The main types of sentimentalism. Features of Russian sentimentalism and its meaning

The main types of sentimentalism. Features of Russian sentimentalism and its meaning
The main types of sentimentalism. Features of Russian sentimentalism and its meaning
08.08.2020

Sentimentalism is One of the main, along with classicism and rococo, artistic flows in the European literature of the 18th century. Like Rococo, sentimentalism arises as a reaction to the classic classic trends dominated in the previous century. In the name of Sentimentalism, after entering the light of the unfinished novel, the "sentimental journey in France and Italy" (1768) of the English writer L.Stne, who consolidated, as modern researchers believed , The new meaning of the word "Sentimental" in English. If earlier (the first use of this word, the large Oxford dictionary refers to 1749) it meant either "reasonable", "sensible", or "highly moral", "edifying", then to the 1760th, it intensifies the shade associated not so much with the belonging to Areas of mind, how much - to the field of feeling. Now Sentimental also means "capable of sympathy", and Stern finally enshrines the meaning of "sensitive", "capable of experiencing elevated and subtle emotions" and introduces it to the circle of the most fashionable words of his time. Subsequently, the fashion for "sentimental" passed, and in the 19th century the word "Sentimental" in English acquires a negative tint, meaning "inclined to indulge in excessive sensitivity", "Easy to influx emotions."

Modern dictionaries and reference books are already bred by the concepts of "feeling" (Sentiment) and "Sensitivity", "Sentimentalism" (Sentimentality), opposing them to each other. However, the word "sentimentalism" in English, as well as in other Western European languages, where it has come under the influence of the success of Stern's novels, and did not acquire the character of a strictly literary term, which would cover the whole and internally unified artistic direction. The English-speaking researchers still remain in the go mainly, such concepts as "sentimental novel", "sentimental drama" or "sentimental poetry", while French and German critics allocate "sentimentality" rather (French Sentimentalite, German Sentimentalitat) as a special category, in one way or another inherent in artworks of various eras and directions. Only in Russia, since the late 19th century, attempts were made to comprehend sentimentalism as a holistic historical and literary phenomenon. The main feature of sentimentalism, all domestic researchers recognize the "cult of feelings" (or "hearts"), which in this system of views becomes "Meril of Good and Evil". Most often, the appearance of this cult in Western literature of the 18th century is explained, on the one hand, a reaction to educational rationalism (the feeling is directly opposed to reason), and on the other, the reaction to the previously dominated aristocratic type of culture. The fact that sentimentalism as an independent phenomenon first arises precisely in England in the late 1720s - early 1730s usually associated with public changes that have come in this country in the 17th century, when, as a result of the revolution, 1688-89 the third estate has become independent and influential power. One of the main categories that determine the attention of the sentimentalists to the life of the human heart, all researchers call the concept of "natural", in general, very important for philosophy and literature of the Epoch of Enlightenment. This concept unites the external world of nature with the inner world of the human soul, which, from the point of view of the sentimentalists, consonant and essentially robbed each other. From here, it stems, firstly, the special attention of the authors of this destination to nature is its appearance and processes occurring in it; Secondly, intense interest in the emotional sphere and the experiences of a separate person. At the same time, a person interests the authors-sentimentalists not as much as the carrier of a reasonable volitional beginning, how much as the core of the best natural qualities, from the birth of the birth in his heart. The hero of sentimentalist literature acts as a person feeling, and therefore psychological analysis of the authors of this area is most often based on the subjective outpouring of the hero.

Sentimentalism "descends" from the heights of majestic shocksunfolding in the aristocratic environment, to the everyday life of ordinary people, unremarkable, except for the strength of their experiences. The sublime principle, such a favorite theority of classicism, is replaced by the sentimentalism of the category of touching. Due to this, researchers, sentimentalism, as a rule, cultivate sympathy to neighbor, philanthropism, becomes a "school of philanthropy", as opposed to "cold-rational" classicism and in general "the domination of the mind" at the initial stages of the development of European enlightenment. However, too direct opposition of the mind and feeling, "philosopher" and "sensitive person", which is found in the works of a number of domestic and foreign researchers, unreasonably simplifies the idea of \u200b\u200bsentimentalism. Often, at the same time, the "mind" is associated exclusively with educational classicism, and the whole area of \u200b\u200b"feelings" falls on the share of sentimentalism. But such an approach, which is based on another very common opinion - as if the basis of its sentimentality is entirely derived from the Sensualistic philosophy of J. Cloque (1632-1704), - darkens a much more subtle relationship between "reason" and "feeling" in the 18th century, and In addition, it does not explain the essence of the discrepancy between sentimentalism and such an independent artistic direction of this century, like Rococo. The most discusional problem of studying sentimentalism remains its attitude, on the one hand, to other aesthetic areas of the 18th century, and on the other, - to enlightenment in general.

Prerequisites for Sentimentalism

Prerequisites for the occurrence of sentimentalism were already kept in the newest way of thinking , distinguished by philosophers and writers of the 18th century and identifying the whole system and spirit of the Epoch of Enlightenment. In this thinking, sensitivity and rationality do not protrude and do not exist without each other: in contrast to the speculative rationalistic systems of the 17th century, the rationalism of the 18th century is limited by the framework of human experience, i.e. Frames of perception of feeling soul. A person with his inherent desire for happiness in this, earthly life becomes the main measure of the consistency of any opinion. The ratingists of the 18th century are not just criticized by certain non-browse, in their opinion, the phenomena of reality, but also put forward an image of the actual, contributing to human happiness, and this image ultimately turns out to be suggested not mind, but feeling. The ability to criticize the critical judgment and the sensitive heart are two sides of a single intellectual instrument, which helped the literature of the 18th century to produce a new look at the person who refused the feeling of greatest sin and trying to substantiate their existence, based on the desire congenital desire for happiness. Various aesthetic directions of the 18th century, including sentimentalism, tried to draw an image of a new reality in their own way. As long as they remained as part of the educational ideology, they were equally close to the critical views of the Locke, who denied from the standpoint of sensualism the existence of so-called "congenital ideas". From this point of view, sentimentalism differs from Rococo or classicism not so much "the cult of feelings" (because in this particular understanding, the feeling played an equally important role in other aesthetic currents) or the tendency to portray mainly representatives of the third class (all the literature of the Epoch of Enlightenment, one way or another I was interested in human nature "In general," leaving behind the questions of class differences), as special ideas about the possibilities and ways to achieve happiness by man. Like the art of Rococo, sentimentalism confesses the feeling of disappointment in "big history", addresses the sphere of the private, intimate life of a separate person, gives it a "natural" measurement. But if rocial literature interprets "naturalness", first of all, the possibility of entering the limits of traditionally installed moral norms and, thus, it covers mainly "scandalous", the backstage side of life, conducive to the belligent weaknesses of human nature, then sentimentalism seeks to reconcile natural and moral Began, trying to imagine the virtue not brought, and the congenital property of the human heart. Therefore, the sentimentalists were closer not to Locke with his decisive denial of any "congenital ideas", and his follower A.E.K. Sheftsbury (1671-1713), who argued that the moral beginning was laid in the very nature of man and is not connected mind, but with a special Moral feeling, which one can specify the path to happiness. It is morally a person prompts not awareness of debt, but the bearer of the heart. Happiness, therefore, lies not in a pull to sensual pleasures, but in a pull to virtue. Thus, the "naturalness" of nature is interpreted by Scheftbury, and after him, the sentimentalists, not as "scandalousness", but as the need and the possibility of virtuous behavior, and the heart becomes a special nadudividual body of the senses connecting a specific person with common harmonious and moral and justified device of the universe.

