What can be said about the literature of the 18th century. General characteristics of Russian literature of the XVIII century

Keywords: Russian literature

The beginning of the 18th century, according to many modern researchers, does not quite coincide with the beginning new era in the development of Russian literature. The Petrine era, from which traditional courses in the history of Russian literature of the 18th century begin, has become turning point in the history of Russian statehood and culture, but still it was hardly a turning point in literature. Rather, at this time, the transition from ancient Russian, medieval literature to modern literature, which had become apparent in the second half of the previous century, continued. Profound qualitative changes in all areas of the secularizing culture also left their mark on literature, in which, from the second half of the 17th century, interest in the depiction of the human person increased, the drama of understanding life deepened, new types and types of literary works appeared (panegyric and love lyrics, school and court drama). It was in the second half of the 17th century that the active process of mastering the diverse Western European artistic experience, its original and creative processing, which continued in the Petrine era, began.

The assimilation of the new did not mean a decisive break with domestic literary traditions, but in many respects made it possible to further develop a number of features of precisely Russian national culture. Russian XVIII century was often called the period of "accelerated" development of literature, because in less than a hundred years, Russian literature has passed the path that most Western literatures it took a much longer time. Following the advent of the Baroque, classicism was established in Russia, and soon sentimentalism and literary movements were born and flourished, as a result of which the boundaries between them turned out to be very relative.

At the same time, Russian literature of the 18th century was created in the conditions of constantly expanding, lively contacts between Russia and the West. Educated Russian people at this time, as a rule, knew French well, many of them read two or three modern European languages ​​and at least one ancient one. The works of French, English, German philosophy, literature, journalism were well known to them in the original, but throughout the 18th century the number and quality of translations from ancient and from the main European languages ​​increased and improved. Russian literature and culture XVIII century, not only recognized itself as an organic part of the European cultural movement of its time, but also strove for creative competition with the literatures of other peoples of Europe, and above all - with the most famous and authoritative French literature of the 17th-18th centuries in those years.

An important aspect cultural reality of the 18th century. researchers consider a gradual rethinking of the goals and objectives of literary creativity. Literature, of course, has not yet become a proper profession, until the 1760s it had neither a more or less distinct social, nor even a political function, but the struggle for it social status it turns out, according to the observations of V.M. Zhivov, an inevitable companion of the literary activity of a number of leading writers of the "eighteenth century".

During this period, a new literary trend appeared - sentimentalism (M. Kheraskov, M. Muravyov, N. Karamzin, I. Dmitriev and others), characterized by an increased interest in the inner world of man. Sentimentalists believed that a person is by nature kind, devoid of hatred, deceit, cruelty, that social and social instincts are formed on the basis of innate virtue, uniting people into society. Hence the belief of sentimentalists that it is the natural sensitivity and good inclinations of people that are the key to an ideal society. In the works of that time, the main place began to be given to the education of the soul, moral improvement. Sentimentalists considered sensitivity to be the primary source of virtue, so their poems were filled with compassion, longing and sadness. The genres that were given preference also changed. Elegies, epistles, songs and romances took the first place.

The main character is an ordinary person who seeks to merge with nature, find peaceful silence in it and find happiness. Sentimentalism, like classicism, also suffered from certain limitations and weaknesses. In the works of this direction, sensitivity develops into melancholy, accompanied by sighs and abundantly wetted with tears.

And again, Russian reality invaded the world of poetry and showed that only in the unity of the general and the personal, and in the subordination of the personal to the general, can a citizen and a person take place. This was proved in his work by the "father of Russian poets" G.R. Derzhavin, who managed to show with his works that all aspects of life are worthy of poetry.

But in the poetry of the end of the 18th century, the concept of "Russian man" was identified only with the concept of "Russian nobleman". Derzhavin took only the first step in understanding the national character, showing the nobleman both in the service of the Fatherland and at home. The wholeness and fullness of man's inner life has not yet been revealed.

After the reforms of Peter the Great, who “cut a window to Europe”, outwardly quite quickly (until the end of this century) a synchronization of the literary process between Russia and the Western European region was established. In V. K. Trediakovsky’s treatise “A New and Brief Method for Composing Russian Poetry” (1735), in “Letter on the Rules of Russian Poetry” (1739) by M. V. Lomonosov, in “Epistle on Poetry” (1748) by A. P. Sumarokov substantiated the syllabo-tonic system of versification, determined the stylistic norms of almost all poetic genres, and mastered the principles of classicism.

Lomonosov's odes quite bear comparison with the odes of Pope and Voltaire, and the odes of G. R. Derzhavin even more reflect the spirit of new times. The classic tragedies of Sumarokov (“Khoreev”, “Dimitri the Pretender”, etc.) are in no way inferior to the tragedies of Gottsched. The satirical comedy of D. I. Fonvizin “Undergrowth” is magnificent. The short story "Poor Lisa" by the greatest Russian sentimentalist N. M. Karamzin made readers shed no less tears than Richardson's "Clarissa" and Rousseau's "Julia, or New Eloise", and A. N. Radishchev in "Journey from St. Petersburg to Moscow" approached the pathos of Rousseau's treatises.

Learning in many respects from European writers of the 17th-18th centuries, Russian writers of the 18th century avoided the slavish dependence on antique samples, which was characteristic of European classicists.

So, starting from the 18th century, there was a certain synchronization of Russian and European literature, despite the fact that Russian literature in a number of respects retained its independent development.

17. Literature of the Petrine era(late 17th - first quarter of the 18th century). characteristics of the era. The process of "Europeanization of Russia". Processes of "secularization" in ideology, culture, everyday life. The transition from the old culture to the new. Meaning the words in political struggle; journalism; propaganda of new moral and everyday norms. Translation prose, its role in the development of Russian literature and the formation of public opinion in the Petrine era ("Youth honest mirror”, “On the ruin of Troy”, “On the laws of war and peace”, etc.). Birth of journalism: Vedomosti newspaper.

Genre of travel in the Petrine era. The heyday of oratory; preaching genres, "words". Their ideological content: the praise of the deeds of Peter I. Poetics of the genre. Oratorical activity of Stefan Yavorsky, Feofan Prokopovich.

Handwritten literature- old in form, but new in content, a story, translated novels, alterations of works of ancient Russian literature.

Original stories of the era (“History about the Russian sailor Vasily Kariotsky”, “The story about Alexander, the Russian nobleman”, “History about a certain gentry son ...”, etc.). Their difference from the stories of the end of the XVII century. Features of poetics: secular content, a fictional plot that develops along the line of revealing the character of the protagonist, whose fate is the result of his actions, and not the actions of fate, as in ancient Russian stories. The meaning of the love theme in the stories. Reflection in the stories of educational and journalistic ideas of the time of Peter the Great. Features of poetics, baroque elements in the stories, originality of composition and style. The influence of translated and original stories of the time of Peter the Great on the work of F. Emin and M. Chulkov.

development of poetry. New genres: love song, cant. Panegyrics, their journalistic beginning.

Theater and dramaturgy of the time of Peter the Great. School theater. Poetics of plays school theater. Attempts to organize a secular theater. Interludes as a prototype of Russian comedies.

The development of folklore in the Petrine era. Dual attitude towards Peter in folklore works.

Baroque as a literary trend of the Petrine era. The emergence of baroque under the influence of Polish-Ukrainian-Belarusian influences and internal Russian needs. baroque poetics. New genres, new ideological trends, new style. Enlightenment character of Russian baroque.

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

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

by the middle of the 18th century, it became clear to many that the image of an ideal enlightened ruler was far from real life.

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

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

2. Periodization of Russian literature of the 18th century.

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

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

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

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

Literature of the Petrine era

The Petrine era is often called the most "non-literary era" in Russian history. Literature 1700-1720s represents strange picture mixture of old and new, it still has a transitional character as a whole. In the time of Peter the Great, the old manuscript tradition of ancient Russian literature continues to exist and develop - it remains on the periphery of the general literary process in Russia until the end of the 18th century. The secularization of culture entailed the liberation of artistic creativity; another thing is that the writer often did not know how to dispose of this freedom. Literature under Peter not only serves practical purposes, it also entertains, masters new, once forbidden topics for it. Old Russian literature almost did not know the love theme). In the era of Peter the Great, love lyrics (the so-called "cantes") spread, in which folklore images from folk poetry peacefully coexisted with ancient mythological motifs. Secular stories with a fascinating adventure story gained particular popularity. These stories were distributed in manuscripts, were anonymous and were built according to the type popular in the late 17th - early 18th centuries. translated short stories and adventure novels. However, the hero of these stories was a young man, typical of the Petrine era. Usually humble, but educated, energetic and enterprising, he achieved fame, wealth, recognition solely due to his personal merits. Such is the "Story of the Russian sailor Vasily Koriotsky and Princess Heraclius of the Florentine land." These stories most clearly revealed the Achilles heel of Petrine culture as a whole: the lack of literary language, which would be able to adequately convey those new concepts in the field of culture, philosophy, politics, which the era of Peter's reforms brought with it. In Petrine literature, the traditions of school drama continued to develop. Here the emergence of a school theater within the walls of the Slavic-Greek-Latin Academy played a big role. Religious plots in this dramatic genre were supplanted by secular ones, telling about political topical events, containing panegyrics to Peter I and his associates. In the future, the journalistic and panegyric nature of dramaturgy is further enhanced. The genre of school drama occupied a central place in the work of Feofan Prokopovich (1681-1736), a brilliant orator, publicist, playwright and poet. The tragic comedy "Vladimir" (1705) occupies a central place in his work. Depicting in this play the events connected with the adoption of Christianity in Russia under Vladimir, Feofan allegorically glorified the transformations of Peter and satirically ridiculed his opponents. The tragic comedy "Vladimir" bore the features of the future classicist dramaturgy: the conflict between passion and reason, the unity of action and time, the clarity and clarity of the composition.

Ticket 1. General characteristics and periodization.

18th century is a turning point. There was a change in relation to the human personality. At the turn of the 17th-18th centuries there was a change in cultural landmarks and sources of influence. Ch. cult. The reference point was Western Europe, but Europeanization is a conditional term. The process of Europeanization began in the middle of the 17th century, the key event was cultural reforms. In the 17th century Kyiv elders arrived in Moscow, the first Russian Westernizers. Having carried out the reform of books, thanks to them, poetry and dramaturgy appeared in Russia. All R. On the 17th century, by Polish order, translations of European novels began in Moscow. Europeanization began with St. Polish Fr. German liters.

The process of sanctification Zap-Heb. cult. M / b is called transplantation (Likhachev). The development of Western culture was more painful than Byzantine. Russian cult. forgot per. apprenticeship. Most of the 18th century went to apprenticeship.1 transpl. It happened evenly and purposefully. In Peter. The era of transpl. is spontaneous, therefore, the pr-I beg. 18 in - chaotic. Hebrew set. Pr-th. Eurolpeiz. was denied. Visa. Cult. I didn't want to give up my position. At 18 in the national brine passed. Liters. Other Russian lit. Did not die with Russia. Chit other Russian texts were dem. Bottoms. There was a secularization of the Russian cult. It was expressed in the change of genre systems. Came a verse of satire, odes, drama genres, comedies, tragedies, elegies, idylls. In the 18th century, the poet and drama genres dominate. In the 18th century, an idea of ​​the very nature of TV-va, about the author's relation to literary work. Individualization of auto consciousness. The professionalization of writers is gradually taking place, mass literature appears. Russian literature is developing rapidly, what the Hebrew literature experienced in 250 years, Rus Lit - in 100 years. The 18th century AD. Lit of the Russian Renaissance.

