Russian literature of the first half of the XIX
1. General characteristics and originality of Russian literature of the 1st half of the 19th century.
2. Features of the socio-political situation in Russia.
3. The main problems of time.
4. The significance of Russian literature of the 1st half of the 19th century in the development of the Russian and world literary process.
During the lecture, you can create a reference table with students.
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The Patriotic War of 1812, the rise of national self-consciousness generated by it, brought to life such a literary trend as romanticism. One of its most prominent representatives in Russian literature was V.A. Zhukovsky. In his works, V.A. Zhukovsky often turned to plots inspired by folk art, transcribing legends and fairy tales into verse. The active translation activity of V.A. Zhukovsky introduced Russian society with the masterpieces of world literature - the works of Homer, Firdousi, Schiller, Byron, etc. The revolutionary romanticism of the poets - the Decembrists K.F.
Russian literature of the first half of the 19th century. extraordinarily rich in bright names. The greatest manifestation of folk genius was the poetry and prose of A.S. Pushkin. “... through the era of Derzhavin, and then Zhukovsky,” wrote one of the outstanding representatives of Russian philosophical thought V.V. Zenkovsky, “Pushkin comes, in which Russian creativity became own way- not alienating the West ... but already linking himself in freedom and inspiration with the very depths of the Russian spirit, with the Russian element. In the 30s of the XIX century. the talent of a younger contemporary of A.S. Pushkin, M.Yu. Lermontov, flourished in full bloom. Having embodied in his poem “On the Death of the Poet” the national grief over the death of A.S. Pushkin, M.Yu. Lermontov soon shared it tragic fate. With the work of A.S. Pushkin and M.Yu. Lermontov, the establishment of a realistic trend in Russian literature is connected.
This trend found its vivid embodiment in the works of N.V. Gogol. His work left a huge imprint on further development domestic literature. Strong influence N.V. Gogol was tested by those who began their literary activity in the 40s of the XIX century. F.M. Dostoevsky, M.E. Saltykov-Shchedrin, N.A. Nekrasov, I.S. Turgenev, I.A. Goncharov, whose names are the pride of national and world culture. major event literary life late 30s - early 40s was the short creative activity of A.V. Koltsov, whose poetry dates back to folk song. The philosophical and romantic lyrics of the outstanding poet and thinker F.I. Tyutchev were saturated with a deep sense of the Motherland. The elegies of E.A. Baratynsky became masterpieces of the Russian national genius.
Russian literature of the first half of the 19th century
XVIII century. In this century, the foundation was created on which the majestic building of the Russian literature XIX century. Its creators include the great reformer of the Russian language and verse M.V. Lomonosov, the founder of the satirical direction in Russian literature A.D. Kantemir, the poet V.K. our other old writers”, “father” of the Russian theater and poet A.P. Sumarokov, humanist playwright, “friend of freedom” D.I. Fonvizin.
At the lyceum exam on January 8, 1815, Alexander Pushkin, in the presence of G. R. Derzhavin, enthusiastically read his poem “Recollection in Tsarskoye Selo”. Future poet said about the past century: “And you rushed, unforgettable!” A little later, he again recalls the past century:
How long has it been rushing, full of events, Worrying like a sea-ocyan?
Gavriil Romanovich Derzhavin, in whose works "is vividly imprinted Russian XVIII century”, opened up new opportunities for Russian poetry. The poet made a subject lyrical works the life of an ordinary person, and his artistic discoveries were adopted poets of the XIX centuries. The poem "Eugene. Life of Zvanskaya” was the first attempt to create a novel in verse, to which A. S. Pushkin “Eugene Onegin” subsequently vividly responded. The poets of the golden age of Russian literature were also close to the accusatory orientation of Derzhavin's "terrible lyre". In the poem “I erected a monument to myself not made by hands...” Pushkin, asserting his place in Russian literature, clearly outlined the great role of Derzhavin in the history of Russian poetry.
"Old Man Derzhavin" crossed the turn of the century in its heyday creative forces: "Derzhavin's poetry is untimely ... Pushkin's poetry, and Pushkin's poetry is timely ... Derzhavin's poetry" (V. Belinsky).
An enormous influence on Russian literature was exerted by Nikolai Mikhailovich Karamzin, who, having become the head of Russian sentimentalism, boldly departed from the canons and rules of classicism. Having made Russian literature an expression of the spiritual life of a person, he, in the words of V. G. Belinsky, created a reading public. The role of Karamzin in the creation of the Russian literary language is great. It is no coincidence that Pushkin noted. that "Karamzin liberated the language from an alien yoke and returned its freedom, turning it to the living sources of the people's word." From the stories "Natalya, the Boyar's Daughter" and "Martha the Posadnitsa", Karamzin took a step towards the multi-volume "History of the Russian State", which was created in the first quarter of the 19th century. In it, he opened to Russian society native history and greatly contributed to the development of domestic literature historical thinking. "To the precious memory of Nikolai Mikhailovich Karamzin for Russians" "With reverence and gratitude" Pushkin dedicated his tragedy "Boris Godunov".
The creator of the immortal "Journey from St. Petersburg to Moscow" Alexander Nikolayevich Radishchev also crossed the brink of centuries. In 1801, he wrote the poem "The Eighteenth Century", in which he gave a historical assessment of the past century as "powerful, great", "mad and wise". Radishchev's discoveries were destined to be continued by the writers of the next century. The power of Radishchev's traditions in the literature of the 19th century was remarkably emphasized by A. I. Herzen: our heart."
Beginning of the 19th century. (. We were the children of 1812. To sacrifice everything, even life, for the good of the fatherland was the attraction of the heart ”- these words of the Decembrist M. Myraviev-Apostol reflected internal stress Russian society in early XIX century. The political events that took place in Russia and the world influenced the spiritual life of people, causing the rise of national culture and literature. The works and ideas of the French enlighteners of the 18th century - Voltaire, J. J. Rousseau, the German romantic philosophers F. Schelling, F. Schlegel, and others also gained wide popularity.
At the beginning of the 19th century, the activity of society in Russia, as Derzhavin wrote, was manifested in the fact that it (. became a journal ": the number of literary and journalistic publications began to number in the tens. It was the journals that made it possible to follow the literary process of the era, the expansion of Kryga interests of the reading public. Karamzin founded Vestnik Evropy, which became a long-lived journalism of those years (it existed from 1802 to 1830). Karamzin's stories Martha the Posadnitsa and The Knight of Our Time were published in the journal, Zhukovsky placed more than 70 of his works on its pages The first printed works of Pushkin also appeared here.
V.G. Belinsky considered Karamzin "the founder of criticism in Russian literature". It was in the "Moscow Journal" and "Vestnik Evropy" created by him that the departments of criticism and bibliography became permanent.
