Karamzin. "Letters of a Russian Traveler".

Brief biography. Nikolai Mikhailovich Karamzin (1766-1826) born in Simbirsk. Here, and then in Moscow at the boarding school of Professor Schaden, he received his education. There he formed his worldview - the desire for moral improvement and the confidence that the common good can be achieved through love for one's neighbor and moderation of desires. He served for some time in St. Petersburg, and then became acquainted with the Freemasons, in particular with Novikov, and joined them. Although serfdom and autocracy were unshakable for Karamzin, he was against despotism, cruelty and ignorance of the landowners. Together with A. A. Petrov he worked in the magazine “ Children's reading for the heart and mind" (1785-1789), where he published translations of works by European sentimentalists. In "Children's Reading" he published his

the first sentimental story “Eugene and Yulia”. Karamzin argued that only what is pleasant and “elegant” is actually worthy of depiction, for only it is capable of delivering aesthetic pleasure to the reader.

Why did you go? The desire for more extensive knowledge and European education led Karamzin to travel abroad, which he began 18 May 1789 year. He visited Germany, Switzerland, Austria, France and England. His journey lasted 18 months, enriching the writer with impressions of the political and cultural life of these countries, which was reflected in what he wrote upon his return to Russia: Letters from a Russian traveler» ( 1791 ). Karamzin's book expanded the horizons of the Russian reader. The book has been translated into German, French, English, Polish and Dutch.

The “Letters” were published in parts in 1791-1792. V "Moscow magazine". They revealed the features of Karamzin’s creative method and aesthetic principles. “Letters”, conveying his impressions of the countries he visited, are distinguished by a free composition, in which pictures of the political and cultural life of Western states united by the author’s personality are interspersed (Karamzin’s journey takes place at the dawn of the French Bourgeois Revolution, to which several chapters of his book are devoted; a lot visits museums: Dresden Museum, Louvre, art galleries London; theaters: Grand Opera and little-known; also Westminster Abbey, Windsor Palace, etc.), the morals and customs prevailing there (behavior, language, clothing, habits, characteristics of people different nationalities); writer's meeting with famous philosophers, writers (Kant, Herder, Weisse, Wieland, etc.). The book contains many philosophical and moral reflections of the author himself. Lots of sensitive tearfulness and sentimentality. This is especially felt in the author’s experiences about friends left behind in Russia, as well as about new acquaintances that cause him emotional excitement.

As I wrote. The genre of letters, characteristic of sentimentalists, was a processing of diary entries that Karamzin kept abroad, also supplemented with materials from book sources (encyclopedic notes about artists, about the history of the construction of a particular building). The “Letters” themselves were written in Moscow, but Karamzin managed to create the illusion that these letters were addressed directly to his friends. For example, there are comments like this: “I didn’t receive any news from you from April to July!” This also applies to emotional appeals. All this speaks of the great skill of Karamzin the prose writer.

Karamzin conveys with great subtlety everything he saw abroad, being selective about the huge flow of impressions. Although everything seen is passed through the author’s “I,” the writer goes beyond subjective experiences and fills the letters with a lot of information about the culture and art, geography and life of the countries visited. For example, in London he really liked the fact that the lamps were lit from a very early time, and the whole city was illuminated. And in Paris they try to save on moonlight, and from this saved money they pay a pension.

How to collect impressions. Karamzin studies the life of Europe in theaters, palaces, and universities (he went to a lecture Platner V Leipzig University, and was amazed by the attendance and silence), at country festivities, in monasteries, on a noisy street, in the offices of scientists and in quiet family settings. The most important thing in his book is the attention with which he treats people. Parisian ladies (he talked with one of them at the Grand Opera and, from the freedom of the conversation, could not conclude whether she was an important lady or not), witty abbots, road acquaintances, street loudmouths, Jewish merchants, poets, artists, scientists, Prussian officers, English merchants, German students - they all attract Karamzin's attention.

Policy. While sympathetic to European freedom and democracy, Karamzin refrains from recognizing similar institutions in Russia. He approves of the English Parliament, but treats it with irony, and also says that “ good in England, it will be bad in another land" Particularly characteristic for determining the socio-political views of the author is his attitude towards French Revolution. In Paris he notes " excellent liveliness of popular movements, amazing speed in words and deeds... here everyone is in a hurry to get somewhere; everyone seems to outdo each other; catch, grab thoughts" Karamzin has an extremely negative attitude towards revolution and believes that all revolutions end in defeat. About the rebel people he says: “ The people are sharp iron, which is dangerous to play with, and the revolution is an open coffin for virtue and villainy itself." He asks the French to remember Cato: “I prefer any power over anarchy.” Karamzin sees that just not most people take a real part in the revolutionary movement, and these are people who have nothing to lose, ragamuffins and vagabonds. In the People's Assembly, where Mirabeau is trying to crush his opponents, Karamzin sees the rudeness and bad manners of the speakers.

The further development of the revolution, the Jacobin dictatorship, frightened Karamzin, who believed that “every rebel prepares his own scaffold”. Karamzin was convinced that only those changes are lasting that are achieved through the gradual development of enlightenment, the success of reason and education.

Meeting with celebrities. In the “Letters” the reader encounters the names of the greatest writers and philosophers of that time. Karamzin gives each person a personal description and recreates a portrait appearance. He seeks a personal meeting with some of them, and talks about others. Karamzin conveys conversations on philosophical, aesthetic topics that he conducts with Lavater(physiognomist who studied character by facial features), Wieland, Herder(writers). From conversations we learn the views of the author himself. Calling Montesquieu “the author of the immortal book on laws”, lavishing praises on Rousseau’s “system of education”, he nevertheless prefers the philosophy of Lavater.

Nature. Karamzin has a lot of enthusiasm for nature. The banks of the Rhine, the Rhine Falls, the Alpine mountains - the author pays great attention to all this. In nature, Karamzin sees a manifestation of the divine principle. This reflects his idealistic perception. Already in the “Letters” the landscape is depicted in accordance with the mood of the person contemplating it.

National character. Of the observations of national character, the most interesting are the notes about the English. Thus, talking about the complacency of the English bourgeoisie, who consider poverty a vice, he describes houses with an underground part, where the poorest people huddle in dark rooms. He notes that among the French, poverty lives on the upper floors, but among the British, they went down to the very dungeon, and the author is outraged that the British say: “Whoever is poor among us is not worthy of a better share.” He is interested in both the jury and the London prison. The sight of criminals causes the author to tremble. It seemed especially terrible to him that people in prison for non-payment of debts were next to murderers and thieves. He also visits a madhouse, where many people are delirious from unhappy love. Some crazy people will make him laugh. However, Karamzin leaves England without regret, due to English arrogance and contempt for other nations.

Having visited the London theater, Karamzin demonstrates subtle observations of the actors' performances, indicating knowledge of the theater. He didn’t like Hamlet in their production: “ Actors speak, not act; they are dressed poorly, the scenery is poor... Footmen in livery bring the scenery to the stage, put one on, take another on their shoulders, drag it - and this is done during the performance!»

Home is better. Karamzin compares Russia with Europe. He always thinks about his homeland, which he loves dearly. Arriving in Kronstadt, not the most best place in Russia, he rejoices wildly, stops everyone, asks only in order to speak Russian.

Conclusion. Lyrical digressions, poetic descriptions of nature, subtle humor, and emotional richness of style made “Letters” deeply a work of art, reflecting the views and aesthetic principles Karamzin.

Karamzin’s aesthetic principles, which formed the basis of his prose, were reflected both in programmatic works and in the writer’s theoretical articles. According to Karamzin, feeling, and not the rationalistic task characteristic of the poetics of classicism, should prevail in literary work. Depicting a person’s life with all its joys and sorrows, conveying his intimate experiences, the writer must be able to “touch our heart,” “fill it with sad or sweet feelings,” and lead the reader to moral perfection.

Karamzin is characterized by attention not only to English and German poetry, but also to antiquity.

In theoretically substantiating the aesthetics of sentimentalism, Karamzin also relied on Rousseau, in whose works he was close to sensitivity, psychologism and a subtle understanding of nature. However, Rousseau's criticism of false-enlightened absolutism and his revolutionary sermons were alien to Karamzin. “Rousseauism” became for Karamzin not a stimulus for the destruction of the feudal system, but a method of justifying freedom from politics.” Moderate liberalism, the desire to solve social issues in a moral and ethical sense, the desire to achieve the “common good” through the gradual development of enlightenment were characteristic of Karamzin’s worldview.

The surrounding reality, the objective world were refracted through the prism of the author’s, subjective “I” of the writer. Karamzin believed that only a truly humane person, capable of compassion for the misfortunes of others, could take up a pen. The writer argued that only what is pleasant and “graceful is actually worthy of depiction, for only it is capable of delivering aesthetic pleasure to the reader.

Subjective experiences, subjective emotional perception and assessment of life phenomena, and not reality itself, unlike Radishchev, occupy the main place in Karamzin’s work. The author must “paint a portrait of his soul and heart,” while at the same time helping “fellow citizens to think and speak better.”

The most complete features of Karamzin's sentimental prose: the pathos of humanity, psychologism, subjectively sensitive, aestheticized perception of reality, lyricism of the narrative and simple “elegant” language - were manifested in his stories. They reflected the author’s increased attention to the analysis of love feelings, the emotional experiences of the heroes, increased attention to the analysis of the love experiences of the heroes, and increased attention to psychological actions. The birth of Russian psychological prose is associated with the name of Karamzin.

An important and progressive point in creative activity The writer was recognizing the right of the individual, regardless of class, to exercise internal freedom. Hence, the ideological basis of the story “Poor Liza” was the writer’s statement “even peasant women know how to love.” Karamzin has no harsh assessments, no pathos of indignation, he seeks consolation and reconciliation in the suffering of the heroes. Dramatic events are intended to evoke not indignation or anger, but a sad, melancholic feeling. Despite the vitality of the situation, the author's subjective and emotional perception of reality prevented genuine typification. The life of Lisa and her mother was not much like real life peasants Lisa, like the heroines of sentimental idylls, lives in a hut.

