Karamzin autumn artistic means. The poem "Autumn" as a work of sentimentalism

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Lesson 14 N. M. Karamzin - writer and historian

Goals: continue acquaintance with the life and work of N. M. Karamzin; work on expressive reading of a poem, prose passages.

During the classes

I. Work on the topic of the lesson.

1.Teacher's story about N. M. Karamzin.

Whatever you turn to in our literature, Karamzin laid the foundation for everything: journalism, criticism, a novel, a historical story, publicism, the study of history.

V. G. Belinsky

Who is he, Nikolai Mikhailovich Karamzin? What are his merits to literature, the fatherland?

Nikolai Mikhailovich Karamzin was born on December 1 (according to the old style), 1766, in the family of a Simbirsk nobleman. He spent his childhood in a village on the banks of the Volga, where he mastered the basics of literacy. then - the Simbirsk boarding school, and soon he was assigned to the boarding school of Shaden, a professor at Moscow University, where he received a broad education in the humanities, close to university. Since 1783 - military service, which is interrupted due to the death of his father. Resignation. Meeting with IP Turgenev, which brings Karamzin to Moscow. The early period of the writer's work is associated with Novikov's circle. During the years when Novikov headed the Printing Company, he attracted Karamzin to cooperate and entrusted him with editing the first in Russia special magazine for children, Children's Reading (1785–1789). Man and his experiences will later become an integral part of Karamzin's work. His aesthetic and ideological views are formed under the influence of two polar "systems" - Freemasonry, which we have already talked about, and enlightenment. The influence of the philosophical and aesthetic ideas of the English, French and German Enlightenment experienced Karamzin from a young age. He believed in the "elegance of the laws of pure reason", he learned the lesson of the enlighteners about the extra-class value of the individual. The culture of enlightenment forever became in the eyes of Karamzin the "palladium of good manners."

A "republican" at heart, Karamzin translates Shakespeare's "Julius Caesar" (1787) and Lessing's tragedy "Emilia Galotti" (1788) into Russian, admires the orators of the French bourgeois revolution in his younger years, closely follows the development of events in France right up to the era of the Jacobin dictatorship, which he experiences painfully and under the influence of which he experiences a deep internal crisis. In literary letters - "Melodor to Philalethus" and "Philaletus to Melodorus" (1793-1794) - one can hear the tragic disappointment of the writer in the ideals of the Enlightenment. "The Age of Enlightenment! I don't recognize you - I don't recognize you in blood and flames, I don't recognize you in the midst of murder and destruction! exclaims Melodor. In response to his lamentation, Philaletes woefully calls to seek "the source of bliss in our own breasts."

Arguing after Rousseau that a republic is the best form of government for small countries, Karamzin now firmly defends the beneficence for Russia and for large states in general of the monarchy as a guarantee of a stable social order. He recognizes as durable only those changes in the state and social order that are carried out peacefully, "through slow, but sure, safe successes of reason, education, education, good morals."

Karamzin the artist was formed under the broad influence of Western European culture. Especially strong was the impact exerted on Karamzin by the work of Rousseau.

Karamzin, the enlightener, ardently admired Shakespeare, T. More, Richardson, Goldoni, Goethe. His knowledge of European culture - literature, philosophy, social thought - was truly encyclopedic.

The result of a long stay abroad (from May 1789 to September 1790) was the "Letters of a Russian Traveler", which for a long time became a model for numerous later "traveler" writers of the era of Russian sentimentalism.

Karamzin visited Germany, Switzerland, France, England. His "Letters ..." contain extensive information material about the social and cultural life of these countries. At the same time, the writer seeks to convey the feelings that arise in him under the influence of what he sees. The analysis of these feelings leads the author to self-deepening and self-observation. Saying goodbye to the reader in the last letter, Karamzin makes a significant confession: “Here is the mirror of my soul for eighteen months; in twenty years (if I live that long in the world) it will still be pleasant for me - let it be for me alone! I will look in and see what I was like, how I thought and dreamed; and what is a man (be it said between us) more entertaining than himself?

"Letters from a Russian Traveler" were published in the "Moscow Journal" (1791-1792), the publication of which Karamzin undertook upon his return from abroad.

Karamzin's story "Poor Lisa" (1792) also appeared in the Moscow Journal, which was enthusiastically accepted by contemporaries.

The laconism of the narration, the subtlety of artistic writing, the ability to make the reader an accomplice in the experiences of the characters, the spirituality and lyricism of either a gloomy, then a joyful spring, or a stormy and formidable landscape, consonant with the feelings of the author and the characters of the story, the complexity of the psychological drawing - all this was new for the Russian reader. Karamzin's story was perceived as a true story (just as it was in Germany with Goethe's The Sufferings of Young Werther); the vicinity of the Simonov Monastery, where Lisa lived and died, "Lizin's Pond" became for a long time a favorite place of pilgrimage for the educated noble public.

Karamzin's prose experiments on genre structure did not repeat each other. Among them are examples of plotless lyrical prose, and a love-psychological story, and historical stories (“Natalya, the Boyar’s Daughter”, 1792 and “Martha the Posadnitsa”, 1803), and an ironic story-tale, and a mysterious story- miniature with elements of pro-romantic gothic ("Burnholm Island"). Landscape sketches, lyrical meditations, prose elegies make motives, which were previously the exclusive possession of poetry, the property of his prose. Of great importance are complex periphrases, psychological epithets, lexical and syntactic repetitions, sound writing, and techniques of musical and rhythmic construction.

For the "Moscow Journal" in 1802-1803. Karamzin founded Vestnik Evropy, which became the best Russian literary magazine for a long time, where critical, journalistic, historical articles of the writer appear.

The crowning achievement of Karamzin, a writer and historian, was the multi-volume History of the Russian State. The death of the writer in 1826 interrupted this work on the XII volume, which outlined the events of the Time of Troubles, and the narrative itself reached 1611.

2.Student reports.

"Karamzin - the historian of the Russian state".

Karamzin's "History of the Russian State" introduced several generations of Russian readers to national history, and contributed to the process of establishing national self-consciousness in the country in the years preceding the Decembrist uprising. Despite the fact that it aroused dissatisfaction and objections among the Decembrist youth (including the young Pushkin) because of its monarchical tendencies, "History ..." was for that time not only a school of source criticism and in general an important milestone in the development of national historical thought, it had of great educational value and was one of the first experiments in the multilateral depiction of the main characters and events of Russian history from its origins to the beginning of the 17th century.

"Language Reform of Karamzin".

Both in prose and in verse, Karamzin sought to bridge the gap between the written, bookish, and spoken language of "good society."

Karamzin's language reform opposed the Lomonosov principle of "three calms". Rejecting the high syllable of classical tragedy and ode, as well as the everyday vernacular of the low one, Karamzin focused on the “middle” syllable common to all literary genres. And although Karamzin significantly enriched Russian vocabulary and semantics with new semantic shades, new words and concepts, the language forms he developed remained divorced from folk speech. The spoken language of an educated society, the language of the noble intelligentsia, served as the norm for him, and this made his reform half-hearted and limited. The unpolished, everyday everyday language of the people seemed to Karamzin rude and unpoetic. The strengths and weaknesses of his position were revealed by the controversy about the "old and new style" that flared up in the first decade of the 19th century.

II. Summary of the lesson.

1. The word of the teacher.

In the XVIII century. Russian literature in its rapid development solved an important task, which Pushkin defined by the formula: "... in education to become on a par with the age." This task was a natural result of the emergence of Russia as a great power on the world stage and the assimilation of the pan-European achievements. The odes of Lomonosov and Derzhavin, the comedies of Fonvizin, Radishchev's Journey from St. Petersburg to Moscow, Karamzin's prose and his History of the Russian State formed that solid and necessary foundation, without which it would have been impossible to build the edifice of Russian classical literature.

The strongest side of Russian literature of the 18th century, which in its best examples gravitated towards rapprochement with life, to the depth and breadth of its comprehension, was patriotism, citizenship, high humanity and masculinity, receptivity to the advanced ideas of the century, powerful expressiveness and musicality.

All this prepared the subsequent great achievements of Russian literature of the 19th century.

2.Expressive poetry reading Karamzin, prepared at home, with students justifying their choice.

Homework: essay "Immortal pages of literature of the 18th century."

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The system of lessons on the work of N.M. Karamzin. Grade 9

Lesson #1 Topic: The concept of sentimentalism. N.M. Karamzin is a writer and historian.

Goals: N.M. Karamzin: biography; journalist, writer, philologist. The concept of sentimentalism.

Epigraph : 1. “Whatever you turn to in our literature - Karamzin laid the foundation for everything: journalism, criticism, novella, historical story, publicism, the study of history” (V.G. Belinsky)

2. “Surely not a single Russian soul will bring a worthy tribute to his memory? The Fatherland has the right to demand it. Karamzin belongs to history. (A.S. Pushkin)

Equipment: texts, textbooks, a portrait of Karamzin. (1766-1826)

During the classes:

Write down the topic of the lesson. Epigraphs.
Working with epigraphs
Individual message:Karamzin is a writer.

To help the teacher: Karamzin was born into the family of a poor landowner. His childhood passed near Simbirsk, on his father's estate. For three years he lost his mother and grew up under the supervision of a nanny and an uncle, learned to read and write from a rural deacon, and German from a family doctor and home tutor.

The brightest impressions of childhood - from the books read and native nature. Karamzin recalls this in his autobiographical story "The Knight of Our Time". Her hero reads novels in which "many diverse people<...>, wonderful actions, adventures - a game of fate, hitherto completely unknown to him. In adulthood, the writer will return to his childhood impressions more than once.

13-year-old Karamzin was brought to Moscow to continue his education in the private boarding school of the German professor I. M. Shaden. In three years he became a connoisseur of German literature and philosophy, mastered several languages. At the insistence of his father, the future writer moves to St. Petersburg and enters military service, which is interrupted due to the death of his father. Soon he leaves her and devotes himself entirely to literature.

Karamzin becomes close to the members of the "Friendly Scientific Society", in which the educator, book publisher and public figure N.I. Novikov. Especially close to Karamzin were the ideas of philanthropy, "the brotherhood of all people", friendship, moral education, preached by the "Friendly Scientific Society". These ideas are reflected in the articles and stories of the magazine "Children's Reading for the Heart and Mind", which Karamzin edits on behalf of Novikov. In it, he published his first poems, the story "Eugene and Julia", the lyrical story "Walk". Interest in the inner world of a person becomes important in his work.

Having sold the estate inherited after the death of his father, Karamzin travels to Germany, Switzerland, France, and England. He visits museums, art galleries, meets with famous writers, philosophers, observes the life of the people. In Paris, he witnesses the first triumphs of the French Revolution, listens to the speeches of its speakers, sees its heroes.

The journey lasted two years, from 1789 to 1790. He returned to Russia three months after the conviction of Radishchev. In 1792, by decree of Catherine II, Novikov was arrested. It was during these years that Karamzin's literary activity flourished. He publishes the Moscow Journal, where he publishes his stories Poor Liza, Natalya, the Boyar's Daughter, lyrical miniatures, poems, translations, articles of philosophical content, reviews of books and performances. In the magazine, from issue to issue, he publishes a work of a new genre for Russia - “Letters from a Russian Traveler”, in which he talks about his impressions abroad. "Letters from a Russian Traveler" glorified Karamzin. The Moscow Journal was a huge success with readers. In his own way, Karamzin continued the work of Novikov, placing in his magazine in his defense the ode "To Mercy", addressed to Catherine. The queen became the most unfriendly reader of Karamzin. He stopped publishing the magazine and went to the countryside. Karamzin will return to literary work two years later, when he begins to publish collections of his works one after another. Of great interest to readers were Karamzin's stories, which, according to Pushkin, were "a curiosity for us ...". They drew attention to the lives of ordinary, humble people, affirmed their closeness to nature, immersed them in a world of feelings and experiences previously unknown to Russian literature, and aroused the sympathy of readers.

