The features of sentimentalism in poor Lisa. Sentimentalism "Poor Lisa": eternal and universal in the story

Sentimentalism in the story of Karamzin N.M. "Poor Lisa".
The touching love of a simple peasant girl Lisa and the Moscow Nobleman Erast deeply shocked the souls of the contemporary writer. Everything in this story: from the plot and recognizable landscape sketches of the Moscow region to the sincere feelings of heroes - was unusual for readers of the late 18th century.
For the first time, the story was published in 1792 in the Moscow Journal, whose editor was Karamzin himself. The plot is simple enough: after the death of the father, young Lisa is forced to work without dodging hands to feed himself and mother. In the spring, it sells lilies in Moscow and gets acquainted with a young noble entrant. The young man falls in love with her and is ready to leave the light for his love. Loves spend together in the evening, while once the erast reports that he should make a goal with the regiment and they will have to part. A few days later, Eraste leaves. It takes several months. Once Lisa accidentally sees Eras in a magnificent carriage and finds out that it is engaged. Erast lost his estate in the cards and to correct the shaking material situation, marries the calculation of the rich widow. In despair, Lisa rushes into the pond.

Artistic peculiarity.

The story of the story Karamzin borrowed from European love literature. All events were transferred to the "Russian" soil. The author emphasizes that the action takes place in Moscow and its surroundings, describes Simonov and Danilov Monasteries, Sparrow Mountains, creating an illusion of reliability. For Russian literature and readers of that time it was innovation. Having used to a happy junction in old novels, they met in the works of Karamzin with the truth life. The main goal of the writer is to achieve compassion - was achieved. The Russian audience read, compassioned, sympathized. The first readers of the story took the story of Lisa as a real tragedy of contemporaries. The pond under the walls of Simonov Monastery was named lysine pond.
Disadvantages of sentimentalism.
The plausibility in the story only seemingly. The world of heroes, who depicts the author, idyllic, is invented. The lesman Lisa and her mother possess the sophisticated feelings, their speech is literate, literary and no different from the speech of Erastea, who was a nobleman. The life of the poor villagers resembles Pastoral: "Meanwhile, the young shepherd on the banks of the river Hnal herd, playing on the swirls. Lisa rushed his eyes to him and thought: "If the one who occupies now my thoughts was born, was a simple peasant, shepherd, - and if he had handed me a herd: ah! I would bow to him with a smile and would say a friendly: "Hello, kind shepherd! Where are you going a flock of your own? And here is growing green grass for your sheep, and here are flowers, from which you can weigh the wreath for your hat. " He would look at me with a kind of gentle - I would take it, maybe my hand ... Dream! " The shepherd playing on the swirls, passed by and with the Penter herd His hidden behind the Middle Hill. " Similar descriptions and reasoning are far from realism.
The story became a model of Russian sentimental literature. In contrast to classicism with his cult of mind, Karamzin argued the cult of feelings, sensitivity, compassion: Heroes are important to love their ability, feel, worry. In addition, unlike the works of classicism, "poor Lisa" is deprived of morality, didactism, editing: the author does not say, but is trying to call the reader with the heroes.
The story distinguishes both "smooth" language: Karamzin abandoned the high polhood, which made the work easy to read.

Nikolai Mikhailovich Karamzin became the most prominent representative in the Russian literature of a new literary direction - sentimentalism, popular in Western Europe at the end of the XVIII century. In the "poor Lisa" created in 1792, the main features of this direction were shown. Sentimentalism proclaimed preferential attention to the privacy of people, to their feelings, equally to characteristic of all classes. Karamzin tells us the story of the unfortunate love of a simple peasant girl Lisa and the nobleman of Erast, in order to prove that "and the peasants can love." Lisa is the ideal of a "natural person", for whom sentimentalists ratified. She is not only "beautiful soul and body", but also be able to sincerely love a person, her love is not quite worthy. Erast, although surpasses his beloved education, knowledge and wealth, it turns out spiritually smaller. He is not able to rise above the estate prejudices and marry Lisa. Erast has a "fairful mind" and "good heart", but at the same time "weak and windy." Having lost in the card, he is forced to marry rich widow and leave Lisa, because of what she committed suicide. However, sincere human feelings did not die in Eraste, and, as the author assures us, "Erast was to the end of the life of his unhappy. Upon learning of the fate of lysine, he could not comfort himself and read himself as a killer. "

