What are the main genres of sentimentalism? The main features of Russian sentimentalism.

Sentimentalism

Sentimentalism (- feeling) arose in the Epoch of Enlightenment in England in the middle of the XVIII century during the decomposition of feudal absolutism, the estate-serfdom, the growth of bourgeois relations, and therefore, which began the liberation of the personality from the shackles of the feudal-serpentine state.

Sentimentalism expressed worldview, psychology, tastes of the wide layers of the conservative nobility and bourgeoisie (the so-called third class), thirsty, the natural manifestation of the feelings demanding to be considered with human dignity.

Fits of sentimentalism.The cult of feelings, a natural feeling, not spoiled by civilization (Rousseau argued a decisive superiority of a simple, natural, "natural" life over civilization); denial of distraction, abstractness, conventions, dry classicism. Compared to classicism, sentimentalism was a more progressive direction, because it was noticeable elements of realism associated with the image of human emotions, experiences, the expansion of the inner world of a person. The philosophical basis of sentimentalism becomes sensualism (from Lat. Zepzsh - feeling, feeling), one of the founders of which was English philosopher D. Locke, which recognizes the only source of knowledge, sensual perception.

If classicism argued the idea of \u200b\u200ban ideal state, managed by an enlightened monarch, and demanded submission to the state of the interests of the personality, then sentimentalism in the first place nominated a person at all, but a particular person in all of the originality of his individual person. At the same time, the value of a person was determined by its high origin, not a property position, not a classroom affiliation, but personal advantages. Sentimentalism for the first time raised the question of personal rights.

Heroes were ordinary people - nobles, artisans, peasants who lived mostly feelings, passions, heart. Sentimentalism opened the rich spiritual world of Proshchin. In some works, Sentimentalism sounded a protest against social injustice, against humiliation of a "little man." Sentimentalism largely gave a democratic literature.

The main place was assigned a copyright, author, subjective perception of surrounding reality. The author sympathized with the heroes, his task - to make empathy, cause compassion, tears of lunal to readers.

Since Sentimentalism proclaimed the writer's right to manifest in the art of his author's individuality, genres arise in sentimentalism, which contribute to the expression of the author's "I", which means that the form of the first person's narrative: diary, confession, autobiographical memoirs, travel (travel notes, notes, impressions ). In Sentimentalism, a prose comes to the change of poetry and drama, which has had a great opportunity to transfer the complex world of human spiritual experiences, and therefore there were new genres: family, household and psychological romance in the form of correspondence, "Meshchanskaya Drama", "sensitive" story, "Bourgeois tragedy", "tear comedy"; Greeting genres of intimate, chamber lyrics (idyll, elegy, romance, Madrigal, Song, Message), as well as bass.

It was allowed to mix high and low, tragic and comic, mixing genres; The "Three Unity" law was not allowed (for example, a circle of reality phenomena was significantly expanded).

Depicted ordinary, everyday family life; The main theme was love; The plot was built on the basis of situations of the everyday life of individuals; The composition of the works of sentimentalism was arbitrary.

The cult of nature was proclaimed. The landscape performed a favorite event background; The peaceful, idyllic life of a person was shown on the village of rural nature, while nature was portrayed in close connection with the experiences of the hero or the author himself, was consonant with personal experience. The village as a focus of natural life, moral purity sharply opposed the city as a symbol of evil, artificial life, fuss.

Language of works Sentimentalism was simple, lyrical, sometimes sensitively raised, emphatically emotional; Poetic funds such as exclamations, circulation, laquetry-diminutive suffixes, comparisons, epithets, interjections were used; used white verse. In the works of sentimentalism there is a further convergence of the literary language with a living, colloquial speech.

Features of Russian sentimentalism. In Russia, sentimentalism is approved in the last decade of the XVIII century and fuses after 1812, during the development of the revolutionary movement of future Decembrists.

Russian sentimentalism idealized the patriarchal structure, the life of the fortress village and criticized the bourgeois morals.

The peculiarity of Russian sentimentalism is didactic, educational installation for the education of a worthy citizen.

Sentimentalism in Russia is presented by two currents: sentimentally romantic - N. M. Karamzin ("Letters of the Russian Traveler", the story "Poor Lisa), M. N. Muravyov (sentimental poems), I. I. Dmitriev (Basni, Lyrical songs, The poetic fairy tales "Fashion Wife", "Conclusion"),

F. A. Emin (Roman "Letters of Ernest and Doravra"), V. I. Lukin (Comedy "ILO, Love Corrected"). Sentimentally realistic - A. N. Radishchev ("Travel from St. Petersburg to Moscow"),

the feeling is the current in the European and American literature and the art of the second half of the XVIII-early XIX centuries. Announced the dominant of human nature, not a mind, but a sense, and the path to an ideal person was looking for in the release and improvement of the "natural" feelings, hence the great democratism S. and the opening of the rich spiritual world of commoner. Close to predocutantism. Main Representatives: S. Richardson, L. Stern, O. Goldsmith, T. Smalllett, J. Zh. Rousseau, writers "Storms and Natika". Top S. in Russia - Tale N. Karamzin "Poor Lisa".

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SENTIMENTALISM

from Franz. Sentiment - feeling), the current in European and American art and literature is the second floor. 18 - Nach. 19 centuries. Stripping from the rationalism of the Epoch of Enlightenment, Sentimentalism proclaimed the highest quality of "human nature" is not a mind, but feeling. The path to the upbringing of the ideal personality sentimentalists was looking for in the release of "natural" feelings. If classicism proclaimed the cult of public, then Sentimentalism claimed the right of a private person to deeply intimate experience. Brighter than all the ideals of sentimentalism were embodied in the literature and the theater, in painting - in the genres of the landscape and portrait.