Sentimentalism poetics

The first elements of the poetics of sentimentalism penetrate into English literature of the end of the 1720s When a genre of descriptive-doedactic poems devoted to works and leisures on the background of rural nature (Georgic) becomes particularly relevant. In the poem J.Tomson "Seasons" (1726-30), it is already possible to find quite a "sentimentalist" idyll, built on a sense of moral satisfaction arising from contemplating rural landscapes. Subsequently, such motifs were developed by E. Jung (1683-1765) and especially T.Grem who opened an elegue as a genre that is most suitable for sublime meditations against the background of nature (the most famous work "Elegy, written in a rural cemetery", 1751). Creativity S. Rychardson, whose novels (Pamela, 1740; "Clarissa", 1747-48; "The history of Sir Charles Grandsson", 1754) not only presented heroes for the first time, in all of the spirit of sentimentalism, but and popularized the special genre shape of the epistolary novel, so beloved by many sentimentalists later. The latter, some researchers include the main opponent of Richardson Henry Fielding, "Comic Epopes" ("The History of the Adventures of Joseph Andrusa", 1742, and "The History of Tom Jones, Found", 1749) are largely built on the basis of sentimentalist ideas about human nature. In the second half of the 18th century, the tendencies of sentimentalism in English literature is stronger, but now they are increasingly conflict with the actual educational pathology, improving the world and education of a person. The world no longer seems to be the focus of moral harmony of the heroes of the novels of O.Goldsmith "V.Gofilda priest" (1766) and G. Makenzi "Man of feeling" (1773). Stern's novels "Life and Opinions of Tristrama Shender, Gentleman" (1760-67) and a "sentimental journey" are a sample of ability to controversy with Sensualism of Locke and many crowded views of the English enlighteners. The number of poets who developed sentimentalist trends on folk and pseudo-historical material include the Scots R. Burns (1759-96) and J. Makferson (1736-96). By the end of the century, English sentimentalism, increasingly leaning towards "sensitivity", rustles with educational harmony between the feeling and mind and generates the genre of the so-called Gothic novel (H.ouolpol, A.Radklif, etc.), which some researchers correlate with independent artistic The flow - predocutant. In France, the poetics of sentimentalism enters into a dispute with Rococo already in the work of D. Didro, who had experienced the influence of Richardson ("Nun", 1760) and, partly, Stern ("Jacceptylist", 1773). The most consonant principles of sentimentalism turned out to be the views and tastes of J.Zh.RUsso, which created an exemplary sentimentalist epistolary novel "Julia, or New Eloise" (1761). However, already in his "confession" (publ. 1782-89), Rousseau departs from an important principle of sentimentalist poetics - the regulations of the person depicted, proclaiming the intrinsicness of its only and unique "I", taken in the individual peculiarity. In the future, sentimentalism in France is closely closed with the specific concept of Russism. Having penetrated into Germany, sentimentalism first influenced the work of HF Agelite (1715-69) and F.G. Klopshtok (1724-1803), and in the 1870s, after the emergence of "New Eloisa" Rousseau, the radical version of German Sentimentalism, called the movement of the "Storm and Natiska" movement, to which young I.V. and F. Shiller belonged. Roman Goethe "The suffering of a young verter" (1774), although it is considered the vertex of sentimentalism in Germany, actually contains a hidden controversy with the ideals of the strip and does not boil down to chanting the "sensitive nature" of the main character. Special influence of Stern's creativity experienced "Last Sentimentalist" of Germany Jean Paul (1763-1825).

Sentimentalism in Russia

In Russia, all the most significant samples of Western European sentimentalist literature were translated back in the 18th century, having an impact on F. Emina, N. Lvov, partly A. Qadishchev ("Travel from St. Petersburg to Moscow", 1790). The highest flourishing Russian sentimentalism has achieved in the work of N.Karamzin ("Letters of the Russian Traveler", 1790; "Poor Lisa", 1792; "Natalia, Boyarskaya Daughter", 1792, etc.). Subsequently, A. Iizmaylov, Vzhukovsky and others applied to the poetics of Sentimentalism.

The word sentimentalism happened from English Sentimental, which means sensitive in translating; French Sentiment - feeling.

In the middle of the 18th century, the process of decomposition of classicism began in Europe (due to the destruction of the absolute monarchy in France and other countries), as a result of which a new literary direction appeared - sentimentalism. He is considered to be home to England, since his typical representatives were English writers. The term "sentimentalism" itself appeared in the literature after the publication of the "sentimental journey in France and Italy" Laurence Stern.

Code of Catherine Great

In the 60s and 1970s, the rapid development of capitalist relations begins in Russia, the result of which the increasing phenomenon of the bourgeoisie becomes. The growth of cities intensified, which resulted in the appearance of the third estate, whose interests reflect Russian sentimentalism in the literature. At this time, the same layer of society begins to form, which is now called an intelligentsia. The growth of the industry turns Russia into a strong power, and numerous military victories contribute to the rise of the national self-consciousness. In 1762, during the reign of Catherine, the second, nobles and peasants received many privileges. The Empress thus tried to create a myth of his board, showing himself in Europe an enlightened monarch.

Ekaterina's second policy largely prevented progressive phenomena in society. So, in 1767, a special commission was convened for the state of new deposits. In his work, the Empress argued that the absolute monarchy is not necessary to exclude freedom in humans, but to achieve the good goal. However, sentimentalism in the literature implied an image of the life of a common people, so no writer mentioned Catherine the Great in his works.

The most important event of this period was the peasant war under the leadership of Emelyan Pugachev, after which many nobles fell on the side of the peasants. Already in the 70s, mass societies began to appear in Russia, whose ideas of freedom and equality influenced the formation of a new course. In such conditions, Russian sentimentalism began to form in literature.

