I, and the following year the book was printed in 1250 copies. At the same time, Cantemir was diligently engaged in translations and composed love songs, which he later recalled in the IV satire (verses 151 - 165).

Warmly sympathizing with the deeds of Peter I, Kantemir deliberately joined a small circle of people who kept Peter's traditions, headed by Feofan Prokopovich. Another monument to A. Cantemir's reverent attitude to the memory of Peter the Great was Petrida, or Description of the Death of Peter the Great (1731), where the author's sincere lyricism is felt behind the clumsy verses.

Cantemir's satires were greeted with sympathetic poems by Feofan Prokopovich and Theophilus Rabbit, prefect of the Zaikonospassky Academy. In the words of Theophanes, however, one can hear a reproach for an insufficiently bold attack on a common enemy. The response to Feofan Prokopovich's sympathetic response was the third satire, which Kantemir sent to the Archbishop of Novgorod from Moscow in August 1730. At the beginning of 1731. satires IV and V were written (the first of them contains the author's appeal to his muse). In the last three satires, we no longer see a living relationship to the surrounding reality: the author's denunciations take on an abstract, philosophical character, losing both in satirical force and in historical significance. Only here and there scattered personal allusions to Menshikov, Osterman, Raguzinsky and others constitute a connection with Russian reality; insufficient familiarity with Russian life outside the capitals is too obvious. When in the sixth satire he spoke of a village priest who knew the road to circles, his accusatory tone did not fit with the picture of hopeless need that a more thoughtful reader creates for himself in some details.

The satires of Cantemir, with few exceptions, have two titles. One title is “thematic” (“On those who blaspheme the doctrine”, “On the envy and pride of the malevolent nobles”, etc.). Another title - "non-thematic" - as a rule, denotes the addressee to whom the author refers ("To his own mind", "To the Archbishop of Novgorod", etc.), or - in the case of the dialogical construction of satire - the participants in the dialogue ("Filaret and Eugene", "Satyr and Perierg").

In a certain sense, the versification of satyrs is a unique phenomenon in Russian poetry. Apart from Cantemir, almost no one used it. The verse of his satire is, of course, basically syllabic, but this is not an ordinary, not “classical” syllabic, but a reformed one. Elements of the tonic principle have been introduced into it, and therefore it would be more accurate to define it as a kind of tonic syllabic. The satires are written in thirteen-syllable verse with the usual female rhyme for the syllabic system. Each verse necessarily has a caesura dividing the verse into two half-lines; There are seven syllables in the first half-line, and six in the second. The usual syllabic versification did not at all regulate the stresses in a line, with the exception of the stress associated with rhyme. It was with this usual syllabic verse that Cantemir wrote the initial edition of the satirical cycle of five satires created in the period 1729-1731.

Numerous borrowings from Juvenal, Horace, Persia and Boileau, the author did not even think to hide; but in the images of the detractors of enlightenment there are undoubted features copied from nature, and the image of science wandering in rags is its original creation.

His satires, along with fables and epigrams, are more important for characterizing the personality of the poet and the era as a whole than as a monument to the Russian word. Cantemir was, in the opinion of many, deprived of an artistic creative gift. Another reason for the lifelessness of his creations was the lack of a living source of speech: “not a hare breed,” in his own words, he did not have the creative potential that was so powerfully manifested in the works of Lomonosov. In addition, his verse went against the musical elements of the Russian language.

With the work of Kantemir, Russian poetry of the 18th century. entered a new circle of literary names and contemporary Western European traditions.

Sensitive to the spirit of the era, Alexander Sergeevich Pushkin compared Russia in the 18th century with a ship launched "at the sound of an ax and the thunder of cannons." The “knock of the ax” can be understood in different ways: either as the scope of construction, the remaking of the country, when St. Petersburg, from the shores of which the ship departed, still resembled a hastily theatrical scenery, not yet dressed in granite and bronze for centuries; whether the knock of an ax meant that they were in a hurry to launch the ship, and on it, already departing, work continued; whether it was the sound of an ax cutting off unruly heads. And the "crew" of this ship was in a hurry to enter Europe: they hastily cut the ropes that connected the ship with its native shore, with the past, forgetting traditions, consigning to oblivion cultural values which seemed barbaric in the eyes of "enlightened" Europe. Russia moved away from Russia.