The lyrical manner of narration creates a certain structure. This in the story is served by the landscape against which the action develops, a landscape in tune with the moods of the heroes, and a special intonation structure of speech that makes Karamzin’s prose melodic, musical, caressing the ear and affecting the soul of the reader, who could not help but empathize with the heroes.

For the first time in Karamzin's prose, landscape became a means of conscious aesthetic influence. Readers of the story believed in the authenticity of the story, and the surroundings of the Simonov Monastery, the pond in which Lisa died, became a place of pilgrimage.

Success prose works Karamzin largely depended on the stylistic reform of the writer. Levin, speaking about Karamzin’s vocabulary, writes: “The stylistic coloring of the word here is not determined by the subject, but is superimposed on the subject, poeticizing it - and often the closer the subject is to everyday life, the less poetic it is in itself, the more necessary it is to poetize it with the help of displayed word."

What is the essence literary reform Karamzin? In an effort to create a new Russian literary language to replace the three “calms” adopted by classicism, Karamzin set himself the task of bringing the literary language closer to the spoken language. He believed that any ideas and “even ordinary thoughts” could be expressed clearly and “pleasantly.”

Karamzin put forward a requirement to write “as they say,” but he focused on the colloquial speech of the educated noble class, clearing the language not only of archaisms, but also of common words. He considered it legitimate to enrich the Russian language through the assimilation of individual foreign words and new forms of expression. Karamzin introduced many new words: love, humane, public, industry, etc., which remained and enriched the vocabulary of the Russian language.

He strives to create a single syllable “for books and for society, to write as they speak, and to speak as they write.” And in contrast to Trediakovsky, Karamzin accomplishes this. It frees the vocabulary from excessive bookishness, remarkably simplifies the syntax, creates a logically and at the same time light, elegant, equally convenient both in pronunciation and writing, “a new syllable”. All this had very important consequences. “His style amazed all readers, it affected them like an electric shock,” writes N. I. Grech, hot on the heels. “Scholastic grandeur, half-Slavic, half-Latin,” Pushkin notes about the Lomonosov language, “became a necessity: fortunately Karamzin freed the language from the alien yoke and returned it to freedom, turning it to the living sources of the people’s word.”

Opponents of Karamzin's stylistic reform cruelly reproached him for the Frenchization of the Russian language - for excessive contamination with Gallicisms. Karamzin's orientation towards French in the first period literary activity, indeed, sometimes took on the character of a mechanical transfer into the Russian language of French words, expressions and phrases that littered it no less than the previous Slavic and Latinisms. However, later Karamzin himself tried to free himself from this

Disadvantage of the reform literary language Karamzin was a departure from the rapprochement of the Russian literary language with the language common people. The limitations of Karamzin's reform were due to the fact that his language was far from the folk basis. Pushkin was able to understand and correct this. At the same time, Karamzin’s merit was the desire, carried out by him in his literary practice, to expand the boundaries of the literary language, liberate it from archaisms, and bring the literary language closer to the living spoken language of an educated society.

Karamzin’s aesthetic principles, which formed the basis of his prose, were reflected both in programmatic works and in the writer’s theoretical articles. According to Karamzin, feeling, and not the rationalistic task characteristic of the poetics of classicism, should prevail in a literary work. Depicting a person’s life with all its joys and sorrows, conveying his intimate experiences, the writer must be able to “touch our heart,” “fill it with sad or sweet feelings,” and lead the reader to moral perfection.

Karamzin is characterized by attention not only to English and German poetry, but also to antiquity.

In theoretically substantiating the aesthetics of sentimentalism, Karamzin also relied on Rousseau, in whose works he was close to sensitivity, psychologism and a subtle understanding of nature. At the same time, Rousseau’s criticism of false-enlightened absolutism and his revolutionary sermons were alien to Karamzin. “Rousseauism” became for Karamzin not a stimulus for the destruction of the feudal system, but a method of justifying freedom from politics. Moderate liberalism, the desire to solve social issues in a moral and ethical sense, the desire to achieve the “common good” through the gradual development of education were characteristic of Karamzin’s worldview.

The surrounding reality, the objective world, were refracted through the prism of the author’s, subjective “I” of the writer. Karamzin believed that only a truly humane person, capable of compassion for the misfortunes of others, could take up a pen. The writer argued that only what is pleasant and “graceful” is actually worthy of depiction, for only it is capable of delivering aesthetic pleasure to the reader.

An important and progressive moment in the writer’s creative activity was the recognition of the individual’s right, regardless of class, to exercise internal freedom. Hence, the ideological basis of the story “Poor Liza” was the writer’s statement “and peasant women know how to love.” Karamzin has no harsh assessments, no pathos of indignation, he seeks consolation and reconciliation in the suffering of the heroes. Dramatic events are intended to evoke not indignation or anger, but a sad, melancholy feeling. Despite the vitality of the situation, the author's subjective and emotional perception of reality prevented genuine typification. The life of Lisa and her mother bore little resemblance to the real life of peasants. Lisa, like the heroines of sentimental idylls, lives in a hut.

The success of Karamzin's prose works largely depended on the writer's stylistic reform. Levin, speaking about Karamzin’s vocabulary, writes: “The stylistic coloring of the word here is not determined by the subject, but is superimposed on the subject, poeticizing it - and often the closer the subject is to everyday life, the less poetic it is in itself, the more necessary it turns out to be poeticizing it with the help of the displayed words.

What is the essence of Karamzin’s literary reform? In an effort to create a new Russian literary language to replace the three “calms” adopted by classicism, Karamzin set out to bring the literary language closer to the spoken language. He believed that any ideas and “even ordinary thoughts” could be expressed clearly and “pleasantly”.

Karamzin put forward a requirement - to write “as they say”, but he was guided by the colloquial speech of the educated noble class, clearing the language not only of archaisms, but also of common words. He considered it legitimate to enrich the Russian language through the assimilation of individual foreign words and new forms of expression. Karamzin introduced many new words: love, humane, public, industry, etc., which remained and enriched the vocabulary of the Russian language.

He strives to create a single syllable “for books and for society, in order to write as they say and speak as they write.” And in contrast to Trediakovsky, Karamzin accomplishes this. It frees the vocabulary from excessive bookishness, remarkably simplifies the syntax, creates a logical and at the same time light, elegant, equally convenient both in pronunciation and in writing, a “new syllable”. All this had very important consequences. “His syllable amazed all the readers, it affected them like an electric shock,” writes N. I. Grech, hot on his heels. “Scholastic grandeur, half-Slavic, half-Latin,” notes Pushkin about the Lomonosov language, “has become extremely important: fortunately Karamzin freed the language from the alien yoke and returned it to freedom, turning it to the living sources of the folk word.”

Opponents of Karamzin's stylistic reform cruelly reproached him for the Frenchization of the Russian language - for excessive contamination with Gallicisms. Karamzin’s orientation towards the French language in the first period of his literary activity, indeed, sometimes took on the character of a mechanical transfer into the Russian language of French words, expressions and phrases that littered it no less than previous Slavicisms and Latinisms. At the same time, Karamzin himself later tried to free himself from this

The drawback of Karamzin's literary language reform was the departure from the rapprochement of the Russian literary language with the language of the common people. The limitations of Karamzin's reform were due to the fact that his language was far from the folk basis. Pushkin was able to understand and correct this. At the same time, Karamzin’s merit was the desire, carried out by him in his literary practice, to expand the boundaries of the literary language, liberate it from archaisms, and bring the literary language closer to the living spoken language of an educated society.

48. Journalism of the 80s-90s (“Interlocutor”, “Lover of the Russian Word”, “Moscow Journal”, “Starodum, or Friend” honest people").