Sentimentalism in French painting acquired a deliberately edifying shade in the work of J. B. Gosza. Sensitivity in its genre paintings ("paralytic, or the fruits of good upbringing", 1763; "Pied son", 1777, etc.) develops into goodness, characters - in the walking personification of vices and virtues. Posses and gestures of people exaggeratedly theatrical, painting turns into a moral lesson. It was not by chance that the dreams loved to draw up literary comments on his works. In addition to genre paintings, the dreams wrote a lot of "heads" - images of girls who taste about dead birds, broken mirrors or jugs. Such works containing, like the famous picture of the "broken pitcher" (1785), a hint of lost innocence, paradoxically connects the editability with erotica.

In Russia, the ideals of sentimentalism found an expression in the work of V. L. Borovikovsky. For the first time in Russian painting, the artist began writing people on the lap of nature. Heroes of his portraits walk through the alleys of landscape parks with her beloved dog or book in her hand, indulge in poetic dreams or philosophical reflections ("Portrait of Catherine II on a walk in the Tsarskoye Park", 1794; "Portrait of M. I. Lopukhina", 1797; "Portrait of d . A. Derzhavina, "1813), demonstrate the elevated and sweet consent of the hearts (" Portrait of Sisters A. G. and V. Gagarini ", 1802). Pictures "Torzovskaya peasant Christine" (approx. 1795), "Lysyanka and Dashinka" (1794) embody the conviction of sentimentalism in the fact that "and can feel the peasantry" (N. M. Karamzin). With sentimentalism, the creativity of V. A. Tropinin is in part ("The boy who tastes about the deceased bird", 1802).

Sentimentalism prepared the soil for the birth of romanticism.

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Features of Russian sentimentalism and its meaning

Even at the end of the 18th century, a new course came to replace the dominant direction of classicism, which received the name of sentimentalism, which occurred from the French word Sens, meaning a feeling.

Sentimentalism as an artistic flow generated by the process of combating absolutism, appeared in the second half of the XVIII "century in a number of Western European countries, primarily in England (Poetry D. Thomson, Prose L. Stern and Richardson, then in France (Creativity Zh.-W . Rousseau) and Germany (Early creativity I. V. Goethe, F. Schiller). The sentimentalism on the basis of new socio-economic relations was alien to the glorification of statehood and class limitations inherent in classicism. In contrast to the latter, he nominated the questions of personal life. , the cult of sincere pure feelings and nature. Empty secular life, the depraved nrules of the highest society sentimentalists opposed the idyll of rustic life, disinterested friendship, touching love among the family hearth, on the lap of nature. These feelings were reflected in numerous "travels", which were made in fashion after Roman Stern "sentimental journey", giving the name to this literary direction. In Russia One of the first works of this kind was the famous "Travel from St. Petersburg to Moscow" A. N. Radishcheva (1790). I gave tribute to this fashion and Karamzin, who published in 1798 "Letters of the Russian Traveler", followed by "Journey through Crimea and Bessarabia" P. Sumarokov (1800), "Journey to the midday". Izmailov and "Other Journey to Malorossy" Shalikova (1804). The popularity of this genre was explained by the fact that the author could freely present the thoughts here, which gave rise to new cities, meetings, landscapes. Reflections these differed mostly increased sensitivity and moralism.

But, besides such a "lyrical" orientation, sentimentalism possessed and a certain social order. Arriving in the Epoch of Enlightenment, with its interest in her personality and the spiritual world of man, and the ordinary, "small" man, sentimentalism took some features of the ideology of the "third class", especially since representatives of this class appear in Russian literature - - Split writers. So, sentimentalism brings a new idea of \u200b\u200bhonor to Russian literature, this is no more antiquity of the genus, but the high moral advantages of a person. In one of the posts "The village" notes that a kind name can only be in a person with a clean conscience. "For a" small "person, both the hero and the Writer-Merchant, who came to the literature, the problem of honor becomes of particular importance; It is not easy for him to defend his dignity in society, where the lengthy prejudices are so strong. "3 is characteristic of sentimentalism and the approval of the spiritual equality of people, regardless of their position in society. N. S. Smirnov, a former faded fortress, then a soldier, the author of the sentimental story "Zara" predicted her epigraph from the Bible: "And I have a heart, you have, you have." Sentimentalism Karamzin Tale

Russian sentimentalism found the most complete expression in the work of Karamzin. His "poor Lisa", "Note of the traveler", "Julia" and a number of other ages are distinguished by all the features characteristic of this flow. Like the classic of French sentimentalism Zh.-H. Rousseau, in whose creations Karamzin, according to his confession, attracted the "sparks of passionate humanity" and "Sweet sensitivity", his works are saturated with humane moods. Karamzin aroused the sympathy of readers to his heroes, excitedly transmitting their experiences. Karamzin's heroes are moral people, gifted by large sensitivity, selfless, for whom attachment is more important than everyday well-being. So, the heroine of the story of Karamzin "Natalia, Daughter Boyarskaya" accompanies her husband to war in order not to part with his beloved. Love for her above danger or even death. Aloiz from the story of Sierra-Morany deprives himself of life, unable to move the bride to betray. In the traditions of sentimentalism, the spiritual life of the characters of the literary works of Karamzin flows against the background of nature, the phenomena of which (thunderstorm, storm or affectionate sun) as the accompaniment accompany the experiences of people.

