sentimentalism in literature. Sentimentalism in Russian literature: representatives. School Encyclopedia

Also in late XVIII century in Russian literature, to replace the dominant trend of classicism, a new trend arose, called sentimentalism, which came from the French word sens, meaning feeling. Sentimentalism as artistic movement, generated by the process of the struggle against absolutism, appeared in the second half of the 18th century in a number of Western European countries, primarily in England (the poetry of D. Thomson, the prose of L. Stern and Richardson), then in France (the work of J.-J. Rousseau) and Germany ( early work I. V. Goethe, F. Schiller). Sentimentalism, which arose on the basis of new socio-economic relations, was alien to the glorification of statehood and class limitations inherent in classicism.

In contrast to the latter, he highlighted the issues of personal life, the cult of sincere pure feelings and nature. The empty secular life, the depraved mores of high society, sentimentalists opposed the idyll of village life, disinterested friendship, touching love at the family hearth, in the bosom of nature. These sentiments were reflected in the numerous "Journeys" that came into vogue after Stern's novel " sentimental journey”, which gave the name to this literary movement.

In Russia, one of the first works of this kind was the famous Journey from St. Petersburg to Moscow by A. N. Radishchev (1790). Karamzin also paid tribute to this fashion, publishing Letters of a Russian Traveler in 1798, followed by P. Sumarokov's Journey through the Crimea and Bessarabia (1800), Journey to Midday Russia. Izmailov and "Another Journey to Little Russia" by Shalikov (1804). The popularity of this genre was due to the fact that the author could freely express thoughts here that gave rise to new cities, meetings, landscapes. These thoughts were different. for the most part heightened sensitivity and moralism. But, in addition to such a "lyrical" orientation, sentimentalism also had a certain social order.

Having arisen in the Enlightenment, with its inherent interest in the personality and the spiritual world of a person, and an ordinary, “small” person, sentimentalism also took on some features of the ideology of the “third estate”, especially since during this period representatives of this estate also appeared in Russian literature - rogue writers.

Thus, sentimentalism brings a new idea of ​​honor to Russian literature, it is no longer the antiquity of the family, but the high moral dignity of a person. In one of the stories, the “villager” remarks that only a person with a clear conscience can have a good name. “For a “little” person, both a hero and a raznochintsy writer who came to literature, the problem of honor takes on special significance; it is not easy for him to defend his dignity in a society where class prejudices are so strong.

Characteristic of sentimentalism is the assertion of the spiritual equality of people, regardless of their position in society. N. S. Smirnov, a former runaway serf, then a soldier, the author of the sentimental story "Zara", sent her an epigraph from the Bible: "And I have a heart, just like you."

Along with the description of the "life of the heart", sentimentalist writers paid great attention to the issues of education. At the same time, the “teaching” educational function of literature was recognized as the most important.

Russian sentimentalism found its fullest expression in the work of Karamzin. His "Poor Lisa", "Notes of a Traveler", "Julia" and a number of other stories are distinguished by all the features characteristic of this trend. Like the classic of French sentimentalism, J.-J. Rousseau, in whose works Karamzin, by his own admission, was attracted by "sparks of passionate philanthropy" and "sweet sensibility", his works are saturated with humane moods. Karamzin aroused the sympathy of readers for his heroes, excitedly conveying their experiences.

The heroes of Karamzin are moral people, gifted with great sensitivity, selfless, for whom affection is more important than worldly well-being. So, the heroine of Karamzin's story "Natalya, the Boyar's Daughter" accompanies her husband to the war, so as not to part with her beloved. Love for her is higher than danger or even death. Alois from the story "Sierra Morena" takes his own life, unable to bear the betrayal of the bride. In the traditions of sentimentalism, the spiritual life of the characters in Karamzin's literary works takes place against the backdrop of nature, the phenomena of which (thunderstorm, storm or gentle sun) accompany people's experiences as an accompaniment.

So, the story of the sad fate of the heroine of "Poor Lisa" begins with a description of a gloomy autumn landscape, the appearance of which, as it were, echoes the subsequent dramatic history love of a peasant girl. The author, on behalf of whom the story is being told, walks through the ruins of the monastery "in the gloomy days of autumn, grieve with nature." The winds howl terribly in the walls of the deserted monastery, between the coffins overgrown with tall grass and in the dark passages of the cells. “There, leaning on the ruins of tombstones, I listen to the muffled groan of time.” Nature, or "nature", as Karamzin often called it, not only participates in people's experiences, it nourishes their feelings. In "The Sierra Morena" romantic landscape inspires the owner of the castle, Elvira: strong winds excited and twisted the air, crimson lightning curled in the black sky, or the pale moon rose above the gray clouds - Elvira loved the horrors of nature: they exalted, admired, nourished her soul.

