Characteristics of foreign literature of the XVII century. Foreign literature of the XVII-XVIII centuries European literature 17 18th century

11. Cornell's work.
Cornel (1606-1684)
Born in Ruang, in the official of the official. He graduated from the Jesuit College, received a lawyer. One day, he tells the legend, one of the friends of Cornell introduced him to his beloved, but she chose Pierre to their former recycle. This story prompted Cornel to write a comedy. So it appeared "Melita" (1629). Then - "Clean Design", "Widow", "Court Gallery", "Royal Square" - now forgotten. After the "comic illusion", with its incredible journey of fantastic creatures and incidents, Cornelel created a "SIDE" - the tragedy, which opened the glorious history of the French National Theater, amounted to the national pride of the French. "LED" brought the author of the praise of the people and irritation Richelieu (because there is political motives - the Spanish hero). Richelieu envied, because He himself was a bad poet. Attacked Cornell. The Academy began to look for errors and deviations from "Rules" of classicism. The playwright was silent for a while. In 1639-1640 - the tragedies of "Horace" and "Qinna", 1643 - "Polyevk". In 1652 - the tragedy of "pertril" - a complete failure. Silence for seven years, then in 1659 - "Oedip". Racin comes to replace him. Cornell does not want to give up. Voltaire in 1731 in the poem "Temple of taste" depicted Cornell to fire his last tragedies - "Cold Old Town of Creativity." In 1674 K. stopped writing, after 10 years he died.
Early creativity
The first play of Cornelel is usually considered to be a comedy "Melita" (Mélite, 1629), but in 1946 an anonymous manuscript was found in the tradition of "Astrey" onto the D'Ministry of Pastoral Plays "Alidor, or indifferent" (Alidor Ou L'Indifférent, . Between 1626 and 1628, publ. In 2001), which may be considered the genuine debut of the great playwright (according to other versions, its author is Jean Rotra). For the "Melita", a number of comedies were followed, which Cornelel created a position and placed Riccel.
From 1635, Cornell writes tragedy, first imitating Seneke; By the number of these first, quite weak attempts belong to Médée. Then, inspired by the Spanish theater, he wrote "L'Illusion Comique" (1636) - severe farce, whose main person is Spanish Matamor.
"LED"
At the end of 1636, another tragedy of Cornell appeared, which makes up the era in the history of the French Theater: It was "LED", immediately recognized as masterpiece; Even the proverb was created: "Beautiful LED" (Beau Comme Le Cid) ". Paris, and after him, the whole France continued to" look at Cyda Himena's eyes "even after the Paris Academy condemned this tragedy, in Sentiments de L'Académie SUR LE CID ": The author of this criticism of Shaplin found the choice of the plot of the tragedy unsuccessful, the union is unsatisfactory, style - devoid of dignity.
The "Horace" tragedy written in Ruang was put in Paris in early 1640, apparently, on the stage of the Burgundy hotel. The premiere of the tragedy did not become a triumph of playwright, but from the play to the spectral, the success of the play was grooming. Included in the repertoire of the "Comedy Frances" theater, the tragedy passed on this scene the number of performances, inferior only to the "Side". In the main roles of the plays with glitter, such famous actors, like Mademoiselle Clareron, Rashel, Muna-Sully and others.
For the first time, "Horace" was published in January 1641 by Augusten Kurba.
In addition, the marriage of Cornell on Marie De Lamprier (Marie De Lamprière), the height of his secular life, permanent intercourse with the Rambulé Hotel. One after another appeared his beautiful comedy "Le Menteur" and much weaker tragedies:
Religious poetry
Starting from 1651, Cornelel succumbed to the influence of his Jesuit's friends, trying to distract her former pupil from the theater. Cornell took up religious poetry, as it were, in the redemption of his secular creativity of the previous years, and printed soon the poetic translation of "imitation of Jesus Christ" ("Imitation de Jésus Christ"). The translation of this was a huge success and resist in 20 years of 130 publications. It followed by several other translations, also under the influence of Jesuits: the panelists of the Virgin Mary, Psalms, etc.

13. Creativity Racina.
Start of a creative path
In 1658 Rasin began to study the right in Paris and started the first links in the literary environment. In 1660, he wrote the poem Nymph Seine, for which he received a pension from the king, and also created two plays, never put on stage and did not reach this day. The mother's family decided to prepare him for religious beaches, and in 1661 he left for the Joint-Priest in Languedoc, where he spent two years in the hope of obtaining money from the church, which would allow him to devote himself to literary work. This idea ended in failure, and about 1663 Rasin returned to Paris. The circle of his literary dating expanded, the doors of the court salons opened before him. The first of his preserved plays - "Fivaida" (1664) and "Alexander Great" (1665) - were delivered to the Moliere. Stage success prompted Rasin to join the controversy with his former teacher - Yansenistal Pierre Nikolem, who proclaimed that any writer and playwright is a public evidence of the souls.

Triumphant decade
In 1665 Rasin ripped relations with the Moliere Theater and moved to the theater of the Burgundian hotel together with his mistress, famous for actress Teresa du Park, who played the title role in Andromache. It was the first masterpiece of Racina, who had tremendous success in the public. The well-known mythological plot has already been developed by Euripid, but the French playwright changed the essence of the tragedy conflict so that "the image of Andromaha consisted of that submission of it, which approved with us." The son of Achilles Pierre is engaged with the daughter of Menaley Hermione, but passionately loves the widow of Hector Andromaha. To seek her consent to marriage, he threatens in case of refusal to give the Grekam Son Hector Astianax. The Greek embassy heads Orest, in love with Hermione. In Andromache, there is no conflict between the debt and feeling: the relationship of mutual dependence create an unsolvable dilemma and lead to an inevitable catastrophe - when Andromaha agrees to marry the Pyrrhr, Hermione orders the Ores to kill his groom, after which the killer curses and curses. This tragedy shows the passion-teased person, which make a "reasonable" solution impossible.

From the production of "Andromaha" the most fruitful period in the work of Rasin began: following his sole comedy "Soutagi" (1668), the tragedies "Brenik" appeared (1670), "Brenika" (1672), "Mitridat" (1673), "Iphigenment" (1674). The playwright was on the crest of glory and success: in 1672 he was elected to the French Academy, and the king favorably to him bestowed him the noble title. The turning point of this extremely successful career was the production of "Fedry" (1677). The enemies of Rasina made every effort to failing the play: a slight playwright Pradon used the same plot in his tragedy, which was raised simultaneously with Fedra, and the greatest tragedy of the French theater (which the playwright himself considered his best play) at first submission failed. The unplanned love of the wife of the Athens Tsar Tereus to Steyka Gippolit at one time attracted the attention of Euripid, for which the main character was a clean young man, cruelly punished by the goddess Aphrodite. Rasin put in the center of his tragedy Fedra, showing the painful struggle of a woman with the burning sinful passion. There are at least two interpretations of this conflict - "pagan" and "Christian". On the one hand, Racin shows the world inhabited by monsters (one of them ruins a hippolyte) and controlled by evil gods. At the same time, here you can find the existence of the "hidden god" by the Yansenists: it does not give people any "signs", but only in it you can gain salvation. It's not by chance that the play with delight adopted a teacher Rasin Antoine Arno, who owns the famous definition: "Fedra is a Christian who has not condensed grace." The tragedy heroine acquires "salvation", condemning himself to death and saving the honor of the Ippolit in the eyes of the Father. In this play, Racin managed to rush together the concept of pagan rock from the Calvinist idea of \u200b\u200bpredestination.

Care from theater.

Intrigue around Fedry caused a stormy controversy in which Rasin did not take part. Suddenly leaving the stage, he married a pious, but quite an ordinary girl who gave him seven children, and took the office of the royal historograph with his friend Bouquer. The only plays for this period became "Esphyr" (1689) and "Hofolya" (1690), written for school girls in Saint-Sira at the request of their patrons of the Marquise de Martenon, Morganatic spouse Louis XIV.

The work of Racin is the highest stage of French classicism: in its tragedies, the harmonious severity of the construction and clarity of thought is combined with deep penetration into the caches of the human soul.

15. Creativity of Moliere.
Moliere comes from a rich family formed. When the Molver was 15 years old. Father insisted that he went to Sarbor. Moliere graduated from Zhurfak successfully, but when he was 19, in his life there was a very steep turn, he "fell ill" the theater. In Paris, the theater was toured from the province. Moliere left home and for 10 years and remained in the province. Presentations were given in the room of Humna, then in the Knight's hall, then somewhere else. Paris Moliere returned under 30 years. Gradually, Moliere began to write plays, comedy, he played as a comedian actor.
One of the earliest comedies was "funny chemmeters" - comedies-lessons, characters for the first years of his Moliere stay in Paris (a lesson of wives and a lesson to husbands), in the same bed, the comedy "Georges Denden" was written. Her hero was getting rich farmer, a man is relatively young and ambitious, decided to marry the nobility at any cost. And he carries his dream. The impoverish noblewoman marries a wealthy George. On the marriage, she takes to reduce the scores with George Danden - he is unclean for her, ignorant: she argues her husband's discontent and believes that lovers must have reimbursement. She instructs her husband to her husband in any convenient case. The image of the main character is painted in a special way. This is a person prone to self-reflection: he is primarily blamed himself. This makes it simultaneously vulnerable, unhappy and increases the ratio of the reader to the hero. "You yourself wanted, Georges Danden."
The "Amphitrion" occupies a special place in the work of Moliere. Husband Alcmena (Mother Hercules). No one encroachs on her honor and beauty, was a faithful wife. Zeus falls in love with Alcmen and decided that she should belong to him. Zeus took the appearance of amphitrion. The comedy "Amphitrion" was a product of simultaneously gallant and ambiguous: in it, in it, Louis 14 was depicted in the form of a resourceful Zeus. The king was flattered by this work, and this comedy went. In the first years of his stay in Paris, Moliere and his theater used the sympathy of the king, the king was on the ideas, especially loved the comedy-ballet.
For example, "imaginary patient" - the protagonist is a person who has only one twig - inconceivable imperidity. It dies all day without harm to health. Understands that this pretense, only the maid. She guesses how to cure an imaginary patient with one time: it should be devoted to Eastern Doctors. At the end of the comedy, the patient's room includes a whole group of drugs, they are armed with professional weapons - tweezers. All this guard dances and sings, devoting the patient to the clan of Ta-Shi, i.e. In the enlightened doctors. On the macaronically - Fr. + Lat. These dances were comedy ballets. Age of Louis 14 was a century of ballets, quite peculiar. In these ballets, the king, queen, prince, ambassadors dance. Courtful contemplated.
The king's favor was so great that he was twice the godfather of Children of Moliere, highlighting the Sumin, but the children of Moliere and did not survive.
In the 70s. The royal reverence came to the end, this is due to the tartuf comedy. When the first version came out, the immediate ban was followed. In the comedy they saw Satira on the authority of the church. The second option also did not follow the ban. And in order to ensure the economic stability of the troupe writes the comedy "Don Juan" in 40 days, then creates the third version of Tartuf.
Moliere died almost on stage: speaking in the role of the main character of the "imaginary patient" and finished the performance, the pains were genuine, and after the curtain they closed and transferred it to his house.
I could not find a single priest so that the Moliere confessed when the priest came, the Moliere was already dead. Based on this, the church refused to bury him in the cemetery, he was buried on the cemetery, but not sacred land.

