Features of sentimentalism in the story of N. Karamzin Poor Liza

“For even peasant women know how to love ...”
N.M. Karamzin

Sentimentalism - the direction of literature of the XVIII century. It contradicts the strict norms of classicism and, first of all, describes the inner world of a person and his feelings. Now the unity of place, time and action does not matter, the main thing is a person and his state of mind. N. M. Karamzin is probably the most famous and talented writer who actively worked in this direction. His story "Poor Lisa" reveals to the reader the tender feelings of two lovers.

Features of sentimentalism are found in the story of N. Karamzin in every line. The lyrical narration is conducted smoothly, calmly, although the intensity of passion and the strength of emotions are felt in the work. The characters experience a new feeling of love for both of them - tenderly and touchingly. They suffer, cry, part: “Lisa sobbed - Erast cried ...” The author describes in great detail the state of mind of the unfortunate Lisa when she escorted Erast to the war: “... abandoned, poor, lost her feelings and memory.”

The whole work is permeated with lyrical digressions. The author constantly reminds of himself, he is present in the work and comments on everything that happens to his characters. “I often come to this place and almost always meet spring there…”, the author tells about the place near the Si…new monastery, where the hut of Lisa and her mother was located. “But I throw down the brush…”, “my heart bleeds…”, “a tear rolls down my face”, — this is how the author describes his emotional state when he looks at his characters. He feels sorry for Lisa, she is very dear to him. He knows that his "beautiful Lisa" deserves better love, honest relationships, sincere feelings. And Erast ... The author does not reject him, because "dear Erast" is very kind, but by nature or upbringing, a windy young man. And the death of Lisa made him unhappy for the rest of his life. N. M. Karamzin hears and understands his heroes.

A large place in the story is devoted to landscape sketches. The beginning of the work describes the place “near the Si..nova monastery”, the outskirts of Moscow. Nature is fragrant: the “magnificent picture” opens up to the reader, and he finds himself in that time and also wanders through the ruins of the monastery. Together with the "silent moon" we observe the meeting of lovers and, sitting "under the shade of the old oak tree", we look into the "blue sky".

The very name “Poor Liza” is also symbolic, where both the social status and the state of the soul of a person are reflected in one word. The story of N. M. Karamzin will not leave any reader indifferent, it will touch the delicate strings of the soul, and this can be called sentimentality.

Literature lesson for grade 8 on the story

N.M. Karamzin "Poor Lisa"

Topic: "Features of sentimentalism in the story of N.M. Karamzin

"Poor Lisa"

Lesson Objectives:

Educational:

To acquaint with the personality of the writer N.M. Karamzin, to give the concept of sentimentalism as a literary trend, its basic principles for portraying the hero; Illustrate them with an example.

Developing:

To promote the development of critical thinking, interest in the literature of sentimentalism.

Educational:

Contribute to the upbringing of a spiritually developed personality, the formation of a humanistic worldview.

During the classes

I.1) Organizing time .

Hello guys. Get ready for a good job. I invite you to a frank conversation.

slide 1,2. Please write down the topic of the lesson: “Features of sentimentalism in the story of N.M. Karamzin "Poor Liza". As an epigraph to the lesson, we take the words of E. Osetrov: “Poor Lisa” is an exemplary work dedicated not to external events, but to a “sensitive” soul.

To determine the objectives of the lesson, read the topic again and highlight the key words (features of sentimentalism).

So, the key words are “features of sentimentalism”, you correctly identified. But to bring out these traits, what do you think it takes?

slide 3. First, to get acquainted with sentimentalism as a literary movement, to name its features.

Secondly, to analyze the story and find in it the features of sentimentalism.

2) Listening to the song "Love is a magical land"

While listening to the song, write down, in your opinion, the main keywords.

Why do you think we started the lesson on N.M. Karamzin’s story “Poor Liza” by listening to this song? How are Karamzin's story and the song related? (we are talking about love, about what excites the heart)
- What words did you write down for yourself while listening to the song? (the key words are “love, happiness, deceit, fairyland, etc.)

3) Conversation.

How different is the read work from those discussed in previous lessons? (the language of the story is much closer to us, it is easier to read than the works of those Russian authors whom you met before Karamzin).

II. Acquaintance with the personality of N.M. Karamzin.

slide 4. The entire creative path of Nikolai Mikhailovich Karamzin as a writer-artist and even a journalist closes in a short, slightly more than ten-year period from 1791 to 1803. After that, Karamzin devoted 23 years of his life to professional historiography - the creation of a 12-volume "History of the Russian State".