However, not only the "history of feeling" attracted contemporaries in the works of Karamzin. The reader found in them a poetic image of Russian life, Russian people, Russian nature, Russian history. As Al. Bestuzhev, Karamzin "wanted us to the legends of our antiquity." Karamzin's historical stories were characterized by the same features of sentimental sensitivity that distinguished his other works, their historicism was instructive: the author used a historical plot to prove some moral maxim.

However, the bourgeois morality of sentimentalism, which glorifies the spiritual values ​​of a person and is quite applicable to imaginary circumstances, was difficult to combine with the serf way of life in Russia.

An appeal to contemporary Russian life revealed the inconsistency of the writer's worldview. In one of his most popular stories, “Poor Lisa,” Karamzin, with great sympathy, revealing the “life of the heart” of the heroine, convinced readers that “peasant women can feel too.” This humane statement was a bold innovation for the time. Karamzin was the first Russian writer to introduce the image of a peasant girl into literature, endowing her with high virtues. The peasant woman Lisa, in whom her chosen one Erast saw only an ingenuous "shepherdess", commits an act that proved that, defending her love, she did not want to put up with the prejudices of society. Erast, on the other hand, obeys the laws of "light" and leaves Lisa in order to save himself from gambling debts by marrying a rich bride.

However, sincerely mourning the death of Lisa, the author refused to explain the cause of the misfortune. The problem of social inequality, which, in essence, caused the tragedy of the love of a young peasant woman for a master, was bypassed in the story. Moreover, even the image of the "insidious seducer" Erast is drawn by Karamzin without condemnation, even with sympathy - an enlightened, sensitive nobleman, he is both to blame and not to blame for what happened. Not malicious intent, but only the frivolity of the young man was guilty of his actions. In addition, as reported in the conclusion, the news of Lisa's death made him unhappy, "he could not console himself and considered himself a murderer."

So, contrary to his moralizing tendency, Karamzin passed over in silence here social conflict which was the true cause of the tragedy. The attitude of sentimentalist writers towards social problems modern Russia was rather ambiguous. If the writings of Radishchev contained a fierce denunciation of serfdom and the political system under which these inhuman relations exist, then in the sentimental stories of writers early XIX century, in most cases, not only there is no condemnation of serfdom, but there is their idealization, depiction of them as the "fatherly" care of the landowner for his peasants: "The good landowner sincerely rejoiced at their happiness and shared it with them in his sensitive heart."

Karamzin did not share either one or the other position. Karamzin's attitude to serfdom, as well as his historical views, was a rather complex combination of a monarchical worldview with the influence of the idealistic philosophy of the 18th century, in particular the teachings of J.-J. Rousseau. Being convinced that the basis of world progress is the spiritual perfection of people, Karamzin, a historian and thinker, naturally opposed gross violence against a person, “tyranny” even on the royal throne. So, he praised Catherine II for the fact that she "cleansed the autocracy from impurities of tyranny." From the same position, he welcomed the policy of Alexander I. Of course, as a humanist and supporter of education, he could not approve of the cruelty of serf relations.

The author of one of the monographs on Karamzin, N. Ya. Eidelman, cites a characteristic episode that highlights the historian’s attitude to serfdom: “Pushkin recalled a conversation in which he, challenging Karamzin, said: “So, do you prefer slavery to freedom?” Karamzin flared up and called him a slanderer. However, the censure of "tyranny" did not exclude the apologetics of autocracy, the belief that Russia was held by it, and, consequently, the categorical denial of the violent breaking of the existing order. While asserting autocracy, Karamzin, as a historian, could not at the same time fail to see the connection between the institution of the feudal monarchy and serfdom. Hence the duality of his attitude to this issue, expressed in literary works.

"Poor Liza" Karamzin caused numerous imitations. Many authors varied the plot of "Poor Lisa", however, refusing too tragic ending. Following Karamzin's story, "The Beautiful Tatiana, Living at the Foot of the Sparrow Hills" by V. V. Izmailov, "Dasha the Village Girl" by P. Yu. Lvov and others appeared. It is noteworthy that the love of the master and the peasant woman was not at all condemned in them, on the contrary: “the inequality of the state, strengthening passion in them, elevates their virtues,” the author of one of these stories notes.

The authors sentimental stories relations based on calculation, they sought to oppose other, disinterested feelings. Lvov’s story emphasizes the love of the heroine, devoid of any selfish motives, who confesses: “Only what he didn’t give me - silver, and gold, and beads, and ribbons; but I didn’t take anything, I only needed his love.”