17. Creativity Lope de Vega.
One of the bright representatives of the Renaissance realism of the XVII century was Lope Felix de Vega Carpio (1562-1635) - the great Spanish playwright, the poet, the top of the golden century of Spanish literature.
Lope de Vega was born in the family of the Gold Salemaker. He studied at the University of Alcala. From five years he wrote poems. At 22, he had the success of the playwright. Its life was filled with passionate hobbies and dramatic events.
On December 29, 1587, during the performance, Lope de Vega was arrested and sent to prison. The cause of arrest was the offensive satirical poems addressed to his former beloved Elena Osorio and her family, the head of which X. Velasquez was the director of the first plays of Lope. By the decision of the court, the young man was expelled from Madrid and Castile for many years. Leaving the capital, he kidnapped Dona Isavel de Urbina and married her against the will of the Father. On the wedding of the groom represented a relative, since Lope threatened the death penalty for the appearance in Madrid in violation of the sentence.
On May 29, 1588, Lope de Vega comes with a volunteer for the San Juan ship and goes to the campaign "invincible Armada." After many adventures, the losses of Brother Lope returns to Spain, settled in Valencia and publishes the poem "Beauty Angelica" (1602).
After the death of the first wife in 1593, Lope marries the daughters of the meat-trade Huan de Guardo. In the same years, he is given to passionate hobby with actress Mikaele de Luhhan, with the image of Lucinda Camilla. For many years, the poet travels after the beloved and lives where she plays.
Since 1605, Lope serves as a secretary from the Duke de Siss, writes a lot for the theater. In 1610, after the cancellation of the court sentence, he finally moved to Madrid.
In 1609, thanks to the participation of the Duke de Siss, Lope de Vega receives the title, which protects him from church attacks - "approximate inquisition", that is, is out of suspicion. In 1614, after the death of the Son and the death of the second wife, Lope takes the San Priest, but does not change his secular principles of life. Church San did not prevent himwork to survive once again the all-consuming feeling for Marta de Neverse. From his love, Lope did not refuse and after Martha blinded and lost the mind.
In 1625, the Castile Council forbids the Pieces of Lope de Vega. Misfortunes pursue the poet and in personal life.
In 1632, Marta de Neversea dies. In 1634 the son dies, one of the daughters - Marsela - goes to the monastery, another daughter - Anthony-Clara - abducts a slit nobleman. Misfortunes made Lope completely lonely, but did not break his spirit and did not kill interest in life. Shortly before the death, he completed the Poem "Golden Age" (1635), in which he expressed his dream, continuing to approve the Renaissance ideal.
Baste's creativity is based on the ideas of the Renaissance humanism and the traditions of Patriarchal Spain. Heritage is great. It includes various genre shapes: poems, drama, comedy, sonnets, eco-boys, parodies, prosaic novels. Lope de Vega owns more than 1,500 works. According to the names, 726 drams and 47 auto, 470 texts of the plays have survived. The writer was actively developed along with the literary traditions of the Renaissance folk motives, themes.
In the poems, his poetic skill manifested itself, the Patriotic Spirit, the desire to declare himself in the world of literature. They were created about twenty poems on various plots, including antique. Competing with Ariosto, he developed an episode from his poem - the history of love Angelica and Natorot - in the poem "Beauty Angelica"; Arriving with Tetscatto Tasso, wrote "Cooked by Jerusalem" (ed. 1609), having sinks the feats of the Spaniards in the struggle for the liberation of the coffin of the Lord.
Gradually, patriotic sentiments are inferior to the place of irony. In the poem "War Kotov" (1634), the poet, on the one hand, describing the Martov's adventures of cats and their war for a beauty-cat, laughs at modern shorts, on the other, denies artificial norms, techniques of classical poems created by bookpets.
In 1609, according to the order of the Madrid Literary Academy, the Baste writes the treatise "New Art to compose comedies in our time." By this time, he was already the author of brilliant comedies - "Dance Teacher" (1594), "Tolel Night" (1605), "Dog on Seine" (approx. 1604) and others. In the poetic half-breed treatise, the Lope outlined important aesthetic principles and his views on drama, directed, on the one hand, against classicism, on the other - against Baroque.

19. Calderon's work.
Calderon's dramaturgy is a baroque completion of the theater model created at the end of the XVI - the beginning of the 18th century Lope de Vega. According to the list of works, drawn up by the author himself shortly before death, Peru Calderon is about 120 comedies and drams, 80 Autos Sacramentales, 20 intermeds and a considerable number of other works, including poems and poems. Although Calderon is less fruit than its predecessor, he brings to perfection created by the Lope de Vega dramatic "formula", cleaning it from lyric and low-functional elements and turning the play into a lush baroque action. For him, in contrast to Lope de Vega, special attention is characterized by the scenographic and musical side of the performance.
There are many classifications of Calderon's plays. Most often, researchers allocate the following groups:
Drams of honor. In these works, traditional Baroque for Spanish Baroque is dominated: love, religion and honor. The conflict is connected either with the retreat from these principles, or with the tragic need to comply with even the price of human life. Although the action often occurs in the past Spain, the situation and the problem is close to the modern calderon. Examples: "Salameic Alcald", "doctor of his honor", "painter of his dishonor".
Philosophical dramas. The plays of this type affect the fundamental questions of being, first of all - human destiny, freedom of will, the causes of human suffering. The action occurs most often in "exotic" for Spain countries (for example, Ireland, Poland, Muscovy); The historical and local flavor is underlined and is designed to emphasize their timeless issues. Examples: "Life is a dream", "Magic Magic", "Purgatory of St. Patricks".
Comedy intrigue. The most "traditional" group of Piez Calderon includes comedies built along the canons of the Theater Lope de Vega, with a confusing and exciting love intrigue. The initiators and most active participants in the intrigue are most often women. Comedies are inherent in the so-called "Calderons" - random items that came to the heroes, letters who came by mistake, secret moves and hidden doors. Examples: "Invisible lady", "in the still waters ...", "secret out loud."
Regardless of the genre, the style of Calderon is inherent in an increased metaphoricity, a brightly shaped poetic language, logically built dialogues and monologues, where the character of heroes is revealed. The works of Calderon are rich in reminiscences from the ancient mythology and literature, the Holy Scriptures, other Writers of the Golden Age (for example, hints on characters and situations "Don Quixote" have in the text "Ladies of Ghosts" and "Salamesky Alcald"). The characters of his plays simultaneously possess one primary feature (Cyprian ("Magic Magic") - the thirst for knowledge, Shismundo ("Life is a dream") - the inability to distinguish good and evil, Pedro Crespo ("Salamesky Alcald") - the desire for justice) and complex internal device.
The last significant playwright of the Golden Age, Calderon, after a period of oblivion in the XVIII century, was re-opened in Germany. Goethe put his plays in the Weimar theater; The influence of the "Magic Magic" on the intention of the "Faust" is noticeable. Thanks to the works of the Schlegel brothers, who were particularly attracted by the philosophical-religious component of his works ("Calderon is Catholic Shakespeare"), the Spanish drama gained wide popularity and firmly took a place as a classic of European literature. The influence of the calderon on the German-speaking literature in the XX century said in the work of Hugo Background of Hoffmanstal.
20. The main motives of Burns lyrics.
After the union of Scotland and England, educated Scots tried to speak English. Burns came to Scottish literature when two traditions fought in it: to imitate English samples and the desire to preserve national characteristics, the national language. At first, Robert Burns tried to write his "serious" poems in English and only in songs and comic messages to his friends allowed to speak Scottish. But reading Ferguson, he saw that he writes on the "Scottish dialect" the sonorous light and singeling poems, writes simply, understandable and at the same time gracefully, with fun in fiction. All verses, all songs and letters of Burns talk about love, as the highest happiness, affordable mortal. In gentle lyrical lines, in the bitter complaints of an abandoned girl, in the disturbed publics of virtuous guards and unrestrained free free-free songs, - everywhere mighty the mighty inequacy power of passion, voice of blood, the immutable law of life. Burns hates love sales, mercenary, feigned.
Burns opened the incomprehensible art of making poetry from the most ordinary, everyday situations, from the most "coarse.", "Non-efficient" words that resolutely rejected by classic poetics. like "low", "plebeian". Burns forced her mum to speak the peasant language, artisans. His mighty, truly popular poetry, Burns has created a new reader audience. This largely determined the further fate of not only Scottish, but also English literature. Romantics who came to the literary arena in the mid-1990s, relied on that circle of readers from the bottom of the society, which was created by Burns's poetry.
The origins of Burns poetry - folk, his lyrics is the direct development of the folk song. In his verses, he reflected the life of the people, his sorrow, joy. The work of the agriculture and its independent nature. But with all the inseparable communication, Burns poetry with folk songs and legends cannot be denied that the precursors sentimentalists had an impact on its formation. But having reached creative maturity, Burns rejected the letters of writing his predecessors and even paroded the serve "Cemetery" poems. In the "Elegy to the death of my sheep. Which the name of Meili" Burns comically defeat and "comes" the virtues of the sheep in a no less touching elevated manner. Than the sentimentalists did. By such parodies Berns, as it were, the genre of Elegia is beloved by poets from the inside. The approval of the human dignity of the worker is combined by Burns from the condemnation of lords and bourgeois. Even in the love lyrics noticeably the critical attitude of the poet to representatives of the Item classes:

People do not recognize people
Host chambers.
Single Some - Heavy Labor
The lot of others is debauchery.
In idleness,
In hangover
They spend days.
Nor in the paradise garden
In no hell
They do not believe. ("Surely, Davy, I and you ...")
But most of the heroes and heroines Burns - brave, bold. Love people in love and friendship people. His heroines often go "at the assault of their own destiny," courageously fighting for happiness, with patriarchal gestures. The girls choose their husband to heart, contrary to the will of harsh parents:

I don't need such a young
Fear of fate of change.
I will be the poverty of Rada
Would only be with me Tam Glen ...
My mother spoke angry:
- Men's fear of change,
High soon refuse you
But will it change the TEM Glen? ("TEM Glen")
Images of Scottish Patriots - Bruce, Walves, MacPherson, - Created
Burns marked the beginning of the appearance of a whole gallery of portraits of folk leaders, immigrants from folk bases. Gradually, the poet came to be convinced that if the social system of the British Empire is unfair and criminal, then there is no shame, in what would contradict the judge or constable; Opposite, the wellms who come into fighting royal law are no less worthy of glory. Than Robin Hood. So the topic of national independence merged in the works of Burns with a protest against national injustice.