Fonvizin's struggle with Catherine and the evil reigning in the country especially intensified in 1782-83. It unfolded on the pages of the journal of the Academy of Sciences, “Interlocutor of Lovers of the Russian Word.” This was the most significant journal of the Academy of Sciences. It was published in parts. For the first time, the magazine published only original literary works. Striving to continue to guide public opinion, Catherine, during a period of revival, social thought in Russia, its greatest opposition and radicalism, decided to publish a magazine, the director of which she herself was. Fonvizin, Derzhavin, Kapnist, Knyazhnin, Kheraskov, Bogdanovich collaborated in the magazine. In “Interlocutor”, Ekaterina publishes feuilletons “There Were and Fables”. This is an attempt to revive the smiling satire of “All sorts of things”, but if earlier it met with controversy from Novikov, now Fonvizin has entered into an argument with it. The controversy had a pronounced political character; it was not for nothing that Catherine was outraged by Fonvizin’s insolence. In “Questions,” Fonvizin touched on the internal situation in the country: favoritism, lack of transparency in court, and the moral decay of the nobility. Catherine also included “Answers” in the magazine. So, Fonvizin asked: “Why are well-known and obvious idlers accepted everywhere equally with honest people?” Why so many good people do we see retirement? Why did jesters in former times not have ranks, but now they have very high ranks? 'These answers were of such a kind that most of them destroy the questions without resolving them; Almost everyone echoes the thought that this should not have been discussed, that this is free speech that has spread too far. Another journalistic article by Fonvizin, “General Court Grammar” (1783), in which the empress’s close associates were subjected to satirical ridicule, was not allowed to be published in “Interlocutor”. The article was distributed among the reading public in lists and was one of the most striking examples of Fonvizin’s satire. “Court Grammar” is structured in the form of questions and answers, in which grammatical terms and rules are explained. “Courtly grammar is defined as the science of cunningly flattering with tongue and pen.” It is characteristic, as F. defines the verb ʼʼto be ʼʼ. This verb is the most common, because at court no one lives without debt. Defining the “court case,” Fonvizin writes: “The court case is the inclination of the powerful to impudence, and the powerless to meanness. However, most of the boyars think that everyone is in front of them in the accusative case: they usually gain their favor and patronage with the dative case. This accusatory pathos, directed against Catherine’s entourage, echoed Starodum’s words in “The Minor” that the court was “unhealably” sick. Catherine could not forgive F. for his independence in the polemic with her on p.
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ʼʼInterlocutorʼʼ. In 1788, the magazine “Starodum or Friend of Honest People” was banned. The subtitle of the magazine read: “A periodical essay dedicated to truth.” Materials were distributed in handwritten form. In addition to “Court Grammar,” among the satirical essays stood out “Letter to Starodum from Dedil’s landowner Durykin,” “Conversation with Princess Khaldina,” which satirically depicted the relationship in noble houses to teachers, the morals that prevailed at that time, and the so-called education of noble children, expressed in feeding them all kinds of homemade food. Here in the letter to Princess Khaldina the imitation of Parisian morals is shown: Khaldina changes clothes in front of men, etc. In a pre-notification to readers, the author informed that his magazine would be published “under the supervision of the author of the comedy “The Minor,” which seemed to indicate the ideological continuity of his new plan. The magazine opened with a letter to Starodum from the “writer of the “Minor,” in which the publisher addressed “ friend of honest people" with a request to help him by sending him materials and thoughts, "which, with their importance and moral teaching, will undoubtedly appeal to Russian readers." In his response, Starodum not only approves of the author’s decision, but also immediately informs him of sending him letters received from “acquaintances,” promising to continue to supply him with the necessary materials. Sophia's letter to Starodum, his response, as well as the "Letter of Taras Skotinin to his sister Mrs. Prostakova" were, apparently, supposed to make up the first issue of the magazine. Particularly impressive in its accusatory pathos is Skotinin’s letter. Uncle Mitrofan, already familiar to the writer’s contemporaries, informs his sister about the irreparable loss he has suffered: his beloved motley pig Aksinya has died. In the mouth of Skotinin, the death of a pig appears as an event filled with deep tragedy. The misfortune shocked Skotinin so much that now, he confesses to his sister, “I want to cleave to moral teaching, that is, to correct the morals of my serfs and peasants.”<...>birch.<...>And I want the effect of such a great loss to be felt by all those who depend on me." This small satirical letter sounds like an angry verdict on the entire system of feudal tyranny.

“Moscow magazine” was published monthly during 1791-1792, 12 books per year. The Karamzin magazine was a new type of magazine, which published original and translated works, distinguished by high aesthetic taste. The sections of criticism were as follows: “Various small foreign works in pure translations”, “Critical reviews of Russian books”, “News about theatrical plays”. This was a new understanding of the tasks of criticism: “Good and bad will be noticed impartially.”

The most extensive was the department of “Russian works in poetry and prose,” in which most of the works belonged to the publisher himself. Such works of Karamzin as “Letters of a Russian Traveler”, “Poor Liza”, “Frol Silin”, an essay “The Village”, poems, theater reviews, analyzes of Russian and foreign books, etc. were published here. Among the translated works are translations of Wieland, Herder, etc.
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K. believed that the most important thing for the success of the magazine among readers was “diversity” and “ good choice essays. He sought to contribute to the moral and aesthetic education of readers by publishing materials in the magazine. Before Karamzin, we had periodicals, but not a single magazine: “he was the first to give it to us.” “Moscow magazine” had 300 subscribers. The magazine published works by Derzhavin, Dmitriev, Kheraskov and others.

“Moscow Magazine” was a literary magazine designed, first of all, for the tastes of the noble reader. At the same time, a variety of material presented in a lively and entertaining manner, light, elegant language that appeared distinctive feature magazine, made it accessible to people of the lower classes. Karamzin deliberately refused to address political issues; he preferred not to enter into polemics, in particular with satirical magazines, which disapproved of the new sentimental magazine. “Courtesy and friendliness are the color of community life,” he believed and adhered to this rule.

On the pages of the Moscow Journal, Karamzin provides a new justification for the tasks of art. IN critical articles he rejects the conventionality and normativity of classicism, the eternal “moralizing pedantry”.

Consciously refusing to depict the negative phenomena of life, the plight of the people, he justifies himself by the fact that he spares the sensitive heart of the reader.

V. G. Berezina in the article “Karamzin the Journalist” writes about the features that make it possible to consider Karamzin the founder of a “real magazine”. “These features are the following: 1) a certain firm direction, 2) a strict selection of works

taking into account the general direction of the publication, 3) variety of material, its educational nature, 4) a sense of modernity, 5) permanent departments and headings, b) good organization of the criticism department, 7) pure literary language, 8) the ability to speak with the reader in an engaging way, entertaining and lively.

Features of Karamzin’s sentimental prose and the reform of the Russian literary language. - concept and types. Classification and features of the category "Features of Karamzin's sentimental prose and the reform of the Russian literary language." 2017, 2018.

Abstract

Literature on the topic:

N. M. Karamzin’s contribution to the development of the Russian language and literature.

Completed:

Checked:

I. Introduction.

II. Main part

2.1. Biography of Karamzin

2.2. Karamzin - writer

1) Karamzin’s worldview

2) Karamzin and classicists

3) Karamzin – reformer

4) Brief description of Karamzin’s main prose works

2.3. Karamzin - poet

1) Features of Karamzin’s poetry

2) Features of Karamzin’s works

3) Karamzin – the founder of sensitive poetry

2.4. Karamzin - reformer of the Russian literary language

1) Inconsistency of the theory of Lomonosov’s “three calms” with new requirements

2) Karamzin reform

3) Contradictions between Karamzin and Shishkov

III. Conclusion.

IV. Bibliography.

I.Introduction.

Whatever you turn to in our literature, everything began with Karamzin: journalism, criticism, stories, novels, historical stories, journalism, the study of history.

V.G. Belinsky.

In the last decades of the 18th century, a new literary movement gradually emerged in Russia - sentimentalism. Determining its features, P.A. Vyazemsky pointed to the “elegant depiction of the basic and everyday.” In contrast to classicism, sentimentalists declared a cult of feelings, not reason, and praised common man, liberation and improvement of its natural principles. The hero of works of sentimentalism is not a heroic person, but simply a person, with his rich inner world, various experiences, and self-esteem. The main goal of noble sentimentalists is to restore the trampled human dignity of the serf peasant in the eyes of society, to reveal his spiritual wealth, and to portray family and civic virtues.

The favorite genres of sentimentalism were elegy, epistle, epistolary novel (novel in letters), diary, travel, and story. The dominance of drama is replaced by epic storytelling. The syllable becomes sensitive, melodious, and emphatically emotional. The first and largest representative of sentimentalism was Nikolai Mikhailovich Karamzin.

II. Main part.

2.1. Biography of Karamzin.

Nikolai Mikhailovich Karamzin (1766–1826) was born on December 1 in the village of Mikhailovka, Simbirsk province, into the family of a landowner. Received a good home education. At the age of 14 he began studying at the Moscow private boarding school of Professor Schaden. After graduating in 1873, he came to the Preobrazhensky Regiment in St. Petersburg, where he met the young poet and future employee of his “Moscow Journal” I. Dmitriev. At the same time he published his first translation of S. Gesner’s idyll “The Wooden Leg”. Having retired with the rank of second lieutenant in 1784, he moved to Moscow, where he became one of the active participants in the magazine “Children's Reading for the Heart and Mind,” published by N. Novikov, and became close to the Freemasons. Engaged in translations of religious and moral works. Since 1787, he regularly publishes his translations of Thomson’s “The Seasons,” Genlis’s “Country Evenings,” Shakespeare’s Tragedy “Julius Caesar,” and Lessing’s tragedy “Emilia Galotti.”

In 1789, Karamzin’s first original story, “Eugene and Yulia,” appeared in the magazine “Children’s Reading...”. In the spring he goes on a trip to Europe: he visits Germany, Switzerland, France, where he observed the activities of the revolutionary government. In June 1790 he moved from France to England.

In the fall he returns to Moscow and soon begins publishing the monthly “Moscow Magazine”, in which most of the “Letters of a Russian Traveler”, the stories “Liodor”, “Poor Liza”, “Natalia, the Boyar’s Daughter”, “Flor Silin”, essays, stories, criticism and poems. Karamzin attracted I. Dmitriev, A. Petrov, M. Kheraskov, G. Derzhavin, Lvov, Neledinsky-Meletsky and others to collaborate in the magazine. Karamzin's articles approved a new literary direction - sentimentalism. In the 1970s, Karamzin published the first Russian almanacs - “Aglaya” and “Aonids”. The year came 1793, when, at the third stage of the French Revolution, the Jacobin dictatorship was established, which shocked Karamzin with its cruelty. The dictatorship aroused in him doubts about the possibility for humanity to achieve prosperity. He condemned the revolution. The philosophy of despair and fatalism permeates his new works: the stories “Bornholm Island” (1793), “Sierra Morena” (1795), poems: “Melancholy”, “Message to A.A. Pleshcheev” and others.

By the mid-1790s, Karamzin became the recognized head of Russian sentimentalism, which opened new page in Russian literature. He was an indisputable authority for V. Zhukovsky, K. Batyushkov, young Pushkin.

In 1802-03, Karamzin published the journal “Bulletin of Europe”, in which literature and politics predominated. In Karamzin’s critical articles, a new aesthetic program emerged, which contributed to the formation of Russian literature as nationally distinctive. Karamzin saw the key to the identity of Russian culture in history. The most striking illustration of his views was the story “Martha the Posadnitsa.” In his political articles, Karamzin made recommendations to the government, pointing out the role of education.

Trying to influence Tsar Alexander I, Karamzin gave him his “Note on the Ancient and New Russia"(1811), causing him irritation. In 1819 he filed new note- “Opinion of a Russian citizen,” which caused even greater discontent of the tsar. However, Karamzin did not abandon his belief in the salvation of an enlightened autocracy and condemned the Decembrist uprising. However, Karamzin the artist was still highly valued by young writers, even those who did not share his political convictions.