For Karamzin, the village becomes a focus of natural moral purity, and the city is a source of debauchery, a source of temptations capable of destroying this purity. The heroes of the writer, in full compliance with the commandments of sentimentalism, suffer almost all the time, constantly expressing their feelings from abundantly spilled tears. As the author himself admitted: "I love those objects that make me shed tears of tender grief." Karamzin is not ashamed of tears and calls on the same readers. How in detail it describes the experiences of Liza, left to the army of Eraste: "From this hour, her days were days

togasting and sorrow, which was supposed to hide from a tender mother: Especially since her heart suffered! Then it was just facilitated when Lisa, retaining in the dense of the forest, could freely shed tears and wall about separation with cute. Often, the sad ruling joined his own wound with her wedding. " Karamzin causes Lisa to hide his sufferings from the old woman, but at the same time I am deeply convinced that it is very important to give the opportunity to a person openly show his grief, to enhanced in order to ease the soul. Social essentially conflict Tale The author considers through the philosophical and ethical prism. Erast sincerely wanted to overcome the estate obstacles on their way with Liza idyllic love. However, the heroine is much more soberly looking at the position of things, realizing that the erasta "can not be her husband." The narrator is already quite sincerely worried about his heroes, is experiencing in the sense that it seems to live with them. It is no coincidence that moment when Erast leaves Lisa, a heartfelt author's confession follows: "My heart is poured in blood in this minute. I forget the person in Eraste - is ready to curse him - but my tongue is not moving - I look at the sky, and the tear rolls to my face. " Not only by the author, but also thousands of his contemporaries - readers lived with Erast and Lisa. This was facilitated by good recognition not only circumstances, but also a place of action. Karamzin pretty accurately depicted in the "poor Lisa" neighborhood of the Moscow Simonov Monastery, and the name "Lysin Pond" was firmly entrusted for the pond. Moreover: some unfortunate young ladies even trembled here in the example of the main character of the story. Lisa herself became a model that was sought to imitate in love, however, not the peasant, the Karamzin story did not read, but girls from the noble and other wealthy classes. Rare Dotole's name ERAST has become very popular in noble families. Very "poor Lisa" and sentimentalism answered the spirit of time.

It is characteristic that Karamzin Liza and her mother, although declared peasants, are expressing in the same language as the author's nobleman and the author himself. The writer, as well as Western European sentimentalists, has not yet known the speech differences in the heroes, representing the contestants of society as opposed to the conditions of existence. All host heroes speak Russian literary language, close to the real conversational language of the circle of the educated noble youth, to which Karamzin belonged. Also, the peasant life in tale is far from genuine people's life. Rather, he inspired by his characteristic sentimentalist literature on the "natural person", whose symbols were shepherds and cowlows. Therefore, for example, the writer introduces the episode of the meeting of Lisa with a young shepherd, which "on the banks of the river chase herd, playing on the swirls." This meeting makes the heroine dream, so that her beloved Erasa would be a "simple peasant, shepherd," which would make it possible to make their lucky connection. The writer is still mainly the truthfulness in the image of feelings, and not the details of the unfamiliar national life.

Approved by his story sentimentalism in Russian literature, Karamzin made a significant step in terms of her democratization, refusing strict, but far from the living life of classicism schemes. The author "Poor Lisa" not only sought to write "as they say", freeing the literary language from Church Slavonic Archaisov and boldly introducing new words borrowed from European languages. He first refused to divide the heroes on purely positive and purely negative, showing a complicated combination of good and bad features in the character of Erast. Thus, Karamzin took a step in the direction, in which the development of literature in the middle of the XIX century, replacing sentimentalism and romanticism in the middle of the XIX century.

