Traits of sentimentalism in a poor quote. Russian sentimentalism and N.M. Karamzin's story "Poor Lisa

1. Literary direction "sentimentalism".
2. Features of the plot of the work.
3. The image of the main character.
4. The image of the "villain" Erast.

In the literature of the second half of the 18th - early 19th centuries, the literary direction "sentimentalism" was very popular. The name comes from the French word "sentiment", which means "feeling, sensitivity". Sentimentalism called for paying attention to the feelings, experiences, emotions of a person, that is, the inner world acquired special importance. The story of N. M. Karamzin "Poor Lisa" is a vivid example of a sentimental work. The plot of the story is very simple. By the will of fate, a spoiled nobleman and a young naive peasant girl meet. She falls in love with him and becomes a victim of her feelings.

The image of the main character Lisa is striking in its purity and sincerity. The peasant girl is more like a fairy-tale heroine. There is nothing everyday, everyday, vulgar in it. Lisa's nature is sublime and beautiful, despite the fact that the life of a girl cannot be called fabulous. Lisa lost her father early and lives with her old mother. The girl has to work hard. But she does not grumble at fate. Liza is shown by the author as an ideal, devoid of any shortcomings. She is not characterized by a craving for profit, material values ​​\u200b\u200bdo not have any meaning for her. Lisa is more like a sensitive young lady who grew up in an atmosphere of idleness, surrounded by care and attention from childhood. A similar trend was characteristic of sentimental works. The main character cannot be perceived by the reader as rude, down to earth, pragmatic. It should be cut off from the world of vulgarity, dirt, hypocrisy, should be a model of sublimity, purity, poetry.

In Karamzin's story, Lisa becomes a toy in the hands of her lover. Erast is a typical young rake, accustomed to getting what he wants. The young man is spoiled, selfish. The lack of a moral principle leads to the fact that he does not understand Lisa's ardent and passionate nature. Erast's feelings are doubtful. He used to live, thinking only about himself and his desires. Erast was not allowed to see the beauty of the girl's inner world, because Lisa is smart, kind. But the virtues of a peasant woman are worth nothing in the eyes of a jaded nobleman.

Erast, unlike Lisa, never knew hardship. He did not have to worry about his daily bread, his whole life is a continuous holiday. And he initially considers love a game that can decorate a few days of life. Erast cannot be faithful, his affection for Lisa is just an illusion.

And Lisa deeply experiences the tragedy. It is significant that when a young nobleman seduced a girl, thunder struck, lightning flashed. A sign of nature portends trouble. And Lisa feels that she will have to pay the most terrible price for what she has done. The girl was not wrong. Not much time passed, and Erast lost interest in Liza. Now he has forgotten about her. For the girl, this was a terrible blow.

Karamzin's story "Poor Liza" was very loved by readers, not only because of the entertaining plot, which told about a beautiful love story. Readers highly appreciated the skill of the writer, who managed to truthfully and vividly show the inner world of a girl in love. Feelings, experiences, emotions of the main character cannot leave indifferent.

Paradoxically, the young nobleman Erast is not fully perceived as a negative hero. After Lisa's suicide, Erast is crushed with grief, considers himself a murderer and yearns for her all his life. Erast did not become unhappy, for his act he suffered a severe punishment. The writer treats his character objectively. He admits that the young noble has a good heart and mind. But, alas, this does not give the right to consider Erast a good person. Karamzin says: “Now the reader should know that this young man, this Erast, was a rather rich nobleman, with a fair mind and a kind heart, kind by nature, but weak and windy. He led a distracted life, thought only of his own pleasure, looked for it in secular amusements, but often did not find it: he was bored and complained about his fate. No wonder that with such an attitude to life, love did not become something worthy of attention for a young man. Erast is dreamy. “He read novels, idylls, had a rather vivid 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 myrtle and in happy idleness they spent all their days. It seemed to him that he had found in Lisa what his heart had been looking for for a long time. What can be said about Erast if we analyze the characteristics of Karamzin? Erast is in the clouds. Fictional stories are more important to him than real life. Therefore, he quickly got bored with everything, even the love of such a beautiful girl. After all, real life always seems to the dreamer less bright and interesting than life invented.

Erast decides to go on a military campaign. He believes that this event will give meaning to his life, that he will feel his significance. But, alas, the weak-willed nobleman during the military campaign only lost his entire fortune at cards. Dreams collided with harsh reality. Frivolous Erast is not capable of serious deeds, entertainment is most important for him. He decides to marry profitably in order to regain the desired material well-being. At the same time, Erast does not think about Lisa's feelings at all. Why does he need a poor peasant woman, if he was faced with the question of material benefits.

Liza throws herself into the pond, suicide becomes her only possible way out. The suffering of love so exhausted the girl that she does not want to live anymore.

For us, modern readers, Karamzin's story "Poor Liza" seems like a fairy tale. After all, there is nothing similar to real life in it, except, perhaps, the feelings of the main character. But sentimentalism as a literary trend turned out to be very important for Russian literature. After all, writers who create in line with sentimentalism showed the subtlest shades of human experiences. And this trend has continued to develop. On the basis of sentimental works, others appeared, more realistic and believable.