Phenomenon cultural life countries were numerous literary societies, circles, salons. In 1811, the "Society of Lovers of Russian Literature" was founded at Moscow University, which lasted more than a hundred years.
At the beginning of the 19th century, cultural figures developed an interest in national folklore, customs, and antiquity, which originated at the end of the 18th century. In 1800, the Tale of Igor's Campaign appeared for the first time in print, in 1804 - the collection "Ancient Russian Poems" by Kirsha Danilov. The activity of collecting and researching historical and literary monuments of national antiquity begins. In literary societies, the question of the national identity of the Russian people is being discussed. In 1818, the first volumes of Karamzin's History of the Russian State were published. Belinsky explained the success of this publication by "the desire of Russian society for self-knowledge."
A significant contribution to the development of Russian literature was made by Ivan Andreevich Krylov, writer, journalist, fabulist. As early as 1789, he began publishing a monthly satirical magazine, The Spirit Mail. In terms of the boldness of the satirical denunciation, this was one of the brightest phenomena in Russian journalism of that time. Then Krylov created the satirical magazine Spectator. His works “Eulogy in memory of my grandfather...”, etc.), published in this magazine, denounced the vices of contemporary society. Only in 1806. When the first fables “The Oak and the Cane” and “The Picky Bride” were published in the “Moscow Spectator”, the path of Krylov the fabulist begins. However, as V. G. Belinsky wrote, “Krylov's fables are not just fables; this is a story, a comedy, a humorous essay, an evil satire - in a word, whatever you want, but not just a fable.
Unlike his predecessors, Krylov acted in fables not only as a moralist. A. A. Bestuzhev Marlinsky wrote: "... every fable is a satire, all the more powerful because it is short and told with an air of innocence." Often, Krylov's fables were associated with specific historical events: the "Quartet" ridiculed the reorganization of ministries, "Fish Dances" the omnipotence of Arakcheev, fables reflecting the events of the Patriotic War of 1812 are widely known. Of course, possible interpretation fables are much broader than the facts that gave rise to their creation.
At the beginning of the 19th century, the literary community widely discussed the development of the Russian language. As a result of the controversy, opposing literary organizations. In 1811, Admiral A. S. Shishkov founded in St. Petersburg the society "Conversation of Lovers of the Russian Word", whose meetings were held in Derzhavin's house - the venerable poet presided over them. At first, Karamzin and his supporters, the “Karamzinists”, and then Zhukovsky, were the object of attacks by “Conversations ...”.
No need to think that everything that the Conversation defended was bad and worthy of ridicule. So, they keenly felt the power and energy of Derzhavin's poetry, but at the same time they were fierce defenders of the archaic heavy style. Shishkov demanded the abolition or replacement of foreign words that Karamzin introduced into the Russian language: audience, billiards, heroism, galoshes, catastrophe, moral, orator, enthusiasm, era, aesthetic. Shishkov's supporters offered to speak for the listeners instead of the audience. an eloquent instead of a speaker. ball-roller instead of billiards. wet shoes instead of galoshes... The "shishkovists" did not accept the words created by Karamzin: development, influence, touching...
As a counterbalance to Shishkov's society, the famous "Arzamas" arose in 1815. All members of this literary society bore names taken from Zhukovsky's ballads. Zhukovsky was Svetlana, Batyushkov was Achilles, young Pushkin was Cricket, and his uncle Vasily Lvovich was called "Here." Defending innovations in the language, they actively ridiculed the "Conversation ...", calling it "The Conversation of the Destroyers of the Russian Word", distributed many satires and parodies of opponents in handwritten form. For example, each new member of "Arzamas" had to "bury" one of the participants in the "Conversation ..." in his opening speech. The protocols of the society, which Zhukovsky kept, still delight readers with their wit and originality.
After the death of Derzhavin in 1816, Beseda disbanded, and in 1818 Arzamas also ceased to exist. For the "Arzamas protocols" Zhukovsky wrote a poetic text farewell speech:
Brothers are friends of Arzamas! You listen to the protocol, True, you hoped. No protocol! What to record? ..
In this last comic document, it is recorded what each of the Arzamas participants was doing this year and why they cannot be brought together.
Echoes of the disputes "Conversations of lovers of the Russian word" and "Arzamas" will sound on the pages of literary works for a long time to come. You can find a mention of Shishkov's name in the lines of "Eugene Onegin". In the eighth chapter of the novel, Pushkin uses French phrase and then jokingly stipulates: "... Shishkov, I'm sorry: / I don't know how to translate."
At the beginning of the 19th century, the era of sentimentalism ended and a new literary trend, romanticism, was born.
Romanticism broadly embraces the phenomena of reality. We can no longer say that this is only a literary direction - this is the principle of perception of the world, therefore, in the interpretation of the term, dictionaries do not skimp on the options for meanings. At the heart of the romantic worldview and romantic art lies the discord between the ideal and reality. When an obvious discrepancy is born between the imperfect surrounding world and the ideal that exists beyond its borders, the world seems to split in two. This phenomenon has received an expressive definition: romantic duality. Such a conflicting unity makes us see any phenomenon both in the light of the ideas that the romantic soul gives rise to and in the system of connections determined by real life.
The passions of romantic authors were on the side of an exalted soul, striving to overcome the imperfection of the world. Romanticism intensified in art lyrical beginning, focusing the artist mainly on the image of the unique and changeable internal state of the individual. “Lyricism for romantic art is, as it were, a spontaneous main feature,” poetry turned out to be the most “able to find expressions for an inner experience occupied only by itself, its goals and events,” noted German philosopher Hegel.
Romanticism contrasted the canons with improvisation, stylistic freedom, and a new attitude towards genres. Classicism trusted above all reason, sentimentalism - feeling, romanticism - intuition.
In Russian literature, the term romanticism was first mentioned in 1816 by the poet and friend of Pushkin - P. A. Vyazemsky. "Apology of personality", according to A. I. Typgenev, the main thing in this method. The properties of a particular person, and not circumstances or environment, determine the logic of plots among romantics. "Circumstances do not of great importance. The whole point is in the character, ”writes one of the brightest representatives of romanticism French writer Benjamin Constant, whose character Adolphe (from the novel of the same name created in 1815) was considered a model romantic hero“with his embittered mind seething empty in action. The sphere of romanticism, as Belinsky wrote, is “the whole inner, intimate life of a person, that mysterious soil of the soul and heart, from where all indefinite aspirations for the better and the sublime rise, trying to find satisfaction in the ideals created by fantasy.” A romantic created a world in which unusual characters and amazing passions appeared, the life of the heroes proceeded in plots full of dramatic events, they were surrounded by spiritualized and healing nature. the heroism of protest coexisted with the motives of "world sorrow", "world evil", "night side of the soul".