Stage 1 90s 17th -20s 18th century Peter's era. Continuation of other Russian baroque. The era of translation. Rus pr-th och little. 1) verse-poetry syllabic.

2) school drama. Writers Stepan Yavorsky, dm Rostovsky, Feofan Prokopovich, Andrey and Semyon Denisov.

Stage 2 30-50s of the 18th century The period of formation of Russian classicism. Change of genres.1) verse. Satire, 2) ode 3) class room 4) tragedy. going on

ref rus yaz, russ versification. Syllabic. Sist syllabo tonic. (ref Trediakovsky-LOMONOSOV). Kantemir. Trediac, Lomon, Sumarok

3 period 60-90 Catherine's era. The heyday of creative writers. Ek spent lib. Ref. The heyday of journalism begins: an essay, a journey. The leading direction is classicism, it will acquire a civil character, sentimentalism of the 1990s, pre-romanticism appears, prose returns to literature. Genre of short story and novel. This era is called the era of enlightenment. Fonvizin, Derzhavin, Karamzin, Radishchev. Krylov.

Ticket 2. Peter's era in Russian literature, the work of Rostov and Yavorsky.

This is the most non-literary era. The state was reformed, there was a suspension of lit. P1 was a man of action, not aesthetic pleasure, this is the era of the people and things. A fleet was created, reg. army, synod, St. Petersburg as an antipode to Moscow. 650 books were created, P1 required the book to be useful, these were in the main. textbooks, almost all translations. In 1722 a table of ranks was created. Stepan Yavorsky and DM Rostovsky were invited by Peter from Ukraine to promote reforms. Stefan - Ryazan Metropolitan, Rector of the SGL Academy, head of the Holy Synod. Syllabic verses and polemical works. Dmitry Rostovsky was appointed Metropolitan of Rostov

Both did not like the wild life of P and from time to time they tried to set him on the right path. This forced P to bring F Prokopovich closer to him.

Ticket 3. Baroque style in Russian literature, Disputes about the boundaries of Russian Baroque.

Baroque is a pan-European style, especially manifested in Spain, Italy, France, falls on the 16th century. This is a tragic style. The authors consider life tragic, this is walking through a maze, a person is lonely. Law of the pendulum. Intermediate place m / y revival and classicism. Baroque pearl of irregular shape, everything is based on disharmony. This is the most 1litar, for example, in Russia, the brightest. writer-Simeon of Polotsk. Russian baroque has the noun ex, this combination is incompatible.

Christ and language images

Comic and tragic

Natur-zm and fantasy

Poems and prose

United Arts

1 item pic w/w 2

Baroque art of allegory addressed to highly educated people. A very complex claim in terms of language. Main syllabic verse genres: sermon (church and solemn) and school drama.

Ticket 4. Russian theater, school drama.

The theater appeared in Russia in the 1770s, it was the theater of 1 spectator - the king, the court theater of Alexei Mikhailovich.

The plays were written by a German pastor in biblical themes The performances ran for 8-10 hours. With n1, the theater develops, 3 types of theater:

1 public

2 courtier

3 school

A public theater was organized in 1702, German actors, a humiliation for Moscow, a theater on Red Square, 15 plays, closed in 1707, the repertoire was secular, and modern, and the Renaissance (Molière), and ancient history. The theater showed human life m / w object of art. Court theater 1707-1717 It was created in Preobrazhensk. Several Russian plays were written:

Plays of secular content, sources - chivalric novels.

Lives of the saints, they were called either acts or comedies. The school theater existed at educational institutions. The plays were written by teachers of rhetoric and piitika. The actors were children. School theater performed educational functions. The plots were historical. The theater tried to develop intonation, diction. The very first school theater was the theater of the SGL Academy in 1702. Theaters in the provinces existed until the 19th century, the plays of the school theater are divided into 3 groups:

Plays of religious content - MORALITE, the plot was the Bible and the lives of the saints.

Historical and panegyric content. Plots from historical events.

Dialogues and recitations.

The poetics of the school theater is purely baroque. We are talking about a turning point in the fate of the hero: From happiness to misfortune and vice versa.

Ticket 5. Manuscript stories 1/3 18th c.

At 18, 2 branches of literature developed separately:

1 High literature

2 Democratic Literature.

On dem. influenced zap-evr. fiction.

"The story of the Russian sailor Vasily Koriotsky", "the story of the brave cavalier Alexander." The author of these works is unknown, most likely they were created in a democratic environment. Researchers compare these stories with PLDR. Their common m / y:

Anonymity

handwriting

Entertaining and applied character.

The main hero is said to be a person who is ready to sacrifice everything for the sake of his friends. Yet more history have with Hebrew novels, this is 1 attempt to create a Russian adventure novel. They are related to Jewish novels:

Adventures,

Battles for the lady of the heart

Travel by sea

"... about Vasily ..."

A bizarre interweaving of novelty and antiquity, written in other Russian language and has a student character.

“…. About Cavalier Alexander..»

The story is remarkable in 2 aspects: 1) this is 1 encyclopedia about love, because Dr Rus lit rejected love.

2) the story experienced baroque phenomena.

Wandering ch hero

The structure and composition of the story.

Insert novels

A mixture of verse and prose

A mixture of church words and barbarisms, the effect of comedy.

Ticket 6. Old Believer literature 1/3 of the 18th century

The Old Believer literature arose in the middle of the 17th century in connection with the past schism. At 17, the leader of the st / obr movement was Archpriest Avvakum. 1658-1682 there was a Pustozero center. In 1682, the st / arr were burned, so the 1st stage of the st / arr ended.

Stage 1 - Vygoleksinsky monastery, it was founded in 1694 on the river Vyg. Founders: Daniil Vikulin, Andrey Denisov, the future abbot of the monastery. M lasted until 1856. In 18 VL the monastery was the center of st / abr of culture. The heyday came in 1/3 of the 18th century.

Singing school, foundry, icon painting.

VL st / arr went to a dispute with the authorities, P issued a decree that they pay a double capitation salary, and must work for prom. enterprises, they must also wear yellow collars. Famous writers: Andrei and Semyon Denisov, Ivan Denisov-historian. Essays are divided into 2 groups: - business nature (statutes).

literary works

Vygovtsy abandoned cultural confrontation, in high literature there were the same genres as in the Baroque, except for drama. "The Tale of the Siege of the Solovetsky Monastery" by Semyon Denisov in the 20s of the 18th century was also printed in the old printing houses. Pr0e m / b is called historical, because. describes the events of the 17th century.

The story is written in 2 genres: hagiography and historical story. Martyrius-hagiographic pr-e about the witnesses - martyrs, the cat accept a violent death at the hands of the Gentiles, confessing Christ. The author introduces a lot of realistic scenes, which was not there before. The baroque nature of the story is evidenced by a number of cross-cutting metaphors, the image of a grape garden-1 from the stable emblems of the baroque literature. The author uses the theme of metamorphosis: the garden dies, everything turns into the opposite. The image of Troy is a cross-cutting metaphor. Her death is mentioned at the very beginning of the story. Denisov is trying to compete with Homer in poetic skill. Other features of the Baroque: a combination of verse and prose. The author introduces new words, plays with the contrast of the past and the present.

Ticket 7. Creativity of Feofan Prokopovich.

Came from Ukraine in 1715, studied at the Kiev-Mogilev Academy, also studied in Poland. Became a court writer P1, in Lila Prokopovich, Russ Lit found a new type of writer-employee. After Peter's death, he was instructed to write a word for the burial. The word is a work of author's art, the author uses rhetorical questions, exclamations and appeals, compositionally the word consists of 3 parts:

1 lament for Peter

2 glorification of Peter

3 praise E1 widow. The combination of praise and lamentation is a feature of the baroque, in part 2 F use the poetics of reflection, called P-Japheth and Moses (biblical characters), Solomon. Plays with the contrast of the past and present, leads to the etymologization of the name. Peter the stone. The language is very high, replete with church words, rhetorical figures. (chiasm)

The material reveals the features of Russian literature of the 18th century, the concept of "classicism", developments based on the work of J.B. Moliere and analysis of the features of the poetics of the comedy "The tradesman in the nobility", the work of D.I. Fonvizin, a series of developments on the analysis of the comedy "Undergrowth", life and to the work of M.V. Lomonosov, analysis of the ode "On the day of the ascension ...", analysis of the traditions and innovations of the ode "Felitsa" by G.R. Derzhavin, poems "To the Rulers and Judges", "Monument", the concept of sentimentalism, material on Karamzin N.M. - a writer and historian, analysis of the topic "assertion of universal values ​​in N.M. Karamzin's story "Poor Liza"

Download:

Preview:

Lesson 4

Features of the development of Russian literature of the XVIII century. Classicism in Russian and world art.

Purpose - a general overview of the "Features of the development of Russian literature of the XVIII century", the introduction of the concept of "classicism"

It was that troubled time

When Russia is young

In the struggles of strength, straining,

Husband with the genius of Peter

A. Pushkin

1Introductory speech, repetition and generalization of what has been covered. Conversation

Features of the development of Russian literature of the XVIII century.

How do you understand the meaning of the epigraph?

(the formation of statehood and the secularization of culture is associated with Peter I)

18th century – the time of the turning point and the epoch of accumulation. In literature, the time of the formation of new Russian literature, which

Becomes secular

Fiction is recognized as one of the leading structure-forming factors of a work of art (this happened in the second third of the 18th century)

What are the features of the manifestation of the category "fiction" in DRL?

(Practically none, it corresponded to some genres and served the purpose of creating an image, for example, in the hagiographic genre, in miracles)

A new system of genres is being created.

Russian literature of the 18th century preserved and multiplied the best qualities of the literature of the previous period.

Which?

(patriotism, connection with UNT, interest in the human person)

Brought to a new level accusatory orientation against social vices, satirical ridicule of human and social vices

The main feature is an inextricable link with time. Reflecting the main stages in the formation of the Russian nation and statehood, it intervened in the solution of pressing political and social issues and became a powerful tool for the further growth of the national culture and self-consciousness of the Russian people, the most important factor in the moral impact on society.

Hence the main task of literature is to educate the contemporary socially and morally.

The main regularity of the development of the literature of this time is the process of its steady democratization. Instead of an educated monk, a wise prince, the author of the works becomes "a literate person who writes by order or directly" by order "of the king." The hero has also changed - now he is a smart, cunning, resourceful person who achieves success. regardless of social status

A variety of fiction is especially popular

Magazines

Kheraskov "Useful Entertainment", "Free Hours", "Good Intention"

Novikov - "Drone", "Infernal Mail" (Emin), "Riddle"

Catherine II - "All sorts of things"

Newspaper "Sankt-Peterburgskiye Vedomosti"

At the same time, the role of the literature of the 18th century in preparing the brilliant achievements of our literature in the next "golden age" is great.

2 Working with art. in the textbook and compiling the table "Russian literature of the 18th century" p. 35-41

Period	Character traits	Names
Late 17th – early decades of the 18th century Literature of Petrovsky time	The demand of time is to subordinate the activity of a citizen to the “public good” Transitional character, intensive process of "secularization", the formation of secular literature	Feofan Prokopovich
1730 - 1750	Formation of classicism. The rise of the ode genre. Implementation of the poetic reform - syllabotonic versification	A.D. Kantemir V.K.Trediakovsky M.V. Lomonosov A.P. Sumarokov
1760 - the first half of the 1770s.	The evolution of classicism. Rise of satire. The emergence of prerequisites for the emergence of sentimentalism. Poetry gives way to prose.	V.I. Maikov M.D. Chulkov N.I.Novikov V.V.Tuzov M.M. Kheraskov
Last quarter of a century	The beginning of the crisis of classicism, the design of sentimentalism, the desire for realistic image reality. Enlightenment ideas, the fight against social vices	D.I.Fonvizin G.R.Derzhavin A.N. Radishchev I.A. Krylov N.M. Karamzin I.I. Dmitriev

Definition of the concept of classicism.