Development of a lesson on the topic: “Sentimentalism as a literary and aesthetic direction. "Poor Liza" N.M. Karamzin as a work of sentimentalism.

1. Number of lessons - 2 (double lesson)
2. The purpose of the lesson:

To give students an idea of ​​the period of sentimentalism in Russian literature
Lesson objectives:
Tutorials: To form the students' concept of "sentimentalism" as a system of views on the possibility of reflecting the world in a changing public consciousness; to ensure the assimilation by students of the features of the direction on the example of the analysis of its features in the story of N.M. Karamzin "Poor Lisa"; to acquaint students with the concept of "pastoral", "sentiment", "sentimental", "languor", "melancholy"; to develop the skills of working with text using various mental operations (perception, research, understanding, comparison, proof, synthesis).
Developing: Enrichment and complication of vocabulary; development of communicative properties of speech when reading, using the necessary expressiveness and expressiveness; development of thinking through the construction of oral analysis, highlighting the main thing, comparison, construction of analogies, generalization, systematization, explanation, proof, refutation; development of cognitive mental processes of students based on feelings, experiences
Educational: Education of aesthetic ideas about the possibilities of self-realization of the individual through music, painting, literature; cultivating an attentive attitude to one's feelings; education of such personality traits as sensitivity, compassion, sympathy, cordiality.
Lesson type: Learning new material.
Type of lesson: Lesson-conversation with elements of theoretical and practical research.
Lesson methodology: The base method is the heuristic method, which is based on a heuristic conversation in the form of interrelated questions. In addition, the teacher uses practical problem tasks that are of a research nature. Thus, a partially-search, research method is also used.
Lesson design (you can use slides or illustrations on the board): portrait of N.M. Karamzin, portraits of the classicism era, for example, “Portrait of General A.I. Gorchakov” by V.A. Tropinin, “Portrait of G.R. Derzhavin” by V.L. Borovikovsky, portrait of M.V. Lomonosov brushes by an unknown artist of the 18th century, etc.; portraits and landscapes of the era of sentimentalism, for example, “Portrait of M.I. Lopukhina”, “Portrait of Anna Gavriilovna and Varvara Gavriilovna Gagarin” by V.L. Borovikovsky, “Portrait of an unknown peasant woman in Russian costume” by I.P. Argunova, “Portrait of Catherine II on a walk in Tsarskoye Selo Park" by V.L. Borovikovsky, "Portrait of E.I. Nelidova" by D.G. Levitsky, "Wagon Going to the Fair" by Thomas Gainsborough, "Landscape near Beauvais", "Summer Pastoral" , "The Resting Shepherd and Shepherd Girl" by Francois Boucher and others, photographs of the landscapes of Pavlovsk, "Sentimental Waltz" by P.I. Tchaikovsky, B.Sh. The text of the story "Poor Lisa", cards with printed excerpts from the works following the story by Karamzin (Klushin, Izmailov, Milonov, Malyshev)
Lesson plan

1. Updating previous knowledge. Repetition of information about the personality of N.M. Karamzin.
2. Main part.

1 lesson. The formation of the concept of "Sentimentalism" through a heuristic conversation about the features of the composition of the word, about the features of the paintings of this period in comparison with classic samples, about the features of musical accompaniment. Conclusion about sentimentalism as a literary and aesthetic direction.
2 lesson. Formation of skills and abilities of working out the acquired knowledge about sentimentalism on the example of the analysis of the story by N.M. Karamzin "Poor Lisa", focusing on the main components of the method: nature, the feelings of the characters, non-classification, the image of the author. Working with cards Message about the significance of the story for the further development of Russian literature

1. Homework.

During the classes
1 lesson.

1. Updating previous knowledge. Repetition of information about the personality of N.M. Karamzin.

Teacher: Hello guys. In the last lesson, we met a very interesting personality of the late 18th and early 19th centuries - Nikolai Mikhailovich Karamzin. Think about what makes this person interesting.
students: they recall interesting facts of Karamzin's biography, his career, awards, titles, literary, historical activities, reformism in the field of language. For example, they may recall that Karamzin advocated limiting the use of foreign words and suggested that instead of the word "public" use "nationwide". It is Nikolai Mikhailovich who is at the origins of the appearance of the letter “Ё” in the Russian language (you can demonstrate a monument to this letter and mention the role of Dashkova in its appearance). It was Karamzin who introduced many words that are now familiar (“industry”, “development”). The reformer also owns the discovery of such a punctuation mark as "dash", the most emotional in the Russian language.
Teacher: At the last lesson, some of you were offered as homework to prepare mini-remarks about Karamzin excerpts from the wonderful book by E. Osetrov “The Three Lives of Karamzin”. What interesting facts can you add to our conversation?
Students (2-3 persons):