Sentimentalism (FR. Feeling) is an artistic method that emerged in England in the middle of the XVIII century. and received distribution mainly in European literature: Shzh Richardson, L. Stern - in England; Rousseau, L. S. Mercier - in France; Gerder, Jean Paul - in Germany; N M. Karamzin and Early V. A. Zhukovsky - in Russia. As the last stage in the development of education, sentimentalism in its ideological content and artistic features confronted classicism.

In sentimentalism, the public aspirations and moods of the democratic part of the "third class" were found in Sentimentalism, its protest against feudal remnants against the enhancing social inequality and the leveling of the person in the developing bourgeois society. But these progressive tendencies of sentimentalism were significantly limited to its aesthetic credo: the idealization of natural life in the lap of nature, as free from all coercion and oppression, devoid of vices of civilization.

At the end of the XVIII century. In Russia, there was a growth of capitalism. Under these conditions, a known part of the nobility, which felt the instability of feudal relations and, at the same time, who did not accept new public trends, put forward a different sphere of life before ignored. It was an intimate area, personal life that determine the motives of which were love and friendship. Thus, sentimentalism appeared as a literary direction, the last stage of the development of Russian literature XVIII century, covering the original decade and moved in the XIX century. At its class Nature, Russian sentimentalism is deeply different from the Western European, which arose in the medium of progressive and revolutionary bourgeoisie, which was an expression of its class self-determination. Russian sentimentalism is based on its own - the regeneration of the noble ideology: Sentimentalism did not have a bourgeois in Russian soil, since the Russian bourgeoisie was just beginning - and extremely uncertain - his self-determination; The sentimental sensitivity of Russian writers, who claimed new spheres of ideological life, first, at the time of the heyday of feudalism, there are little significant and even forbidden, - longing for the outgoing attribution of feudalism.

The story N. M. Karamzin "Poor Lisa" was one of the first sentimental works of Russian literature of the XVIII century. Her plot is very simple - a slightly accrastful, although the good nobleman Erast falls in love with the poor peasant girl Lisa. Their love ends tragically: the young man quickly forgets about his beloved, going to marry a rich bride, and Lisa dies, rushing into the water.

But the main thing in the story is not a plot, but the feelings that she had to awaken in the reader. Therefore, the main character of the story becomes the narrator, which with sadness and sympathy tells about the fate of the poor girl. The image of the sentimental narrator became a discovery in Russian literature, since the narrator remained "for the scenes" and was neutral with respect to the events described. For the "poor Lisa" are characterized by short or deployed lyrical retreats, with each dramatic turn of the plot, we hear the author's voice: "My heart is poured by blood ...", "the tear rolls along my face."

Extremely significant was for the writer-sentimentalist appeal to social issues. He does not give Eras in the death of Lisa: a young nobleman is as unhappy as a peasant girl. But, and this is especially important, Karamzin is hardly the first in Russian literature opened a "live soul" in a representative of the lowest estate. "And the peasants are able to love" - \u200b\u200bthis phrase from the story for a long time became a winged in Russian culture. From here, one more tradition of Russian literature begins: sympathy for a simple person, his joys and troubles, the protection of weak, oppressed and lackless - this is the main moral task of artists of the word.

The name of the work containing, on the one hand, the indication of the socio-economic aspect of solving the problem (Lisa is a poor peasant girl), on the other hand - on the moral and philosophical (Hero of the story - unfortunate, offended by fate and people, man). The names of the title emphasized the specifics of the conflict in the work of Karamzin. Love conflict between a man and a girl (the history of their relationship and the tragic death of Lisa) is the lead.

For the heroes of Karamzin, the inner disorder is characterized, the inconsistency of the ideal of reality: Lisa dreams to be his wife and mother, but forced to accept the role of mistress.

Plot ambivalence, externally noticeable, manifested in a "detective" basis of a story, the author of which is interested in the causes of the suicide of the heroine, and in the unusual solution to the problem of the "love triangle", when the love of the peasant to the east threatens with family bonds, consecrated sentimentalists, and "poor Liza" itself replenishes a number of images of "fallen women" in Russian literature.