In 1803, through M. Muravyov, Karamzin received the official title of court historiographer. In 1804, he began to create the “History of the Russian State,” which he worked on until the end of his days, but did not complete. In 1818, the first 8 volumes of History, Karamzin’s greatest scientific and cultural feat, were published. In 1821, the 9th volume, dedicated to the reign of Ivan the Terrible, was published, and in 18245, the 10th and 11th, about Fyodor Ioannovich and Boris Godunov. Death interrupted work on the 12th volume. This happened on May 22 (June 3, new style) 1826 in St. Petersburg.

2.2. Karamzin is a writer.

1) Karamzin’s worldview.

From the beginning of the century, Karamzin was firmly assigned to literary residence in anthologies. It was published occasionally, but not for reading purposes, but for educational purposes. The reader had a firm conviction that there was no need to take Karamzin into his hands, especially since in the briefest information the matter could not be avoided without the word “conservative”. Karamzin sacredly believed in man and his improvement, in reason and enlightenment: “My mental and sensitive power will be destroyed forever, before I believe that this world is a cave of robbers and villains, virtue is an alien plant on the globe, enlightenment is a sharp a dagger in the hands of a murderer.”

Karamzin discovered Shakespeare for the Russian reader by translating Julius Caesar into the times of youthful tyrant-fighting sentiments, releasing it with an enthusiastic introduction in 1787 - this date should be considered the starting date in the procession of the works of the English tragedian in Russia.

Karamzin’s world is a world of a walking spirit, in continuous movement, which has absorbed everything that constituted the content of the pre-Pushkin era. No one did as much to saturate the air of the era with literary and spiritual content as Karamzin, who walked many pre-Pushkin roads.

In addition, one must see the silhouette of Karamzin, expressing the spiritual content of the era, on the vast historical horizon, when one century gave way to another, and the great writer was destined to play the role of the last and the first. As the finalizer - the “head of the school” of Russian sentimentalism - he was the last writer XVIII century; as the discoverer of a new literary field - historical prose, as a transformer of the Russian literary language - he undoubtedly became the first - in a temporary sense - writer XIX century, providing Russian literature with access to the world stage. The name Karamzin was the first to appear in German, French and English literature.

2) Karamzin and classicists.

The classicists saw the world in a “halo of splendor.” Karamzin took a step towards seeing a person in a dressing gown, alone with himself, giving preference to “middle age” over youth and old age. The majesty of the Russian classicists was not discarded by Karamzin - it was suitable for showing history in faces.

Karamzin came to literature when classicism suffered its first defeat: Derzhavin in the 90s of the 18th century was already recognized as the largest Russian poet, despite his complete disregard for traditions and rules. The next blow to classicism was dealt by Karamzin. A theorist and reformer of Russian noble literary culture, Karamzin took up arms against the foundations of the aesthetics of classicism. The pathos of his work was a call for the depiction of “natural, unadorned nature”; to the depiction of “true feelings”, not bound by the conventions of classicism’s ideas about characters and passions; a call for the depiction of small things and everyday details, in which there was no heroism, no sublimity, no exclusivity, but in which a fresh, unprejudiced look revealed “unexplored beauties characteristic of dreamy and modest pleasure.” However, one should not think that " natural nature», « true feelings“and attentiveness to “inconspicuous details” turned Karamzin into a realist who sought to depict the world in all its truthful diversity. The worldview associated with the noble sentimentalism of Karamzin, like the worldview associated with classicism, was conducive to only limited and largely distorted ideas about the world and man.

3) Karamzin – reformer.

Karamzin, if we consider his activities as a whole, was a representative of broad layers of the Russian nobility. All reform activities Karamzin met the interests of the nobility and, first of all, the Europeanization of Russian culture.

Karamzin, following the philosophy and theory of sentimentalism, realizes the specific weight of the author’s personality in the work and the significance of his individual view of the world. In his works he offers a new connection between the depicted reality and the author: personal perception, personal feeling. Karamzin structured the period so that there was a sense of the presence of the author. It was the presence of the author that transformed Karamzin’s prose into something completely new compared to the novel and story of classicism. Let's consider artistic techniques, most often used by Karamzin using the example of his story “Natalya, the Boyar’s Daughter”.

The stylistic features of the story “Natalia, the Boyar’s Daughter” are inextricably linked with the content, ideological orientation of this work, with its system of images and genre originality. The story reflects characteristic features style characteristic of Karamzin’s fictional prose as a whole. The subjectivism of Karamzin’s creative method and the writer’s increased interest in the emotional impact of his works on the reader determine the abundance of periphrases, comparisons, likenings, etc. in them.

Among the various artistic techniques - first of all, tropes, which give the author great opportunities to express his personal attitude towards an object, phenomenon (i.e., to show what impression the author experiences, or with what the impression made on him by some object can be compared, phenomenon). Periphrases that are generally characteristic of the poetics of sentimentalists are also used in “Natalia, the Boyar’s Daughter.” So, instead of saying that boyar Matvey was old and close to death, Karamzin writes: “the quiet fluttering of the heart heralded the onset of life’s evening and the approach of night.” Boyar Matvey’s wife did not die, but “fell asleep in eternal sleep.” Winter is the “queen of cold,” etc.

There are substantivized adjectives in the story that are not adjectives in ordinary speech: “What are you doing, you reckless one!”

In using epithets, Karamzin takes mainly two routes. One row of epithets should highlight the internal, “psychological” side of the subject, taking into account the impression that the subject makes directly on the “heart” of the author (and, therefore, on the “heart” of the reader). The epithets of this series seem to be devoid of real content. Such epithets are a characteristic phenomenon in the system of visual means of sentimentalist writers. And the stories contain “the tops of gentle mountains”, “a kind ghost”, “sweet dreams”, the boyar Matvey has “a clean hand and a pure heart”, Natalya becomes “cloudier”. It is curious that Karamzin applies the same epithets to various objects and concepts: “Cruel! (she thought). Cruel!" - this epithet refers to Alexei, and a few lines later Karamzin calls the frost “cruel.”

Karamzin uses another series of epithets in order to enliven the objects and paintings he creates, to influence the reader’s visual perception, “to make the objects he describes sparkle, light up, shine. This is how he creates decorative painting.

In addition to the epithets of these types, one more type of epithets can be noted in Karamzin, which is much less common. Through this “row” of epithets, Karamzin conveys impressions perceived as if from the auditory side, when any quality, by the expression it produces, can be equated to concepts perceived by ear. “The moon descended..., and a silver ring was rattled at the boyar gate.”; The ringing of silver can be clearly heard here - this is the main function of the epithet “silver”, and not to indicate what material the ring was made of.

Appeals that are characteristic of many of Karamzin’s works appear many times in “Natalya, the Boyar’s Daughter.” Their function is to give the story a more emotional character and introduce into the story an element of closer communication between the author and the readers, which obliges the reader to treat the events depicted in the work with greater confidence.

The story “Natalya, the Boyar’s Daughter,” like the rest of Karamzin’s prose, is distinguished by its great melodiousness, reminiscent of the style of poetic speech. The melodiousness of Karamzin's prose is achieved mainly by the rhythmic organization and musicality of the speech material (the presence of repetitions, inversions, exclamations, dactylic endings, etc.).

The proximity of Karamzin's prose works led to the widespread use of poetic phraseology in them. The transfer of phraseological means of poetic styles into prose creates an artistic and poetic flavor of Karamzin’s prose works.

4) Brief description main prose works of Karamzin.

Karamzin’s main prose works are “Liodor”, “Eugene and Julia”, “Julia”, “A Knight of Our Time”, in which Karamzin depicted Russian noble life. The main goal of noble sentimentalists is to restore the trampled human dignity of the serf peasant in the eyes of society, to reveal his spiritual wealth, and to portray family and civic virtues. The same features can be found in Karamzin’s stories from peasant life - “Poor Liza” (1792) and “Frol Silin, a virtuous man” (1791). The most significant artistic expression of the writer’s interests was his story “Natalya, the Boyar’s Daughter,” the characteristics of which are given above. Sometimes Karamzin goes into completely fabulous, fabulous times in his imagination and creates fairy tales, for example, “ dense forest"(1794) and "Bornholm Island". The last one, containing a description of a rocky island and a medieval castle with some mysterious family tragedy in it, expresses not only the sensitive, but also the sublimely mysterious experiences of the author and therefore should be called a sentimental-romantic story.

In order to correctly restore Karamzin’s true role in the history of Russian literature, it is necessary to first dispel the existing legend about the radical transformation of all Russian literary stylistics under the pen of Karamzin; it is necessary to explore in its entirety, breadth and in all internal contradictions the development of Russian literature, its trends and its styles, in connection with the intense social struggle in Russian society of the last quarter of the 18th century and the first quarter of the XIX century.

It is impossible to consider Karamzin’s style, his literary production, the forms and types of his literary, artistic and journalistic activities statically, as a single, immediately defined system that knew no contradictions and no movement. Karamzin's work covers more than forty years of development of Russian literature - from Radishchev to the collapse of Decembrism, from Kheraskov to the full flowering of Pushkin's genius.

Karamzin's stories belong to the best artistic achievements of Russian sentimentalism. They played a significant role in the development of Russian literature of their time. They really retained their historical interest for a long time.

2.2. Karamzin is a poet.

1) Features of Karamzin’s poetry.

Karamzin is known to the general reading public as a prose writer and historian, the author of “Poor Liza” and “History of the Russian State.” Meanwhile, Karamzin was also a poet who managed to say his new word in this area. In his poetic works he remains a sentimentalist, but they also reflected other aspects of Russian pre-romanticism. At the very beginning of his poetic career, Karamzin wrote the programmatic poem “Poetry” (1787). However, unlike the classic writers, Karamzin asserts not the state, but the purely personal purpose of poetry, which, in his words, “... has always been the joy of innocent, pure souls.” Looking back at the history of world literature, Karamzin re-evaluates its centuries-old legacy.