21. The creativity of Grimmelsgausen.
The largest representative of the Democratic Roman Line was Hans Jacob Christoph Grimmelshausen (Hans Jakob Christoph Grimmelshausen, approx. 1622-1676). All the works of Grimmelshausen went out under various pseudonyms, usually anagramms of the writer named. Only in the XIX century. As a result of a long search, it was possible to establish the name of the author "simplicissimus" and some data of its biography. Grimmelsgausen was born in the imperial city of Gelnausen in Hesse, in the family of a wealthy burgher. He was tightened with a teenager in the whirlpool of the thirty-year war. Military roads proceeded almost all Germany, turning out that in one, then in another warrant camp, was a stable, messenger, musketeer, a writer. The war finished the secretary of the Regimental Office, then the classes often changed: was the tax collector and filters, then the innkeeper, then the estate of estates. From 1667 and until the end of the life, he served as the head of the small Priesna town of Renkhhen, not far from Strasbourg, where almost all of his works were created.
During his wanderings, the writer has accumulated not only rich life experience, but also solid erudition. The number of books read by him, which were reflected in his novels, Veliko in terms of volume and diversity. In 1668, the novel "Inticable Simplicius Simplessimus" came out of the print, immediately followed several of its sequins and other "simplicistic" works: "Slims upper or the extensive and wonderful biography of the cheated cheaters and Breakfasts", "Springinsfeld", "Magic Bird Nest "," Simplicin Eternal Calendar "and others. Grimmelsgausen also wrote pastoral and "historical" novels ("chaste Joseph", "Ditvald and Amelind").
Grimeshelsgausen, like no other German writer XVII century, was associated with the life and fate of the German people and was an expressant of a genuine people's worldview. The worldview of the writer absorbed the various philosophical elements of the era, which he learned from the "book" scholarship, and from mystical exercises that were distributed throughout Germany and identifying the mindset of the wide layers of the people.
The creativity of Grimmelshausen is an artistic synthesis of the entire preceding development of the German narrative prose and a variety of foreign language literary influences, primarily the Spanish Plutov Roman. Grimmelsgausen novels - a vivid example of the originality of the German baroque.
The top of the creativity of Grimmelsgausen is the novel "Simplcyssimus".

Literature XVII century

Since the XVII century, it is customary to count down a new time in the history of human civilization. By occupying the border position between the Renaissance (XIV-XVI century) and the Epoch of Enlightenment (XVIII century), the XVII century perceived a lot from Renaissance and left a lot after himself.

Baroque and classicism became the main literary directions of the XVII century.

A significant role is played in the literature of the XVII century Baroque. Signs of the new style began to appear at the end of the XVI century, but the XVII century was blooming. Baroque is a response to public, political, economic instability, the ideological crisis, the psychological tension of the border era, is the desire to creatively rethink the tragic result of the Humanistic Renaissance program, this is the search for the exit from the state of the spiritual crisis.

Tragic-sublime content determined the main features of the baroque as an artistic method. The works of Baroque theatricality, illusiveness (not by chance of the drama P. Calderon called "Life is a dream"), antinomicity (collision of the personal beginning and public debt), the contrast of the sensual and spiritual nature of man, the opposition of fantastic and real, exotic and ordinary, tragic and comic . Baroque replete with complex metaphors, allegories, symbolism, it distinguishes the expressiveness of the word, exaltation of feelings, meaningful meaningfulness, mixing the motives of antique mythology with Christian symbolism. Poets Barochko paid great attention to the graphic shape of the verse, created the "figured" poems, whose lines were formed by the picture of the heart, the stars t. P.

Such a work could not only read, but also viewed as a product of painting. Writers proclaimed the originality of his most important advantage, and the necessary features are difficult to perceive and the possibility of various interpretations. The Spanish philosopher Gracian wrote: "The more difficult to know the truth, the more nice to comprehend." Artists of the Words highly appreciated wit, paradoxicality of judgments: "In the name of life, do not hurry to be born. / Hurry to be born - Hurry to die "(Gonong).

The most famous Baroque writers were: in Spain Louis de Gongor (1561-1627), Pedro Calderon (1600-1681), in Italy Tarkwato Tasso (1544-1595), Jambattist Marino (1569-1625), in Germany Hans Jacob von Grimelsgausen ( Ok. 1621-1676), in Belarus and Russia Simeon Polotsk (1629-1680). Researchers note the influence of Baroque style on the work of English writers W. Shakespeare and J. Milton.

The second literary direction, which received widespread in the XVII century, is classicism. His homeland was Italy (XVI century). Here, classicism arose along with the revived antique theater and originally thought of the direct opposition to medieval drama. Humanists of Renaissance decided speculatively, without taking into account the originality of specific historical eras and peoples to revive the tragedy of Euripid and Seneki, the Comedy of Float and Terentation. They were the first theorists of classicism. Thus, classicism originally performed as the theory and practice of imitation by antique art: rationalistic strictness and logicality of the stage action, the abstractness of the artistic image, the patience of speech, majestic poses and gestures, eleven-dimensional unimproved verse. Such are the features of the tragedy of Trissino (1478-1550) "Sophonizba", written in the sample of the tragedy of Sofokla and Euripid and who opened the era of European classicism.

Samples of classic art were created in the XVII century in France. Here, his theory has digest.

The philosophical basis of the classic method was the rationalistic teaching of Descartes. The philosopher believed that the only source of truth was the mind. Having accepted this statement for the original, classicists created a strict system of rules, matching art with the requirements of reasonable need to comply with the artistic laws of antiquity. Rationalism has become the domicile quality of classic art.

The orientation of the classic theory on antiquity was associated primarily with the idea of \u200b\u200beternity and the absoluteness of the ideal of the beautiful. This teaching confirmed the need to follow: if ideal samples of the beautiful are created in some times, the task of the writers of the following eras is created - as much as possible to approach them. From here a strict system of rules, the mandatory observance of which was considered a guarantee of perfection of the artwork and an indicator of the mastery of the writer.

Classicists installed and a clearly regulated hierarchy of literary genres: the exact boundaries of the genre, its features were determined. High treated tragedy, epic, sides. They depicted the sphere of state life, fateful events, acted with a high genre of heroes - monarchs, warlords, noble parties. A distinctive feature was a high style, elevated feelings, in the tragedy - dramatic conflicts, disastrous passions, inhuman suffering. The task of high genres is to shake the viewer.

In the low genres (comedy, satire, epigram, fable) reflected the sphere of private life, its life and morals. The heroes were ordinary people. Such works were written by a simple conversational language.

Classicist playwrights were to follow the rules of "three unities": time (no more than one day), places (one decoration), actions (lack of side plot lines). The rules were established for the sake of creating an illusion of reliability.

An important component of classic theory is the concept of general types of human character. Hence the famous abstract of artistic images. They emphasized the universal, "eternal" features (Misanthrop, stingy). Heroes shared on positive and negative.

The stage character in classicists is advantageous one-way, statical, without contradictions and development. This is a character-idea: he is so revealed as much as the idea attached to it. Author's tendency, thus manifests itself completely straightforward. Without an image in the human character of a single, individual-individual classicista, it was difficult to avoid schematics, conventionities of images. The courageous hero is courageous in everything to the end; Loving woman loves to the coffin; The hypocrite to the coffin of hypocrishes, and the miser will slip. The distinctive quality of classicism was the doctrine of the educational role of art. Pinking and rewarding virtue, classicist writers sought to improve the moral nature of man. The best works of classicism are filled with high civilian pathos.

Literature Spain

At the beginning of the XVII century, Spain was in a state of a deep economic crisis. The defeat of the "invincible Armada" (1588) off the coast of England, unreasonable colonial politics, weakness of Spanish absolutism, his political short-sightedness made Spain a secondary European country. In Spanish culture, on the contrary, new trends, who have not only have national importance, but also the pan-European significance.

Powerful echo Renaissance culture is the work of talented Spanish playwright Lope de Vega (1562-1635). Representative of the Renaissance Realism, he opposed the tragedy of Baroque optimistic energy, bright world, confidence in the inexhaustibility of vitality. The playwright dropped and "scientist" the normativity of the classic theory. The writer argued the kind of ideals, sought to rapprochement with the popular viewer, uttered for the free inspiration of the artist.

Extensive and diverse in the content of the dramatic legacy of Lope de Vega - it is written, according to the testimony of contemporaries, more than 2000 plays, of which about 500 were published - it is usually customary to divide into three groups. The first of them constitute socio-political dramas, built most often on historical material (Fuente Ovlev, the "Great Duke of Moskovsky").

The second group includes household comedies of a love character ("Dance Teacher", "Dog on Seine", "Girl with a Jug", "Peasant of Getafe", "Star of Seville"); Sometimes they are called the comedies of "raincoat and swords", since the main role in them belongs to noble youth acting in this attitude for them (in the raincoat and sword).

The third group includes religious plays.