3 Writing in a notebook. Work with Art. in the textbook "Classicism" p. 39

The origins are France, Italy of the 17th-18th centuries, in the views of the playwrights Corneille and Moliere and the literary theorist N. Boileau in the treatise "Poetic Art"

The main property is an appeal to samples of antiquity, normative poetics

At the heart of aesthetics is the principle of rationalism and "imitation of nature", everything is subject to strict regulation, rules

Character traits

A) cult of reason

B) piece of art organized as an artificial, logically constructed whole

C) strict plot-compositional organization, schematism

D) life phenomena are transformed in such a way as to reveal and capture their generic, essential features and properties

E) human characters are outlined in a straightforward manner (speaking surnames), positive and bad guys opposed

E) idealization of heroes, utopianism, absolutization of ideas

Emphasized objectivity of the narrative

Active appeal to public, civic issues

Classical plays are characterized by

The system of roles - character types that pass from play to play (ideal heroine, hero-lover)

The plot is usually based on a love triangle.

Vice is always punished, virtue triumphs

The principle of three unities

A) time - the action develops no more than a day

C) actions - one storyline, the number actors limited, no side characters

Composition

A) 4 acts - in 3 - the culmination, in 4 - the denouement

The secondary characters are introduced to the main characters.

Hierarchy of genres

Features of classicism in Russia

The formation of Russian classicism was due to the emergence and development of a new type of social consciousness. Russian classicism was characterized by typological features of European (primarily French) classicism

Normativity and genre regulation

Recognition of rationalism as the leading aesthetic category, and reason as the supreme judge over the surrounding world

A sharp division into positive and negative characters

Lack of dynamics in images, abstraction when creating an image

Requirements from the art of verisimilitude, which is narrowly understood and expressed in the principle of three unities

However, the formation of the Republic of Kazakhstan took place later than in European countries, although under relatively similar conditions for the strengthening of absolutism), when enlightenment replaced rationalism.

Features of Russian classicism

Orientation to the essential issues of Russian life, it is characterized by public, civil pathos

accusatory focus

The demand to develop education, to establish firm laws, to recognize the natural equality of people, the extra-evil value of a person

Connection with national tradition and UNT

(A.P. Sumarokov “Epistole on poetry)

Classicism in Russian and world art.

Classicism in Russia

Late 18th - 19th centuries - the era of classicism in Russian architecture, which left a bright mark on the architectural appearance of Moscow, St. Petersburg and other cities.

Classicism is a European cultural and historical trend that focused on antique art, on ancient literature and mythology. In the middle of the XVIII century. St. Petersburg was a city of single masterpieces, then regular building of the city began along straight avenues, rays diverging from the Admiralty. St. Petersburg classicism is the architecture of entire ensembles that amaze with their unity and harmony. In 1806-1823. the building of the Admiralty was built according to the project of A.D. Zakharov. In a huge building, the architect emphasized the central tower. The Admiralty is crowned by a gilded needle with a ship rapidly flying up.

Speaking about the sculpture of the 18th century, it should be recognized that it is a combination, a fusion of features of baroque and classicism. Only at the turn of the XVIII-XIX centuries. Shchedrin and Martos provide examples of clear harmony, pure classicism, so to speak.

The "Bronze Horseman" on Senate Square was erected under Catherine II by the sculptor E. Falcone, installed on a solid granite rock. The horse seems to take off on a wave, trampling a snake with its hooves - a symbol of treason. Peter himself is also in Roman attire.

The sculpture of the Summer Garden is a round, monumental and pectoral sculptural portrait. Plots are allegorical figures that personify such concepts as Navigation, Architecture, World, etc. In general, the traditions of classicism with elements of baroque art are traced.

In 1714, the foundation was laid for the St. Petersburg Kunstkamera - the first natural science museum in Russia, and the Botanical Garden was also founded in St. Petersburg.

The development of scientific knowledge prepared the conditions for the creation of the highest scientific center of Russia - the Academy of Sciences, the opening of which took place after the death of Peter at the end of 1725.

A significant event in the cultural and educational field was the opening at the beginning of 1755 of Moscow University. The idea of ​​creating this higher educational institution belonged to the great Russian scientist M.V. Lomonosov. There were 2 gymnasiums at the university - one for the nobility, the other for non-serfs. Training sessions were held at three faculties: medical, philosophical, legal. Unlike foreign ones, Moscow University did not have a theological faculty. A printing house worked at the university (N.I. Novikov became the director). The first public newspaper in Russia, Moskovskie Vedomosti, was published.

1757 - opening of the St. Petersburg Academy of Arts. In Russia, its own principles of fine arts are being formed and established - academic classicism.

Karl Bryullov "The Last Day of Pompeii" and Alexander Ivanov "The Appearance of Christ to the People" were associated with the Academy with all their creative work.

Before Peter the Great, there was no public theater in Russia. Under Tsar Alexei Mikhailovich, the court theater operated, but this did not last long. Peter himself, who loved the theater, ordered the construction of a "comedy temple" on Red Square in Moscow. Since 1704, performances began to be given here. The actors were originally foreigners, then they began to recruit Russian troupes.

Along with the amateur theater, professional theater began to develop. theatrical art drama, opera, ballet.

An extremely important role in the development of the Russian professional theater was played by F.G. Volkov, called "the father of the Russian theater". He opened his own theater in Yaroslavl in 1750, which Catherine demanded to be transferred to the capital; his brilliant theater was also a success on the banks of the Neva.

Domestic composers and performers of music appeared. "Russian Stradivarius" was considered by contemporaries of the violin maker I.A. Batov, the works of D.S. Bortnyansky, V.N. Fomin.

AT early XIX century, some landowners became entrepreneurs. In such theaters, serfs played (M.S. Shchepkin was a serf until the age of 33, P.S. Mochalov grew up in the family of a serf actor) and civilian actors, such theaters became public.

Second half of XVIII century - the heyday of literature. Lomonosov, Derzhavin stood out among the authors, Novikov's satirical magazines ("Drone", "Painter") were read all over Russia, Catherine II herself was involved in writing.

Russian culture was gaining strength, reinforcing national identity, patriotic traditional peoples, Russia was moving into the 19th century.

Classicism in France:

"King of the Sun" creates a high culture, represented by three masterpieces.

Versailles is a work of architectural art, a symbol of French statehood, architect Andre Le Nôtre. The metaphor of the sun is embedded in the image of Versailles: the alleys of the park diverged from one point-center like rays. In the park itself, sculptures of Apollo and Helios are placed. The palace is built in the shape of the letter "P", inside there are huge windows and mirrors, arranged symmetrically.

There was a royal court theater in Versailles, whose director Jean-Baptiste Poquelin, who worked under the pseudonym Molière, wrote plays. Molière thought in terms of classicism, although he included rude humor in his works, for example, "Tartuffe, or the Deceiver", "The tradesman in the nobility".

The third peak was the work of Nicolas Poussin. This artist in his aesthetic views is a typical classicist.

"Jerusalem Liberated" - the main theme is the conflict between love and death, which later becomes the main theme of creativity.

"Tancred and Erminia" - Erminia is depicted in a fit between hatred for the enemy and sympathy for the person. She raised a knife to cut off the hair and bandage the wounds of the crusader youth.

"The Arcadian Shepherds" is a problem of life and death. A young man and a girl, walking in the park, see a tombstone with the inscription: “And I was in Arcadia”, which means “And I was happy”, because. the country of Arcadia for Poussin and the classicists is a symbol of happiness.

"Landscape with Polyphemus" - Polyphemus is associated with destructive power - this is a giant tamed by love for the nymph of the sea Galatea. Polyphemus is depicted sitting on a rock and playing the flute.

At the end of his life, Nicolas Poussin suffers from paresis, but continues to paint, tying his hands to his hands, he creates the famous "Seasons". The most famous picture this cycle - "Winter". The flood is depicted - trees and rocks are depicted in the abyss of water, a woman in a boat passes a child to a man who has climbed a rock. A snake is crawling in the rock - a symbol of eternity, which is an ominous contrast.

DZ Retelling of Art. about classicism

Reading the comedy "The tradesman in the nobility"

Individual task "Essay on life and creativity"

Lesson 5

J.-B. Molière. Essay on life and creativity.

The goal is to get acquainted with the biography and essay on the work of J.B. Molière

1Repetition of what has been passed in the form of a written test

Distinctive features of the literature of the XVIII century (list)

The main directions in the literature and art XVIII century

What is the reason for the emergence of classicism in Europe and Russia? (where and when did it appear?)

Define classicism as a literary movement

The main features of European classicism (thesis list)

Describe in detail what is the principle of "three unities"?

What is the theory of genre division?

2 Introductory remarks on Molière

Moliere is an artist of the word, organically absorbing the features of classicism and baroque. He is the creator of a new word in art. He creates a special theater with a special world, in which there is a play of passion and reason, where "quite often a situation, conjecture, unbridled fantasy and emotions prevail over a purely rationalistic approach to life." He exalted the comedy genre. The tragic and the comic, the sublime poetic and the low prose are in a bizarre connection. This is a kind of "laughter through tears." The poetics of Molière, his theater is difficult to describe in one concept. He was an innovator from the very first steps on the stage, he never closed himself within the framework of one direction - the dominant classicism.

3 Individual report “J.-B. Molière. Essay on life and creativity.

4 Thesis notes

Real name J. - B. Poquelin (1621-1673), son of a royal upholsterer

Education at Clermont (Law) College

January 1, 1644 - the opening of the Brilliant Theater, among its creators are the names of Molière, the Bejart family. In the autumn of 1645 - the ruin of the theater

The first Parisian period of his theatrical career was inglorious and lasted about a year.

Debt prison, provincial tour (1645-1658)

The goal is to change the status and meaning of your craft

Commedia dell'arte - the theater of improvisation, Moliere began to vary the plots, sketch out the roles - he becomes a playwright. The most outstanding works are "Don Giovanni", "The tradesman in the nobility" (1670), "Tartuffe" and "Mesanthrope"

The creator of a comedy-character, where the main role was played not by the action, but by the moral and psychological state of the hero

He died on stage during the presentation of his own comedy "The Imaginary Sick"

DZ Does Molière's comedy comply with the requirements of classicism?

Support your observations with text

Lesson 6

Features of the poetics of comedy J.-B. Molière "The Bourgeoisie in the Nobility"

Purpose - to consider the features of the poetics of the theater of Molière on the example of the play "The tradesman in the nobility"

1 Comedy in the system of genres of classicism

Image of everyday life, human vices

Conditional plot, comedy scheme

The task of "make laugh and use laughter"

Setting to spoken language

happy ending

5 actions

Reasoner hero - a character who does not take active action in the development of the plot, designed to expose other heroes, to express moralizing judgments from the author's positions

2 Theme of the work

What is Jourdain aiming for?

(to be an aristocrat)

What is the comedy of situations and characters?

(all the heroes, except for the wife, use Jourdain's desire for their own purposes - Dorant - borrows, teachers and tailors take orders, Dorimena accepts expensive gifts, the fiance of Cleont's daughter and his servant Koviel, dressed in the sultan and his retinue, come up with a way to receive a blessing on marriage, Mr. Jourdain is also ridiculous in his aspirations for education, clothes, just to be closer to his dream. Thus, the comic arises from a comparison of the claims of an ignorant and rude person for refinement of manners and his real vulgarity and stupidity)

What moments reveal the discrepancy between Jourdain's desire to occupy a high position and his inner capabilities, mental and spiritual development, and taste?

