The national peculiarity of Russian realism briefly. Neoreline and realism in Russian literature is: features and main genres

UDC 82.02 Yu.M. Proskurin

The originality of Russian realism of the middle of the XIX century

Russian literature of the 1850s. It is considered as a new stage in the development of realism. Writers are repelled from the principles of a genuine school, pay increased attention to psychology and moral problems. Strong characters can withstand social circumstances. The change in the concept of personality generates the transformation of the genre-style system of realism.

Keywords: development of realism, character and circumstances, traditions, genre, lyrism, national character.

The dialogic relationship (continuity and polemical) underlie both the occurrence of literary directions and the change of stages during the evolution of each of them. Moreover, the nearby periods in the development of the direction are sometimes different from each other than deleted.

The natural school develops into a new stage of the realistic direction at the turn of the 40-50s., When voices were heard against one-sided solution of the main formula for realism and related consequences in it. So, P. Annenkov in 1849 on the pages of the "contemporary" expresses dissatisfaction with the predesis of the natural school "to a person of an insignificant, killed circumstances", which is not "in herself there is no strength to exit the cramped position." The anti-grantic thesis about the dependence of characters from circumstances ceases to be relevant, since romanticism itself thanks to a genuine school becomes, according to N. Chernyshevsky, not so much dangerous as ridiculous. The tragic pathos of many works of the natural school as a consequence of the fatal conditionality of the person the medium is not approved by A. Druzhinin, the author of the "letters of the non-resident subscriber ...". "We," he declares in 1850, "we don't want longing, we do not want works based on the painful mood of the Spirit." At this time, the leading writers of genuine school declare the change in their views, about the beginning of the dialogue with themselves. In 1849, Herzen talks about the need to "sermon a new world of world", Dostoevsky writes Brother in connection with arrest: "Now, change the life, rejects in a new form. I'm rearranging for the better. " In 1852, Turgenev reports Annenkov about his intention to "part forever with the" old manner "and go to the art of another expensive." Two years later, Dudushkin confirms the desire of the author of "two buddies" "to get out of its former manners." Ap. Grigoriev, with satisfaction, states the collapse of a genuine school, which he reproached in the "slave copying" of reality phenomena, in a "mixture of mud with sentimentality".

Such statements gave rise to many researchers an idea of \u200b\u200bthe 50s. As about the time, when "all the great covenants of Belinsky were forgotten," when there was a "the tradition of violent is interrupted." Solovyov (Andreevich), although he did not share the extremely nihylic opinions on the literature of the so-called gloomy seven years, nevertheless, denied the peculiarity of this period in the development of realism: "50s: they are called usually an empty destination of Russian literature. This exaggeration, of course, but really these years created very little of their own, original. They have no physiognomy. " In Soviet literature, there is an opinion that "Liberals at the very beginning of the fifties stood up for a hostile position in relation to the realism."

In fact, the progressive movement of realism did not stop. After all, many realists of the 50s, such as A. Herzenov, D. Grigorovich, N. Nekrasov, I. Turgenev, began their creative path in a natural school, "came out" from it, so we treated it with experience. The natural school studied those writers who, like L. Tolstoy, debuted in the 50s. Or at this time became known (A. Ostrovsky, A. Pisemsky). It is not by chance that the young Tolstoy dedicated to the author of the "Hunter's Notes" the magazine publishing "Riding Forest" (1855). However, the attitude towards a natural school was complicated by the opposition: the assimilation of overcoming, the rethinking of its experience, which was caused not only to the changed public situation ("dark seven years"), but also the needs of self-development of the literary direction.

In the 50s. Both liberals and democrats expressed a different understanding of the content and tasks of realistic art, but remembered the thesis of Belinsky: "Reality is a password and a slogan of our

century. Following Belinsky Chernyshevsky sees the goal of art in reproducing reality; Druzhinin advises writers: "Be true true"; Ap. Grigoriev is satisfied with the fact that "reality is in the foreground in modern literature." Dudyskin clarifies: "The loyalty of reality can be double: creative, consisting in the bright reproduction of distinctive, characteristic features of each person, and a darterotype, consisting in a thorough and indifferent recording of everything that seems and hears."

Literary figures for those years, realizing that the "cumiroment of reality" does not exclude the belonging of the writer to "pseudorealism", give great importance to the "way of thoughts" (Chernyshevsky), the "corner of view" (Druzhinin), "Look at Things" (Dudyshkin), " Mirosoznia "(Grigoriev) - they are so called the copyright position, from which the choice and receptions of the image of the subject depends. By virtue of this, they are interested in the question: "What life is expressed by art?" (Up Grigoriev), "What kind of reality is a writer?" (Druzhinin), "How to understand reality?" (Chernyshevsky).

Ap. Grigoriev, admiring the "new word" of Ostrovsky-playwater, advises writers not to pass by the "religious foundations of morality", "to be retrieved ... The trial of the ideal of life" from the standpoint of the "indigenous Russian world." Druzhinin, taking into account the experience of "observation authors" like the letters and Kokorev, taking advantage of the "comforting parties" of everyday Russian life. Annenkov in the article "About novels and stories from common life" (1854) recommends sketchingly to portray peasant life from the standpoint of a fair draftsman, and in the work "On the thought in the works of elegant literature" (1855), relying on the work of Tolstoy and Turgenev, considers it necessary Psychological description of the heterogeneous layers of society. Chernyshevsky believes that the literature is also interested in the "poetry of the feeling", and the "poetry of thought". Dudyshkin notes about this: "It is not rather. To say that all common ideas, which can be given by life, can be the ideas of stories about life. " Thus, if Belinsky focused a genuine school on truthful reproduction of reality, then critics of the 50s. They argued about aspects and receptions of the image of life, discovering, according to Annenkov, "fragmentation of concepts and a variety of views."

But all of them, after a natural school, recognized the aesthetic significance of ordinary life of ordinary people. According to Chernyshevsky, "the hero is everywhere only in the trress of novels: Dickens, Tekkesea has no heroes, and there are very ordinary people who everyone ... met dozens in their century." V. Krestovsky (N. Khvoschinskaya) justices in detail in the novel "Test" (1854) the appeal of prosaicists of those years to the image of the daily lives of ordinary people: "Is this mass not people? .. And the light almost all consists of such people. For them, the other name is not invented as "ordinary". But all social life is composed of relations and clashes of these people. " S. Aksakov in the "Family Chronicle" (1856) appeals to his characters: "You are not great heroes, not loud personality, in silence and obscurity you passed your earthly field. But you were people, and your exterior and inner life is also fulfilled poetry. " Druzhinin advises blottarists to show "poetry in the subjects of the most ordinary". Chernyshevsky sees the famous stake of poetry "in the prosecular person." The arguments about the poetry of an ordinary is not only recognition of its aesthetic value, but also spiritual ethical significance.

ATTENTION TO ORDERS OF REALIES 50-GG. There were several other goals than that of the Writers of the Natural School: Not so much social as moral and psychological. Literary figures for those years insist on the possibility of moral confrontation of the individual with unfavorable circumstances. "The moral independence of man, proclaims Herzen, is the same immutable truth and reality as its dependence on the environment." Chernyshevsky categorically declares: "It depends on the person himself, to what extent life is filled with beautiful and great." L. Tolstoy writes in the diary for 1853: "The harder and harder circumstances, the necessary hardness, activity, determination and the more harmful apathy." According to Dudushkin, literature of the 50s. Putting to the image of a "man, strong character. which is able to take the most difficult circumstances on their shoulders. " Proshitin Gleb Savinov ("Fishermen" of Grigorovich - 1853 ("Fishermen" of Grigorovich - 1853) are among these persistent and strong spiritual spirit of people ("Fishermen"), and Panayeva's "Three Light Countries" - 1849), and

piecher Baghrov ("Family Chronicle" S. Aksakova). "In all classes of society," says Chernyshevsky's mouth of one of his heroes in the incomplete story "Theory and Practice" (1849 - 1850), - even at all the levels of mental development you will find people extremely rich in feelings, heart, with an emergency energy will be able to " . Herzen mentions in "Were and Things" (Ch. 2 - 1854) about the meeting in the "Stales of Vyatka Link" with the hot young hearts, whom "did not rotate the steep mountains." The hero of the story of V. Krestovsky "Temptation" (1852) does not repeat the fate of the "honest secretary of the county court", which Belinsky spoke in a letter to Cavelin: the son of a poor office lawyer Oztery refuses, although not without painful fluctuations, from "mean business", Does not sell "his soul for a piece of urgent bread." "Fortunately," the writer reports, "there are stubborn, which are not reborn and not get used to. To reconcile for them - above the strength, get used to - not in their nature. "

Change in the focus of the main "formula" of the 500-Gg. It leads to the weakening of the traditions of Gogol and to strengthen the influence of Pushkin, the second stage in the evolution of its realistic method, when the poet saw the pledge of his grandeur in its independence. Turgenev in 1855 writes a friend about the need for Russian modern literature of influence and Gogol, and Pushkin, but since in the 40s. "Pushkin retreated was on the background - let it appear back again - but not in order to change Gogol."