Slide 5. Nevertheless, thirteen years of literary creativity turned out to be enough to gain the fame of a great writer, a reformer of Russian literature and language, to mark with his name a whole long period in the development of Russian literature.

slide 6. , an outstanding literary critic says that Karamzin created a Russian public that did not exist before him, created readers - and since literature is unthinkable without readers, we can safely say that literature, in the modern sense of the word, began with us from the era of Karamzin and began it was thanks to his knowledge, energy, fine taste and outstanding talent: “Karamzin was the first in Russia to start writing stories that interested society ... stories in which people acted, depicted the life of the heart and passions in the midst of ordinary everyday life”, stories in which "as in a mirror, the life of the heart is faithfully reflected ... as it existed for the people of that time." “The pure, high glory of Karamzin belongs to Russia, and not a single writer with true talent, not a single learned person, even from those who were his opponents, refused him deep respect and gratitude,” wrote A.S. Pushkin.

Slide 7. Karamzin's works enjoyed great success not only among "educated" readers, but also among readers of a simple rank. One of the writer's contemporaries spoke of the popularity of Karamzin's prose in the following way: "What could be sweeter for Mr. Karamzin?.. Muzhiks, artisans, monks, soldiers - everyone knows about him, everyone loves him!..."

slide 8. This is what Karamzin saw as the secret of literary creativity: “They say that the author needs talent and knowledge: a sharp penetrating mind, a vivid imagination, and so on. Fair enough, but not enough. He needs to have a kind, tender heart if he wants to be a friend and favorite of our souls ... "

* Highlight the main idea in this statement and write it in your notebook.

slide 9. All contemporaries and literary descendants saw in Karamzin a pioneer and reformer who made a revolution in Russian literature. Karamzin came into Russian life simultaneously with the penetration of the first sentimentalist trends into Russian literature. Sentimentalism is a literary movement marked by an increased interest in human feeling, emotional perception of the world around. Sentimentalists assessed a person in a new way: whether he is capable of great, sincere and deep feelings.

What do you expect from the works of sentimentalism? (Students make the following assumptions: these will be works that are “beautifully written”; these are light, “calm” works; they will tell about the simple, everyday life of a person, about his feelings, experiences).

slide 10 .- More clearly to show the distinctive features of sentimentalism, paintings will help us, because sentimentalism, like classicism, was manifested not only in literature, but also in other forms of art. Look at two portraits of Catherine II. The author of one of them is a classicist artist, the author of the other is a sentimentalist. Determine which direction each portrait belongs to and try to justify your point of view. (Students unmistakably determine that the portrait made by F. Rokotov is classicistic, and the work of V. Borovikovsky belongs to sentimentalism, and prove their opinion by comparing the background, color, composition of paintings, posture, clothing, Catherine's facial expression in each portrait).

Slide 11.12. Recording the definition of sentimentalism.

slide 13. In the "Moscow Journal" in 1792, N.M. Karamzin's story "Poor Liza" was published. This work brought the author fame and popularity. In a short time it was reprinted 6 times. The wave of imitations that swept over Russian literature at the turn of the 18th-19th centuries was an indicator of the literary shock that his story had for Russian fiction. One after another, stories appear that vary the Karamzin plot: “Poor Masha” by A. Izmailov, “Seduced Henrietta” by I. Svechinsky, “Dasha, a country girl” by P. Lvov, “Unfortunate Margarita” by an unknown author, “Beautiful Tatyana” by V. Izmailov , "The Story of Poor Marya" by N. Brusilov. ").

Why was the story, written in 1792, an unprecedented success? What did the public see in it? (The public sympathized with ordinary people, sympathized with the victims of passions).