The English poet George Gordon Byron, who died for the freedom of Greece, became the personification of the romantic hero of the era. It was an example of the unity of poetry - action - fate. It was in Byron's work that a new literary image appeared: a romantic personality who challenges the world with its rigidity and immobility? - Byronic hero.
Romantics were interested in the origins of the birth of powerful characters in their native soil, which had a fruitful effect on the development national cultures. In folklore, they saw one of the sources of fantasy that carried away to other worlds. It was then that the Grimm brothers turned to the literary processing of folk German fairy tales. Interest in the history of his people, in national traditions was reflected in the plots of Zhukovsky's ballads, legends and fairy tales, in the brightness romantic works Pushkin, Lermontov. mysterious world The Middle Ages were captured in historical novels by Walter Scott. Romantics put forward the principles of historicism and nationality in literature, thus preparing the advent of realism. "Nationality, identity - main feature true poetry", speaking in defense of romanticism, writes P. A. Vyazemsky in the preface to Pushkin's poem "The Fountain of Bakhchisaray".
Romantic tricks caused fierce disputes, which were more concerned with violations of all kinds of canons. A powerful impetus to the emergence of such disputes was given by the publication of Pushkin's poem Ruslan and Lyudmida. Supporters of classicism strongly criticized her for her style, plot, for what characters were chosen, the critics saw obvious deviations from the rules in everything.
Each literary trend has a predominant inclination towards specific genres and even types of literature. For Russian romanticism of the early 19th century, these are lyrical and lyrical genres. The brightness of the palette of romanticism was provided by his stylistic freedom. The names of V. A. Zhukovsky, K. N. Batyushkov, P. A. Vyazemsky, A. I. Odoevsky, D. V. Venevitinov, I. I. Kozlov, M. Yu. Lermontov are associated with romanticism. The prose writers V. F. Odoevsky, A. A. Bestuzhev-Marlinsky are also attributed to the romantics.
The founder of Russian romanticism was Vasily Andreevich Zhukovsky. You have more than once met with the work of this poet, whom at the beginning of the 19th century was considered the first Russian poet in terms of fame and recognition. You are familiar with his fate, a rare softness and humanity character, spiritual responsiveness. "The ability to understand and feel the creativity of another person, combined with the brightest poetic gift, allowed him to become a brilliant translator. However, subtly perceiving all the movements of someone else's soul, Zhukovsky creates his translations as original and completely independent works. Such is the "Rural Cemetery" - a free translation of Thomas Gray's elegy According to Zhukovsky, it was this work that was the beginning of his creative path.
The spiritual sensitivity and inspired elegance of Zhukovsky's lyrics captivated his contemporaries. Even now we feel “the captivating sweetness of his poems.” Belinsky claimed that Zhukovsky's muse "gave Russian poetry its soul and heart." The poet's Peru owns fine examples landscape lyrics, among the genres, elegy, a friendly message are especially distinguished.
Zhukovsky was often called the "ballader". Belinsky claimed that this kind of poetry was started, created and approved by him in Russia: contemporaries of Zhukovsky's youth looked at him mainly as the author of ballads. He expanded the range of topics addressed by the ballad. This lyrical epic genre was previously limited to the reproduction of medieval folk legends, while Zhukovsky used both ancient myth and Russian legends, which have their own unique flavor. It is interesting to compare the variants of the free arrangement of Burger's ballad "Lenora": "Lyudmila" (1808), "Svetlana" (1812) and the one closest to the original called "Lenora" (1831). Of these three ballads, you know "Svetlana", which was and remains one of the most popular among the dozens of works created by Zhukovsky. You are probably familiar with other ballads of the poet: "The Cup", "Roland the Squire", "Fisherman", "Glove", "Forest King".
Describing the work of Zhukovsky, one should not forget about his work as an interpreter. The poet introduced the Russian reader to the works of writers and poets different countries. He translated the works of Homer, Goethe, Schiller, Byron, Gray, Scott, Burger, Uhland, Klopstock, Iranian, Indian, Tajik epic, "The Tale of Igor's Campaign", the old story "Ondine" by Lamotte Fouquet, the Corsican story "Matteo Falcone" and others
“The significance of this poet for Russian poetry and literature is immensely great,” wrote Belinsky.
Big role Konstantin Nikolayevich Batyushkov played in the development of Russian romanticism. His lyrics appear as a poetic autobiography - "Live as you write, and write as you live." Batyushkov's work is distinguished by the perfection of verse, the search for new artistic forms, and deep psychologism. The perfection of the poet's lyrics was highly appreciated by Pushkin, who considered Batyushkov his idol: “Italian sounds! What a wonderworker this Batyushkov is.” V. G. Belinsky highly appreciated his poetic gift: “Batyushkov contributed much and much to the fact that Pushkin was what he really was”
The influence of romanticism on all spheres of the cultural life of Europe and America was very strong. It is enough to list the names of the most famous authors who firmly connected their work with this direction: J. G. Byron, P. B. Shelley, G. Heine, A. V. de Vigny, D. Leopardi, E. T. A. Hoffmann, E. Poe, G. Melville.
Romanticism in music developed in close connection with literature (hence the attention to synthetic genres - opera, song): F. Schubert, K. M. von Weber, R. Bagner, G. Berlioz, F. Liszt, F. Chopin.
AT fine arts the romantic direction was most clearly manifested in the painting and graphics of E. Delacroix, J. Constable, W. Turner, O. A. Kiprensky, A. O. Orlovsky.
30-40s of the XIX century. The first decades of the 19th century passed under the sign of romanticism. Zhukovsky is popular, Pushkin's genius flourishes, Lermontov declares himself, the creative way Gogol, the critic Belinsky actively participates in the development of Russian literature. Literature is increasingly becoming an integral part of the spiritual life of society.
Youth, students create associations that have a socio-political orientation. Thus, at Moscow University, in the circle of N. V. Stankevich, V. G. Belinsky, M. A. Bakunin, K. S. Aksakov take part; in the circle of A. I. Herzen - N. P. Ogarev. As Herzen argued, "Russia of the future" existed precisely among these "boys who had just emerged from childhood" - they had "the heritage of universal science and purely folk Russia."
Autocratic power proclaims the ideological formula of Russian society: “Orthodoxy, autocracy, nationalism. It was voiced in 1833 in the circular of the Minister of Public Education, Count S. S. Uvarov, where it was said that “public education should be carried out in the united spirit of Orthodoxy, autocracy and nationality.”