And yet you can't get away from yourself. You can change your Russian dress to German, cut your beard and learn Latin. There are external traditions, and there are internal ones that are not visible to us, developed by our ancestors over hundreds and hundreds of years. What changed in the 18th century? Many, but the deepest, most intangible and most important national values left from ancient history migrated to the new, from ancient Russian literature they imperceptibly, but confidently entered the literature of the 18th century. This is a reverent attitude to the written word, faith in its truth, faith that the word can correct, teach, enlighten; this is a constant desire to see the world with "spiritual eyes" and create images of people of high spirituality; it is inexhaustible patriotism; it is closely related to folk poetry. Writing never became a profession in Russia, it was and remained a vocation, literature was and remained a guide to a correct, high life.

According to an established tradition, from the 18th century we begin the countdown of new Russian literature. Since that time, Russian literature began to move towards European literature, in order to finally merge into it already in the 19th century. The so-called " belles-lettres", that is fiction, word art. Fiction, author's fantasy, and amusement are encouraged here. The author - poet, playwright, prose writer - is no longer a copyist, compiler, recorder of events, but a creator, creator of artistic worlds. In the 18th century, the time of author's literature comes, it is not the veracity of what is described, not following the canons, not similarity with samples, but, on the contrary, the originality, originality of the writer, the flight of thought and fantasy that begins to be valued. However, such literature was just being born, and Russian writers at first also followed the traditions and patterns, the “rules” of art.

One of the first cultural acquisitions of Russia from Europe was classicism. It was a very slender, understandable and uncomplicated system. artistic principles, quite suitable for Russia of the beginning and middle of the 18th century. Classicism usually arises where absolutism, the unlimited power of the monarch, is strengthened and flourishes. So it was in France in the 17th century, so it was in Russia in the 18th century.

Reason and order must prevail in human life, and in art. Literary work is the result of the author's imagination, but at the same time a reasonably organized, logically, according to the rules, built creation. Art should demonstrate the triumph of order and reason over the chaos of life, just as the state personifies reason and order. Therefore, art also has a huge educational value. Classicism divides everything literary genres into "high" and "low" genres. The first are tragedy, epic, ode. They describe events of national importance and the following characters: generals, monarchs, ancient heroes. "Low" genres - comedy, satire, fable show the life of people of the middle classes. Each genre has its own educational value: tragedy creates a role model, and, for example, an ode sings of the deeds of the heroes of our time - commanders and kings, "low" genres ridicule the vices of people.

The originality of Russian classicism was already manifested in the fact that from the very beginning it began to actively intervene in modern life. It is significant that, unlike France, the path of classicism in our country begins not with tragedies on ancient themes, but with topical satire. The founder of the satirical direction was Antioch Dmitrievich Kantemir(1708-1744). In his passionate satires (accusatory poems), he stigmatizes the nobles who evade their duty to the state, to their well-deserved ancestors. Such a gentleman does not deserve respect. The focus of attention of Russian classicist writers is the education and upbringing of an enlightened person who continues the work of Peter I. And Cantemir in his satires constantly refers to this topic, which was cross-cutting for the entire 18th century.

Mikhail Vasilievich Lomonosov(1711 - 1765) entered the history of Russian literature as the creator of odes, solemn poems on "high" topics. The purpose of the ode is glorification, and Lomonosov glorifies Russia, its power and wealth, its present and future greatness under the enlightened guidance of a wise monarch.

In the ode dedicated to the accession to the throne of Elizabeth Petrovna (1747), the author refers to the new queen, but the glorification turns into a lesson, into a "lesson to the kings." The new monarch must be worthy of his predecessor, Peter the Great, who inherited rich country, and therefore it is necessary to patronize the sciences, to preserve "beloved silence", that is, the world: Lomonosov's odes glorify both the achievements of science and the greatness of God.