III. Analysis of the story "Poor Lisa"

From this point of view, we will consider the heroes of Karamzin's story "Poor Liza". But before we plunge into the plot of the work, we will check how carefully you read the text. (Slides 14,15,16,17 )

The city in which the described events take place? (Moscow)

The main characters of the story. (Lisa, Erast, Lisa's mother)

What flowers and at what price did Liza sell in Moscow in the spring? (lilies of the valley, 5 kopecks)

What glass of drink did Erast drink from the hands of Lisa's mother? (milk)

What does Erast agree with Liza's mother in order to protect the girl from going to the city? (about the sale of her works to Erast)

Several weeks have passed. The reason for Lisa's reddened eyes? (matchmaking of the son of a rich peasant from a neighboring village)

How many days in a row did Erast not come to Lisa? (5)

What did Erast tell Liza when he came to her after a long absence? (he goes to war, goes on a campaign)

Two months have passed. Lisa went to Moscow for rose water. What happened on this day? (Lisa met Erast)

Why did Erast have to marry an "elderly rich widow"? (improve your financial situation)

What did Lisa do with the ill-fated 100 rubles that Erast wanted to pay off? (sent them to her mother along with the news of her death)

How was the life of Erast? (he was unhappy until the end of his days)

Landscape. And now Let's take a short walk around the outskirts of Moscow. Students find lines at the beginning of the story that describe objects.

Slide 18 . The story "Poor Liza" begins with a description of the surroundings of the Simonov Monastery, associated in the associative memory of the narrator with "the memory of the deplorable fate of Liza, poor Liza." We will follow the writer on a tour of the outskirts of Moscow. “Perhaps no one living in Moscow knows the surroundings of this city as well as I do, because no one more often than me wanders on foot, without a plan, without a goal - wherever his eyes look - through meadows and groves, over hills and plains. Every summer I find new pleasant places or new beauties in old ones, ”the author states at the beginning of the story.

slide 19. Simonov Monastery. Let's read Karamzin's lines: “But the most pleasant place for me is the place where the gloomy Gothic towers of the Si ... new monastery rise. Standing on this mountain, you see on the right side almost all of Moscow, this terrible mass of houses and churches<...>: a magnificent picture, especially when the sun shines on it, when its evening rays blaze on countless golden domes<...>. Below are fat, densely green flowering meadows, and behind them, on the yellow sands, a bright river flows, agitated by the light oars of fishing boats or rustling under the helm of heavy plows, which<...>endow greedy Moscow with bread.

slide 20. Moscow river. “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 trees, sing simple, dull songs and thus shorten the summer days, which are so monotonous for them.”

Slide 21 . Danilov Monastery. “Farther, in the dense greenery of ancient elms, the golden-domed Danilov Monastery shines” ...

slide 22. Sparrow Hills - "... even further, almost at the edge of the horizon, the Sparrow Hills turn blue."

slide 23 . The village of Kolomna. “On the left side you can see vast fields covered with bread, woods, three or four villages and in the distance the village of Kolomenskoye with its high palace.”

We will end this excursion with the author’s statement: “There, leaning on the ruins of tombstones, I listen to the muffled groan of times swallowed up by the abyss of the past, a groan from which my heart shudders and trembles.<...>All this renews in my memory the history of our fatherland - the sad history of those times when the fierce Tatars and Lithuanians devastated the outskirts of the Russian capital with fire and sword and when unfortunate Moscow, like a defenseless widow, expected help from God alone in any of her disasters.

*What mood does the landscape create for you? What is his role in the story? (The author not only introduces the scene of action, but also conveys to readers a sad mood, foreshadowing a tragic development of events. The landscape is unusual in that it has a spiritual and emotional character.)

* Why does the description of the surroundings precede the plot of the story? What is the narrator contrasting in this landscape? (Depicting the surroundings of Moscow, the author contrasts “greedy” Moscow with “a terrible mass of houses” and beautiful natural nature, described with the help of the epithets “blooming”, “bright”, “light”. This theme will be continued in the plot of the story.)

The story "Poor Lisa" is written in the classic story about the love of representatives of different classes: its characters - the nobleman Erast and the peasant woman Lisa - cannot be happy not only for moral reasons, but also for social conditions of life.

*Name the works known to you in which the authors touch on the topic “Love and social inequality”. ("Cinderella", "The Tale of Peter and Fevronia of Murom", "The Young Lady-Peasant Woman")

*What does the word "poor" mean in the title of the work? This word can be understood in two waysslide 24 ): an indication of the social position of the heroine or the attitude of the author towards her? Choose synonyms. (The word "poor" conveys to the reader the attitude towards the author's heroine.)

*Are only class barriers separating heroes? To answer this question, let's compare the heroes. (slide 25 )

2) Matching heroes (slide 26 )

Find the words and expressions that characterize the characters, fill in the table.

Lisa

Erast

The name Elizabeth means "worshiping God"

Beautiful in soul and body, of rare beauty, she worked day and night, a kind ... peasant woman.