The new emphasis in the ratio of characters and circumstances affects the 50s. And on the peculiarities of Xu-strokes, which in a genuine school was subordinated to the rigid "laws of determinism": the conflict had, as a rule, the social nature, the living conditions were determined by the fate of the hero. In realists of the 50s. The plot-forming function is performed by characters, the conflict acquires "moral content" (V. Botkin), "Interest the details of the feeling replaces the interest of the events themselves" (L. Tolstoy), that is, the psychological course becomes leading in the literature, which determines the creative evolution of individual writers. In Turgenev Handes of the 50s. The psychological characteristics of the heroes deepen, their plot-forming role increases: for example, the fate of Gerasima ("Moumu" -1854), Akima ("Story Dvor" - 1855) depends on the Barkaya Will, but the heroes affect the development of Fabul: Gerasim Self leaves Moscow, Akim It becomes a wanderer-Bogomol.

If in the scene organization of works of natural school, love situations were usually aggravated by the tragedy of heroes, then in prose the 50s. They, as a rule, do not break their lives, do not hold on to eternal suffering. So, the unrequited love of the hero of the story of the V. Krestovsky "Rural Teacher" (1850 - 1852) deprives him of peace, joy, romantic illusions, but in a year he acquires sincere equilibrium. And in the novel Nekrasov and Panaeva "Three Countries of Light" Love - the initial moment in the formation of a person: Cayutin, in order to acquire funds for family life, begins to engage in commercial activities, develops in itself the power of will, courage, energy during difficult wanderings in the country from the Caspian region Urals, from Siberia to New Earth.

Unlike the Natural School, realists of the 50s. Expand the space-time boundaries of the story story. Writers of the 40s. They were usually depicted a modern provincial and St. Petersburg world, life in which "is legally". Dostoevsky is the Petersburg corners, in which poor people are "all the mansion"; Herzen is often a distant city, which "lies not in the circle of light, and away from him"; Grigorovich is a village in which the horses-Goryuni-Mountains live and dying. Sometimes there is a way of a road that does not promise the hero of happiness, does not hesitate to hope: a nonsense Departure Beltov ("Who is to blame?"), Varniki Zoboroshely ("Poor People"), Anton-Gorryovichi. In prose 50s. Geography of the Russian Contemporary World (historical plots at this time are also rare as in a natural school) significantly expands due to the voluntary or forced movement of heroes, for example, in such works, as "the former and Duma" Herzen, Tolstoy's trilogy (1852 - 1857 ), "Story Dvor", "Rudin" (1856) Turgenev, "Country roads" (1852), "Migrants" (1855 -1856) Grigorovich, "Three World Countries" Nekrasov and Panayeva. If the image of a carriate was often used in a natural school as a symbol of social inequality, then in prose the 50s. Poetic allegory applies to the image of the road as a generalized and visible idea of \u200b\u200bthe life of the hero, about the development of its nature.

The process of personality formation through its moral self-improvement, confrontation by hostile circumstances is the focus of realists of the 50s. In the works of a genuine school, the question of human self-education led to the tasks of exposing those

residents of life that braked the development of the personality. In the 50s. L. Tolstoy, believing that in the very nature of the person laid the "passionate desire of perfection", shows in the trilogy, as this "desire of perfection" instinctively manifests itself in childhood, when a child wants to be "kind and smart" to deliver joy to adults like this The desire is imperceptible strengthened under the strong and beneficial influence of selfless natutors of Natalia Savishns and Karl Ivanich. In adolescence, the desire for moral improvement becomes informed, which is constantly and warmly says Nikolya Hrtenev with Prince Nehhydov.

The issues of "internal development" of a person are of great interest for Herzen, which, unlike Tolstoy, pays attention not only to the moral, but also the political self-education of the person. In "Were and Things", Herzen detailed, thoroughly describes the spiritual growth of a person under the influence of such events as the Patriotic War, the uprising of the Decembrists, such factors as reading books, stay at the university, visiting the "front", the happiness of mutual love and devotee. Under the influence of these favorable circumstances, the natural school writers often passed, the humanistic and patriotic persons of the individual, helping to resist the vulgar environment.

Attention to the moral self-improvement of the person show other writers of those years. So, Ivan Aksakov writes: "Man cleans himself. Let everyone know how dangerous the environment in which he lives, let him fit his soul. " The heroine of Roman V. Krestovsky "Test" (1854) of Lizaveta Andreevna Elnova believes: "It seems to live with the goal to become better and to withstand the character seems to be more than living just without looking around." . Women in the works of the 50s. It is usually more decisive than men: it is also mentioned by Elino, and Natalia Lasunskaya ("Rudin"), and Liorn Minsk ("Three pores of life" by the tour). The latter notes: "Our fate in our hands. Providence gave us will, mind, mind - and these three levers will change a lot in our lives. "

The interest of realists of the 50s. To the strong characters opposing unfavorable living conditions, contributes to the emergence of not only such new topics like a self-education of a person, but also new aspects in the coverage of old problems, "traditional" images, which include the problem of ideal, the image of romance. And this is natural, as a person can confront the circumstances, in something believing, to something aspiring. Following the Pushkin, who proclaimed the ideal of art, realists of the 50s. It is believed that "faith in an ideal as in something possible and achievable talent saves from apathy" (Nekrasov).

With all the disagreements in the interpretation of the ideal, the writers of those years see in devotion to him the source of the strength and originality of a person, whom, according to Chernyshevsky, "no extraneous influences were suppressed. did not do. The creature is colorless, inactive, "so they seek to remove high-phase raid and at the same time mockery from such words as a" dream "," ideal ", warning from one-sidedness in their interpretation. So, Dudyshkin reflects on the pages of "domestic notes": "Perfect! We have this word got a completely marked sense recently. To say about something "perfect" means the same thing to say "unsolving". This guilt the direction of literature, Dagerrotypically loyal small cases of life, without any thought. Poetry, or better to say, the poems have regenerated the concept of ideal even lower. Is ideality guilty that we lost a high meaning of it? " .

Realists of the 50s. Revise the attitude of the natural school not only to romance, but also to the excess person, the ironic image of which was the first to give Dostoevsky in the story "Little hero" and Turgenev in the "Gamlet of the Schigrovsky County" (1849). It is noteworthy of the remark of Dostoevsky about the tendency of these people "to punish romanticism, that is, it is often all the wonderful and true, every atom of which is more expensive than their entire sluggirl breed." Inherent in Turgenev in the 50s. A critical look at the excess person, sympathy of the writer Romantic rushes when comparing letters that make up the content of the story "correspondence", over which he worked from 1844 to 1854. In those letters-chapters of this story, the hero is depicted in the tradition of a natural school as an extra person who failed under the influence of the difficult conditions of the Russian life "to conquer the sky", to realize his dreams "On the good of all mankind about the good of the motherland." In the following letters of "correspondence", the hero is inferior to Marie Aleksandrovna first place, because the author at this time is not so much interested in the question of why dreams do not come true as you care about the need to comply with the ideal of adverse circumstances. At this time, Turgenev welcomes "Sacred

the flame ", over which" only those in whose hearts it either went out, or never flashed. " Marya Alexandrovna does not immediately utter the word "ideal" who became funny and beaten, it seems to be looking for him insecure, and then persistently, with a polemical azar repeats: "... I will stay up to the end. What? Ideal, or what? Yes, Ideal. "

Writers of those years are not talking about misfortune, but about the fault of the extra people, about their inability to overcome difficulties, to implement "good gusts". EVG. The tour in the novel "The niece" (1851) is pleased with satisfaction that the fashion on disappointed, no busy people "begins to pass a little-lounge." This is evidenced by Roman M. Avdeeva "Tamarin". In contrast to Turgenev and Dostoevsky, the airlist, the aspect and emphasis in the image of an "excess person", which is dictated by time, is not immediately guessed. In his story, "Varenka" (1849), who later became the first part of the novel "Tamarin", the revaluation of the previously popular hero was not noticeable. The copyright attitude towards the hero is manifested in the same perception of Tamarin around him. Popov, Varnik, her friend, Baroness see the Hero extraordinary personality. "Naive worship" of the author of the hero of Pechorinsky type is held already in 1850, when the writer publishes "Notebook from Ta Marina notes." The final sentence Tamarina is made by the author in the story of "Ivanov" (1851), the final novel. The author's position in the last part of Tamarin is found primarily in opposition to the main character of Ivanov, belonging to Avdeev, to those people who "lived practical practical life, and not fruitless views."

In the conditions of the 50s. It was about the "good deeds of man" as the criteria for its moral consistency. L. Tolstoy at this time sees happiness "in constant vital labor, which has the goal of the happiness of others." "Serious work," explains I. Aksakov, "there is always a beneficial person in the soul." Therefore, writers of those years prefer to portray the teacher's worker, whose activities are aimed at the benefit of people. "Teacher," I. Panayev notes, "became a favorite inevitable person of the Russian story of our time." He is stated in the works of Herzen ("Purchaeing and Duma"), Tolstoy (Trilogy), Turgenev (Rudin), he is in the center of a number of associates, including V. Krestovsky ("Rural Teacher"), Mikhailova ("Roguev "), Evg. Tour ("niece", "three pores of life"), Chernyshevsky ("Theory and Practice"). In realistic prose of the 50s. The teacher does not look like a timid, hazelnaya cocifer from the Roman Herzen. He knows how to overcome difficulties, transfer adversity. So, a rural teacher in the story of V. Krestovsky says: "No matter how much grief, deceptions, failures, constraints, I have to endure me in life, I will preserve the treasure of constant thought, permanent love for work."