(lack of taste - bathrobe, suit, street songs, Nicole can also pronounce the sound U, does not know that there are poems and prose ...)

How do his wife and maid evaluate his actions?

(they take pity on him, his wife tries to open his eyes, to prove that what he is striving for is ridiculous, they scold him)

Who are the aristocrats who conquered Jourdain?

(laugh at him, use him for their own purposes, despise him)

In what words and what character is the vowel thought of the play expressed?

3 idea

The value of the human personality is not determined by the affiliation

4 Signs of classicism and a departure from them in comedy (checking the DZ)

Heroes are carriers of one trait

Didactic in nature, but solves a serious and urgent problem in a comedy-farce manner with gaiety and grace

The main character is a satire

Vocabulary - drama, comedy, satire, irony

Lesson 7

"Satyrs of the brave ruler, Fonvizin shone, friend of freedom"

Fonvizin (1745 - 1792)

The goal is to get acquainted with the personality of Fonvizin and the origins of his work.

Writers ... have ... a duty to raise their loud voice

Against abuses and prejudices that harm the Fatherland,

So a man with a gift can, in his room with a pen in his hand,

To be a useful adviser to the sovereign, and sometimes a savior

Fellow citizens and the Fatherland

D.I.Fonvizin

1 Essay on life and origins of creativity

Born on April 3, 1745. A descendant of a knight of the sword, taken prisoner during the Livonian War under Ivan the Terrible. For a long time, his surname was spelled differently Fon-Vizin, Fon-Visen, Fon-Vizen, etc.

A nobleman by birth, F. ten years old entered the gymnasium at Moscow University. A student of the philosophical department has established himself as a translator (translation from the German "Fables of moralizing with the explanations of Mr. Golberg"). Excellent knowledge of languages ​​allowed him to serve in the Collegium of Foreign Affairs. In St. Petersburg, he met Derzhavin, Kheraskov, Knyaznin, here he saw Lomonosov, "But nothing in St. Petersburg delighted me as much as the theater." Lived in Moscow, France., Resigned. 1774 married Ekaterina Ivanovna Khlopova. Died 1 December 1792

Literary activity begins in the 60s. An inquisitive and witty man, he was created in order to become a satirist. And there were more than enough reasons for his bitter laughter in the Russian reality of that time. He joined the noble-aristocratic opposition, whose members criticized the despotic regime of Empress Catherine II and the arbitrariness of her favorites. There is an opinion that in the image of the Prostakovs in the comedy "Undergrowth" one can see the features of the Empress, and in the image of the Prostakovs' estate - all of Russia.

The first satirical comedy - "The Brigadier" ("The first comedy is in our manners." N.I. Panin), "Undergrowth (1781), continued to develop the genre of satire in his works -" General Court Grammar "," Questions "and others, conceived to publish the satirical magazine “Starodum, or a friend of honest people, but the empress did not allow it.

2 Dictionary of literary terms

Satire - genre of fiction

The task of which is ridicule or denunciation of the negative phenomena of reality in order to correct them

Originated in ancient Greece in the 7th century. BC. - Horace, Juvenal, Petronius. In modern times, Swift, Moliere, Voltaire, Boileau, Sumarokov, Kantemir and others successfully worked in this genre.

A) Cantemir's satires were distinguished by their educational orientation and anti-clerical character

B) Sumarokov - a new type of plotless satire, compact in volume, sharp in ideological content, which is characterized by abstract and aphoristic speech, simplicity and accuracy of language

C) Lomonosov introduced elements of democratic thinking and style

D) I.I. Khemnitser - installation on the figurativeness and dramatization of the narrative, the convergence of satire with various genres

E) Fonvizin turned to the development of a small plot satire, brought the dialogue to perfection, began to use the fable beginning and fable verse in satire

According to the theory of classicism, he did not belong to high genres- addressed socially significant topics, but used a reduced style

Satire does not directly correlate with any literary genre - from the epic it borrows the breadth of coverage of events, from the lyrics - emotional intensity, from the drama - theatrics.

By subject they were divided into descriptive and socio-political

According to the object of the image - satires on the face or satires on the vice

The composition was usually three-part - an introduction with a definition of the problem-thematic orientation of the work, the main part, revealing the content, and a conclusion, where the author summed up and did an edification to the reader.

The leading methods of creating the image were - a direct author's description, an indirect obenka given to the character by other persons, showing the hero in action, depicting the inner world of a person, speech characteristic, portrait, artistic detail

At the end of the XVIII century. lost its leading position in literature and transformed into the genres of epigrams, fables, satirical songs, etc.

Comedy - a kind of dramatic work filled with humorous or satirical pathos

Formed in ancient Greece in the 5th century. BC. Classics of the genre can be considered Aristophanes, Plautus, Shakespeare, Molière, Beaumarchais, Sumarokov, Lukin, Plavilshchikov

From the point of view of typology, comedies are distinguished

A) by the nature of the laughter beginning - entertaining and accusatory

B) depending on the characteristics of the conflict - a comedy of characters, a comedy of situations

C) depending on the characteristics of the ideological and thematic content (love, domestic, educational, socio-political)

D) according to the specifics of linguistic expression - prose and poetry

In the mid 70s. XVIII century in Russian comedyography there are 2 directions

A) the guardian, in which Catherine II, D.V. Volkov, A.D. Kopiev worked, tried to justify the internal and foreign policy states

B) accusatory (Sumarokov, Fonvizin, Kapnist, Krylov). Among the main problems, comedians singled out the peasant question, the gallomania of the nobility, judicial and bureaucratic arbitrariness, the problems of love and marriage, education and upbringing of nobles.

Features of Russian comedy of the 60-90s.

Classical type of 5-act comedy

Heroes - nobles or philistines

They were divided into “the best” (thinking about the good of the state and caring for the common good) and “worst” (caring about their own well-being)

The principle of pairing in the organization of the figurative system

Comedy images are one-linear (the embodiment of one virtue or vice, qualities are often exaggerated)

Form of verbal expression - dialogue and polylogue

The use of two leading stylistic layers - colloquial and everyday and book and literary

Drama - one of the genres of literature, intended to be performed on stage, from the Greek. - "action"

The speech of the characters is accompanied by remarks - the author's instructions about the setting of the action, about internal state heroes, their movements, etc.

The art of the word is complemented by the director's interpretation, acting performance and stage setting.

The main types of dramatic works are tragedy, drama (as a genre) and comedy.

Irony - 1 hidden but easily spotted taunt

2 kind of trail when what is said takes on the opposite meaning

3 Debriefing

What facts known to us speak of Fonvizin as a satirist?

Is satire characteristic of the traditional comedy of classicism?

What are the sources of satire in the comedy "Undergrowth"?

From this point of view funny in Fonvizin's comedy did not fit into the formula of classicism "to laugh and use laughter." The subject of his criticism was "difficult events and internal abuses." Therefore, the artistic development of the conflict and characters went beyond the comedy basis, entered the field of satire. The “diseases” of society depicted in the comedy were, according to Gogol, “exhibited by the merciless force of irony in evidence that is amazing.”

DZ Describe (in writing) the work according to the analysis plan

Lesson 8

The problem of traditions and innovation in D.I. Fonvizin's comedy "Undergrowth"

The goal is to analyze the comedy in terms of compliance with the classic comedy

Russian comedy began long before Fonvizin,

But it started only in Fonvizina

V.G. Belinsky

1 Conversation to identify the level of primary reader's perception

What is unusual about the beginning of the play?

What characters appear in the first episodes?

What do we learn about them along the way?

What problems are posed from the very first lines?

2 Working with the text of the work, the teacher's comments on the related provisions

In 1782, Fonvizin completed work on the comedy, which became the pinnacle of Russian drama in the 18th century. He worked on it for about 3 years and created, according to Gogol, "a truly social comedy."

A) "Undergrowth" is a multi-dark, multi-problem and innovative work. This is the first socio-political comedy on the Russian stage, the main problems reflected in it are the problems of state power, serfdom, upbringing and education, data inextricably linked

satirical focus

- area of ​​depicted reality- provincial nobility, middle class. Private life with all specific problems enhances the voice of topicality in their sound, allows you to show and ridicule exactly what the author cares about and requires immediate correction - rudeness, vulgarity, ignorance and lack of culture - the vices of modern Fonvizin's society

The specificity of the depicted event correspondsthe language of the work- prose, frequent use live colloquial speech, even vernacular

Heroes are divided into positive and negative (4 * 4). Book speech forms the basis of the language of positive characters

Complied rule of three unities. The plot - the struggle for the hand of Sophia. The action takes place in Prostakova's house. The author introduces small statements of characters, which allows the reader and the viewer to expand the picture of what is happening (Starodum's story about the service). Fonvizin paid the main attention to action and the dialogue was closely connected with the event side of the work. The time of action is within 1 day, but the author does not give any instructions. Unity of action - one storyline, no extra characters, i.e. those that do not correspond to the disclosure of the author's idea.

B) However , originality and innovation of the song are striking with the very first scene , we will conditionally call which "Trishkin's caftan". Instead of a lengthy remark, long introductions of the reader and the viewer to the essence of the events, we are faced with a clear plot of the main storyline. The action begins with a small scandal in the house of Prostakova, we immediately get an idea of ​​​​her as a despotic hostess, but a loving mother. The caftan is a household detail, it helps to get the first characteristics of the characters, to understand the order established in her house and the relationship between the characters. Then, when Pravdin appears in the fourth apparition, we receive his assessments, but they are not new to us. From the very first words of the comedy, the author poses the problem of education, or rather, general ignorance (Trishka as a tailor), by generalizing Fonvizin goes further in his reasoning to the problem of poorly organized state affairs.

D) in the final there is also a deviation from the classic rules. Comedy consists of five acts, as expected by the theory of classicism. The finale puts everything in its place and gives everyone what they deserve

Teachers Tsyfirkin and Kuteikin released, Vralman returned to work as a coachman

Civil servant Pravdin, following the order, takes the estate under guardianship

Sophia and Milon intend to get married

But suddenly there is a tragic sound

Why do Starodum, Milon and Sofya forgive Prostakov, and Pravdin decides to punish her?

What was the last crime she committed?

Name the punishments she suffered, highlight the most severe among them.

Prostakova is exposed and rejected by her only and beloved son. She faints from despair and pain, and not from pretense, as happens in comedies. She lost her power and her son.

Therefore, it happens mixing styles - tragic and comic. This leads to a breach of purity.genre systemtragedy, with its age-old problems and civic ideal, intrudes into the lot of the comic.

The path to trouble accompanies and ends with the author's thought, expressed by the words of Starodum "Here are worthy fruits of malevolence!"

D) The same phrase violatesunity of action, bringing the issue of "Undergrowth" far beyond the question of true and false education, stated in the title

E) This violation entails the following

Arguing about the problems of state power and the problems of the nobility leads to the growth of the ranks of actors - along with the middle class, there appears inferior - serfs and serfs (Eremeevna, Trishka, Tsyfirkin). The principle of one-dimensionality of heroes is also violated, which is emphasizedindividualization of their language

What does the speech of the characters testify to, what are the features of the speech of each of the characters

Does the speech of the characters change depending on the situations in which the characters find themselves

"Undergrowth" is rightly considered the pinnacle of Fonvizin's work and all domestic dramaturgy of the 18th century. Keeping a connection with the previous literary tradition, formally largely following the norms prescribed by the laws of classicism, the comedy turns out to be a deeply innovative work. This is the first tragicomedy. The satirical bias was defeated in Fonvizin by a lively attention to a person, a desire to first understand, and then denounce.