In 1802, already during the reign of Alexander I, Karamzin founded a new journal, Vestnik Evropy, in which articles on socio-political and historical topics occupy a large place. Interest in history becomes the main thing in this period of the writer's work. The greatest success fell to the share of the largest, last prose work of Karamzin - the story "Marfa the Posadnitsa". In its center is the image of a Russian woman who raised the Novgorodians to fight against the despotism of the Moscow Tsar Ivan III. Karamzin considers patriotic education to be the main task of literature. “Patriotism is love for the good and glory of the fatherland and the desire to contribute to them in every way,” he wrote. Karamzin saw the happiness of every citizen in love for the fatherland.

4. Work with a portrait of Karamzin.

Here's a cute creator! / Ile heart, il mind / He threatens you with captivity! / In Arcadia he would have been / a happy shepherd boy, / In Athens - Demosthenes.

These poems were published in 1803, and they belong to Karamzin's friend, the famous poet and statesman Ivan Ivanovich Dmitriev. Madrigal is correct: from the miniature, which is kept in the State Literary Museum, a tender young face is looking at us, an attentive and calm look is directed at the viewer and at the same time somewhere far away, soft curls of dark hair are slightly powdered. In terms of clothing, in terms of the manner of depiction, the portrait dates back to the very beginning of the 19th century; such high white kerchief ties were worn in 1801-1802. Probably, the miniature was intended as a gift for the bride: on the reverse side, with silver threads and small pearls, the signature: Amor (that is, in French "love"):

By 1802, Nikolai Mikhailovich Karamzin was already a fairly well-known writer: "Letters from a Russian Traveler" came out as a separate edition and brought the author well-deserved fame. His story "Poor Liza" captivated readers so much that sentimental Muscovites went to the pond of the Simonov Monastery to sigh about the unfortunate fate of a simple girl who knows how to feel so subtly, to love so. However, his magazine hoax is not accidental: Karamzin sought to unite the best writers of his time around his magazine, to show the reader that his magazine is filled with works by different authors - unlike magazines of the 18th century, often written by one person. The poem was of a biographical nature: under the name of Emilia, his first wife, Elizaveta Ivanovna, was hiding, the loss of which he was destined to endure in the same 1802 - she died at the birth of her daughter Sophia, in the future a friend of Pushkin and mistress of the Karamzin salon after the death of her father. Elizaveta Ivanovna was the sister of Nastasya Ivanovna Pleshcheeva - Karamzin was friends with this family, Karamzin dedicated his “Letters of a Russian Traveler” to Nastasya Ivanovna and her husband Alexander Alekseevich Pleshcheev, in their house he met his Emilia. In his youth, Karamzin was very sensitive. G.R. Derzhavin in 1801 characterized the young author in this way: // Dear adorer of amiable charms / And a true descriptor of Russian sonorous deeds.//

Several statements by his contemporaries have been preserved about Karamzin's appearance. “Karamzin was handsome and very amiable,” recalled D.P. Runich, one of those who did not approve of the change in the character of the Russian Traveler, “on his return from foreign lands, he put on German pedantry, smoked a lot, talked about everything, he liked to stay up long after midnight, talk, listen to stories, eat well and drink tea to his heart's content. Another acquaintance of Nikolai Mikhailovich disagrees with this skeptical characterization: “He is tall. There is something written on his face that attracts every person to him. He talks a lot, but pleasantly and intelligently.”

This is how we see him in the portrait by the Italian artist Ortolani Damon (1805), who worked in Moscow at the beginning of the 19th century. At this time, Karamzin lives in Ostafyev, since 1804 he is married to Ekaterina Andreevna Kolyvanova, the side sister of Prince P.A. Vyazemsky, and, after the death of his father, actually becomes the closest friend and guardian of the young prince. Here, in Ostafyev, Karamzin began to study Russian history. An extremely talented person, he surprises not only his friends, but also our contemporaries, so quickly he mastered the ability to read and understand chronicles, to understand the most complex cursive writing of the 17th century, the intricacies of boyar genealogies, and the most complex problems of the formation of Russian statehood. He worked every day with extreme perseverance. Vyazemsky recalled that Karamzin always got up at 9 in the morning and immediately went for a walk or horseback ride: “Returning from a walk, he had breakfast with his family, smoked a pipe of Turkish tobacco and immediately after he went to his office and sat down to work until lunchtime.<...>, during his work he had no rest, and his morning exclusively belonged to history ... ”In 1811, Karamzin traveled to Tver, where, at the court of Grand Duchess Ekaterina Pavlovna, he read excerpts from his“ History ... ”to visiting his beloved sister, Emperor Alexander Pavlovich. “He listened to my story, it seems, with unfeigned attention and pleasure, he did not want to stop our reading,” Karamzin wrote to I.I. Dmitriev.

The year 1812 shocked Karamzin. “I am glad to sit on my gray horse and, together with the Moscow daring squad, join our army,” he wrote to Dmitriev. Until recently, Karamzin remained in the capital. He did not believe that the French would enter Moscow: “The circumstances are such that anyone can be useful or have this hope: I adore my friend, I love children; but it pains me to look at events decisive for our fatherland from a distance. Here one hears the voice of a historian who would like to be not only a diligent chronicler, but also a participant in the events. And then Karamzin bitterly writes: “My entire library has turned to ashes, but history is intact ...” Sending his wife and children from Moscow, Karamzin gave her a copy of his work to keep. Of course, he was deeply worried about the loss of his library, but, “no matter how sorry our peaceful dwellings and books turned into ashes,” he rejoiced “that the fatherland had survived and that Napoleon was running like a hare, having come as a tiger.” Deprived of books and annals, he cannot work. “Involuntary idleness exhausts the soul,” complains Karamzin. Only in the summer of 1813 did he manage to return to Moscow and get back to work.

However, Moscow is ruined, and Karamzin decides to move to St. Petersburg. To do this, it is necessary to achieve the official status of a historiographer, to get a paid job, because otherwise it will be very difficult for him, a person who is not rich, to be in the capital with his family. At the end of January 1816, after the birth of his son Alexander, Karamzin, together with Zhukovsky and Vyazemsky, left for St. Petersburg. He hoped to meet with the emperor, he wanted to work on the publication of his "History ...", for which money is needed. February 2, 1816 Nikolai Mikhailovich arrived in the capital. Describing to his wife his life in St. Petersburg, the keen interest that society showed in his composition, a masquerade in the palace and a visit to the Hermitage, Karamzin told her, among other things, everyday details: “You want to know my toilet: powdered, combed nicely for 30 rubles a month , mostly in a black tailcoat, in shoes - and at least where! They find that I am not so old. God forbid that you say the same about me when you return!” At the end of March, Karamzin returned to Moscow.

About how he looked later, we read in the memoirs of F.V. Bulgarin: “His face was oblong; the forehead is high, open, the nose is correct, Roman. Mouth and lips had some special pleasantness and, so to speak, breathed good nature. The eyes were small, tightly compressed, but beautifully cut, shone with intelligence and liveliness. Half gray hair was combed from the sides to the top of the head. His physiognomy clearly expressed spiritual simplicity and deep insight of mind. The distinguishing features of his face were two large wrinkles at the end of his cheeks, on either side of his mouth." This is how Karamzin is depicted in the portrait by A.G. Venetsianov. Before us is no longer a sentimental young man, as he is represented by Damon; Karamzin is depicted in a dark frock coat, with the Anninsky cross around his neck and the star of the Order of St. Vladimir; a fur coat is lowered from the shoulder, a tie-kerchief is around the neck. He is somehow quietly thoughtful, as if that huge internal work is being done in him, without which it is impossible to lift such a huge work as the “History of the Russian State” was .. Pushkin called “History ...” Karamzin “the feat of an honest man”, pointing that he was not politically engaged in his work; said that Karamzin discovered Russia, like Columbus discovered America: no one before him had revealed so fully the picture of the formation and development of a huge state, which was Russia. (Lessons of literature 2002-№7, see the portrait of the late Karamzin)

4. The work of Karamzin played an outstanding role in the history of Russian literature. A.S. Pushkin, who from an early age appreciated and distinguished him from all other writers, said: “The pure, high glory of Karamzin belongs to Russia ...”. Individual message:Karamzin is a historian.

To help the teacher: Creative searches led Karamzin to work on the history of Russia - he considered it the work of his whole life. In 1803 the tsar appointed him a Russian historiographer. Twelve years of his life, "having retired to the academic office during the most flattering successes" (A.S. Pushkin), Karamzin devoted "silent and tireless work." In 1818, the first eight volumes of The History of the Russian State were published. Karamzin continued to work on it until the last hour of his life. His "History ..." consists of two parts: a fascinating story about historical events and their participants, permeated with the author's moral assessments, and notes, extracts, references to historical documents, which occupy most of the work. It allowed A.S. Pushkin to say: "Karamzin is our first historian and last chronicler." "History of the Russian State" became both a historical work and a work of art that attracted the attention of thousands of readers.

Work on the "History ..." did not lead the writer away from contemporary problems and events. Close to the tsar, Karamzin tried to express his opinion to him about the current state of the country. A defender of monarchical power, he fought against its abuses. “I was not silent about taxes in peacetime, oh absurd<...>about the financial system, about formidable military settlements, about the strange choice of some of the most important dignitaries, about the Ministry of Education or Darkening, about the need to reduce the army that fights only Russia, about the imaginary improvement of roads, so painful for the people, finally, about the need to have firm laws, civil and state,” he wrote in his diary.

Following the development of events, Karamzin predicts a military clash between Russia and Napoleon. In June 1812, Napoleon's army invaded Russia and began to approach Moscow. At the beginning of August 1812, Karamzin sent his family from Moscow, and he himself decided to join the militia. The writer left Moscow with the last detachments of the Russian army, firmly confident in the defeat of the enemy.

He spent the last years of his life in Petersburg. When the Decembrist uprising took place, Karamzin, being an opponent of revolutionary violence, called this uprising "an absurd tragedy of insane liberalists." The writer, however, tried to save its participants from the punishment that threatened them. During these bitter days, he caught a cold, fell seriously ill, and, not having lived to see the completion of the trial of the Decembrists, died.

Karamzin's position as a person and writer is clearly expressed in the words he said in a conversation with a German traveler: “A historian must rejoice and grieve with his people. He must not, guided by prejudice, distort the facts, exaggerate happiness, or belittle in his statement of distress; he must first of all be truthful; but maybe even he should convey everything unpleasant, everything shameful in the history of his people with sadness, and talk about what brings honor, about victories, about a flourishing state with joy and enthusiasm. Only in this way can he become a national writer of everyday life, which, first of all, should be a historian.

I want to read to youexcerpt from the article “What does an author need?” N.M. Karamzin.

“They say that the author needs talent and knowledge: a sharp, penetrating mind, a vivid imagination, and so on. Fair enough, but not enough. He must also have a kind, tender heart if he wants to be a friend and favorite of our soul; if he wants his gifts to shine with a flickering light; if he wants to write for eternity and collect the blessings of the nations. The Creator is always portrayed in creation and often against his will.<...>

But if everything that is sorrowful, everything that is oppressed, everything that weeps open the way to your sensitive chest; if your soul can rise to a passion for goodness, can nurture in itself a holy desire for the common good, not limited by any boundaries: then boldly call on the goddesses of Parnassus ... "

6. To get acquainted with the work "History of the Russian State" itself, you will need a lot of time and effort. A little from the preface to this work.

“History is, in a certain sense, the sacred book of peoples: the main, necessary; a mirror of their being and activity: a tablet of revelations and rules; the covenant of ancestors to posterity; addition, explanation of the present and an example of the future.

Rulers and legislators act according to the instructions of history and look at its sheets, like navigators look at the blueprints of the seas. Human wisdom needs experiments, but life is short...

But even a simple citizen should read history. She reconciles him with the imperfection of the visible order of things, as with an ordinary phenomenon in all ages; consoles in state disasters, testifying that there have been similar ones before, there have been even more terrible ones, and the state has not collapsed; it nourishes a moral sense and with its righteous judgment disposes the soul to justice, which affirms our good and the consent of society.

Here is the benefit: what pleasures for the heart and mind! .. At the glorious Olympic Games, the noise ceased, and the crowds were silent around Herodotus, reading the traditions of the ages. Even without knowing the use of letters, people already love history: the old man points the young man to a high grave and tells about the deeds of the hero lying in it ... History, opening the coffins, raising the dead, putting life into their hearts and word into their mouths, creating again from decay kingdoms and imagining a series of ages with their distinct passions, customs, deeds, expands the limits of our own being; By its creative power we live with people of all times, we see and hear them, we love and hate them; not yet thinking about the benefit, we already enjoy the contemplation of diverse cases and characters that occupy the mind or nourish the sensitivity ...