And, of course, the main worker of the Russian land - the peasant - was not wisered by the writers of those years. "We now," the Dudyshkin states in 1855, are many writers who are printed from the common life. " Interest in the characters and the fate of commoners is present in the "Wasy and Things" of Herzen, in the "Notes of the Hunter", the MUMU's notes, the "inn" courtyard "of Turgenev, in the trilogy and the" Morning of the landowner "Tolstoy. It is at this time "peasant novels" of Grigorovich ("Fishermen", "Migrants"), Potekhin ("Peasantkaya"), "Essays of the peasant life" of the Pisem. Closer attention to a common topic is caused by several reasons, which is based on an anti-refrete idea: a peasant is a great worker. "The easiest people," writes Tolstoy in 1853, "so much higher than our work and imprisonment of life". The peasant is associated with the ideas about the tomorrow country. "The person of the future in Russia," says Herzen, - man, "and K. Aksakov also believes that in the peasant the" spirit of the coming life "(" N.D. Advobyev "). At one time, Belinsky also had to prove that a man is a man that "the people of lower classes are primarily people. Our brothers. " The natural school writers focused in ordinary people the possibilities of genuine humanity, but, as a rule, crushed by circumstances. Realists of the 50s. More and more than their predecessors, they talk about the national nature of the peasant nature. So, the letter, the author of Pietershchik (1852), reporting the prosperity of Clementia, a rural man, rejoices "in his face. for a Russian man. "

Attention to the national specifics of a Russian nature is increasing under the influence of the Crimean War and the disappointment in the Western European society after the famous events of 1848 - 1849. At this time, the authority of Slavophiles is growing, their ranks are replenished with "Young-friendly", which see the features of the "common generic nationality" (Up Grigoriev) not only in the peasant, but also in the merchant.

A number of writers, including Turgenev and Saltykov, are brought together with Slavophiles in the image of commoners. Saltykov in one of the letters of 1857 admits that during the creation of the "provincial essays" he pulled himself towards Slavophils, he even initially dedicated the section "Bogomoles, Wanderers and Passagine" S.T. Aksakov. Nekrasov in the "three countries of the world" creates a colorful image of the peasant Antipa Rondov, who has "his beliefs, his beliefs." Cayutin, the hero of the named novel, based on personal observations of simple people during their fights with harsh nature, exclaims: "I have not met such a delete and resourcefulness, such a leaning."

The impact of the historical and literary context of two adjacent eras is also experiencing the "notes of the hunter" Turgenev, published for the first time a separate collection in 1852. In the days of the Natural School, Turgenev talked about the victims of the Barsky arbitrariness. In the 50s. He is interested in the inner world of commoner, his feelings, thoughts ("date", "singers", "Kasyan with a beautiful sword"). Your "secret psychologist" writer spreads to common means. For example, in the "Convention Dvor", he depicts a spiritual drama of robbed and deceived commoner, transfers his inner state with the help of a psychological portrait and a stingy copyright commentary, which does not concern the "mental process" itself, and represents only its "beginning and end".

The skill of psychological analysis, of course, is inherent not to all writers of the 50s. Annenkov, for example, spoke of the lack of "psychological processing of characters." But "domestic notes" fairly wrote in 1855 to strengthen attention in the literature to differences in the characters, the image of people's thoughts, dressed not only in a fraction and coat, but also in the "Smurry caftan or Siberian". At the same time, realists of the 50s. Prefer to talk a kind word about the peasant. "It's not good," said Tolstoy, to seek and describe a bad story: it is, but it would be better to talk about it, one good. "

This kind word should be, in the opinion of literary figures of those years, a vast word, devoid of sentimental pathos. Therefore, writers who were fond of the 40s. Sentimental scenes and retreats, write with the loan to the changing tastes of readers, take into account the recommendations of critics. In particular, Grigorovich warns the public in the novel of "Fishermen": "I will not bother readers with a description of this scene. And without that, you will see, there are many people who accuse me of excessive sentimentality. "

A luric discourse comes to replace sentimentality - one of the manifestations of a subjectively expressive style. "Lyrical writer," M. Brandes notes, "ICH prefers. It contributes to the psychologicalization of prose, penetration into the soul of man. She also creates an atmosphere of reliability, discrepancy, brings closers of verbal-artistic creativity with real forms of being. It was in this feat that a personal form of narrative in a genuine school and in prose of the 50s. "Now, - notes Nekrasov in 1855, - only they are written that notes, recognition, memories, autobiography."

In prose 50s, like the 40s, the most common varieties of the author's image are the most common: the hero of the narrator and the personal narrator, often renovating with the storyteller.

The personal assessment of the moral phistributor has become in new historical conditions closer to the object of the image from the common medium. So, in Turgenev in the "Notes of the Hunter", created in the 50s., The narrator competes the heroes: along with sharul in the "date", there is a pain of rejected love, unless expectations of happiness, together with visitors to a rustic kabac with tears in his eyes listening to Singing Yakov Turk ("Singers"); It is clear to his impatient Waiting for Kasyan Meeting with Men True ("Kasyan with a beautiful sword"). However, the commoner themselves in these stories or do not experience confidence in the narrator, or they do not notice it, because he is not with them, but near them.

The greatest degree of proximity to commoners from the narrator in the "Notes of Kayututina" from Roman Nekrasov and Panayeva "Three Countries of Light". In their difficult wanders, he communicates with courageous simple people; Together with them frozen, starving, is subjected to mortal danger. Remembering contacts with commoners in the harsh, unintelligent edges, Kyutin writes: "We warp each other with a hand-to-hand struggle, and sometimes breathing. Hungry and cold, we fed to each other, sixty days without seeing the sun of God. " Before the wanderings, Kyutin did not know the Russian peasant, the need to reduce him with him, the total share nearby. The narrator notes with satisfaction:

"I came across a Russian peasant." Rapid up the narrator with a common medium allows him to see "variations" of characters in it, and not just a variety of types.

Strengthening interest in the individual aspect of the typical contributes to oss out of the genre system of the realistic direction of the 50s. The physiological essay that implemented in a genuine school the idea of \u200b\u200bdeterminism, human conditionality. A.G. Zeitlin first wrote: "In many types of physiological essay, there were no high psychological movements, they were replaced by pretty primitive instincts and lust." The wipers, the hellish workers, the fechenists, the inhabitants of the Petersburg corners, which were written according to Dal, Grigorovich, Panayev, Nekrasov, did not really have a complex inner world. Writers of the 40s, as a rule, looked at them from the side, and another task stood before them. It was due to the specifics of the development of the realistic method at a given historical stage, attention to social typology, to the analytical study of the essence and genesis type. V. Vinogradov wrote in the "Evolution of Russian Naturalism" about the inherent genuine school "epidemic thickening types." In the conditions of the increased in the 50s. Interest in the psychology of the personality physiological essay "stopped being structurally issued a variety of genre" (A. Zeitlin). It is not by chance that the "library for reading" in 1855 speaks of the popularity of the physiological essay as about the past time: "Several years ago, physiological essays, rightfully captured from nature and distinguished by typical, deserved universal approval."

Changes in the genre-generic system of realistic direction of those years are not limited to the displacement of the physiological essay: at this time there is a revival of poetry and dramaturgy, which in a natural school belonged a modest role. But already in 1851, a statement appears on the pages of the "Reading Libraries" that "all our fictional talents missed the drama." Prose authority prompted Turgenev in 1855. When publishing a comedy "Month in the village" almost justify itself, notifying readers: "Comedy is written four years ago and never appointed for the scene. This, in fact, is not a comedy, but a story in dramatic form. " The lyric pathos of many works of psychological prose of those years contributed to the "explosion of poetry", according to Druzhinin. "Only a period of time from 1840 to 1850," the Dudyskin states, it was unfavorable for poems. Nowadays many poetic talents. "

I. Yampolsky rightly tied the development of the psychological lyrics of the middle of the XIX century. With a "characteristic of this epoch, universal interest in the inner life, individual psychology of a person." But, according to C. Aksakov's testimony, the author of the "Ferris of Modern Literature" (1857), the prose still read "more poems" by virtue of the description of the "daily life" inherent in it. The critic expressed satisfaction about the collapse of a genuine school, approved the changes in the image of the peasant, romance, an excess person, especially in the TURGEVIEV's titles, the attention of writers to the "inner world of the soul", especially in the works of Tolstoy. Actually, K. Aksakov did not agree in contrast to many subsequent researchers, in particular Solovyov-Andreevich, the presence of a special "physiognomy" of the 50s., Did not attribute it to the epilogue of a genuine school. He completed his article by the expectation of the "literary day", the premises of which critic saw in modern literature. And this "day" came, but not quite in the form, as he was represented by Slavophila K. Aksakov.

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19. N. N. N. N. Full Cathedral cit. and letters. M.: Gihl, 1950. T. 6.

20. Nekrasov N.A. Full Cathedral cit. and letters. M.: Gichl, 1950. T. 7.

21. Domestic notes. 1852. № 4. Dep. 6.

22. Domestic notes. 1852. No. 8. Depth. one.

23. Domestic notes. 1854. № 3. ON. four.

24. Domestic notes. 1854. № 4. Dep. four.

25. Domestic notes. 1855. № 2. Dep. four.

26. Domestic notes. 1855. No. 6. Dep. four.

27. Domestic notes. 1855. No. 7. Dep. four.

28. Domestic notes. 1855. No. 8. Depth. four.

29. Domestic notes. 1856. № 4. Dep. 2.

30. Pisemsky A.F. Cathedral So: at 9 t. M.: True, 1959. T. 2.

31. Skabichevsky A.M. History of Russian new literature: 1848 - 1890. SPb., 1891; Dupin A.N. The history of Russian literature SPb., 1913. T. 4. P. 599.