A characteristic is a description of a living person and character, that is, the stable features of a person, depending on his upbringing, circumstances and lifestyle and manifested in his actions and deeds

It is necessary to give general information about the character, provide evidence and illustrate thoughts in order. Proof, generalization and transition to the next thought should be consistent, logical and interconnected

DZ Written description of any character

Vocabulary work - education, upbringing

Lesson 9

Statement and solution of the problem of upbringing and education in the comedy "Undergrowth"

Purpose - analysis of the problem of upbringing and education in the "enlightened age" of Catherine (interdisciplinary links with the history of the Fatherland and culture)

Everything in this comedy seems like a monstrous caricature of everything Russian.

Meanwhile, there is nothing caricature in it: everything is taken alive from nature.

N.V. Gogol

1 Repetition of the past. Filling in the table

What is the traditional comedy "Undergrowth"

In what way does Fonvizin deviate from the traditions of classicism

5 actions Heroes are divided into positive and negative (4*4) Speaking surnames speech characteristic Speaking Mainly adheres to the principle of "three unities" In the end, vice is punished, virtue triumphs

Heroes are introduced immediately without lengthy explanations Problems are posed at the beginning of the play The finale is a mixture of comic and tragic Not all heroes are the same The first socio-political comedy, tragicomedy The unity of a) action is violated - the problem is wider than stated in the title, it introduces heroes from the lower class B) time - there is no definite time, the action is timeless Individualization of characters' speech

2 Checking remote control. Talk about characters, listening to characteristics

3 Thesis notes on the main features of the images

Mitrofan Terentievich Prostakov

Undergrowth, son of landowners, 15 years old (undergrowth - a noble son who did not grow up to enter the service (under Peter - up to 15 years old, from 1736 - from 20 years old). The concept of "undergrowth" after the comedy became ironic. It carried a negative semantics

The name Mitrofan means "similar to his mother." It has become a household word, denoting a stupid and ignorant mother's son

“The hour of my will has come. I don't want to study, I want to get married"

Exam (ignorant Prostakova could not assess her son's literacy and teachers' efforts)

- “Yes, get rid of, mother, how imposed”

- "According to me, where they tell"

Starodum “Well, what can come out of Mitrofanushka for the fatherland, for whom ignorant parents also pay money to ignorant teachers? How many noble fathers who entrust the moral upbringing of their son to their serf slave! After 15 years, instead of one worker, two work, an old uncle and a young master come out.

Domestic tyrant, lives for himself, rudeness of soul, laziness (“An ignoramus without a soul is a beast” Starodum)

Skotinina

The surname indicates simplicity, ignorance, ignorance, gets into a mess

At the beginning - at the pinnacle of power, in the end loses power

The purpose of life is the hunt for prey - the legacy of Sophia

Keeps the house on brute force, except for the attitude towards Mitrofan and Vralman

- “A mixture of arrogance and meanness, cowardice and malice, vile inhumanity towards everyone and tenderness, equally vile, to the son, for all that ignorance, from which, as from a muddy source, all these properties flow, are coordinated in her character by a sharp-witted and observant painter » - P.A. Vyazemsky

- "The mistress of interpreting decrees" (Starodum)

- "on the boundary of comedy and tragedy" (P.A. Vyazemsky)

different speech in different situations, rude expressions, method of zoologization

Sofia

The name means "wisdom", but not of the mind, but of the soul, heart, feelings

A marriageable girl, the heiress of Uncle Starodum, the bride of Milon

Reads French

The girl is worthy of meekness and obedience to elders.

The choice of the groom depends on her heart

Shades of sentimental romance in speech

Starodum

Sophia's mother's brother

Surname - the bearer of the principles of the Petrine era, distorted under Catherine

Father "he served Peter the Great", "my father constantly told me the same thing: have a heart, have a soul, and you will be a man at all times"

Severe disposition “whoever he loves, he will love so directly”, “And whoever he dislikes, he himself is a bad person”

Does not tolerate flattery, servility

His mission is to help Sophia

He was perceived by his contemporaries as a teacher of life. Fonvizin “I must confess that for the success of my comedy “Undergrowth” I am indebted to your person. From your conversations with Pravdin, Milon and Sophia, I made up whole phenomena, which the public listens to with pleasure.

book speech

That. heroes are divided into positive and negative depending on the level of education and upbringing, as well as civic position

4 Statement and solution of the problem of education and upbringing

A) introductory remarks

Since the time of Peter the Great, enlightenment in Russia has taken on an increasingly clear secular character, a more definite practical orientation. At the same time, the traditional form of "learning to read and write" by deacons by reading the book of hours was massive and ubiquitous. For noble children, many closed educational institutions, private boarding schools, but there was also home schooling. In the XVIII century. Invitation of teachers - foreigners becomes fashionable, this hobby reached its extreme forms by the end of the century.

We were surprised and saddened to learn

That many noble gentlemen have fugitives, bankrupts,

Fornicators and many women of the same kind, who,

By the local predilection for the French,

They were engaged in the education of children of significant persons.

And especially... in the wide Russian wilderness...

Member of the French Legation Mr. Messelier

Catherine II had a reputation as an "enlightened" empress, corresponded with Voltaire, and participated in literary and journalistic polemics, but this was an appearance. Its main task was to strengthen the autocratic power, while the enlightened nobility tried to limit this power. She surrounds herself with favorites who actually run the country and issues several decrees that improve the position of noble circles.

1762 “On granting liberties and freedom to the entire Russian nobility” (“We intend to keep the landowners inviolably on their estates and possessions, and keep the peasants in due obedience”). The landowners were allowed to send the peasants to Siberia, and the nobles could only be punished by church repentance. Under these conditions, there was further development and development of Russian society. The problem of education and upbringing was put in the title by Fonvizin and is one of the main ones. How does D.I. Fonvizin solve it?

B) Work in groups on cards (find answers in the characters' remarks)

Group 1

Group 2

A) “In French, he is taught all the sciences by the German Adam Adamych Vralman. This is three hundred rubles a year ... He does not captivate a robin, ”a former coachman

B) retired soldier Tsyfirkin "a little arithmetic passion fruit"

C) half-educated seminarian Kuteikin

Is he stupid?

How does he feel about teaching?

Group 3

Group 4

Group 5

Ancient, pre-Petrine, or vice versa, too new (Prostakova) We weren't taught anything Prostakova’s father “I’ll curse a baby boy who learns something from the infidels, if it wasn’t for Skotinin, who wants to learn something” Her ideal is spiritual stagnation - "you at least learn for the sake of it" - "Master of interpreting decrees"

Petrovskoye (Starodum), progressive Education is the enlightenment of the soul A person is obliged to follow virtuous feelings Happiness is not only wealth and nobility, but also signs of state and civil status Opponent of selfish happiness For girl - light is dangerous with temptations In the world, the first step is important, the ability to put yourself and recommend Friendship should be made with those who deserve it. Evil comes from those who themselves are worthy of contempt, but envy the virtues of their neighbor In the husband - the power of the mind is needed, in the wife - virtue For a nobleman Idleness is unworthy of a nobleman The main thing is to return to the nobility its true content - honor and nobility Patriotic call to serve the Fatherland

B) summarizing

The idea of ​​raising an enlightened nobleman was not new at the time of Fonvizin. Peter I, Lomonosov, and many great people of the 18th century spoke about the need for enlightenment. But Fonvizin was not so simple. He understands that enlightenment alone is not enough. “Science in a depraved person is a fierce weapon to do evil,” says Starodum. - ...First, you need to cultivate virtue, take care of the soul, and only then - about the mind "

How to do it?

“We need such a law so that virtue becomes profitable ... But there is no such law ... And it’s not Prostakova and Skotinin who are to blame for their malevolence and ignorance, but those who establish laws. And the sovereign approves them. That's who Fonvizin was aiming at!

DZ Biography of Lomonosov

Lomonosov's discoveries in the field of science (individual tasks)

Answers to questions 1-4 s. 49

Group 1

Are Prostakova and Skotinin literate?

What was the attitude towards education in their family?

Why (= the purpose of education for him) is Mitrofan studying?

Group 2

What and how does Mitrofan study?

Is he stupid?

How does he feel about teaching?

(find answers in the characters' lines, use homework materials)

Group 3

What kind of teachers teach Mitrofan?

What are they and what can they teach?

How are they treated in the Prostakov family?

(find answers in the characters' lines, use homework materials)

Group 4

What is education, what is its purpose?

What is education, what is its purpose?

What is more important - education or upbringing?

(find answers in the characters' lines, use homework materials)

Group 5

Compare the views on the education of Prostakova and Starodum

On whom and why is the main concern for the upbringing of a true citizen entrusted?

Why does Fonvizin raise issues of upbringing and education?

(find answers in the characters' lines, use homework materials)

Lesson 10

"Peter the Great of Russian Literature"

M.V. Lomonosov (1711 - 1765)

The goal is to study general information about Lomonosov as a reformer in various fields of knowledge

This famous scientist

He was a type of Russian person, both in his encyclopedism,

So, according to the sharpness of your understanding

A.I. Herzen

Convinced and original associate of education

A.S. Pushkin

1 Check remote sensing. Talk about Lomonosov. Listening and discussion of reports

A) Biography

8 (19) On November 1711, he was born in the village of Mishaninskaya, Kholmogorovsky district, Arkhangelsk province, in a Pomor family

1730 - went to study in Moscow, studied at the Slavic-Greek-Latin Academy, at the Kyiv Theological Academy and at the university at the St. Petersburg Academy of Sciences

1736 - 41 was abroad, studying the natural sciences

1742 - appointed professor of chemistry at the St. Petersburg Academy of Sciences

1755 - opening of Moscow University

1760 - elected a member of the Swedish Academy of Sciences

1764 - honorary member of the Bologna Academy

On April 4 (15), 1765, he died in St. Petersburg, was buried in the cemetery of the Alexander Nevsky Lavra

B) Discoveries

The range of the scientist's research is unusually wide - chemistry, physics, navigation, navigation, astronomy, history, law, philology. There is, perhaps, no such field of knowledge, where the bright mind of Lomonosov would not penetrate. A.S. Pushkin called it the first Russian university.

1743 - " Quick Guide in rhetoric"

1748 - work "Experience in the theory of elasticity of air" - the structure of the atom

1754 - the creation of a mosaic portrait of Peter in the Hermitage, the revival of the art of mosaics and the production of smalt

1755 - "Russian grammar"

1756 - the law of conservation of matter (experiments on burning metals in a closed vessel)

1760 - "A short Russian chronicler with a genealogy"

1761 - established that Venus is surrounded by an atmosphere, designed an accurate telescope

1763 - work "On the layers of the earth"

1766 - "Ancient Russian History"

The purpose of life is the approval of sciences in the Fatherland, which he considered the key to the prosperity of his Motherland

C) Literary activity - teacher's comments

The same pathos pervaded his philological and literary activities.

Our literature begins with Lomonosov

He was her father, her Peter the Great"

V.G. Belinsky

The scientist sought to penetrate the secrets of the language and the mysteries of poetry. Back in 1736, he acquired a treatise by the theoretician of Russian verse V.K. Trediakovsky "A new and short way to compose Russian poetry." In Germany, he writes an objection to Trediakovsky and sends it to St. Petersburg along with the ode "On the Capture of Khotin" as a report on his studies. In the Letter on the Rules of Russian Poetry (1739), he boldly extended the tonic principle to all Russian versification. The goal is to give freedom to Russian verse.