Conditions for the emergence of a new direction

In the second half of the 18th century, the fight against feudal orders in Europe took place. The enlighteners defended the interests of the so-called third class, which often turned out to be oppressed. Classicists glorified the merits to the merits of monarchs in their works, and sending sentimentalism (in Russian literature) in their works as opposed to the direction after several decades. Representatives advocated the equality of people and put forward the concept of a natural society and a natural person. They focused on the criterion of omensity: the feudal system, in their opinion, was unreasonable. This idea is reflected in the novel of Daniel Defo "Robinson Cruzo", and later - in the work of Mikhail Karamzin. In France, the product of Jean-Jacques Rousseau "Julia, or New Eloiza" becomes a bright example and manifesto; In Germany, the "suffering of a young verteter" Johann Goethe. In these books, the tradesman is depicted as an ideal person, in Russia, everything is different.

Sentimentalism in literature: features

The style is born in a fierce ideological combat with classicism. These trends are opposed to each other in all positions. If the state depicted classicism, then a person with all his feelings is sentimentalism.

Representatives in the literature are introduced new genre forms: a love romance, a psychological story, as well as a confessional prose (diary, travel notes, travel). Sentimentalism, in contrast to classicism, was far from poetic forms.

The literary direction approves the contribution value of the human person. In Europe, the tradesman was depicted as an ideal person, whereas in Russia the peasants were always oppressed.

Sentimentalists are injected into their works allituration and description of nature. The second reception is used to display the psychological state of a person.

Two directions sentimentalism

In Europe, writers smoothed social conflicts, whereas in the works of Russian authors, they, on the contrary, were aggravated. As a result, two directions of sentimentalism occurred: noble and revolutionary. The representative of the first - Nikolai Karamzin is known as the author of the story "poor Lisa". Despite the fact that the conflict comes due to the collision of the interests of high and low class, the author at first puts forward a moral conflict, and not social. Noble sentimentalism did not speak for the abolition of serfdom. The author believed that "and the peasants can love."

Revolutionary sentimentalism in the literature performed for the abolition of serfdom. Alexander Radishchev chose as an epigraph to his book "Travel from St. Petersburg to Moscow" only a few words: "Oblos, Ozorno, Charco and Laya." So he imagined a collective image of serfdom.

Genres in Sentimentalism

In this literary direction, the leading role was given to works written in prose. There were no strict borders here, so genres were often mixed.

A private correspondence was used in their work N. Karamzin, I. Dmitriev, A. Petrov. It is worth noting that not only writers, but also of the individuals who became famous in other areas, were applied to him, such as M. Kutuzov. Roman-journey in his literary heritage left A. Radishchev, and Roman-upbringing - M. Karamzin. Sentimentalists found their use in the field of drama: M. Heraskov wrote "tear drama", and N. Nikolev - "Comic Opera".

Sentimentalism in the literature of the 18th century was the geniuses who worked in some other genres: a satirical fairy tale and baspe, idyllies, elegances, romance, song.

"Fashion Wife" I. I. Dmitriev

Often, the Sentimentalists writers appealed to the classicism in their work. Ivan Ivanovich Dmitriev preferred to work with satirical genres and Odoy, so his fairy tale called "Fashion Wife" is written in poetic form. General Prolazes in old age decides to marry a young girl who is looking for a case to send it to new things. In the absence of her husband, the premium takes the lover of the Milnzor straight in his room. He is young, handsome, ladies, but Salopai and Boltun. The replicas of the heroes of the "fashionable wife" are empty and cynical - this Dmitriev is trying to portray the depraved atmosphere that dominates the noble estate.

"Poor Lisa" N. M. Karamzin

In the story, the author tells about the history of the love of the peasant and a barina. Lisa is a poor girl who has become a victim of treason rich young people. The poor thing lived and breathed only with his lover, but did not forget the simple truth - the wedding between representatives of different social classes cannot take place. A rich peasant is woven to Lisa, but she refuses him, waiting for the feats from his beloved. However, Erast deceives the girl, saying that he was sent to the service, and at that moment he was looking for a rich widowed bride. Soul experiences, gusts of passions, loyalty and treachery - feelings that often depicted sentimentalism in the literature. During the last meeting, the young man offers Lisa a hundred rubles as a sign of gratitude for the love she presented him in the days of dates. Without sustaining the gap, the girl imposes on his hands.

A. N. Radishchev and his "Travel from St. Petersburg to Moscow"

The writer was born in a wealthy noble family, but despite this, he was interested in the problem of the inequality of social classes. His famous work "Travel from St. Petersburg to Moscow" in the genre direction can be attributed to popular at that time travel, but the division to the chapter was not simple formality: each of them considered a separate side of reality.

Initially, the book was perceived as travel notes and successfully passed through censors, however, Catherine Second, having familiarized himself with its content personally, called Radishchev "Buntocker worse than Pugachev". In the head "Novgorod" describes the depraved morals of the Company, in Lyubani - the problem of the peasantry, the "Chudovo" is about indifference and cruelty of officials.

Sentimentalism in the work of V. A. Zhukovsky

Writer lived at the junction of two centuries. At the end of the 18th century, Sentimentalism was a leading genre in Russian literature, and in 19, realism and romanticism came to replace him. Early works of Vasily Zhukovsky are written in accordance with the traditions of Karamzin. "Maryina Grove" is a beautiful story about love and suffering, and the poem "to poetry" sounds like a heroic call for feats. In its best Elegy, the rural cemetery, Zhukovsky reflects on the meaning of human life. An animated landscape is playing a major role in the emotional color of the work, in which the dormant of Iva, the dubbiva tremble, pale day. Thus, sentimentalism in the literature of the 19th century is represented by the work of few writers, among whom Zhukovsky was, but in 1820 the direction ceased to exist.

Classicism.



Sentimentalism



Romanticism

Satyrian poetry Antioch Dmitrievich Kantemir. Problems of satire "on hula teachings, to the mind of their own way." Personality and importance of Clanira's creativity in essays and critical articles N.I. Novikova, N.M.Karamzin K.N. Batyushkova, V.G. Belinsky.

Antioh Dmitrievich Kantemir one of the first writing Russian people realized himself with a writer. Although the literature was not at all the main cause of his life. The poem, which opens up the first page of the history of Russian book poetry, was the person of an outstanding, educated, multilaterally gifted person. He raised the prestige of Russia in the West, where the last twelve years of life served as a diplomatic representative of Russia in embassies - first in England, and then - France. He perfectly owned his thought and word: the deposits sent to them were always clear and talentedly composed. He was a famous man in Russia. His epigrams and love songs had an extraordinary success. He worked in the genre of scientific translation and already wrote five of nine of his poetic satire. During the years of service in France, finally approved in advanced educational views. He was convinced that only the "merit", and not the length of the generic affiliation distinguishes one person from the other. "The same in free, and in the holople flow blood, the same flesh, the same bones!", He wrote, insisting on the "natural equality" of people. Kantemir has always remained a citizen of Russia: what has acquired, or, by his expression, "adopted" from the French should serve his depreciation. With the inherent modesty wrote:

What gave Horace, took from the Frenchman.