Disputes about the nationality of literature, about the type of positive hero, about patriotism, about the attitude to the culture of other peoples, were actively conducted in the periodical press. The role of magazines continues to grow, among the most - "Moscow Telegraph" by N. A. Polevoy and "Telescope" by N. I. Nadezhdin, in which potters, Koltsov, Tyutchev, Belinsky were published. These magazines were closed for publishing works objectionable to the authorities. For some time (1830-1831), their place was taken by the Literary Gazette. It was the organ of writers of the Pushkin circle. the newspaper was edited by A. A. Delvig, A. S. Pushkin, P. A. Vyazemsky, D. V. Davydov, E. A. Baratynsky, N. M. Yazykov, V. F. Odoevsky, A. A. Bestuzhev-Marlinsky. The active position of the newspaper provoked a response from the authorities: Literaturnaya Gazeta was closed down.
Pushkin could not come to terms with the fact that the possibility of publication disappeared. In 1836, he created the Sovremennik magazine, in which he publishes as his works: “The Feast of Peter the Great”, “ captain's daughter”, “The Miserly Knight”, and the works of authors close to him: Gogol’s “Nose” and “Carriage”, poems by Davydov, Baratynsky, Koltsov, Tyutchev, excerpts from notes about Patriotic War 1812 cavalry girl Durova and others.
It was during these years that Russian literature made its way from romanticism to realism.
The confrontation and interaction of literary trends continued for a long time, and it manifested itself not only in the work of individual writers, but also in specific works. This is evidence of the complexity of the development of the literary process in Russia. A striking example This is the fate of the comedy "Woe from Wit" by Alexander Sergeevich Griboedov. Conceived in 1816, completed in 1824, first published (only a fragment!) in 1825 and for a long time not allowed on stage. The comedy became popular, spreading on the lists. The appearance of "Woe from Wit" caused a furious controversy, during which its special place in Russian literature. Comedy retained the signs of classicism, romantic traits were guessed in its hero, and above all, it struck with a sharp picture of morals characteristic of realism. "I'm not talking about poetry: half - should be included in the proverb" - this is how A. S. Pushkin described the bright, lively language of realistic comedy.
For Russian literature of the 19th century, realism can be considered the leading direction. In the literature of different countries, it arose in parallel with the successes exact sciences. The position of a realist writer is close to the position of a scientist, since they consider the world around them as a subject of study, observation, research.
Romanticism gravitated towards depicting an extraordinary personality, unusual plots, spectacular contrasts and vivid forms of expression. Realism strives to depict the everyday existence of ordinary people, to reproduce the real course of life. “To accurately and strongly reproduce the truth, the reality of life, is the greatest happiness for a writer, even if this truth does not coincide with his own sympathies,” I. S. Typgenev argued.
The modern literary critic A. M. Gurevich defines the peculiarity of realism in the 30s-40s of the 19th century as follows: “The discovery of the poetry of the everyday, prosaic and everyday side of reality, the everyday course of life, the beauty of familiar, established relationships between people has become the most important achievement of classical realism.” Reproducing the truth of life, realism reflected various forms dependence of a person on society, the hostility of the social structure to the individual individual person. This is how critical realism was born.
However, for the Russian realism of the 19th century, the foreground was not denial, but affirmation. “The dynamic relationship between the pressure of external circumstances and internal freedom is becoming an exciting problem for literature,” argued the literary historian Yu. M. Lotman.
Within the framework of the 19th century, Russian and Western European realism differed in that foreign realist writers gravitated primarily to the artistic and analytical study of modernity, while in Russia the authors sought to transform the world and man. What united them was their close attention to research. common properties human nature. These problems will arise especially convincingly later, in mid-nineteenth century.
Russian realism is characterized by a close relationship with previous literary trends: sentimentalism and romanticism. The romantic thirst for transformation does not leave the Russian realists. The ideals, hopes, aspirations of the people lived on the pages of the works of Russian classics, again and again asserted its nationality.
The development of realism significantly expands the subject matter of works of literature, enriches genre originality works, the sphere of observation of life. “If we were asked what the distinctive character of modern Russian literature is, we would answer: in closer and closer rapprochement with life, with reality,” wrote V.G. Belinsky in a review of Russian literature for 1846. A mighty galaxy of prose writers entered Russian literature during these years: I. S. Tyrgenev, D. V. Grigorovich, F. M. Dostoevsky, M. E. Saltykov-Shchedrin.
From 1839 to 1846, Belinsky was published in the Otechestvennye Zapiski magazine, Lermontov’s works were published in them: “Bela”, “Taman”, “Fatalist”, “&Boyarin Orsha”, “Izmail-Bey”; poems by Koltsov, Ogarev, Nekrasov.
In the 1930s and 1940s, realism was looking for new forms and a direction appeared, which is called the “natural school”.
The combination of the spirit of analysis and a detailed, even often scrupulous reproduction of reality, a taste for "little things in life" came from Gogol's powers of observation. Image " little man", it was impossible without attention to detail. In this direction, searches were made in the stories and poems of Typgenev, early prose and Nekrasov's poetry, about the works of Dostoevsky and Dahl, Koltsov's poems. One of the most popular genres of this direction was the essay. The titles of the essays can already serve as a characteristic of their content: “Coachman”, “Batman” by V. I. Dahl, “Merchants”, “Officers”, “Landowner” by V. A. Sollogub.
The works of this trend combine the desire to accurately depict reality and generalize their observations. In this regard, the collection "Physiology of St. Petersburg" (1844-1845) is indicative. It contained essays. Petersburg Corners" by Nekrasov, "Petersburg Janitor" by Dahl, "Petersburg Organ Grinders" by Grigorovich. In an introductory article, Belinsky argued that the collection makes readers think. Vissarion Grigoryevich Belinsky occupied a special place in the literature of those years. His name has become known since 1834, when the article “Literary Dreams. Elegy in prose. Following this publication, articles by critics began to appear in the magazines Telescope, Moscow Observer, Domestic Notes, and Sovremennik. Belinsky saw in literature the expression "symbol inner life people." He considered criticism "the sister of doubt", and art - an artistic analysis of reality.
V. G. Belinsky is considered to be the founder of Russian realistic criticism. The concept of realism in his works is inseparable from the folk literature. You should read it best work: "The Idea of Art" (1841), "Division of Poetry into Genus and Type" (1841), "Speech on Criticism" (1842), "Works of Alexander Pushkin" (1843-1846) and reviews of literature for 1846, 1847. Although it literary activity lasted only 15 years, it had a huge impact on Russian literature.
The ideological searches of the critic were sometimes painful. One can disagree with him even now, argue with many of his statements, but one must always remember: he helped the generation of Russian realists grow up. I. S. Typgenev called him “father and commander” and, dying, asked to be buried next to the ashes of Belinsky.
