Type of lesson: study of new material and primary consolidation of knowledge. Literary and historical notes of young technique NM

1. Formation of literary activities.
2. The beginning of Russian sentimentally romantic prose and poetry.
3. An innovation of Karamzin and its value for Russian literature.

N. M. Karamzin was born in the family of a symbirsk nobleman and spent his childhood in the village, located on the banks of the Volga. The future literary figure received a remarkable education in the Guesthouse of Shaden, Professor of Moscow University. While still a student, the young man shows an interest in Russian literature, moreover, having tried himself in prose and poetry. However, Karamzin can not put a goal for a long time, to determine its destination in this life. He helps him in this I. S. Turgenev, the meeting with which he turned over the whole life of a young man. Nikolai Mikhailovich moves to Moscow and becomes the visitor to the Mug I. A. Novikova.

Soon on a young man pay attention. Novikov guards Karamzin and A. A. Petrov Edit the magazine "Children's reading for the Heart and Mind." This literary activity undoubtedly brings a huge benefit to the young writer. Gradually, in their works, Karamzin refuses complex, overloaded syntactic structures and from high lexical means. His worldview has a great influence of two things: enlightenment and freebie. Moreover, in the latter case, the desire of masons to self-knowledge was played not a small role, interest in the inner life of a person. It is human character, personal experiences, a soul and heart puts the writer at the head of his works. He is interested in everything that is in any way connected with the inner world of people. On the other hand, on all the work of Nikolai Mikhailovich imposes an imprint and a peculiar attitude to the order established in Russia: "I am in the soul of the Republican. And so die ... I do not require a constitution or representatives, but by feelings will remain the Republican, and by the faithful subjects of the king of Russian: this is a contradiction, not only imaginary! " At the same time, Karamzin can be called the founder of Russian sentimentally romantic literature. Despite the fact that the literary heritage of this talented person is relatively small, until the end it has not been collected. There are many diary records and private letters containing new ideas for the development of Russian literature, which are not yet published.

The first literary steps of Karamzin have already paid attention to the entire literary public. To some extent predicted his future, the great Russian commander A. M. Kutuzov: "It happened the French revolution ... But the years and experiences will cool the once of his imagination, and he will look at everything with other eyes." The assumption of the commander was confirmed. In one of his poems, Nikolai Mikhailovich writes:

But time, the experience is destroyed
Air castle of young years;
The beauty of the magic disappear ...
Now I see the light, -

The poetic works of Karamzin constantly affect, reveal, expose the essence of a person, his soul and heart. In his article "What is the author?" The poet directly declares that any writer "writes a portrait of his soul and his heart." From the student years, the talented young man shows an interest in the poets of sentimental and preconvocate directions. He enthusiastically responds about Shakespeare due to the lack of selectivity in his object of his work. The great playwright of the past, according to Karamzin, opposed the classicists and approached romance. His ability to penetrate the "human nature" admired the poet: "... For each thought he finds an image for every feeling the expression, for each soul movement the best turn."

Karamzin was a preacher of a new aesthetics, which did not accept any dogmatic rules and cliché and completely did not interfere with the free imagination of genius. She performed in understanding the poet as a "science of taste". In Russian literature, the conditions requiring new ways of the image of reality, ways based on sensitivity. That is why neither "low ideas" nor a description of terrible scenes could not appear in the artistic work. The first work of the writer, aged in sentimental style, appeared on the pages of "Children's reading" and was called "Russian True Tale: Eugene and Julia." It was told about the life of Mrs. L. and her pupils of Julia, who, "awakening together with nature," used the "morning pleasures" and read the "creations of true philosophers." However, the sentimental story ends tragically - the mutual love of Julia and the Son of Mrs. L. Eugene does not save a young man from death. This work is not entirely characteristic of Karamzin, although there are some sentimental ideas in it. For the creativity of Nikolai Mikhailovich, the romantic vision of the surrounding world is more commonly, as well as genre species. It is about this that many poems of a talented writer, created in an email tone:

A friend of mine! Significance is poor:
Play in the soul of your dreams,
Otherwise, life is boring.

Another famous work of Karamzine "Letters of the Russian Traveler" is a continuation of the tradition of travel, popular in those days in Russia thanks to the work of F. Delorma, K. F. Moritz. The writer appealed to this genre not by chance. He was famous for the relaxed form of the narration about everything that could meet on the path of the author. In addition, in the process of traveling, it is impossible to be better than the nature of the traveler himself. Huge attention in his work Karamzin pays to the chief hero and the narrator, it is his feelings and experiences that are fully manifested here. The mental state of the traveler is described in a sentimental manner, but the image of reality affects the reader with his truthfulness and realism. Often the author uses a fictional plot, invented by the traveler, but immediately corrects himself, arguing that the artist should write everything as it was: "I wrote in the novel. That evening was the most rainy; That the rain did not leave dry threads on me ... And in practice the evening was the most quiet and clear. " Thus, romance is inferior to realism. In his work, the author acts as an outside observer, but an active participant of all that is happening. It states the facts and gives an acceptable explanation of what happened. The focus of the work arises the problem of socio-political life of Russia and art. That is, again romance is closely intertwined with reality. The sentimental style of the writer is manifested in the observance, in the absence of coarse, integral expressions in the text, in the predominance of words expressing various feelings.