The name Erast means "beloved"

A rather rich nobleman, with a fair mind and a kind heart... but weak and windy. He led a distracted life, thinking only about his own pleasure...

Make a conclusion about whether only social barriers separate the characters. (Heroes share not only social, but also moral barriers.)

Based on the text of the story, we determine what values ​​are significant in each of the worlds of the characters. Two students write down on the board the versions proposed by the students. Write on the board and in your notebook:

"Lisa's World"

"World of Erast"

village

money

idyll

deception

nature

city

flowers

reason

lilies of the valley

big light

old mother

greed

the senses

Moscow

tears

bulk

shepherd boy

3) The image of Lisa.

Teacher activity

Student activities

Tell me about Lisa. What do we see the main character in the parental family? What did her parents teach her?

Lisa was an obedient daughter, helping her mother in everything. She was modest, conscientious, was not greedy for money: “I don’t need too much.”

"The deplorable fate of poor Liza", "beautiful, kind Liza", "gentle Liza".

What is the relationship between mother and daughter?

What does Liza see as her duty to her mother?

"You breastfed me and looked after me when I was a child, now it's my turn to look after you." "God gave me hands to work with."

What did Lisa do all day long?

Worked: sold lilies of the valley and berries; knitted stockings; weaving canvases.

Why did Lisa have to work?

Because the father (Ivan) died. Before his death, he worked hard, was a wealthy peasant, plowed the land, led a sober lifestyle.

What can you say about Lisa's mother?

How do you think she raised her daughter?

What is the purpose of the image of Liza's mother introduced into the story?

Kind old lady, sensitive. A woeful widow, she went to her 6th decade. She brought up her daughter correctly, did not allow her to take extra money, but only what she honestly earned. “Liza, it’s better to feed on your own labors and not take anything for free.”All the best that was in Lisa (decency, diligence, good manners, the ability to love faithfully and devotedly, to feel deeply) is the fruit of her mother's upbringing. The mother acts as a mentor, the guardian angel of her daughter.

4) The image of Erast.

Teacher activity

Student activities

Tell us about Erast. How did he appear before you, before Lisa's mother? In your opinion, is Erast a positive or negative hero?

A young man, a rather wealthy nobleman; with a fair mind; kind heart, but weak and windy. Mother seemed to be a good kind gentleman.Erast- a new hero for Russian literature. Karamzin, creating the image of Erast, seeks to showpsychologya person, noting the positive and negative sides of his character (“a fair mind”, “kind heart”, but at the same time the heart is “weak and windy”). The secular scattered life, the search for pleasures made Erast a bored and satiated person.

What do we learn about Erast before meeting Lisa?

He led a dissipated lifestyle. Thinking of your pleasure; I looked for him in secular amusements, but did not find him; bored and complaining about fate.

Under what circumstances did the meeting between Erast and Liza take place?

Lisa was selling lilies of the valley in the city. He wanted to buy for 1 ruble, and she asked for 5 kopecks.

How to understand the words of the hero: "Nature calls me into her arms"?

Erast wants to leave the light for a while. “It seemed to him that he had found in Liza what his heart had been looking for for a long time. ... nature calls into its arms, to pure joys.

How does Karamzin show the development of feelings between young people?

Lisa - with downcast eyes, with fiery cheeks, with a trembling heart.

He has pink lips.

What was the feeling that flared up for Liza and for Erast, who had already had time to taste secular amusements?

He learned that we love passionately with a new, pure, open feeling.

The feelings of the heroes, their condition are closely connected with nature. Prove that descriptions of nature "prepare" the characters and readers, "tune" them to certain events.

Lisa was in love, and everything seemed beautiful and beautiful to her. Their feelings were pure and blameless.

5) The relationship of the characters.

Teacher activity

Student activities

Why do you think Erast did not want Lisa's mother to know about their meetings?

“She doesn't need to say anything. Old people are suspicious."

Do you also think that parents should not know about such meetings?

Be sure to know who their daughter is dating.

What were Erast's thoughts? Did he want to hurt her?

The kindest: "I will live with Lisa as a brother and sister, I will not use her love for evil and I will always be happy."

"Reckless young man! Do you know your heart? Can you always be responsible for your movements? Is reason always the king of your feelings?

When and why did Erast's attitude towards Lisa change dramatically?

“Integrity must now perish. Ah, Liza, Liza, where is your guardian angel? Where is your innocence?

“The fulfillment of all desires is the most dangerous temptation of love…”

How did the relationship between the characters end?