1. Karamzin was very sensitive to the style of writing, and in the modern view, he was not democratic. Here is a case cited by Yevgeny Osetrov: “Dmitriev sent Karamzin, expressing doubt in the letter about the accuracy of some of the words he used. Karamzin not only answered his friend's doubts, but also formulated some important stylistic principles for him, in which his anti-democratism is clearly manifested. Karamzin wrote: “Do not change birdies - for God's sake do not change! Your advisors may be good in another way, but in this they are wrong. The name birdie is extremely pleasant for me, because I heard it in an open field from good villagers. It arouses in our souls two amiable ideas: of freedom and rural simplicity. There is no better word for the tone of your fable. A bird almost always resembles a cage, hence captivity. “That which does not give us a bad idea is not low. One man says a little bird and a guy: the first is pleasant, the second is disgusting. At the first word, I imagine a red summer day, a green tree in a flowering meadow, a bird's nest, a fluttering robin or warbler, and a dead villager who looks at nature with quiet pleasure and says: Here is a nest! here's a chick! At the second word, a stout peasant appears to my thoughts, who scratches himself in an indecent way or wipes his wet mustache with his sleeve, saying: oh boy! what kvass! We must admit that there is nothing interesting here for our souls! So, my dear I., is it possible to use another word instead of a guy?
2. Osetrov notes that Karamzin was not only the first to introduce the word "literature", but also became the first writer who lived on literary income from the publication of magazines and almanacs.
3. The author of the book notes that Karamzin the poet always cultivated poetic soil, and it gave abundant shoots in the poetry of Zhukovsky, Batyushkov, Pushkin, Ryleev ... For example, let's compare:

A storm rages in the darkness of the night,
A formidable ray sparkled in the sky,
Thunders rumbled in black clouds,
And heavy rain in the forest was noisy. (N. Karamzin)
And here is how a similar picture is realized by K. Ryleev:
The storm roared, the rain roared,
Lightning flew in the darkness
Thunder rumbled incessantly
And the winds raged in the wilds.
Teacher: It is with the name of Nikolai Mikhailovich Karamzin, who is so attentive to the word and the feeling expressed through it, that a new round in the development of Russian literature will be connected, which we will talk about.
II. Main part.
The formation of the concept of "Sentimentalism" through a heuristic conversation about the features of the composition of the word, about the features of the paintings of this period in comparison with classic samples, about the features of musical accompaniment. Conclusion about sentimentalism as a literary and aesthetic direction.
Epigraph on the board:
“A sensitive heart is a rich source of ideas; if reason and taste help him, then success is undoubted ”(N.M. Karamzin)
Music sounds P.I. Tchaikovsky "Sentimental Waltz".
Teacher: The history of literature cannot be represented as a straight line divided into equal segments: in such and such a year one era ended, and in such and such another began. The history of literature is most likely like an endless curved line. Like a winding forest path winding through the wilderness, it goes around obstacles, sometimes gets lost in thick grass, and suddenly reappears to lead us on. That is why it is so difficult, and more often impossible, to understand when and what kind of book changes the smooth course of literary time, begins a new countdown. Russian literature is unusually lucky in this sense. It is easy to name a single name that stood at the origins of sentimentalism, a single story of several pages that made a revolution in the literary world. For them, this is Karamzin, and the story is “Poor Lisa”. What is unusually new embodied in it?
The word "sentimentalism" was formed from the French "sentiment».
The word is written by the teacher on the blackboard.
Teacher: Match the written word with cognate words based on a French source.
Students: sentimental, sentimental, sentimentality, sentimentality, sentimentality.
Teacher: Make up sentences with these words
Students: A sentimental novel, to show sentimentality, solid sentimentality, etc.
Teacher: Choose Russian synonyms for the word sentimental
Students: Sensual, soulful, sensitive
Teacher: What does the word " sentiment »?
Students: Excessive sensitivity in words, expressions, actions
Teacher: What does the suffix - izm- mean. Draw analogies with other words where such a suffix still occurs.
Students: Classicism, romanticism, realism, communism, etc. The suffix denotes a certain system of views, a direction.
Teacher: Let's now connect our studies of the word and define this direction.
Students: Sentimentalism is an artistic ideological and aesthetic direction associated with the predominance of feelings over reason.
Teacher: The music that accompanies our conversation is Tchaikovsky's Sentimental Waltz. Why do you think it's called that? What do you think of when you listen to this kind of music?
Students: Such music is addressed to human feelings, the sounds seem to excite something that has hitherto been dormant in us. Before my eyes is a huge hall with large mirrors, candles, candelabra, ladies with bare shoulders, strict gentlemen. Feelings flow, change, reveal in all details….
Teacher: So, what is the first feature of sentimentalism as a direction, an artistic method?
Students: The first most important feature of sentimentalism is the transfer of the movement of feelings, a detailed description of the inner world of a person, his experiences, moods.
As the conversation progresses, during which students independently come to conclusions about the features of sentimentalism, a table is filled in, which will subsequently “work” in the second lesson, where the story “Poor Lisa” will be analyzed.