Karamzin, referring to the traditional poetics of the "talking name", managed to emphasize the inconsistency of the external and internal in the images of the heroes of the story. Lisa surpasses Erast ("Loving") in talent to love and live love; The "meek", "quiet" (translated from Greek) Lisa performs actions requiring the decisiveness and strength of the will, reaching against public laws of morality, religious-moral norms of behavior.

Pantheistic philosophy, assimilated by Karamzin, made nature by one of the main characters of the story, empathizing Lisa in happiness and grief. The right to the innermost communication with the world of nature has not all heroes, but only Lisa and the narrator.

In the "poor Lisa" N. M. Karamzin gave one of the first in the Russian literature of samples of sentimental style, which was focused on the colloquial speech of the educated part of the nobility. He intended the grace and simplicity of the syllable, the specific selection of "frantic" and "not spoiling tastes" words and expressions, the rhythmic organization of prose, bringing it closer with the poetic speech.

In the story "Poor Lisa" Karamzin showed himself a big psychologist. He managed to work in reveal the inner world of his heroes, primarily their love experiences.

The story N. M. Karamzin "Poor Lisa" was one of the first sentimental works of Russian literature of the XVIII century.

Sentimentalism proclaimed preferential attention to the privacy of people, to their feelings, equally to characterize from all classes .. Karamzin tells us the story of the unfortunate love of a simple peasant girl Lisa and the nobleman of Erast, in order to prove that "and love the peasant women."

Lisa is the ideal of nature. She is not only "beautiful soul and body", but also be able to sincerely love a person, her love is not quite worthy. Erast, although, of course, surpasses his beloved education, knowledge and material condition, is spiritually smaller. He also possesses the mind and good heart, but is a weak and windy man. He is not able to rise above the estate prejudices and marry Lisa. Having lost in the card, he is forced to marry rich widow and leave Lisa, because of what she committed suicide. However, sincere human feelings did not die in Eraste, and, as the author assures us, "Erast was to the end of the life of his unhappy. Upon learning of the fate of lysine, he could not comfort himself and read himself as a killer. "

For Karamzin, the village becomes a focus of natural moral purity, and the city is a source of temptations capable of destroying this purity. The heroes of the writer, in full compliance with the commandments of sentimentalism, suffer almost all the time, constantly expressing their feelings from abundantly spilled tears. Karamzin is not ashamed of tears and calls on the same readers. He describes in detail the experiences of Liza, left to the army of the Erast, we can trace, as it suffers: "From this day, it was the days of longing and sorrow, which was to hide from a gentle mother: Especially since her heart suffered! Then it was just facilitated when Lisa, retaining in the dense of the forest, could freely shed tears and wall about separation with cute. Often, the sad ruling joined his own wound with her wedding. "

For the writer, lyrical retreats are characterized, with every dramatic turn of the plot, we hear the author's voice: "My heart is poured by blood ...", "a tear rolls to my face." Essential was for the writer-sentimentalist appeal to social issues. He does not blame the Eras in the death of Lisa: a young nobleman is just as unhappy as a peasant. It is important that Karamzin is hardly the first in Russian literature, which opened the "live soul" in the lowest estate representatives. From this, the Russian tradition begins: to show sympathy to ordinary people. It can also be noted that the very name of the product bears a special symbolism, where, on the one hand, it is indicated on the financial situation of Lisa, and on the other to the well-being of her soul, which leads to philosophical reflections.

The writer turned to the even no less interesting tradition of Russian literature - to the poetics of the speaking name. He was able to emphasize the inconsistency of the external and internal in the images of the heroes of the story. Lisa - meek, quiet superior to Erast in the ability to love and live love. She makes actions. Requires the decisiveness and force of the will, which are in contradiction with the laws of morality, religiously moral norms of behavior.

The philosophy, assimilated by Karamzin, made the nature of one of the main characters of the story. The right to the innermost communication with the world of nature has not all heroes, but only Lisa and the narrator.