Erast announces that he will marry another; gives Liza 100 rubles and asks the servant to take Liza out of the office.

What is the fate of the heroes? Was Erast happy?

Lisa rushes into the pond, as Erast deceived her, taking advantage of her youth and gullibility. And Erast, having gone bankrupt, was forced to marry an old widow. Erast is unhappy because he married without love.

IV. Summarizing.

Why couldn't the heroes be happy, was it only social inequality that was an obstacle to their happiness?

Slide 27 What is the role of landscape in the story? (The whole love story of Lisa and Erast is immersed in a picture of the life of nature, constantly changing according to the stages of development of a love feeling. Examples of the emotional fullness of a landscape sketch: a melancholic autumn landscape of the introduction, foreshadowing the general tragic denouement of the story, a picture of a clear, dewy May morning, which is a declaration of love Liza and Erast, and the picture of a terrible night thunderstorm that accompanies the beginning of a tragic turning point in the fate of the heroine.So the landscape from the usual background of the action turned into a means of psychological characterization of the characters and gained "correlation with the inner world of a person as a kind of mirror of the soul").

slide 28. - Describe the image of the narrator? (The image of the author-narrator is included in the figurative structure of the story on the rights of its full-fledged hero and acting (speaking) person, it is a kind of aesthetic center of the entire narrative structure, to which all its semantic and formal levels are drawn, since the author-narrator is the only intermediary between the reader and the life of the characters, embodied by his word.The narrator sets the emotional tone of the story with his experience for the fate of the characters, his emotions are transmitted to the reader).

How do you understand the meaning of Karamzin's words: "Even peasant women know how to love"? (The idea of ​​the extra-class value of the human person is connected with the image of poor Lisa)

Why is "Poor Lisa" a piece of sentimentalism? (Since it traces allfeatures of sentimentalism : the main theme of the story is love; the ideological basis is a protest against the corruption of an aristocratic society;

the story expresses an educational character, the village is sharply opposed to the city;

at the heart of aesthetics is the imitation of nature, the idealization of patriarchal life;

the characters are more individualized; their feelings become the central aesthetic category of the story; the idyllic life of the heroine - in the bosom of nature; the spiritual world of a commoner is rich, in her is a cult of innate moral purity; the author presents the heroine in the movements of the soul, thoughts, feelings, aspirations).

Why did the reader like Karamzin's story so much? (According to V. N. Toporov, “for the first time in Russian literature, fiction created such an image of true life, which was perceived as stronger, sharper and more convincing than life itself.”)

Thus, on the pages of the story, the author speaks of different loves: on the one hand, love-friendship, on the other, love-passion, thereby showing the many faces of this feeling and, as it were, making it clear that it can be both beautiful and dangerous.

V. Lesson results. Grading. Homework: Letter to the hero (Lisa or Erast)

Application

Card #1

1. Tell me about Liza.

2. How do we see the main character in the parental family?

3. What did her parents teach her?

5. What is the relationship between mother and daughter?

6. What does Liza see as her duty to her mother?

7. What did Lisa do all day long?

8. Why did Lisa have to work?

9. What can you say about the mother?

10. How do you think she raised her daughter? What is the purpose of the image of Liza's mother being introduced into the story?

11. Does she look like modern mothers?

Card #2

1. Tell us about Erast.

How did he appear before you, before Lisa's mother?In your opinion, Erast is a positive or negative hero?

2. What do we learn about Erast before meeting Lisa?

3. Under what circumstances did the meeting of Erast and Lisa occur?

4. How to understand the words of the hero: "Nature calls me into her arms"?

5. How does Karamzin show the development of feelings between young people?

6. What was the feeling that flared up for Lisa and for Erast, who had already had time to taste secular amusements?

7. Feelings of heroes, their condition are closely connected with nature. Prove that descriptions of nature "prepare" the characters and readers, "tune" them to certain events.

Card #3

1. Why do you think Erast did not want Lisa's mother to know about their meetings?

2. Do you also think that parents should not know about such meetings?

3. What thoughts did Erast have? Did he want to hurt her?

5. When and why did Erast's attitude towards Lisa change dramatically?

8. How did the relationship of the heroes end? What is their fate? Was Erast happy?

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 empathizes 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. Karamzin seems to inhale to 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 be thinking. 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 Lisa, 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. But for 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.