Karamzin strives to expand the genre composition of Russian poetry. He owned the first Russian ballads, which would later become the leading genre in the work of the romantic Zhukovsky. The ballad “Count Guarinos” is a translation of an ancient Spanish romance about the escape of a brave knight from Moorish captivity. It was translated from German using trochaic tetrameter. This meter would later be chosen by Zhukovsky in the “romances” about Sid and Pushkin in the ballads “Once Upon a Time There Lived a Poor Knight” and “Rodrigue.” Karamzin’s second ballad, “Raisa,” is similar in content to the story “Poor Liza.” Her heroine, a girl deceived by her loved one, ends her life in the depths of the sea. In the descriptions of nature one can feel the influence of the dark poetry of Ossean, popular at that time: “In the darkness of the night a storm raged; // A menacing ray sparkled in the sky.” The tragic denouement of the ballad and the affectation of love feelings anticipate the manner of “cruel romances XIX century."

Karamzin's poetry is distinguished from the poetry of the classicists by the cult of nature. Addressing her is deeply intimate and in some cases marked with biographical features. In the poem “Volga” Karamzin was the first of the Russian poets to glorify the great Russian river. This work was created based on direct childhood impressions. The range of works dedicated to nature includes “A Prayer for Rain,” created during one of the terrible dry years, as well as the poems “To the Nightingale” and “Autumn.”

The poetry of moods is affirmed by Karamzin in the poem “Melancholy”. The poet refers in it not to a clearly expressed state of the human spirit - joy, sadness, but to its shades, “overflows”, to transitions from one feeling to another.

Karamzin's reputation as a melancholic person was firmly established. Meanwhile, sad motives are only one of the facets of his poetry. In his lyrics there was also a place for cheerful epicurean motifs, as a result of which Karamzin can already be considered one of the founders of “ light poetry" The basis of these sentiments was enlightenment, which proclaimed man’s right to pleasure given to him by nature itself. The poet’s anacreontic poems glorifying feasts include such works as “The Merry Hour,” “Resignation,” “To Lila,” and “Impermanence.”

Karamzin is a master of small forms. His only poem “Ilya Muromets”, which he called in the subtitle “ heroic tale", remained unfinished. Karamzin's experience cannot be considered successful. The peasant son Ilya Muromets is transformed into a gallant, sophisticated knight. And yet, the poet’s very appeal to folk art, the intention to create a national fairy-tale epic on its basis, is very indicative. The style of narration also comes from Karamzin, replete with lyrical digressions of a literary and personal nature.

2) Features of Karamzin’s works.

Karamzin’s repulsion from classicist poetry was also reflected in the artistic originality of his works. He sought to free them from shy classic forms and bring them closer to relaxed colloquial speech. Karamzin did not write either odes or satires. His favorite genres were epistle, ballad, song, and lyrical meditation. The overwhelming majority of his poems do not have stanzas or are written in quatrains. The rhyme, as a rule, is not ordered, which gives the author’s speech a relaxed character. This is especially true for friendly messages from I.I. Dmitriev, A.A. Pleshcheev. In many cases, Karamzin turns to rhymeless verse, which Radishchev also advocated in “The Journey...”. This is how both of his ballads, the poems “Autumn”, “Cemetery”, “Song” in the story “Bornholm Island”, and many anacreontic poems were written. Without abandoning iambic tetrameter, Karamzin, along with it, often uses trochee tetrameter, which the poet considered a more national form than iambic.

3) Karamzin – the founder of sensitive poetry.

In poetry, Karamzin's reform was taken up by Dmitriev, and after the latter - by Arzamas poets. This is how Pushkin’s contemporaries imagined this process from a historical perspective. Karamzin is the founder of “sensitive poetry”, poetry of “heartfelt imagination”, poetry of spiritualization of nature - natural philosophy. In contrast to Derzhavin’s poetry, which is realistic in its tendencies, Karamzin’s poetry gravitates towards noble romance, despite the motifs borrowed from ancient literature and the tendencies of classicism partially preserved in the field of verse. Karamzin was the first to instill in the Russian language the form of ballads and romances and introduce complex meters. In poems, trochees were almost unknown in Russian poetry before Karamzin. The combination of dactylic stanzas with trochaic stanzas was also not used. Before Karamzin, blank verse was also rarely used, which Karamzin turned to, probably under the influence of German literature. Karamzin’s search for new dimensions and a new rhythm speaks of the same desire to embody new content.

In Karamzin's lyrics, the feeling of nature, understood in psychologically, considerable attention has been paid; the nature in it is inspired by the feelings of the person living with it, and the person himself is merged with it.

Karamzin's lyrical style predicts Zhukovsky's future romanticism. On the other hand, Karamzin used the experience of German and English in his poetry literature XVIII century. Later, Karamzin returned to French poetry, which at that time was saturated with sentimental pre-romantic elements.

Karamzin’s interest in poetic “trifles,” witty and elegant poetic trinkets, such as “Inscriptions on the statue of Cupid,” poems for portraits, madrigals, is connected with the experience of the French. In them he tries to express the sophistication, the subtlety of relationships between people, sometimes to fit into four verses, two verses an instantaneous, fleeting mood, a flashing thought, an image. On the contrary, Karamzin’s work on updating and expanding the metrical expressiveness of Russian verse is connected with the experience of German poetry. Like Radishchev, he is dissatisfied with the “dominance” of the iambic. He himself cultivates trochee, writes in trisyllabic meters, and especially introduces blank verse, which has become widespread in Germany. The variety of sizes, freedom from the usual consonance should have contributed to the individualization of the very sound of the verse in accordance with the individual lyrical task of each poem. Karamzin’s poetic creativity also played a significant role in the development of new genres.

P.A. Vyazemsky wrote in his article about Karamzin’s poems (1867): “With him the poetry of a feeling of love for nature, gentle ebbs of thought and impressions was born, in a word, inner, soulful poetry... If in Karamzin one can notice some lack in the brilliant properties of a happy poet , then he had a feeling and consciousness of new poetic forms."

Karamzin's innovation - in the expansion of poetic themes, in its boundless and tireless complication - later resonated for almost a hundred years. He was the first to introduce blank verse into use, boldly resorted to imprecise rhymes, and his poems were constantly characterized by “artistic play.”

At the center of Karamzin’s poetics is harmony, which constitutes the soul of poetry. The idea of it was somewhat speculative.

2.4. Karamzin - reformer of the Russian literary language

1) Inconsistency of the theory of Lomonosov’s “three calms” with new requirements.

Karamzin's work played a big role in the further development of the Russian literary language. Creating a “new syllable”, Karamzin starts from Lomonosov’s “three calms”, from his odes and laudatory speeches. The reform of the literary language carried out by Lomonosov met the tasks of the transition period from ancient to new literature, when it was still premature to completely abandon the use of Church Slavonicisms. The theory of the “three calms” often put writers in a difficult position, since they had to use heavy, outdated Slavic expressions where in the spoken language they had already been replaced by other, softer, more elegant ones. Indeed, the evolution of the language, which began under Catherine, continued. Many foreign words came into use that did not exist in an exact translation in the Slavic language. This can be explained by the new demands of cultural, intelligent life.

2) Karamzin reform.

The “Three Calms” proposed by Lomonosov were based not on lively colloquial speech, but on the witty thought of a theoretical 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 Slavonicisms. In the preface to the second book of the almanac “Aonida,” he wrote: “The thunder of words alone only deafens us and never reaches our hearts.”

The second feature of the “new syllable” was the simplification of syntactic structures. Karamzin abandoned lengthy periods. In the “Pantheon of Russian Writers,” he decisively declared: “Lomonosov’s prose cannot serve as a model for us at all: his long periods are tiresome, the arrangement of words is not always consistent with the flow of thoughts.” Unlike Lomonosov, Karamzin strove to write in short, easily understandable sentences.

Karamzin’s third merit was the enrichment of the Russian language with a number of successful neologisms, which became firmly established in the main vocabulary. “Karamzin,” wrote Belinsky, “introduced Russian literature into the sphere of new ideas, and the transformation of language was already a necessary consequence of this.” The innovations proposed by Karamzin include such widely known words in our time as “industry”, “development”, “sophistication”, “concentrate”, “touching”, “entertainment”, “humanity”, “public”, “ generally useful”, “influence” and a number of others. When creating neologisms, Karamzin used mainly the method of tracing French words: “interesting” from “interessant”, “refined” from “raffine”, “development” from “developpement”, “touching” from “touchant”.

We know that even in the era of Peter the Great, many foreign words appeared in the Russian language, but they mostly replaced words that already existed in the Slavic language and were not a necessity; in addition, these words were taken in their raw form, and therefore were very heavy and clumsy (“fortecia” instead of “fortress”, “victory” instead of “victory”, etc.). Karamzin, on the contrary, tried to give foreign words a Russian ending, adapting them to the requirements of Russian grammar, for example, “serious”, “moral”, “aesthetic”, “audience”, “harmony”, “enthusiasm”.

3) Contradictions between Karamzin and Shishkov.

Most of the young writers contemporary to Karamzin accepted his transformations and followed him. But not all his contemporaries agreed with him; many did not want to accept his innovations and did not rebel against Karamzin as a dangerous and harmful reformer. Such opponents of Karamzin were led by Shishkov, a famous statesman of that time.

Shishkov was an ardent patriot, but was not a philologist, so his attacks on Karamzin were not philologically justified and were rather of a moral, patriotic, and sometimes even political nature. Shishkov accused Karamzin of corrupting his native language, of being anti-national, of dangerous freethinking, and even of corrupting morals. In his essay “Discourse on the old and new syllable Russian language”, directed against Karamzin, Shishkov says: “Language is the soul of the people, the mirror of morals, a true indicator of enlightenment, an incessant witness of deeds. Where there is no faith in the heart, there is no piety in the tongue. Where there is no love for the fatherland, the language does not express domestic feelings.”