Thus, Russian sentimentalism introduced into literature - and through it into life - new moral and aesthetic concepts, which were warmly received by many readers, but, unfortunately, diverged from life. Readers brought up on the ideals of sentimentalism, proclaiming human feelings the highest value, they found with bitterness that nobility, wealth, position in society still remained the measure of attitude towards people.

However, the rudiments of this new ethics, expressed at the beginning of the century in such seemingly naive creations of sentimentalist writers, will eventually develop into public consciousness and will contribute to its democratization. In addition, sentimentalism enriched Russian literature with linguistic transformations. Particularly significant in this respect was the role of Karamzin. However, the principles he proposed for the formation of Russian literary language provoked fierce criticism from conservative writers and served as a pretext for the emergence of the so-called "language disputes" that captured Russian writers at the beginning of the 19th century.

The most common and popular genre of Russian literature among readers of the 1800s. becomes a “sensitive”, sentimentalist story, the first and best examples of which were created by Karamzin at the end of the 18th century.

The hero of the sentimental story is "sensitive", obeying the voice of a gentle and good heart a person immersed in the sphere of purely personal, "private" experiences, but at the same time, the most ordinary person, an ordinary representative of Russian society. This is his fundamental difference from the lyrical and dramatic hero of the literature of classicism, on the one hand, from the deliberate democratic “rudeness” of the hero of the “grassroots” literature of the late 18th century. - on the other, and from high citizenship, in principle, also sentimentalist hero of "Journey from St. Petersburg to Moscow" - from the third.

However, to see in this the social indifference of Russian sentimentalism of the 1800s. unfounded. Personal and private, the world of intimate experiences, “the life of the heart” - all this is opposed in sentimentalism, including Russian, by no means to civic activity and consciousness, but to the hierarchical principles of official feudal-monarchist ideology and morality and affirms self-worth human personality as such, regardless of the place it occupies in the class hierarchy.

The cult of “rural life” characteristic of Russian sentimentalism acquires the same meaning. It also has its specific socio-historical and undeniably "liberal" overtones. Its vital roots or origins are in those deep shifts that occur in the ideology noble society under influence french revolution.

Among other things, it expresses a new understanding of the civic duty and dignity of a nobleman, previously identified with loyal service in the military or civil field and measured by ranks, rings and other signs of royal goodwill.

At the end of the XVIII century. no less important duty of the nobility begins to be considered the "fatherly" care of the nobleman for the welfare of his own "subjects" - serfs. In the speech of F. S. Tumansky, delivered in the spring of 1794 at a meeting of the Free Economic Society, this is said as follows: “The owner is not only the owner of the surplus of his village, but also the father of his villagers ...”. Such is “the purpose of prudence; all the benefit and service to the Fatherland.

This new idea, which arose during the years of the French Revolution and under its influence, firmly established itself in Russian literature only in the 1800s. and remained relevant until the 1850s. Mastered by Karamzin, picked up by Shalikov, developed by Pushkin and Gogol, it had a considerable influence on the young Tolstoy and formed the basis of the most significant of the writer's early artistic ideas - the idea of ​​"The Novel of the Russian Landowner" (Nekhlyudov's letter to his aunt).

Many other aspects of the aesthetics of Russian sentimentalism had the same promising potential, which, however, did not receive full-fledged artistic expression in its essentially epigone prose production of the 1800s, which won a wide readership.

But with all its imperfections and naivety, the “sensitive story” drew an ordinary, sometimes “little” person into the sphere of artistic and sympathetic depiction, and thereby to a large extent contributed not only to the humanization, but also to the democratization of Russian literary and social consciousness.

During the first decade of the nineteenth century sentimentalism remains the most popular, but, of course, far from being the only trend in Russian literature. Having taken a commanding position in prose, successfully competing with classicism in poetry, it is sentimentalism, and not romanticism, as it is now commonly thought, that opposes in the first decade of the 19th century. classicism, clearing the way for romanticism, and gives way to it no earlier than the middle or even the end of the next decade.

Nevertheless, it would be just as unreasonable to call the period of Russian literature preceding this change of milestones sentimentalist as romantic. The fact is that, by analogy with one or another of the pan-European artistic trends, the historical specificity of this period of Russian literature cannot be characterized at all.

An underestimation of this circumstance leads to a distortion of the general prospects for the development of Russian literature in the first quarter of the 19th century, crowned by the “colossal” phenomenon of Pushkin, according to Herzen. So, for example, it still remains unclear who, after all, was Pushkin's closest predecessor and the greatest Russian poet Zhukovsky before him, a sentimentalist or a romantic.

According to some researchers - a sentimentalist, according to others - a romantic. The same ambiguity remains with respect to Batyushkov, Vyazemsky and other members of Arzamas, among whom the young Pushkin belonged. But something else is undoubtedly different: all of them, from Zhukovsky to Pushkin, were and considered themselves Karamzinists.