Aramzin, who was well acquainted with the latest trends in European culture, consciously focused on the principles of sentimentalism. In his story "Poor Lisa", 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. It is not in vain that the author specifies that he learned the story of Erast and Lisa from the very culprit of the unfortunate events, so he exclaims: “Ah! For

Why am I not writing 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, an oak grove is visible, near which numerous herds graze.” Why not the peaceful life of shepherds and shepherds 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 only he were a simple shepherd boy." 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 am a peasant."
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 Lisa, 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, perhaps, 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. But for 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.

1. Nikolai Mikhailovich Karamzin becomes the founder of sentimentalism in Russia. The son of a landowner in the Simbirsk province, in his youth he served in the guards, from where he retired with the rank of lieutenant. Travels around Europe, and in 1791,...
2. Almost always, forgotten, humiliated people do not attract special attention of others. Their life, their small joys and big troubles seemed to everyone insignificant, unworthy of attention. Such people and such to them ...
3. Related compositions - Karamzin's lyrical hero - The theme of freedom in Zhukovsky's lyrics - Karamzin's role as Zhukovsky's predecessor - Subjectivism as the law of Karamzin's creativity - Criterion of the value of historical events...
4. I. The relevance of N. M. Karamzin's story "Poor Lisa" at all times. II. True and false values ​​in the story. 1. Work, honesty, kindness of soul are the main moral values ​​of Lisa's family. 2....
5. The story of Nikolai Mikhailovich Karamzin "Poor Liza" has become a typical example of sentimentalism. Karamzin was the founder of this new literary trend in Russian literature. In the center of the story is the fate of the poor peasant girl Lisa. After the death of his father...
6. “Poor Lisa” (1792) is rightly recognized as the best story by Karamzin, which is based on the enlightening idea of ​​the extra-class value of the human person. The problematic of the story is of a social and moral nature: the peasant woman Lisa is opposed by the nobleman Erast. Characters...
7. The story begins with a description of the cemetery where the girl Liza is buried. Based on this picture, the author tells the sad story of a young peasant woman who paid with her life for her love. One day, while selling on the street the collected ...
8. He is convinced that the fighting classes, the feudal lords and the bourgeois, are equally right, that the “ideal” shell of their aspirations is a lie, that their declarations cover up egoism. “Aristocrats, serviles want the old...
9. The writer achieved the greatest success in the genre of the story. Even if the plot in the stories was connected with events from national history, Karamzin reproduced the fate of his contemporaries. More often, female images became central, and ...
10. Karamzin understood that the vast majority of the nobles were deprived of the civic prowess listed by him, which must be educated from early childhood. He portrays his hero Leon at the age that he considered the most suitable ...
11. The positive tendencies of sentimental prose found expression in those prose works of the author of Poor Lisa, which he published in Vestnik Evropy. Of considerable historical and literary interest is the unfinished novel "The Knight of Our Time", over...
12. At the end of the 18th century, the direction of sentimentalism was born in literature, for which the main thing was the inner world of a person with its simple and simple joys. “Poor Lisa” is a story about the sad fate of a peasant...
13. History of Russian sentimental prose of the 18th century. differs significantly from the history of prose genres of the XIX century, In the XIX century. novels appear first, and on their basis a novel is formed. Karamzin made a real coup...
14. "Melancholy. (Imitation of Delil) ”(1800) - became a program for sentimentalists. It describes that state of mind in which a person can find refuge from the troubles and unrest caused by the contradictions of the surrounding life. It...
15. An unusual feeling seizes the reader who has read N. Karamzin's old story "Poor Liza". It would seem that the fate of a peasant woman who was deceived by a rich gentleman and who committed suicide can be touched by something - banal ... it traces exits to other emerging systems. He started...
16. Karamzin's story "Poor Liza" tells about the love of the young nobleman Erast and the peasant woman Liza. Lisa lives with her mother in the suburbs of Moscow. A girl sells flowers and here she meets Erast....
17. The author argues how good the surroundings of Moscow are, but the best is near the Gothic towers of the Sl. New Monastery, from here you can see all of Moscow with an abundance of houses and churches, many groves and pastures on the other side, ...

Sentimentalism (French feeling) is an artistic method that arose in England in the middle of the 18th century. and spread mainly in European literature: Shzh Richardson, L. Stern - in England; Rousseau, L. S. Mercier - in France; Herder, Jean Paul - in Germany; N M. Karamzin and early V. A. Zhukovsky - in Russia. Being the last stage in the development of the Enlightenment, sentimentalism opposed classicism in its ideological content and artistic features.