Oh, if my muse is poor.

Yes true; mind at least limits narrow

What took Gallski - paid in Russian.
And yet, Cantemir is primarily the National Poet, who has fallen out to the task of contacting the image of real Russian life. According to Belinsky, he managed to "connect poetry with life," "write not only by the Russian language, but also by the Russian mind." By the way, it was noted here that in a close friendship with the Kantemir family was the princess Praskovaya Trubetskaya, writing songs in the folk spirit; Perhaps it was she who was the author who became popular in those distant times of the song "Ah, the light is my bitter my youth." Not only the famous "poetics" of the French poet and theorist buoy, not only training stages, but the living lyrical element of the folk song, made into the book poetry of the beginning of the century, determined the formation of artistic manner of Kantemir.
Analysis of Satira Antioch Kantemir "on hulad teachings to your mind". This is the first satire of Cantemir, he wrote it in 1729. Satira was written initially not for the purpose of publication, but for himself. But through friends, she fell to the Novgorod Archbishop of Faofhan, who gave impetus to continue this cycle Satir.
The Kanterir himself identifies this satir as a mockery over the Nevezhi and the Presidents of Sciences. At that time, this question was very relevant. Only education became available for people, colleges were established, university. It was a high-quality step in the field of science. And any quality step is if not a revolution, then reform. And no wonder that he caused so many disputes. The author draws that he follows from the name, to the mind of his own, calling his "mischievous mind", because Satira is written to them in twenty years, that is, another misfortune for those standards of age. Everyone is striving for glory, and it is more difficult to achieve it through science. The author uses 9 Muses and Apollo as an image of sciences that make the way to glory difficult. It is possible, and the glory to get, even though the creator is not heard. They are working to her unearmfully in our age the paths in which the legs will not fit into; All the most unpleasant is the fact that Bosy was punked nine sisters. Further, 4 characters appear in the satir in turns: Cryphon, Silvan, Luke and Medor. Each of them condemns science, explains her impossibility in his own way. The crouton believes that those who are fond of science wish to comprehend the cause of everything that is happening. And it is bad, because They depart from faith in the Holy Scripture. And at all, in his opinion, science is harmful, you just need to blindly believe.
Splits and heresy science essence children; More lying to whom there was more intelligence; It comes to worry, who is melting over the book ... Sill - a misorialist. He does not understand the money benefit of science, so he does not need it. For him, value has only something that can bring in particular to him. And the science of this cannot be provided. He lived without her, so live! Land in a quarter to share without Euclide. Means, how many kopecks in the ruble - without algebra Schurim Luka - a drunkard. In his opinion, the science of people disconnects, because But this is not the case - sit alone above the books, which he also calls "dead friends." He praises wine as a source of good mood and other goods and says that the glass will drive on the book only if time breaks, the stars will appear on earth, etc. When driving around the sky in the sky, and from the surface of the earth the stars are already glanced when Chernets will be the same, - then, leaving a glass, will see for a book. Medor - Skogol and France. He's a shame that the paper, with the help of which at that time they curled hair, spend on books. For him, the glorious tailor and the shoemaker is much more important than Virginia and Cicero. ... Creschur paper comes on a letter, to print books, and he comes that he is not what to finish curly curls; He will not change his pound of good powder to the dental. The author draws attention that all cases have two motifs: benefits and praise. And there is an opinion that if science does not bring anything to any other, then I need to do it? People are not accustomed to what can be otherwise that the virtue itself is valuable. ... when there is no benefit, encouraging praise to the works, - without the heart hens. Not everyone loves the true beauty, that is, science. But any, barely learning something, requires an increase in service or other status.

For example, a soldier, barely learned to put a signature, wants to command a regiment. The author complains that the time was gone when wisdom was appreciated. We did not come to us the time, in which the wisdom was chased over everything and the crowns one divided, being a way one to the highest sunrise.

Belinsky He said that Kantemir will survive a lot of literary celebrities, classic and romantic. In the article about Kantemir, Belinsky wrote: "Cantemir is not so much starting with the history of Russian literature, how much does the period of Russian writing ends. Kantemir wrote so-called sillybic verses - the size that is absolutely not peculiar to the Russian language; This size existed in Russia long before Cantemir ... Kantemir began his own history of secular literature. That is why everything, rightly considering Lomonosov by the father of Russian literature, at the same time not quite without reason cantemir starts her story "
Karamzin I noticed: "His satire was the first experience of Russian wit and a syllable."

6. The role of Vasily Kirillovich Tredyakovsky, M.V. Lomonosova, A.P.Sumokova in the formation of aesthetic principles, the genre-stylistic system of Russian classicism, in the transformation of the poemy.