The poetic works of Karamzine are also filled with pre-gate motifs, often characterized by moods of sadness, loneliness and longing. The writer for the first time in for Russian literature in his poetry appeals to the otherworldly, carrying happiness and calmness. This topic is particularly clear in the poem "Cemetery", built in the form of a dialogue between two voices. The first tells about horror, inspired by a person's thoughts about death, and the other sees only joy in death. In his lyrics, Karamzin reaches the amazing simplicity of style, refusing bright metaphors and unusual epithets.

In general, the literary creativity of Nikolai Mikhailovich played a big role in the development of Russian literature. V. G. Belinsky on the right attributed to the poet the opening of a new literary era, believing that this talented person "created an educated literary language in Russia", which was a significant extent helped to "plant the Russian public to read Russian books." Karamzin's activities played a huge role in the formation of such outstanding Russian writers as K. N. Batyushkov and V. A. Zhukovsky. From the very first of their literary experiments, Nikolai Mikhailovich shows innovative qualities, trying to find their own path in the literature, revealing the characters in a new way, using stylistic agents, in particular in terms of prosaic genres.

How it is impossible, Karamzin himself characterizes his creativity, speaking about the activities of W. Shakespeare, however, following the same principles: "I didn't want to observe the so-called unities that our current dramaturgical authors adhere so tightly. I did not want to assume the close limits of imagination to my own. His perfume Paril Yako Eagle and could not stead his measure the measure that the sparrows measure. "

December 12, 1766 (generic estate of the Znamensky symbirsky district of the Kazan province (according to other data - the village of Mikhaylovka (now Preobrazhenka), Buzuluk county, Kazan province) - June 3, 1826 (St. Petersburg, Russian Empire)

December 12 (December 1, by Art. Style) 1766 Born Nikolai Mikhailovich Karamzin - Russian Writer, Poet, Editor of the Moscow Journal (1791-1792) and Journal of European Journal (1802-1803), Honorary Member of the Imperial Academy of Sciences ( 1818), a valid member of the Imperial Russian Academy, a historian, the first and only courtist, one of the first reformers of the Russian literary language, the founder of domestic historiography and Russian sentimentalism.

Contribution N.M. Karamzin in Russian culture is difficult to overestimate. Recalling everything that this person managed to make this man for a brief 59 years of his earthly existence, it is impossible to pass by the fact that it was Karamzin who largely identified the face of the Russian XIX century - the "golden" century of Russian poetry, literature, historiography, sources and other humanitarian directions of scientific knowledge. Thanks to linguistic search, directed to the popularization of the literary language of poetry and prose, Karamzin presented Russian literature to its contemporaries. And if Pushkin is "our all", then Karamzin can safely be called "our all" with the largest letter. Without it, Vyazemsky, Pushkin, Baratinsky, Batyushkov and other poets of the so-called "Pushkin Pleiads" would hardly be possible.

"To anything, neither contact our literature - everything is marked by Karamzin: journalism, criticism, stories, novel, the story of historical, publicism, study of history," - rightly noticed by V.G. Belinsky.

"The history of the state of the Russian" N.M. Karamzin became not just the first Russian-speaking book on the history of Russia available to a wide reader. Karamzin presented the Fatherland to Russian people in the full sense of the word. They say that, having shuting the eighth, the last Tom, Count Fedor Tolstoy on Nickname America exclaimed: "It turns out that I have a fatherland!" And he was not alone. All his contemporaries suddenly learned that they live in a country with a thousand-year history and they have something to be proud of. Prior to this, it was believed that to Peter I, who drove the "window to Europe", there was nothing at least any worthy of attention: the dark centuries of backwardness and barbarism, boyars selfhood, original Russian laziness and bears on the streets ...

Multi-volume work of Karamzin was not completed, but, going into the world in the first quarter of the XIX century, he fully determined the historical self-awareness of the nation for many years ahead. All subsequent historiography has not been able to give birth to anything more responsible under the influence of Karamzin "imperial" self-consciousness. Karamzin's views left a deep, indelible trail in all areas of Russian culture of the XIX-XX centuries, forming the foundations of national mentality, which, ultimately, determined the ways of development of Russian society and the state as a whole.

It is significant that in the 20th century, the building of the Russian Greatness of the revolutionary internationalists, the building of the Russian Greatness was reborn by the 1930s, under other slogans, with other leaders, in another ideological packaging. But ... The approach to the historiography of domestic history itself, both before 1917, and after, in many ways it remained in Karamzinski, Patriotic and Sentimental.