Shishkov wanted to say that only purely Slavic words can express pious feelings, feelings of love for the fatherland. Foreign words, in his opinion, distort rather than enrich the language: - “Ancient Slavic language“, the father of many dialects, is the root and beginning of the Russian language, which itself was abundant and rich,” he did not need to be enriched with French words. Shishkov proposes to replace already established foreign expressions with old Slavic ones; for example, replace “actor” with “actor”, “heroism” with “valiant soul”, “audience” with “listening”, “review” with “review of books”, etc.

It is impossible not to recognize Shishkov’s ardent love for the Russian language; It is also impossible not to admit that the passion for everything foreign, especially French, has gone too far in Russia and has led to the fact that the language of the common people, the peasantry, has become very different from the language of the cultural classes; but it is also impossible not to admit that it was impossible to stop the naturally occurring evolution of language; It was impossible to forcefully return into use the already outdated expressions that Shishkov proposed, such as: “zane”, “ugly”, “like”, “yako” and others.

Karamzin did not even respond to Shishkov’s accusations, knowing firmly that he was always guided by exclusively pious and patriotic feelings (just like Shishkov!), but that they cannot understand each other! His followers were responsible for Karamzin.

In 1811, Shishkov founded the society “Conversation of Lovers of the Russian Word,” whose members were Derzhavin, Krylov, Khvostov, Prince. Shakhovskoy and others. The goal of society was to maintain old traditions and fight new ones literary movements. In one of the comedies, Shakhovskoy ridiculed Karamzin. His friends were offended for Karamzin. They also created a literary society, and at their humorous meetings they ridiculed and parodied the meetings of the “Conversations of Lovers of the Russian Word.” This is how the famous “Arzamas” arose, whose struggle with “Conversation...” is partly reminiscent of the struggle in France in the 18th century. Arzamas included such famous people, like Zhukovsky, Vyazemsky, Batyushkov, Pushkin. Arzamas ceased to exist in 1818.

III. Conclusion.

Contemporaries compared him to Peter the Great. This, of course, is a metaphor, one of those magnificent poetic similes for which the age of Lomonosov and Derzhavin was so generous. However, Karamzin’s entire life, his brilliant undertakings and achievements, which had a huge impact on the development national culture, were indeed so extraordinary that they fully allowed for the most daring historical analogies.

IV. Bibliography.

1. K. Bestuzhev-Ryumin. Biographies and characteristics (chroniclers of Russia). – St. Petersburg, 1882.

2. Blagoy D.D. From Cantemir to the present day. – M., 1979

3. Vengerov S.A. Sources of the Dictionary of Russian Writers, vol. 2, St. Petersburg, 1910.

4. Verkhovskaya N.P. Karamzin in Moscow and the Moscow region. – M., 1968.

5. Vinogradov V.V. History of the Russian literary language. – M., 1978.

6. Vinogradov V.V. Essays on the history of the Russian literary language of the 17th-18th centuries. – M., 1982

7. Vinogradov V.V. Language and style of Russian writers: from Karamzin to Gogol. – M., 1990.

8. Zhdanovsky N.P. Russian writers of the 18th century. – M.. 1954.

9. Zapadov A.V. Russian literature of the 18th century. – M., 1979.

10. Zapadov A.V. Russian prose of the 18th century. – M., 1979.

11. Ikonnikov V.S. Karamzin is a historian. – St. Petersburg, 1912.

12. Karamzin N.M. Selected articles and letters. – M., 1982.

13. Karamzin N.M. Selected / preface L. Emelyanov. – M., 1985

14. Karamzin N. and Dmitriev I. Selected poems. – L., 1953

15. Karamzin and the poets of his time. – L., 1936.

16. Karamzin N.M. Letters from a Russian traveler / preface by G.P. Makogonenko. – M., 1988.

17. N.M. Karamzin: decree. works lit., about life and creativity. – M., 1999.

18. Klyuchevsky V.O. Historical portraits. – M., 1991.

19. Kovalenko V.I. Political thought in Russia. Creative portraits// Bulletin of Moscow University, series 12, No. 2, 1999, p. 57.

20. Kochetkova N.D. Literature of Russian sentimentalism. – St. Petersburg, 1994.

21. Lotman Yu.M. The Creation of Karamzin. – M., 1998.

22. Makogonenko G.P. From Fonvizin to Pushkin. – M., 1969.

23. On the path to romanticism, a collection of scientific works. – L., 1984.

24. Naidich E.E. From Cantemir to Chekhov. – M., 1984.

25. Orlov A.A. Russian sentimentalism. – M., 1977.

26. Orlov P.A. History of Russian literature of the 18th century. – M., 1991.

27. Osetrov E.I. Three lives of Karamzin. – M., 1985.

28. Osorgina A.I. History of Russian literature. – Paris, 1955.

29. Essay on the life and work of N.M. Karamzin, St. Petersburg, 1866.

30. Pavlovich S.E. Ways of development of Russian sentimental prose. – Saratov, 1974

31. Pirozhkova T.F. Karamzin is the publisher of the Moscow magazine. – M., 1978.

32. Platonov S.F. N.M. Karamzin... - St. Petersburg, 1912.

33. Pogodin M.P. Karamzin according to his writings, letters and reviews of contemporaries, parts I, II. – M., 1866.

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35. Problems of studying Russian literature of the 18th century. From classicism to romanticism. – L., 1974

Karamzin’s aesthetic principles, which formed the basis of his prose, were reflected both in programmatic works and in the writer’s theoretical articles. According to Karamzin, feeling, and not the rationalistic task characteristic of the poetics of classicism, should prevail in a literary work. Depicting a person’s life with all its joys and sorrows, conveying his intimate experiences, the writer must be able to “touch our heart,” “fill it with sad or sweet feelings,” and lead the reader to moral perfection.

Karamzin is characterized by attention not only to English and German poetry, but also to antiquity.

An important and progressive moment in the writer’s creative activity was the recognition of the individual’s right, regardless of class, to exercise internal freedom. Hence, the ideological basis of the story “Poor Liza” was the writer’s statement “even peasant women know how to love.” Karamzin has no harsh assessments, no pathos of indignation, he seeks consolation and reconciliation in the suffering of the heroes. Dramatic events are intended to evoke not indignation or anger, but a sad, melancholy feeling. Despite the vitality of the situation, the author's subjective and emotional perception of reality prevented genuine typification. The life of Lisa and her mother bore little resemblance to the real life of peasants. Lisa, like the heroines of sentimental idylls, lives in a hut.

What is the essence of Karamzin’s literary reform? In an effort to create a new Russian literary language to replace the three “calms” adopted by classicism, Karamzin set himself the task of bringing the literary language closer to the spoken language. He believed that any ideas and “even ordinary thoughts” could be expressed clearly and “pleasantly.”

Opponents of Karamzin's stylistic reform cruelly reproached him for the Frenchization of the Russian language - for excessive contamination with Gallicisms. Karamzin’s orientation towards the French language in the first period of his literary activity, indeed, sometimes took on the character of a mechanical transfer into the Russian language of French words, expressions and phrases that littered it no less than previous Slavicisms and Latinisms. However, later Karamzin himself tried to free himself from this

Test. N.M. Karamzin. "Poor Lisa"
1. The peculiarity of the language of Karamzin’s works is that:

A) the writer brought it closer to living conversational speech;

B) the writer used only “high” vocabulary;

C) the writer introduced words borrowed from other languages into active use.

2. Genre of “Poor Lisa”:

A) essay; B) story;

B) story.

3. The artistic originality of sentimentalism, the founder of which in Russia was Karamzin, consists of:

A) in depicting the inner world and feelings of a person;

B) in studying personal qualities person;

C) in nurturing the external beauty of a person.

4. The task of the narrator in “Poor Lisa”:

A) cover events without expressing your position;

B) give events a subjective-emotional assessment;

C) historically accurately convey the peculiarities of life of the inhabitants of Moscow at the end of the 8th century.

5. Erast’s portrait reflects:

A) only the appearance of the hero;

C) the appearance, lifestyle of the hero, features of his character.

6. Karamzin contrasts the main characters – Lisa and Erast:

A) describing their appearance;

B) talking about their attitude to work;

C) telling about their parents.

7. “Until now, when you woke up with the birds, you had fun with them in the morning, and

a pure, joyful soul shone in your eyes, like the sun

glows in the drops of heavenly dew...” writes Karamzin about Lisa:

A) as a person with a pure soul;

B) with irony;

C) as a frivolous girl.

8. The words of declaration of love for Lisa came from Erast’s lips as:

A) thunder from heaven;

B) amazing music;

B) rustle of leaves.

9. A person spiritually close to Lisa:

A) mother; B) Erast; B) narrator.

10. Erast married a rich widow because:

A) welfare was more important to him than love;

B) could not continue the relationship with the peasant woman;

C) lost his estate in the army and was left without funds.

11. pictures of nature in the work:

A) are the background of the story; B) show the change of seasons;

C) convey Lisa’s mood.

12. A phrase from “Poor Lisa” that became a catchphrase:

A) “However, Lisa, it’s better to feed yourself by your labors and not take anything for nothing”;

B) “And peasant women know how to love”; C) “Death for the fatherland is not scary...”.

13. The epithet “poor” in the title of the work means:

A) beggar; B) disadvantaged; B) unhappy.

14. Karamzin’s innovation manifested itself:

A) in exposing the social inequality of the heroes;

C) in a detailed depiction of the heroine’s inner world.

Test on ballads.

Completed(a)______________________________
Select the characteristics of a ballad:

Prose form.
Poetic form.
There is a plot
Magical transformations happen
The main character is a hero
There may be a tragic ending
Good conquers evil
The action is often transferred to ancient times.
Animals act, under the mask of which people are hiding
Hyperbole is used
The reign of Russian princes is described.
There is mystery and mysticism.
There is a dialogue.
The hero is helped by a magical assistant.
Humor is used.

Task with a detailed answer:

How did V.A.’s skill manifest itself? Zhukovsky in the ballad “Svetlana”? How does it evoke a mood of mystery, fear, joy in the reader?