32. Contemporary. 1849. # 1. Off. 3.

33. Contemporary. 1855. №1. Departure one.

34. Contemporary. 1855. № 3. Dep. five.

35. Solovyov (Andreevich) E.A. Essays on the history of Russian literature of the XIX century. 3rd ed. St. Petersburg., 1907.

36. Turgenev I.S. Full Cathedral cit. and letters: in 30 tons. Letters. M.: Nauka, 1987. T. 2.

37. Turgenev I.S. Full Cathedral cit. and letters: in 30 tons. Letters. M.: Science, 1987. T. 3.

38. Turgenev I.S. Full Cathedral cit. and letters: in 30 tons. Letters. M.: Nauka, 1987. T. 5.

39. Tolstoy L.N. Full Cathedral cit. Ser. 2. diaries m.; L., 1937. T. 46.

40. Tour E. Nedian. M., 1851. Ch. 2.

41. Tour E. Three pores of life. M., 1854. Part 3.

42. Chernyshevsky N.G. Full Cathedral So.: In 15 tons. M., 1947. T. 2.

43. Chernyshevsky N.G. Full Cathedral So.: 15 t. M., 1947. T. 3.

44. Chernyshevsky N.G. Full Cathedral So.: 15 t. M., 1947. T. 11.

45. Zeitlin A.G. The formation of realism in Russian literature. Russian physiological essay. M.: Science, 1965.

46. \u200b\u200bYampolsky I.G. Middle of a century. L.: Art. lit., 1974.

Received 10/15/13

YU.M. Proskurina.

The Peculiarities of Russian Realism of the Mid-XiXth Century

Russian Literature of 1850s IS Considered As a New Phase in the Development of Realism. Writers Use The Principles of the Natural School But Pay More Attention to Psychological and Ethic Problems. NOW STRONG CHARACTSERS ARE ALE TO WITHSTAN SOCIAL CIRCUMSTANCES. SO, The Changes in Personality Concept Cause The Transformation in the Genre and Style Systems of Realism.

Keywords: Realism Development, Character and Circumstances, Traditions, Genre, Lyricism, National Character.

Proskurina Julia Mikhailovna, Doctor of Philological Sciences, Professor

FGBOU VPO "Ural State Pedagogical University"

620017, Russia, Yekaterinburg, Ave. Kosmonavtov, 26 E-mail: [Email Protected]

PROSKURINA YU.M., Doctor of Philology, Professor

Ural State Pedagogical University

620017, Russia, Yekaterinburg, Kosmonavtov AV., 26

and development of realism

Objectives: introduce students with the main features of classicism, sentimentalism and romanticism as actively fighting literary directions; show the formation of realism in Russian and world literature, as well as the origin and development of Russian and professional literary criticism.

Stroke lesson

I. Checking homework.

Twisted 2-3 questions (by choosing students) from homework.

II. Teacher's lecture (summary).

Students in notebooks write down the main features of classicism, sentimentalism and the emerging romanticism as literary areas. Literary origins of Russian realism.

Last third XVIII-beginning XIX century. - An important period of development of Russian fiction. Among the writers and the highest know, headed by Catherine II, and representatives of the middle and small nobility, and the breasts. The works of N. M. Karamzin and D. I. Fonvizin, G. R. Dervin and M. V. Lomonosov, V. A. Zhukovsky and K. F. Ryleev occupy the "minds and hearts of readers" *.

On the pages of newspapers and magazines, in literary salons there is an irreconcilable struggle of supporters of different literary directions.

Classicism (from lat. classicus - Exemplary) - the artistic direction in the literature and art of the XVIII-early XIX century, for which high civic topics are characterized, strict adherence to certain creative standards and rules.

The genericants and followers of classicism were considered the highest example of artistic creativity (perfection, classics) of the work of antiquity.

Classicism arose (in the era of absolutism) first in France in the XVII century, then spread to other European countries.

In the poem "Poetic Art" N. Bouoye created the detailed aesthetic theory of classicism. He argued that literary works are created without inspiration, but "reasonable, after strict thinking." In them, everything should be accurate, clearly and slightly.

Classicist writers The purpose of literature considered the education of people in loyalty to the Absolutist state, and the fulfillment of responsibilities to the state and the monarch is the main task of a citizen.

According to the rules of the aesthetics of classicism, a strictly adhered by the so-called "hierarchy of genres", the tragedy, sideways, the epic treated "high genres" and had to develop particularly significant public problems. "High genres" opposed "low": comedy, satire, bass, "designed to reflect modern reality."

Dramatic works in the literature of classicism were subordinate to the rules of "three unities" - time, place and action.

1. Features of Russian classicism

Russian classicism was not a simple imitation of Western.

It is stronger than in the West, the criticism of the company's shortcomings. The presence of a satirical jet attached the works of classicists a truthful character.

From the very beginning, communication with modernity, Russian reality, which was covered in works from the point of view of advanced ideas has greatly affected in Russian classicism.

Classicist writers "created images of positive heroes, unable to reconcile social injustice, developed the patriotic idea of \u200b\u200bserving the Motherland, promoted high moral principles of civil debt and humane attitudes towards people **.

Sentimentalism (from FR. sentiment - feel sensitive) - Artistic direction in literature and art, which emerged in Western Europe in the 20s of the 18th century. In Russia, sentimentalism spread in the 70s of the XVIII century, and in the first third of the XIX century, he took a leading position.

While the heroes of classicism performed commander, leaders, kings, veelmes, Sentimentalist writers showed sincere interest in personality, the nature of man (doubtful and poorly), his inner world. The ability to feel was considered by sentimentalists as a decisive trait and high dignity of the human person. The words N. M. Karamzin from the story "Poor Lisa" "and the peasants can love" indicated on the relatively democratic orientation of sentimentalism. Perceiving human life as a technician, writers praised eternal values \u200b\u200b- love, friendship and nature.

Sentimentalists enriched Russian literature with such genres as a journey, diary, essay, story, household novel, elegy, correspondence, "tear comedy".

Events in the works occurred in small towns or villages. Many descriptions of nature. But the landscape is not just a background, but wildlife, as if re-opened by the author, felt by him, perceived by the heart. Progressive writers-sentimentalists saw their calling in order to console people in suffering and sorrows, to convert them to virtue, harmony and beauty.

The brightest representative of Russian sentimentalists - N. M. Karamzin.

From Sentimentalism, "Nights spread" not only to romanticism, but also to psychological realism.

2. The peculiarity of Russian sentimentalism

Russian sentimentalism is noble-conservative.

Writers-nobles in their works depicted a person from the people, his inner world, feelings. For sentimentalists, the cult of feelings became a means of care from reality, from those acute contradictions that existed between landlords and a fortress peasantry, in a narrow world of personal interests, intimate experiences.

Russian sentimentalists developed the idea that all people, regardless of their social status, are capable of the highest feelings. So, according to N. M. Karamzin, "in any condition, a person can find pleasure roses." If the joys of life are available to ordinary people, "not through the change in state and social system, but through the moral education of people lies the path to the happiness of the whole society."

Karamzin idealizes the relationship between landlords and serfs. The peasants are satisfied with their lives and glorify their landowners.

Romanticism (from FR. romantique - something mysterious, strange, unreal) - The artistic direction in the literature and art that came to replace sentimentalism at the end of the XVIII - early XIX century and violently speaking against classicism with its strict rules constrained by the freedom of creativity of writers.

Romanticism is a literary direction caused by important historical events and public changes. For Russian romantics such events were the Patriotic War of 1812 and the uprising of the Decembrists. The views of romanticist writers on historical events, to society, on their position in society were sharply disabilities - from the reactionary to reaction, therefore, in romanticism, two main directions or flows should be distinguished - conservative and progressive.

Conservative romance took plots for their works from the past, indulged in dreams of the afterlime world, poeticed the life of peasants, their humility, patience and superstition. They "widen" readers from the public struggle into the world of imagination. V. G. Belinsky wrote about conservative romanticism that "This is a desire, desire, gust, feelings, sigh, groan, a complaint about the imperfect hopes that did not have a name, sadness in the lost happiness .., this world .., inhabited by shadows and ghosts, of course, charming and cute, but nevertheless elusive; It is a dull, slowly current, never ending the present, which mourns the past and does not see the future in front of him; Finally, it is love that feeds in sadness ... "

Progressive romance was subjected to a sharp criticism of their reality. Heroes of romantic poems, lyrical poems, Ballades had a strong character, did not put up with a public evil, called for the struggle for the freedom and happiness of people. (Poets-Decembrists, young Pushkin.)

The struggle for the complete freedom of creativity united and progressive, and conservative romantics. In romanticism, the foundation of the conflict is the discrepancy between the dream and reality. Poets and writers sought to express their dreams. They created poetic images that correspond to their ideas about the ideal.

The basic principle of building images in the romantic works was the personality of the poet. The poet-romantic, according to V. A. Zhukovsky, looked at the reality "through the prism of the heart." So, civil poetry was for him and deeply personal poetry.

Romantics interested in bright, unusual and unique. Romantic heroes are exceptional personality covered by generosity and inholic passion. The situation in which they were depicted, also exceptional and mysterious.