Let the Greeks and Romans captivate the imagination: they belong to the family of the human race and are not strangers to us in their virtues and weaknesses, glory and disasters; but the Russian name has a special charm for us: my heart beats even stronger for Pozharsky than for Themistocles or Scipio. World history adorns the world with great memories for the mind, and Russian history adorns the fatherland, where we live and feel. How attractive are the banks of the Volkhov, Dnieper, Don, when we know what happened on them in ancient times! Not only Novgorod, Kyiv, Vladimir, but also the huts of Yelets, Kozelsk, Galich become curious monuments and mute objects eloquent. The shadows of past centuries paint pictures everywhere before us...

Foreigners may miss what is boring to them in our ancient history; But aren't good Russians obliged to have more patience, following the rule of state morality, which makes respect for ancestors the dignity of an educated citizen? ..

Thanks to everyone, both the living and the dead, whose mind, knowledge, talents, art served as a guide to me, I entrust myself to the indulgence of my fellow citizens. We love one thing, we desire one thing: we love the fatherland; we wish him prosperity even more than glory; we wish that the solid foundation of our greatness never change... may Russia flourish... at least for a long, long time, if there is nothing immortal on earth except the human soul. December 7, 181

Karamzin is the founder of Russian sentimentalism.

Karamzin became the head of a literary trend in Russia, which in the West was called sentimentalism (from the French word sentiment -- feeling). This direction was based on a new view of man as a sensitive being, on a new idea for literature about his happiness. The principles of sentimentalism were embodied in the stories and poetry of Karamzin, in his articles on literary topics.

Here are some of the writer's comments:

“Whoever thinks that happiness consists in wealth and abundance of things, it is necessary to show many of the local Croesus, showered with means of enjoyment, losing their taste for all pleasures and dying in soul long before death.” ("Letters from a Russian Traveler")
“A sensitive heart is a rich source of ideas; if reason and taste help him, then success is undoubted. ("The Tale "Sensitive and Cold: Two Characters")

SENTIMENTALISM IN RUSSIA

The very name "sentimentalism" (from English, sentimental - sensitive, French sentiment - feeling) indicates that feeling becomes the central aesthetic category of this trend. In this respect, the sentimentalists consciously opposed the reason (ratio) of the classicists. It originated in Western Europe in the XV1I1 century. Russian readers got to know him through the works of Lawrence Sterne, an English writer whose "Sentimental Journey" had a huge impact on Russian literature.

Representatives of sentimentalism.

France: the greatest sentimentalist writer Jean-Jacques Rousseau is the author of the novel in letters "Julia, or New Eloise".

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

Sentimentalism as a trend in art developed in the era of the Enlightenment crisis. As is obvious from the name of the direction, sentimentalism chooses feeling as the dominant of "human nature", in contrast to classicism. In contrast to the estate art of classicism, which chose a person of aristocratic origin as an ideal, sentimentalism refers to the life of a commoner, showing his rich inner world, the world of his feelings and experiences.

The main idea is a peaceful, idyllic human life in the bosom of nature. "The village (the center of natural life, moral purity) is sharply opposed to the city (a symbol of evil, unnatural life, vanity). New heroes appear -" villagers "and" villagers "(shepherds and shepherds). Particular attention is paid to the landscape. The landscape is idyllic, sentimental: a river, murmuring streams, a meadow - in tune with personal experience.

The main theme is love.

If the main genres of classicism were poetic genres, then sentimentalism introduces prose genres into literature: epistolary novel, travel notes, diaries and other types of prose, in which confessional motifs and intonations prevail. Sentimentalism also aroused interest in the personality of the writer, making especially popular genres in which the author could most fully express his view of the world, his ideas about people, about events, and tell about himself. A classicist writer, imitating book samples, could create without leaving his office. For sentimentalists, however, a journey is preferable, enriching with impressions, giving a vast field of observation of mores and characters. It is no coincidence that the genre of travel has become especially widespread in the literature of sentimentalism.

Main genres: a sentimental story, a journey, in the lyrics - an idyll, or a pastoral. Sentimentalists also loved the epistolary genre (the genre of writing).

The pinnacle of Russian sentimentalism was the story of N. M. Karamzin "Poor Liza". Subverting all the canons of classic poetics, the writer makes the heroine of his story "a virtuous peasant woman", asserting the idea of "natural equality of people": his exclamation "Even peasant women know how to love!" truly made a revolution in the minds of contemporaries and in literature.

In the center of the story is the image of the author. N. Karamzin argued that "the creator is always depicted in creation and often against his will", that any work is "a portrait of the soul and heart of the author." As in any work of sentimentalism, N. Karamzin presents reality through the prism of the author's perception, the author's emotion.

Ideological basis - a protest against the corruption of aristocratic society.

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

Setting as their goal to get as close as possible to the reader, sentimentalists changed their ideas about the artistic space of the work. If in the work of a classicist it was very conditional, then for the first time sentimentalists introduce a real, easily recognizable description of the landscape. In Poor Liza, these are the neighborhood of the Simonov Monastery, which later became a place of pilgrimage for readers amazed by the new artistic reality.

Sentimentalists also use the method of direct appeal to the reader, involving him in the events described in the work, forcing him to sympathize with the characters, empathize with what is happening.

For the first time in sentimentalism, an emotionally colored landscape appeared. Moreover, unlike the classic, this is not a conditional, but a very specific and recognizable landscape of central Russia. The landscape becomes a lyrical accompaniment to the ongoing events and experiences of the characters, helps to reveal their emotional state. No less important is the linguistic practice of sentimentalism.

Departure from the straightforwardness of classicism in the depiction of characters and their assessment;

Emphasized subjectivity of the approach to the world;

The cult of feeling;
- cult of nature;

The cult of innate moral purity, incorruptibility; the rich spiritual world of representatives of the lower classes is affirmed.

Features of Russian sentimentalism.

Strong didactic setting;
- pronounced educational character;

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

You will get a more complete idea of sentimentalism by reading Karamzin's story "Poor Liza".

Karamzin made a great contribution to the development of the Russian literary language. Rejecting the abundance of Church Slavonicisms and colloquial words, he enriched the language with the vocabulary of feeling and created a light, elegant phrase, though far from popular speech, but understandable to everyone, even to readers from the people. N.M. We owe Karamzin such words asindustry, public, human, image(in relation to art) and others. According to V. Vinogradov, Karamzin managed to "form a single language accessible to a wide readership" for books and for society "in order to" write as they say and speak as they write.
Today we talked a lot about Karamzin, learned a lot about him.
D / Z: 1. by heart Lomonosov, Derzhavin. 2. "Poor Lisa" - read.3.account page 103, question 2,

Lesson number 2. Theme: "Poor Liza" as a work of sentimentalism. New in Russian literature.

Lesson name : "And peasant women know how to love ...".

Purpose: plot and composition of the story; style features of the text; Erast and Lisa: psychologism in revealing the inner world of heroes through love experiences.

During the classes:

Repetition of what was previously learned.

Tell us about the main periods of life and work of N.M. Karamzin.

List the main features of sentimentalism as a literary movement.

Why is Karamzin called the founder of sentimentalism?

2. Work on the text.

You have read the story "Poor Lisa" that glorified Karamzin. Written more than 200 years ago, it caused before and now causes controversy and directly opposite assessments.

At the end of the XVIII and in the first decade of the XIX century. the story was read with enthusiasm, withstood six editions, became a subject of imitation both in life and in literature (the novels by A.E. Izmailov “Poor Masha”, A. Popov “Poor Lily”, etc.) appeared. In the late 20s and early 30s of the XIX century. she seemed already a tribute to a bygone fashion.

However, a modern scholar (V. Muravyov) is convinced that the story "Poor Lisa" "did not know for two centuries either oblivion or loss of reader love." And this means that even now the story is read with interest. Express your opinion and you as readers. Are you interested in this story? If yes, then what? What attracts her? Is it true, in your opinion? What do you think is true and what is not? Try to understand your feelings and experiences while reading and explain them.

Compare these statements of Karamzin (epigraphs). What do they tell us about the writer?

Karamzin cannot pass by the troubles and misfortunes of a person. He is endowed with a kind heart, sensitivity.

- What does "groan" mean?(Moan - moan, scream with a groan. Moan - from mental pain.)

Listen to the words of Karamzin. Are these words of Karamzin relevant for our time?

“It seems to me that we are too humble in our thoughts about our national dignity, and humility in politics is harmful. Whoever does not respect himself, others will not respect him either ... Let us stand boldly along with other peoples, say clearly our name and repeat it with noble pride.

- “Like a person, so a people always begins by imitation, but must eventually be itself. It is good and should be studied, but woe to both the person and the people, who will always be a student!

Teacher's word. The story "Poor Lisa" (1792) was enthusiastically received by contemporaries. It is based on a plot that is widespread in the literature of sentimentalism: a young rich nobleman won the love of a poor peasant girl, left her and secretly married a rich noblewoman. At a chance meeting with a lover, everything is revealed, he tries to make amends for his misdeed with money. The poor girl could not bear the grief and drowned herself. The reason for the popularity of "Poor Lisa" was that the author brought living life into the traditional plot of unhappy love, instead of heroes uttering pathetic phrases about love, he put heroes who truly love, suffer, showed love as a multifaceted, but changeable feeling.

- From whose perspective the story is being told? (From the point of view of the narrator.)

- Is the role of the narrator exhausted only by this? Prove the presence of the narrator from the text.(The narrator is mentally involved in the relationship of the characters. The guys note the invisible presence of the author, characteristic of sentimentalism, lyricism. The narrator seems to them even overly sensitive, they smile, reading the repeated "Ah!", But they see in him a noble, humane person, vulnerable, keenly feeling someone else's the narrator is sad, joyful, angry).

What is this story about?

What do we see the main character in the parental family? What did her father and mother teach her? What was Lisa's mother's name?

Let us trace the character of the characters' feelings, how they develop, and what they lead to. First of all, the feelings of the main character of the story - Lisa. What was the flashing feeling for Lisa?

(You can identify internal experiences that speak of Lisa's love: embarrassment, excitement, sadness, crazy joy, happiness, anxiety, longing, fear, despair, shock. Lisa's feelings are distinguished by depth, constancy, selflessness. She perfectly understands that she is not destined to be wife of Erast, and even speaks about it twice in the story: "Mother! mother! how can this be? He is a gentleman; and among the peasants ...", "However, you cannot be my husband! .. I am a peasant woman ..." But love turns out to be stronger than reason. Erast's confession filled Lisa's heart with a "pure and at the same time passionate feeling" that she cannot and does not want to hide. The heroine forgot about everything and gave herself to her beloved).

- How does the author convey this or that state of Lisa?(Lisa “blushed even more and, lowering her eyes to the ground, said ...”, “sang mournful songs in a quiet voice”, “followed him with her eyes”, “all the veins in her throbbed”, “got up, wanted to go, but could not ", etc. We conclude that the external manifestations of experiences precisely found by the writer allow us to understand what is happening in the soul of the heroine. Lisa's soul is rich, deep. "And peasant women know how to love!")

Why do you think Lisa expresses herself in such correct and poetic language?

(Karamzin in the story decided the question of the extra-class value of a person, he wanted to reveal the beauty and nobility of the feelings of his heroine, because such a language.)

What does the reader learn about Erast before meeting Lisa?

What is your opinion about him? What was the flared feeling for Erast, who had already tasted "secular amusements"?

(The selfless character of a peasant woman is opposed by the character of a kind, but spoiled gentleman, unable to think about the consequences of his actions. Lisa attracted him primarily with her appearance. The intention to seduce a gullible girl was not part of his plans: “It seemed to him that he found in Lisa what the heart has been looking for a long time". Note that such an impact of female beauty on the male soul is a constant motif of sentimental literature. Initially, he thought "of pure joys", intended to "live with Lisa, like brother and sister." The author's irony is felt. But still Erast depicted by Karamzin as not a treacherous deceiver-seducer.According to the author, "a rather rich nobleman" with a "naturally kind" heart, but "weak and windy, he led an absent-minded life, thought only of his pleasure..." His betrayal was unintentional, but all the more insidious).