Teacher: You have just said that a ball appears to you, ladies and gentlemen. Pay attention, please, to the portraits that are hung on different sides of the board. On the one hand - portraits of the period of classicism (indicated in the list of design for the lesson), on the other - the period of sentimentalism (indicated in the list of design for the lesson). A person always wanted to read about what he felt, to see on the canvases the movements of his soul, and not dead mannequins. Sentimentalism in this sense "blew up" classicism. What is the fundamental difference between the portraits, which seem to be on opposite sides of the barricades?

Students: Classicism is a literary-aesthetic, ideological direction, which puts the mind, service to the state, strict hierarchy, attention to the statesman, enlightened man, to the Citizen in the center. Hence the portraits of mostly state people: generals, scientists, courtiers. Their faces are filled with pride, a penetrating look clearly indicates outstanding mental abilities, their clothes are a sign of nobility, as a rule, they are fastened with all buttons - strictness and proportionality are needed in everything. But the facial expressions are impassive, since feelings, emotions for the classicists are base manifestations of a person. They should be ashamed.
Portraits, made according to the laws of sentimentalism, attract with the liveliness of the image, not by its belonging to the rank, but by its facial expression. It is interesting to see the “play of the oval”: the oval of the face, neckline, hairstyles, which creates a special peace. Interestingly, portraits of peasant women appear during this period. The extra-class value of a person is affirmed - another no less important feature of sentimentalism.
Teacher: Pay attention to the background of portraits from different directions. What is the difference? What other feature of sentimentalism can we infer?
Students: In the portraits of the period of classicism, there is no background or it is presented in very abstract features. In the portraits of the period of sentimentalism, a person is depicted, as a rule, against the background of nature. His connection with her is emphasized, and hence the sharpness and naturalness of feelings, simplicity, ease. Truthfulness. So, another couple of sentimentalism is the image of the world of the human soul through the world of nature. Communication with nature, the ability to feel and understand it will characterize the value orientations of the individual.
Teacher: In Western culture of the period of sentimentalism (and it originated in England), there was such a thing as pastoral - a genre in literature, painting, music and theater, poetizing the peaceful and simple rural life.
(Illustration of examples of pastorals in painting are listed in the list of design for the lesson)


And what do you think, will the personality of the artist not be manifested? Musician, writer in his works?
students: Of course it will be. After all, before his characters acquire feelings, the author himself must feel the same, reveal himself, his attitude.
Teacher: We will need to prove this feature with you using the example of a sentimentalistic text, like the others that we have deduced.
Let's sum up in the form of a table and in the form of an oral conclusion using the textbook data ( students read an introductory article on sentimentalism in the textbook and, combining what they heard and read, make a general conclusion in the form of a table and in the form of an oral statement).

Sentimentalism is a literary and aesthetic trend that aimed to awaken sensitivity in a person. The direction originated in Europe in the second half of the 18th century, when the enlightening ideas of classicism dominated there. Sentimentalism turned to the description of a person, his feelings. The ideology of sentimentalism is essentially close to the educational one: people can be made perfect, but the emphasis in education can be transferred to the world of feelings. A compassionate and compassionate person cannot be angry. Sentimentalism discovered that a person, sympathizing with his neighbor, helping him, sharing his sorrows and sorrows, can experience a sense of satisfaction. It is important to show the historical opposition of sentimentalism to classicism. Classicism is based on the cult of reason. The terrible events of the French Revolution, which ended the brilliant age of the Enlightenment, made us doubt the primacy of reason in human nature. “Is reason always the king of your feelings?” - asks his hero Karamzin ("Poor Liza"). Feeling was proclaimed the basis of the human personality.
Sentimentalism penetrated into Russia in the 1780s-early 1790s thanks to the translations of the novels "Werther" by I.V. Rousseau, "Paul and Virginie" by J.-A. Bernardin de Saint-Pierre. Given the interests of Catherine, her feminine heart and her correspondence with Walter and Rousseau, it can be assumed that the road to sentimentalism was paved. The era of Russian sentimentalism was opened by Nikolai Mikhailovich Karamzin with Letters from a Russian Traveler (1791–1792). His story Poor Lisa (1792) is a masterpiece of Russian sentimental prose; from Goethe's Werther he inherited the general atmosphere of sensibility, melancholy and themes of suicide. However, he did not lose the enlightening, didactic beginning so characteristic of Russian literature.
Sentimentalists believed that by cultivating sensitivity in a person, the ability to respond to someone else's pain, evil can be defeated. The heroes of the works of sentimentalists are ordinary people with a rich spiritual world. Sentimentalists urge to appreciate the details of the surrounding life, to listen to every movement of the soul. They often shed tears, sigh, gasp - not only women, but also men, and for us, living in the 21st century, this behavior seems a little ridiculous.
The most famous works of European sentimentalist writers, except for those mentioned: Lawrence Sterne story "Sentimental Journey" (1768), George Berkeley "Treatise on the Principles of Human Knowledge" (1710), James Thomson descriptive poem "The Seasons", Oliver Goldsmith "The Traveler" , "Abandoned village"
But let's pay attention to those changes in the image of the individual, which are completely new in comparison with the aesthetics of classicism. In classicism, the hero embodies the universal; in sentimentalism, the hero acquires individuality. To portray individuality, it is necessary to look closely at the traits of character - this is how psychologism is born. The sentimentalist writer creates a special image in his work - the image of the author-narrator. In classicism, the author's position is objectivity. In sentimentalism, the writer seeks to express his own attitude to the events described, the image of the author-narrator is individualized. In the article “What an Author Needs,” 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, leave the pen, or it will portray to us the cold gloom of your soul.”
Teacher: The features of sentimentalism that we have identified as a direction, one might say, a literary method, as we have already said, were most clearly manifested in N.M. Karamzin's story "Poor Liza". We will turn to the proofs of this thesis in the second lesson.
2 lesson
Formation of skills and abilities to develop the acquired knowledge about sentimentalism on the example of the analysis of N.M. Karamzin's story "Poor Liza", focusing on the main components of the method: nature, feelings of the characters, non-classification, the image of the author. Work with cards. Message about the significance of the story for the further development of Russian literature
Teacher draws attention to the second epigraph written on the board for the second lesson :
"Poor Lisa" is ... an exemplary work dedicated not to external events, but to a "sensitive" soul.
E. Osetrov
Teacher: In the autumn of 1790, twenty-four-year-old N. M. Karamzin returned to Russia from Europe - in a fashionable tailcoat, with a fashionable high hairdo, with ribbons on his shoes, with many French, German and English books, and most importantly - with a supply of ideas. Since 1791, he began to publish the Moscow Journal, then the journal Vestnik Evropy. N. M. Karamzin became famous at the age of 25, when he published his story “Poor Liza”. Girls and boys read and reread it, knew whole passages by heart, went to admire the pond, which is discussed in this story. "Poor Liza" influenced several generations of Russian readers: it was unlike other works of Russian literature, not only in language, but also in content.
What features of the new word in literature were proposed by N. M. Karamzin? Support your observations with text. (As the students answer, the second column of the table is filled in: “The implementation of the features of sentimentalism in the story“ Poor Lisa ”).
students: briefly retelling the uncomplicated plot of the work, they note that the author focuses on the experiences of the characters, the world of their changing feelings, and the plot itself is built on these changes.
Places are read out describing the feelings of the characters; they are analyzed from the point of view of vocabulary, syntax, betraying excitement, joy, sadness.
For example:

1. All the veins in her clogged, and, of course, not from fear. She got up, wanted to go, but could not. Erast jumped ashore, went up to Liza and - her dream was partly fulfilled: for he looked at her with an affectionate look, took her by the hand ... And Liza, Liza stood with downcast eyes, with fiery cheeks, with a trembling heart - she could not take away his hands - she 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! "Dear Lisa! Erast said. - Dear Lisa! I love you and these words resounded in the depths of her soul like heavenly, amazing music; she hardly dared to believe her ears and... But I throw down the brush. I can only say that in that moment of delight, Liza's timidity disappeared - Erast found out that he was loved, loved passionately with a new, pure, open heart.
2. "She came to her senses - and the light seemed to her dull and sad. All the pleasures of nature hid for her along with dear to her heart»
3. "Erast admired his shepherdess- so he called Liza - and, seeing how much she loved him, he seemed to be more amiable to himself. All the brilliant amusements of the great world seemed to him insignificant in comparison with those pleasures which the passionate friendship of an innocent soul nourished his heart. With disgust he thought of contemptuous voluptuousness, which previously reveled in his feelings.
4. “Erast could no longer be satisfied with being alone with the innocent caresses of his Liza - with her alone love-filled eyes - one touch of the hand, one kiss, one pure embrace. He wanted more, more, and, finally, he could not want anything - and whoever knows his heart, who has thought about the nature of his most tender pleasures, will, of course, agree with me that the fulfillment of all desires is the most dangerous temptation of love. Liza was no longer for Erast by this angel of purity, which had previously inflamed his imagination and delighted his soul. Platonic love gave way to such feelings that he could not be proud of and which were no longer new to him.