Trediakovsky in 1735 produces a "new and short way to the addition of Russian poems", offering a method for streamlining Sillabic 13 and 11-beds and giving samples of those composed in a new poems of different genres. The need for such an ordering was dictated by the need to clearly oppose poems prose.
Tredyakovsky performed as a reformer, sensitive to the experience of predecessors. Lomonosov went on. In the "Letter on the rules of the Russian poem" (1739), he bespely announced that "our poem only begins," thereby ignoring almost a century tradition of Sillabic poetry. He, unlike Tredikovsky, admitted not only double, but also three-sided and "mixed" meters (Nambo-Anpes and Dactioto-Khalei), not only female rhymes, but still male and dactilic, and advised to adhere to the yamba as the size of the subjects of high And important (the letter written by the Yambami was attached to the letter ... to take Khotyn 1739.). The predominance of "khoneic rhythms" in the folk songs and book poetry of the XVII century, for which Trediakovsky pointed out, thinking that the "rumor ours" was "applied" to them, Lomonosov did not confuse, since it was necessary to start with a clean sheet. Paphos of an uncompromising break with tradition corresponded to the spirit of the times, and the Lomonosovian jamb themselves sounded completely in a new way and were as opposed to prose. The problem of stylistic dressing with church book moved to the background. New literature and silhlor-tonic poetry have become almost synonymous concepts.
Tredyakovsky eventually accepted the ideas of Lomonosov, in 1752 he released a whole treatise on a silhlor-tonic version ("The method for the addition of Russian poems, against the revised and multiplied" published in 1735) and in practice conscientiously experimented with different meters and sizes. Lomonosov wrote in practice almost exclusively by the yambami, the only one, in his opinion, suitable in high genres (his classification of high, "mediocre and low genres and" County "is set out in" Preface on the benefits of church books in Russian ", 1757).
Tredyakovsky and Lomonosov, who were trained in the Slavic-Greek-Latin Academy, were associated with the Dopurerovsk Book and Church School for many threads. Sumarokov, nobleman, a pupil of the landlock cadet corps, alien to her. His literary knowledge, sympathy and interests were associated with French classicism. The tragedy in France was a tragedy in France, and in the work of Sumarokov, she became the main genre. Here his priority was indisputable. The first Russian classic tragedies belong to him: "Horlev" (1747), "Hamlet" (1747), "Saving and Trourvor" (1750) and others. Sumarokov belong to the first comedies - "Tresotinus", "monsters" (both 1750) and Dr. True, these were "low" comedies written by prose and who were a pamphlet on the face (in these comedies, Trediakovsky is ridiculed). So At the titles of "Northern Racina" and "Russian Moliere", Sumarokov claimed to be rightfully, and in 1756 he would be appointed the first director of the first in Russia of the Permanent Theater created by F.G. Volkovoy. But the status of the playwright and theatrical figure of Sumarokov could not be sufficient. He claimed the primary and leading position in the literature (to considerable annoyance of senior fellow in Peru). His "Two Epistoles" (1748) - "On Russian" and "On Poem" - was to receive status, similar to the status of "poetic art" Baual in the literature of French classicism (in 1774 their abbreviated version will be released under the title "Testing life writers "). The ambitions of Sumarokov also explains the genre universalism of his work. He experienced his strength in almost all the classical genres (only the epic was not given to him). As the author of the didactic epistole on the poem and poems, he was "Russian buoy", as the author "Proverb" (i.e. Basen) - "Russian Lafonten", etc.
However, Sumarokov pursued not so much aesthetic as educational goals. He dreamed of being a mentor of the nobility and an adviser to the "Enlightened Monarch" (like Voltera during Friedrich II). He considered his literary activity as socially useful. His tragedies were a school of civil virtue for the monarch and subjects, in comedies, satiirs and parables beat the flavors (rhyme "Sumarokov - Beach vlokov" generally became generally accepted), Elegia and Ecloga taught "loyalty and tenderness", spiritual OD (Sumamokov shifted all the psalter) And the philosophical poems were instructed in reasonable concepts about religion, in the "two epistola" the rules of the poem, etc. were proposed. In addition, Sumarokov became the publisher of the first literary magazine in Russia - "hardworking bee" (1759) (it was the first private magazine).
In general, the literature of Russian classicism is characterized by Paphos of the state ministry (which relates it to the literature of Petrovsky time). The upbringing of "private" virtues in the citizen was the second task, and the first propaganda of the achievements of the "regular state" and the obstruction of his opponents. Therefore, this new literature begins with Satir and OD. Kantemir makes fun of the old days, Lomonosov admires the success of new Russia. They defend one thing - "Peter's business."
Publicly read on solemn cases in huge halls, in a specially theatrical environment of the imperial yard, the ODA must "rattle" and hit the imagination. It could best glorify the "Peter" business and the greatness of the empire, which in the best way corresponded to the propaganda goals. Therefore, it was exactly the solemn sample (and not a tragedy, as in France, or an epic poem) became the main genre in the Russian literature of the XVIII century. This is one of the distinguishing features of "Russian classicism". Others are rooted in demonstratively to them rejected Old Russian, i.e. church tradition (which makes Russian Classicism with the organic phenomenon of Russian culture).
Russian classicism developed under the influence of European enlightenment, but his ideas were rethought. For example, the most important of them is the idea of \u200b\u200b"natural", natural equality of all people. In France, under this slogan was a struggle for the rights of the third class. And the Sumarokov and other Russian writers of the XVIII century, on the basis of the same thought, we will pass the nobles to be worthy of your title and do not stain a "class honor", since the fate elevated them over the people equal in nature.

Romantic poem in the works of Ryleev. "Voicarovsky" is a composition, principles of creating character, the specificity of the romantic conflict, the ratio of the hero and the author. Disorders of history and poetry in "Vozyarovsky".

The most complete peculiarity of the Decembrist poetry was manifested in the work of Kondrati Fedorovich Ryleev (1795-1826). He created "poetry an effective, poetry of the highest heat, heroic pathos" (39).

Among the lyrical works of Ryleyev, the most famous was and, perhaps, there is still a poem "Citizen" (1824), prohibited at one time, but illegally distributed, well-known readers. This work is a fundamental success of the Ryleev-poet, maybe even the peak of the Decembrist lyrics in general. The poem created the image of a new lyrical hero:

Kondrati Fedorovich Ryleev is one of the proclaimers and classics of the Russian revolutionary civilian poetry, inspired by the advanced social movement and hostile autocracy. He fulfilled other than others in poetry the Decembrist worldview and developed the main topics of the Decembrism. In the work of Ryleev, the most important moments of the history of the Decembrist movement in its most substantial period were reflected in its most significant period - between 1820--1825.

The name of Ryleev in our consciousness is surrounded by a halo of martyrdom and heroism. The charm of his personality of the fighter and the revolutionary who died for his beliefs is so great that for many it as if he has deployed the aesthetic peculiarity of his creativity. The tradition retained the image of Rylev, which was created by his friends and followers, first in the memories of N. Bestumev, then in Articles Ogarev and Herzen.

The search for how to actively influence society led Rylegel to the genre of the poem. The first poem Ryleyev was the poem "Voenarovsky" (1823-1824). The poem has a lot in common with the "Things", but there is also a fundamental novelty: in "Vozyarovsky" Ryleev seeks to a reliable historical color, the truthfulness of psychological characteristics. Ryleev created a new hero: Frustrated, but not in everyday and secular comforts, not in love or glory, the Rylevian hero - the victim of fate, who did not allow him to realize his mighty life potential. The insult to fate, on the ideal of a heroic life that did not take place, alienates the Rylevsky Hero from others, turning it into the figure tragic. The tragedy of the incompleteness of life, its unrealizations in real deeds and events will become an important discovery not only in the Decembrist poetry, but also in Russian literature as a whole.

"Vozyarovsky" is the only completed poem of Ryleva, although in addition to it, they were launched several more: "Nalyvayko", "Gaidamak", "Palei". "It happened," the researchers write, "the poems of Ryleev appeared not only by the propaganda of the Decembrism in the literature, but also the poetic biography of the Decembrists themselves, including the December defeat and years of the cortica. Reading the poem about Varovarovsky, Decembrists unwittingly thought about themselves<…> Poem Ryleyev was perceived as a poem of a heroic case, and as a poem of tragic premonitions. The fate of the political referee, abandoned in a distant Siberia, meeting with his wife-citizen - all this is almost a prediction "(43). Especially struck by the readers of Ryleev his prediction in the "People of Nailivaki" from the poem "Nalyvayko":

<…>I know: the destruction is waiting

Who is the first to rebel

On the people's weakests -

The fate of me has been requested.