So, love has become a test for the hero?

(He did not know his character well, he overestimated his moral strength too much. Erast's sentimental ideals were formed under the influence of books: “He read novels, idylls; had a rather vivid imagination and often mentally moved to those times (former or non-former), in which, according to poets, all the people walked carelessly through the meadows<...>and they spent all their days in happy idleness. Soon, according to Karamzin, he “could not be satisfied with<...>one clean hug. He wanted more, more, and finally, he could not want anything. There comes satiety and a desire to get rid of the bored relationship. There is no depth in his feeling, it is selfish).

In "Poor Liza" the theme of money occupies a significant place. How does everything related to money illuminate human relationships?

(The leitmotif of money accompanies the image of the nobleman Erast, and not poor Lisa. The heroine has no selfish thoughts. During one of the dates, Liza tells Erast that the son of a rich peasant from a neighboring village is wooing her and that her mother really wants this marriage. “And Do you agree?" - Erast is alert. "Cruel! Can you ask about this?" - Lisa reproaches him. Having broken the girl's heart, Erast wants to pay her off: "Here is a hundred rubles - take them (he put money in her pocket) - let let me kiss you one last time and go home.” He marries a rich widow to improve his business.)

How can you call Erast at this moment? What is he? Choose words to describe.

(Vocabulary: selfish - striving for personal gain, profit, greedy mercenary - stingy in trifles, overly prudent, mercantile)

And how to regard the act of Lisa? With these hundred rubles, does she not “pay off” from her mother?

(In sentimental literature, money has always caused a condemning attitude towards itself. Sincere, real help should be expressed in actions, in direct participation in the fate of people. Money, on the other hand, creates only the appearance of participation and often serves as a cover for impure intentions. “I forget a person in Erast - I’m ready to curse him - but my tongue does not move - I look at the sky and a tear rolls down my face").

How is the love theme of the peasant woman Liza and the nobleman Erast resolved ? (A person in the literature of sentimentalism is deprived of a fighting spirit, does not fight for his feelings, obeying circumstances. For Lisa, the loss of Erast is tantamount to the loss of life. Further existence becomes meaningless, and she lays hands on herself).

What do we learn about Erast from the end of the story? Has the soul been cleansed?

(Yes, he understood his mistakes, “could not be consoled”, cruelly reproaches himself, goes to Lisa’s grave. Karamzin talks about the meeting and reconciliation of their souls in another world).

We conclude: using the example of the life of Erast, Karamzin shows what a big role the feeling of love plays in the formation of the human personality, but also warns of the need for reason in love.

- In whose mouth does the writer put these thoughts?(Mothers of Liza and the Narrator. They are mature, wise people, they know life better, they understand that a person builds his happiness on the harmony of feeling and reason ...)

How to understand the final phrase of the story?

To achieve maximum credibility, Karamzin connected the plot of his story with specific places in the then suburbs of Moscow. Lisa's house is located on the banks of the Moskva River, not far from the Simonov Monastery. The dates of Erast and Lisa took place near Simonov Pond, which, after the story of Karamzin, was called Liza Pond. In the spirit of sentimentalism, the author combines the description of nature with the depiction of thoughts and moods of a person.

- Let's turn to the landscape, how is it related to other aspects of the story?

(Children analyze landscape sketches, give an interpretation of the symbols of spring, lily of the valley, fog, autumn; note the connection of nature with Lisa (“The sad dove connected her mournful voice with her lamentations” and other examples) and the absence of such a connection with Erast. They talk about light and darkness in the story The author, in their opinion, endows nature with reason.

To summarize: how do the features of sentimentalism appear in the story? What episodes of hers seemed especially touching to you?

What is the meaning of the title? (Poor - unfortunate. As Y. Lotman noted, in the epithet poor - the narrator's emotional reaction to the events of the story. The title "is built on the combination of the heroine's own name with the epithet characterizing the Narrator's attitude towards her. Thus, not only the world of the object is introduced into the title narration, but also the world of the Narrator, between which a relationship of sympathy is established.” For the narrator, it is not only a fact that requires moralizing, but the fate of people, one of whom was familiar to him, and the grave of the other becomes a favorite place for his walks and thoughts).

What, in your opinion, "good feelings" does Karamzin's story bring up in readers? Can today's young people learn moral lessons from it? If so, which ones?

(Karamzin teaches to appreciate a person not by class, but for spiritual wealth, manifested in love. Teaches responsibility for one's actions)

How different is the work we read from those discussed in previous lessons? How did Karamzin's contemporaries see this difference?

D/Z: 1. Descriptions of nature play a big role in the story. Her life is included in the relationship of heroes, helps to understand the state of mind of the heroine. See how communication with nature conveys the feeling of Lisa.

Write an essay on the topic: “Why did Karamzin call his story “Poor Liza”.

Means of artistic expression in the poem autumn Karamzin!!! SOS

Answer:

The main character of Karamzin's poetry, its main task is the creation of subjective and psychological lyrics, capturing the finest moods of the soul in short poetic formulas. It was a matter of constructing the very concept of lyricism of a new emotional type. In Karamzin's lyrics, the feeling of nature, understood in psychological terms, is given considerable attention. Nature in it is spiritualized by the feelings of a person living with her, and the person himself is merged with her; more precisely, the theme of nature for Karamzin is merged with the theme of mood. Karamzin seeks to create in the poem not a material material image, but a certain lyrical tone, corresponding to the mood, the main theme of the work. He writes in the article “Thoughts on Solitude” (1802): “Some words have a special beauty for a sensitive heart, presenting to him melancholy and tender pictures.” It is precisely such words, in general such figurative means, that Karamzin tries to use predominantly. So, in the poem "Autumn" he wants to create a general mood of melancholy, withering. All elements of the poem are subject to this emotional leitmotif. Autumn winds blow In the gloomy oak forest; Yellow leaves fall to the ground with noise. The field and garden were deserted; The hills lament; The singing in the groves ceased - The birds disappeared. .... A wanderer standing on a hill, With a dull look Looks at the pale autumn, Sighing languidly, etc. The lyrical tone of the poem is enhanced by the selection of words of a single tone: autumn, gloomy, lament, dull, pale, languid, sighing, etc. It is not the objective word that comes to the fore, but the qualitative one, an epithet that characterizes not an objective object, but an attitude towards it. Pale autumn is an image that is not realized visually, specifically (there is clearly no allegory here), but only a verbal note that sets the soul in an "autumn" mood. The word is significant not by its specific meaning, but by the overtones, lyrical associations that are characteristic of it.

Perhaps you also want to take on the perilous care of navigation? When, fleeing before the terrible Orion, the Pleiades rush into the dark abyss of the waves, the winds blow from all points of the sky with rage. Put the ship on the shore; fix it on all sides with stones so that the winds of this wet season cannot shake it; carry it out for fear that the rain of Jupiter will not rot; take him into your home and gently squeeze his rigging, the light wings that make him fly on the water; hang his rudder in the smoke of your hearth and wait for the return of the season when you sail.

Development Description

Target: to acquaint with the personality and work of N. M. Karamzin, to give the concept of sentimentalism as a literary movement.

Tasks:

Educational:

Show students the versatility of personality N. M. Karamzin: writer, historian, reformer of the Russian language.

Be careful, O Persian, to choose for all work, but especially for navigation, the right time. The stronger the load and the greater the profit that will be added to your credit if the winds hold their harmful breaths in their favor. His generous children offered many prizes. For the Muses instructed me in the science of divine songs. For fifty days after the summer solstice, when the overwhelming and difficult season draws to a close, he floats into the season. You do not risk seeing your ship wrecked, your sailors swallowed up, if the god who shook the earth, Neptune or Jupiter, the king of the immortals, does not want your loss: because they have both goods and evil in their hands.

Developing:

Educational:

Expand the horizons of students (epoch - literature - history - language);

During the classes

1. Organizational moment.

2. Actualization of knowledge.

Answer to the question: What are the main problems posed by A. N. Radishchev in his work “Journey from St. Petersburg to Moscow”.

3. Work on new material.

But be diligent to return to the house. It's still spring days when a person can swim. When funnels of equal size appear at the end of the branches of the fig tree, the leaves are visible, the path is covered by the sea: this is the navigation of spring. Do not hide all your wealth in the hull of your ships; leave it on the ground with the best part, show only the least. It's sad to wade across the sea to look for ruins. Observe all measures and choose the moment: in everything, this is the main thing.

Choose to bring a woman into your home at an age at which your youth will be in her power, when you are no less than or less than thirty years old. This is a man for the wedding season. For a woman that she stays four years and marries the fifth. Take her as a virgin to train her manners; take him in the neighborhood, and before, watch, ask, afraid to marry the pleasure of your neighbors. A man can be no better than a woman when she is good, but nothing is worse when it is bad, and what is given to holidays and holidays, without a torch she consumes a strong husband and a book to a cruel old age.

And my chronicle is over,

Someday the industrious monk

Will rewrite true stories,

Native land past fate,

They remember their great kings

And for sins, for dark deeds

The Savior is humbly begged.

Think with fear of the judge of the immortal gods: do not rush to put a friend in the rank of brother, but if you do, beware of harming him first and never use deceit against him. even amuse your tongue. If he starts and provokes you with some word, some act of hostility, don't refuse him twice. If he comes back and offers you satisfaction, don't reject him. An unhappy person who often changes friends. The fact that your appearance does not betray a bad thought in you.

Be wary that you won't be accused of having too many guests or not getting them. Avoid passing for a companion of the wicked, for an adversary, detractors of good people. Never force your heart to reproach anyone for the fatal, devouring poverty, the sad gift of the blessed immortals. For man, the greatest treasure is the inner language of words; it is the first of the graces that softens. He who speaks badly of others may hear badly. Don't wear the mood at these multi-dinner parties when it comes to general expenses; you will find pleasure without much expense.

At home, you have already read the textbook article dedicated to N. M. Karamzin, so you already know many of the facts of his biography.

What roles (functions) did N.M. Karamzin perform in society, in addition to being a writer?

Before you are cards that tell about the achievements of N.M. Karamzin in science and art. Your task is to study the presented material, choose the main one and tell the class about it.

When you pour out libations of pure wine in honor of Jupiter and other immortals in the morning, let it not be until you have washed your hands: otherwise the gods will refuse to listen to you and reject your prayers. Never satisfy the needs of nature by standing and looking at the sun. A modest and religious person will take care to squat on his butt, or retire against the wall of a well-closed courtyard. Do not go to your house, leaving your wife, still wet with your caresses, to offer you in that state in the flames of the hearth; avoid this profanity.

Karamzin is a writer and poet.
Karamzin is a historian.
Karamzin is a reformer of the Russian literary language.

Student messages.

When we considered the literary activity of N. M. Karamzin, we mentioned that he discovered for Russian literature such a trend as sentimentalism. What kind of trend this is, we will consider, comparing it with the literary trend already known to us - classicism.

This is not the end of the funeral meal, but as you return from the sacred holidays, you will need to work to give you an heir. Never enter the bed of those rivers that flow without rest, for which you did not pray at first, your eyes fixed their beautiful streams and washed your hands in moist waters. Whoever crosses the river and, through evil, refrains from bathing his hands, the gods resent him and inflict punishment on him later. Sitting at the table of the gods, do not carry iron with the five fingers of your hand to cut off the green dry part.

The main idea is a peaceful, idyllic human life in the bosom of nature.

The task of the author is to make empathy, cause compassion, show the inner experiences of a person. Sentimentalism draws attention to the “real person” (with his feelings, experiences), and not to his ideal model. Not heroic will, but sincerity of behavior becomes valor in the eyes of representatives of this direction.

Do not place on an urn that contains wine a vessel that pours it on drunkards: a deadly omen is attributed to this. If you build yourself a house, do not leave it unfinished, lest a crow come up to it and utter an ominous cry. From a vase that has not been consecrated, beware of removing food or food or water for your bath: this is also not done with impunity. Do not sit, nothing more deadly, on the immovable stone of tombs, child of twelve days: this child will never become a man.