N.M. Karamzin - Early years

N.M. Kakarazin was born on December 12 (1 Art. There is little about his early years: there are no letters left, nor diaries, no memories of Karamzin himself about their childhood. He even did not even know his year of birth and considered almost all his life that he was born in 1765. Only for old age, finding documents, "grinding" for one year.

The future historiogram grew up in the Father's estate - the retired captain Mikhail Egorovich Karamzin (1724-1783), a medium-rate symbirsk nobleman. Got a good home education. In 1778, he was sent to Moscow to the House of Professor Moscow University I.M. Shaden. Simultaneously visited in 1781-1782 lectures at the university.

After graduating from the boarding room, in 1783 Karamzin entered the service at the Transfiguration Regiment in St. Petersburg, where he met the young poet and the future employee of his "Moscow magazine" Dmitriev. At the same time published his first translation of Idylliya S. Geesner "Wooden Noga".

In 1784, Karamzin resigned by the guarantion and never served, which was perceived in the then society as a challenge. After a short stay in Simbirsk, where he joined the Masonic Life of the Golden Crown, Karamzin moved to Moscow and was introduced into the circle of N. I. Novikova. He settled in the house owned by the Novikovsky "friendly scientist", became the author and one of the publishers of the first children's magazine "Children's reading for the heart and mind" (1787-1789), founded by Novikov. At the same time, Karamzin became close to the sepheyev family. With N. I. Plescheyeva, his long years associated gentle Platonic friendship. In Moscow, Karamzin publishes its first translations, in which the interest in European and Russian history is clearly visible: "Seasons" Thomson, "Rustic Evening" Zhanlis, the tragedy of W. Shakespeare "Julius Caesar", the tragedy of Lesseing Emilia Galotti.

In 1789, the first original story of Karamzine "Eugene and Julia" appeared in the magazine "Children's reading ...". The reader practically did not notice her.

Travel to Europe

According to many biographers, Karamzin was not located to the mystical side of Freemasonry, remaining a supporter of his activity-enlightenment direction. If you say more precisely, by the end of the 1780s, the Masonic mysticism in its Russian version Karamzin has already been "silent." Perhaps cooling to Masonry was one of the reasons for his departure to Europe, in which he spent more than a year (1789-90), visiting Germany, Switzerland, France and England. In Europe, he met and talked (except influential Masons) with European Umov's "rulers": I. Kant, I. G. G. Gerder, S. Bonn, I. K. Lafater, J. F. Marmontel, visited museums, theaters, secular Salons. In Paris, Karamzin listened to the National Assembly of O. Mr. Mirabo, M. Robespierre and other revolutionaries, saw many outstanding political figures and was familiar with many. Apparently, the revolutionary Paris of 1789 showed Karamzin, how much the word can affect the person: printed when Parisians with a living interest read pamphlets and leaflets; Oral when revolutionary speakers were opposed and controversial (the experience that could not be purchased at the time of Russia).

About the English parliamentarism Karamzin was not too enthusiastic opinion (perhaps, going in the footsteps of Rousseau), but very highly put the level of civilization on which the English society was in general.

Karamzin - journalist, publisher

In the fall of 1790, Karamzin returned to Moscow and soon organized the publication of the monthly "Moscow magazine" (1790-1792), in which most of the "letters of the Russian traveler" was printed, telling about the revolutionary events in France, the story "Liodor", "poor Liza" , "Natalia, Boyarskaya Daughter", "Floor Silin", essays, stories, critical articles and poems. To cooperate in the magazine Karamzin attracted the entire literary elite of that time: his friends Dmitriev and Petrova, Heraskova and Derzhavin, Lviv, Nelozzin, and others. Articles of Karamzin argued a new literary direction - sentimentalism.

The Moscow Journal has only 210 permanent subscribers, but for the end of the XVIII century it is like a hundred thousandth circulation at the end of the XIX century. Moreover, the magazine read by those who "did the weather" in the literary life of the country: students, officials, young officers, minor employees of various state institutions ("Archive young men").

After the arrest of Novikov, the authorities were seriously interested in the publisher of the Moscow Journal. In the interrogations in the secret expedition, they ask: not the "special taste" with the "special task", "Russian traveler" abroad? Novikovs were high decency people and, of course, Karamzin was burned, but because of these suspicions the magazine had to stop.

In 1790, Karamzin published the first Russian almanacies - "Aglaya" (1794 -1795) and "Aonids" (1796 -1799). In 1793, when the Jacobin dictatorship was installed at the third stage of the French revolution, which shook Karamzin his cruelty, Nikolai Mikhailovich refused some of his former looks. The dictatorship opened in him serious doubts about the possibility of humanity to achieve prosperity. He sharply condemned the revolution and all violent ways to transform society. The philosophy of despair and fatalism permeates its new works: Tale "Borngolm Island" (1793); Sierra-Morane (1795); poem "Melancholy", "Message to A. A. Plescheyev", etc.

During this period, real literary glory comes to Karamzin.

Fedor Glinka: "Of the 1200 cadet, the rare did not repeat the page from the" Borgonolm Island "page..