Teacher: Indeed, the world of feelings, so close and understandable to the reader, made the story one of the most beloved among the youth of that time. What instructive notes will we see in the demonstration of these experiences?
Students: First of all, Lisa demonstrates pure sincere feelings. She worries deeply, especially since this is her first love. Erast is a bird of a different flight, and Karamzin uses features of a psychological portrait drawing us this hero: Now the reader should know that this young man, this Erast, was a rather rich nobleman, with a fair mind and a kind 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. The beauty of Lisa at the first meeting made an impression in his heart. 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 in happy idleness they spent all their days. It seemed to him that he had found in Lisa what his heart had been looking for for a long time. “Nature calls me into its arms, to its pure joys,” he thought, and decided - at least for a while - to leave a big light».
However, in his emotions, there is a certain consumer attitude to love, far from Platonism. Although at the end of the story his grief is inconsolable: 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. I met him a year before his death. He himself told me this story and led me to Liza's grave. “Now, perhaps, they have already reconciled!”
Teacher: How is the difference in experiences connected with the peculiarities of the characters' social status?
Students: Lisa is a peasant. She is from a poor family, she is used to getting her own food, she takes care of her mother: “ Lizin's father was a rather prosperous peasant, because he loved work, plowed the land well and always led a sober life. But soon after his death, his wife and daughter were impoverished. The lazy hand of the mercenary cultivated the field poorly, and the bread ceased to be born well. They were forced to rent out their land, and for very little money. Moreover, the poor widow, shedding tears almost incessantly over the death of her husband - for even peasant women know how to love! - day by day she became weak and could not work at all. Only Liza, who remained after her father of fifteen years, - only Liza, not sparing her tender youth, not sparing her rare beauty, worked day and night - weaved canvases, knitted stockings, picked flowers in spring, and in summer she took berries - and sold them in Moscow". The heroine is pure in her thoughts, frank in her desires, she is sincere and naive. Karamzin, using the example of Liza, exclaims: “ And peasant women know how to love!” With the help of this, he once again emphasizes the out-of-class principle of depicting heroes. Erast is a man of the city, a wealthy nobleman, "with a fair mind," to be honest, and with a "good soul." He saw a lot, managed to enjoy the temptations of life, the mind and the city could not but leave an imprint in his soul, hence, apparently, the treacherous act towards the heroine.
Teacher: Already reading out fragments of the description of the experiences of the heroes, you came across descriptions of nature. There are quite a few of them in the text. Let's analyze the updated functions of landscape appearance in sentimental texts.
Let's go back to the beginning of the story. Why is it unusual? Is the landscape the same and why?
“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 - wherever your eyes look - through the meadows and groves, hills and plains. Every summer I find new pleasant places or in old new beauties.
But the most pleasant for me is the place where the gloomy ones rise, gothic towers Si...new monastery. Standing on this mountain, you see on the right side almost all of Moscow, this terrible bulk houses and churches, which appears to the eyes in the form of majestic amphitheater: a magnificent picture, especially when the sun shines on it, when its evening rays blaze on countless golden domes, on countless crosses, ascending to the sky! Below are fat, densely green flowering meadows, and behind them, on yellow sands, a bright river flows, agitated by the light oars of fishing boats or rustling under the helm of heavy plows that float from the most fruitful countries of the Russian Empire and endow greedy Moscow with bread. On the other side of the river, an oak grove is visible, near which numerous herds graze; there young shepherds, sitting under the shade of the trees, sing simple, dull songs, and thereby shorten the summer days, so uniform to them. Farther away, in the dense greenery of ancient elms, the golden-domed Danilov Monastery shines; still farther, almost at the edge of the horizon, the Sparrow Hills turn blue. On the left side, you can see vast fields covered with bread, forests, three or four villages, and in the distance the village of Kolomenskoye with its high palace.
Students: The author does not act quite traditionally. He doesn't start with the story of the heroes. Karamzin begins to narrate about the impressions of the author-narrator, his experiences, and he closely connects these experiences with the natural world that opens up to his eyes. But the landscape is not the same. It "stratifies" into "positive" and "negative" as in a photographic image. The "positive" depicts the motionless, harmonious, natural life of nature. It does not change from century to century, therefore it gives the author a feeling of eternal peace and comfort. This is how it was customary to depict the "mystery of nature" in the genre of pastorals, idylls (which we have already mentioned). However, there is also "the other side of the river", depicting which, Karamzin acts as a historian. On the "negative" is the mobile, changeable, formidable life of History. Traces of fast-flowing time are visible everywhere. The author prepares us for the fact that the plot of the story will conditionally swing between the poles of rural life (natural, harmonious) and urban (changeable and destructive).
Teacher: So, the beginning of the story opens with an urban and rural landscape, the role of which is symbolic. He predicts a further antithesis, which subsequently organizes the plot. But nature in the story, as we have already noticed, deepens the experiences of the characters. Find and read the relevant passages. Observe who is more favored by the natural world with its sympathy?
Students: Nature helps to understand the state of mind mainly only of the heroine. She is close to her, understands her language, used to talking with flowers, wind, trees.
For example:

1. “Let’s turn to Lisa. Night came - the mother blessed her daughter and wished her a good sleep, but this time her wish was not fulfilled: Lisa slept very poorly. The new guest of her soul, the image of Erasts, seemed to her so vividly that she woke up almost every minute, woke up and sighed. Even before the sun had risen, Liza got up, went down to the banks of the Moskva River, sat down on the grass and, grieving, looked at the white mists that waved in the air and, rising up, left brilliant drops on the green cover of nature. Silence reigned everywhere. But soon the rising luminary of the day awakened all creation: the groves, the bushes came to life, the birds fluttered and sang, the flowers raised their heads to be nourished by the life-giving rays of light. But Liza was still sitting in a huff. Oh Lisa, Lisa! What happened to you? Until now, waking up with the birds, you had fun with them in the morning, and a pure, joyful soul shone in your eyes, like the sun shines in drops of heavenly dew; but now you are thoughtful, and the general joy of nature is foreign to your heart…»
2. “Lisa returned to her hut in a completely different state from the one in which she left it. Heartfelt joy was found on her face and in all her movements. “He loves me!” she thought and admired this idea. "Ah, mother! - Liza said to her mother, who had just woken up. - Ah, mother! What a wonderful morning! How fun everything is in the field! The larks never sang so well, the sun never shone so brightly, the flowers never smelled so pleasant!
3. “I can’t live,” Liza thought, “I can’t!.. Oh, if only the sky would fall on me! If the earth swallowed up the poor!.. No! the sky does not fall; the earth does not move! Woe is me!" - She left the city and suddenly saw herself on the banks of a deep pond, under the shade of ancient oaks, which a few weeks before had been silent witnesses of her delights. This memory shook her soul; the most terrible heartfelt torment was depicted on her face.