To understand the peculiarities of dramatic works of Lope de Vegi, the treatise "New Art of Composing Comedy Nowadays" (1609) has a great importance. In it, in essence, the main provisions of the Spanish national drama with the orientation on the tradition of the People's Theater are formulated, with the desire to satisfy the requests of the audience, with the positiveness of the intrigue shown on the stage and the skillful construction of intrigues, the tight knot of which would not give the opportunity to disintegrate on separate episodes.

The artworks that followed the treatise became the implementation of the aesthetic principles of the writer. The best of these plays is the drama "Fuente Observation" ("Ovechy Source", 1614). The drama has a historical basis. In 1476, in the town of Fuente Ovelev, a peasant uprising spare out against the decentations of the Katvar Katavra and his Commander of Fernan Gomes de Gusman, who was doing the desire and all sorts of violence. The uprising ended with the murder of the commander. In the drama Lope de Vegi commander - Tyrant and the rapist, encroaching on the honor of peasant girls, one of whom - proud of Laurencia - calls on the fellow villagers to righteous revenge. There are many bright images in the play, and yet the protagonist here is the one in his aspiration to restore the justice of the people.

Pieces of Lope de Vegi distinguish life-affirming pathos, sympathetic attitude to ordinary people, faith in their moral resistance.

After the rapid take-off, heights Spain in the Renaissance era, since the late 30s of the XVII century, signs of decline due primarily to socio-political causes are increasingly distinct. The termination of the inflow of gold from America, a complete disorder of internal economic life in the country, a series of foreign policy failures - all this finally undermined the economic and political power of Spain.

The socio-political disadvantage, the crisis of humanistic consciousness, the most severe feudal-catholic reaction, the destruction of the feudal system as a whole caused falnial moods in society. An attempt to comprehend what is happening, to get out of the state of the spiritual crisis, to find moral bases in the new historical conditions became the Baroque, the most visually presented in the work Louis de Gongory (1561-1627) and Pedro Calderon (1600-1681).

Gonong was the largest poet of Spanish Baroque. Gongor style is characterized by metaphorical saturation, the use of neologisms, archaisms. The poet refuses traditional syntax. The vocabulary is overflowing with multivalued words: "The rubies of your lips in the snow of the rim" - about the whiteness of the face, "flying snow" - about a white bird, "running out snow" - about Galatee Running from the Polyfem. Despite the figurative wealth, Gonbra creates "poetry for mind", requiring active intellectual work from the reader. The most fully poetic skill Gongor manifested itself in the poems "Tale of Polyfem and Galatee" (1612) and "loneliness" (1614). The poem "loneliness" is closely intertwined by a renaissance idea about the harmonious coexistence of man and nature with a baroque concept of the eternal loneliness of a man in the world.

The art of Calderon absorbed the best traditions of rebirth, but, being generated by another epoch, it gives a completely different vision of the world. Calderon is written 120 pieces of various content, 80 "Outos Sacramentles" (or "sacred acts") and 20 intermeds. Calderon is associated with his artistic consciousness, both with the Spanish revival and the crisis phenomena of his time.

Continuing the tradition of the great predecessor of Lope de Vega, Calderon wrote a comedy "Cloak and swords". The greatest fame of them is enjoyed by a light and elegant language witty and cheerful comedy "Dama-Invisible" (1629). It has been expressed by the idea of \u200b\u200bthe dominant game of the game. Accident here, as in other comedies, plays a plot-forming role.

However, non-Renaissance comedies and peace-realistic dramas brought Calderon worldwide fame. Lifebye and optimism did not become the tonality of his work. A genuine calderon should be sought in his "Outos Sacramentles" and philosophical and symbolic plays, full of eschatological sentiment, existent problems that are over-useless, contradictions that desire consciousness. Already in the youth drama of Calderon "Worship of the Cross" (1620) to replace the skeptical mood to religion, characteristic of humanists, comes a gloomy religious effect. The god of Calderon is a formidable, merciless force, in the face of which a person feels insignificant and lost.

In the philosophical-allegic drama "Life is a dream" (1634) the glorification of the harsh Catholic doctrine is combined with the preaching of the need for humility and submission to the Divine. The main dramatic concept of Calderon is the idea that human destiny is predetermined by rock, that temporary earthly life is illusory, it is only a preparation for the eternal afterlife.

Time and medium defined not only the nature of the worldview, the overall focus of Calderon's creativity, but also the originality of him as an artist. Dramaturgia Calderon is characterized by philosophical depth, the sophistication of psychological conflicts, excited by the lyricism of the monologues. The plot in the Pieces of Calderon plays a minor role, all the attention was drawn to the disclosure of the inner world of heroes. The development of action is replaced by the game of ideas. The sludge of the calderon is characterized by rhetorical pathos, high metaphoricity of images, which relates him to a gongorism - one of the currents of the Spanish literary baroque.

The poetic audacity of Calderon received a high rating of A. S. Pushkin.

Literature Italy

In the XVII century, Italy is experiencing a crisis of humanistic ideals.

In this situation, Barochko appears to the fore, which expressed the most bright in the maroon, which received its name on behalf of the Italian poet of Jambattist Marino (1569-1625). In the works of marinists, followers of Marino, the form of their verbal deliberations and proliferation was obsessed. There are no socially important topics, there are no topical problems of modernity. The peculiarity of the letter is complex metaphors, bizarre images, unexpected comparisons. Marino was the inventor of the so-called "concupidity" - virtuoso phrases, a verbal paradox, unusually applied epithets, unusual revolutions of speech ("scientist ignorant", "joyful pain").

Glory to Marino in Italy was ubiquitous. Nevertheless, the poet's contemporaries saw the danger of marinism and opposed him a politically aqueous poetry, expressing the needs and aspirations of the Italian people, talking about her suffering (Fulvio Test, Vincenzo Filicaya, Alessandro Tassoni).

Alessandro Tassoni (1565-1635) rejected both poets of the baroque direction (marinists) and protector of imitation and authoritarianism in Italian poetry (classicists). As a Patriot poet, he actively intervened in the political life of the country, spoke against the regional fragmentation of Italy, called for the struggle for its independence (the poem "Kidnapped bucket").

Italian prose of the XVII century is presented by names Galileo Galilee (1564-1642),the user-friendly polemical art of journalism in order to disseminate its scientific ideas ("Dialogue about two main systems of the world"), Trajano Boccalini (1556-1613)Protesting against the Zasil of the Spaniards in Italy, against aristocratic snobs, against the apologists of classicism, recognizing only the aesthetic canons of Aristotle (Satira "Izvestia from Parnassa").

Literature France

The policies of the absolutist state, aimed at eliminating feudal oil and the transformation of France into a powerful power of Western Europe, corresponded to the historically progressive tendency of the era, which led to the advanced character of classicism as a literary phenomenon for its time. The leading artistic method, officially recognized by the Government of Absolutice France, became classicism. The classic literature found a reflection of the rise of the national identity of the progressive layers of the French society during the transition from feudal fragmentation to national unity.

With Cardinal Richelieu (1624-1642), the creation of a powerful monarchical state was mainly completed, which began its predecessor of Louis XIII - Heinrich IV. Richelieu regulated and subjugated to the throne all aspects of state, public, cultural life. In 1634 they created the French Academy. Richeliete patronized in France periodic printing.

In the era of his reign, Renodo's theophrast founded the first French newspaper Gazett De France (1631). (Renodo's theophraist premium is one of the highest literary awards in modern France.)

The historical progressiveness of classicism manifests itself in its close connection with the advanced currents of the era, in particular, with rationalistic philosophy Rene Descartes (1596-1650), so-called Cartesianism. Descartes boldly fought with a medieval feudal ideology, his philosophy relied on the data of the exact sciences. The criterion of truth for Descartes was a mind. "I think it means I exist," he said.

Rationalism became the philosophical base of classicism. Contemporaries Descartes, theorities of classicism Francois Maller (1555-1628) and Nikola Bouoye (1636-1711) I was believed to be reason. They believed that the elementary demands of the mind - the highest criterion of the objective value of the artistic work - oblige art to truthfulness, clarity, logicness, clarity and composite slightness of parts and the whole. They demanded this and in the name of compliance with the laws of ancient art, which was focused on creating a classicist program.

The worship of the writers of the XVII century before the reason was reflected in the notorious rules on the "three units" (time, place and action) - one of the stem principles of classic drama.

The Didactic Poem N. Balo "Poetic Art" (1674) became the code of French classicism.

It was noted above that classicists, like Renaissance artists, in their aesthetics and in artistic works relied on antique art. However, in contrast to the writers of the Renaissance, the theorities of classicism appealed mainly not to ancient Greek, but to the Roman literature of the period of the Empire. The monarchy of Louis XIV, the "King of the Sun", as he called himself, was likened to the Roman Empire, the heroes of classic tragedies were endowed with Roman valor and greatness. Hence the known conventionity of the literature of classicism, its pompous and decorative character.

Nevertheless, French classicists were not crazy epigons of ancient writers. Their creativity had a deeply national character, it was closely related to the social conditions in France the time of the heyday of absolutism. Classicists, failed to combine the experience of antique literature with the traditions of their people, created their original artistic style. Cornel, Rasin and Moliere created samples of classic art in a dramatic genus.

The classic concept of art, with all its monumentality, can not be imagined as something frozen and unchanged. Inside the classic camp there was no complete unity of socio-political, philosophical, ethical views. Even Cornel and Rasin - the creators of a high classic tragedy - largely diverged each other.

Unlike Orthodox Cartesians, Baual and Racina Moliere and Lafontae were students of the materialist Gassendi (1592-1655), outstanding French scientist, who considered sensory experience the main source of all knowledge. His teaching was reflected both in the aesthetics of these writers and in democratis, optimism and the humanistic orientation of their creativity.

The main genre of classicism was the tragedy, portraying elevated heroes and idealized passions. The creator of the French tragedy theater was Pierre Cornel (1608-1684). Cornell's literary activities began with poems and comedies who did not have much success.

Glory comes to the coronel with the appearance on the scene of the tragedy "LED" (1636). Based on the play - the tragic conflict between passion and the debt on which the tragedy is built.