1757 writes a preface to the collection of essays "On the Usefulness of Church Books in the Russian Language", where he outlines the famous story of three calms

Trediakovsky

Lomonosov

Syllabic system Use only two-foot verse (trochee) Women's rhymes Focused on the language of a fair company

Syllabo-tonic system (a combination of stressed and unstressed syllables in a line) Two-foot and three-foot verses (iambic and trochee) Male and female rhymes He put forward the national language as the basis of the literary language Divided the words according to stylistic coloring, associating it with the “three kinds of sayings” A) Church Slavonic and Russian vocabulary (high style - ode, tragedy, heroic poem) B) familiar from books and understandable Church Slavonic words (middle - drama, satire) C) words of live speech that are not in church books (low - comedy, fable, epigram)

The main theme of poetry- service to the Motherland, its glorification. The image of the Motherland is often associated with the image of Peter, Lomonosov's favorite hero. Poetry is not an immersion in the private world of a person, but a patriotic civic activity.

Basic lyric tone - solemn. It expressed the self-consciousness of a young nation that had just entered the world stage and, in this sense, whose territory is vast and whose possibilities are unlimited.

most suitable genre to express feelings national pride the sons of Russia, who defended the independence of their homeland from external enemies and, in the ensuing peace, striving for enlightenment, there was a solemn ode. He wrote the tragedies "Tamira and Selim", the heroic poems "Peter the Great", the idylls "Polydor", but it was the ode that became the main genre in his work. Odes were written for some solemn dates - the birthday of the Empress, the victory of Russian soldiers.

There are two types of Lomonosov's odes - commendable and spiritual. commendable usually written for solemn occasions of court life. They praised the empresses, especially Elizabeth, during whose reign his literary activity mainly proceeded. However, the traditional, legalized form of praise did not prevent the poet from developing his favorite themes - the glorification of Russia and Peter as an enlightened monarch. The ode has ceased to be a laudatory genre. It is not the merits of Elizabeth that excite Lomonosov, but the fate of Russia. The poet speaks on behalf of all of Russia. Its task is to capture the grandiose prospects for the development of the country. The poet acted as the main character of the ode, he delivered a eulogy to the champions of enlightenment or smashed enemies. In this he followed the art of eloquence. Hence and stylistic features- verbal abundance, unexpected turns of thought, vivid comparisons, sharp antitheses, hyperbolism of feelings, abstract allegorism, play on the meanings of words, deliberate metaphor. Lomonosov chooses high words - Slavicisms, mythological and biblical names. The ode is not a continuous lyrical monologue, along with the author of the right voice, both historical and mythological faces have. Thanks to such poetic principles, the ode acquires solemnity, monumentality, pomp and splendor. Lomonosov does not strive to convey the event; he is not interested in the objectivity of the image, but in the feeling it evokes. spiritual odes written as philosophical works. In them, the poet transcribed the Psalter, in those scenes that were close to his feelings. Lomonosov used the plots of the Psalms to express thoughts and feelings of a philosophical and personal nature. The main themes are the imperfection of human society, the loneliness of the poet and man in general in a world hostile to him, the greatness of nature.

vocabulary work - genre of ode

individual task - expressive reading of the ode "Evening reflection on God's majesty, in the case of the great northern lights"

Lesson 11

Genre of the ode and its development in Russian literature of the 18th century. Ode "On the Day of Ascension..."

The goal is to study the themes of Lomonosov's work on the example of the genre of ode

In the ode, the poet is disinterested: he is not an insignificant event

He rejoices in his own life, he does not complain about them,

He broadcasts Prada and the court of Washed,

Triumphs about the greatness of the native land,

Mezhuet peruny vsupostatov,

Blesses the righteous, curses the monster

V.K.Kuchelbecker

1 Conversation on remote sensing "The Genre of Ode and Its Development in Russian Literature of the 18th Century"

Define the genre of ode

Where and when did the genre of ode originate?

What are its thematic, compositional and stylistic features?

Ode - a poetic genre dedicated to the glorification of important events in the life of states and famous historical figures, is distinguished by an upbeat character and high civic content.

The ode originated in Ancient Greece as a chant in honor of the heroes and winners of the Olympic Games. Of the ancient poets-odists, Pindar, Horace, Anacreon are known, whose names are associated with the formation of civil, laudatory and Anacreon varieties of the ode. The ode especially spread and developed in the era of classicism. In France, the theory of the ode was developed by N. Boileau, in Russia - by Sumarokov, Trediakovsky, Derzhavin, Lomonosov.

The subject of the image in the ode was

A) the most important social events

B) the lyrical state of a citizen, for whom there was an inextricable link between the personal and the public

The narrator in the ode is the bearer of public consciousness, the spokesman for the ideals of the era

2 Teacher comments

Patriotic odeevolvedfrom Trediakovsky's own praiseworthy ode to publicistic Lomonosov, critical Sumarokov, satirical Derzhavin and tyrannical Radishchev

Among the Russian ode painters were the defenders of the monarchy (Petrov, Lomonosov), supporters of civil and political freedom (Radishchev and Ryleev)

Classification of the genre According to the thematic principle - spiritual, calling, victorious-patriotic, philosophical, training

In relation to the literary school - Lomonosov, Sumarokov

A) the “Vitiystvennoe”, or Lomonosov, direction, which cultivated a laudable and victorious-patriotic ode, distinguished by the priority of imagery and beauty of the syllable over meaning, an abundance of rhetorical figures and tropes, oratorical intonations. V. Petrov, Derzhavin, A. Radishchev belonged to this direction.

B) The rationalistic, or Sumarokovian, school of ode painters developed the forms of laudatory and anancreontic ode, strove for simplicity, clarity of content, internal consistency of composition and stylistic solutions. These are odes by V. Maikov, M. Kheraskov, V. Kapnist

Towards literary tradition- Pindaric, Horatian. Anancreontic

In terms of socio-political orientation - laudatory, addressed to the monarch, tyrannical

Russian ode, as a rule, shied away from pure forms

The ode genre was closely connected with the aesthetic categories of the beautiful, the sublime and the heroic.

The macrostructure of the ode was usually three-part (introduction, main part, conclusion), the microstructure depended on the content and genre variety of the work.

Most of the odes are structured like a monologue

The system of images was built on the basis of antithesis using various groups of characters: real-historical, allegorical, symbolic

The genre fell into decline by the end of the 18th century, but continued to exist along with others, sentimentalists and romantics parodied the ode.

3 Analysis of the "Ode on the day of accession to the All-Russian throne of Her Majesty the Empress Empress Elizabeth Petrovna", November 25, 1747"

What is the main idea of ​​the ode?

Why does the poet glorify Elizabeth and what does the poet hope for?

BUT) written for the occasionthe fifth anniversary of the accession to the throne of Elizabeth, daughter of Peter. The reading of the odes used to be part of the ceremonial, so the rulers ordered them. The poet went beyond the court speech, raising the most important questions:

The need for the development of science and education

Development and prosperity of the state

Peter as a model for the reigning empress

The Importance of Elizabeth's Peace Policy

B) belongs to the genre solemn ode - to prove

B) Composition - ordinary, strict

1-2 stanzas - beginning with a traditional appeal to the empress, glorifying the beauty, greatness of the universe and the empress herself

3-6 stanzas - the deeds of Elizabeth Petrovna are glorified

7-11 stanzas - with admiration, the poet recalls Peter the Reformer, the ideal of the Russian monarch

From stanza 12 - again admiration for the merits of the "Great Peter's daughter". At the same time, he describes the wealth, beauty and immensity of the expanses of the state. The description ends with a call for the development of as yet undeveloped natural resources and development in connection with this science

22-23 stanzas - the famous appeal to compatriots whom Lomonosov convinces of the benefits of doing science

24 stanza - the final glorification of the empress and the blessing of her wise, peaceful reign

D) Idea strengthening and development of the state on educational foundations

E) Artistic originality

Does the work conform to the odic canon?

a) solemn style

b) heroes of ancient mythology, historical figures

c) Slavism

d) an abundance of rhetorical questions, exclamations, appeals

e) comparisons, metaphors, personifications

4 Compare with the spiritual ode "Evening meditation on the majesty of God, in case of the great northern lights"

Expressive reading of the ode

What are spiritual odes and what are their features?

A) Does not have a biblical source, inspired by scientific studies in physics and astronomy. This is the experience of creating a scientific picture of the world by means of poetry.

B) Puts forward a scientific hypothesis about the electrical nature of the northern lights

C) In the center - the image of a human explorer, like a titan-discoverer, who questions the Creator

That. faith in the human mind, the desire to know the "mysteries of many worlds" are combined with admiration for the unlimited creative power of the Creator

E) Emotional dissonance strikes in the ode. On the one hand, delight before feeling divine harmony in the universe, on the other hand, anxiety in front of the unknowability of the world.

E) This is a hymn and an elegy (a poem about life and death, the problems of being) at the same time

DZ Read Art. Biography of Derzhavin - pp. 59-62, 65 (up to and including Belinsky)

reading the ode "Felitsa"

learn an excerpt from Lomonosov's ode

Lesson 12

G.R. Derzhavin in the assessment of figures of Russian culture. Traditions and innovative nature of the ode "Felitsa". G.R. Derzhavin (1743-1816)

The goal is to evaluate Derzhavin's work as innovative. Analysis of the ode "Felitsa"

Derzhavin was proud "not that he discovered the virtues of Catherine,

And the fact that the first one spoke in a "funny Russian style."

He understood that his ode was the first artistic embodiment

Russian way of life, that she is the germ of our novel.

V.F.Khodasevich

1 Conversation on DZ with teacher's comments

A) biographies

Poet, translator, playwright. Born on July 3 (14), 1743 in the Kazan province in the impoverished noble family of the noble Tatar Murza Bagrim, who owned 10 serfs

He served in the Preobrazhensky Regiment as a private, took part in the palace coup of 1762, which elevated Catherine II to the throne. Participated in the war against Pugachev, was awarded three hundred souls in Belarus and dismissed from the army.

The first literary experiments date back to 1773, but he became famous only in 1782, when the ode "Felitsa" was published without his knowledge.

The Empress appoints him governor of the Olonets province, then he is transferred to Tambov. He served as the personal secretary of the Empress, a senator, and in 1802 Alexander II appointed him to the post of Minister of Justice. Supporter of enlightened absolutism. In October 1803, who did not reconcile himself with lawlessness and hypocrisy, he retired and settled on his estate Zvanka. Novgorod province, where he died on July 8 (20), 1816. He was buried in his beloved Khutynsky monastery. In 1957, his ashes were transferred to Novgorod and buried near the western wall of St. Sophia Cathedral.

B) Literary activity

He began to print in 1776. At first he followed the traditions of Lomonosov, later he created his own original style. Combining high and low calms, he included elements of topical satire in the ode genre, as well as intimate lyrical motifs (“Felitsa”, “Vision of Murza”, “Nobleman”), introduced realistic motifs into landscape lyrics. His poetry reflected the dual perception of the world - the tragedy of death, the instability of fate ("On the Death of Prince Meshchersky", "Waterfall") and the enjoyment of life ("Invitation to Dinner", "Eugene. Life of Zvanskaya"). Religious and philosophical ideas were reflected in the ode "God". Among his works are laudatory, victorious ("On the capture of Ishmael"), satirical and philosophical odes. Being the last representative of late Russian classicism, Derzhavin simultaneously destroyed the principles of classicism, paving the way for the "light poetry" of K.N. Batyushkov and the early lyrics of A.S. Pushkin. Neodic poetry of Derzhavin is full of landscape sketches and portrait descriptions of historical figures. His work is characterized by a special autobiography, a synthesis of style and a variety of verse metrics.