The name of the ERAST, before that is completely unpopular, becoming more and more common in the noble lists. Rumors about successful and unsuccessful suicides in the spirit of poor Lisa. Poisonous memoirist Vigel recalls that important Moscow Venels began to do "Almost like equal to the thirty-year-old retired guarantor".

In July 1794, Karamzin's life was barely cut off: on the way to the estate, in the steppe wilderness, the robbers attacked him. Karamzin was miracle, having received two light wounds.

In 1801, he married Elizabeth Protasovoy, a neighbor for the estate, which he knew from childhood - at the time of the wedding they were familiar for almost 13 years.

Reformer of the Russian literary language

Already in early 1790s, Karamzin is seriously thinking over the present and future Russian literature. He writes to a friend: "I am deprived of the pleasure of reading a lot in my native language. We are still poor writers. We have several poets that deserve to be cleaners. " Of course, Russian writers were and there are: Lomonosov, Sumarokov, Fonvizin, Derzhavin, but there are no more than a dozen significant names. Karamzin is one of the first to understand that the case was not behind talents - talents in Russia no less than in any other country. Just Russian literature can not move away from long-standing traditions of classicism laid in the middle of the XVIII century the only theorist M.V. Lomonosov.

The reform of the literary language conducted by Lomonosov, as well as the theory of "three calm" created by him, responded to the tasks of the transition period from the ancient to the new literature. A complete refusal to eat the usual church salvations in the language was then premature and inappropriate. But the evolution of the language, which began in Ekaterina II, actively continued. "Three Channels" proposed by Lomonosov, relied not on a living speech, but on the ingenious thought of the theorist writer. And this theory often put the authors in a difficult position: I had to use heavy, outdated Slavic expressions where in a conversational language they have long been replaced by other, softer and elegant. The reader sometimes could not "tackle" through the hesitation of outdated satellites used in church books and records to understand the essence of a secular product.

Karamzin decided to bring the literary language to the conversational language. Therefore, one of his main goals was the further liberation of literature from church salvations. In the preface to the second book of Almanach "Aonids", he wrote: "One thunder of words just stuns and never comes to the heart."

The second feature of the "new syllable" of Karamzin was to simplify the syntactic structures. The writer abandoned the extensive periods. In the "Pantheon of Russian Writers" he strongly stated: "Prose Lomonosov cannot serve as a model for us: long periods are tedious, the location of words is not always in appearance with the current thoughts."

Unlike Lomonosov, Karamzin sought to write short, easily prominent proposals. This day is a sample of a good syllable and an example for imitating in the literature.

The third merit of Karamzin was to enrich the Russian language near successful neologisms, which are firmly entered into the main vocabulary. An innovation proposed by Karamzin includes such widespread words as "industry", "development", "refinement", "focus", "touching", "Integrand", "Humanity", "public", " Commonly, "," influence "and a number of others.

Creating neologisms, Karamzin used mainly the method of calcizing French words: "interesting" from "Interessant", "sophisticated" from "Raffine", "Development" from "DevelopPement", "touching" from "Touchant".

We know that many foreign words appeared in the Petrovsk era in Russian, but they mostly replaced the words already existed in the Slavic language and were not necessary. In addition, these words were often taken in the untreated form, so they were very difficult and clumsy ("Fortation" instead of the "Fortress", "Victoria" instead of "victory", etc.). Karamzin, on the contrary, tried to give in foreign words to the Russian end, adapting them to the requirements of Russian grammar: "Serious", "Moral", "Aesthetic", "Audience", "Harmony", "Enthusiasm", etc ..

In its reform activity, Karamzin made an installation on the living spoken speech of educated people. And it was the key to the success of his creativity - he writes not scientists treatises, but travel notes ("Letters of the Russian Traveler"), sentimental stories ("Borngolm Island", "Poor Lisa"), poems, articles, translates from French, English and German .

"Arzamas" and "Conversation"

It is not surprising that most of the young writers, modern Karamzin, adopted his conversion "with a bang" and willingly followed him. But, like every reformer, Karamzin had convinced opponents and decent opponents.

At the head of the ideological opponents of Karamzin stood up A.S. Shishkov (1774- 1841) - Admiral, Patriot, a well-known State Worker of that time. Strover, Lomonosov's fan, Shishkov at first glance was a classicist. But this point of view needs essential reservations. In contrast to Europe, Karamzin Shishkov put forward the idea of \u200b\u200bthe nationality of literature - the most important sign of a distant one from the classicism of romantic worldview. It turns out that shishkov also adjoined to romantic, but not only progressive, but a conservative direction. His glances can be recognized as a peculiar forerunner of the later Slavophilism and silence.

In 1803, Shishkov spoke with "reasoning about the old and new syllable of the Russian language." He reproached "Karamzinists" in the fact that they succumbed to the temptation of European revolutionary falsecracies and spoke for the return of literature to the oral folk creativity, to the folk spaciousness, to the Orthodox Church Slavonic Book.