The young and valiant knight Rodrigo, mushy for the insult, inflicted his father, kills the father of his beloved Himena on the duel. Himena justifies the act of Rodrigo, who fulfilled the duty of the family honor, and performs his own - requires the death of the death of his beloved. Performing your family debt, Rodrigo and Himen become deeply unhappy. After an attack on the castle of Mauris, a brilliant victory over them, Rodrigo becomes a national hero. The name Dolga Cornel opposes debt to the homeland. The feudal honor should give way to the place of civil honor. Himen is trying to convince of the insolvency of its requirements: the interests of the family need to sacrifice in the name of public necessity. Himen takes a new morality, especially since she meets her personal feelings. Cornelel convincingly proved that the new state morality is a lot of morality of feudal. He showed the emergence of a new state ideal in the century of absolutism. King Castille Don Fernando is depicted in the play by the ideal autocrat, the guarantor of the general well-being and the personal happiness of his subjects, if they convert their actions with government interests.

Thus, in Side, the idea of \u200b\u200bthe progressiveness of the absolutist monarchy is approved, which in concrete historical conditions responded to the requirements of time.

Despite the audience success, "LED" caused a serious controversy in literary circles. WO "The Opinion of the French Academy about Side (1638) of Cornel's play was condemned for the inconsistency of the canons of classicism. In the oppressed state, Cornel Leaves to his homeland. However, four years later, Rouen Cornell brings two new tragedies, which are already quite consistent with classic canons ("Horace", "Qinna"). How Tragic Cornelel preferred the historical and political tragedy. The political issues of the tragedy determined the norm of the behavior that Cornelel wanted to teach the viewer: this is the idea of \u200b\u200bheroic consciousness, patriotism.

In the tragedy of "Horace" (1640), the playwright used Fabul from the history of Libya title. At the heart of the dramaturgical conflict - the martial arts of the two cities - Rome and Alba Long, which should allow the match of the Goraciyev brothers and Kurians connected by the Uza friendship and kinship. In the play, the debt is understood definitely - this is a patrician debt.

Unable to forgive my brother, the death of his groom, Camilla curses Rome, who destroyed her happiness. Horace, considering sister by a change, kills her. The death of Camillas becomes the cause of a new conflict: according to Roman laws, the killer must execute. Father Horace proves that the murder of his son pushed the righteous anger, civil debt, a patriotic feeling. Saved Rome Horace is needed by his homeland: he will make many more feats. Tsar Tull gives Horace Life. Civil valor has redeemed a crime. The tragedy of "Horace" became the apotheosis of civil heroism.

The tragedy of "Qinna, or the Mercy of August" (1642) paints the first days of the rule of the Emperor Octaviana-August, who learns that a conspiracy is preparing against him. The purpose of the tragedy is to show what tactics will choose a sovereign towards conspirators. Cornell convinces that the interests of the state may coincide with the private aspirations of people, if the power is a smart and just monarch.

Consignors in the tragedy - Qinna, Maxim, Emilia - act, following two reasons. The first cause is political: they want to return Rome by the republican form of government, not aware of their political myopia. Supporters of political freedoms, they do not understand the fact that the Republic has resulted in herself and Rome needs a firm power. The second motive is personal: Emilia wants to avenge the father killed by August; Qinna and Maxim, lovers in Emily, want to achieve a response.

The emperor, suppress ambulance, the cruelty decides to forgive conspirators. They are experiencing a rebirth process. Mercy won their egoistic passions. They saw the wise monarch in August and became his supporters.

The highest state wisdom, the corneel, manifests itself in mercy. Wise state policy should combine reasonable with humane. The act of mercy is thus the act of political, committed not a good man Octavian, and the wise emperor August.

During the "first manner" (approximately 1645), Cornell called for a cult of reasonable statehood, believed in the justice of French absolutism ("Martyr Polyevk", 1643; "Death Pompey", 1643; "Theodore - Virgo and Martyr", 1645; comedy "Lyun", 1645).

Cornell "Second Manner" overestimates many people who seemed so strong political attitudes of the French monarchy ("Rodogunda - Parfyan Tsarevna", 1644; "Irakli - Emperor of the East", 1646; "Nikomed", 1651, etc.). Cornell continues to write historical and political tragedies, but accents are shifted. This is due to changes in the political life of the French society after entering the throne of Louis XIV, which meant the establishment of unlimited domination of the absolutist regime. Now Cornell, the singer of rational statehood, heated in the atmosphere of the winning absolutism. The idea of \u200b\u200bsacrificial state ministry, interpreted as the highest duty, was no longer an incentive of the behavior of the heroes of Cornelev's plays. Spring dramaturgical action serve as narrowly interests, ambitious ambitions of heroes. Love from moral and sublime feelings turns into a game of unbridled passions. Loses moral and political stability of the monarch throne. Not a mind, but the case peaks the fate of heroes and the state. The world becomes irrational and shaky.

Late Cornell tragedies, close to the genre of tragicomedy Barochko, - evidence of the departure from strict classic norms.

French classicism received its most complete and completed expression in the works of another great National Poet of France Jean Rasina (1639-1690). With his name, a new stage is connected in the development of a classic tragedy. If Cornelel developed a predominantly genre of the heroic historical and political tragedy, Rasin made the creator of a loving psychological tragedy, saturated at the same time and large political content.

One of the most important creative principles of Rasin was the desire for simplicity and plausibility as opposed to Cornelev, an extraordinary and exclusive. Moreover, this desire was spread by Racin not only to build the Fabul of the tragedy and the characters of its characters, but also in the language and syllable of the stage work.

Relying on the authority of Aristotle, Rasin refused the main element of the Cornel Theater - from the "perfect hero." "Aristotle is not only very far from demanding from us perfect heroes, but, on the contrary, it wishes that the tragic characters, that is, those whose misfortunes create a catastrophe in the tragedy, were not to the end of good, not to the end of evil."

Rasin was important to approve the right of the artist to portray the "middle man" (not in social, but in a psychological sense), to portray human weakness. Heroes, according to Rasin, should have average advantages, that is, a virtue capable of weakness.

The first great tragedy of Rasin was "Andromaha" (1667). Turning to Greek mythological themes already developed in ancient times Homer, Vergilius and Euripid, Rasin, however, in a new way interpreted the classical landing. Amented to the effects of passions, the heroes of the tragedy - Pyrr, Hermione, Orest - in his egoism turned out to be cruel, capable of crime.

Creating the image of Pyrro, Rasin solves the political problem. Pierre (monarch) must be responsible for the benefit of the state, but, leaving passion, he brings the interests of the state to her sacrifice.

Hermione is also a victim of passion, one of the most convincing tragedy images, the internal state of which is excellently psychologically motivated. Rejected by Pyrrh, proud and rebellious Hermione becomes selfish and despotic in their aspirations and actions.

"Britanik" (1669) followed "Andromaha" - the first tragedy of Rasin dedicated to the history of ancient Rome. As in "Andromache", the monarch is depicted here with a merciless tyrant. Young Neron treacherously ruins his pylon brother of the British, the throne of which he illegally occupied and whom he loved to himself of Junior himself. But Racin was not limited to the condemnation of Nero despotism. He showed the power of the Roman people acting as the highest judge of history.

"Singer of lovers of women and kings" (Pushkin), Rasin created a whole gallery of the images of positive heroines, combining a sense of human dignity, morally resistance, the ability to self-sacrifice, the ability to heroically confront any violence and arbitrariness. These are Androma, Yuni, Berenica ("Brenika", 1670), Monima (Mithridate, 1673), Iphigenias ("Iphigenia in Avlida", 1674).

The vertex of the poetic creativity of Racina on the artistic strength of human passions, according to the perfection of a verse is written in 1677, "Fedra", which Rasin himself considered his best creation.

Queen Fedra passionately loves his gap of Ippolit, in love with the Athenian Princess Arikia. Having received a false news about the death of her husband Tezay, Fedra confesses to Hippolit, but he rejects her. Upon returning Teza Fedra in a fit of despair, fear and jealousy decides to slander the Hippolyte. Then, tormenting the flour of repentance and love, takes poison; In all confessing her husband, she dies.

The main innovation of Racina is connected with the character of Fedry. Rasina Fedra has a suffering woman. Her tragic wines in the impossibility to cope with the feeling that Fedra herself calls criminal. Rasin comprehends and embodies in his tragedy not only the moral and psychological conflicts of his era, but opens the general patterns of human psychology.

The first Russian translator of Racina was Sumarokov, who received the nickname "Russian Racina". In the XIX century, a thoughtful attitude towards Racin showed A. S. Pushkin. He drew attention to the fact that the French playwright managed to invest in the gallant-exquisite form of his tragedy deep content, and this allowed him to put Rasin next to Shakespeare. In the unfinished article of 1830 on the development of dramatic art that served the entry into the analysis of the drama M. P. Poshodina "Marfa Posadanny", Pushkin wrote: "What is developing in the tragedy, what kind of purpose is it? Man and people. The fate of human, fate folk. That is why Rasin is great, despite the narrow form of his tragedy. That is why Shakespeare is great, despite the inequality, negligence, uglyness of the finish "(Pushkin - critic. - M., 1950, p. 279).

If the best samples of the classic tragedy were created by Cornell and Racin, the classic comedy appeared entirely by creating Moliere (1622-1673).

The writer's biography of Moliere (Jean Batista Poblelo) begins with a five-acting poems of the "Sham" (1655) - a typical comedy of intrigue. In 1658, fame will come to the Molver. His performances will be enjoying a huge success, he will patronize the king himself, but also envious, dangerous opponents, from among those whom the Moliere rided in their comedies, was pursued by his.

Moliere laughed, exposed, accused. Arrows His satire did not spare or ordinary representatives of society, nor high-ranking nobles.

In the preface to the Comedy "Tartuf", Moliere wrote: "The theater has a great correctional force." "We apply a malformation of a heavy blow, exposing them to universal dying." "The duty of the comedy is to correct people, amusing them." The playwright perfectly understood the social importance of Satira: "The best thing I can do is denounce in funny images of the vices of my century."

In the comedies "Tartuf", "stingy", "Misanthrop", "Don Juan", "Misena" Moliere raises deep social and moral problems, suggests laughter as the most effective medication.