Summing up
Questions and tasks
1. Name the writers you know and poets of the XVIII century. Determine their contribution to the development of Russian literature.
2. Describe the work of one of the writers of the XVIII century.
3. What features of a writer or poet of the early 19th century have been preserved in your
etc.................
At the lyceum exam on January 8, 1815, Alexander Pushkin, in the presence of G. R. Derzhavin, enthusiastically read his poem “Recollection in Tsarskoye Selo”. The future poet said about the past century: “And you rushed away, unforgettable!” A little later, he again recalls the past century:
How long has it been rushing, full of events, Worrying like a sea-ocyan?
Gavriil Romanovich Derzhavin, in whose works "the Russian XVIII century was vividly imprinted", opened Russian poetry new opportunities. The poet made the life of an ordinary person the subject of lyrical works, and his artistic discoveries were adopted by the poets of the 19th century. The poem "Eugene. Life of Zvanskaya "was the first attempt to create a novel in verse, to which he subsequently vividly responded A. S. Pushkin"Eugene Onegin". The poets of the golden age of Russian literature were also close to the accusatory orientation of Derzhavin's "terrible lyre". In the poem “I erected a monument to myself not made by hands ...” Pushkin, asserting his place in Russian literature, clearly indicated great role Derzhavin in the history of Russian poetry.
“Old Man Derzhavin” crossed the turn of the century in the prime of his creative powers: “Derzhavin’s poetry is untimely ... Pushkin’s poetry, and Pushkin’s poetry is timely ... Derzhavin’s poetry” (V. Belinsky).
Unlike his predecessors, Krylov acted in fables not only as a moralist. A. A. Bestuzhev Marlinsky wrote: "... every fable is a satire, all the more powerful because it is short and told with an air of innocence." Often Krylov's fables were associated with specific historical events: The "Quartet" ridiculed the reorganization of ministries, "Fish Dances" the omnipotence of Arakcheev, fables reflecting the events of the Patriotic War of 1812 are widely known. Of course, the possible interpretation of the fables is much broader than the facts that gave rise to their creation.
At the beginning of the 19th century, the literary community widely discussed the development of the Russian language. As a result of the controversy, opposing literary organizations arose. In 1811, Admiral A. S. Shishkov founded in St. Petersburg the society "Conversation of Lovers of the Russian Word", whose meetings were held in Derzhavin's house - the venerable poet presided over them. At first, Karamzin and his supporters, the “Karamzinists”, and then Zhukovsky, were the object of attacks by “Conversations ...”.
No need to think that everything that the Conversation defended was bad and worthy of ridicule. So, they keenly felt the power and energy of Derzhavin's poetry, but at the same time they were fierce defenders of the archaic heavy style. Shishkov demanded cancellation or replacement foreign words introduced into the Russian language by Karamzin: audience, billiards, heroism, galoshes, catastrophe, moral, orator, enthusiasm, era, aesthetic. Shishkov's supporters offered to speak for the listeners instead of the audience. an eloquent instead of a speaker. ball-roller instead of billiards. wet shoes instead of galoshes... The "shishkovists" did not accept the words created by Karamzin: development, influence, touching...
As a counterbalance to Shishkov's society, the famous "Arzamas" arose in 1815. All members of this literary society bore names taken from Zhukovsky's ballads. Zhukovsky was Svetlana, Batyushkov was Achilles, young Pushkin was Cricket, and his uncle Vasily Lvovich was called "Here." Defending innovations in the language, they actively ridiculed the "Conversation ...", calling it "The Conversation of the Destroyers of the Russian Word", distributed many satires and parodies of opponents in handwritten form. For example, each new member"Arzamas" was supposed to "bury" one of the participants in the "Conversations ..." in his opening speech. The protocols of the society, which Zhukovsky kept, still delight readers with their wit and originality.
After the death of Derzhavin in 1816, Beseda disbanded, and in 1818 Arzamas also ceased to exist. For the Arzamas Protocols, Zhukovsky wrote poetic text farewell speech:
Brothers are friends of Arzamas! You listen to the protocol, True, you hoped. No protocol! What to record? ..
In this last comic document, it is recorded what each of the Arzamas participants was doing this year and why they cannot be brought together.
Echoes of the disputes "Conversations of lovers of the Russian word" and "Arzamas" will sound on the pages of literary works for a long time to come. You can find a mention of Shishkov's name in the lines of "Eugene Onegin". In the eighth chapter of the novel, Pushkin uses a French phrase and immediately jokingly stipulates: "... Shishkov, I'm sorry: / I don't know how to translate."
At the beginning of the 19th century, the era of sentimentalism ended and a new literary trend, romanticism, was born.
Romanticism broadly embraces the phenomena of reality. We can no longer say that this is only a literary direction - this is the principle of perception of the world, therefore, in the interpretation of the term dictionaries do not skimp on the options for values. At the heart of the romantic worldview and romantic art lies the discord between the ideal and reality. When an obvious discrepancy is born between the imperfect surrounding world and the ideal that exists beyond its borders, the world seems to split in two. This phenomenon has received an expressive definition: romantic duality. Such a conflicting unity makes one see any phenomenon both in the light of the ideas that the romantic soul gives rise to and in the system of connections determined by real life.
The passions of romantic authors were on the side of an exalted soul, striving to overcome the imperfection of the world. Romanticism strengthened the lyrical principle in art, orienting the artist mainly towards depicting the unique and changeable inner state of the individual. “Lyricism for romantic art is, as it were, a spontaneous main feature,” poetry turned out to be the most “capable of finding expression for an inner experience occupied only by itself, its goals and events,” noted the German philosopher Hegel.
Romanticism contrasted the canons with improvisation, stylistic freedom, and a new attitude towards genres. Classicism trusted above all reason, sentimentalism - feeling, romanticism - intuition.
In Russian literature, the term romanticism was first mentioned in 1816 by the poet and friend of Pushkin - P. A. Vyazemsky. "Apology of personality", according to A. I. Typgenev, the main thing in this method. The properties of a particular person, and not circumstances or environment, determine the logic of plots among romantics. “Circumstances don't really matter. The whole essence is in the character,” writes one of the brightest representatives of romanticism, the French writer Benjamin Constant, whose hero Adolf (from the novel of the same name, created in 1815) was considered a model of a romantic hero “with his embittered mind, seething empty in action. The sphere of romanticism, as Belinsky wrote, is “the whole inner, intimate life of a person, that mysterious soil of the soul and heart, from where all indefinite aspirations for the better and the sublime rise, trying to find satisfaction in the ideals created by fantasy.” A romantic created a world in which unusual characters and amazing passions appeared, the life of the heroes proceeded in plots full of dramatic events, they were surrounded by spiritualized and healing nature. the heroism of protest coexisted with the motives of "world sorrow", "world evil", "night side of the soul".