Under sentimentalism, they understand the direction of literature, which developed at the end of the 18th century and the beginning of the XIX-th, which was distinguished by the cult of human heart, feelings, simplicity, naturalness, special attention to the inner world, living love for nature. In contrast to the classicism, which worshiped the mind, and only reason, and which, as a result, built everything in its aesthetics on a strictly logical basis, on a thoroughly illuminated system (the theory of poetry buoy), sentimentalism provides the artist freedom of feelings, imagination and expression and does not require His impeccable correctness in the architectonics of literary creation. Sentimentalism - protest against dry rationality, which characterized the Epoch of Enlightenment; He appreciates in a person not what culture gave him, but what he brought with him in the depths of his nature. And if classicism (or, as it, in Russia, in Russia, is more often called false-classicism) was interested exclusively by representatives of higher social circles, royal leaders, a sphere of the courtyard and a whole aristocracy, then sentimentalism is much more democratic and, recognizing the fundamental equivalence of all people, descends In the valley of everyday life, - in the environment of the meshan, bourgeoisie, middle class, which at the time has been nominated in a purely economic relation, became especially in England - to play an outstanding role on the historical scene.

For sentimentalist, everyone is interesting for, because in any kind, the intimate life is laminated and warms; And it does not need special events, stormy and vivid effectiveness, in order to make a way to get into the literature: No, it turns out to be hospitable and in relation to the most ordinary inhabitants, to the most ineffect biography, it will paint the slowing passage of ordinary days, peaceful family raising, quiet Rouges of everyday worries. Sentimental literature is not in a hurry; It is served by a "long, moral and notable" Roman (in the style of the famous works of Richardson: "Pamela", "Clarissa Gallow", "Sir Charles Grandison"); Heroes and heroines are leading diaries, they write endless letters to each other, indulge in cardiac outpour. It is in connection with this that sentimentalists have consolidated their merit in the field of psychological analysis: they moved the center of gravity from the external internal; In fact, just in this and is the main meaning of the term "sentimental" himself: all the direction received its name from the composition of Daniel Stern "Sentimental Journey", t. - e. Such a description of the journey that focuses on impressions h. traveler, not so much on what he meets how much is that he is experiencing.

Sentimentalism is a quiet rays directly directly to objects of reality, but to the subject perceiving them. He puts the feeling of a feeling person to the head and not only not ashamed of sensitivity, but, on the contrary, it deals with her as the highest value and dignity of the spirit. Of course, it had its own root side, since the celiable sensitivity passed proper borders, was done to the shut-off and sweet, broke away from courageous will and mind; But in the very essence, in the most principle of sentimentalism, it is not necessary to ensure that the feeling is so exaggerated and has taken an illegally self-sufficient nature. True, in practice, many of the confessors of this school suffered from such an expansion of the heart. Be that as it may, sentimentalism was able to be touching, threw the gentle strings of the soul, caused tears, and on Wednesday of readers and, by the benefit of readers, made undoubted softness, lunizing, kindness. It is indisputable that sentimentalism, it is philanthropism, this is a human-humid school; It is indisputable that, for example, in Russian literature to "poor people" of Dostoevsky, the line of continuity comes from the "poor Lisa" Karamzin, who is the most remarkable representative of sentimentalism (especially as the author of the ages and "letters of the Russian traveler"). Naturally, the Sentimentalist writers, sensitive, so to speak, to the beat of the human heart, should have been among the other feelings that constitute the content of his inner life, especially to perceive the gamut of mournful sentiment - sadness, sadness, disappointment, longing. So why the flavor of many sentimental works is melancholy. Sweet jets there were sensitive souls. A typical model in this sense can serve as Zhukovsky from the English Language Elegy Gray "Rural Cemetery"; And I must say that in the cemetery, in the sad situation of death, crosses and monuments, the Sentimentist writer generally loved led by his reader - in the English poet of Jung, the author "nights". It is also clear that the fact that the original source of suffering, unhappy love, also gave sentimentalism a courtesy-looking abundantly draw from his water-tears. The famous novel Goethe "Suffering of the Young Verter" is filled with this moisture of the heart.

A typical feathered feature is moralism. It is about sentimental novels that Pushkin says: "And at the end of the last part, the vice was always punished, the wreath was wondering." In the vague dreaminess of his writers of this direction, a certain moral order was prone in the world. They passed, they planted "good feelings." In general, idyllization and idealization of things, at least covered by mourning haze, is a substantial sign of sentimentalism. And these idyllizes and idealization, it spreads the most in nature. Here, the influence of Jean Jacques Rousseau with his denial of culture and the exaltation of nature. If Balo demanded that the city and courtyard serve the main place of action in the literary works in the literary works, then the sentimentalists often moved their heroes, and with them - and their readers, to the village, for the primitive Lono of Nature, in the framework of patriarchal perfectness.

In sentimental novels, nature is directly involved in heart dramas, in the peripeties of love; On the descriptions of nature, many enthusiastic paints are crushed, and with tears in their eyes kissing the ground, admire the lunar light, are died with birds and flowers. In general, it is necessary to carefully distinguish its distortion from his healthy core, which is in worship before the naturalness and simplicity and recognition of the highest rights of the human heart. To get acquainted with sentimentalism, the book of Alexander N. Veselovsky "V.A. Zhukovsky. Poetry of feelings and heart imagination."