Moliere was the creator of the "comedy character", where an important role was not external action (although the playwright skillfully built a comic intrigue), and the moral and psychological state of the hero. The character in the Moliere is endowed, in accordance with the law of classicism, one dominant character. This allows the writer to give a generalized image of human vices - misfortunes, vanity, hypocrisy. No wonder some of the names of Moliere characters, for example, Tartuf, Harpagon, became nominal; Tartuf is called Hangu and hypocrisy, Harpagon - Meak. The Moliere observed the rules of classicism in his plays, but did not alienate the traditional tradition of the farce theater, not only "High Comedy", in which he raised serious social problems, but also funny "comedies-ballets." One of the famous comedies of Moliere - "Moorbanism" successfully combines the seriousness and relevance of the problem with the funity and the grace of "comedy-ballet". The Moliere paints a bright satirical image of the rich bourgeois of Jourden, who adopts before the nobility, dreaming to join the aristocrats.

The viewer laughs at unreasonable claims of an ignorant and coarse person. Although Moliere laughs at his hero, he does not despise him. The gullible and not far from Zhurden is more attractive than those living on his money, but despising jurled aristocrats.

A sample of the "serious" classic comedy became the "Misanthrop" comedy, where the problem of humanism is solved in allest and philint disputes. In the complete despair of the words of allesta about reigning in the human world, vices and injustice contains an acute criticism of public relations. In the exposures of allest, the social content of the comedy is revealed.

Moliere made a discovery in the field of comedy. Using the method of generalization, the playwright through an individual image expressed the essence of public vice, depicted typical social features of its time, the level and quality of its moral relations.

French classicism manifested most brightly in drama, but also in prose, he also expressed quite clearly.

Classic samples of the aphorism genre created in France Larocheter, Labryuer, Vyanka, Chamof. Brilliant Master Aphorism was Francois de Larancyfort (1613-1689). In the book "Reflections, or moral sayings and maxims" (1665), the writer created a peculiar model of "man in general", outlined the universal psychology, the moral portrait of mankind. The painting was a gloomy spectacle. The writer does not believe in the truth, nor in good. Even humane and nobility, on the thought of the writer, is only a spectacular posture, a mask, covering a carriage and vanity. By generalizing his observations, seeing in the historical phenomenon of the universal law, Larancy comes to the thoughts on the egoistic essence of human nature. Assistrate as a natural instinct, as a powerful mechanism, on whom a person's deeds depend on its moral motivation. For a person, the hatred of suffering and the desire for pleasure is natural, therefore morality is sophisticated egoism, the intelligent understandable "interest" of one person. In order to curb natural selflessness, a person resorts to the help of the mind. Following Descartes, Larancy Calls to reasonable control over passions. Such is the ideal organization of human behavior.

Jean Labryuer (1645-1696) Known as the author of the only book "characters, or morals of this century" (1688). In the last ninth edition of the book, Labryuier described 1120 characters. Turning to the composition of the theophraist as a sample, Labryuer complicated the Maneru of the Ancient Greek significantly: it not only detects the causes of the defects and weaknesses of people. The writer establishes a human dependence on the social environment. Of the concrete and individual varieties, Labryuer displays the typical, the most common patterns. In "characters" depicts various layers of the Parisian and Provincial Society of Louis XIV. By dividing the book to the heads "Dvor", "City", "Sovereign", "Velmazby", etc., the author builds her composition in accordance with the internal classification of portraits (Khanzy, Poppers, Gossips, Chatters, Lytz, Court, bankers, Monks, Bourgeois, etc.). Labryuer, the last great classicist of the XVII century, combining various genres in his book (Maxims, dialogue, portrait, novel, satire, moral moral), follows with strict logic, subordinates their observations with a common idea, creates typical characters.

In 1678, a novel "Princess Klevskaya" appeared, written Marie de Lafayette (1634-1693). The novel was distinguished by an in-depth interpretation of images and an accurate show of real circumstances. Lafayette tells the story of the love of the wife of Prince Klevsky to Duke Nemurian, emphasizing the struggle between passion and duty. Having experienced a love passion, Princess Clevskaya overcomes its effort of will. After removing the peaceful abode, she managed to save peace and spiritual purity with the help of the mind.

Literature Germany

In the XVII century, Germany carries a tragic imprint of the thirty-year war (1618-1648). The Westphalian world officially secured her division into many small principalities. The fragmentation, selection of trade, handicraft production led to the decline of culture.

A huge role in the revival of the German culture of the new time was played by the poet Martin Opole (1597-1639) And his theoretical treatise "Book about German poetry."

Classic canon instilling in German literature, the opiz calls to study the poetic experience of antiquity, formulates the main tasks of literature, puts emphasis on the problem of moral education. The opacs introduced a silhlor-tonic system of storm, tried to regulate the literature, established the hierarchy of genres. Before the Owin, the German poets wrote mainly in Latin. Opets sought to prove that both poetic masterpieces can be created in German.

The opiz became one of the first chronicles of the thirty-year war. One of the best works is the poem "Word of consolation of the wage disaster" (1633). The poet encourages compatriots to raise over the chaos of life, find a support in his own soul. The topic of the condemnation of war sounds in the poems "Zlatna" (1623) and "praise God of war" (1628). "Scientific Classicism" Obian has not received widespread development, and already in the work of His students of Fleming and Loga, an influence of baroque poetics is clearly noticeable.

The outstanding poet of the German baroque became Andreas Grijius (1616-1664), imprinted in piercing mournful tones, the briefness of the era of the thirty-year war.

The poetry of griffus is oversaturated with emotional, auditoriums, symbols, emblems. Favorite techniques of griffius-transaction, intentional journey of images, contrast comparison. "Cold Dark Forest, Cave, Skull, Bone - // Everything says that I am in the light of the guest, // What I am not avoided neither delicate, nor Tlen."

Griraius is also the founder of the German drama, the creator of the German tragedy Barochko ("Lev Armenian, or Tsarubiyism" (1646), "Killed Majesty, or Karl Stewart, King of Great Britain" (1649), etc.).

The bright figure of the German baroque was a distinctive poet Johann Gunter (1695-1723). Gunter develops the thought of griffus about the best feelings, looted by the war, about the motherland who forgot his sons ("To Fatherland"). The poet opposes the lives of life, misery, German reality, its backwardness and cosiness. Many motives of his poetry will be perceived later and developed by representatives of the "Storm and Natiska" movement.

The largest representative in prose Baroque is Hans Jacob Christoffel Grimmelshausen (1622-1676). Its best works is the novel "Simplcyssimus" (1669). The author describes the unusual wandering of the hero, whose name is the simplification of simplicissimus - translates as "simple of the simplest". Naive, disinterested young peasant, walking on a life road, meets with representatives of various social sections of German society. The hero faces the arbitrariness, cruelty, reigning in the world, the lack of honesty, justice, kindness.

In the Palace of the ruler Ghanau from syllation, they want to make a jester: they wear a culberry skin on it, they put on the rope, are crying, mocking them. Naivence and sincerity of the hero are all perceived as madness. Through allegory, Grimeshelsgausen wants to tell the reader about the most important thing: the world is terrible, in which the unfortunate of a person serves as a fun. The war has hardened people. Simplcyssimus is looking for kindness in human hearts, urges everyone to the world. However, the spiritual peace of hero acquires on a deserted island, away from vicious civilization.

Grimmelshausen was the first in German literature that the destructive action provides war on human souls. In his hero, the writer embodied the dream of a whole, natural man, living according to the laws of the People's Morrel. That is why today the novel is perceived as a bright anti-war work.

Literature of England

In the development of the English literature of the XVII century, which is inextricably linked with political events, three periods are traditionally allocated:

1. Pre-revolutionary period (1620-1630).

2. The period of the revolution, the Civil War and the Republic (1640-1650).

3. Restoration period (1660-1680).

In the first period (20-30s. XVII century) in English literature there is a decline of dramaturgy and theater. The ideology of the triumphant absolutist reaction finds an expression in the activities of the so-called "metaphysical school", creating a speculative, distracted literature, as well as the "Carolinskaya school", in which poet royalists included. In the work of D. Donna, D. Webster,

T. Decker is heard the motives of loneliness, fatal predestination, despair.

So was the younger contemporary Shakespeare Ben Johnson (1573-1637), author of life-affirming and realistic comedies "Wolpon" (1607), "Epicin, or silent woman" (1609), "Alchemist" (1610), "Varfolomeev Fair" (1610).

In the 1640-1650, journalism (treatises, pamphlets, sermons) acquires great importance. Publicistic and artistic works of Puritan writers often had religious color and at the same time were saturated with a protest, spirit of fierce class struggle. They reflected not only the aspirations headed by Cromwell of the bourgeoisie, but the moods and expectations of the wide masses, expressed in the ideology of Levelers ("equalizers"), and especially the "true levell carriers" or "diggers" ("diggers"), based on rural poor.

The democratic opposition of the 1640-1650s nominated the talented publicist-levelller John Lilbn (1618-1657). Famous in his time Pamflet Lilber "New chains of England" was directed against the orders of Cromwell, which turned from the Commander-revolutionary in the Lord-tread with despotic sacks. Reports Democratic trends in the works of Gerald Winsenley (1609 - about 1652). His preventable treatises and pamphlets ("Banner raised by True Levelllers", 1649; "Declaration of poor, oppressed Luda England," 1649) directed against the bourgeoisie and a new nobility.

The brightest representative of the revolutionary camp in English literature of the 40-50s of the XVII century was John Milton (1608-1674).

In the first period of its work (1630s), Milton writes a number of lyrical poems and two poems "Cheerful" and "Pensive", in which the main contradictions of the subsequent creativity are scheduled: coexistence of puritans and Renaissance humanism. In 1640-1650, Milton actively participates in political struggle. It almost does not appeal to poetry (writes only 20 sonnets) and is completely given to journalism, as a result of the outstanding samples of publicistic prose XVII century. The third period of Milton's creativity (1660-1674) coincides with the restoration era (1660-1680). Milton departs from politics. The poet turns to artistic creativity and writes large-scale epic poems "Lost Paradise" (1667), "Returned Paradise" (1671) and the tragedy "SakSon-Wings" (1671).

Written on biblical plots, these works are imbued with a fiery revolutionary spirit. In the poem "Lost Paradise", Milton tells the story of Bunt Satan against God. In the work there is a lot of features of modern Milton of the era. Even during the taller reaction, Milton retains loyalty to its thirantobic, republican principles. The second storyline is connected with the history of the Fall of Adam and Eve - this is a comprehension of the manner of mankind to moral revival.