Karamzin - and above all Karamzin the prose writer - is the universally recognized head of Russian sentimentalism. But it by no means follows from this that his real associates and followers must necessarily also have been sentimentalists.

In the last pre-Pushkin period, only the epigones of Karamzin remained sentimentalists, and nothing more, while he himself and his associates went ahead, deepening and developing the most promising trend of Russian sentimentalism, its original liberal-enlightenment, and thus pro-European orientation.

Pro-European in the sense that it considered the most urgent need of Russian life to overcome its feudal backwardness, approach the cultural and historical level already achieved by the advanced Western European countries, and creatively master their historical and spiritual experience in the light of the tasks and prospects of national progress.

After all, in the Russian language literature XVIII in. the word "enlightenment" in its broad and commonly used sense meant overcoming the national isolation and feudal backwardness of domestic culture, introducing it to the spiritual values ​​and everyday life of European "social life".

As for the philosophy of the Enlightenment as such, it found its Russian adherents in the "age of Catherine" as the last word and the highest achievement of Western European thought, mainly French.

Accordingly, the Russian enlighteners of the XVIII century. acted as champions and successors of the cause of Peter, the intensive Europeanization of Russian statehood and culture that began under him as the main, from an educational point of view, line national development Russia.

Objectively, this was the line of bourgeois development, but only to the extent that it was combined with the political and economic interests of the advanced part of the Russian nobility, who realized - especially clearly after the movement of Pugachev and during the years of the French Revolution - the urgent need to limit autocratic feudal oppression.

But since the whole country and the most enslaved peasantry suffered from it, the Russian enlighteners of the 18th century, remaining the ideologists of the “enlightened” nobility, represented national interests, including the people’s and peasant interests.

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983

Periodization problem literary process The 19th century is one of the most complex and controversial problems facing literary critics both in the past and at the present time.

The most stable is the chronological principle (A.N. Pypin, S.A. Vengerov, A. Veselovsky). The researchers supplemented the chronological principle by dividing the history of literature into decades: romantic of the 20s, folk-folklore of the 30s, romantic idealism of the 40s, positivism and practicality of the 50s-60s. The division of the literary process into decades was reinforced by the typology of artistic images - the development came from sentimental characters ( poor Lisa) to the romantic images of Zhukovsky, then to Chatsky and Onegin, the characters of Gogol's stories, to Rudin and Bazarov, etc.

From the beginning of the 19th century began to apply the personal principle in two versions. Periods literary development associated with the reigns, and it turned out: the literature of the time of Peter the Great, the literature of the time of Catherine, Alexander, Nikolaev. The second version of the personal principle is based on its dependence on the work of an outstanding poet or writer, as if consolidating literary movement and opening the most attractive ways of development artistic creativity. Even V. G. Belinsky singled out the Lomonosov period, Karamzin, Pushkin; Between Karamzin's and Pushkin's, I.V. Kireevsky included another period of Zhukovsky, and Chernyshevsky added Gogol's period to Pushkin's. This is like a "romantic" principle of periodization.

At the beginning of the 19th century mixed principles of periodization were adopted: both the attitude of literature to reality, to spiritual life, as well as the attitude to the “holistic enlightenment of Europe”, and the position of the writer were taken into account. According to I.V. Kireevsky, the first period was marked by an appeal to the public, to the needs of Russian education, French influence prevailed, the leading figure was Karamzin. In the second, the appeal to the ideal foundations of life began to prevail, the "Germanic" element entered, the main spokesman of the period - Zhukovsky. Kireevsky associated the third period with the activities of Pushkin.

The researchers of the Pushkin House identified the main trends in literature as follows: from sentimentalism to the romantic (1800-1825), from romanticism to realism (1826-1850), the heyday of realism (1856-1881), the transitional period in the development of Russian realism (80s ).

The development of literature is based on the socio-historical development of society, and therefore literary periodization is in deep connection with general historical periodization.

The chronological boundaries between the individual stages and periods in the development of literature are conditional. They do not replace each other in exact calendar terms. But this or that year acquires the character of a frontier era.

Position about Pushkin as an ancestor new literature has a place in literature. But it would be wrong to consider the line between the literature of the 18th and 19th centuries. Pushkin's first speeches. He had immediate predecessors: Zhukovsky, Batyushkov, Krylov. They paved the way for the formation of a great poet. The significance of Zhukovsky, Batyushkov and Krylov as Pushkin's closest teachers forces us to move the literary line between the 18th and 19th centuries to the beginning of the work of the three named poets, i.e. chronologically - to the first years of the new century.