Shishkov was not a philologist. He was engaged in the problems of literature and Russian language, rather as an amateur, so attacks Admiral Shishkova on Karamzin and his supporters of writers sometimes looked not so much scientifically justified as poorly ideological. Language reform of Karamzin seemed shishkov, warrior and defender of the fatherland, nonpatariotic and antireligious: "Language is the soul of the people, the mirror of the morals, the correctness of the enlightenment, a unpleasant witness. Where there is no in the hearts of faith, there is no pity in the language. Where there is no love for the Fatherland, there the language does not express the feelings of domestic ".

Shishkov reproached Karamzin for the unsalimized use of Varvarisov ("Epoch", "Harmony", "Catastrophe"), he was neologisms ("coup" as - the transfer of the word "revolution"), cut the ear artificial words: "Future", "readiness" and etc.

And we must admit that sometimes the criticism of him was a label and accurate.

The evasiveness and aesthetic welcomes of the Speech "Karamzinists" very soon outdated and out of literary use. This is what the future predicted to them shishkov, believing that instead of expression "when the journey was made by the need of my soul," you can say simple: "When I love to travel"; Exquisite and stuffed with periprases Speech "Mottle crowds of rural sores are taken by dark wathas of reptiles of reptiles" Can be replaced by a clear expression "Rustic girls go gypsies", etc.

Shishkov and his supporters made the first steps in the study of monuments of ancient Russian writing, enthusiastically studied "the word about the regiment of Igor", they were engaged in folklore, advocated the rapprochement of Russia with the Slavic world and recognized the need for the rapprochement of Slovenian syllable.

In the dispute with the translator of Karamzin Shishkov put forward a strong argument about "idiomatics" of each language, about the unique identity of its phraseological systems that make it impossible to the literal translation of thought or genuine semantic value from one language to another. For example, with the literal translation to the French expression "Old Hand" loses a figurative meaning and "means Tokmo the very thing, and in the metaphysical sense does not have any circle of the ban."

In the peak of Karamzinsky Shishkov offered his reform of the Russian language. The missing concepts and feelings in our everyday life denoted by new words formed from the roots of not French, but Russian and Starrodlavlyansky. Instead of Karamzinsky "influence", he suggested "the Nativity", instead of "development" - "stagnation", instead of the "actor" - "Lyedie", instead of "individuality" - "eggs", "mocomatic" instead of "Kalosh" and "Whether" instead "Labyrinth". Most of his innovations in Russian have not taken root.

It is impossible not to recognize the hot love of Shishkov to the Russian language; It is impossible not to recognize that the passion for all foreign, especially French, gone into Russia too far. Ultimately, this led to the fact that the language is common, the peasant began to differ much from the language of cultural classes. But it is impossible to dismiss and from the fact that the natural process of the resulting evolution of the language was impossible to stop. It was impossible to raise the expression already outdated at the time of the expression, which offered Shishkov: "Zane", "UBO", "izh", "Yako" and others.

Karamzin did not even answer the charges of Shishkov and his supporters, knowing hard that they managed exclusively pious and patriotic feelings. Subsequently, Karamzin himself and the most talented supporters (Vyazemsky, Pushkin, Batyushkov) followed a very valuable indication of "Shishkovtsy" on the need for "returning to their roots" and examples of their own history. But then they could not understand each other.

Paphos and hot patriotism of articles A.S. Shishkov caused a sympathetic attitude among many writers. And when Shishkov, together with G. R. Derzhavin founded the literary society "Best of lovers of Russian words" (1811) with the charter and their magazine, P. A. Katrenin, I. A. Krylov, was immediately joined this society, and later V. K . Kyhehelbecker and A. S. Griboedov. One of the active participants of the "conversation ..." of the prolific playwright A. A. Shakhovskaya in the comedy "New Stern" viciously ridiculed Karamzin, and in the comedy "lesson to the coquets, or Lipetsk waters" in the face of "Baldownika" Phialkin created a parody . Zhukovsky.

This caused a friendly rebuff from the youth, who supported the literary authority of Karamzin. D. V. Dashkov, P. A. Vyazemsky, D. N. Bludov composed several witty pamphlets to the Shakhovsky and other members of the "conversations ...". In the "Vision in the Arzamas Tavern" of Bludov gave a circle of young defenders of Karamzin and Zhukovsky name "Society of obsolete Arzamasic writers" or simply "Arzamas".

In the organizational structure of this society, founded in the fall of 1815, reigned the merry spirit of the parody of a serious "conversation ...". In contrast to the official bakingage, simplicity, naturalness, openness was dominated here, a great place was given to a joke and the game.