But where, tell me when it was

Without victims atone, freedom?

I will perish for the land of my dear, -

I feel it, I know ...

And joyful, father saint,

I bless my lot!<…> (44)

The commercial prophecies of the poetry of Ryleev once again prove the fruitfulness of the romantic principle "Life and Poetry - one".

Classicism.

Classicism is based on the ideas of rationalism. Artistic work, from the point of view of classicism, should be built on the basis of strict canons, thereby finding the slightness and logicality of the universe itself. Interest for classicism represents only the eternal, unchanged - in each phenomenon, he seeks to recognize only significant, typological features, discarding random individual signs. Aesthetics of classicism gives the enormous importance of the public-educational function of art. Many rules and canons classicism takes from ancient art (Aristotle, Horace).
Classicism establishes a strict hierarchy of genres that are divided into high (soda, tragedy, epic) and low (comedy, satire, fable). Each genre has strictly defined signs whose mixing is not allowed.
As a certain direction, classicism was formed in France, in the XVII century.
In Russia, classicism originated in the XVIII century, after Peter I. Lomonosov's transformation was carried out by the reform of the Russian verse, the theory of "three calm" was developed, which was essentially the adaptation of French classical rules to the Russian language. Images in classicism are deprived of individual traits, as they are intended primarily to capture sustainable generic, not moving signs acting as an embodiment of any social or spiritual forces.

Classicism in Russia developed under the great influence of enlightenment - the ideas of equality and justice have always been in the focus of attention of Russian-classicist writers. Therefore, in Russian classicism, a great development of genres, imposing a mandatory author's assessment of historical reality: comedy (DI Phonvizin), Satire (A. D. Kantemir), Basnya (A. P. Sumarokov, I. I. Chemnizer), Oda (Lomonosov, R. Derzhavin).

Sentimentalism- Upholstery in Western European and Russian culture and the corresponding literary direction. Works written in this genre are based on the reader's feelings. In Europe, there existed from the 20s to the 80s of the XVIII century, in Russia - from the end of the XVIII to the beginning of the XIX century.
Dominant "Human Nature" sentimentalism announced a feeling, not a mind that distinguished him from classicism. Without giving up with the enlightenment, Sentimentalism remained faithful to the ideal of a regulatory personality, but the condition of its implementation was not the "reasonable" reorganization of the world, but the release and improvement of the "natural" feelings. The hero of the educational literature in sentimentalism is more individualized, its inner world is enriched with the ability to empathize, sensible to respond to what is happening around. By origin (or by convictions), the sentimentalist hero - Democrat; The rich spiritual world of commoner is one of the main discoveries and conquests of sentimentalism.
Sentimentalism in Russian literature

Nikolay Karamzin "Poor Lisa"

Sentimentalism in Russia penetrated in the 1780s-early 1790s due to the translation of the Romanov of Verter I.V. Mouth, Pamela, Clarissa and Grandison S. Ryrhardson, New Eloisa J.-zh. Rousseau, Fields and Virgini J.-A. Bernarden de Saint Pierre. The era of Russian sentimentalism opened Nikolai Mikhailovich Karamzin "Letters of the Russian Traveler" (1791-1792).

His story "Poor Lisa" (1792) is a masterpiece of Russian sentimental prose; From the Getya Verter, he inherited the general atmosphere of sensitivity and melancholy and suicide theme.
Essays N.M. Karamzin caused a huge number of imitations to life; At the beginning of the 19th century. "Poor Masha" appeared A.E.Ismailova (1801), "Journey to the midday Russia" (1802), "Henrietta, or a triumph of deception over weakness or delusion" I.Svechinsky (1802), numerous tenses G.P. Kamenev ( "History of Poor Marya"; "Unfortunate Margarita"; "Beautiful Tatiana"), etc.

Ivan Ivanovich Dmitriev belonged to the Karamzin group, who spent the creation of a new poetic language and fantastic against the archaic high-resistant syllable and outlined genres.

Sentimentalism marked early creativity of Vasily Andreevich Zhukovsky. Publication in 1802 translations of Elegy, written in the rural cemetery E.Gray, became a phenomenon in the russian life of Russia, for he translated the poem "on the language of sentimentalism in general, translated the genre of Elegy, and not an individual work of an English poet, which has its own special individual style" (E. Etokind). In 1809, Zhukovsky wrote a sentimental story "Maryina Grove" in the spirit of N.M. Karamzin.

Russian sentimentalism by 1820 has exhausted himself.

He was one of the stages of pan-European literary development, which completed the Epoch of Enlightenment and opened the way to romanticism.

The main features of sentimentalism literature

So, taking into account all of the above, you can distinguish several main features of the Russian literature sentimentalism: the departure of the straightness of classicism, the underlined subjectivity of the approach to the world, the cult of feelings, the cult of nature, the cult of congenital moral purity, unspoilt, is approved by the rich spiritual world of representatives of the lower estates. Attention is paid to the spiritual world of man, and in the first place there are feelings, not great ideas.
Romanticism- the phenomenon of European culture in the XVIII-XIX centuries, which is a reaction to enlightening and stimulated scientific and technological progress; Ideal and artistic direction in the European and American culture of the late XVIII century - the first half of the XIX century. It is characterized by an assertion of the intrinsicness of the spiritual and creative life of the person, the image of strong (often rebellious) passions and characters, spiritualized and healing nature. Established to various fields of human activity. In the XVIII century, romantic called everything strange, fantastic, scenic and existing in books, and not in reality. At the beginning of the XIX century, romanticism became the designation of the new direction opposite to the infelicism and enlightenment.
Romanticism in Russian literature

It is usually believed that in Russia, romanticism appears in the poetry V. A. Zhukovsky (although there are already some Russian poetic works of 1790-1800 to the preconanomantic movement that developed from sentimentalism. Freedom from classical conventions appears in Russian romanticism, a ballad, a romantic drama is created. A new idea is approved about the essence and value of poetry, which recognizes an independent sphere of life, expressive to the highest, ideal striving of a person; The former look at which poetry seemed empty fun, something quite official, it is no longer possible.

Early poetry A. S. Pushkin also developed in the framework of romanticism. The peak of Russian romanticism can be considered the poetry of M. Yu. Lermontov, "Russian Bairon". Philosophical Lyrics F. I. Tyutchev is both completion and overcoming romanticism in Russia.