Romance poets discovered the wealth of oral folk creativity for literature, as well as literary monuments of the past who did not receive the correct assessment.

A rich and complex spiritual world of the romantic hero demanded wider and more flexible artistic and speech funds. "In the romantic style, the emotional color of the word begins to play the main role, its secondary values, and the subject, the main value retreats to the background." The same stylistic principle is subject to a variety of fine-expressive agents of the artistic language. Romantics prefer emotional epithets, bright comparisons, unusual metaphors.

Realism(from lat. realis - real) - the artistic direction in the literature and art of the XIX century, for which the desire for the truthful image of reality is characterized.

Only from the second half of the XVIII century. You can talk about the formation of Russian realism. The realism of this period literary studies determined as a realism of educational with his citizenship, interest in man, a tendency to democratization, with tangible features of a satirical attitude to reality.

In the formation of Russian realism, D. I. Fonvizin, N. I. Novikov, A. N. Radishchev, I. A. Krylov and other writers played a major role. In satirical journals N. I. Novikova, in Comedy D. I. Fonvizin, in "Traveling from St. Petersburg to Moscow" A. N. Radishcheva, in the fables I. A. Krylov in the center of attention "Not just facts, people and things, And those patterns that acted in life. "

The main feature of realism is the ability of the writer to give "typical characters in typical circumstances." Typical characters (images) are those in which the most fully embodied the most important features characteristic of a certain historical period for a particular public group or phenomenon.

The new type of realism has developed in the XIX century - this critical realismA newly depicting human and environmental relationships. Writers "rushed" to life, discovering in the ordinary, habitual flow of the laws of the existence of man and society. The subject of deep social analysis was the inner world of man.

Thus, realism (different forms) turned into a wide and powerful literary direction. The genuine "the height of Russian realistic literature, who gave perfect samples of realistic creativity," was Pushkin - the Great People's Poet. (For the 1st third of the XIX century, the organic coexistence of different styles in the work of one writer was especially characteristic. Pushkin was a romantic, and a realist, just as other outstanding Russian writers.) L. Tolstoy and F. Dostoevsky, M. Saltykov-Shchedrin and A. Chekhov.

Homework.

Answer the questions :

What is romanticism different from classicism and sentimentalism? What moods are characteristic of romantic heroes? Tell us about the formation and literary sources of Russian realism. What is the originality of realism? Tell us about different forms.

10. Formation of realism in Russian literature. Realism as a literary direction and 11. Realism as an art method. Problems of ideal and reality, humans and environment, subjective and objective
Realism is a truthful image of real reality (typical characters in typical circumstances).
Before the realism there was a task not to simply display reality, but also to penetrate the appellation of the displaced phenomena by disclosing their social conditioning and identifying historical meaning, and most importantly - to recreate the typical circumstances and the characters of the era
1823-1825 - 1 realistic works are created. This is Griboedov "Woe from Wit", Pushkin "Eugene Onegin", "Boris Godunov". By 40 years, realism becomes feet. This era is called "golden", "brilliant". A literary critic appears, which gives rise to a literary struggle and desire. And thereby appearing a liter. societies.
One of their first Russian writers standing in realism was wings.
Realism as an art method.
1. Ideal and reality - before realists there was a challenge to prove that Ideal Reaen. This most difficult question is, since this question is not relevant in realistic works. Realists need to show that the ideal does not exist (they do not believe in the existence of any ideal) - the ideal is real, and therefore it is not achieving.
2. Man and Wednesday is the main topic of realists. Realism suggests a comprehensive image of a person, and man is a product of the medium.
a) Wednesday - extremely expanded (class structure, social medium, material factor, education, education)
b) Man is the interaction of a person with a medium, a person is a product of the medium.
3. Subjective and objective. Realism is an objective, typical characters in typical circumstances, shows character in a typical environment. The delimitation of the author and the hero ("I am not Onegin" A.S. Pushkin) in realism - only objectivity (reproduction of phenomena, data in addition to the artist), because Realism - sets the task of correct reproduction of reality before the art.
"Open" Final is one of the most important signs of realism.
The main conquests of creative experience of the literature of realism were the latitude, depth and veracity of the public panorama, the principle of historicism, a new method of artistic generalization (the creation of typical and with those individualized images), the depth of psychological analysis, disclosure of internal contradictions in the psychology and relationships of people.
In early 1782, Fonvizin read friends and a secular friendly comedy "inexpensive", over which he worked for many years. He came with a new play as well as once with Brigadier.
The former Piene of Fonvizin was the first comedy about Russian nravas and, according to N.I. Panin, extremely liked Empress Catherine II. Will it be with "inexpensive"? After all, in the "inexpensive", according to the fair remark of the first biograph of Fonvizin, P.A. Vyazemsky, the author "is no longer noise, does not laugh, but it is indiges to the vice and sticks it without mercy, if the viewers of the paintings of the abuse of abuse and fools are laugh, then the inspired laughter does not entertain the impressions of deeper and regrettable.
Pushkin admired the brush brightness, drawn the family of space-made, although he found the traces of "pedantry" in the positive heroes of "inexpressible" in Pravdin and Starodam. Fonvizin for Pushkin is a sample of the truth of gaiety.
No matter how seemed to us at first glance, the heroes of Fonvizin are prudent, eliminate them from the play is impossible. After all, then in the comedy disappears the movement, the confrontation of goodness and evil, lowness and nobility, sincerity and hypocrisy, high spirituality animation. The "inexistant" of Phononvizin is built on the fact that the world of spacen from cattle - ignorant, cruel, narcissist landowners - wants to subordinate to themselves all his life, to assign the right of unlimited power and over serfs, and the noble people who belong to Sophia and her fiance, the valiant officer Milon ; Uncle Sofia, a man with ideals of Petrovsky time, the beginners; Guardian of laws, official Pravdin. Comedy face two worlds with different needs, lifestyles and speech style, with different ideals. Stariodas and Prostakova most frankly expresses the positions of irreconcilable, in essence, camps. Ideals of heroes are clearly visible in what they want to see their children. Recall the prostacle at the lesson of Mitrofan:
"Prostakova. I am very cute that Mitrofanushka doesn't like to walk forward ... He is lying, my heart. I found money - it is not divided into anyone .. all of yourself take, Mitrofanushka. Do not learn this stupid science! "
Now remember the scene, where the Elders speak with Sofia:
"Studies. Not he is rich, who counts money that to hide them in the chest, and the one who counts up too much to help the one who does not need ... nobleman ... I would consider it for the first dishonor not to do anything: there are people who help, have Fatherland to serve.
Comedy, speaking Shakespeare, is a "incompatible connector." The comicity of "inexpressible" after all is not only that Mrs. Prostakova is funny, colorfully, as a street shopper, it is sculpting that her favorite place of her brother - Hvelets with the pigs, that Mitrofan - Grooming: With difficulty having rested from abundant dinner, he is already five in the morning Buns ate. This is a child, as Prazostakova thinks, "delicate addition", has no mind, nor occupations or conscience. Of course, it is ridiculous to watch and listen to Mitrofan in front of the cattle cudals and hides behind the spins of the nannies of Eremeevna, then with stupid importance and loss argues about the doors of the "Kotor Adjective" and "Kotor". But there is a deeper komism Inside: rudeness, which wants to look kindly, greed, covering generosity, ignorance claiming for education.
Comic based on absurdity, inconsistency of form and content. In the "inexpressible", a pitiful, primitive world of cattle and prostacle, wants to break into the world of noble, to assign his privileges to themselves, take possession of everyone. Evil wants to boil to the hands of good acts at the same time very vigorously, in different ways.
According to the drama, serfdom is a disaster for the landowners themselves. Getting used to handle everything roughly, Prostakova does not gentle and relatives. With his will, the basis of her nature will stop. Self-confidence is heard in each replica cattle, devoid of any advantages. Stiffness, violence becomes serfs most comfortable and usual weapons. Therefore, their first motivation is to force sophia for marriage. And only realizing that Sofia has strong intercessors, Prostakova begins to warm and try to fake under the tone of noble people.
In the finals of the comedy of arrogance and obliqueness, rudeness and confusion make it difficult to pity so much that Sofia and the Stools are ready to forgive her. The self-depression of the landowner trained her impossible any objections, not to recognize any obstacles.
But the good heroes of Fonvizin can win in comedies only thanks to the sharp interference of the authorities. Do not be mistaken by such a persistent keeper of laws, he did not receive a letter from the governor, everything would turn out otherwise. Fonvizin was forced to cover the satirical sharpness of comedy with the hope of legal board. As in the consequence of Gogol in the "Auditor", he destroys the proudness of the evil an unexpected intervention with at the top. But we heard the story of the Starodam, about the truthful life and the chatter Kleskov about St. Petersburg. The capital and deaf corners of the province are actually much close, than it may seem at first glance. Bind of thought about the chance of the victory of goodness gives the comedy tragic subtext.
The play was conceived by D.I. Phonwisin as a comedy for one of the main topics of the Epoch of Enlightenment - as a comedy about the upbringing. But subsequently the plan of the writer has changed. The comedy "inexpensive" is the first Russian socio-political comedy, and the topic of education is connected with the most important problems of the XVIII century.
Main topics;
1. The topic of serfdom;
2. Condemnation of the autocratic power, the despotic regime of the era of Catherine II;
3. The topic of upbringing.
The peculiarity of the artistic conflict of the play is that the love intrigue associated with the image of Sophia, it turns out to be subordinate to the socio-political conflict.
The main conflict of the comedy is the struggle of the enlightened nobles (Pravdin, Starods) with serfs (landowners of spacers, cattle).
"Nepal" is a bright, historically accurate picture of the Russian life of the 18th century. This comedy can be considered a picture of social types in Russian literature. In the center of the narration there is a nobility in close connection with the fortress estate and the supreme power. But what is happening in the prostacle house is an illustration of more serious public conflicts. The author is carried out by a parallel between the landowner by spacer and high-ranking nobles (they also, as prostakov, are deprived of the ideas about the debt and honor, they crave wealth, getting better and wrapped with weak).
Satira Fonvizin is facing a specific policy of Catherine II. He acts as an immediate predecessor of the Republican ideas of Radishchev.
According to the genre "inexpensive" - \u200b\u200bcomedy (a lot of comic and farce scenes). But the author's laughter is perceived as irony directed against the existing order in society and in the state.