Parting the official ritual "Conversations ...", when joining Arzamas, everyone had to read the "tombstone" to his "late" predecessor from among the now healthy members "conversations ..." or the Russian Academy of Sciences (Count D. I. Tail, S. A. Shirinsky-Shichmatov, Samoye A. S. Shishkov, etc.). "Tombstones" were a form of literary struggle: they paroded high genres, ridiculed the stylistic archaic of the poetic works of "Args". At meetings of society, the humorous genres of Russian poetry was honored, a bold and decisive struggle from all kinds of official, the type of independent, free from the pressure of any ideological conventions of the Russian writer was formed. And although P. A. Vyazemsky is one of the organizers and active participants of the Company - in mature years, you condemned the youthful mischief and the intimacy of our like-minded people (in particular - the rites of "funeral" of living literary opponents), he rightly called Arzamas School of Literary Partnership "Arzamas" and mutual creative learning. Arzamas and the "conversation" society soon turned into the centers of the literary life and public struggle of the first quarter of the XIX century. Arzamas included such well-known people like Zhukovsky (pseudonym - Svetlana), Vyazemsky (Asmodener), Pushkin (Cricket), Batyushkov (Achilles), etc.

"Conversation" broke up after the death of Derzhavin in 1816; "Arzamas", losing the main opponent, stopped his existence by 1818.

Thus, by the mid-1790s, Karamzin became a recognized head of Russian sentimentalism, which opened not just a new page in Russian literature, and Russian fiction in general. Russian readers who have absorbed only the French novels, and the writers of the Russian traveler and the "poor Lisa", and Russian writers and poets, with delight, and the Russian writers and poets (both "Arzhasites" and "Arzamastsy") understood that it was possible should write in your native language.

Karamzin and Alexander I: Symphony with power?

In 1802 - 1803, Karamzin published the magazine "Bulletin of Europe", in which literature and politics prevailed. In many ways, thanks to the confrontation with Shishkov, in the critical articles of Karamzin there was a new aesthetic program for the formation of Russian literature as a national-distinctive. The key of the identity of Russian culture Karamzin, unlike Shishkov, has seen not so much in the commitment of ritual antiquity and religiosity, but in the events of Russian history. The most vibrant illustration of his views was the story of "Marfa Posalman or the conquest of NOVAROGOD".

In its political articles 1802-1803, Karamzin, as a rule, appealed with recommendations to the government, the main of which was the enlightenment of the nation in the name of the prosperity of the autocratic state.

These ideas were generally close to Emperor Alexander I - Grandfather Catherine Great, who at one time also dreamed of "enlightened monarchy" and full symphony between the authorities and the European educated society. Karamzin's coupling on March 11, 1801 and the adoption of the throne of Alexander I was the "historical commendable word Catherine Second" (1802), where Karamzin expressed his views on the being of the monarchy in Russia, as well as the duties of the monarch and his subjects. The "coming word" was approved by the sovereign, as a collection of examples for a young monarch and favorably accepted by them. Alexander I, obviously, was interested in the historical research of Karamzin, and the emperor rightly decided that the Great country simply needs to be remembered for his no less great past. And if you do not remember, so at least create a re-...

In 1803, through the royal educator, M. N. Muravyov - poet, historian, teacher, one of the most educated people of the time - N.M. Karamzin received the official title of court historically with a pension in 2000 rubles. (Pension in 2000 rubles a year was appointed then to officials who were not lower than general officials on the rank. Later, I. V. Kireevsky, referring to Karamzin himself, wrote about the ant: "Who knows, maybe, without his bondest and warm assistance, Karamzin would have no funds to make his great business."

In 1804, Karamzin practically moves away from literary and publishing and proceeds to the creation of the "history of the Russian state", over which he worked until the end of his days. With its influence M.N. Muravyov made available for the historian many of the previously unknown and even "secret" materials, opened library and archives for him. About such favorable conditions for work Modern historians can only dream. Therefore, in our opinion, talking about the "Story of the Russian State", as a "scientific feat" N.M. Karamzin, not quite fair. The court historiographer was in service, conscientiously performed the work for which he paid for money. Accordingly, he had to write such a story that was currently necessary to the customer, namely, the sovereign Alexander I, showing at the first stage of the reign of sympathy for European liberalism.

However, under the influence of the activities of the Russian history, by 1810, Karamzin became a serial conservative. During this period, the system of its political views was finally developed. Caramzine's statements that he "republican in the shower" can be adequately interpreted only if it takes into account that we are talking about the "Platonic Republic of the Wise men", an ideal social structure based on state virtue, strict regulation and refusal of personal freedom . In early 1810, Karamzin, through his relative, Count F. V. Rostopchina met in Moscow with the leader of the "Conservative Party" at the courtyard - the Grand Duchess of Catherine Pavlovna (Alexander I sister) and began to constantly visit its residence in Tver. The Salon of the Grand Duchess was represented by the Center for Conservative Opposition by the Liberal-West German rate, personified the figure of M. M. Speransky. In this salon, Karamzin read excerpts from his "history ...", at the same time met with the widden Empress Maria Fedorovna, who became one of his patrons.