Man, don't bathe with women, or one day you will be severely punished. If you meet a victim on your way, do not laugh at the holy ceremonies; divinity is annoying. Avoid polluting rivers at their mouths and water from fountains with your garbage. Follow my advice and be afraid to make you an unfortunate glory among people. A bad reputation is a burden, easy to pull up, hard to wear, hard to put down. Glory never perishes completely, constantly supported by the speeches of the crowd: this is also a goddess.

Features of sentimentalism

cult of feeling

cult of nature

Reading and analysis of the poem "Autumn".

And now I propose to get acquainted with one of the sentimental works of N. M. Karamzin, the poem "Autumn".

Reading a poem.

What is its meaning?

As for the days that Jupiter sends us, apply yourself to know the influences and teach them to your servants. To inspect works, distribute food, the most convenient day of the month is the thirtieth that people take care of the care of the administration of justice. Among the others that come to us from Jupiter are sacred: the first, fourth, seventh, where Apollo was born from Laton to the golden sword, the eighth, ninth. There are two days of the growing month, which are especially favorable for the labors of people: the eleventh and twelfth; they are both good, the first for shearing, the second for harvesting; but of the two best - the twelfth.

What achievement of N. M. Karamzin do you consider the most important and why?

5. Homework.

All material - see the document.

Development content

Subject: literature.

Subject: N.M. Karamzin. A word about the writer and historian. The concept of sentimentalism. The poem "Autumn" as a work of sentimentalism.

Purpose: to acquaint with the personality and work of N.M. Karamzin, to give the concept of sentimentalism as a literary movement.

It is on this day that the flexible spider hangs in the air at the hour of full light and that the prescient insect expands its reserves. On this day, a woman also creates her profession and begins to work. In the first part of the month, avoid sowing the thirteenth day; select it preferably for planting. On the contrary, the sixteenth day is not at all favorable for the reproduction of plants, but for men, at least for men, because, unfortunately, it is for a girl to be born or get married on this day. The sixth in itself does not contribute to the birth of girls.

It is useful for castrating goats and sheep, for covering parks where cattle are kept; it promotes the reproduction of our sex; he loves ridicule, lies, soft talk, secret talk. On the eighth day of the month, set up a boy and a roaring ox; in the twelfth, industrious mules. This is the twentieth day of great significance, towards the end, that one can flatter oneself by creating a wise person, a person whose mind will one day be filled with meaning. The tenth year favors the birth of male children, and in the fourteenth - children of the opposite sex.

Educational:

To acquaint students with the literary direction "sentimentalism", show its features, note the main features;

Show students the versatility of N.M. Karamzin: writer, historian, reformer of the Russian language.

Developing:

Develop the ability to compare literary trends, extract important information from a given text.

On this day you will flatter with your hand to tame them, sheep, oxen with flexible legs, curved horns, dogs with sharp teeth, mules with tireless work; but beware of their wrath. Gently avoid all fourth days of the month, start or end so that you are consumed by sadness. This is the day you bring your wife into your home, after consulting with the birds that lead this act of life. But beware of days when number five occurs; they are sad and deadly. It is in these days that the Erinnies are said to walk the earth, giving their service to Gorkos, this god of the oath that Herve creates to lose false testimony.

Educational:

Expand the horizons of students (epoch - literature - history - language);

Draw the attention of students to such personal qualities of Karamzin as: inner independence, honesty, diligence, humanity.

During the classes

1. Organizational moment.

2.Updating knowledge.

Answer to the question: What are the main problems that A.N. Radishchev in his work "Journey from St. Petersburg to Moscow".

On the seventeenth day, the sacred gifts of Ceres will be carefully placed by a careful farmer on a flattened plot. On the same day, the woodcutter will take care to cut the pieces that make up the marriage bed, and all those who enter into the structure of the vessels. Fourthly, we will start producing a bright nave. Nineteen is good in the afternoon. The new is not at all to be feared, it is suitable for plantations; it favors the birth of men and women; there is nothing fatal. As for twenty-nine, very few people know that this is the best day of the month to launch a boat on a dark sea with many benches, nimble oars.

3. Work on new material.

Today we are starting work on the work of another writer, but first I suggest you listen to an excerpt from the work, remember its name and author:

One more last word -

And my chronicle is over,

Fulfilled the duty bequeathed by God

Me, a sinner. Not without reason for many years

The Lord made me a witness

And enlightened book art;

Someday a monk industrious

Will find my hard work, nameless,

He will light, like me, his lamp -

And, brushing off the dust of centuries from the charters,

Will rewrite true stories,

Yes, the descendants of the Orthodox know

Native land past fate,

They remember their great kings

For their labors, for glory, for good -

And for sins, for dark deeds

The Savior is humbly begged.

A. S. Pushkin. "Boris Godunov".

Who is this passage talking about? What was the task of the chronicler?

Why did Pushkin say: “Russian history seemed to have been discovered by Karamzin, like America by Columbus”?

At home, you have already read the textbook article dedicated to N.M. Karamzin, so you already know many facts of his biography.

What roles (functions) in society did N.M. Karamzin, besides being a writer?

And now more about each of these roles.

Work of students on individual cards.

Before you are cards that tell about the achievements of N.M. Karamzin in science and art. Your task is to study the presented material, choose the main one and tell the class about it.

Karamzin is a writer and poet.

Karamzin is a historian.

Karamzin is a reformer of the Russian literary language.

Student messages.

When we considered the literary activity of N.M. Karamzin, it was mentioned that he discovered for Russian literature such a trend as sentimentalism. What kind of trend this is, we will consider, comparing it with the literary trend already known to us - classicism.

Compilation of a comparative table:

Classicism	Sentimentalism
1. The works are written in a "high calm".	1. The works are written in the "medium calm".
2. The subject of the image is public life people, events and affairs of a national scale.	2. The subject of the image are feelings, the inner world of a person, his private life, his soul.
3. Heroes are statesmen: officials, monarchs	3. Heroes are ordinary people, peasants.
4. Requires compliance with literary norms and rules	4. Violation of the rules of the image of the hero, retreat from strict literary norms.

The very name “sentimentalism” indicates that feeling becomes the central aesthetic category of this trend. In this respect, the sentimentalists consciously opposed the mind of the classicists.

The main idea is a peaceful, idyllic human life in the bosom of nature.

Features of sentimentalism

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

emphasized subjectivity of the approach to the world

cult of feeling

cult of nature

cult of innate moral purity, integrity, naturalness

approval of the rich spiritual world of representatives of the lower classes

Features of Russian sentimentalism

strong didactic setting

pronounced educational character

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

Reading and analysis of the poem "Autumn".

And now I propose to get acquainted with one of the sentimental works of N.M. Karamzin poem "Autumn".

Reading a poem.

What feelings does the poem evoke?

What is its meaning?

What is nature compared to in the poem?

Using the knowledge gained in the lesson, prove that the poem "Autumn" refers to sentimentalism?

What is the achievement of N.M. Do you consider Karamzin the most important and why?

2. Prove that this work is written in the spirit of sentimentalism.

Karamzin - writer and poet

Karamzin became the first Russian professional writer, he took part in the creation of magazines (Moscow Journal, Vestnik Evropy), in which he published not only the works of Russian and Western European authors, but also his own works. The publication of "Poor Lisa" and "Letters from a Russian Traveler" brought him all-Russian recognition and fame. They also opened the era of sentimentalism in Russia. Sentimentalism declared feeling to be the dominant feature of "human nature". The publication of these works was a great success with the readers of that time, "Poor Lisa" caused many imitations. Karamzin's sentimentalism had a great influence on the development of Russian literature: Zhukovsky's romanticism and Pushkin's work were repelled from him, among other things.

The poetry of Karamzin, which developed in line with European sentimentalism, was radically different from the traditional poetry of his time, brought up on the odes of Lomonosov and Derzhavin. The most significant differences were:

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

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

Karamzin changed his attitude to literary creativity. His signs were not a high syllable, but the elegance of the language, the value of the hero began to be determined not by the social level of the hero, but by his spiritual subtlety, the ability to empathize and virtue.

Karamzin - historian

Nikolai Mikhailovich Karamzin is a poet, prose writer and historiographer. He opened the "History of the Russian State" to his compatriots. Thanks to Karamzin's many years of titanic work, Russian people learned about the most distant times of the country's formation. His work is not dry facts and figures, but life in all its diversity. Karamzin systematized, generalized and artistically designed colossal material accumulated by the chroniclers.

In 1803, a landmark event took place in the life of N. M. Karamzin: by decree of Emperor Alexander I, he was appointed to the position of official historiographer. Karamzin begins a large-scale work on writing the history of Russia. All the archives and libraries of the Russian Empire open before him. Karamzin is forced to leave the publication of the journal "Bulletin of Europe" and literature; he plunges headlong into scientific activity.

From 1803 to 1826, 12 volumes of the History of the Russian State, one of the first generalizing works on national history, were published from his pen.

It should be noted that the work of N. M. Karamzin was not the first description of the history of Russia. In the 18th century, V.N. Tatishchev and M.M. Shcherbatov worked in this field. But, Karamzin's great merit lies precisely in the fact that he opened the history of Russia to a wide range of educated public.

It is noteworthy that N. M. Karamzin, carefully processing historical material, simultaneously acts as a writer - he writes about the history of Russia in a bright, lively, interesting, figurative language. Therefore, it is not surprising that the work of the historian enjoyed such success among his contemporaries. According to A. S. Pushkin, “everyone, even secular women, rushed to read the history of their fatherland, hitherto unknown to them. She was a new discovery for them.

Researchers note in the "History of the Russian State" the great scientific value of the author's comments. It is noteworthy that many of them contain a large number of extracts from ancient manuscripts.

The main merit of Karamzin as a historian of Russia is not at all that he wrote the true history of Russia, but that he created the possibility of a true history of Russia in the future. Karamzin revealed to the whole Russian society that he has a fatherland that has a history, and that the history of his fatherland should be interesting to him, and knowledge of it is not only useful, but also necessary. In his lively and skillful literary story, all of Russia read the history of its fatherland and for the first time got an idea about it. From that moment on, both the study of Russian history and the scientific development of its materials became possible; for only from that moment did Russian history become a living and universal interest.

Karamzin - reformer of the Russian literary language

The work of Karamzin played a big role in the further development of the Russian literary language. Creating a "new style", Karamzin starts from the "three calms" of Lomonosov, from his odes and laudatory speeches.

The "Three Calms" proposed by Lomonosov relied not on live colloquial speech, but on the witty thought of a theoretician writer. Karamzin decided to bring the literary language closer to the spoken language. Therefore, one of his main goals was the further liberation of literature from Church Slavonicism.

The second feature of the "new syllable" was the simplification of syntactic constructions.

Unlike Lomonosov, Karamzin strove to write in short, easily visible sentences.

The third merit of Karamzin was to enrich the Russian language with a number of successful neologisms, which have become firmly established in the main vocabulary.

Among the innovations proposed by Karamzin are such widely known words in our time as “industry”, “development”, “refinement”, “concentrate”, “touching”, “amusing”, “humanity”, “public”, “ generally useful", "influence" and a number of others.

One of the first Karamzin began to use the letter "Yo".

slide 2

Autumn winds blow In the gloomy oak forest; Yellow leaves fall to the ground with noise.

slide 3

The field and garden were deserted; The hills lament; The singing in the groves ceased - the birds disappeared.

slide 4

The late geese of the village tend to the south, rushing in a smooth flight In the mountain ranges.

slide 5

Gray mists curl in a quiet valley; Interfering with the smoke in the village, They ascend to the sky.

slide 6

The wanderer, standing on a hill, With a despondent look Looks at the pale autumn, Sighing languidly.

Slide 7

Sad wanderer, console yourself: Nature withers Only for a short time; Everything will revive

Slide 8

Everything will be renewed in spring: With a proud smile Nature will rise again In wedding clothes.

Slide 9

Mortal, ah! Wither forever! The old man in the spring Feels the cold winter Old age of life.