Teacher: Following the appearance of "Poor Liza" by N.M. Karamzin, a huge number of similar works arose, in terms of plot and language they were no longer new and most often were imitative and insufficiently perfect in terms of form and artistic means. However, thanks to them, we can talk about a special "dictionary of symbols of nature" sentimentalists, who wandered from text to text. Now we will work with cards on which excerpts from contemporary sentimental works by Karamzin are given. Basically, these are landscapes and the experiences of the characters against their background. Make up a kind of vocabulary of sentimentalist symbols. Explain the meaning of some words. (if you have time, you can analyze some of the artistic imperfections of the texts).
CARD #1
N.P. Milonov "The Story of Poor Marya" (excerpt)
« Marya, in her fits of melancholy, often walked through the groves and valleys alone in her heartfelt grief. Beautiful places, a branchy oak, a babbling brook made up all the bliss of Marya. Often in quiet solitude she sat alone until late at night. Father e was not a hunter for the charms of nature and often scolded her; Marya was innocent in her soul, and her father's reproaches could not apply to her. Sometimes, on a quiet spring evening, Marya sat down, cringing, by the window, looked at the blue sky, at the bright moon, sometimes a pearl tear sparkled on her black eyelashes and shone like a transparent diamond in the languid light of the moon.
CARD #2

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Tale Poor Lisa was written by Karamzin in 1792. In many ways, it corresponds to European standards, which is why it caused a shock in Russia and turned Karamzin into the most popular writer.

At the center of this story is the love of a peasant woman and a nobleman, and the description of the peasant woman is almost revolutionary. Prior to this, two stereotypical descriptions of peasants had developed in Russian literature: either they were unfortunate oppressed slaves, or comical, rude and stupid creatures that you could not even call people. But Karamzin approached the description of the peasants in a completely different way. Liza does not need to be sympathized with, she has no landowner, and no one oppresses her. There is nothing comical in the story either. But there is a famous phrase And peasant women know how to love, which turned the minds of the people of that time, because. they finally realized that the peasants are also people who have their own feelings.

Features of sentimentalism in "Poor Liza"

In fact, there is very little that is typically peasant in this story. The images of Lisa and her mother do not correspond to reality (a peasant woman, even a state woman, could not only sell flowers in the city), the names of the heroes are also taken not from the peasant realities of Russia, but from the traditions of European sentimentalism (Lisa is derived from the names of Eloise or Louise, typical of European novels).

At the heart of the story lies a universal idea: every person wants to be happy. Therefore, the main character of the story can even be called Erast, and not Lisa, because he is in love, dreams of an ideal relationship and does not even think about something carnal and vile, wishing live with Lisa like brother and sister. However, Karamzin believes that such pure platonic love cannot survive in the real world. Therefore, the culmination of the story is the loss of innocence by Liza. After that, Erast ceases to love her as purely, because she is no longer an ideal, she has become the same as other women in his life. He begins to deceive her, the relationship breaks down. As a result, Erast marries a rich woman, while pursuing only selfish goals, not being in love with her.

When Lisa finds out about this, having arrived in the city, she is beside herself with grief. Considering that she has no more reason to live, because. her love is destroyed, the unfortunate girl rushes into the pond. This move emphasizes that the story is written in the tradition of sentimentalism, after all, Liza is driven exclusively by feelings, and Karamzin places a strong emphasis on describing the feelings of the heroes of Poor Liza. From the point of view of reason, nothing critical happened to her - she is not pregnant, not disgraced before society ... Logically, there is no need to drown herself. But Lisa thinks with her heart, not her mind.

One of Karamzin's tasks was to make the reader believe that the characters actually existed, that the story was real. He repeats several times what he writes not a story, but a sad story. The time and place of action are clearly indicated. And Karamzin achieved his goal: people believed. The pond, in which Liza allegedly drowned herself, became the site of mass suicides of girls who were disappointed in love. The pond even had to be cordoned off, which gave rise to an interesting epigram.

Aramzin, who was well acquainted with the latest trends in European culture, consciously focused on the principles of sentimentalism. In his story "Poor Liza", published in the "Moscow Journal" in 1792, the vices of society are not denounced, but only depicted. The heroes of the work are ordinary suffering people, sweet and sensitive. The narrator sympathizes with them, but does not teach them, does not interfere in their relationship. The author does not in vain specify that he learned the story of Erast and Lisa from the very culprit of the unfortunate events, so he exclaims: “Ah! Why am I writing not a novel, but a sad story?