In 1811, at the request of the Great Princess, Catherine Pavlovna Karamzin wrote a note "On Ancient and New Russia in its political and civil relations", in which he outlined his ideas about the ideal device of the Russian state and subjected to a sharp criticism of Alexander I and its closest predecessors: Paul I , Catherine II and Peter I. In the XIX century, the note has never been published completely and diverged only in handwritten lists. In the Soviet times, the thought of Karamzin's thought was perceived as a reaction of the extremely conservative nobility on the reforms of M. M. Speransky. The author himself was stamped by the "reactionary", an opponent of the liberation of the peasantry and other liberal steps of the Government of Alexander I.

However, at the first full publication of the note in 1988, Yu. M. Lotman revealed her deeper content. In this document, Karamzin made a reasoned criticism of unprepared reforms of a bureaucratic nature conducted from above. Having praised Alexander I, the author of the note at the same time fell into his advisers, meaning, of course, Speransky, standing for constitutional transformations. Karamzin takes over the courage in detail, with reference to historical examples, to prove the king, which is not ready for the abolition of the serfdom and restriction of the autocratic monarchy (according to the example of European powers), Russia is not historically or politically. Some of his arguments (for example, the uselessness of the liberation of peasants without land, the impossibility in Russia of constitutional democracy) and today look quite convincing and historically faithful.

Along with the review of Russian history and the criticism of the political course of Emperor Alexander I, a whole, original and very difficult, original and very difficult, original-Russian type of power, closely associated with Orthodoxy, was kept in a note.

At the same time, Karamzin refused to identify the "True Autocracy" with despotism, tyranny or arbitrariness. He believed that such deviations from the norms were due to the will of the case (Ivan IV Grozny, Paul I) and were rapidly eliminated by the inertia of the tradition of "wise" and "virtuous" monarchical rule. In cases of sharp weakening and even the complete absence of supreme state and church power (for example, during the University), this powerful tradition led to the restoration of autocracy during a short historical term. The autocracy was the "Palladium of Russia", the main cause of its power and prosperity. Therefore, the basic principles of the monarchist rule in Russia, according to Karamzin, should continue to be maintained. They should be supplemented only with due politics in the field of legislation and enlightenment, which would not be able to undermine autocracy, but to its maximum strengthening. With this understanding of the autocracy, any attempt to restraint would be a crime in front of the Russian history and Russian people.

Initially, the note of Karamzin caused only the irritation of the young emperor, who did not favor the criticism of his actions. In this note, the historist showed himself a Plus Royaliste Que Le Roi (a large royalist than the king himself). However, afterwards the brilliant "anthem of the Russian autocracy" in the statement of Karamzin, undoubtedly, had his action. After the war of 1812, the winner of Napoleon Alexander I turned many of his liberal parts: the Speransky reforms were not brought to the end, the Constitution and the very thought of restriction of autocracy remained only in the minds of the future Decembrists. And already in the 1830s, the concept of Karamzin actually went on the basis of the ideology of the Russian Empire, indicated by the "theory of official nationality" of Count S. Uvarova (Orthodoxy-autocrat-nation).

Prior to the publication of the first 8 volumes of "History ...", Karamzin lived in Moscow, from where I went out only in Tver to the Grand Prince Ekaterina Pavlovna and Nizhny Novgorod, during Moscow classes by the French. Summer, he usually spent in Ostafyev, the estate of Prince Andrei Ivanovich Vyazemsky, at whose extramarital daughter, Catherine Andreevna, Karamzin married in 1804. (The first wife of Karamzin, Elizabeth Ivanovna Protasova, died in 1802).

In the last 10 years of life, which Karamzin spent in St. Petersburg, he became very close to the royal family. Although Emperor Alexander I from the time of filing "notes" referred to Karamzin restrained, Karamzin often spent the summer in the royal village. At the request of the Empress (Mary Fedorovna and Elizabeth Alekseevna), he was repeatedly with the emperor Alexander, the frank political conversations, in which he performed as an expressive of the opinions of opponents of sharp liberal transformations. In 1819-1825, Karamzin with a heat revealed against the intentions of the sovereign against Poland (filed a note "the opinion of the Russian citizen"), condemned the increase in government taxes in peacetime, spoke of the ridiculous provincial system of finance, criticized the system of military settlements, the activities of the Ministry of Education, indicated A strange choice of the sovereign of some of the most important dignitaries (for example, Arakcheev), spoke of the need to reduce the internal troops, about the imaginary correction of roads, so painful for the people and constantly indicated the need to have solid laws, civil and state.

Of course, having such intercessors, as both Empress and the Grand Princess Ekaterina Pavlovna, could also be chicting, and argue, and to show civilian courage, and try to instruct the monarch "on the right path." Only no wonder the emperor Alexander I and contemporaries, and the subsequent historians of his reign were called "mysterious Sphinx." In words, the sovereign agreed with Critical remarks of Karamzin regarding military settlements, recognized the need to "give the fundamental laws of Russia", and also revise some aspects of the domestic policy, but it was so necessary in our country that in fact - all wise advice of state people remain "fruitless Surrious Fatherland "...