Answer the questions:

In what form does the “comforting angel” appear to Svetlana?
What “scares” Svetlana in her dream?
How is the theme of fortune telling revealed in the ballad?
Name five folklore elements, used by the author.
What are genre features Zhukovsky's ballads?
Basic ideas of the ballad
What character traits of Svetlana create her romantic image?
What role does color play in a ballad?
In what place does Svetlana experience the strongest feelings?
What instruction does the author give and to whom in the epilogue?

Literature test “Karamzin N.M. Poor Lisa"

Beginning of the form

1. To which literary direction belongs to the work of N.M. Karamzin “Poor Liza”?

2. Which one? literary genre belongs to “Poor Lisa”?

1) story
2) novel
3) story
4) poem

3. Specify main topic works.

1) love theme
2) nature theme
3) theme of betrayal
4) the theme of motherhood

4. Where do the events told by the author in the work take place?

1) in St. Petersburg and its suburbs
2) in Moscow and its suburbs
3) in Kyiv and its suburbs
4) in Voronezh and its suburbs

5. How can you characterize Lisa’s love for Erast?

1) reckless
2) limitless
3) random
4) the heroine did not love Erast

6. How does Erast’s love for Lisa appear before us?

1) reliable
2) strong
3) insignificant
4) unable to withstand testing

1) The author loves Lisa, understands her and sympathizes with her.
2) N.M. Karamzin condemns the heroine for recklessness in love.
3) The author condemns the way Lisa passed away.
4) It is not felt in the work author's attitude to the heroine.

8. How does N.M. feel? Karamzin to Erast?

1) despises him
2) condemns betrayal towards Lisa
3) understands him, sympathizes with him
4) the author’s attitude towards the hero is not visible in the work

9. What is the role of nature in the work?

1) nature is the background of the story
2) from pictures of nature one can judge the time of year
3) nature conveys Lisa’s mood
4) the author believed that without landscape sketches his work would be incomplete

10. The epithet “poor” in the title of the work means:

1) unhappy
2) beggar
3) destitute
4) penniless

11. What type literary heroes Can I include Lisa?

1) “extra person”
2) “little man”
3) reasoner
4) “offended and insulted”

Test based on the story by A.S. Pushkin “ Captain's daughter»

The narration in “The Captain’s Daughter” is told from the perspective of:

a) the author;

b) narrator;

c) Masha Mironova;

d) Peter Grinev;

a) compositions

b) epigraphs

d) choosing a hero

3. What historical figures mentioned in the story?

a) Frederick II

b) Count Minich

c) Grigory Orlov

d) Catherine the First

e) Elizabeth the first

e) Catherine the Second

4. Name artistic techniques that Pushkin did not use to create the image of Pugachev.

b) portrait

c) epigraphs

d) speech characteristics

d) the attitude of other characters

e) plug-in elements

5. What is the meaning of the title of the story? Masha Mironova - ...

a) the only one female character stories

b) stands in the center of the plot

c) a bearer of high morality and honor

d) daughter of a deceased Russian officer

6. Correlate the elements of the composition and the elements of the development of the love plot.

a) exposition 1) scene of the duel with Shvabrin, father’s letter

b) plot 2) release of Grinev, marriage to Masha

c) climax 3) Petrusha’s childhood on the family estate

d) denouement 4) Grinev’s acquaintance with the main character of the story

7. For what purpose is Grinev’s dream introduced into the story?

a) characterizes Grinev

b) foreshadows the development of relations between two characters

c) characterizes Pugachev

d) emphasizes Pugachev’s bloodthirstiness

8. Who owns the statement “God forbid you see a Russian revolt, senseless and merciless...”?

b) Catherine II

c) Petrusha Grinev

d) Savelich

9. Match pairs of heroes whose characteristics are based on the principle of antithesis.

a) Pugachev 1) Orenburg generals

b) Shvabrin 2) Catherine the Second

c) Pugachev’s “generals” 3) Grinev

10. What folklore genres does A.S. Pushkin use to create the image of Pugachev?

a) epics d) songs

b) riddles e) proverbs, sayings

c) fairy tales e) myths

11. Which chapter is preceded by an epigraph:

“At that time the lion was well-fed, even though he has been ferocious since birth.

“Why did you deign to welcome me to my den?” -

he asked affectionately.” (A. Sumarokov)

a) “Court” d) “Uninvited Guest”

b) “Arrest” d) “Rebel Settlement”

c) “Attack”

12. What is the main problem of the story “The Captain's Daughter”?

a) the problem of love

b) the problem of honor, duty and mercy

c) the problem of the role of the people in the development of society

d) the problem of comparing the clan and service nobility

13. How is Savelich shown in the story?

a) downtrodden, voiceless serfs

b) obedient, slavishly devoted to their masters

c) deep, endowed with a sense of self-esteem

d) a loving, faithful, selfless, caring assistant and advisor

14. Mark the correct judgment. Literary character is...

a) the image of a specific person, in which the typical features of the time are expressed through individual qualities

b) an artistic depiction of a person

c) personal traits inherent in the hero

15. What symbolic images used by A.S. Pushkin in the story “The Captain's Daughter”?

a) way, road d) dagger

b) grave e) gallows

c) storm, blizzard

d) eagle, raven

16. What features of the Russian national character are shown by A.S. Pushkin in the image of Pugachev?

a) intelligence, ingenuity

b) laziness, inactivity

c) daring, generous nature

d) tendency to drink

d) good memory, gratitude

17. Whose portrait is this? “She was in a white morning dress, a nightcap and a shower jacket. She seemed to be about forty years old. Her face, plump and rosy, expressed importance and calmness, and Blue eyes and the light smile had an inexplicable charm..."

a) Maria Mironova

b) Vasilisa Egorovna

c) Catherine the Second

d) Avdotya Vasilievna

Literature test “Pushkin A.S. The Captain's Daughter" No. 1 for 8th grade

Beginning of the form

1. When was Pyotr Grinev enlisted as a sergeant in the Semenovsky regiment?

1) after he turns 18 years old
2) after he turns 16 years old
3) even before birth
4) immediately after birth

2. Who was the hero Savelich?

1) father
2) godfather
3) uncle
4) friend

3. Why was Beaupre demoted by Grinev's father?

1) he did not have a teacher's diploma
2) didn’t know any science
3) slept and drank a lot
4) chased after women

4. Who are we talking about?

“He was a kind fellow, but flighty and dissolute to the extreme.”

1) Petr Grinev
2) Alexey Shvabrin
3) Zurin
4) Frenchman Beaupré

5. Find out the hero by description.

“The hair was cut into a circle; he was wearing a tattered overcoat and Tatar trousers.”

1) Emelyan Pugachev
2) Savelich
3) Alexey Shvabrin
4) Zurin

6. Recognize the hero by description.

“...a young officer of short stature, with a dark and distinctly ugly face, but extremely lively.”

1) Zurin
2) Alexey Shvabrin
3) Emelyan Pugachev
4) captain Mironov

7. What is the name of the technique used in the passage below?

“The road went along the steep bank of the Yaik. The river had not yet frozen, and its leaden waves sadly turned black in the monotonous banks covered with white snow. Behind them stretched the Kyrgyz steppes.”

1) interior
2) landscape
3) remark
4) portrait

8. What is the name of the technique used by the author in the passage below?

“I entered a clean room, decorated in an old-fashioned way. There was a cupboard with dishes in the corner; on the wall hung an officer's diploma behind glass and in a frame; next to him there were popular prints depicting the capture of Kistrin and Ochakov, as well as the choice of a bride and the burial of a cat.”

1) landscape
2) portrait
3) interior
4) symbol

9. What words are used as an epigraph to the entire work?

1) We live in a fortification, we eat bread and drink water.
2) Is it my side, side. Unfamiliar side!
3) Take care of honor from a young age.
4) Take care of your dress again, and your honor from a young age.

10. Why is a work dedicated to to a greater extent Grinev, called “The Captain’s Daughter”? State the incorrect statement.

1) Masha is a person of strong will. She had to endure difficult trials, and she passed them with honor.
2) The captain's daughter Masha Mironova is the bearer of the best features of the Russian national character.
3) Masha is the daughter of Captain Mironov, a Russian officer, a patriot who did not defect to the side of the impostor, but remained loyal to the Motherland and the throne. Mironov raised a noble and honest daughter.
4) Masha is the most important character in the work.

End of form

1 option

Indicate the years of Pushkin's life

A) 1798-1837 c) 1799-1837

B) 1801-1837 d) 1799-1835

3) Indicate which fact does not apply to Pushkin’s biography

A) Participated in literary society"Arzamas"

B) Published the magazine “Sovremennik”

B) I planned to write “The History of Ukraine”

D) Died as a result of a duel with his wife’s suitor

4) What genre does “Song of prophetic Oleg»

A) Song c) Ballad

B) poem d) ode

5) “The Song of the Prophetic Oleg” was written

A) during the years of study at the Tsarskoye Selo Lyceum

B) during the “Boldino autumn”

6) Who was the prophetic Oleg going to take revenge on?

A) Pechenegs c) Polovtsians

B) Khazars d) Tatars

7) Who was present at the “funeral funeral for mournful Oleg”

A) Igor B) Olga

B) Vladimir d) Svyatoslav

8) Who did Peter fight with in Poltava?

A) with the Germans B) with the British

B) with the Swedes d) with the Lithuanians

9) What original title the poem had

A) “Battle of Poltava” c) “Mazepa”

B) “Peter” d) “Kochubey”

10) What technique does Pushkin use in comparing Peter and Charles

A) allegory B) contrast

B) metaphor d) personification

12) How many times does Gregory have the same dream?

A) 4 times c) 3 times

B) 2 times d) 5 times

13) What does Pimen Grigory ask for when he wakes up?