So, the 1st period of Russian literature of the 19th century. covers 1801-1815 In 1801 no works of art capable of marking the beginning of a new literary period, did not appear. Zhukovsky and Batyushkov appear in print with romantic poems in the second half of the first decade. But some of the events of 1801 may be regarded as the expression of new tendencies in literature. In 1801, on the initiative of young writers, two literary societies arose, the organization of which testified to the desire to join forces in these searches. Friendly Literary Society (Moscow) and the Free Society of Lovers of Literature, Sciences and Arts (Petersburg) => the birth in literature of those ideas and principles that, in the further development, were to lead to romanticism. The literary life of this period is characterized by an increasingly aggravated struggle between the new and the old. In the first years of the new century, sentimentalism occupies a dominant position in literature. And the classicists try to uphold the old literary positions. At the same time, the traditions of civic poetry continue to develop in the work of enlightenment poets. The process of formation of Russian realism does not stop. The most significant phenomenon of this period is the emergence of Russian romanticism as a new literary trend, the beginning of which Belinsky rightly associates with the name of Zhukovsky. Early Russian romanticism, which found expression in the work of Zhukovsky and Batyushkov, is the main achievement of the first period of Russian literature of the 19th century.

The 2nd period covers 1815-1816. During this period, in Russian literature, on the basis of noble revolutionary spirit, a new revolutionary-romantic trend was taking shape, reaching its highest rise in the first half of the 1920s in the work of Pushkin and the Decembrist poets. The romanticism of Zhukovsky and his followers continues to exist. The work of Griboyedov on the comedy Woe from Wit and Pushkin on the first chapters of Eugene Onegin and Boris Godunov completes the formation of a realistic artistic method. Therefore, 1825 becomes a turning point for Russian literature: the domination of romantic direction, Russian realism triumphs its first victories.

3rd period 1825-1842 - the establishment of realism, education realistic direction. But even after that, romantic currents continue to exist. The most characteristic and significant for this period were the realistic works of Pushkin, Gogol's novels and comedies, Lermontov's A Hero of Our Time. The appearance in 1842 of the first volume " dead souls This period is ending.

Such is the general course of the Russian literary process in the first half of the 19th century. Beginning with romanticism, this process is further characterized by a gradual transition to realism and ends with the establishment of a realistic trend in Russian literature.

Question 2

19th century is called "Golden Age" Russian poetry and the century of Russian literature on a global scale. At the beginning of the century, art was finally separated from court poetry and "album" poems, the features of a professional poet appeared for the first time in the history of Russian literature, the lyrics became more natural, simpler, more humane.

The 19th century began with a heyday sentimentalism and becoming romanticism . These literary trends found expression primarily in POETRY.

AT POETRY early 19th century still strong influence classicism . Still appear bulky epic poems, fairy tale poems, philosophical and cosmological poems. A great literary event was the release of the collected works of the largest poet XVIII in. G.R. Derzhavin(1816). But in general, classicism is already leaving the literary scene. Many classicists are strongly influenced sentimentalism . The traditions of classicism were maintained and at the same time significantly updated.

The traditions of civil lyrics in the spirit of classicism were continued by poets "Free Society of Lovers of Literature, Sciences and Arts". They are informally called "poets-radishchevtsy" because they shared ideas A.N. Radishcheva and his sons were in the company.

The ideas of high citizenship and folk literature were shared by a member "Friendly Literary Society" young Andrei Ivanovich Turgenev. The time of Karamzin, in his opinion, has passed, and therefore following him is now more harmful than useful. Using the ideas of citizenship, dreaming of zealous service to the fatherland, Andrey Turgenev intended to renew the civic lyrics and wrote several significant poems in high style. views Andrey Turgenev and his small poetic practice played a prominent role in preparing « literary program Decembrism", with the greatest completeness embodied poetic ideas civil or social romanticism. However, the views Andrey Turgenev did not receive majority support "Friendly Literary Society". The members of the society were mostly supporters Karamzin and sentimentalism .

The basis Karamzinism the same principles of classic aesthetics were laid down, which at one time were proclaimed bualo in his famous treatise "Poetic Art"- logical clarity, accuracy of word usage, syntactic correctness and transparency of thought expression. However, under the pen Karamzin and his followers, they were filled with new content. Logical clarity, accuracy of word usage, transparency of thought corresponded, considered Karamzinists, true enlightened taste. However, from the point of view of classicism, perfect artistic taste is determined by rules, rational concepts of "good" and "bad". Karamzinists denied a rational understanding of taste. For them, taste is an integral property of a person, personality, and not abstract rules. Taste resides in the soul, not outside it.