Thus, Russian sentimentalism introduced into the literature - and through it and in life - new moral and aesthetic concepts, which were hotly perceived by many readers, but, unfortunately, they dispersed with life. Readers brought up on the ideals of sentimentalism, proclaimed human feelings by the highest value, were found with bitterness that the measure of attitudes towards people was still knowledgeable, wealth, position in society. However, the root of this new ethics, expressed at the beginning of the century in such, seemingly naive creations of Sentimentalist writers, eventually develop in public consciousness and will contribute to his democratization. In addition, sentimentalism enriched Russian literature with linguistic transformations. Particularly significant in this regard was the role of Karamzin. However, the principles of formation of the Russian literary language proposed by them caused violent criticism by conservative writers and served as a reason for the emergence of the so-called "language disputes", who seized Russian writers at the beginning of the XIX century.

Introduction
The history of the emergence of sentimentalism.
Features and genres of sentimentalism.
Conclusion.
Bibliography.

Introduction
The literary direction "Sentimentalism" received its name from the French word Sentiment, that is, feeling, sensitivity). This direction was very popular in the literature and art of the second half of the XVIII - early XIX centuries. A distinctive feature of sentimentalism was attention to the inner world of man, to its emotional state. From the point of view of sentimentalism, it is human feelings that were the main value.
Sentimental novels and stories, so popular in the XVIII-XIX centuries today are perceived by readers as naive fairy tales, where the fiction is much larger than the truth. However, works written in the spirit of sentimentalism had a huge impact on the development of Russian literature. They gave the opportunity to capture all the shades of the human soul on paper.

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

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

Born in British shores in the 1710s, sentimentalism became in W. floor. 18 V. pan-European phenomenon. The most brightly manifested itself inenglish , french , german and russian literature .

Representatives of sentimentalism in Russia:

M.N. Muravyev
N.M. Karamzin
V.V. Capinus
ON THE. Lviv
Young V.A. Zhukovsky short time was sentimentalist.

At the beginning of the XIX century. Sentimentalism acquires the greatest impact (from Franz. Sentimentalisme, from English. Sentimental is sensitive). His emergence is associated with the spiritual growth of the individual, with the awareness of her own dignity and the desire for spiritual liberation. Sentimentalism was a response to the public need for democratization of literature. While the leading heroes of classicism performed the kings, Velmazby, leaders, interpreted in their abstract, universal, generic essence, sentimentalists put forward an image of a single, private, ordinary, mostly "middle" personality in its inner essence, in its everyday life. Classicism's mightyness they contrasted the cult of feelings, tartness, "Religion of the Heart" (Rousseau).
The ideology of sentimentalism was close to educational. Most enlighteners believed that the world could be done perfect if they teach people to some reasonable forms of behavior. Sentimentalism writers put the same goal, and adhered to the same logic. Only they argued that not a mind, but the sensitivity should save the world. They reasoned something like this: raising sensitivity in all people, you can defeat evil. In the 18th century, under the word, Sentimentalism understood susceptibility, the ability to respond to the soul to everything that surrounded a person. Sentimentalism is a literary course, reflecting the world from the position of the feeling, and not reason.
Sentimentalism arose in Western Europe at the end of the 20s of the XVIII century and took shape in the form of two main directions: progressive-bourgeois and reactive nobility. The most famous Western European Sentimentalists - E. Jung, L. Stern, T. Gray, J. Thomson, J.Zh.zh. Rousseau, Jean Paul (I. Richter).
Some ideological and aesthetic signs (focusing on personality, the power of feelings, approval of the benefits of nature over civilization) sentimentalism anticipated the arrival of romanticism, so sentimentalism is often refundable (Franz. Foremantisme). In Western European literature, the predocutantism includes works for which the following features are characterized:
- the search for an ideal lifestyle outside a civilized society;
- the desire for naturalness in human behavior;
- interest in folklore as the form of the most direct manifestation of feelings;
- attraction to the mysterious and terrible;
- idealization of the Middle Ages.
But attempts by researchers find the phenomenon of predocant in Russian literature as directions other than Sentimentalism have not led to positive results. It seems that the predocutantism can be said, bearing in mind the occurrence of romantic trends that appeared primarily in sentimentalism. In Russia, the tendencies of sentimentalism were distinctly designated in the 60s of the XVIII century. In the works of F.A. Emmina, V.I. Lukina and other writers like them.
In Russian literature, sentimentalism manifested itself in two directions: reactionary (shanki) and liberal (Karamzin, Zhukovsky ). Idealizing reality, reconciling, attenuating contradictions between the nobility and the peasantry, the reactional sentimentalists painted the idyllic utopia in their works: the autocracy and the social holy hierarchy; The fortress state is established by God himself for the sake of the happiness of the peasants; Fortress peasants live better free; Empty not very fastened right, but the abuse of them. Defending these ideas, Prince P.I. Shalikov in the "Travel to Malorossy" portrayed the life of the peasants to complete satisfaction, fun, joy. In the play of the playwright N.I. Ilyina "Lisa, or the celebration of thanks" is the main character, the peasant, praising his life, says: "We live so much fun, like the sun is red." The peasant Archka, the hero of the play "The generosity, or the recruit set" of the same author, assures: "Yes, such good kings, what are you on the Holy Rus, you won't find all the white light."
The idyllic nature of creativity was especially manifested in the cult of a beautiful-sensitive personality with her desire for perfect friendship and love, worship before the harmony of nature and the magnificent powerful way to express their thoughts and feelings. So, playwright V.M. Fedorov, "Fixing" the story of the story "Poor Lisa"Ka Ramsina , forced Erast to repent, abandon the rich bride and return to Lisa, which remains alive. To top it off, Matvey's tradesman, Father Lisa, turns out to be the son of a rich nobleman ("Lisa, or a consequence of pride and seduction", 1803).
However, in the development of domestic sentimentalism, the leading role belonged not to reactionary, but progressive, liberal-minded writers: A.M. Kutuzov, M.N. MuravyevN.M. Karamzin, V.A. Zhukovsky. Belinsky rightly called the "remarkable face", "employee and assistantKaramzin In the transformation of Russian language and Russian literature "I.I. Dmitrieva - Poet, Basinist, translator.
I.I. Dmitriev His verses had an undoubted impact on poetryV.A. Zhukovsky , K.N. Batyushkova and P.A. Vyazemsky. One of its best works that has been widespread - the song "Stones Size Plot" (1792). Following the ideaN.M. Karamzina and I.I. Dmitrieva The lyrics also performed Yu.A. Nelidinsky-Melitsky, the creator of the song "I am out on the river", and the poet I.M. Dolgoruky.
Liberally thinking sentimentalists saw their calling in order to console people in suffering, troubles, chants, to turn them to virtue, harmony and beauty. Perceiving human life as transforming and speedy, they piled eternal values \u200b\u200b- nature, friendship and love. They enriched literature with such genres like an elegy, correspondence, diary, journey, essay, story, novel, drama. Overcoming the regulatory and dogmatic requirements of classic poetics, sentimentalists in many ways contributed to the approach of the literary language with conversational. By expression K.N. Batyushkova, the sample for them is the one, "who writes as he says who the ladies read!". Individualizing the language of acting persons, they used elements of folk spaciousness for peasants, ordinary jargon - for the attains, gallicizms - for the secular nobility, etc. But this differentiation was not conducted consistently. Positive characters, even serfs, express themselves, as a rule, in a literary language.
Arriving its creative principles, sentimentalists were not limited to the creation of artistic works. They performed with literary-critical articles in which, proclaiming their own literary and aesthetic positions, the predecessors were noticed. Creativity of classicists - S.A. served as a permanent target of their satirical arrows. Shirinsky-Shikhmatova, S.S. Bobrova, D.I. Tailov, A.S. Shishkova and A.A. Shakhovsky.