A) pray for him B) bless him

B) help him hide d) help him escape

14) How many murderers were caught immediately after the murder of Dimitri

A) two b) five

B) three d) one

15) Indicate which proverb serves as an epigraph to the story

A.S. Pushkin “The Captain’s Daughter”

a) “Called yourself a milk mushroom - get into the back”

B) “Take care of your honor from a young age”

C) “There’s no point in blaming the mirror if you have a crooked face.”

D) “You can’t even pull a fish out of a pond without difficulty”

16) Petr Grine was registered for military service

A) upon reaching adulthood

B) at 14 years old

D) before birth

17) What was the name of Grinev’s teacher and faithful companion

A) Semenych B) Stepanych

B) Savelich d) Arkhipych

18) His parents received a message about Grinev’s participation in the duel from

A) Savelich c) Masha Mironova

B) Shvabrin d) captain Mironov

19) How Shvabrin behaved after the capture of the fortress

A) paid off

B) went over to Pugachev’s side

B) escaped from the fortress

D) hid in the priest's house

20) Indicate the name of your favorite Pugachev song

A) “Don’t make noise, mother green oak tree”

B) “Dubinushka”

B) “Down along Mother Volga”

G) " Captain's daughter, don’t go for a walk at midnight"

A) Stepan Razin and Alexander I

B) Emelyan Pugachev and Catherine II

B) Catherine II and Stepan Razin

D) Nicholas I and Emelyan Pugachev

Q 1 On the bank of which river did the bones of Oleg’s horse lie?

Q 2 What color were the uniforms of Peter’s enemy army (based on the poem “Poltava”)

Q 3 In what city was Pimen at the time of the death of Tsarevich Dimitri?

(based on the tragedy "Boris Godunov")

In 4 Which chapter of the story “The Captain’s Daughter” is used as

The epigraph is taken from the saying “Worldly rumor is a wave of the sea”

Test on the works of A.S. Pushkin

Option 2

In what city was A.S. Pushkin born?

A) Moscow B) In Kyiv C) St. Petersburg d) Yaroslavl

2) What date is associated with the formation of the Tsarskoye Selo Lyceum

3) Indicate which fact is not included in the biography of A.S. Pushkin

A) Wrote “The History of the Pugachev Rebellion”

B) participated in the Decembrist uprising

B) Studied at the Tsarskoye Selo Lyceum

D) Died at the hands of his wife’s suitor.

4) The “Song of the Prophetic Oleg” is based on a plot borrowed from

A) from “The Life of Sergius of Radonezh”

B) from “The Teachings of Vladimir Monomakh”

B) from “The Tale of Igor’s Campaign”

D) from “The Tale of Bygone Years”

B) poetic advanced ancient Russian text

B) part great work A.S. Pushkin

D) an independent literary work

6) What did Oleg offer as a reward when he asked for a fortune teller?

about prophecy

A) horse B) money C) fulfillment of any desire

D) ring

7) When Oleg remembered his horse

A) in battle B) on the river bank C) at a feast

D) having met the fortuneteller again

8) What was the original title of the poem “Poltava”

A) “Battle of Poltava” B) “Mazepa” c) “Peter” d) “Kochubey”

9) Who led the enemy army in Poltava

A) Napoleon B) Charles XII c) William II D) Frederick II

10) In whose honor Peter raised the “cup of health” at the feast

A) for your friends B) for your enemies

B) for your teachers d) for yourself

11) Pushkin dedicated the tragedy “Boris Godunov” to memory

A) N.M. Karamzina B) V.K. Trediakovsky

B) G.R. Derzhavin d) M.V. Lomonosov

12) Where the scene of the conversation between Gregory and Pimen takes place

A) In the Kiev-Pechersk Monastery

B) In the Chudov Monastery

B) In the Trinity-Sergius Lavra

D) In the Vydubitsky Monastery

13) Under what ruler, according to Pimen, Rus'

“comforted in serene glory”?

A) under Ivan the Terrible B) under Fedor

B) under Vasily III D) under Ivan III

14) What does Pimen advise Gregory

A) humble yourself by fasting c) do not stop fighting

B) become a monk d) gather an army against Boris

15) They decided to send Pyotr Grinev to military service

Upon reaching them

A) 16 years old b) 20 years old c) 18 years old d) 22 years old

6) Indicate which printed products have always had a strong

influence" on Andrei Petrovich Grinev

a) “Domostroy” B) “Court calendar”

b) “Psalter” d) “An honest mirror of youth”

17) Orenburg general Andrei Karlovich did not know the meaning

Russian expression

a) “Take care of your honor from a young age”

b) “Keep a tight rein”

c) “Work carelessly”

D) “Don’t renounce prison or poverty”

18) Indicate the reason for the duel between Grinev and Shvabrin

A) Card debt

B) Unfair game of billiards

B) Shvabrin’s transition to Pugachev’s side

D) Insult inflicted on Masha Mironova

19) Why was Grinev taken into custody

A) Pugachev said that Grinev is his spy

B) Shvabrin slandered him

C) left Orenburg without permission

D) He was slandered by defectors unknown to him

20) Indicate which proverb is on the pages of the story

uses Pugachev

A) “The Lord will not give you away - the pig will not eat

B) “Debt is clear in payment”

B) “A horse has four legs, but it stumbles”

D) “At least a tuft of wool from a black sheep”

21) What historical characters act in the story

A) Stepan Razin and Alexander I B) Catherine II and Stepan Razin

B) Emelyan Pugachev and Catherine II D) Nicholas I and Emelyan Pugachev
Q 1 On the gates of which city Oleg nailed his shield

Q 2 What time of day did the Battle of Poltava begin?

Q 3 Who lived in Pimen’s cell before him

Q 4 Name the main characters of the Kalmyk fairy tale, which

Pugachev told Grinev

Completed

Final test in literature 8th grade

1 option

Tell us about the features of the development of CNT (peculiarities of occurrence, genres, authors, main works)
Creative task:

Option 2

Name the genera and corresponding genres of literature
List the main sections of the development of literature
Tell us about the features of development Old Russian literature(features of origin, genres, authors, main works)
Creative task:
Mini-essay on the topic: “My favorite hero” (for the 8th grade course)

Option 3

Name the genera and corresponding genres of literature
List the main sections of the development of literature
Tell us about the peculiarities of the development of Literature of the 18th century (features of its origin, genres, authors, main works)
Creative task:
Mini-essay on the topic: “My favorite hero” (for the 8th grade course)

Option 4

Name the genera and corresponding genres of literature
List the main sections of the development of literature
Tell us about the peculiarities of the development of Literature of the 19th century (features of its origin, genres, authors, main works)
Creative task:
Mini-essay on the topic: “My favorite hero” (for the 8th grade course)

Literature tests for grade 8 (incoming control).

Test No. 1.

Which definition of folklore do you think is the most complete?

a) a special type of creativity that has retained connections with ancient thinking and understanding of words;

b) art created by the people and existing among the broad masses;

c) oral folk art;

d) a set of works on various topics;

2. What language is the word “folklore” borrowed from?

a) Greek; c) English;

a) poet; c) singer-storyteller;

b) chronicler; d) people;

4. Name the types of art in which elements of folklore can be used.

a) architecture; c) dance;

b) painting; d) literature;

5. What is a riddle?

a) children's game; V) short story with a witty ending;

b) folk genre; d) figurative combination of words;

6.What poem brought fame to M.Yu. Lermontov?

a) “Sail”; b) “Duma”;

c) “Borodino”; d) “Death of a Poet”;

15. Who was A.S.’s closest friend? Pushkin?

a) K. Danzas; b) I. Pushchin;

c) P. Yudin; d) A. Illichevsky;

16. Where was the Lyceum where A.S. studied? Pushkin?

a) in Moscow; b) in St. Petersburg;

c) in Tsarskoe Selo; d) in Mikhailovsky;

17. What was the name of the heroine from the story by A.S. Pushkin's "Peasant Young Lady"?

a) Nastya; b) Lisa;

c) Olga; d) Katerina;

18. What is the name of the collection that includes the story “Bezhin Meadow”?

a) “Notes of a Traveler”; b) “Notes of a Fisherman”;

c) “Notes of a Hunter”; d) “Notes of Turgenev.”

Test work on foreign literature
Give detailed answers to the questions:

Composition of Dante's comedy. Symbolism of numbers in comedy.
Define a sonnet. The structure of a sonnet.
What is the humanism of Francois Rabelais?
The main characters of the novel "Gargantua and Pantagruel".
Shakespeare's question.
External and internal conflict hero of Shakespeare's tragedy "Hamlet".
Eternal images of Cervantes' novel Don Quixote.
Theater of the Classical era.
Composition of the novel "Gulliver's Travels".
The main idea of the novel "Gulliver's Travels".
The history of the creation of Daniel Defoe's novel "Robinson Crusoe" .
The image of the main character Goethe's novel The Sorrows of Young Werther.
The figurative antithesis of Faust - Margarita in Goethe's tragedy "Faust".

Test. N. M. Karamzin. “Poor Liza” The peculiarity of the language of Karamzin’s works is that: the writer brought it closer to living colloquial speech. Peculiarities of Karamzin’s sentimental prose and the reform of the Russian literary language

Abstract

3) Karamzin – reformer

1) Features of Karamzin’s poetry

2) Features of Karamzin’s works

2) Karamzin reform

3) Contradictions between Karamzin and Shishkov

1) Features of Karamzin’s poetry.

2) Features of Karamzin’s works.

2) Karamzin reform.

3) Contradictions between Karamzin and Shishkov.

Literature test “Pushkin A.S. The Captain's Daughter" No. 1 for 8th grade

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3) Karamzin – reformer

1) Features of Karamzin’s poetry

2) Features of Karamzin’s works

2) Karamzin reform

3) Contradictions between Karamzin and Shishkov

1) Features of Karamzin’s poetry.

2) Features of Karamzin’s works.

2) Karamzin reform.

3) Contradictions between Karamzin and Shishkov.

Literature test “Pushkin A.S. The Captain's Daughter" No. 1 for 8th grade

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