In the poem "Returned Paradise", Milton continues to think about the revolution. The glorification of the spiritual resistance of Christ, rejecting all the temptations of Satan, served as a recent revolutionary reaction to the reaction and hastily minted on the side of the royalists.

The last work of Milton is the Samson-Wings tragedy - allegorically also associated with the events of the English revolution. In it, the political enemies, Milton calls to revenge and to continue the struggle of people for a worthy existence.

The literary process in Europe in the 17th century is very important and inconsistency. The 17th century is an era, denoting the transition from the revival of enlightenment, and this determined the features of historical and cultural development in European countries there is a strengthening of the position of the feudal-Catholic reaction, and this caused a crisis of Renaissance humanism, with the greatest force expressed in the art of Baroque.

Baroque as a style is formed not only in the literature, but also in painting, music. As the literary flow Baroque has a number of common ideological and artistic principles.

The basis of the Baroque is based on the Renaissance Traditions, the concept of a person is prescribed. The creature is weak and fragile, man, as Baroque writers believed, is doomed to wander in the tragic chaos of life. The deep pessimistic concept of being leads the literature Baroque to ascetic religious ideals.

Baroque creates elite theory of art, approves a special metaphorical ornamental style. Based on the idea of \u200b\u200bthe disharmony of the world, Barochko writers, seeking to express the idea of \u200b\u200bdisharmony in the most figurative system of the work, are fond of semantic and picturesque contrasts. The most striking embodiment, the principles of Baroque were found in the work of the great Spanish playwright P. Kalderon.

In the European Baroque there are two currents - high and lower, or democratic, baroque. Elite ideas, elevated rhetoric of high baroque represented by theater P. Kalderon, Poetry L. de Gongor, D. Donna, Pastoral and Galano-heroic novel, the lower baroque opposes the style of comic burlesque, in many ways consciously parodying elevated patterns (the most bright these trends expressed In the 17th century Plutovsky novel).

Another literary direction of the 17th century was classicism, which received a special flourishing in France. It must be remembered that the origins of classicism go to the aesthetics of the Renaissance, which created the cult of antiquity as a focus of an artistic ideal. Classicism reflected the rise of the national self-consciousness of the French society. In the first third of the 17th century in France, the formation of an absolute monarchy occurs, which leads to the elimination of feudal interdesquets and the formation of a single centralized state. This historically progressive process creates objective prerequisites for the development of classicism. The ideas of R. Dekart, the creator of the rationalistic philosophical school were rendered to a deep effect on the aforemention of classicism.

In its development, classicism of the 17th century has passed two main stages. In the first half of the 17th century, he argued the high ideas of citizenship and heroism, which was reflected in the political tragedies of P. Cornel.

In the second half of the 17th century, after the tragic events of the front, tragic motifs are deepened in classicism. Classicism created a slender aesthetic theory that received a complete embodiment in the Treath N. Balo "Poetic Art". Classicists have developed a regulatory theory of art, including a clear differentiation of "high" and "low", strict genre and styling canons. The rationalistic installation determined the concept of a person, the features of the conflict in classic works. At the same time, the classicists defended the principle of "imitation of nature", "reasonable believing", which allowed them to recreate the typical features of the 17th century public life in their works.
^ XVII century in world literary development

Renaissance is difficult to separate from the history and culture of the XVII century. At the beginning of the XVII century, Renaissance Coriferations continue to create. The transition between epochs is very smooth and several generations continue. The same thing happens on the upper limits of the period. The XVII - XVIII century is a fundamental era for the development of modern European culture. This era creates modern by the type of state. In France, under the influence of the culture of classicism, norms of literature and language are created, rooted until the XX century. A similar regulatory function in England had an educational movement and rationalistic literature.

The era of the Renaissance is the era of social optimism, the opening of the universe and human capabilities. The social system becomes more dynamic, the possibilities of human personality are opening, fate. There is faith in overcoming social obstacles in a variety of spheres. The ideal of the Renaissance Age of the Renaissance is typologically similar in different cultures. The universal ideal embodied the trinity of beauty, good and truth. But on the outcome of the Renaissance, in the XVI century, this ideal begins to break out. In the XVI century, religious wars occur, the struggle of states for the colonies, competition in the European arena. A single European culture is loosened. The generalizing effect of Latin origin is lost. National culture appears, and various types of states are created: bourgeois (revolution in Holland and England), which appeared as a result of the referentialization process, return to the old social relations (Spain, Germany, Italy). In Germany, "dwarf absolutism" reigned, the state was in a state of fragmentation. The situation aggravated the thirty-year war in the XVI century. In France, he gradually moved to capitalism. France of that era is one of the leading European powers. It is considered classical for the literature of the era. It is most clearly manifested by the trends of centralization: the regional differences disappear, the center is intensified, the Unified Legal and Cultural System - and Absolutism (the exceptional role of the royal power) is created.

In the XVII century, the concept of power appears. The government becomes an overnight force that cannot be controlled. The English philosopher Gobbs represented the state in the form of the Monster Leviafan, which controls everything, requires submission and acts with rigid methods. There is a complete unification of life, submission to the king. The leading in the era becomes the category of manageability. In Europe, rituals controlling cultural and social life are introduced, etiquette is introduced. In the era of Louis XIV etiquette was hypertrophied. Hard state control becomes constraintful. Revolutions are condensed, replacing the dictatorship and the subsequent restoration of the monarchy.

Throughout the XVII century, a new religious ideal is formed. There is a search for a "personal" god, his approach to everyday life. Bourgeoisie suggests personal initiative. The embodiment of this search becomes the Reformation in its extreme manifestations (puritanism, Calvinism). The ritual side is discarded and bare faith remains. The main postulate of Protestantism is an individual proof that you are worthy of Divine Salvation. The content of the era becomes also a counterformation movement, especially developing in Spain and Italy. According to the thought of counter-adjustors, God moves into empires, it acts as blind and irrational power. The carrier of this faith becomes the church, also moved to empires. This strategy embodies the Order of Jesuits, whose slogan - "The goal justifies the funds."

The XVII century is a turning point when the values \u200b\u200bof a person are catastrophically shifted. The symbols of the era are endless searches, confidence in the irrational category and riot, a rustling of their own will. The man of the era is looking for a support in search. This support becomes either the mind or feeling. Truth, good and beauty begin to exist separately from each other. As a result, there are two opposite trends: rationalism and irrationalism, respectively.

The most rectokey symptom of rationalism is the formation of science. In the studies of the empiricals there is a problem of a method, brings closer to science with literature (Rene Descart, Spinosa, Hobbes). These scientific searches detect their continuation until the 20th century.

The revolving side of these searches is irrationalism. Irrationalism doubts the possibilities of human knowledge. He seeks to highlight the unknown zones, show a variety and game of phenomena. In irrationalism, a concept category is allocated - rapprochement of different, but mystically related categories. Metaphor develops from the concept. The literature of this era metaphoric. The choice between private truths depends on their own will.

One of the universities of the era is the feeling of crisis, a fracture, reassessment of the ideals of Renaissance. Epoch literature Polemic and propaganda. The ideal of rebirth is either trying to restore or deny it. There is also a refusal to the principle of harmony. In the XVII century, setting on the dominant categories. The dialectic is determined by the unity and struggle of the opposites: the interaction of the mind and feelings, personality and society. The era of Baroque is interested in personal processes. Humanism changes - it becomes "humanism in spite of" The value of man is not specified initially, it is purchased. Another feature of the era is analytization, research approach. The method of dismemberment of reality on the details and its unexpected combination is produced. The epoch is committed to a wide epic panorama. Writers make an emphasis on the centralization of the idea. Thanks to the discovery of the idea, interaction between journalistic and artistic creativity takes place. The idea itself in the artistic text is revealed through pathos and logic. Logic organizes the composition, communication parts. One of the main issues of the era becomes truth and plausibility. Search for truth criteria.
^ Baroque literature (total har-ka).

Writers and poets in the baroque era perceived the real world as an illusion and sleep. Realistic descriptions were often combined with their allegorical image. Symbols, metaphors, theatrical techniques, graphic images are widely used (lines of poems form a drawing), saturation of rhetorical figures, antithesis, parallelism, gradations, oxuymons. There is a blessed-satirical attitude to reality. For literature, Baroque is characterized by a desire for a variety, to the summation of knowledge about the world, comprehension, encyclopedism, which sometimes turns around with chaotic and collecting curiosities, striving for the study of existence in its contrasts (spirit and flesh, darkness and light, time and eternity). Ethics Barochko is marked by a tag to the symbols of the night, the topic of fragility and impermanence, the dream of a dream (F. de Kesvedo, P. Calderon). Known play Calderon "Life is a dream." Such genres are developing as a halane-heroic novel (J. De Schuderi, M. De Schuderi), a real-dual household and satirical novel (Fyweier, Sh. Soriet, P. Scarron). As part of the Baroque style, its varieties are born, directions: marineism, gongorism (culture), conservation (Italy, Spain), metaphysical school and eufism (England) (see Precise Literature).

The actions of the novels are often transferred to the fictional world of antiquity, in Greece, court cavaliers and ladies are depicted in the form of shepherds and shepherds, which got the name of Pastoral (Onor D'Iurf, Astrey). The use of complex metaphors flourish in poetry. There are common forms such as Sonnet, Rondo, a poverty (a small poem expressing any witty thought), Madrigals.