The English poet George Gordon Byron, who died for the freedom of Greece, became the personification of the romantic hero of the era. It was an example of the unity of poetry - action - fate. It was in Byron's work that a new literary image: a romantic person who challenges the world with his rigidity and immobility? - Byronic hero.
Romantics were interested in the origins of the birth of powerful characters in their native soil, which had a fruitful effect on the development of national cultures. In folklore, they saw one of the sources of fantasy that carried away to other worlds. It was then that the Grimm brothers turned to the literary processing of German folk tales. Interest in the history of his people, in national traditions was reflected in the plots of Zhukovsky's ballads, legends and fairy tales, in the brightness of romantic works by Pushkin and Lermontov. The mysterious world of the Middle Ages captured in historical novels Walter Scott. Romantics put forward the principles of historicism and nationality in literature, thus preparing the advent of realism. “Nationality, originality is the main sign of true poetry,” speaking in defense of romanticism, writes P. A. Vyazemsky in the preface to Pushkin’s poem “The Fountain of Bakhchisarai”.
Romantic tricks caused fierce disputes, which were more concerned with violations of all kinds of canons. A powerful impetus to the emergence of such disputes was given by the publication of Pushkin's poem Ruslan and Lyudmida. Supporters of classicism strongly criticized her for her style, plot, for what characters were chosen, the critics saw obvious deviations from the rules in everything.
Each literary trend has a predominant inclination towards specific genres and even types of literature. For Russian romanticism of the early 19th century, these are lyrical and lyrical genres. The brightness of the palette of romanticism was provided by his stylistic freedom. The names of V. A. Zhukovsky, K. N. Batyushkov, P. A. Vyazemsky, A. I. Odoevsky, D. V. Venevitinov, I. I. Kozlov, M. Yu. Lermontov are associated with romanticism. The prose writers V. F. Odoevsky, A. A. Bestuzhev-Marlinsky are also attributed to the romantics.
The founder of Russian romanticism was Vasily Andreevich Zhukovsky. You have more than once met with the work of this poet, whom at the beginning of the 19th century was considered the first Russian poet in terms of fame and recognition. You are familiar with his fate, a rare softness and humanity character, spiritual responsiveness. "The ability to understand and feel the creativity of another person, combined with the brightest poetic gift, allowed him to become a brilliant translator. However, subtly perceiving all the movements of someone else's soul, Zhukovsky creates his translations as original and completely independent works. Such is the "Rural Cemetery" - a free translation of Thomas Gray's elegy According to Zhukovsky, it was this work that was the beginning of his creative path.
The spiritual sensitivity and inspired elegance of Zhukovsky's lyrics captivated his contemporaries. Even now we feel “the captivating sweetness of his poems.” Belinsky claimed that Zhukovsky's muse "gave Russian poetry its soul and heart." The poet's Peru owns excellent examples of landscape lyrics; among the genres, elegy and a friendly message stand out in particular.
Zhukovsky was often called the "ballader". Belinsky claimed that this kind of poetry was started, created and approved by him in Russia: contemporaries of Zhukovsky's youth looked at him mainly as the author of ballads. He expanded the range of topics addressed by the ballad. This lyrical epic genre was previously limited to the reproduction of medieval folk legends, while Zhukovsky used both ancient myth and Russian legends, which have their own unique flavor. It is interesting to compare the variants of the free arrangement of Burger's ballad "Lenora": "Lyudmila" (1808), "Svetlana" (1812) and the one closest to the original called "Lenora" (1831). Of these three ballads, you know "Svetlana", which was and remains one of the most popular among the dozens of works created by Zhukovsky. You are probably familiar with other ballads of the poet: "The Cup", "Roland the Squire", "Fisherman", "Glove", "Forest King".
Describing the work of Zhukovsky, one should not forget about his work as an interpreter. The poet introduced the Russian reader to the works of writers and poets from different countries. He translated the works of Homer, Goethe, Schiller, Byron, Gray, Scott, Burger, Uhland, Klopstock, Iranian, Indian, Tajik epic, "The Tale of Igor's Campaign", the old story "Ondine" by Lamotte Fouquet, the Corsican story "Matteo Falcone" and others
“The significance of this poet for Russian poetry and literature is immensely great,” wrote Belinsky.
An important role in the development of Russian romanticism was played by Konstantin Nikolayevich Batyushkov. His lyrics appear as a poetic autobiography - "Live as you write, and write as you live." Batyushkov's work is distinguished by the perfection of verse, the search for new art forms deep psychologism. The perfection of the poet's lyrics was highly appreciated by Pushkin, who considered Batyushkov his idol: “Italian sounds! What a wonderworker this Batyushkov is.” V. G. Belinsky highly appreciated his poetic gift: “Batyushkov contributed much and much to the fact that Pushkin was what he really was”
The influence of romanticism on all spheres of the cultural life of Europe and America was very strong. It is enough to list the names of the most famous authors who firmly connected their work with this direction: J. G. Byron, P. B. Shelley, G. Heine, A. V. de Vigny, D. Leopardi, E. T. A. Hoffmann, E. Poe, G. Melville.
Romanticism in music developed in close connection with literature (hence the attention to synthetic genres - opera, song): F. Schubert, K. M. von Weber, R. Bagner, G. Berlioz, F. Liszt, F. Chopin.
In the visual arts, the romantic trend was most clearly manifested in the painting and graphics of E. Delacroix, J. Constable, W. Turner, O. A. Kiprensky, A. O. Orlovsky.
30-40s of the XIX century.
The first decades of the 19th century passed under the sign of romanticism. Zhukovsky is popular, the genius of Pushkin flourishes, Lermontov declares himself, Gogol's creative path begins, and the critic Belinsky actively participates in the development of Russian literature. Literature is increasingly becoming an integral part of the spiritual life of society.
Youth, students create associations that have a socio-political orientation. Thus, at Moscow University, in the circle of N. V. Stankevich, V. G. Belinsky, M. A. Bakunin, K. S. Aksakov take part; in the circle of A. I. Herzen - N. P. Ogarev. As Herzen argued, "Russia of the future" existed precisely among these "boys who had just emerged from childhood" - they had "the heritage of universal science and purely folk Russia."
The autocratic power proclaims the ideological formula Russian society: “Orthodoxy, autocracy, nationalism. It was voiced in 1833 in the circular of the Minister of Public Education, Count S. S. Uvarov, where it was said that “public education should be carried out in the united spirit of Orthodoxy, autocracy and nationality.”