Sentimentalism in England.Previously, Sentimentalism declared himself in the lyrics. Poet lane floor. 18 V. James Thomson refused to traditional urban motifs traditional for rationalistic poetry and made an image of English nature. Nevertheless, it does not leave completely from the classic tradition: it uses the genre of Elegy, legalized by the theorist of Classicism Nikola Bouoye in his poetic art (1674), however, replaces the rhymed twisted white verse characteristic of the Shakespeare era.
The development of lyrics goes along the way of strengthening pessimistic motives, already sounding at D.Tyson. The theme of the ghosts and vanity of earthly existence triumphs at Edward Young, the founder of "Cemetery poetry". The poetry of the followers of E. Jung - Scottish pastor Robert Blair (1699-1746), the author of the gloomy didactic poem of the grave (1743), and Thomas Gray, the creator of Elegy, written in a rural cemetery (1749), is permeated by the idea of \u200b\u200bequality before death.
With the greatest completeness sentimentalism expressed himself in the genre of the novel. Himuel Richardson became the beggar, who, breaking with an adventurous-plutical and adventure tradition, turned to the image of the world of human feelings, which demanded the creation of a new form - novel in letters. In the 1750s, sentimentalism became the main direction of British educational literature. The work of Lawrence Stern, whom many researchers consider the "father of sentimentalism", marks the final departure from classicism. (Satyrica Roman Life and Opinions Tristram Shender, Gentleman (1760-1767) and Roman Sentimental Journey in France and Italy Mr. Yorik (1768), from which the name of the artistic flow).
Critical English sentimentalism reaches his peak in the work of Oliver Goldsmith.
In the 1770s, the Sunset of English sentimentalism comes. Terminated the existence of a genre of sentimental novel. In poetry, the sentimentalist school is inferior to the place of predocutant (D. Makherson, T. Pchatteton).
Sentimentalism in France.In French literature, sentimentalism expressed himself in classical form. Pierre Carle de Chamblin de Mario is at the sources of sentimental prose. (Life Marianna, 1728-1741; and the peasant who came to people 1735–1736).
Antoine-Francois Preview D "Eczil, or Abbot Prevo discovered a new area of \u200b\u200bfeelings for novel - an irresistible passion, leading hero to a life catastrophe.
Creativity Jean-Jacques Rousseau (1712-1778) became the climax of sentimental novel.
The concept of nature and the "natural" person identified the content of its artistic works (for example, Epistolar Roman Juli, or New Eloise, 1761).
Zh.-Zh.Russo made the nature of an independent (self-valued) object of the image. His confession (1766-1770) is considered one of the most frank autobiographies in world literature, where he brings to the absolute the subjectivistic installation of sentimentalism (artwork as a way to express the author's "I").
Henri Bernarden de Saint-Pierre (1737-1814), like his teacher J.-Zh.russo, considered the main task of the artist to approve the truth - happiness is to live in harmony with nature and virtuously. He sets out its concept of nature in the treatise Etudes about Nature (1784-1787). This topic receives an artistic embodiment in the novel of Paul and Virginia (1787). Depicting distant seas and tropical countries, B.The Saint-Pierre introduces a new category - "exotic", which will be in demand by romantics, primarily Francois Rene de Chastroan.
Jacques Sebastian Mercier (1740-1814), following the Romaist tradition, makes the central conflict of Roman Savar (1767) a collision of an ideal (primitive) form of existence ("Golden Age") with a decomposing civilization. In the utopian novel of 2440, some kind of sleep (1770), taking as a basis a public contract Z.-ZH.RUsso, it designs the image of an egalitarian rural community in which people live in harmony with nature. Its critical glance at the "Fruits of Civilization" S.Mesye also sets out in a journalistic form - in the essay, the picture of Paris (1781).
Creativity Nicola Retiff de La Breton (1734-1806), self-taught writer, the author of two hundred volume volumes, noted by the influence of J.-Zh.russo. In the novel, the corrupted peasant, or the danger of the city (1775), the story of the transformation is told, under the influence of the urban environment, morally pure young men in the criminal. Roman-Utopia Southern Opening (1781) interprets the same topic as 2440 S.Mesier. In New Emile, or practical education (1776), the Retiff de La Bretonn develops the pedagogical ideas of J.-Zh.Russo, applying them to female education, and hesitated with him. Confession of J.-Zh.Russo becomes a reason for creating his autobiographical essay Mr. Nikola, or a distinguished human heart (1794-1797), where he turns the story in a "physiological essay".
In the 1790th, in the era of the Great French Revolution, sentimentalism loses its position, giving way to revolutionary classicism.
Sentimentalism in Germany.In Germany, sentimentalism was born as a national-cultural response to French classicism, the work of English and French sentimentalists played a certain role in its formation. Significant merit in the formation of a new look at the literature belongs to G.E.Lessengu.
The origins of German sentimentalism lie in the controversy of the beginning of the 1740s Zurich professors I.Ya. Bodmer (1698-1783) and I.Y. Breitingkers (1701-1776) with a prominent apologist of classicism in Germany I.K. Gotzhet (1700-1766); "Swiss" defended the right poet to poetic fantasy. The first major expressive of the new direction was Friedrich Gottlieb Klopškt, who found the point of contact between sentimentalism and the German medieval tradition.
Sentimentalism flourishing in Germany falls on the 1770-1780s and is associated with the movement of "storms and onslaught", named according to the same-name drama Sturm und Drang F.M. Clinger (1752-1831). His participants raised their task to create the original National German literature; from J.-zh. Rousseau They learned the critical attitude towards civilization and the cult of natural. The theoretical "Storm and Natiska" Philosopher Johann Gottfried Gerder criticized the "boastful and barren education" of the Epoch of Enlightenment, fell on the mechanical use of classic rules, proving that true poetry is a language of feelings, first strong impressions, fantasies and passions, such a language is universal. "Stormy genius" was tyranny, protested against the hierarchy of modern society and his morality (the tomb of the kings of K.F. Skubart, to the freedom of F.L.Stolberg, etc.); Their main character was the freedom-loving strong person - Prometheus or Faust - moving passions and not knowing any obstacles.