Sentimentalism: Dominant " human nature» Sentimentalism declared feeling, not reason, which distinguished it from classicism. Sentimentalism believed that the ideal of human activity was not the "reasonable" reorganization of the world, but the release and improvement of "natural" feelings. His hero is more individualized, his inner world is enriched by the ability to empathize, sensitively respond to what is happening around. By origin and conviction, the sentimentalist hero is a democrat; the rich spiritual world of the common man is one of the main discoveries and conquests of sentimentalism.

Karamzin: Epoch sentimentalism in Russia opened the publication of Karamzin's "Letters of a Russian traveler" and the story " Poor Lisa».

Karamzin is interested not external , the physical world, and interior , the spiritual world of man. His poems speak "the language of the heart", not the mind. An object Karamzin's poetry is"simple life" , and to describe it he uses simple poetic forms - poor rhymes, avoids the abundance of metaphors and other tropes popular in the poems of his predecessors.

Another difference in poetics Karamzin is that the world is fundamentally unknowable for him, the poet recognizes the existence of different points of view on the same subject.

Karamzin's language reform: Prose and Karamzin's poetry had a decisive influence on the developmentRussian literary language . Karamzin deliberately refused to useChurch Slavonic vocabulary and grammar, bringing the language of their works to the everyday language of their era and using as a model grammar andsyntax French . Karamzin introduced a lot of new words into the Russian language - likeneologisms (“charity”, “love”, “freethinking”, “attraction”, “first-class”, “human”), and barbarism ("sidewalk", "coachman").

Sentimentalism Karamzin had a great influence on the development of Russian literature: he repelled, among other things, romanticism Zhukovsky, creation Pushkin.

The new understanding of taste immediately led to a complete reassessment of classic aesthetics. Work of fiction should be "Nice" to a reading person, it should caress his ear and not allow turns and expressions that make it difficult for him to perceive. From this comes attention to the "smoothness" and "fluidity" of style and verse, to the natural flow and elegance of poetic speech. The language must be cleansed of obsolete phrases, Slavicisms and archaisms, which have historically outlived themselves, since they have disappeared from oral communication, from the colloquial and everyday speech of an educated person.

Therefore, the poetic language must be based on "medium style" , which is used in real life by an ordinary nobleman. Thus, access to the poetic language to other stylistic layers - "high" and "folk" eloquence is limited. "High" eloquence is not allowed because of its artificial loftiness, "folk" eloquence - due to his rusticity and rudeness.

Insofar as "medium style" formed the basis for the reform of the poetic language, and its natural existence is the “middle” genres, then they were primarily in demand by the new sentimental poetry . But the "middle" genres were cultivated not only by sentimental and pre-romantic poetry, but also by "light" poetry, which traced its origins to salon aristocratic culture. It also distributed elegy, messages, madrigals, album poems, sharp, graceful epigrams and other forms. This literary repertoire already contained motifs, figurative and even lexical means, which the new Russian poetry so much needed.

From crossing "light" poetry and sentimental lyrics new qualitative phenomenon. All traditional poetic means, characteristic, for example, of the genre of elegy, are now being composed into a new whole, changing their meaning, the genre of elegy itself, and defining the entire literary and aesthetic system. This changed genre becomes dominant. This is how it is created elegy of romanticism . Other genre formations appear in the same similitude.

Romanticism: ideological and artistic direction in the culture of the end XVIIIcentury- first half XIXcentury. It is characterized by the assertion of the inherent value of the spiritual and creative life of the individual, the image of strong (often rebellious) passions and characters, spiritualized and healing nature. In the 18th century, everything that was strange, fantastic, picturesque, and existing in books, and not in reality, was called romantic. At the beginning of the 19th century, romanticism became the designation of a new direction, the opposite of classicism and Enlightenment. Romanticism affirms a cult nature, feelings and natural in man. The image is in demand "noble savage", armed with "folk wisdom" and not spoiled by civilization.

AT Russian romanticism there is freedom from classical conventions, a ballad, romantic drama . A new idea of ​​the essence and meaning of poetry is affirmed, which is recognized as an independent sphere of life, an expression of the highest, ideal aspirations of man; the old view, according to which poetry was an empty pastime, something completely serviceable, is no longer possible.

Poetry can be considered the pinnacle of Russian romanticism Mikhail Yurievich Lermontov. In the views of the progressive part of Russian society in the 30s. 19th century features appeared romantic outlook caused by dissatisfaction with modern reality. This worldview was distinguished by deep disappointment, rejection of reality, disbelief in the possibility of progress. On the other side, romantics there was a desire for lofty ideals, a desire for a complete resolution of the contradictions of being and an understanding of the impossibility of this (the gap between the ideal and reality).