The system of artistic images

The image of Mrs. Prostacova
Frequent owner in his estate. The peasants are right or to blame, it depends only on its arbitrariness. She says about himself that "hands does not kill: it is sculpting, it is drunk, on that house and keeps." Calling the prostacle "Gosplan Furia", Fonvizin argues that it is not at all an exception to the general rule. She is illiterate, in her family it was believed, almost sin and a crime to learn.
She got used to impunity, stretches his power from serfs to her husband, Sofia, Natilin. But herself is a slave, deprived of self-esteem, ready to creep before the strongest. Prostakova - a typical representative of the world of lawlessness and arbitrariness. She is an example of how despotism destroys a person in man and destroys public relations of people.
The image of Taras Natilinina
The same ordinary landowner as his sister. He has "any fault to blame," no one can better than cattle, rip the peasants. The image of cattle is an example of how the "Scot" and "Animal" lowland take the top. He is even more cruel fastener than his sister of Prostakova, and the pigs in his village live much better than people. "Doesn't the nobleman be wanted to trick the servant when he wants?" - He supports the sister when she justifies its atrocities with reference to the wardrobe decree.
Catignin allows his sister to play themselves like a boy; He is passive in relationship with space-friendly.
The image of the old man
He consistently sets out the views of the "honest person" on the family morality, on the duties of nobleman, engaged in civil law and military service. The father of the Starodam served under Peter I, brought up the son "at the then". Education gave "for the best basis."
Elders believe its energy, all his knowledge decided to devote to his niece, daughter of the deceased sister. He earns money where "do not trade them on conscience" - in Siberia.
He knows how to rule himself, does nothing rough. Stokers are the "brain" of the play. In the monologists of the Stokey, the expression of the idea of \u200b\u200benlightenment, which confesses the author.

The writing
Idean-moral content of comedy D.I. Fonvizin "Nepal"

Aesthetics of classicism prescribed strictly observe the hierarchy of high and low genres, assumed a clear division of heroes on positive and negative. The comedy "inexpensive" was created precisely on the canons of this literary direction, and we, readers, immediately striking the opposition of heroes on their life views and moral virtues.
But D.I. Fonvizin, while maintaining three units of the drama (time, place, actions), still largely move away from the requirements of classicism.
The play "Lady" is not just a traditional comedy, the basis of which is a love conflict. Not. "Lady" - the work of innovative, first of its kind and meaning that a new stage of development began in Russian dramaturgy. Here, the love intrigue around Sophia is moved to the background, submitting to the main, socio-political conflict. D.I.Fonvizin as a writer of the Epoch of Enlightenment believed that art should carry out the moral and educational function in society. Initially, he conceived a play on the upbringing of the noble class, the author, due to historical circumstances, rises until consideration in the comedy of the most acute issues of the time: the despotism of the autocratic power, serfdom. The topic of education, of course, sounds in the play, but it is accurate. The author is dissatisfied with the system of education and upbringing "inexpensive", which exists in the era of the Board of Catherine. He came to the conclusion that Evil himself was concluded in the steering system and demanded that the fight against this Il, placing hopes for the "enlightened" monarchy and an advanced part of the nobility.
Stariodas acts in the comedy "inexpensive" as a preacher of enlightement and education. Moreover, his understanding of these phenomena is an understanding of the author. Olders in their aspirations are not alone. It supports Pravdin and, as it seems to me, these views also share Myilon and Sophia.
etc.................

... For me, imagination has always beenabove the factual and the most strong lovei experienced in a dream.
L.N. Andreev

Realism, as you know, appeared in Russian literature in the first half of the 19th century and throughout the century existed within its critical flow. However, the symbolism that declared itself in the 1890s - the first modernist direction in Russian literature - sharply opposed himself to realism. Following the symbolism, other unrealistic directions arose. It inevitably led to qualitative transformation of realism As a method image of reality.

The symbolists expressed the view that realism only slides on the surface of life and is not able to penetrate the essence of things. Their position was not unmistakable, but since then began in Russian art confrontation and mutual influence of modernism and realism.

It is noteworthy that modernists and realists, externally striving for silence, internally possessed with a general aspiration to the deep, essential knowledge of the world. It is not surprising that the writers of the stroke of the ages, who ranked their realists, understood how close the framework of consistent realism, and began to explore the syncretic forms of narration, allowing to combine realistic objectivity with romantic, impressionistic and symbolistic principles.

If realists of the nineteenth century, close attention was paid social nature of man then the realists of the twentieth century corrected this social nature with psychological, subconscious processesexpressing in the collision of the mind and instinct, intelligence and feelings. Simply put, the realism of the beginning of the twentieth century pointed out the complexity of the nature of the person, by no means we can only only be for his social being. It is not by chance at Kuprin, and at the Bunin, and the bitter plan of events, the surrounding environment is barely marked, but a sophisticated analysis of the mental life of the character is given. The copyright look is always directed outside the spatial and temporal existence of heroes. From here - the appearance of folklore, biblical, cultural motives and images, which made it possible to expand the boundaries of the narration, attract the reader to the coactivity.

At the beginning of the 20th century, four in the framework of realism flow:

1) critical realism The traditions of the 19th century continues and implies an emphasis on the social nature of phenomena (at the beginning of the 20th century, this works A.P. Chekhov and L.N. Tolstoy),

2) socialist realism - The term Ivan Gronsky, denoting the image of reality in its historical and revolutionary development, analysis of conflicts in the context of class struggle, and the actions of heroes - in the context of benefit for humanity ("Mother" M. Gorky, and later - most of the works of Soviet writers),

3) mythological realism it was still in the ancient literature, however, in the 20th century under M.R. They began to understand the image and understanding of real reality through the prism of famous mythological plots (in foreign literature a bright example serves Roman J. Joyis "Ulysses", and in the Russian literature of the beginning of the 20th century - the story "Judas Israariot" L.N. Andreeva)

4) naturalism Inappropriate an image of reality with marginal likelihood and detail, often unsightly ("Yama" A.I. Kurin, "Sanin" M.P. Arztsybasheva, "Note of the doctor" V. Veresaeva)

The listed features of Russian realism caused numerous disputes about the creative method of writers who preserved loyalty to realistic traditions.

Bitter Begins with neoromantic prose and comes to the creation of social plays and novels, becomes the attorney of socialist realism.

Creation Andreeva It was always in the border state: modernists considered it a "contemptible realist", and for realists, in turn, he was a "suspicious symbolist." It is believed to believe that his prose is realistic, and the dramaturgy is to modernism.

Zaitsev, showing interest in soul microstasses, created an impressionistic prose.

Attempts to critics to define an art method Bunin He led to the fact that the writer himself compared himself with a suitcase, plated a huge number of labels.

The complex globility of realist writers, the multidirectional poetics of their works indicated the qualitative transformation of realism as an artistic method. Thanks to the common goal, the search for higher truth - at the beginning of the 20th century there was a rapprochement of literature and philosophy, outlined in the work of Dostoevsky and L. Tolstoy.

In recent years, voices in recent years are distributed, calling for the audit of the concept of a literary direction or even to the complete abandonment of it - in the name of the liberation of the history of literature from familiar stereotypes and obsolete dogmas. The need for such a revision is usually justified by the fact that the work of a number of writers, especially large, is difficult to fit in the framework of any particular direction, and even at all is a mansion. And the literary directions themselves are multi-layered, internally inhomogeneous, are not clearly excluded from each other, as a result of which transitional, mixed, hybrid forms are constantly arising.

All this seems to be self-evident. But as much self-evident and more: the category of the literary direction exists not at all so that the name of any writer can be unconditionally attached a sentimentalist label, romance, realist, etc. She is designed only to note the main milestones of the literature movement, designate the most important stages of the literary process, its landmarks. And such guidelines are needed not only to researchers, but also to the writers themselves - to understand and adjust their own artistic principles, developing creative programs, clarifying their attitude to predecessors, followers, opponents. Without passionate, fierce disputes of "classics" and romantics, romantics and realists, symbolists and aqmeists, disputes between the romantics themselves, realists about the essence of romanticism, realism, art is generally impossible to imagine the literary life of the past epochs. The struggle and change of literary areas is an integral part of the history of literature.

Another thing is that it is necessary to distinguish the literary direction as a certain ideal model - a schematic designation of its essential signs - and the literary direction in its specific historical existence - as a phenomenon of living, dynamic, volatile, largely different in different national literature and at different stages of its development . Unfortunately, such a distinction is not easy to give our science.