The story begins with a description of the surroundings near the Simonov Monastery. Simple monotonous landscape. Natural nature does not change from year to year. It is as if Karamzin breathes into the sensitive reader a sense of eternal peace. So in the genre of idyll it was then customary to depict nature.

“... on the other side you can see an oak grove, near which numerous herds graze ...” Why not the peaceful life of shepherds and shepherdesses far from noisy cities?

However, traces of time are visible everywhere - they remind the sensitive author that the life of nature is not at all what it seems at first glance, calm and unchanging. He writes: “... I often come to this place and almost always meet spring there; I also come there in the gloomy autumn days of autumn ... "

Gradually, the narrator prepares us for the fact that the plot of the story will develop both against the backdrop of calm rural nature and in the city, where life almost always turns out to be unnatural, and sometimes destructive.

The writer wants to say that a village man cannot hide from the tragedies of the world in the bosom of nature, and a city dweller cannot fence himself off from simple and natural mores. “There is nothing permanent in the world, all boundaries are easily shifted,” the writer seems to think. The village where Liza lived with her mother was “seventy fathoms from the fortress wall”, that is, it bordered on the city. Then the writer draws natural nature, and against its background - a dilapidated hut. The theme of "all-destroying time" ("about thirty years before") appears. This is an artistic device, so beloved by Karamzin.

Lisa's mother is a simple rural woman, a peasant woman, with her own patriarchal ideas about life. In sentimental literature, this was considered a positive quality. It is about this heroine that N. M. Karamzin says his significant words: “Even peasant women know how to love.” The old woman wants a happy marriage for her daughter, believing that wealth is not needed for this, everything should be built on honest work.

It turns out as follows. Liza meets a wealthy city dweller, Erast, when for the first time, on behalf of her mother, she comes to the city to sell lilies of the valley. He is kind and cordial. He liked Lisa. A young man from the fullness of feelings for a bouquet offers a ruble instead of five kopecks, wanting to please the girl. It never occurs to him that feelings and money cannot be together. People who passed by grinned wryly, mistaking what they saw for an attempt to buy love.

Sensitive Lisa gives flowers only for their price. When the girl reappears with bouquets in the city, Erast prefers to throw lilies of the valley into the river, answering passers-by that they are not for sale.

Karamzin's flowers have become a symbol of purity, love, which Lisa hopes for. Erast also believes in a brighter future. He thinks for the sake of Liza to leave the great light and live "in happy righteousness." The writer is ironic, realizing that the dream of a young man is subtracted from books. It is felt that Erast is not ready for love until the end of his days, he is thinking of leaving the city "at least for a while."

Karamzin sadly looks at the heroes, realizing that class differences will not allow them to build a life together.

Lisa also doubts the happy outcome of events. She thinks about Erast: “Oh, if he were a simple shepherd ...” But love captured all the feelings of Lisa, she hopes for a miracle, although she says to her beloved: “... you can’t be my husband! .. I’m a peasant woman.”

Both Lisa and her dear friend adopted a lot from each other, changed in many ways, although in their hearts each remained himself. He believes that almost everything can be bought with money, she is still sensitive and kind.

After the chaste Liza gives herself to her lover, everything has changed. Erast did not come for five days, finally "he came with a sad face." Karamzin writes: "He forced her to take some money from him" so that Liza would not sell flowers to anyone until he returned from the war. Probably, he still does not want to lose her, wishing that her youth (“flowers”) belonged only to him.

She doesn't sell her lilies of the valley. However, after some time he goes to Moscow in order to make the necessary purchases, meets Erast in the city, who, because of money (lost the estate), married a rich widow. After a short conversation, he again offers Liza money: "Here is a hundred rubles - take them - he put the money in her pocket."

It is interesting that Liza, as the sentimental narrator tells, also sends money (ten imperials) to her mother in order to atone for her guilt before her. How she looks like Erast now!

Karamzin ends the story, reflecting on what happened: “I often sit in thought, leaning on the receptacle of Liza's ashes; a pond flows in my eyes. The writer, as it were, justifies the heroes: “Now, maybe they have already reconciled!” Its morality coincides with the scale of values ​​of sentimental culture. The author does not know how and where the souls of the beloved will unite. The main thing for him is that every person needs sympathy and compassion, no matter what class he belongs to.

The contemporaries of N. M. Karamzin were acutely aware of the novelty of this marvelous story. To us, readers living in the 21st century, much seems naive, although it was certainly very interesting to get acquainted with the work of a sentimentalist writer.

Checking homework

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 Lisa"

- One of the most striking works of sentimentalism is N.M. Karamzin's story "Poor Liza" (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 Lisa, 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 her husband’s memory, 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 dispersed life, thought only of his own pleasure, sought 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, it was just 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 master, 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” them to 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 Erast; a description of a thunderstorm when Liza counts herself a criminal because she lost her innocence, chastity)

The author loves Lisa, 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)