SENTIMENTALISM. Under sentimentalism, they understand the direction of literature, which developed at the end of the 18th century and the beginning of the XIX-th, which was distinguished by the cult of human heart, feelings, simplicity, naturalness, special attention to the inner world, living love for nature. In contrast to the classicism, which worshiped the mind, and only reason, and which, as a result, built everything in its aesthetics on a strictly logical basis, on a thoroughly illuminated system (the theory of poetry buoy), sentimentalism provides the artist freedom of feelings, imagination and expression and does not require His impeccable correctness in the architectonics of literary creation. Sentimentalism - protest against dry rationality, which characterized the Epoch of Enlightenment; He appreciates in a person not what culture gave him, but what he brought with him in the depths of his nature. And if classicism (or, as it, in Russia, in Russia, is more often called false-classicism) was interested exclusively by representatives of higher social circles, royal leaders, a sphere of the courtyard and a whole aristocracy, then sentimentalism is much more democratic and, recognizing the fundamental equivalence of all people, descends In the valley of everyday life, - in the environment of the meshan, bourgeoisie, middle class, which at the time has been nominated in a purely economic relation, became especially in England - to play an outstanding role on the historical scene. For sentimentalist, everyone is interesting for, because in any kind, the intimate life is laminated and warms; And it does not need special events, stormy and vivid effectiveness, in order to make a way to get into the literature: No, it turns out to be hospitable and in relation to the most ordinary inhabitants, to the most ineffect biography, it will paint the slowing passage of ordinary days, peaceful family raising, quiet Rouges of everyday worries.

Sentimentalism "Poor Lisa": eternal and universal in the story

The story poor Lisa was written by Karamzin in 1792. In many respects, it corresponds to European samples, which caused shock in Russia and turned Karamzin in the most popular writer.

In the center of this story - the love of peasant and nobleman, and the description of the peasant is almost revolutionary. Prior to that, there were two stereotypical descriptions of the peasants in Russian literature: either this unfortunate oppressive slaves, or comical, coarse and stupid creatures, who do not call people. But Karamzin approached the description of the peasants in a completely different way. Lisa does not need to sympathize, she has no landowner, and no one oppresses it. There is also nothing comic. But there is a famous phrase and peasants to love, turning over the consciousness of people of the time, because They finally understood that the peasants are also people who have their feelings.

Fits of sentimentalism in "poor Lisa"

In fact, the typical peasant in this story is very little. Lisa's images and her mother do not correspond to reality (the peasant, even the state, could not deal with only the fact that to sell flowers in the city), the names of the heroes are also not taken from the peasant realities of Russia, but from the traditions of European sentimentalism (Lisa is derived from Eloise names or Louise typical of European novels).

The basis of the story is a universal idea: everyone wants happiness to each person. Therefore, the main character of the story can even be called Erast, and not Lisa, because he is in love, dreams of ideal relationships and does not even think about something carnal and lowland, wanting to live with Lisa, like a brother with sister. However, Karamzin believes that such pure platonic love cannot survive in the real world. Therefore, the culmination of the story is the loss of innocence loss. After that, Erast ceases to love her as purely, since she is no longer ideal, she became the same as other women in his life. He begins to deceive it, the relationship is rushing. As a result, Erast marries a rich woman, while pursuing only selfish goals, not being in love with her.

When Lisa finds out about it, having arrived in the city, it turns out to be out of heaven. Considering that she no longer need to live, because Love is destroyed, the unfortunate girl rushes into the pond. This stroke emphasizes that the story is written in the traditions of sentimentalism, because Liza is moving exclusively feelings, and Karamzin makes a strong emphasis on the description of the feelings of the heroes "poor Lisa". From the point of view of the mind, nothing critical with her did not happen - she is not pregnant, not disgraced in front of society ... Logically, there is no need to dry. But Lisa thinks in the heart, not a reason.

One of the tasks of Karamzin was to make the reader believe that the heroes actually existed that the story is real. He repeats several times that he writes not a story, but sad. Clearly indicate time and place of action. And Karamzin has achieved: people believed. The pond, in which Lisa was allegedly drowned, became the place of mass suicides of girls who were disappointed in love. The pond even had to push, because of what an interesting epigram arose:

Here I rushed into the pond of Erastov Bride,

Tweet, girls, in the pond is quite a place!

Sentimentalism (Franz. Sentimentalisme, from the English. Sentimental, Franz. Sentiment - feeling) - Mind-in in Western European and Russian culture and the corresponding literary direction. In Europe, there existed from the 20s to the 80s of the XVIII century, in Russia - from the end of the XVIII to the beginning of the XIX century.

Dominant "Human Nature" sentimentalism announced a feeling, not a mind that distinguished him from classicism. Without giving up with the enlightenment, Sentimentalism remained faithful to the ideal of a regulatory personality, but the condition of its implementation was not the "reasonable" reorganization of the world, but the release and improvement of the "natural" feelings. The hero of the educational literature in sentimentalism is more individualized, its inner world is enriched with the ability to empathize, sensible to respond to what is happening around. By origin (or by convictions), the sentimentalist hero - Democrat; The rich spiritual world of commoner is one of the main discoveries and conquests of sentimentalism.

The most prominent representatives of sentimentalism - James Thomson, Eduard Jung, Thomas Gray, Laurence Stern (England), Jean Jacques Russo (France), Nikolai Karamzin (Russia).

Sentimentalism in English literature

Thomas Gray

Motherland sentimentalism was England. In the late 20s of the XVIII century. James Thomson with his "winter" (1726), "Summer" (1727), etc., subsequently connected to one whole and published () under the name "Seasons", contributed to the development of love in the English reading public, drawing Simple, unassuming rural landscapes, watching step by step at different moments of life and the work of the farmer and, apparently, trying to put a peaceful, idyllic rustic atmosphere above the vigorous and spoiled urban.

In the 40s of the same century, Thomas Gray, author of the Elegy "Cemetery" (one of the most famous works of cemetery poetry), ODD "By Spring", etc., like Thomson, tried to interest readers with a rustic life and nature, awaken in them sympathy To simple, inconspicuous people with their needs, the sorrows and beliefs, giving together a thoughtful-melancholic character at the same time.

Another character is the famous Richardson novels - Pamela (), "Clarissa Garloa" (), "Sir Charles Grandison" () are also a bright and typical product of English sentimentalism. Richardson was completely insensitive to the beauty of nature and did not like it to describe it, "but he put forward a psychological analysis for the first place and forced his English, and then the entire European audience was to be interested in the fate of the heroes and especially the heroine of his novels.