Disputes about the nationality of literature, about the type of positive hero, about patriotism, about the attitude to the culture of other peoples, were actively conducted in the periodical press. The role of journals continues to grow, among the most "Moscow Telegraph" N. A. Polevoi and "Telescope" by N. I. Nadezhdin, in which potters, Koltsov, Tyutchev, Belinsky were printed. These magazines were closed for publishing works objectionable to the authorities. For some time (1830-1831), their place was taken by the Literary Gazette. It was the organ of writers of the Pushkin circle. the newspaper was edited by A. A. Delvig, A. S. Pushkin, P. A. Vyazemsky, D. V. Davydov, E. A. Baratynsky, N. M. Yazykov, V. F. Odoevsky, A. A. Bestuzhev-Marlinsky. The active position of the newspaper provoked a response from the authorities: Literaturnaya Gazeta was closed down.
Pushkin could not come to terms with the fact that the possibility of publication disappeared. In 1836, he created the Sovremennik magazine, in which he published as his works: "The Feast of Peter the Great", "The Captain's Daughter", " of the miserly knight”, and the works of authors close to him: Gogol’s “Nose” and “Carriage”, poems by Davydov, Baratynsky, Koltsov, Tyutchev, excerpts from notes on the Patriotic War of 1812 by the cavalry girl Durova, etc.
It was during these years that Russian literature made its way from romanticism to realism.
The confrontation and interaction of literary trends lasted for a long time, and it manifested itself not only in creativity individual writers but also specific works. This is evidence of the complexity of the development of the literary process in Russia. A vivid example of this is the fate of the comedy "Woe from Wit" by Alexander Sergeyevich Griboyedov. Conceived in 1816, completed in 1824, first published (only a fragment!) In 1825 and for a long time not allowed on stage. The comedy became popular, spreading on the lists. The appearance of "Woe from Wit" caused a furious controversy, during which its special place in Russian literature was established. Comedy retained the signs of classicism, romantic traits were guessed in its hero, and above all, it struck with a sharp picture of morals characteristic of realism. "I'm not talking about poetry: half - should be included in the proverb" - this is how A. S. Pushkin described the bright, lively language of realistic comedy.
For Russian literature of the 19th century, realism can be considered the leading direction. In the literature of different countries, it arose in parallel with the successes of the exact sciences. The position of a realist writer is close to the position of a scientist, since they consider the world around them as a subject of study, observation, research.
Romanticism gravitated towards depicting an extraordinary personality, unusual plots, spectacular contrasts and vivid forms of expression. Realism strives to depict everyday existence ordinary people, to reproduce the real course of life. “To accurately and strongly reproduce the truth, the reality of life, is the greatest happiness for a writer, even if this truth does not coincide with his own sympathies,” I. S. Typgenev argued.
The modern literary critic A. M. Gurevich defines the peculiarity of realism in the 30s-40s of the 19th century as follows: “The discovery of the poetry of the everyday, prosaic and everyday side of reality, the everyday course of life, the beauty of familiar, established relationships between people has become the most important achievement of classical realism.” Reproducing the truth of life, realism reflected various forms of human dependence on society, hostility social structure to the personality of the individual. This is how critical realism was born.
However, for the Russian realism of the 19th century, the foreground was not denial, but affirmation. “The dynamic relationship between the pressure of external circumstances and internal freedom is becoming an exciting problem for literature,” argued the literary historian Yu. M. Lotman.
Within the framework of the 19th century, Russian and Western European realism differed in that foreign realist writers gravitated primarily to the artistic and analytical study of modernity, while in Russia the authors sought to transform the world and man. What united them was their close attention to the study of the general properties of human nature. These tasks will arise especially convincingly later, in the middle of the 19th century.
Russian realism is characterized by close connection with previous literary trends: sentimentalism and romanticism. The romantic thirst for transformation does not leave the Russian realists. The ideals, hopes, aspirations of the people lived on the pages of the works of Russian classics, again and again asserted its nationality.
The development of realism significantly expands the themes of works of literature, enriches the genre originality of works, the scope of observations of life. “If we were asked what the distinctive character of modern Russian literature is, we would answer: in closer and closer rapprochement with life, with reality,” wrote V.G. Belinsky in a review of Russian literature for 1846. A mighty galaxy of prose writers entered Russian literature during these years: I. S. Tyrgenev, D. V. Grigorovich, F. M. Dostoevsky, M. E. Saltykov-Shchedrin.
From 1839 to 1846, Belinsky was published in the Otechestvennye Zapiski magazine, Lermontov’s works were published in them: “Bela”, “Taman”, “Fatalist”, “&Boyarin Orsha”, “Izmail-Bey”; poems by Koltsov, Ogarev, Nekrasov.
In the 1930s and 1940s, realism was looking for new forms and a direction appeared, which is called the “natural school”.
The combination of the spirit of analysis and a detailed, even often scrupulous reproduction of reality, a taste for "little things in life" came from Gogol's powers of observation. The image of the "little man" was impossible without attention to detail. In this direction, searches were made in the stories and poems of Typgenev, the early prose and poetry of Nekrasov, the works of Dostoevsky and Dahl, and the poems of Koltsov. One of the most popular genres of this direction was the essay. The titles of the essays can already serve as a characteristic of their content: “Coachman”, “Batman” by V. I. Dahl, “Merchants”, “Officers”, “Landowner” by V. A. Sollogub.
The works of this trend combine the desire to accurately depict reality and generalize their observations. In this regard, the collection "Physiology of St. Petersburg" (1844-1845) is indicative. It contained essays. Petersburg Corners" by Nekrasov, "Petersburg Janitor" by Dahl, "Petersburg Organ Grinders" by Grigorovich. In an introductory article, Belinsky argued that the collection makes readers think. Vissarion Grigoryevich Belinsky occupied a special place in the literature of those years. His name has become known since 1834, when the article “Literary Dreams. Elegy in prose. Following this publication, articles by critics began to appear in the magazines Telescope, Moscow Observer, Domestic Notes, and Sovremennik. Belinsky saw in literature the expression "a symbol of the inner life of the people." He considered criticism "the sister of doubt", and art - an artistic analysis of reality.
1. "Art is one of the means of distinguishing good from evil" L.T. Tolstoy
2. "The first step of all creativity is self-forgetfulness" Prishvin
3. "There is hardly any higher pleasure than the enjoyment of creativity" Gogol
Please help, I really need it
as much as you can (help a lot) this is an internal exam in literature 1. What is the tragedy of love Zheltkov, the hero of Kuprin's story “ Garnet bracelet»?