Creation Lermontov most fully reflects romantic outlook , formed in the Nicholas era. In his poetry, the main conflict of romanticism is contradiction between ideal and reality- reaches extreme tension, which significantly distinguishes him from the romantic poets of the early 19th century. The main object of the lyrics Lermontov is the inner world of man - deep and contradictory. Key theme in creativity Lermontov - the theme of the tragic loneliness of the individual in a hostile and unjust world. All wealth is subject to the disclosure of this topic. poetic images, motives, artistic means, all the variety of thoughts, experiences, feelings of the lyrical hero.

Along with poetry began to develop PROSE. Prose writers of the beginning of the century were influenced by English historical novels W. Scott whose translations were very popular. The development of Russian prose of the 19th century began with prose works A.S. Pushkin and N.V. Gogol.

From the middle of the 19th century, the formation Russian realistic literature , which is being created against the background of the tense socio-political situation that prevailed in Russia during the reign of Nicholas I. There is a need to create realistic literature sharply reacting to the socio-political situation in the country. Writers turn to the socio-political problems of Russian reality. The socio-political prevails philosophical problems. Literature has a special psychologism.

Guiding principles of realism 19th - 20th centuries: objective displaying the essential aspects of life in combination with the height of the author's ideal; reproduction of typical characters, conflicts, situations with the completeness of their artistic individualization (i.e., concretization of both national, historical, social signs, as well as physical, intellectual and spiritual features); preference in ways of depicting "forms of life itself", but along with the use, especially in the 20th century, of conditional forms (myth, symbol, parable, grotesque); prevailing interest to the problem of "personality and society".

critical realism - artistic method and literary direction formed inXIX century . Its main feature is the depiction of the human character in organic connection with social circumstances, along with a deep social analysis the inner world of man.

A.S. Pushkin and N.V. Gogol outlined the main artistic types that will be developed by writers throughout the 19th century. This is artistic type « extra person» , whose model is Eugene Onegin in the novel by A.S. Pushkin, and the so-called type " little man", which is shown by N.V. Gogol in his story "The Overcoat", as well as A.S. Pushkin in the story "The Stationmaster".

Literature inherited from the 18th century its publicity and satirical character. Literature continues to satirically depict Russian reality. The tendency to depict the vices and shortcomings of Russian society - characteristic all Russian classical literature. It can be traced in the works of almost all writers of the 19th century.

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In the process of its development, literature, both Russian and world, went through many stages. Peculiarities literary creativity, which were repeated over a certain period of time and were characteristic of a large number works, determine the so-called artistic method or literary direction. The history of the development of Russian literary creativity directly echoes Western European art. The currents that dominated the world classics, sooner or later, were reflected in Russian. This article will consider the main features and signs of such a period as sentimentalism in Russian literature.

In contact with

New literary trend

Sentimentalism in literature belongs to the most prominent trends; it originated in European art in the 18th century, under the influence of the Enlightenment. England is considered to be the birthplace of sentimentalism. The definition of this direction came from French word sentimentas, which in translation into Russian means "".

This name was chosen due to the fact that the adherents of the style paid the main attention to inner world man, his feelings and emotions. Tired of the hero-citizen, characteristic of classicism, reading Europe enthusiastically accepted the new vulnerable and sensual person depicted by sentimentalists.

This trend came to Russia at the end of the 18th century through literary translations of Western European writers such as Werther, J.J. Russo, Richardson. This trend arose in Western European art in the 18th century. In literary works, this trend manifested itself especially clearly. It spread in Russia thanks to literary translations of novels by European writers.

The main features of sentimentalism

Origin new school, who preached the rejection of a rational view of the world, was a response to civic patterns of reason of the era of classicism. Among the main features are the following features sentimentalism:

• Nature is used as a background, shading and complementing the inner experiences and states of a person.
• The foundations of psychologism are laid, the authors put in the first place the inner feelings of a single person, his reflections and torments.
• One of the leading themes of sentimental works is the theme of death. Often there is a motive for suicide due to the inability to resolve the hero's internal conflict.
• The environment that surrounds the hero is secondary. It does not have much influence on the development of the conflict.
• Propaganda original spiritual beauty common man , the wealth of his inner world.
• A rational and practical approach to life gives way to sensory perception.

Important! Rectilinear classicism gives rise to a trend that is completely opposite to itself in spirit, in which the internal states of the individual come to the fore, regardless of the baseness of her class origin.

The uniqueness of the Russian version

In Russia, this method has retained its basic principles, but two groups have been distinguished in it. One was a reactionary view of serfdom. The stories of the authors included in it portrayed the serfs very happy and satisfied with their fate. Representatives of this direction - P.I. Shalikov and N.I. Ilyin.

The second group had a more progressive view of the peasants. It was she who became the main driving force in the development of literature. The main representatives of sentimentalism in Russia are N. Karamzin, M. Muravyov and N. Kutuzov.