It is significant that V.M. Markovich (in these works) builds his arguments about literary directions, based on the material of Russian realism alone. Meanwhile, it is well known that in its classical form, realism was approved in Western European literature as a method of artistic study of internal, often hidden social and psychological antagonisms inherent in the bourgeois society, which in the West has developed much earlier than in Russia.

It is in Western European (most - French) literature of the second half of the XIX century. The most clearly, consistently and fully embodied the essential properties of realistic art words - such as an objective, merciless sober social and psychological analysis, the lack of any illusions, hopes and hope for the future, the feeling of sustainability of social being. As for Russian realism, he arises not just in another socio-historical situation, but also on a fundamentally different dobuzhuaznaya - stage of public evolution: after all, Russia never knew any developed bourgeois society. He comprehends and imprints therefore a different historical reality - the society, permeated in many respects still patriarchal-generic relations, the process of changing the epoch, the collision of old and new ones.

Moreover, Russia in the second half of the XIX century lives under the sign of imagging or hopping coups, the feeling of the rapidness of the historical movement, the inevitability of change. And therefore, the task of the artistic and analytical study of modernity, paramount to realists in the West, was subordinate to the Russian realization of the problem of the transformation of peace and man. The study of life and its laws from this point of view performed as a prerequisite, as the prerequisite of the upcoming update - social, spiritual, moral.

Hence the syntheticity of realism in Russia, its closer (relatively with Western European) connection with the preceding literary directions: sentimentalism, educational and in particular romanticism. Romantic thirst for the transformation of man and society, stressful search for ways to change and improvements - the most important feature of Russian classical realism at all.

Undoubtedly, thus, the national historical peculiarity of Russian realism and its significant difference from the "classic" Western European model. The differences between the steps of its evolution are as significant and the principle differences. Even if you only take the second half of the XIX century. - The era of the maturity of realism in Russia is not only the individual, but also typological features of the realism of Goncharov, Ostrovsky, Turgenev, on the one hand, and the realism of Dostoevsky, L. Tolstoy, on the other. As a new phase of realistic art usually consider the creativity of the writers of the end of the century: Korolenko, Garshin, but, above all, Chekhov. About the three named stages of Russian realism and will be discussed.

With all the national historical originality of realistic Russian literature of the middle of the XIX century, with all the uncompaired differences from the literature of the West, it is equally undoubtedly a significant approximation - it is during this period to a pan-European model of realism. It is not by chance that the genre of Roman is now put forward - the leading genre of realistic literature. The type of "heroic novel" (L.V. Pampyansky) is based on the "Court of Social Significance of Persons". The main thing is exactly at this time the most important features of the realistic artistic method crystallize: the installation on the creation of typical specific historical characters embodying the generic, essential features of a certain environment, era, public defendance, and the desire for objectivity, reliability in the image of reality, to the recreation of life in Its natural flow and life-like forms, "in the inherent inner logic".

Undoubtedly, for example, determining the impact of the patriarchal-locating text on the nature and lifestyle of Oblomov, for the entire fate of this hero. His desire to certainly arrange a similarity of a cozy patriarchal nest in the capital, his fruitless dreaminess and practical helplessness, the futility of his attempts to revive to a new life under the influence of the gallery and Olga, his marriage on the Agafier Wheat and death itself - all this is characterized and explained in the final of the novel in one word , one concept is "Oblomovshchina". If adding a writer's addiction to this image of a well-minded life (for the type, according to his conviction, "is composed of long and many repetitions or layers of phenomena and persons"); The inclusion of its characters into the usual rhythm of everyday-daily existence, in the established circle of habits and relationships; Finally, the objectivity of a slowed-down epic story, "it becomes clear how clearly the indicated properties of realism are fully embodied in the work of the potarov.

Similarly, the creativity of Ostrovsky can be characterized. Recall that in the article "Light of Light in the Dark Kingdom" of Dobrolyubov, defending the playwright from attacks of critics, called him the works of "plays of life." He explained that many "extra" (from a traditional point of view) characters and scenes of his drams are necessary and artistically justified, although they are not directly related to the plot of the play, its intrigue. We are necessary because they show that "position", that social "soil", which determines the "meaning of activity" of the main characters. It is in the instinctive loyalty of reality, in the ability to live and fully recreate the "situation of life", in other words - in the social characteristics and typical of the pictures of the phenomena, saw the critic of the crucial definition of Ostrovsky.

The same properties of the playwright noted other insightful critics-contemporaries. Comparing the plays of Ostrovsky with the dramatic works of Gogol, they pointed to the pronounced subjectivity of the Gogolian picture of the life, where the "fragment", "exaggeration", "hyperbole" prevail, while the main property of the Ostrovsky comedies - naturalness and reliability, "mathematical loyalty of reality" . If Gogol has an image of reality permeated with his own impressions from her, then Ostrovsky recreates life in its authenticity - "as it is." An animated Lurism of Gogol is constant therefore the impartiality of the artistic manner of Ostrovsky.

Everyone said explains the tense interest of Russian writers and critics to the very problem of creating typical characters in which random is overcome: social and historical pattern triumphs over empirical reality. So, Goncharov, according to Dobrolyubov, "wanted to achieve a random image that flashed in front of him, to build a generic and constant meaning." And Turgenev constantly repeated, Various the idea that the task of the artist was "through the game chance to achieve to the types," the writer spoke of himself that he always sought to catch and transfer the "spirit itself and the pressure of time", to embody it "in proper types" . "The celebration of the Poetic Truth", according to him, is that "the image taken by the artist from the depths of reality comes out of his hands."

On the other hand, the transformation of the image to the type, the elimination of this purpose of the entire empirical-random in the name, has, from the point of view of realist writers, its limit, for the danger of schematization in itself. Meanwhile, the desire for typicality, they believed, should not kill the illusion of life, complete accidents, unpredictable, contradictions, the illusion of its free and natural movement. In other words: since the typical characters are completely embodied, generic properties, they must have both features individually unique. Otherwise, they will be lifeless figures similar to the expression of Herzen, "on anatomical preparations from wax." "Waxal cast, - develops his comparison of Herzen, - can be expressive, more normal, more typical; Everything knew everything in him, but there is no talk of what he did not know ... at the cast, like a statue, everything outside, nothing for the soul, and in the preparation I dried, stopped, my life itself with all chances and secrets " .

It is noteworthy that Turgenev seems to be lifeless characters of Balzak, who "knock their eyes with their typical." The writer itself seeks to harmoniously balance the typing and individualizing trends in his works.

In the "fathers and children", the typologizing began to be revealed may be most distinct. In fact, the main heroes of the novel: Bazarov, on the one hand, and Pavel Petrovich Kirsanov, on the other hand, appear to the reader as an embodiment of two opposite and easily recognizable social and psychological types, two generations - "man of forties" and "man sixties. " It was typical not only by their contrast, but also their confrontation itself is ideological, personal, social, psychological. It is not by chance that the antagonism of Bazarov and Paul Petrovich Kirsanova arises immediately, literally at first sight - long before their ideological disputes.

This is the internal meaning of persistent, steady comparison and opposition to the central characters of the novel, which is consistently carried out on all lines, for all areas of the image (external appearance, behavior, speech, lifestyle, past, characters, views) and which gives the work of internal unity . The focusing of artistic parts is drawn to, with the help of which the main characters are derived. Details of their costume, behavior, speech, etc. beat in one point and are contrasting with each other. Thus, the image is achieved in the type.

At the same time, in the "fathers and children" (as, however, in other Turgenev novels), the opposite tendency can be identified - the desire to overcome typological unambiguity in the appearance of the hero, weakened the feeling of the absolute opposite of contrasting characters. The most important role in this belongs to the plot organization of the work. It is the plots of Turgenev novels and carry the chief anti-type charge in themselves, a person's incorruptibility to typological formulas is detected. No wonder they are most often based on the fact that the central hero falls into a certain society from somewhere from the outside, he feels herself in it - in one way or another - a stranger, alien. The plot paradox of "fathers and children" is just that the hero of the dispenser, hitting the aristocratic circle, to some extent ceases to be himself, is convinced of the unvisability and limitedness of the usual views. "And all those surrounding his appearance faces problems, the very existence of which they did not guess before. In other words, the characters are immediately derived from the beds planted with typological schemes, and joined the clutch, illogical from the point of view of these schemes. "

The plot of the novel is built so as to weaken, in particular, the principal contrast to the main antagonists, between which it would seem, there is no and there can be nothing in common. Nevertheless, the history of Love Bazarov to Odentova is largely similar to the unfortunate novel by Pavel Petrovich and Princess R. Another important similarity arising between them is doomed. Basareas soon destroyed to die. Pavel Petrovich, standing by his brother, also feels the dead. "Yes, he was the dead," the author is mercilessly. This is supported in the Turgenev novel equilibrium of opposing trends.

The desire of a writer to naturalness, naturalness, the strict objectivity of the image largely determined and the features of the recreation of human peace of mind - the principles of Turgenev psychologism. The most important task of the artist, the writer considered not in-depth analytics, and the living, distinct, clear for readers recreation of mental movements and mental states in all their diversity. Running forward, we note that the failure to comply with this principle is extremely annoyed by Turgenev in L. Tolstom - the author of the "War and Peace", whom he reproached in violation of objectivity, the immediacy of the image in favor of the "System" accepted by him, in constant focusing on the focusing copyrighted fingers. On the contrary, the main feature of Turgenev psychologism is in his unobtrusiveness, imperceptibility.