In the West in the area of \u200b\u200bthe novel, an outstanding representative - G. Grimmelsgausen (Roman "Simplisisimus"), in the area of \u200b\u200bdrama - P. Calderon (Spain). V. Wuiatur (France), D. Marino (Italy), Don Luis de Gongora-I-Argoth (Spain), D. Donn (England) became famous in poetry. In Russia, the Baroque literature includes S. Polotsky, F. Prokopovich. In France, "Preventive literature" flourished during this period. Cultivated it then, mainly in the salon Madame de Rambiye, one of the aristocratic salons of Paris, the most fashionable and famous. In Spain, the baroque direction in the literature was called "Gongorism" by the name of a prominent representative (see above).
baroque literature (general characteristic).

the universals of the epoch appear in Baroque and classicism. In European literature, classicism seems to be a simplified version of Baroque, Baroque and Classicism are considered in Russian literature as various artistic directions. But in the work of one writer, both of these directions may converge. In Spain, Baroque was dominant. His aesthetics and poetics developed representatives of the school Lope de Vega. Classicism develops there only theoretically. In England, none of the methods were dominant, since there were strong the traditions of the Renaissance. Only by the middle of the century in English art, classic features are growing (Ben Johnson's theory), but they are not rooted in this country. In Germany, the lower baroque develops, the preferred genres of which the bloody drama and the Plutovskaya romance are provided. The fundamental method of classicism becomes in France, but the trends of Baroque appear here. Along with the classicist, there is also salon literature, Liberty's poetry.

Baroque is realized not only in the literature. Initially, it was allocated in architecture (Bernini, Versal Fountains). The Baroque music was represented by the creativity of Baha and Handel, in painting - Titian and Caravaggio, in the literature - Jean-Batista Marino and Calderon. Baroque is closely connected with Renaissance. Yu.B. Wipper talks about mannerism - the tragic highness of the late revival. This is a way out into the allegorical spaces with philosophical conflicts that demonstrate faith in a person and the tragedy of human being.

The word Baroque itself does not have an accurate explanation. Under this term means a wide range of phenomena. In Baroque, by definition there are no canons. Canon is individual, a variety reigns here.
Baroque ideological installations:
1. Feeling controversivity of the world, lack of established forms, endless struggle. The task of the author is to catch reality in its variability.

2. Pessimistic emotional tone. It comes from the torn, duality of the world. In the literature of this area often meets the motive of the twin.

3. Leading motifs - the struggle of the flesh and spirit, visible and essential. A favorite topic is the struggle of life and death. The vehicles of Baroque often depict a person in his borderline states (sleep, illness, madness, feast during the plague).

4. Theatricality, game, experiments of heroes with life, reverent attitude towards earthly joy, admirement of petty things. The works of the baroque reflect a kaleidoscope of life.

5. Baroque hero is a finished individualist. This is either a bright, but initially a vicious creature that needs to redeem its sins, or is initially a kind, but mutual personality personality. The second type of hero seeks to escape from the world either in creativity, or by creating life utopia.
Aesthetics Baroque is set out in the treatises "Ostrivity or the art of the rapid mind" (Balthazar Grassian) and "Aristotle's Tube" (Emmanuel Tezauro). Art from the point of view of Baroque - subjective creativity. It does not express the truth, and creates the illusion, obeying the will of the author. The task of the writer is the transformation of reality. Flight of thoughts should be exaggerated. The authors of Baroque interests everything unusual. Getting acquainted with the unprecedented, the reader is able to surprise. Main artistic means - metaphor. The metaphor intersects with amplification - exaggeration. The same object turns from different sides.
^ Features of English literature 17th century.

The first half of the 17th century was marked in England, the flowering of poetry baroque, presented primarily by the school of metaphysician poetaphysics. One of the most talented poets of this area, which opened new horizons of the European poetry of the new time was John Donn (1572 - 1631), with whose work it is recommended to get acquainted to students. The English bourgeois revolution (1640 - 1650) was crucial to the development of English literature of the 17th century (1640 - 1650). It took place under religious Puritan slogans, which determined the specifics of the artistic thought of the era.

The main attention in learning English literature of the 17th century should be given to the work of D. Milton (1608 - 1674). An outstanding revolutionary publicist, Milton reflected in its poems the up-to-date political conflicts of modernity. His poem "Lost Paradise" is an attempt to the socio-philosophical understanding of the development of peace and humanity as a whole. In the artistic world of the poems, baroque and classic tendencies are organically combined, to which it is necessary to pay attention to it.

Characteristic of the 17th century as a special era in the history of Western Literature

The XVII century is a century of wars, political and religious conflicts, the age, when they go to the past utopian renaissance ideas about the domination, leaving behind the feeling of absolute world chaos. A man in this chaos ceases to be the highest measure of all things, he is forced to conquer new laws and rules. And the strengthening of persecution of heretics, tightening censorship only strengthen the tragic moods that are reflected in the literature. Two concept of worldview appear: the Catholic concept of free will and the Protestant concept of predestination. For the first concept, the perception of a person free, free to choose between good and evil, thereby predetermining its future. The Protestant concept suggests that the salvation of a person does not depend on how he lives, and everything is already predetermined over. But this does not relieve a person from the obligation to be virtuous. Despite the cons of the Catholic concept of free will, which involves a certain exchange between God and man (good deeds with the calculation of the divine remuneration), this concept has most influenced the literature of the XVII century.

Other popular ideas that were reflected in the literature of the XVII century were ideas of stoicism and neostoicism. The basic principle and the motto of adherents of these ideas was the preservation of inner calm. For neostoicism, a very strong religious feeling, parallel to Evangelical beliefs and premonitions, is also characterized.

In the XVII century, two opposing art systems are formed: Baroque and classicism.

General characteristic Baroque.

Baroque is translated from Italian as "quaint", and this word is best characterized by this literary direction. It comes to replace the Renaissance and brings fancy, expressive forms, dynamics, disharmony, expression into literature. A strange baroque perspective comes to replace the linear perspective: double angles, mirror mappings, shifted scales. All this is designed to express the elusiveness of the world and the illusion of our ideas about him. The baroque is opposed to high and science, earthly and heaven, spiritual and bodily, reality and illusion. There is no clarity, integrity. The world is splitting, in infinite motion and time. This run makes human life terribly fleeting, hence the theme of the short-term person, the strugnure of everything essential.

In dramaturgy, the baroque game is initially manifested in entertainment, illusionism, transition from reality to fantasy. Human life is likened to the theater. God is playing the theater of life, raising the curtain of chaos. This is a dramatic view of the world and about the person in general the baroque. It is exposed by the comicness of human existence, when the desire for happiness is only a cruel historical process.

The overall characteristic of classicism.

Usually the most important feature of classicism calls its normative character, namely the Code of Laws and Rules, mandatory for all artists. However, many supporters of classicism did not always strictly follow these rules.

Having studied this chapter, the student will be:

know

• On the existence of various principles of periodization of the cultural and historical process;
• The reasons for the crisis of Renaissance humanism;
• The content of the new concept of a person who formed in the XVII century;
• Basic principles of aesthetics and poetics of classicism and baroque;

be able to

• Select a lead in the content of the XVII century., defining its specificity as a special cultural and historical era;
• characterize changes in the world weight and human worldview of the XVII century;
• identify elements of baroque and classic poetics in the artistic work;

own

• by the presentation of the main trends in the historical and cultural process of the XVII century;
• by the presentation of the relativity of the confrontation of baroque and classicism;
• The main provisions of the poetics and aesthetics of classicism.

Among modern historians and cultural researchers, there are those who, with distrust relate to the existing principles of periodization of the history of human society. Some of them believe that "human nature is in all times striving for constant" and therefore the search for differences between the following generations are fundamentally meaningless. Others are confident that changes do not occur in accordance with some historical logic, but under the influence of individual bright personalities, so the historical periods would be wiserfully called the names of such figures ("The Epoch of Beethoven", "Napoleon's Epoch", etc.) . However, these ideas have not yet had a noticeable impact on historical science, and most humanitarian disciplines relies on traditional periodization.

At the same time, the XVII century creates some difficulties in determining its specificity as an independent cultural and historical era. In difficulty, the terminological designation is already the "seventeenth century" itself. Related epochs are called "Revival" and "Enlightenment", and already in the names themselves, an indication of the content of these epochs and fundamental ideological installations is laid. The term "seventeenth century" notes only a position on the chronological axis. Attempts have repeatedly been made to find other designations for this period (the era of counter-processing, the era of absolutism, the Baroque era, etc.), but none of them got caught, since it was not fully reflected in the full nature of the era. And yet, despite the contradiction and heterogeneity of this historical segment, many scientists point to transitivity As the main feature of the XVII century as a cultural historical era.

In a wide historical perspective, any era is transitional from one historical stage to another, but the XVII century takes a special position in this row: it acts as a link between the revival and enlightenment. Many trends in a variety of spheres of the European society, which originated in the depths of the Renaissance, received a logical conclusion and design only in the XVIII century., Therefore, the "intermediate" century has become a time of radical change. These changes were affected primarily the economy: feudal relations were actively supplemented by capitalist, which entailed the strengthening of the position of the bourgeoisie, which began to claim a more influential role in the Western European society. In a large extent, the struggle of a new class for the place of iodine Sun served the reason for social cataclysms in various countries - the bourgeois revolution in England, which ended with the execution of King Charles I, attempting the state coup in France in the middle of the century, the name of the Frond, the peasant uprisings, hung in Italy and Spain.

Since the strengthening of new economic relations in Western European countries has occurred in different pace, the ratio of forces in the international arena also underwent changes in the XVII century. They lost the former economic power and the political influence of Spain and Portugal, England, Holland and France, where capitalism developed more dynamically, was released on the forefront of European history. This new redistribution of Western Europe became a reason for the thirty-year war (1618-1648), one of the longest and bloody wars of the new time. In this military conflict, in which the Gabsboursk League, which united mainly Catholic countries (Spain, Austria, the Catholic Principles of Germany), opposed the Protestant princes of Germany, France, Sweden, Denmark, supported by England and Holland. According to historical estimates, more than 7 million people died from the 20 millionth population only by the Gabsburg League. It is not surprising that contemporaries compared this event with a terrible court. The description of the horrors of the thirty-year war is often found in the works of German literature of this period. The unfolded and very gloomy picture of disasters, which collapsed to Germany in the war years, presented Hans Jacob Christophilic Fel Grimmelsgausen in his novel "The adventure of the syllable of simplification of syllable" (1669).

The basis for the conflict between European states was not only economic and political contradictions, but also religious. In the XVII century Catholic church to fix their shaken positions and return their own influence, begins a new round of fight against the reformation. This movement got a name Counter-process. The church, well aware of the propaganda capacity of art, encourages the penetration of religious topics and motives. The culture of Barochko turned out to be more open to such introduction, it was more likely to appeal to religious scenes and images. It is natural that one of the countries where Baroque survived his flourishing, was Spain, the main stronghold of koitreformation in Europe.