1804 - a collection of poems "Anancreontic songs"

1805 - "Notes on the contents of Derzhavin"

1806 - drama "Pozharsky, or the liberation of Moscow

1807 - the tragedy "Herod and Mariamne", on his initiative literary evenings began to be held - the society "Conversations of lovers of Russian literature"

1808 - preparations are underway for the publication of collected works (parts 1-4)

1809 - 10 - Explanations on the literary works of Derzhavin "(literary autobiography)

1811 - 15 - "Discourse on lyric poetry, or on the ode"

1812 - comic opera "The fool is smarter than the smart"

1816 - 5th part of collected works

2 Analysis of the features of Derzhavin's poetry based on the ode "Felitsa"

- “Ode to the wise Kyrgyz-Kaisak princess Felitsa, written by Tatarsky Murza, who has long settled in Moscow, and lives on business in St. Petersburg. Translation from Arabic. The reason for writing was the fairy tale of the Empress "The Tale of Tsarevich Chlorus", which told about the adventures of the prince in search of a "rose without thorns" (virtue), where under the name Felitsa ("happiness") the image of the empress herself was bred. Derzhavin uses the name, glorifying the empress in his work and satirically showing her entourage - endless favorites. The title also referred the reader to numerous works of oriental themes.

Derzhavin's friends, V. Kapnist and N. Lvov, warned that the ode should not be printed. A year later, the poet Osip Kozodavlev asked to read it and distributed it without the knowledge of Derzhavin throughout St. Petersburg. The President of the Russian Academy, E.R. Dashkova, published it in the journal “Interlocutor of Russian Literature Lovers”. The Empress is said to have wept when she read it. She presented the poet with a gold snuffbox with diamonds with the inscription “From Orenburg from the Kyrgyz princess to Murza Derzhavin” and 500 chervonets. From that day on, literary fame came to Derzhavin, he became close to the court.

- "Felitsa" - an innovative work in content and form

What are the canonical features of the ode genre and how does the poet deviate from them?

The peculiarity of the ode genre in the era of classicism (repetition)

High style - Old Slavonicisms, epithets, rhetorical questions, exclamations
Lyrical beginning		epic start
Expression by the poet of feelings caused by a grandiose event. Civil position of the author	The lyrical hero expresses feelings in monologues, saying not “I”, but “We”	The story of the event and its description nie	Composition: introduction, reasoning, conclusion. Approach to public speaking	The landscape is rhetorically conditional	Positive images - monarchs, generals, Means of creation - hyperbolization, mythologization, depersonalization, typicality

Violation of normative aesthetics is manifested in the fact that

A) high odic and low satirical beginnings interact in the work

B) within the framework of one work, different genre and stylistic layers are combined

C) a departure from the one-dimensional construction of the image of the hero

D) introduction of autobiographical material into the ode

In this work, 2 most important Topics Russian description - national-historical (Catherine as a statesman of the era) and moral-didactic ("man on the throne"). The poet includes in the ode a rowgenre formations. It brings the ode closer to the genre of a friendly message, a laudatory word, poetic satire (about manners during the reign of Anna Ioannovna), verbal still life (description of the feasts of Prince Potemkin), epigram and anecdote (in the depiction of favorites G. Potemkin, A. Vyazemsky, A. and G . Orlovs), pastorals (landscape sketches).

The ode has a tripartite macrostructure:

Introduction (1-2 stanzas), - main part (3-25), - conclusion (26)

The introduction is two-part - in the first stanza the problems are defined and a typological connection with the tale of Prince Chlorus is established, the odic beginning dominates, in the second stanza ironic and satirical notes appear.

The main part, in which the laudatory and accusatory lines find their development, falls into three ideological and thematic blocks. In the complimentary conclusion, made in the style of an oriental prayer, there are 2 themes: the poet and the "god-like queen" glorified by him. The basis of the ode is plotless, but it contains3 plot-organized fragments- a story about the day of the life of the Russian Empress, about the entertainment of nobles and fun at the court of Anna Ioannovna.

Before Derzhavin, the image of the empress was built according to the canons defined by Lomonosov: the monarch was portrayed as an earthly deity, a collection of virtues and a source of mercy. The image of Catherine is devoid of static and one-dimensionality, it changes depending on the ideological and artistic task of the author - to create a full-blooded and multifaceted image outstanding person of his time. In the first part - an earthly woman in a circle of worries and activities (walk, lunch, business). The poet contrasts the collective image of her entourage with the Empress. In the second part - Catherine - a statesman, her antipode - Anna Ioannovna.

Before Derzhavin, in odic poetry there was a conventional image of the author, the image of a singer who argued with earthly gods on behalf of the Russian people. Derzhavin abandons the traditional scheme of the image, filling it with autobiographical features - a story about the poet's family and hobbies. The image of Murza led to the transformation of the content and image of the ode.

Thus, two narration plans can be distinguished in the ode: individual-author's and genre. The author's one appears brighter in part 1, and the genre-stylistic odic tradition - in parts 2 and 3

The innovative nature of the ode was appreciated by Derzhavin's contemporaries and his fellow writers. Derzhavin himself remarked that such an ode "was not yet in our language."

3 G.R. Derzhavin in the assessment of figures of Russian culture.

Working with an article in a textbook Creative Lab G.R.Derzhavin» p. 65

DZ Prepare an expressive reading of Art. "To Rulers and Judges", "Monument"

Answer orally to question 1, 3, 5, 6 p. 67

Lesson 13

Poems by G. Derzhavin "To Rulers and Judges". "Monument".

The first true lyricist of Russia

1 Repetition of what has been passed in the form of a written test:

Define the genre of ode

Prove that "Ode on the day of the ascension ..." by M.V. Lomonosov was created according to the canons of the classic ode genre

What is the innovative nature of the genre of ode in the work of G.R. Derzhavin "Felitsa"

2 Analysis of the ode to "Lords and Judges"

A) Introductory remarks by the teacher

Derzhavin's unusually courageous, resolute and independent character manifested itself in everything, incl. and in creativity. One of his poems almost became the cause of disgrace and exile. This is an ode to "Lords and Judges", written in 1787, which he called "an angry ode." The reason for the anger was Derzhavin's conviction that the laws were not observed, and that evil dignitaries were doing things.

B) Reading a poem

C) Analysis of primary perception

What is the pathos of the work? (accusatory, angry)

This poem is a bold poetic development of the 81st psalm - the so-called biblical chants that make up the Pastel - one of the books of the Old Testament, the authorship of the songs is attributed to King David of the Old Testament. The theme of the psalm is consonant with the spirit of Derzhavin's time. It is no coincidence that during the French Revolution, Psalm 81 was paraphrased by the Jacobins, he began to express indignation at King Louis XVI, who was subsequently executed. Catherine, having read the works of Derzhavin, became furious, and one of the dignitaries said to the poet: “What are you, brother: are you writing Jacobin poems?” The poem was cut out from an already printed issue of the St. Petersburg Bulletin magazine.

Referring to the Psalms as exemplary text have your own history. The emergence and development of Russian poetry is connected with Pasteltyr. This kind of poetry appeared in Lomonosov, Trediakovsky, Sumarokov, Derzhavin and other poets, not disappearing until the 30-40s of the century. Among the reasons for Derzhavin's appeal to this text are:

Traditional appeal for Russian poetry

Works of spiritual themes made it possible to deal with problems in an allegorical form contemporary poet public life

Introduction to the treasury of world literature

What is the theme of the piece?

The modern life of the state, where the poet sees the violation of laws, the identity of evil and injustice.

The idea is the necessity of subordinating everyone to the law of the highest truth and justice, he affirms the inevitability of punishment for the "evil" rulers. The point is that an unrighteous power cannot be lasting, it will inevitably face the wrath of God.

Solemn style, oratorical sound

Derzhavin, a former monarchist, openly protested against the vices of autocracy, discovered one of the most important trends in Russian literature, which Pushkin, Lermontov, Gogol and others would later continue.

3 Analysis of the poem "Monument"

Derzhavin's poem was written in 1795, refers to the mature period of creativity - the time of the behavior of the results of life and the comprehension of one's heritage. Derzhavin translates Horace's poem "To Melpomene". Before him, Lomonosov turned to translation, his translation was so accurate that subsequent poets turned to the text not of the original, but of Lomonosov.

According to formal features, the poems of Lomonosov and Derzhavin are odes. But. A special genre variety of the ode, which takes its origins from the work of Horace, gets the name"monument".

Horace reflects on the glory that came to him, on the further fate of his work, raises the theme of the poet and poetic immortality. Melpomene is one of the 9 muses, the patroness of tragedy.

The originality of Derzhavin's work

The theme is the glorification of true poetry, the affirmation of the high purpose of poetry. This is the anthem of poetry. Creativity is a monument to its creator. This idea is a continuation of the Horatian image.

Horace sees the guarantee of poetic immortality in the power and immortality of Rome, Derzhavin - in respect for his Fatherland

Horace takes credit for becoming a reformer of verse; for Derzhavin, the problem of the relationship between the poet and the authorities is important, although he reflects his innovation in the field of poetic language and genres - he made the Russian style “fun”, i.e. sharp, cheerful, simple; dared to talk about the Empress kk about a simple person.

Thus, Derzhavin approved the genre canon of the “monument” poem, based on the pan-European cultural tradition, he creates an original poem. This genre was later interpreted by Pushkin, Fet and others.

4 Debriefing

How can you comment on 2 points of view of A.S. Pushkin on the work of G.R. Derzhavin?

1) We know that the young Pushkin picked up Derzhavin's poetic baton, developing in his work the line of "poetry of reality" that appeared in the poems of his great predecessor. “Old man Derzhavin noticed us and, descending into the coffin, blessed us,” Pushkin himself said with a lute. But in the history of literature it often happens that the new makes its way in a creative duel with the old, not only absorbing its achievements, but also starting from what seems to have become obsolete. So, along with the above words, Pushkin, in a letter to his friend the poet Delvig, left somewhat different evidence of his attitude to Derzhavin's poetry: “After your departure, I reread Derzhavin's everything, and here is my final opinion. This eccentric did not know either Russian literacy or the spirit of the Russian language (that is why he is lower than Lomonosov). He had no idea about the style, or harmony - not even about the rules of versification. That is why he should infuriate every discerning ear. He not only cannot stand the ode, but also cannot stand the stanzas ... What is in him? Thoughts, pictures and movements are truly poetic; reading it, one seems to be reading a bad free translation from some marvelous original. By God, his genius thought in Tatar, and he did not know Russian letters due to lack of time. Derzhavin, translated over time, will amaze Europe, and out of national pride we will not say everything that we know about him (not to mention his ministry) ... His genius can be compared with the genius of Suvorov ... "

Answer in writing to questions 1,5,7 p.103

definition "Sentimentalism" p.84

individual messages Karamzin - historian "History of the Russian State", publicist "Letters of a Russian Traveler", writer

Lesson 14

N.M. Karamzin is a writer and historian. The concept of sentimentalism

N.M. Karamzin (1766-1826)

The goal is to study the biographies of Karamzin, evaluate his talent, study the concept of "sentimentalism"

Whatever you turn to in our literature is the beginning of everything

It is necessary for Karamzin: journalism, criticism, story-novel,

Tale of historical, publicism, the study of history

V.G. Belinsky

Karamzin is our first historian and last chronicler

A.S. Pushkin

1 Conversation on remote sensing

A) Biography

Born December 1, 1766 in the family of a Simbirsk nobleman. Studied at home, then at the boarding school in Simbirsk, then at the boarding house of a professor at the Moscow University of Shaden

Since 1783 - military service, retirement

Meeting with Ivan Turgenev, who brings him to Moscow

The circle of N.I. Novikov, edited the children's magazine " Children's reading for mind and heart"

Aesthetic views are formed under the influence of 2 systems: freemasonry and enlightenment

1803 - begins a multi-volume study on the history of Russia, death interrupted work on volume 12, which outlined the events of the Time of Troubles (the story reached 1611)

B) The creative path began with translations. Then his own works appeared in the style of sentimentalism - "The Russian True Tale: Eugene and Julia", "Poor Lisa", "Natalia, Boyar's Daughter", "Martha the Posadnitsa"

Karamzin as a philologist, according to V.V. Vinogradov, managed to “form a single language accessible to a wide readership “for books and for society” in order to “write as they say and speak as they write”. Karamzin transformed, brought together the literary and colloquial language. It was he who introduced the words into the Russian language: public and generally useful

2 Listening and discussing individual messages

3 DZ conversation with teacher's comments

B) sentimentalism from eng. Sentimental - sensitive; feeling becomes the central aesthetic category of this trend. In this respect, the feeling of the sentimentalists is opposed to the reason of the classicists.