2. Prove that for the hero of Kuprin's story "Garnet Bracelet" love is highest value peace.
3. Show wealth spiritual world heroine of Kuprin's story "Olesya".
4. Prove, by giving examples from Kuprin's works, that his favorite hero is a young man, soft, intelligent, conscientious, passionately sympathizing with the "little brother" and at the same time weak-willed, tragically submitting to the force of the environment and circumstances.
5. Why is the era of poets of the early 20th century characterized as “ silver Age» Russian poetry? What are its fundamental differences from the "golden age"?
6. What three pieces of advice does he give to a young poet lyrical hero poems by V.Ya. Bryusov " To the young poet"? Do you agree with his position? What do you think a true poet should be like? Read the poem by heart.
7. Tell us what you know about Bryusov, the translator. Name its main translations. What languages are they made from?
8. How does Balmont's lyrics show interest in ancient Slavic folklore? What images emerge? Analyze the poems "Evil Spells" and "Firebird".
9. What picture does Balmont draw in the poem "First Love"? Tell us about your perception of this poem.
10. Describe creativity early Mayakovsky. What are its main specific features? Read one poem from this period by heart.
11. “Freedom is the most beautiful thing in life, for the sake of it a person must be ready to sacrifice everything, even life.” Confirm Gorky's words with examples from his stories "Makar Chudra" and "Old Woman Izergil".
12. Prove that even a crazy, but extraordinary step, according to Gorky, will remain in people's memory. Give examples from The Song of the Falcon, The Song of the Petrel, The Legend of Marco.
13. What is the meaning of the title of the play "At the Bottom"? Explain its symbolism.
14. Who is dedicated to Blok’s cycle of poems “Poems about beautiful lady"? In connection with what is it written? Analyze 3 poems from this collection. Read one by heart.
15. How is the theme of the House revealed in Bulgakov’s novel “ white guard"? Which symbolic meaning for Bulgakov has the word "house"?
16. What philosophical problems rise in Bulgakov's The Master and Margarita?
17. Show the inseparability of the connection between the fate and creativity of Tsvetaeva and Moscow. Analyze the cycle "Poems about Moscow". Read one poem by heart.
18. Describe the image of the lyrical heroine of the poem "Requiem".
19. Describe Cossack life depicted by Sholokhov. Show the features of the speech of the Cossacks. How they help the writer convey the vitality of the situation. How does the writer draw the life of the village?
20. Describe the family structure of the Melekhovs, Korshunovs, Astakhovs. Compile a comparison.
21. As in the novel " Quiet Don» pictured First World War?
22. Compare Aksinya and Natalya, explain Grigory's feelings for each of them. What is the significance of the characters' names? Why are both dying?
23. What is the meaning of the title of Sholokhov's story "The Fate of Man"?
24. Give detailed description military prose and poetry. Analyze 2 pieces.
25. Give a detailed description of urban prose. Analyze 2 pieces.
long overgrown; the gray wooden crosses are drooping and rotting under their once-painted roofs; the stone slabs are all shifted, as if someone is pushing them from below; two or three plucked trees barely give a meager shade; sheep roam freely over the graves... But among them there is one that a man does not touch, that an animal does not trample on: only birds sit on it and sing at dawn. An iron fence surrounds it; two young Christmas trees are planted at both ends: Yevgeny Bazarov is buried in this grave. To her, from a nearby village, two already decrepit old men often come - a husband and wife. Supporting each other, they walk with a heavy gait; they will approach the fence, fall down and kneel, and weep long and bitterly, and look long and attentively at the mute stone, under which their son lies; will change short word, they will brush off the dust from the stone and straighten the branch of the tree, and they pray again, and they cannot leave this place, from where they seem to be closer to their son, to the memories of him ... Are their prayers, their tears fruitless? Isn't love, holy, devoted love, all-powerful? Oh no! No matter how passionate, sinful, rebellious the heart is hidden in the grave, the flowers growing on it serenely look at us with their innocent eyes: they tell us not only about eternal calmness, about that great calmness of “indifferent” nature; they also speak of eternal reconciliation and endless life... ANALYSIS OF THE LAST CHAPTER FROM TURGENEV'S NOVEL FATHERS AND CHILDREN!
1. About whom in question in this description?
A poor nobleman who changed many professions - from the Volga barge hauler to an actor and writer; easily straightening horseshoes, he calmly and with impunity passed at any time of the day or night to the most dangerous dens; the artist Repin drew from him one of the Cossacks, writing a letter to the Turkish sultan, and the sculptor Andreev sculpted Taras Bulba from him for a bas-relief on the monument to Gogol,
ANSWER: Gilyarovsky
2. whom A.S. Pushkin said in his poems:
1) “My first friend, my priceless friend” - answer: comrade and friend at the Lyceum Pushchin.
2) “He took Paris, he founded the Lyceum” - answer: Peter 1
3) “My decrepit dove” - answer: nanny Arina Rodionovna
4. About the work of which Russian writer is it in the above excerpt from the books of Yuri Aikhenvald?
So, all our ingratitude in life is only a foretaste of that last comedy that falls to our bitter lot at the hour of posthumous calculation, and even if our images were beautiful now, then exposed in undressed, trembling and humiliated, we will become the first supreme tribunal with " crooked faces."
5. In what work of A.S. Pushkin does the line “A hundred years have passed” sound in the Introduction?
ANSWER: The Bronze Horseman
6. Name the time (centuries) described in the following works:
1) "Taras Bulba" N.V. Gogol,
2) "Heart of a Dog" by M.A. Bulgakov,
3) "The Last of the Mohicans" by F. Cooper.
7. What is iambic? Give an example.
8. Before you is a well-known centon - a work composed of various well-known poetic passages. Your task is to find out, storchki, what works are given here and name the author.
In June, in the Sami heat, at midday,
Loose sands uphill
From distant wanderings returning,
They drove the elephant through the streets,
It is known that elephants are a curiosity with us, -
So crowds of onlookers followed the elephant;
Some kind of chef
He ran from the kitchen,
From all the yards of dogs ran stripes,
Suddenly from the gateway
naughty Monkey,
A donkey,
Goat
Yes, clubfoot Mishka
They decided to play a quartet,
When there is no agreement among comrades,
Their business will not go well,
And it will not come out of it, only flour,
Once a Swan, Cancer and Pike ...
9. In one of the poems, the ancient Greek poet Alkey contrasted the singer and the cicada. How did this opposition in Lomonosov's poetry respond? Name the work.
10. Name aliases famous writers whose names are listed below:
1) Aurora Dudeven-Geor Sand
2) Samuel Clemens - Mark Twain
3) Jean Baptiste Poquelin-Molière
4) Henri Bayle - Frederic de Stendhal