Lawrence Stern, the author "Tristrama Shender" (-) and "sentimental journey" (; by the name of this work and the most destination was called "sentimental") combined Richardson's sensitivity with love for nature and a kind of humor. The "sentimental journey" himself stern called "a peaceful wandering of the hearts in search of nature and for all mental attractions, capable of inspiring us more love towards the neighbor and to the whole world, than we can usually feel."

Sentimentalism in French literature

Jacques-Henri Bernarden de Saint Pierre

By going to the continent, English sentimentalism found several prepared soil in France. Absolutely independently of the English representatives of this direction Abbot Preview ("Manon Lesko", "Cleveland") and Marivo ("Life Marianna") taught the French public to admire all touching, sensitive, somewhat melancholic.

Under the same influence was also created "Julia" or "New Eloise" Rousseau (), who always responded with respect and sympathy about Richardson. Julia many reminds Clariss Garlo, Clara is her girlfriend, Miss Howe. The moralizing character of both works also brings them closer between them; But in Romane Rousseau plays a prominent role of nature, with wonderful arts describe the shores of the Geneva Lake - Veve, Clarara, the Grove of Julia. The example of Rousseau did not remain without imitation; His follower, Bernarden de Saint-Pierre, in his famous work "Paul and Virginia" () transfers the place of action to South Africa, exactly foreshadowing the best essays of Shatubrian, makes her heroes a charming couple of lovers living away from urban culture, in close communication with Natural, sincere, sensitive and clean souls.

Sentimentalism in Russian literature

Nikolai Mikhailovich Karamzin

The first Russian translations of the works of Western European sentimentalists appeared relatively late. Pamela was translated into, Clarissa Garloa in -, "Grandison" in -; Following the imitation of the first novel - or, more precisely, one of his French alterations: "Russian Pamela" Lviv. In the city was translated by the "sentimental journey" Stern. The "nights" of Jung were translated by Mason Kutuzov and were published in Moscow under the title "Plach Jung, or Norma Reflections on Life, Death and Immortality." The "rural cemetery" of Gray was translated into Russian only in Zhukovsky. The Russian translation of the "New Eloisa" () appeared very early In the early 1990s, this novel was translated secondary.

An outstanding reflection of sentimentalism in Russian literature is the "Letters of the Russian Traveler" of Karamzin (-). The author "Letters" does not hide his enthusiastic attitude towards Stern, repeatedly mentions him, in one case quotes the passage from the "Tristrama Shendy". In sensitive appeals to the reader, subjective recognition, idyllic descriptions of nature, the praise of simple, unpretentious, moral life, abundantly spilled tears, which the author reports each time the reader simultaneously affects the influence of Stern and Rousseau, which also admired Karamzin. Having arrived in Switzerland, the traveler sees in Swiss some children of nature, pure soul of shepherds living away from the temptations of a busty urban life. "For which we were not born in those times, when all people were shepherds and brothers!" - he exclaims about this.

Karamzin's "poor Lisa" is also a direct product of the influence of Western European sentimentalism. The author imites Richardson, Stern, Rousseau; Completely in the spirit of a humane attitude of the best representatives of sentimentalism to their unfortunate, persecuted or untimely dying heroines, Karamzin tries to tall the reader of the fate of a modest, pure peasant girl who thwarted his life because of love for a person who mercilessly leaves her, violating his word.

In a literary relation "Poor Lisa", like the other story of Karamzin, the work is rather weak; Russian reality has almost not affected it or depicted inaccurately, with obvious a tendency to idealization and the adoration. Nevertheless, thanks to his humane, soft flavor, this story that made a wide range of readers shed tears over the fate of a completely imperceptible, modest heroine, made an era in the history of Russian narrative literature and had a rather beneficial, albeit a short impact on the reading public. Even in the story "Natalia, Boyarskaya Daughter" (), the plot of which is taken from the old Russian life, the sentimental element belongs to the first place: the old man is idealized, love is languid and sensitive. The writings of Karamzin soon became the subject of imitation.

The final hit of the sentimentalism in Russian literature caused the emergence of a real novel, presented first by nasrene, then Gogol and clearly who who visited the entire conditionality of the former sentimental stories. However, in the early works of Gogol himself, so in his "Evenings on the farm", the echoes of the sentimental direction are still feeling - the inclination to the idealization of rural life and the cultivation of the idyllic genre.

The features of Russian sentimentalism are in strong didactic plants, a pronounced educational character, the improvement of the Russian language (becomes more understandable, archaisms go).

The main idea: a peaceful, idyllistic life on the lap of nature. The village is opposed to the village (the concentration of natural life, moral purity) city (symbol of evil, unnaturalness, fuss).

Basic topics-love.

Main genres: Tale, travel, idyll.

Idea base protest against spoiled aristocratic society.

At the heart of aesthetics, "imitation of nature" (as in classicism); Elegy and pastoral sentiment; idealization of patriarchal life.

Special attention is paid to the landscapes. Jagged idyllic, sentimental: River, murmur streams, meadow-consisted with personal experience.

The main features of sentimentalism literature

So, taking into account all of the above, you can distinguish several main features of the Russian literature sentimentalism: the departure of the straightness of classicism, the underlined subjectivity of the approach to the world, the cult of feelings, the cult of nature, the cult of congenital moral purity, unspoilt, is approved by the rich spiritual world of representatives of the lower estates.

In painting

Literature

  • E. Schmidt, Richardson, Rousseau und Goethe (Yena, 1875).
  • Gasmeyer, Richardson's Pamela, Ihre Quellen Und Ihr Einfluss Auf Die English Litteratur »(LPC., 1891).
  • P. Stapfer, "Laurence Sterne, SA Personne Et Ses Ouvrages" (P., 18 82).
  • Joseph Texte, "Jean-Jacques Rousseau et Les Origines du Cosmopolitisme Littéraire" (P., 1895).
  • L. Petit de Juleville, "Histoire de La Langue et de la Littérature Française" (vol. Vi, Vol. 48, 51, 54).
  • H. Kotlyarevsky, "World Grief at the end of the past and the beginning of our century" (SPB., 1898).
  • "History of German literature" V. Sheremer (Russian translation ed. A. N. Pyptina, vol. II).
  • A. Galakhov, "History of Russian Literature, Ancient and New" (t. I, Dep. II,, etc., St. Petersburg., 1880).
  • M. Sukhomlinov, "A. N. Radishchev "(SPB., 1883).
  • V. V. Sipovsky, "To the literary history of letters of the Russian traveler" (SPB., 1897-98).
  • "The history of Russian literature" A. N. Pypin, (t. IV, SPb., 1899).
  • Alexey Veselovsky, "Western influence in new Russian literature" (M., 1896).
  • S. T. Aksakov, "Different Works" (M., 1858; article on the merits of the CN. Shakhovsky in dramatic literature).

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