Main idea – peaceful, idyllic human life in the bosom of nature

The village (the focus of natural life, moral purity) is opposed to the city (a symbol of evil, vanity)

New heroes "villagers and villagers"

The landscape is idyllic, sentimental

Representatives of sentimentalism Lawrence Stern "Sentimental Journey", Richardson "Clarissa Harlow", J.-J. Rousseau "Julia, or New Eloise"

Appeared in Russia in the 60-70s. 18th century (M.N. Muravyov, N.M. Karamzin, V.V. Kapnist, N.A. Lvov, young V.A. Zhukovsky)

The main theme is love

Main genres - sentimental story, journey, epistolary genre, in lyrics - idyll, or pastoral

Ideological basis - protest against the corruption of aristocratic society

Main property - the desire to represent the human personality in the movements of the soul, thoughts, feelings, aspirations

Aesthetics is based on imitation of nature, idealization of patriarchal life, pastoral moods

Features:

a) departure from the straightforwardness of classicism in the depiction of characters and their assessment

b) emphasized subjectivity of the approach to the world

c) the cult of nature, feelings, innate moral purity and integrity

d) approves the rich inner world of representatives of the lower classes

Features of Russian sentimentalism

Strong didactic focus

Pronounced enlightening character

Active improvement of the literary language through the introduction of colloquial forms into it

4 Debriefing

The work of Karamzin played an outstanding role in the history of Russian literature. A.P. Pushkin, who from an early age appreciated and distinguished from all other writers, said: "The pure, high glory of Karamzin belongs to Russia ...".

How do you understand these words?

Orally answer all questions. by number 2 p.103,

In writing: - describe the image of Lisa and Erast,

How are the features of sentimentalism manifested in the story?

(explaining DZ, open page 103 and show to students)

Lesson 15

Affirmation of universal values ​​in N.M. Karamzin's story "Poor Liza"

The goal is to analyze the story as a work of sentimentalism

1 Repetition and generalization of material

2 Analysis of the story

Target stories - an image of the rich spiritual world of a Russian peasant woman and the destructiveness of the power of money

The symbolism of the name - a sympathetic attitude towards Liza Narrator, an indication of the socio-economic aspect of solving the problem (Liza is poor) and moral and philosophical (the hero is an unfortunate person)

The title contains conflict - love (the history of the relationship between Lisa and Erast, the tragic death of Lisa) is the leading one, the social beginning of the conflict (the love of a nobleman and a peasant woman) associated with class prejudices and economic circumstances (the ruin of Erast and the need to marry a rich bride)

How does Karamzin show the development of feelings between Liza and Erast?

What was the feeling that flared up for Liza and for Erast, who had time to taste the “social amusements”?

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

- Features of sentimentalism

A) poetization of feelings, changeable and contradictory

B) close attention to the intimate world of a private person

C) the specifics of creating an image - a psychological portrait, a detail, a gesture, a speech characteristic of the characters, a characteristic of the Narrator and other heroes

D) Macrostructure

Introduction on behalf of the Narrator with a description of Moscow, Danilov and Simonov monasteries

The main part tells the story of Lisa

Conclusion, where the Narrator tells about the tragic fate of the rest of the heroes of the work

D) conversational household speech educated part of the nobility

Features of pre-romanticism

A) crime story and tragic ending

B) the internal discord of the heroes - the inconsistency of the ideal with reality (dreams of being a wife and mother, forced to put up with the role of a mistress), Erast's love not only does not injure his soul, but, on the contrary, destroys the world of his illusions

C) psychologism of images

3 Feature images (talk on remote sensing)

Image system -images of Lisa and Erast, supplemented by the characters of their environment (the widow, Erast's friends, the valet, Lisa's mother, the shepherd boy, Anyuta).

Refers to the poetics of the "speaking name" - Lisa (meek, quiet) surpasses Erast in the talent to love, Erast (loving).

In addition, the name Lisa is associated with a love theme in comedy-vaudeville works, in which the heroine is frivolous and far from innocence and naivety.

- “And peasant women know how to love”

What do we see the heroine in the parental home?

What epithets does Karamzin give her?

What does the reader learn about Erast before meeting Lisa?

The image of the Narrator, learns the story from Erast

An image of Nature, Nature empathizes with Lisa's grief. It is both the scene of action (river bank, pond, grove) and the emotional background of the work. Only Lisa and the Narrator have the right to communicate with the natural world. Erast is far from understanding the language of nature, he is a “civilized” person, Lisa is “natural”

4 DZ Preparation for the final test on the section "Russian literature of the XVIII century"

In the Petrine era of the XVIII century. in response to the demands of the time, literature was rapidly transformed, its ideological, genre and thematic appearance was updated. The reforming activity of Peter, the initiative to transform Russia, led to the organic assimilation of enlightenment ideas by literature and new writers, and above all the political teachings of the enlighteners - the concept of enlightened absolutism. Enlightenment ideology gave modern forms to the traditional features of Russian literature. As D.S. Likhachev pointed out, in the era of the accelerated construction of the Russian centralized state, state and social topics begin to predominate in literature, and journalism is developing rapidly.

Publicism will also penetrate into other genres of literature, thereby determining its special, openly instructive character. Teaching as the most important tradition of young Russian literature was inherited by the new time and acquired a new quality: the Russian writer acted as a citizen who dared to teach the next monarch to reign. Lomonosov taught Elizabeth to reign, Novikov and Fonvizin - first Catherine II, and then Paul I, Derzhavin - Catherine II, Karamzin - Alexander I, Pushkin in the difficult time of defeating the Decembrist uprising - Nicholas I.

Publicism became a feature of Russian literature of the 18th century, determining the originality of its artistic appearance.

Undoubtedly, the most important and fundamental feature of the new literature was that it was literature created by the efforts of individual authors. A new type of writer appeared in society, whose literary activity was determined by his personality.

During this period, Russian classicism enters the historical arena, becoming a necessary stage in the development of Russian literature as a pan-European literature. Russian classicism created a multi-genre art, which at first asserted its existence only poetic word; prose will develop later - from the 1760s. Through the efforts of several generations of poets, many genres of lyric and satirical poetry were developed. Classical poets (Lomonosov, Sumarokov, Kheraskov, Knyaznin) approved the genre of tragedy. Thus, conditions were prepared for the organization and successful operation of the Russian theater. Created in 1756, the Russian theater began its work under the direction of Sumarokov. Classicism, having begun the creation of national literature, contributed to the development of the ideals of citizenship, formed an idea of ​​the heroic character, included in the national literature artistic experience ancient and European art, showed the ability of poetry to analytically reveal the spiritual world of man.

Lomonosov, relying on the artistic experience of mankind, wrote deeply national, original odes, expressing the spirit of a rising nation. The pathos of his poetry was the idea of ​​asserting the greatness and power of Russia, youth, energy and creative activity of a nation that believes in its own strength and its historical vocation. Idea statements was born in the process of creative explanation and generalization of experience, real practice"Russian sons". The poetry created by Lomonosov existed next to the satirical direction, the initiator of which was Kantemir.

During the reign of Catherine II, it finally developed Russian Enlightenment, journalist and writer Nikolai Novikov, playwright and prose writer Denis Fonvizin, philosopher Yakov Kozelsky appeared on the public arena. Along with them, scientists S. Desnitsky, D. Anichkov, propagandist and popularizer of educational ideology, Professor N. Kurganov, compiler of one of the most popular books of the century, “The Letter Book”, actively worked. In the 1780s Novikov created in Moscow on the basis of the printing house of Moscow University rented by him the largest educational center. AT

late 1780s a young writer, a student of Russian enlighteners, a talented prose writer Ivan Krylov, entered literature.

At the same time, the works of Alexander Radishchev also came out of print. The works of these authors are considered to be created in the tradition of enlightenment realism. Their main problem is the idea of ​​the extra-class value of a person, faith in his great role on earth, patriotic, civic and social activities as the main way of self-affirmation of the individual. The most important feature of showing reality is the disclosure of its social contradictions, a satirical and accusatory attitude towards it (Radischev "Journey from St. Petersburg to Moscow", an ode to "Liberty", Fonvizin's comedies "The Brigadier" and "Undergrowth").

At the same time, in Russia, almost simultaneously with other European countries, another literary trend was being formed, called sentimentalism. Penetration into Russian literature of sentimentalism begins already in the 1770s. It is especially noticeable in the work of M. Kheraskov and the poets of his circle, united in the Moscow university journal Useful Entertainment. Russian writers knew the works of English, French and German sentimentalists very well, and translated them intensively. Hence the understandable, peculiar commonality of themes, genres, motives and even heroes among the writers of this trend.

The creator of Russian sentimentalism as a new and original artistic system was Karamzin, a poet, prose writer, publicist, literary and theater critic, publisher and author of the multi-volume History of the Russian State. A real literary school for Karamzin was the editing of the magazine Children's Reading for the Heart and Mind (1785-1789), published by Novikov, for which Karamzin translated many works of European literature of the 18th century. Journey through the countries of Europe in 1789-1790. turned out to be the turning point in literary destiny Karamzin. Undertaking the publication of the Moscow Journal, Karamzin acted both as a writer and as a theorist of a new direction, deeply and independently perceiving the experience of contemporary European literature, the main aesthetic principles of which were sincerity of feeling and “pure natural taste”.

Already in the first literary works writer, two types of heroes appear: a “natural person” and a civilized, enlightened person. The writer is looking for heroes of the first type in a peasant environment, an environment not spoiled by civilization that has preserved patriarchal foundations. Karamzin's famous story "Poor Lisa" (1791) attracted contemporaries with its humanistic idea: "peasant women know how to love." The main character of the story, the peasant woman Lisa, embodies the writer's idea of ​​a "natural person": she is "beautiful in soul and body", kind, sincere, able to love faithfully and tenderly.

Perhaps Karamzin's most significant work, Letters from a Russian Traveler, represents European life at the end of the 18th century. - manners and lifestyle social order, politics and culture of contemporary Europe to Karamzin. The protagonist is a “sensitive”, “sentimental” person, this determines his attention to nature, interest in works of art, in every person he meets, and, finally, his reflections on the welfare of all people, on the “moral rapprochement of peoples”. In an 1802 article “On love for the fatherland and national pride”, Karamzin wrote: “Our misfortune is that we all want to speak French and do not think of working on processing our own language.” The bilingualism of the Russian educated society seemed to Karamzin one of the main obstacles to the national self-determination of Europeanized Russian literature and culture, but the final solution to the problem of reforming the language of Russian prose and poetry belongs not to Karamzin, but to Pushkin.

Sentimentalism directly prepared the flourishing of Russian romanticism at the beginning of the 19th century.

test questions and tasks

Poetry: Simeon Polotsky, Sylvester Medvedev, Karion Istomin.

N. Karamzin "Poor Liza".

Poetry V. Trediakovsky, M. Lomonosov, A. Sumarokov, G. Derzhavin.