In the young years, Johann Wolfgang Guete belonged to the "Storms and Natiska" direction. His romance of the suffering of a young verter (1774) became a sign of German sentimentalism, determining the end of the "provincial stage" of the German literature and its entry into the pan-European.
The spirit of "storms and onslaught" was marked by the drama of Johann Friedrich Schiller.
Sentimentalism in Russia.Sentimentalism in Russia penetrated in the 1780s-early 1790s due to the translation of the Romanov of Verter I.V. Mouth, Pamela, Clarissa and Grandison S. Ryrhardson, New Eloisa J.-zh. Rousseau, Fields and Virgini J.-A. Bernarden de Saint Pierre. The era of Russian sentimentalism opened Nikolai Mikhailovich Karamzin with letters of the Russian traveler (1791-1792).
His novel Poor Lisa (1792) is a masterpiece of Russian sentimental prose; From the Getya Verter, he inherited the general atmosphere of sensitivity and melancholy and suicide theme.
Essays N.M. Karamzin caused a huge number of imitations to life; At the beginning of the 19th century. Poor Masha A.E.Ismayilova (1801) appeared, a trip to the midday Russia (1802), Henrietta, or the triumph of deception over weakness or delusion of I.Svechinsky (1802), numerous tales G.P. Kamenheva (history of poor Marya; Unhappy Margarita ; Beautiful Tatyana), etc.
Ivan Ivanovich Dmitriev belonged to the Karamzin group, who spent the creation of a new poetic language and fantastic against the archaic high-resistant syllable and outlined genres.
Sentimentalism marked early creativity of Vasily Andreevich Zhukovsky. Publication in 1802 of the transfer of Elegy written in the rural cemetery E.Gray became a phenomenon in the artistic life of Russia, for he translated the poem "The Sentimentalism language in general, translated the Genre of Elegy, and not an individual product of the English poet, having his special individual style" (E.G. Ektkin). In 1809 Zhukovsky wrote a sentimental story Marina Grove in the spirit of N.M. Karamzin.
Russian sentimentalism by 1820 has exhausted himself.
He was one of the stages of pan-European literary development, which completed the Epoch of Enlightenment and opened the way to romanticism.
Evgenia Krivushin
Sentimentalism in the theater(Franz. Sentiment - feeling) - direction in the European theater art of the second half of the 18th century.
The development of sentimentalism in the theater is associated with the crisis of aesthetics of classicism, proclaiming the strict rationalist canon of drama and its stage incarnation. Defining the speculative builds of classic drama comes the desire to bring the theater to real reality. This affects almost all the components of theatrical act: in the subject of the plays (reflection of the private life, the development of family-psychological plots); in the language (classic pathoral poems is replaced by prose, close to spoken intonation); In the social affiliation of characters (representatives of the third estate are becoming the heroes of theatrical works); In definitions of action (palace interiors are replaced by "natural" and rural).
The "tear comedy" - the early genre of sentimentalism - appeared in England in the work of the playwrights Collie Sibbera (the last trick of love, 1696; carefree spouse, 1704, etc.), Joseph Addison (Bearless, 1714; drummer, 1715), Richard Style (funeral, or fashionable sadness, 1701; lover-liar, 1703; conscientious lovers, 1722, etc.). These were the moral work, where the comic start was consistently replaced by sentimental scenes, moral and didactic maxims. The moral charge of the "tear comedy" is based on non-definition of defects, but on the chant the virtue awakening the shortcomings - both individual heroes and society as a whole.
The same moral and aesthetic principles were based on the French "tear comedy". Her bright representatives were Philip Dewesch (married philosopher, 1727; Pride, 1732; Waster, 1736) and Pierre Nivel de Lashosse (Melanide, 1741; Mothers School, 1744; Governess, 1747, etc.). Some criticism of public defects was presented with playwrights as temporary delusions of heroes, by the end of the play successfully overcome them. Sentimentalism was reflected in the work of one of the most famous French playwrights of that time - Pierre Carla Marivo (Game of Love and Case, 1730; Celebration of Love, 1732; Inheritance, 1736; Purely 1739, etc.). Marivo, remaining the faithful follower of the salon comedy, at the same time it constantly contributes to it the features of sensitive sentimentality and moral didactics.
In the second half of the 18th century. "The tear comedy", remaining within the framework of sentimentalism, is gradually displaced by the genre of the Meshchansky drama. Here, comedy elements finally disappear; The basis of the plots becomes the tragic situations of the daily life of the third class. However, the problematics remains the same as in the "tear comedy": the triumph of the virtue prevailing all the tests and adversity. In this single direction, the Meshchansky drama is developing in all countries of Europe: England (J. Lillo, London merchant, or the history of George Barnuell; E.Mur, Player); France (D. Didro, side son, or virtue test; M.cedin, philosopher, without knowing it); Germany (G.E.Lesxing, Miss Sarah Sampson, Emilia Galotti). From the theoretical development and drama of the lescing, which received the definition of the "Meshchang tragedy", arose aesthetic flow of "storms and onslaught" (F.M. Klinger, I.Lentz, L.Vagner, I.V. and others), which reached his peak Development in the work of Friedrich Schiller (Robbers, 1780; Deceit and love, 1784).
Widespread theatrical sentimentalism in Russia. For the first time manifested in the works of Mikhail Heraskov (friend of unfortunate, 1774; Persisive 1775), the aesthetic principles of sentimentalism were continued by Mikhail Verevkin (and should, the birthday women, exactly in-point), Vladimir Lukin (ILO, love corrected), Peter Madiller (Bobyl, Sadder, etc.).
Sentimentalism gave a new impetus to acting art, the development of which in a certain sense was inhibited by classicism. Aesthetics of classic execution of roles required strictly adherence to the conditional canon of the entire totality of acting expressiveness, the improvement of acting craftsmanship went more like a purely formal line. Sentimentalism gave actors the opportunity to turn to the inner world of his characters, to the dynamics of the development of the image, the search for psychological persuasiveness and multi-faceted characteristics.
By mid 19 in. The popularity of sentimentalism went to no, the genre of the Meshchansky drama almost ceased to exist. However, the aesthetic principles of sentimentalism formed the basis for the formation of one of the youngest theatrical genres - melodramas.