Word work

1. Pick up synonyms for the words: gloomy, gray-haired (fog), dull (look), sad, pale (autumn). What mood do they create? 2. Explain the meaning of word forms: complain, village, limits (mountainous), languid. 3. Find obsolete grammatical forms in the text, select modern matches.

slide 11

4. Why does the poet use an old man instead of an old man, a cold one instead of a cold one? 5. Explain the meaning of the phrase: "Again nature will rise In wedding clothes."

Questions and tasks

1. What, in your opinion, is the meaning of the opposition between the penultimate and last quatrains in "Autumn"? 2. What is nature compared to in this poem? 3. Why do you think the author has italicized some lines? Let's get back to them.

slide 13

4. Find a rhetorical appeal in the text. What is it used for? 5*. Poets of what literary movement are characterized by motifs of sadness, melancholy, loneliness? 6. What was the simplicity of N.M. Karamzin? 7. Prepare for expressive reading of the poem.

Sources

http://yandex..html Zapadov V.A. Russian Literature of the Last Quarter of the 18th Century: Reader. - M.: Enlightenment, 1985, pp. 376-377. Literature. Grade 9 Textbook for general education. institutions. Part 1. Ed. V.Ya. Korovina. - 16th ed. - M.: Enlightenment, 2009, p. 102-103.

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Full name (full name)

Boyko Alla Anatolievna

Place of work

MBOU Zadonskaya secondary school

Job title

Teacher of Russian and Literature

Literature

Topic and lesson number in the topic

The story of N.M Karamzin "Poor Lisa" as a work of sentimentalism.

Basic Tutorial

Literature: Literature program for educational institutions. 5-11 cells / T.F. Kurdyumova, N.A. Demidova, E.N. Kolokoltsev and others; ed. T.F. Kurdyumova. - 4th ed., stereotype. - M.: Bustard, 2011. - 93 p.

1. Purpose of the lesson: generalize knowledge about the specifics of sentimentalism as a literary trend in European and Russian literature of the 18th century; to analyze the main elements of sentimentalism in Karamzin's poetry and fiction in the context of the work of European sentimentalists.

2. Tasks:

educational:

Determine the main features of sentimentalism as a literary trend in Russian and European culture of the 18th century; to help schoolchildren realize the connection between Russian sentimentalism and European sentimentalism;

Complete the circle of information about N.M. Karamzin as the largest representative of Russian sentimentalism and a multifaceted personality;

Analyze the lyrics and prose of N.M. Karamzin in the context of the work of European sentimentalists.

Develop the ability to analyze a literary work within the framework of a literary direction.

Learn to retell, answer questions using the figurative means of the Russian language.

Learn to interpret the plot of the paintings;

To teach writing creative works on a given topic (during homework with cards of a differentiated nature).

- developing:

Teach the ability to analyze; compare plots, characters of heroes, creative style of different writers; establish cause-and-effect relationships in the logic of the characters' behavior, synthesize - generalize, draw conclusions;

Develop the ability to work individually and in a group;

- educational:

The development of aesthetic consciousness through the development of the artistic heritage of Karamzin and European writers of the 18th century.

Formation of a holistic worldview that takes into account the social, cultural, linguistic, spiritual diversity of the world.

3. Type of lesson - traditional, with elements of integration; lesson of generalization and replenishment of knowledge.

4. Forms of student work- analysis of literary texts, incl. comparative analysis, processing of information presented in the electronic module and textbook (drawing up a table), commenting on the content of paintings, written work on cards of a differentiated nature, retelling a summary of literary works with elements of analysis.

5. Necessary technical equipment -

1. Textbook “Literature. Grade 9, ed. T.F. Kurdyumova. - 4th ed., stereotype. - M.: Bustard, 2011. - 93 p.

2. Texts of poems by N.M. Karamzin "Poetry", "Recovery" and "To the Nightingale" and the story "Poor Lisa", poems by I.V. Goethe, E. Jung, J. Thomson, novels by I.V. Goethe "The Suffering of Young Werther", J.-J. Rousseau "The New Eloise".

3. Additional literature (exhibition for recommendation to schoolchildren)

Lotman Yum. Creation of Karamzin. M., 1987.

Osetrov EM. Three lives of Karamzin. M., 1985.

Toporov V.N. "Poor Liza" Karamzin: reading experience. M., 2006

4. Reproductions from paintings

5. PC with Internet access

STRUCTURE AND PROCESS OF THE LESSON

Lesson stage	Name of used ESM(with indication of serial number from Table 2)	Teacher activity (indicating actions with ESM, for example, demonstration)	Student activities	Time
I. Pre-communicative stage	Slide with the topic and objectives of the lesson	1. Announcement of the topic and goal setting. Guys, we continue to get acquainted with the section “From Russian Literature of the 18th Century” and today we turn to the work of N.M. Karamzin. The topic of our lesson is “Creativity of N.M. Karamzin as the pinnacle of Russian sentimentalism. Our goal is to consider the principles of sentimentalism as a literary trend in European and Russian literature of the 18th century; find out the place and role of Karamzin in the history of Russian literature of the 18th century as the largest representative of Russian sentimentalism; to identify the main features of Karamzin's sentimentalist poetics on the material of his lyrical and epic works in the context of the work of European sentimentalists.
		2. Updating knowledge Recall what you know about sentimentalism.	Students' answers (definition of the concept, interpretation of the term "sentimentalism")
II. Communication stage		1. Word of the teacher. The peculiarity of the literature of the XVIII century was that two literary trends coexisted - classicism and sentimentalism. You already know what was the peculiarity of classicism, got acquainted with the classicist writers. Let us find out what was European sentimentalism as a literary movement, what is the place and role of Russian sentimentalism in the European literary process. To do this, we turn to the information base of the Internet. (View module "Sentimentalism"). So, under what circumstances and for what reason did sentimentalism arise? What is the relationship between Russian and European sentimentalism?	It arose in the depths of classicism, as a reaction to classicism and its poetics. The principles of poetics already formed in Europe were accepted and rethought by Russian writers on the basis of Russian material.
	PC or interactive whiteboard (when creating a spreadsheet)	2. Systematization of knowledge on the theory of literature over the concept of sentimentalism. Working with a textbook and compiling a comparative table “Literary trendsXVIIIcentury". Let's compile a comparative table "Literary trends of the 18th century" in order to have a good idea of this and highlight the features of sentimentalism as the second literary trend, due to classicism. To do this, we will use the information provided in the reviewed module and the textbook material on pages 69-70. It will be necessary for us to analyze the works of Karamzin and European sentimentalists in terms of literary direction. What conclusion can we draw from this table? In addition, the literature of sentimentalism prepared the transition to a new literary trend - romanticism.	Collective compilation of a comparative table "Literary trends of the XVIII century." The literature of sentimentalism was a more modern direction, which secured a person's right to private life and with an active civic position.
	“N.M. Karamzin A Word about the Writer	3. Systematization of information about the life and work of N.M. Karamzin. You already know the work of N.M. Karamzin. Let us recall the main milestones of his biography. The information module will help us with this. Review the information provided in the module and note what you learned from this project. (Module view) However, not all information about the specifics of literary activity is reflected in the module. I propose to supplement the information about the writer, since it is necessary for us to understand the writer's worldview.	Children's answers. Abstracting of a prepared student who covers the facts of the biography and the stages of the writer's creative path: Karamzin's belonging to an old noble family, the circle of his children's reading; Service in the Life Guards Preobrazhensky Regiment and acquaintance with I.I. Dmitriev; Entry into the Masonic lodge "Golden Crown" and passion for translations; Creation of the first sentimental story "Eugene and Julia"; Traveling around Europe and meeting prominent philosophers and writers, being in Paris during the French Revolution, creating the book Letters of a Russian Traveler; Departure from Masons and immersion in literary activity (the stories "Poor Lisa" and "Natalia, the Boyar's Daughter" as examples of "sentimental" prose); Creation of pre-romantic elegies and literary disputes with "archaists"; The death of the first wife and the acquisition of family happiness in the second marriage; Appointment as a court historiographer and work on the History of the Russian State.
	Didactic material - cards for group work (see Appendix No. 2).	4. Analysis of the poetic works of N.M. Karamzin in the aspect of literary direction (checking homework - preliminary group work on cards of a differentiated nature). Let us consider what constituted the innovation of Karamzin the sentimentalist. To do this, we turn to his lyrics. At home, you analyzed the poems by N.M. Karamzin. Let's exchange our observations. Group 1 prepared an analysis of a fragment of a poem by N.M. Karamzin "Poetry". Responds.... Let's collectively complete task number 11 of this option. Let's find the elements that will allow us to define this work as a new poetry - sentimental. Compare the fragment of N.M. Karamzin with the works of European sentimentalists E. Jung and I.V. Goethe. What unites them? Argument your answer, based on the signs of sentimentalism. Group 2 considered the poem "Recovery". To the board goes .... Group 3 considered the poem "To the nightingale." To the board goes .... Let's define the features of sentimentalism in this poem. Let's compare this poem with the poems of European sentimentalists E. Jung, J. Thomson, I.V. Goethe. What conclusion about the role of Karamzin can be made by considering his poems in the context of European poetry?	Student's speeches with an analysis of an excerpt from Karamzin's poem "Poetry". Collective work. Determination of the features of sentimentalism in an excerpt from the poem "Poetry". Argumentation of the answers, based on the signs of sentimentalism in the comparative table. Performances by students with an analysis of Karamzin's poem "Recovery". Children's answers based on the text and signs of sentimentalism in a comparative table. Conclusion: The sentimentalist lyrics of Karamzin became a movement forward towards the emancipation of the content and the very language of literature. Sentimentalism has formed a new literary situation associated with the comprehension of the innermost part of the human "I", the world of his feelings, internal movements and experiences. In this respect
		5. Work on defining the features of sentimentalism in N.M. Karamzin "Poor Lisa" Let us turn to Karamzin's prose. The story "Poor Liza is already familiar to you." Let's remember the plot of the story. Pay attention to the meaning of the title of the story - "Poor Lisa". What is the ideological meaning of the work? Explain the meaning of the famous Karamzin phrase "even peasant women know how to love!" Comment.	Brief retelling of the content of the story by one of their students. And peasant women know how to love. There are no class boundaries in the ability to feel and experience. People differ not by class, but by the ability to love and remain faithful and decency in relationships.
		Work with an illustration for the story "Poor Liza" in the textbook of literature (p. 80). Pay attention to the illustration for "Poor Lisa" on page 80 of the textbook. What episode of the story do you think is illustrated? Support with words from the story. Which one is Lisa? Does the created image correspond to Karamzinskaya Lisa? Prove it.	She is poetic. Karamzin, like all sentimentalists, poeticized the peasants, emphasizing their natural freshness of immediacy, the ability to feel the beauty and subtlety and complexity of experiences, incl. love.
	Reproductions of paintings by artists I.P. Argunov and A.G. Venetsianov.	Illustrating Karamzin's Thought "Even Peasant Women Can Love" in Context interpretation of the plots of paintings by I.P. Argunov and A.G. Venetsianov. Pay attention to reproductions from paintings by artists I.P. Argunov and A.G. Venetsianov. Who do you see in the painting by artists I.P. Argunov? How, with the help of what details does the artist create a portrait of a young peasant woman? What details do you consider the most important and why? What mood is conveyed by the artist? What mood is permeated by the picture of A.G. Venetsianov "Reapers" What is the center of the picture? What detail is significant and important for understanding the artist's thoughts and honor? Can this detail be viewed as a metaphor? What prompted the artist to turn to this particular subject? What is his creative mission? Do the plots of the examined paintings confirm our conclusion about the poeticization of peasants by sentimentalists, the assumption behind them the ability to feel the beauty, subtlety and complexity of experiences? What about Karamzin's idea that "even peasant women know how to love"? Prove it. What conclusion can you draw

Lesson type: the study of new material and the primary consolidation of knowledge.

Equipment: a computer; presentation, handout (Appendix 1), paintings by V. Borovikovsky and O. Kiprensky, illustrations by students, cartoon "Poor Liza"

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Literature lesson in the 9th grade.

N.M. Karamzin. "Poor Lisa". The concept of sentimentalism

Lesson Objectives:

Educational:Briefly acquaint students with the biography and work of N.M. Karamzin, give an idea of sentimentalism as a literary trend.

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

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

Lesson type : the study of new material and the primary consolidation of knowledge.