Having "borrowed" classicism from the West, Russian writers nevertheless introduced into it the traditions of ancient Russian literature. This is patriotism and instructiveness. Yes, tragedy created the ideal of a person, a hero, a role model. Yes, satire made fun. Yes, the ode glorified. But, giving an example to follow, ridiculing, glorifying, the writers taught. It was this instructive attitude that made the works of the Russian classicists not an abstract art, but an intervention in their contemporary life.

However, so far we have named only the names of Kantemir and Lomonosov. And V. K. Trediakovsky, A. P. Sumarokov, V. I. Maikov, M. M. Kheraskov, D. I. Fonvizin paid their tribute to classicism. G. R. Derzhavin and many others. Each of them contributed something of his own to Russian literature, and each deviated from the principles of classicism - so rapid was the development of 18th century literature.

Alexander Petrovich Sumarokov(1717-1777) - one of the creators of the Russian classicist tragedy, the plots for which he drew from Russian history. So, the main characters of the tragedy "Sinav and Truvor" are the Novgorod prince Sinav and his brother Truvor, as well as Ilmena, with whom they are both in love. Ilmena reciprocates Truvor. Consumed by jealousy, Sinav pursues his beloved, forgetting about the duty of a just monarch. Ilmena marries Sinav because her noble father demands it, and she is a man of duty. Unable to bear the separation, Truvor, expelled from the city, and then Ilmena, commit suicide. The reason for the tragedy is that Prince Sinav did not curb his passion, could not subordinate feelings to reason, duty, and this is exactly what is required of a person in classical works.
But if the tragedies of Sumarokov generally fit into the rules of classicism, then in love lyrics he was a true innovator, where, as you know, feelings always win over reason. What is especially noteworthy is that in poetry Sumarokov relies on the traditions of folk female lyrical songs, and often it is the woman who is the heroine of his poems. Literature sought to go beyond the range of themes and images prescribed by classicism. And Sumarokov's love lyrics are a breakthrough to the "inner" person, interesting not because he is a citizen, public figure but by what carries the whole world feelings, experiences, suffering, love.

Together with classicism, the ideas of the Enlightenment came to Russia from the West. All evil comes from ignorance, the Enlighteners believed. They considered ignorance to be tyranny, the injustice of laws, the inequality of people, and often the church. The ideas of the Enlightenment echoed in literature. The ideal of an enlightened nobleman was especially dear to Russian writers. Let's remember the Starodum from the comedy Denis Ivanovich Fonvizin(1744 (1745) - 1792) "Undergrowth" and his sayings. The monologues and remarks of the hero, reasoner, mouthpiece of the author's ideas, reveal the educational program. It boils down to the demand for justice in the broadest sense - from the administration of the state to the management of the estate. The author believes that justice will prevail when the laws and the people who implement them are virtuous. And for this it is necessary to educate enlightened, moral, educated people.

Enlightenment ideas permeate one of the most famous books 18th century - "Journey from St. Petersburg to Moscow". Radishcheva(1749-1802), the author of this work, Catherine the Great called "a rebel worse than Pugachev." The book is built in the form travel notes, life observations, scenes and reflections that lead the author to the idea of ​​the injustice of the entire system of life, starting with autocracy.

The literature of the 18th century peers more and more attentively not at clothes and deeds, not at social status and civic obligations, but into the soul of man, into the world of his feelings. Under the sign of "sensibility" literature says goodbye to the 18th century. On the basis of enlightenment ideas, a literary trend is growing - sentimentalism. Do you remember the little story Nikolai Mikhailovich Karamzin (1766—1826) "Poor Lisa", which to some extent became a turning point for Russian literature. This story proclaimed inner world human being the main theme of art, demonstrating the spiritual equality of all people as opposed to social inequality. Karamzin laid the foundation for Russian prose, cleared literary language from archaisms, and narration from pomposity. He taught Russian writers independence, because true creativity- a deeply personal matter, impossible without inner freedom. But inner freedom also has its outer manifestations: writing becomes a profession, the artist no longer has to tie himself to the service, for creativity is the most worthy state field.

"Life and poetry are one," VA Zhukovsky proclaims. “Live as you write, write as you live,” K. N. Batyushkov will pick up. These poets will step from the 18th century into the 19th century, their work is another story, the history of Russian literature of the 19th century.