Features and genres of sentimentalism.

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

The main features of sentimentalism:

Didacticism. For representatives of sentimentalism, it is characterized by the installation on the improvement of peace and the solution of the tasks of human education, however, unlike classicists, sentimentalists appealed not so much to the mind of the reader, how much to his feelings, causing sympathy or hatred, delight or indignation towards the events described.
The cult of "natural" feelings. One of the main symbolism is the category "natural". This concept unites the external world of nature with the inner world of the human soul, both peaces think as consonant to each other. Merille and evil in the works of sentimentalism became the cult of feelings (or hearts). At the same time, as the norm was approved by the coincidence of natural and moral began, because the virtue was conceived by the congenital human property.
At the same time, the sentimentalists did not artificially bred the concepts of "philosopher" and "sensitive person", since sensitivity and rationality do not exist without each other (it is not by chance that Karamzin characterizes Erast, the hero of the story "poor Lisa", as a person possessing a "well-minded mind, good Heart "). The ability to make a critical judgment and the ability to feel help to comprehend life, but feeling deceiving a person less often.
Recognition of virtues as a natural human property. Sentimentalists proceeded from the fact that the world is arranged on moral laws, so they portrayed a person not as much as the carrier of a reasonable volitional beginning, how much as the core of the best natural qualities, from the birth of the birth in his heart. For Sentimentalist writers, special ideas about the ways of reaching a person of happiness, the path to which can indicate only a feeling based on morality. Not awareness of debt, and the heart of the heart encourages a person to act morally. For human nature, the need for virtuous behavior is natural, which gives happiness.
etc.................

The main representatives of this area in Russia - Karamzin and Dmitriev. Sentimentalism appeared in Europe, as opposed to the French philosophical rationalism (Voltaire). A sentimental direction in England originates, then distributed in Germany, France and penetrates Russia.

In contrast to a false-classical school, the authors of this direction choose the plots from ordinary, everyday life, heroes - people of ordinary, medium or lowered classes. The interest of sentimental works is not in the description of historical events or acts of heroes, but in the psychological analysis of the experiences and senses of an ordinary person in an atmosphere of everyday life. The authors set forth the goal of the reader, showing deep and touching experiences of ordinary, inconspicuous people, attracting attention to their sad, often dramatic fate.