Equipment: a computer; presentation, handout (Appendix 1), paintings by V. Borovikovsky and O. Kiprensky, illustrations by students, cartoon "Poor Liza"

Epigraph to the lesson:

Whatever you turn to in our literature - Karamzin laid the foundation for everything: journalism, criticism, novella, historical story, publicism, the study of history.

(V.G. Belinsky)

During the classes

1 . Organizing time.

P. Motivation of educational activity. Message about the topic and purpose of the lesson.

Introduction by the teacher.

We continue to study Russian literature of the 18th century. Today we have to get acquainted with an amazing writer, whose work, according to the well-known critic of the 19th century V. G. Belinsky, "began a new era of Russian literature." The name of this writer is Nikolai Mikhailovich Karamzin.

II. Writing a theme, an epigraph.

III. Learning new material.

1). The teacher's story about N.M. Karamzin.

- N.M. Karamzin was born on December 1 (12), 1766 in the Simbirsk province in a well-born, butpoor noble family. The Karamzins descended from the Tatar prince Kara-Murza, who was baptized and became the ancestor of the Kostroma landowners.

The writer's father, for his military service, received an estate in the Simbirsk province, where Karamzin spent his childhood.Quiet disposition / and a tendency to daydreaminghe inherited from his mother Ekaterina Petrovna, whom he lost at the age of three.

When Karamzin was 13 years old, his father assigned him to boarding house Professor of Moscow University I.M. Shaden, where the boy listened to lectures, received a secular education, studied German and French to perfection, read in English and Italian. At the end of the boarding school in 1781, Karamzin left Moscow and decided in St. Petersburg to the Preobrazhensky Regiment, to which he was assigned at birth.

By the time of military service are the first literary experiments. The writing inclinations of the young man brought him closer to prominent Russian writers. Karamzin started as a translator, edited the first in Russiachildren's magazine "Children's Reading for the Heart and Mind".

After the death of his father in January 1784, Karamzin retired with the rank of lieutenant and returned to his homeland in Simbirsk. Here he led a rather scattered lifestyle, typical of a nobleman of those years.

2). teacher b. For today's lesson, you have prepared literary business cards about the life and work of N.M. Karamzin. Please complete my post about the writer. (Students complete the teacher's story based on additional material)

A decisive turn in his fate was made by a chance acquaintance with I.P. Turgenev, an active Freemason, an associate of the famous writer and publisher of the late 18th century N.I. Novikov. For four years, the novice writer rotates in Moscow Masonic circles, closely approaches N.I. Novikov, becomes a member of the scientific society. But soon Karamzin is deeply disappointed in Freemasonry and leaves Moscow, setting off on a long journey through Western Europe..

In the autumn of 1790, Karamzin returned to Russia and from 1791 began to publish"Moscow Journal",published for two years and had great success with the Russian reading public. The leading place in it was occupied by artistic prose, including the works of Karamzin himself.- “Letters from a Russian traveler”, stories “Natalia, boyar daughter”, “Poor Lisa”.New Russian prose began with Karamzin's stories. Perhaps, without knowing it himself, Karamzin outlined the features of an attractive image of a Russian girl - a deep and romantic nature, selfless, truly folk.

Beginning with the publication of the Moscow Journal, Karamzin appeared before Russian public opinion as the first professional writer and journalist. In a noble society, literature was considered more of a fun and certainly not a serious profession. The writer, through his work and constant success with readers, established the authority of publishing in the eyes of society and turned literature into a profession, honorable and respected.

The merit of Karamzin as a historian is also enormous. For twenty years he worked on"History of the Russian State",in which he reflected his view on the events of the political, cultural, civil life of the country for seven centuries. A.S. Pushkin noted “a witty search for truth, a clear and correct depiction of events” in the historical work of Karamzin.

3). Introduction of the concept of “sentimentalism”.

Karamzin approved in Russian literature an artistic opposition to fading classicism - sentimentalism.

Sentimentalism - this is an artistic direction (flow) in art and literature of the late 18th - early 19th centuries. Remember what a literary movement is.(You can check on the last slide of the presentation).The very name "sentimentalism" (from the English. sentimental - sensitive) indicates that feeling becomes the central aesthetic category of this direction.

A friend of A.S. Pushkin, the poet P.A. Vyazemsky, defined sentimentalism as “an elegant depiction of the basic and everyday”.

Teacher. 1. How do you understand the words: “elegant”, “basic and everyday”?

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

3. Write down the term "Sentimentalism" in the literary dictionary

four). Independent work. Work in pairs. Compilation of a pivot table.

Teacher. In order to summarize the basic information about classicism and sentimentalism as literary movements of the 18th century, I suggest that you fill out a table. Here is a sample table. Fill in the blanks. Additional material about sentimentalism, some important features of this trend that we have not noted, you can find in the texts lying on your desks.

Classicism	comparison line	Sentimentalism
Education of a person in the spirit of loyalty to the state, the cult of reason	Main idea	The desire to represent the human personality in the movements of the soul
civil, public	Main theme	love
Strict division into positive and negative, unilinearity	Heroes and characters	Refusal of straightforwardness in assessing characters, attention to ordinary people
Auxiliary, conditional	The role of the landscape	Means of psychological characterization of heroes
Tragedy, ode, epic; comedy, fable, satire	Main genres	Tale, journey, novel in letters, diary, elegy, message, idyll

The time to complete this task is 3 minutes.(After completing the task, listen to the answers of 2-3 students and check with the table).

5 . A conversation about the story "Poor Liza", read at home.

Teacher. You have read N.M. Karamzin's story "Poor Lisa".

one). What is this piece about? Describe its content in 2-3 sentences.

2). From what person is the story being told?

3). What is the role of landscape in the work?

four). How did you see the main characters?? (paying attention to the table with comparative features of classicism and sentimentalism, as well as students show their illustrations for the story, commenting on their choice)

6). Is Karamzin's story similar to the works of classicism? (Students name the differences using their tables)

V. Summing up the lesson. Interview with students. Free Mic Reception

o Why did Karamzin's story become a discovery for his contemporaries?

o What tradition of Russian literature was initiated by Karamzin?

Student Assessment.

U. Homework.

1. Prepare an answer to the question: “Is the story“ Poor Lisa ”interesting to the modern reader? How?

2. Answer to question 1 with 104.

Let's open the dictionary of literary terms. “Sentimentalism is an unproductive creative method and literary trend of the Enlightenment, in which the cult of feeling was established instead of the classicist cult of reason.” The very name "sentimentalism" (from the English SENTIMENTAL - sensitive, French SENTIMENT - feeling) indicates that feeling becomes the central aesthetic category of this direction.

Pushkin's friend, the poet P.A. Vyazemsky, defined sentimentalism as "an elegant depiction of the basic and everyday." Sentimentalists, unlike the classicists, sang of a simple man, with his rich inner world, feelings, self-esteem.

Sentimentalists are characterized by the desire to represent the human personality from the inside, in the movements of the soul, changes in feelings and moods. They do not, like the classicists, divide heroes into positive and negative ones; it is important that the hero is aware of his shortcomings and tries to correct them, suffers from his bad deeds. There is no straightforwardness or unambiguity in the characterization of the characters and their assessment.

One of the characteristic features of Russian sentimentalism is the idyllic depiction of the peaceful life of a common man in the bosom of nature. In this regard, a special role in the works of sentimentalism is played by the landscape, which acts as a means of psychological characterization of the characters, reflecting their state of mind.

The literature of sentimentalism is addressed to everyday life, to the private life of people. Therefore, the genres characteristic of sentimentalism - an elegy, a message, an epistolary novel (a novel in letters), a diary, a journey, a story - largely imitate the direct experiences of a person, records dictated by the direct movement of the heart. The main theme of such works is love and the feelings associated with it.

And yet, it seems that the poet is most interesting not in love lyrics, but in elegiac poems of a meditative nature (Latin meditation- thinking). Where he plunges into the area of metaphysical thoughts about life and death, about the passage of time and the eternal cycle of the seasons in nature. "Autumn" (1789), "Recovery" (1789), "Volga" (1793), "To the nightingale" (1793), "Prayer for rain" (1793), "To Alina. On the death of her husband" (1795) , "Time" (1795), "To the poor poet" (1796), "Melancholy" (1800), "Shore" (1802). Each of these poems has its own individual lyrical tone, each marked by an attempt to create an emotional atmosphere to match the subject of the image.

"Autumn" tells about the withering of nature, which occurs every year with inevitable inevitability. This withering is sad, but not tragic at all. Because with the same inevitability "everything will be renewed in the spring." The fate of man is tragic. After all, the "cold winter" of life continues to approach him in the spring. Nature fades away for a short time, and man fades away forever.

Autumn Autumn winds blow In the gloomy oak forest; Yellow leaves fall to the ground with noise. The field and garden were deserted; The hills lament; The singing in the groves ceased - The birds disappeared. The late geese of the village tend to the south, rushing in a smooth flight In the mountainous limits. Gray mists curl in a quiet valley; Interfering with the smoke in the village, They ascend to the sky. A wanderer, standing on a hill, Looks with a dull gaze at not a pale autumn, Sighing languidly. Sad wanderer, comfort yourself! Nature withers Only for a short time; Everything will revive, Everything will be renewed in the spring; With a proud smile Again nature will rise In wedding clothes. Mortal, ah! wither forever! The old man in the spring Feels the cold winter Old age of life.

In any sentimental work, a personal narrative plan is necessarily visible. In other words, explicitly or implicitly, but the starting point for depicting pictures of nature or human experiences is the subjective view of the author of the work on them. In the climactic stanza of "Autumn" there is an image of a wanderer (projection of the author-poet). He stands on a hill and sadly looks at the pale colors of autumn. Compositionally, this figure divides the poem into two parts. In the first part (four initial stanzas) there is a picturesque and concretely painted autumn landscape. With the noise of the wind tearing yellow leaves from the gloomy giant oaks. With empty fields and orchards. With strings of geese rushing to the warm south in the high sky. With gray mists settling in a quiet valley that borders the village huts. In the second part (the last three stanzas), which follows the climactic fifth stanza, the author himself takes the floor. He now comes to the fore, pushing the figure of the wanderer. These are his author's meditations-reflections on the dissimilarity of the fate of nature renewing and returning to the fullness of life and people going into oblivion.

While working on this work, Karamzin drew up a metric scheme of the verse and placed it at the top of the sheet above the text. This is very revealing. The poet thought about how to convey a complex state of mind by the very rhythm of the lines. On the one hand, hopelessness and therefore sadness, and on the other, faith in life, in its renewing and regenerating forces. A contradictory, unusual feeling, and if so, then the poetic form is somewhat unusual. The rhythm and intonation-melodic sound of the verse are unusual.

The rhythm and meaning of a verse are always closely related. To understand their relationship, let us take a short digression into the theory of verse. Let's start with the ratio of meter and rhythm in a poetic work. These two terms do not mean the same thing. Meter (in Greek metron, that is, measure) - this, in fact, is the poetic size, which the work formally follows. The meter is the basis of the verse, this is its original scheme, its supposed rigid framework. The main sizes of the syllabic-tonic verse are: trochee, iambic, dactyl, amphibrach and anapaest. Trochee and iambic - two-syllable sizes: when each foot (that is, a repeating group of syllables in lines) consists of two syllables. It is customary to designate a syllable with a sign resembling an inverted cap: I. A stressed sign is placed above the stressed syllable in the foot: ´. Thus, the trochee will be designated: (the first syllable of the foot is stressed, the second is unstressed). The iambic will schematically look like: (the first syllable is unstressed, and the second is stressed). The schemes of three-syllable feet proceed from the same principle of the ratio of stressed and unstressed syllables in the foot. Only the foot does not consist of two, but of three syllables. Dactyl: . Amphibrach: . Anapaest:.