All of these individual properties of the artistic method of Turgenev-Romanist are proven at the same time important, characteristic of the Russian realism under consideration. Cowing a case to the elementary and simplified formula, it would be possible to conventionally indicate as " typical»Realism.

The new phase of Russian realism, presented primarily by the names of Tolstoy and Dostoevsky, is largely different from the preceding in its original creative installations. The realism of these writers may be called "superdiponic", or "universal", because they have seen their main task, not so much in creating historically specific social types, but in order to get to the roots of human actions, before the primacy and root causes of observed and recreated processes and phenomena - the reasons for social, psychological, spiritual moral.

In this regard, the equilibrium between the objective-recreational and analytical principle, characteristic of the realism of the preceding pore, is now disturbed: the analytical start is noticeably intensified by the objectivity and naturalness of the image. It is this feature that brings both writers.

Start with the fact that they themselves felt the uniqueness of their artistic method, his difference from the traditional realism of the Goncharovsky-Turgenev sample, sought to explain, protect, substantiate their artistic tasks and principles.

The limitations of traditional realism Dostoevsky sees in its indifference to such phenomena and the facts of "current reality", which seem at first glance, unusual, exceptional, fantastic. Meanwhile, they are much more expressing the creatures of the processes occurring in society, rather than the facts are ordinary and familiar. It is the comprehension of not just the reality "as it is", but also the trends of its development, prisoners and the opportunities hidden in it are the main tasks of the artistic method that the writer called "realism in the highest sense".

Of course, Dostoevsky was not just noticed by the "fantastic" facts of "current reality", but he himself created in his works exclusive, extreme situations, preferring the hero who could fully surrender to his idea, bring it to extremes to the logical end. And such a hero was, in his submission, a person, the least associated with a certain social medium, a moral and cultural tradition, a family legend, a person "from a random family" - as opposed to a person from the "generic family."

Thus, Dostoevsky undermines, essentially, the principle of social conditionality of character is the cornerstone of traditional realistic aesthetics. The inner world of his heroes is more free, an autonomy, less dependent on the social "soil", the public situation of the character (which also associates Dostoevsky with the tradition of romanticism - a fact that has repeatedly noted in our science).

A traditional look at realism as to the creation of sustainable socio-psychological types was unacceptable for L. Tolstoy with his ideas about the constant variability of a person, the turnover of his consciousness ("People like rivers"). He determined his artistic method as a combination of opposing principles - "petty" and "generalization", i.e., as a method of terrible observation and detailed analysis of the human psyche, which eventually comprehend and show "common mystery people."

All said does not mean, of course, that Tolstoy did not want or could not create specific socio-psychological types; On the contrary, the relief and accuracy of his characters are amazing. And yet, the household, socio-historical characterity was only an external contraction, a kind of shell, through which it is necessary to break through - to start - to the inner life of the individual, his psyche, and then even further - to the permanent and unchanged personality core. The essence of a man's image at Tolstoy is just to demonstrate the fundamental equitability of all people - regardless of their public affiliation or era, what they live, "show that the real life of people is coming out regardless of history, which is the basis of their human life is unchanged, etc. " . Meanwhile, classical realism, as is known, is firmly on socio-historical soil. And this particular position of Tolstoy largely determined the originality of its artistic method.

It must be said that contemporaries are writers, readers, critics, sharply felt the unusual artistic manner of Tolstoy and Dostoevsky. Critics with difficulty were overcoming and mastering new aesthetic principles; Many annoyed inherent in both writers of both writers more than a measure of artistic convention. Both Tolstoy, and Dostoevsky reproached in a waste from realistic canons: in the violation of the naturalness and loss, in the atpicness of the characters created by them or the plot situations, in an unnecessary detailed, analytical consideration of the inner world of heroes.

On the other hand, they themselves acutely felt the limited former realism and the need for its update. And, of course, such an update could not not mean the revision of a number of indigenous provisions of traditional realistic aesthetics.

With all the difference in two characterized stages of Russian realism, there is a lot of common between them. They are brought primarily the social and ideological pathos - thirst for solving specific and relevant social problems.

In the realistic literature of the end of the century, which can be viewed as the next stage of Russian realism, the picture varies significantly: it is characterized by a sense of chaotic confusion, complexity, incomprehensibility of life in general, its tragedy - regardless of the state of society or political regime.

In the work of Chekhov, the ideological and aesthetic principles of the new stage of Russian realism were embodied with the greatest artistic completeness, sequence and strength. It is known that critics-contemporaries have repeatedly reproached Chekhov in the absence of worldview and exclement, insignificance of detention, etc. And although with this kind of opinions agree, of course, it is impossible, it is impossible not to say that the share of truth in such judgments is undoubtedly. After all, Chekhov himself repeatedly spoke about the absence of any particular and complete worldview, persistently marked with existing ideological flows and systems. "I'm afraid of those who are looking for trends between the lines and who wants to see me by liberal or a conservative," he admitted in a famous letter A.N. Plescheyev. Moreover, the writer was deeply convinced that to follow any teaching, theory, the doctrine, concept means to attach to the monopoly possession of truth, especially ridiculous now - in confusion and confusion of modern life. Think, "That she knows everything, everything understands," can only crowd. As for the people of writing, "then it is time for them to confess that they will not disobey anything in this world."

At the same time, Chekhov invariably emphasized the need for a "general idea", "higher purposes." After all, the question was for him in the instance of the ideal-sublime ideas to the existing reality: "When the Tundra and Eskimos circle, the general ideas, as unpaid to the present, are quickly spread and elude, as thoughts about perpetual bliss.

And if in the art of classical realism (relatively with romanticism) the spheres of the ideal and actual connected, got together (ideal for a realist - the face of the reality itself), then Chekhov, they again diverged. The world of higher spiritual and moral values \u200b\u200band "distant goals", so necessary, but inaccessible to the modern person, and the sphere of everyday and everyday life exist at Chekhov's apart, as if by themselves, barely in contact. And such disconnection is tragic.

Lained "General Idea", the daily "human life consists of trifles", "from horrors, grain and vulgarities, changing and alternating." The power of little things, trifles, everyday worries, especially a web, entangling human, can be called the main theme of Chekhov creativity. From here - the writer's head to the anecoticity of plots and situations, details and replicas expressing the absurdity of being. In the tragicomic Chekhovsky world, an anecdotical can be all - from meaningless and fruitlessly lived life (as in the "gooseberry") before typing in the telegram ("Hochongs Tuesday" - in "Dreshek"). Recall at least the famous replica Chebutykina: "Balzac was married in Berdichev." It is absurd doubly: as absurdity in the lips of the provincial officer, the military doctor and as a statement of the anecoticity of the vital itself. This phrase is the model of the Chekhovsky "Theater of Absurd".

But if life consists of anecdotic absurdities, out of particular sense, trifles, trifles, who do not have a visible meaning, if it is poorly explained and it is difficult to find a guiding idea how to distinguish in this case important from the unimportant, most importantly from the secondary, random from the natural? But on this opposition and the concept of the typical is the central category of traditional realism. Accordingly, each detail has been charged as integer and sent to a single center, it had a characterological meaning.

Chekhov realism is based on completely different principles. In his artistic system, the main thing is freely mixed with secondary, typical with atypical, natural with random; They simply are inseparable from each other. If in traditional realization, the random exists only as a manifestation of a typical, typical, then Chekhov "This is actually a random, having independent existential value and equal right to the artistic embodiment with everything else", because the task of the writer is to create an artistic world, the closest "to natural being In his chaotic, meaningless, random forms. " In short, if the old realism sought to recreate the world in its constant and sustainable features, then Chekhov - in its instantaneous and rapidly appeal.

In fact, even an inexperienced reader is not difficult to understand the fundamental difference between such details such as the Oblom Bath or the naked Red Hands of Bazarov, and the fact that Chekhov "One of the characters wears full shoes and beautiful ties, another heroine, with a conversation, all the time swallows matches, And one more - habit, reading magazines, there are ice cream apples, and the hero of another story is to consider their palms during the conversation, etc. etc. ... Such details in Chekhov have incomparably greater autonomy in relation to the whole. "

Using the terminology A.P. Chudakov, Chekhov realism could be called " accidental realism"Or otherwise - realism" atypical", Significantly different from the classical realism of the XIX century.

So, even for a relatively brief historical segment - in the literature of the second half of the XIX century. - At least three phases, three stages of realism can be distinguished, largely distinguished each other by initial creative installations and deep artistic principles. Stages that we conventionally identified as "Typical", "Superdipical" and "atypical" realism. At the same time, only the realism of "typical" is definitely close to the classic ("ideal") model of realism as such. In all other cases, such proximity is problematic.

It follows from this that it is necessary to distinguish realism in its original essence and in its wider, general value (this applies to other literary areas). Therefore, it is quite legitimate to correlate with certain literary phenomena with the initial model of realism, strive to identify the measure of their typological conformity or mismatch. But it is unlikely that it makes sense to try in order to detect all the completeness of the signs or the general properties of realistic art in the work of any writer or even a group of writers speaking under the banner of realism. And it is completely strange, making sure the infertility of such a classes, impose responsibility for this to the imperfection of the very category of the literary direction.