In the "poor Lisa" N. M. Karamzin gave one of the first in Russian literature samples of sentimental style, which was focused on the colloquial speech of the educated part of the nobility. He assumed the elegance and simplicity of the syllable, the specific selection of "frantific" and "not spoiling tastes" of words and expressions, the rhythmic organization of prose, bringing it closer with the poetic speech. In the story "Poor Lisa" Karamzin showed himself a big psychologist. He managed to work in reveal the inner world of his heroes, primarily their love experiences.

Not only by the author, but also thousands of his contemporaries - readers lived with Erast and Lisa. This was facilitated by good recognition not only circumstances, but also a place of action. Karamzin pretty accurately depicted in the "poor Lisa" neighborhood of the Moscow Simonov Monastery, and the name "Lysin Pond" was firmly entrusted for the pond. ". Moreover: some unfortunate young ladies even trembled here in the example of the main character of the story. Lisa became a model that was sought to imitate in love, however, not peasants, but girls from noble and other wealthy classes. The rare name of ERAST has become very popular in noble families. "Poor Lisa" and sentimentalism answered the spirit of the times.

Approved by his story sentimentalism in Russian literature, Karamzin made a significant step in terms of her democratization, refusing strict, but far from the living life of classicism schemes.

Sentimentalism Novel N. M. Karamzin "Poor Lisa"

1. Entry.

"Poor Lisa" is a work of sentimentalism.

2. The main part.

2.1 Lisa - the main heroine of the story.

2.2 Classic inequality of heroes is the main cause of the tragedy.

2.3 "And the peasants can love!"

3. Conclusion.

Theme of a small man.

With it [Karamzin] and due to its effects, heavy pedanthism and chicoralism changed sentimentality and light essentiality.

V. Belinsky

The story of Nikolai Mikhailovich Karamzin "Poor Lisa" is the first work of Russian literature, most brightly embodying the main features of such a literary direction as sentimentalism.

The story story is very simple: this is the story of the love of the poor peasantry of Lisa to a young nobleman who leaves it for the sake of marriage by calculation. As a result, the girl rushes into the pond, without seeing the point of living without a loved one.

The innovation introduced by Karamzin is the appearance of a storyteller in the story, which in numerous lyrical devices expresses his sadness and makes us empathize. Karamzin is not ashamed of his tears and calls on the same readers. But not only heart torments and the author's tears make us penetrate this simple story.

Even the smallest details in the description of nature cause a response in the souls of readers. After all, it is known that in the vicinity of the old monastery over Moscow, the River loved to walk and Karamzin himself, and after the release of the work in the world behind the monastery pond, the name "Lizin Pond" was entrusted with his oldesta.

There are no strictly positive or negative heroes in the works of sentimentalism. So the heroes of Karamzin are living people with their advantages and vices. Do not deny

Lisa is not at all similar to the typical "Pushkin" or "Turgenevskaya" girl. She does not embody the female ideal of the author. For Karamzin, she is a symbol of human stateness, its naturalness and sincerity.

The writer emphasizes that the girl did not read about love even in novels, so the feeling so much seized her heart, so the betrayal of her beloved led her to such despair. Love Lisa, poor uneducated girl to a well-known young man "with a fairie", - the struggle of real feelings with social prejudices.

From the very beginning, this story was doomed to the tragic finale, because the class inequality of the main characters was too significant. But the author, describing the fate of young people, puts accents so that his personal attitude to what is happening becomes clear.

Karamzin not only appreciates spiritual aspirations, experiences and ability to love higher than material benefits and position in society. It is in the inability to love, experiencing a truly deep

feeling he sees the cause of this tragedy. "And the peasants can love!" This phrase Karamzin drew the attention of readers on the joy and problems of a simple person. No social superiority can justify the hero and save him from responsibility for his actions.

Considering it impossible that some people dispose of the lives of others, the writer denied the serfdom and the primary task considered the ability to attract attention to people weak and lackless.

Humanism, empathy, not indifference to social problems - these are the feelings that the author tries to wake up in their readers. The literature of the end of the 18th century gradually departs from the civilian subject and focuses its attention on the subject of personality, the fate of a separate person with his inner world, passionate desires and simple joys.