Sentimentalism in literature

From the permanent appeal to the experiences and feelings of heroes, the authors of this area developed cult feeling - from this and the name of the entire destination (sense - Sentiment) happened, sentimentalism . Along with the cult of feelings develops cult nature , Describes of nature paintings of nature, which has a soul to sensitive reflections.

Sentimentalism in Russian poetry. Video track

In the literature, sentimentalism is expressed mainly in the form of sensitive novels, sentimental travels and so-called meshchansky drams; In poetry, in the elegions. The first author of sentimental novels was English writer Richardson. His novels, Charles Grandison, Clarissa Gallow read Pushkin Tatiana. These novels contain types of simple, sensitive heroes and heroines and nearby bright types of villains that follow their virtue. The lack of these novels is their extraordinary stretchability; In the novel "Clarissa Gallow" - 4,000 pages! (The full name of this work in Russian translation: "The attraction of the maiden Clarissa Garlov, the True Tale"). In England, the first author of the so-called sentimental travel was Stern.. He wrote. "Sentimental journey in France and Italy"; In this work, attention is drawn mainly on the experiences and feelings of the hero in connection with the places on which he drives. In Russia, Karamzin wrote his "letters of the Russian traveler" under the influence of Stern.

Sentimental Meshchansky Drama, nicknamed by "tear comedies" (Comedies Larmoyantes), who appeared first in England, spread in Germany and France and appeared in translations in Russia. Even at the beginning of the reign of Catherine, the Great in Moscow was put by the play of Bomaigsk "Eugene", translated by Pushnikov. Sumarokov, a convinced supporter of false-classicism, reigned for the production of this "tear comedy" and was looking for sympathy and support of Voltaire.

In poetry, sentimentalism was mainly expressed in elegians . These are lyrical poems and reflections, most often sad. "Sensitivity", sadness, melancholy - these are the main distinguishing features of sentimental elegions. The authors of Elegi often described the night, the Moonlight, the cemetery, - everything that could create a mysterious, dreamy atmosphere, corresponding to their feelings. In England, one of the most famous poets of sentimentalism was Gray, who wrote a "rural cemetery", which was subsequently translated by Zhukovsky.

The chief representative of Russian sentimentalism was Karamzin. In the spirit of this literary direction, they were written "Letters of the Russian Traveler", "Poor Lisa" (see summary and full text) and other stories.

It should be noted that any artistic and literary "school" brighter expresses its characteristic features in the works of "pupils - imitators", as large artists, the Rodnodsters of the "Schools", the "directions" originals, are always more diverse and wider their student. Karamzin was not exclusively an "sentimentalist", even in their early works, "reason" he assigned an honorable place; In addition, he has traces and future romanticism ("Borngolm Island") and neoclassicism ("Athenian life"). Meanwhile, numerous students did not notice this width of Karamzinsky creativity and brought to the ridiculous extreme exclusively its "sensitivity". Thus, they emphasized the shortcomings of sentimentalism and led this direction to a gradual disappearance.

From the students of Karamzin are most famous - V. V. Izmailov, A. E. Izmailov, KN. P. I. Shalikov, P. Yu. Lviv. V. Izmailov wrote to the imitation of the "letters of the Russian traveler" Karamzin - "Travel into the midday russia". A. Izmaylov composed the story "Poor Masha" and the novel "Eugene, or the detrimental consequences of spiritual education and community." However, this talented work is distinguished by this realism that it can be found to " realistic»The direction of this era. Prince Shalikov was the most typical sentimentalist: he wrote and sensitive poems (the collection "Fruit of free feelings"), and a story (two "travels to Malorusia", "Journey to Kronstadt"), characterized by extreme sensitivity. L. Lviv was a more talented novelist, "several leads remained from him:" Russian Pamela ", Rosa and Love," Alexander and Julia.

Other then literary works can be called, written in the imitation of "poor Lisa": "Sewish Henrietta, or a triumph of deception over weakness and delusion", "Beautiful Tatyana, who lives at the sole of sparrow mountains," "History of poor Mary", "Inna", "Maryina Grove" Zhukovsky, A. Popova "Lily" (1802), "Poor Lilla" (1803), A. Krophotov "Spirit of Rossianki" (1809), A. E. "Cute and tender hearts" (1800), Claskinsky "Ukrainian orphan" (1805), "My neighbor's novel" (1804), Prince Dolgorrukova "Unfortunate Lisa" (1811).

Pleiad of sensitive poets in the Russian audience had fans, but had many enemies. It was ridiculed and old-pseudoclassics, and young realist writers.

The theorist of Russian sentimentalism was V. Shemvalov, a contemporary and a literary ally of Karamzin, at one time with him made magazines ("Reading for taste and mind", "Pleasant Transportation of Time"). According to the same program, like Karamzin, in 1796 he printed an interesting reasoning: "sensitivity and fancy", in which he tried to determine the difference between the present "sensitivity" in false "manners", "fancy".

Sentimentalism affected us at this time in the prosperity of the "Meshchansky Drama". In vain were the efforts of pseudoclassics to deal with this "illegal" Chad of Dramaturgia, "the public defended her favorite plays. The translated dramas of the Kotceb ("Hate for People and Raskaya", "Son of Love", "Hussites under Naumburg") were especially popular. In continuation of several decades, these touching works willingly looked at the Russian audience and caused numerous imitation of Russian. H. Ilyin wrote a drama: "Lisa, or a celebration of gratitude", "generosity, or recruit set"; Fedorov - Drama: "Lisa, or a consequence of pride and seduction"; Ivanov: "The family of old man, or for the god of prayer, and for the king the service does not disappear," etc.