The sentimental direction in Russian works glorified the patriarchal way of life, sharply criticized and emphasized the high level of spirituality among the lower class. He tried to teach the reader something through the impact on spirituality and inner feelings. The Russian version of this direction performed an educational function.

Representatives of a new literary direction

Arriving in Russia at the end of the 18th century, the new trend found many adherents. Nikolai Mikhailovich Karamzin can be called his most striking follower. It is he who is considered the discoverer of the era of the literature of the senses.

In his novel Letters of a Russian Traveler, he used a favorite genre of sentimentalists - travel notes. This genre made it possible to show everything that the author saw during his journey through his own perception.

In addition to Karamzin, rather bright representatives of this trend in Russia are N.I. Dmitriev, M.N. Muravyov, A.N. Radishchev, V.I. Lukin. At one time, V.A. Zhukovsky belonged to this group with some of his early stories.

Important! N.M. Karamzin is considered the most prominent representative and founder of sentimental ideas in Russia. His work caused many imitations (“Poor Masha” by A.E. Izmailov, G.P. Kamenev “Beautiful Tatyana”, etc.).

Examples and themes of works

New literary movement predetermined a new attitude towards nature: it becomes not just a scene of action against which events develop, but acquires a very important function - shade the feelings, emotions and inner experiences of the characters.

The main theme of the works was to depict the beautiful and harmonious existence of the individual in the natural world and the unnaturalness of the spoiled behavior of the aristocratic stratum.

Examples of sentimentalist works in Russia:

• "Letters of a Russian traveler" N.M. Karamzin;
• "" N.M. Karamzin;
• "Natalia, boyar daughter" N.M. Karamzin;
• "Maryina Grove" by V. A. Zhukovsky;
• "Journey from St. Petersburg to Moscow" A.N. Radishchev;
• "Journey through the Crimea and Bessarabia" P. Sumarokov;
• "Henrietta" by I. Svechinsky.

"Journey from St. Petersburg to Moscow" A.N. Radishchev

Genres

The emotional and sensual perception of the world forced the use of new literary genres and sublime figurative vocabulary corresponding to the ideological load. The emphasis on the fact that natural principles should prevail in a person, and on the fact that the best habitat is natural, predetermined the main genres of sentimentalism in literature. Elegy, diary, psychological drama, letters, psychological story, travel, pastoral, psychological novel, memoirs became the basis of the works of "sensual" authors.

Important! Sentimentalists considered virtue and high spirituality to be a prerequisite for absolute happiness, which should naturally be present in a person.

Heroes

If for the predecessor this direction, classicism, was characterized by the image of a hero-citizen, a man whose actions are subject to reason, then the new style revolutionized in this regard. It is not citizenship and reason that come to the fore, but internal state man, his psychological background. Feelings and naturalness, elevated to a cult, contributed to absolute disclosure of hidden feelings and thoughts of a person. Each image of the hero became unique and unrepeatable. The image of such a person becomes the most main goal this current.

In any work of a sentimentalist writer, one can find a subtle sensitive nature that faces the cruelty of the surrounding world.

The following features of the image of the main character in sentimentalism stand out:

• A clear distinction between positive and negative characters. The first group demonstrates immediate sincere feelings, and the second is selfish liars who have lost their natural start. But, despite this, the authors of this school retain the belief that a person is able to return to true naturalness and become a positive character.
• The depiction of opposing heroes (a serf and a landowner), whose confrontation clearly demonstrates the superiority of the lower class.
• The author does not avoid the image certain people with a particular destiny. Often the prototypes of the hero in the book are real people.

Serfs and landowners

Image of the author

The author plays a big role in sentimental works. He openly demonstrates his attitude towards the characters and their actions. The main task facing the writer is to enable feel the emotions of the characters to evoke sympathy for them and their deeds. This task is realized by calling compassion.

Vocabulary features

The language of the sentimental trend is characterized by the presence of widespread lyrical digressions in which the author gives his assessment of what is described on the pages of the work. Rhetorical questions, appeals and exclamations help him place the right accents and draw the reader's attention to important points. Most often, such works are dominated by expressive vocabulary using colloquial expressions. Acquaintance with literature becomes possible for all layers. It takes her to the next level.

Sentimentalism as a literary movement

Sentimentalism

Conclusion

The new literary trend has completely outlived itself by late XIX century. But, having existed for a relatively short time, sentimentalism became a kind of impetus that helped all art, and literature in particular, take a huge step forward. Classicism, which fettered creativity with its laws, is a thing of the past. The new trend became a kind of preparation of world literature for romanticism, for the work of A.S. Pushkin and M.Yu. Lermontov.