In sentimentalism, the social aspirations and moods of the democratic part of the “third estate”, its protest against feudal remnants, against increasing social inequality and the leveling of the individual in the emerging bourgeois society, found their expression. But these progressive tendencies of sentimentalism were essentially limited by its aesthetic credo: the idealization of natural life in the bosom of nature, as free from any coercion and oppression, devoid of the vices of civilization.

At the end of the XVIII century. in Russia there has been a rise in capitalism. Under these conditions, a certain part of the nobility, who felt the instability of feudal relations and at the same time did not accept new social trends, put forward a different sphere of life, previously ignored. It was an area of ​​intimate, personal life, the defining motives of which were love and friendship. This is how sentimentalism arose as a literary trend, the last stage in the development of Russian literature of the 18th century, covering the initial decade and being transferred to the 19th century. In its class nature, Russian sentimentalism is profoundly different from Western European sentimentalism that arose among the progressive and revolutionary bourgeoisie, which was an expression of its class self-determination. Russian sentimentalism is fundamentally a product of the nobility's ideology: bourgeois sentimentalism could not take root on Russian soil, because the Russian bourgeoisie was just beginning - and extremely uncertainly - its self-determination; the sentimental sensibility of Russian writers, which asserted new spheres of ideological life, previously, at the time of the heyday of feudalism, of little importance and even forbidden, is a longing for the outgoing freedom of feudal life.

The story of N. M. Karamzin "Poor Lisa" was one of the first sentimental works of Russian literature of the 18th century. Its plot is very simple - the weak-willed, although kind nobleman Erast falls in love with a poor peasant girl Lisa. Their love ends tragically: the young man quickly forgets about his beloved, intending to marry a rich bride, and Liza dies by throwing herself into the water.

But the main thing in the story is not the plot, but the feelings that it was supposed to awaken in the reader. Therefore, the main character of the story becomes the Narrator, who tells with sadness and sympathy about the fate of the poor girl. The image of a sentimental narrator became a discovery in Russian literature, since before the narrator remained "behind the scenes" and was neutral in relation to the events described. "Poor Lisa" is characterized by short or extended lyrical digressions, at every dramatic turn of the plot we hear the author's voice: "my heart bleeds ...", "a tear rolls down my face."

The appeal to social problems was extremely important for the sentimentalist writer. He does not denounce Erast for the death of Lisa: the young nobleman is as unhappy as a peasant girl. But, and this is especially important, Karamzin was perhaps the first in Russian literature to discover a “living soul” in a representative of the lower class. “And peasant women know how to love” - this phrase from the story became winged in Russian culture for a long time. From here begins another tradition of Russian literature: sympathy for the common man, his joys and troubles, protection of the weak, the oppressed and the voiceless - this is the main moral task of the artists of the word.

The title of the work is symbolic, containing, on the one hand, an indication of the socio-economic aspect of solving the problem (Lisa is a poor peasant girl), on the other hand, the moral and philosophical one (the hero of the story is an unfortunate person offended by fate and people). The polysemy of the title emphasized the specifics of the conflict in Karamzin's work. The love conflict between a man and a girl (the story of their relationship and the tragic death of Lisa) is leading.

The heroes of Karamzin are characterized by internal discord, the inconsistency of the ideal with reality: Liza dreams of being a wife and mother, but is forced to come to terms with the role of a mistress.

The plot ambivalence, outwardly hardly noticeable, manifested itself in the “detective” basis of the story, the author of which is interested in the reasons for the suicide of the heroine, and in the unusual solution to the problem of the “love triangle”, when the love of a peasant woman for Erast threatens family ties, sanctified by sentimentalists, and “poor Liza” herself replenishes a number of images of "fallen women" in Russian literature.

Karamzin, referring to the traditional poetics of the "speaking name", managed to emphasize the discrepancy between the external and the internal in the characters of the story. Lisa surpasses Erast ("loving") in the talent to love and live in love; "meek", "quiet" (translated from Greek) Liza commits acts that require determination and willpower, which run counter to the social laws of morality, religious and moral norms of behavior.

Pantheistic philosophy, assimilated by Karamzin, made Nature one of the main characters of the story, empathizing with Lisa in happiness and sorrow. 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 Liza" 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 elegance and simplicity of the style, the specific selection of "euphonious" and "not spoiling the taste" words and expressions, 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.