When creating a poem, it is not only difficult for a poet, but it is impossible to absolutely accurately maintain the metric scheme! In Russian, the number of syllables in different words is extremely varied: from one syllable to twelve, or even more. And the stresses in words are not fixed on a particular syllable, as they are fixed, for example, in Polish or French. In one word, the stress is on the first syllable, in another - on the fourth, and so on. That is why a real (not exemplary, not computer) poem always contains some violation of the metrical scheme underlying it. Most often it is pyrrhic, that is, the omission of the stress in the syllable suggested by the scheme, or sponde, that is, the additional stress on the syllable where, according to the scheme, it should not be. The more original and talented the poet, the more boldly he handles the metric scheme. He follows it and at the same time violates it, embodying the individual plan of his work. From the dialectics of following and violations, a unique rhythmic pattern of each poem arises, and hence its unique meaning.

Rhythm is a concept and phenomenon much more voluminous and complex than meter. Rhythm encompasses all spheres of life, both earthly and cosmic. The rhythmic organization of a literary work acquired the outlines of a special problem in the works of ancient philosophers and philologists. Rhythm correlated in them with the aesthetic ideals of antiquity: symmetry, harmony, beauty. Plato offered the most accurate understanding of the essence of the phenomenon, designating rhythm as "order in motion." All subsequent definitions of rhythm will proceed from this ingeniously simple formula, which combines two principles of being: the statics of an already found form (let's take the ordered meter of a verse as an example) and its constant and inevitable variability. Plato introduced into the understanding of rhythm the most consonant with its essence the idea of dialectics. Time will pass, and another brilliant thinker - Augustine - will supplement the Platonic formulation with a spiritual beginning. He will correlate rhythm with the creative work of the intellect and spirit: "Rhythm is the fruit of the work of the spirit."

The ratio of meter and rhythm, these two main instruments in the construction of verse, is extremely diverse. The diversity is explained historically. Poetry is an ancient art, and the meter underlying it is, figuratively speaking, a rhythm that has had time to petrify and freeze over many centuries. Due to its frozen form, it is filled with traditional, many times repeated semantics (semantic meaning) and therefore lends itself to precise study. The meter, embodied in poetic meters, is a rigid framework that dominates the rhythm of the verse. Meter is static, rhythm is dynamic. The meter managed to acquire a clear outline of the form. The rhythm that organizes the very process of creativity at this moment is personal, elemental, little predictable.

The historical view leads to poetics. A fully and consciously realized meter is a copybook verse or computer verse models, exemplary and therefore not alive. Rhythm is a living melodic sound that arose as a result of the search for individual intonations with their unique declines, rises, accelerations and decelerations, as a result of focusing on the metric scheme and at the same time overcoming it. Meter outside of rhythm turns out to be only a theory, but even rhythm outside of meter cannot acquire a complete form in verse. Any poetic creation begins with a confrontation, and often a sharp conflict between meter and rhythm.

Karamzin turned out to be one of the first Russian poets who distinguished between poetry and poetry. The first, he believed, was following the meter and the exact selection of rhymes. The second is following the inner call of the soul, when the very form of the verse begins to serve "a strong and harmonious imagination and extraordinary sensitivity." He called to be "not only a poet, but also a Poet." Based in "Autumn" on the declared metric scheme, he immediately transforms it, guided by "imagination and sensitivity."

Let's follow the rhythmic organization of "Autumn". She is not simple. The poet combined in one line two different sizes: dactyl and trochee. Let's make a metric chart. Let's put into it all the syllables of the four lines of the initial stanza. Let us designate stressed syllables with an accent sign "´" (Latin accentus - stress). And split each line into stops:

What do we see? A more drawn-out sounding dactyl (it is three-syllable after all) is connected in a line with a more jerky and clear-sounding trochee (it is two-syllable and even completes the line, as it were, breaks it off). Such a combination sets the reader's perception to something disturbing and disturbing, requiring completion. One more syllable missing here could complete the last foot to dactyl. But he is not! It was important for the poet to find such a rhythm, such melodic intonations, which, with their slight inconsistency, would instill conflicting feelings in the soul of the reader. Before us is a kind of rhythmic clue. Rhythm helps to unite in a single surge of emotions joyful inspiration at the thought of the eternal renewal of nature and sad despondency at the thought of the inevitable "withering" of man.

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Text content of presentation slides: N.M. Karamzin. A word about the writer and historian. The concept of sentimentalism. "Autumn" as a work of sentimentalism Russian history seemed to have been discovered by Karamzin, like America by Columbus. A.S. Pushkin Independent work1. Karamzin - writer and poet.2. Karamzin is a historian.3. Karamzin is a reformer of the Russian literary language. New phrases: tender heart, kindness, noble appearance, steal the heart, pale moon. New words: personality, first-class, industry, love, prudence. Borrowings: sidewalk, police, toast, selfish, caricature, controller. SentimentalismFrom English sentimental - sensitiveXVIII
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style.rotationstyle.colorfillcolorstroke.colorfill.type ClassicismSentimentalismCult of reasonCult of feelingPriority - public life of a person, civic dutyPriority - private life of a person, the sphere of emotionsLiterary norms and rules Violation of literary boundaries and rules The main idea is a peaceful, idyllic life of a person in the bosom of nature. The subject of the image is a peaceful, idyllic life of a person in the bosom of nature. Idyll is a serene, peaceful and harmonious being. A sharp contrast between the village - the focus of natural life, moral purity and the city - a symbol of evil, unnatural life, vanity, moral licentiousness. New heroes - settlers and villagers, shepherds and shepherds Ideal - a natural person A rich inner world of representatives of the lower classes is affirmed Genres - a sentimental story, travel, epistolary genre (letters), idyll (pastoral) - (French pastorate, from Latin pastoralis - shepherd), literary, musical genres based on the poeticization of peaceful and simple rural life. Idyll (Greek eidýllion) is one of the main literary forms of bucolic poetry (bucolics); they are united by an interest in the everyday life of ordinary people, in intimate feelings, in nature; the depiction is deliberately artless. Bucolic, bucolic poetry (from the Greek bukóĺos - shepherd) is one of the small genres of poetry associated with its folklore source - songs of shepherds. B. as a genre is defined by the presence of a song, the variety and persuasiveness of the characters revealed from within, the mastery of detail (especially in the landscape, which is always peaceful and therefore conditional), and the praise of the delights of rural life. Particular attention to the landscape Sentimental, idyllic landscape - a river, streams, a meadow The author's task is to make the reader experience, evoke compassion, tears of emotion Representatives Laurence Sterne Samuel Richardson Jean Jacques Rousseau Russian sentimentalists V.A. Zhukovsky N.M. Karamzin naturalness and simplicityThe idea of an organic connection with nature

CategoriesDiariesTravel writingLettersMemoirsElegiac messagesNovels
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ppt_y Borovikovsky "Portrait of Lopukhina" What is the background? What is the meaning of this background? What do the eyes, lips, turn of the heroine's head express? What features are inherent in this woman? How is Lopukhina dressed? What colors prevail in the portrait?

How does this portrait differ from the portraits of the era of classicism?
Sentimentalism in park art The splendor of the palace and the "large circles" in the park with the statues of Justice and Peace do not overwhelm with grandeur, but create a feeling of freedom and harmony. The Dairy House was built in the style of a Swiss boulder hut. The bell over the "Dairy" invited at the appointed hour to drink milk, and cows and sheep grazed in the meadow nearby. Why?
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The children of Maria Feodorovna (wife of Paul the First) cultivated the garden with shovels and rakes. There was a "Monument to Parents" in the park. Family ties and ideas of upbringing were sacred in times of sentimentalism.
An extremely organic combination of nature and art has been created in Pavlovsky. There is no contradiction between nature, buildings, statues here. The park seems to be an improvisation of nature itself, but it is man-made.

Tender feelings of devotion and friendship were symbolically immortalized in another building of the park - the "Temple of Friendship". Features of sentimentalism: departure from the straightforwardness of classicism in the depiction of characters and their assessment; emphasized subjectivity of the approach to the world; cult of feeling; cult of nature; cult of innate moral purity, integrity, naturalness; affirmation of the rich spiritual world of representatives of the lower classes. Features of Russian sentimentalism strong didactic setting; pronounced educational character; active improvement of the literary language through the introduction of colloquial forms into it. Reading and analyzing the poem "Autumn" - What feelings does the poem evoke? - What is its meaning? What is nature compared to in the poem? What do you think the author wanted to say with this poem? Let's check ourselves! When did sentimentalism begin?XVIII
How is the term translated? Sensitive
How does sentimentalism differ from classicism? Feeling rules Captivates virtue Valor - sincerity Interest in a simple person

What masterpieces of Western European sentimentalism do you know? Richardson "Clarissa Garlo" Rousseau "Julia, or the New Eloise" Goethe "The Suffering of Young Werther"
What are the ideas of sentimentalism? Moral equality of people Ideals of naturalness and simplicity The idea of an organic connection with nature

What are the leading genres of sentimentalism?

Who are the Russian sentimentalists in literature? N. M. KaramzinA. N. RadishchevEarly V. A. Zhukovsky

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And the multi-volume "History of the Russian State", but bright poetic lines also belong to Karamzin's pen. He was especially successful in elegies, among which the real pearl is the poem "Autumn".

The work was created in 1789 in Geneva. Describing the European landscape, the poet sadly recalls his native fields and copses. The inevitable decay of not only nature, but also human life is a common motif in poetry. Karamzin, in his reflections, bitterly notes that in the spring nature will bloom again, but a person will never be able to return the beautiful days of his youth.

Compositionally, the elegy "Autumn" can be divided into two semantic parts. At first, the lyrical hero appears before the readers as a lonely wanderer who sadly looks around the surrounding dull landscape from the hill. Then the author turns to him with consolation: "... everything will be renewed in the spring." The work ends with a disappointing conclusion that the mortal "wilts forever."

Dreaminess, skepticism and contemplation of nature are characteristic of the lyrical hero of sentimental poetry. Secluded places and the autumn landscape are favorite scenery for adherents of this genre. Therefore, "Autumn" is quite traditional in content, but original in form - blank verse. Karamzin used two poetic meters here - the lingering rhythm of the dactyl in the first three lines suddenly breaks off with a shorter and clearer line of the chorea.

The poet was not familiar with Japanese haiku poetry, but chose a similar, laconic look for his work. Such a rhythmic device creates a feeling of anxiety, incompleteness, excites the reader's emotions. It seems to combine hope and inspiration with despondency and doom. It is known that Karamzin seriously worked on the rhythmic pattern of "Autumn". The metric scheme of the poem has been preserved in the margins of his manuscript.

There are few political motives in Karamzin's poetry, it is concentrated on personal feelings and moods. According to the author himself, the main thing for him is a momentary impression. Therefore, in the poem "Autumn" all artistic techniques are aimed at lyrical associations.

Nature and man in Karamzin are closely connected by one thread. This is emphasized by spectacular personifications: “the hills are lamenting”, “with a proud smile ... nature will rise in wedding clothes”, “fogs ... ascend to the sky”. The general mood of sadness and withering is created by numerous adjectives: autumn, gloomy, dull, pale, gray-haired, sad, cold, as well as verbs: fall down, become empty, complain, become silent, wither. The sad notes of the landscape are drawn in light colors: yellow leaves, gray fogs, pale autumn.

The voices of the silenced birds were replaced by the sound of falling leaves, which "fall to the ground with noise." A successful alliteration in the very first line of the work - "autumn winds blow" - imitates the whistling of the wind in the branches of trees. Sound in this poem plays a greater role than color. Many words are connected precisely with sound: they blow, fall, lament, sing, sigh. Therefore, “Autumn” is more likely to be “heard” than “seen”.

Karamzin skillfully uses epithets: "gloomy oak forest", "late geese", "quiet valley", "gray fogs". The image of old age capaciously reflects the original expression: "the cold winter of an old life." The author often uses inversion, which permeates almost every line of the elegy: “a sad look”, “a sad wanderer”, “the birds have disappeared”, “winds are blowing”, “leaves are falling”, “hills are complaining”, “mists are curling”, “nature is withering ". This technique is typical for the literature of that time, it organically fits into the fabric of the poem.

Karamzin's innovation manifested itself in all areas of his literary activity. He introduced new genres and forms into lyric poetry; instead of the common iambic, he widely used trochee, trisyllabic meters and blank verse. But the main thing is that Karamzin made each poem sound, subtly and accurately creating the emotional atmosphere of the work. “With him, poetry of feeling, love for nature, inner, sincere poetry was born in us,” Vyazemsky wrote about Karamzin.

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