Karamzin as a historian

Karamzin is our first historian and the last chronicler.
He is criticized by History,
Simple and apophegem - chronicle.

A.S. Pushkin

Even from the point of view of the modern Karamzin of historical science, to name 12 volumes of his "history of the Russian state", in fact, nobody decided by scientific difficulty. Already then everyone was clear that the honorary title of court historically cannot make the writer by the historian, give him relevant knowledge and proper training.

But, on the other hand, Karamzin initially did not put the tasks of taking the role of the researcher. The new historiographer was not going to write a scientific treatise and assign the laurels of the famous predecessors - Schlezer, Miller, Tatischev, Shcherbatova, Bottin, etc.

Preliminary critical work on Karamzin sources is only a "grave tribute, bringing reliability." He was, above all, a writer, and therefore wanted to make his literary talent to the ready-made material: "Choose, to animate, paint," so, thus, from Russian history "something attractive, strong, decent attention not only Russians, but also foreigners. " And he performed this task brilliantly.

Today it is impossible to disagree with the fact that at the beginning of the XIX century, source studies, paleography and other auxiliary historical disciplines were in the coerciless condition. Therefore, to demand professional criticism from the writer of Karamzin, as well as a clear retention of a technique of working with historical sources - just ridiculous.

Often, you can hear the view that Karamzin just beautifully rewritten written by a long time-outdated, difficult to read the syllable "Russian history from ancient times" Prince M.M.Sheterbatova, made some of her thoughts and thus created a book for fans of fascinating reading in family circle. This is not true.

Naturally, when writing his "history ...", Karamzin actively used the experience and works of their predecessors - Schlezer and Shcherbatov. Scherbatov helped Karamzin oriented in the sources of Russian history, significantly affecting the choice of material, and its location in the text. Accidentally or not, but the "history of the Russian state" was brought by Karamzin precisely before the place as the "history" of Shcherbatov. However, in addition to following its predecessors, the scheme, Karamzin leads to its essay, a lot of references to an extensive foreign historiography, almost unfamiliar to the Russian reader. Working on her "story ...", he first introduced a mass of unknown and previously unexplored sources into a scientific turnover. These are the Byzantine and Livonian chronicles, the information of foreigners on the population of ancient Russia, as well as a large number of Russian chronicles, who have not yet concerned the hand of the historian. For comparison: M.M. Scherbatov used when writing his work only 21 Russian chronicle, Karamzin actively quotes more than 40. In addition to the chronicles, Karamzin is attracted to the study of the monuments of the ancient Russian law and the Old Russian fiction. The special chapter of "History ..." is devoted to the "Russian truth", and a number of pages - just an open "Word about the regiment of Igor".

Thanks to the zealous assistance of directors of the Moscow archive of the Ministry of Foreign Affairs of the N. N. Bantysh-Kamensky and A. F. Malinovsky, Karamzin was able to use those documents and materials that were not available to its predecessors. Many valuable manuscripts gave a synodal storage, libraries of monasteries (Trinity Lavra, Volokolamsky Monastery and others), as well as private collections of manuscripts Musina Pushkin and N.P. Rumyantsev. Especially many documents Karamzin received from Chancellor Rumyantsev, who gathered historical materials in Russia and abroad through its numerous agents, as well as from A. I. Turgenev, who made a collection of documents of the papal archive.

Many of the sources used by Karamzin died during the Moscow Fire of 1812 and were preserved only in his "History ..." and extensive "notes" to its text. Thus, the work of Karamzin to some extent, he himself gained the status of a historical source, which has full right to refer to historians-professionals.

Among the main disadvantages of the "history of the Russian state" traditionally marked the peculiar view of its author on the tasks of the historian. According to Karamzin, "knowledge" and "learning" in the historian "do not replace the talent to portray the actions." In front of the artistic task of history, even moral ones retreats to the background, which Patron Karamzin, M.N. Muravyov. Characteristics of historical characters are given by Karamzin solely in the literary and romantic vein, characteristic of the direction of Russian sentimentalism created by him. The first Russian princes from Karamzin are distinguished by the "fervent romantic passion" to conquests, their squad - nobility and loyal spirit, "Cherniy" sometimes showing discontent, raising methers, but ultimately agrees with the wisdom of noble rulers, etc., and t. P.

Meanwhile, the preceding generation of historians under the influence of Slacera has long developed the idea of \u200b\u200bcritical history, and among the contemporaries of Karamzin, the requirements of criticism of historical sources, despite the lack of a clear methodology, were generally accepted. And the next generation has already made the requirement of philosophical history - with identifying the laws of the development of the state and society, recognizing the main driving forces and the laws of the historical process. Therefore, unnecessary "literary" Creation of Karamzin was immediately subjected to quite reasonable criticism.

According to the submission that firmly rooted in Russian and foreign historiography of the XVII - XVIII centuries, the development of the historical process is depending on the development of monarchical power. Karamzin does not depart from this presentation either on the iota: the monarchical power has exalted Russia in the Kiev period; The section of the authorities between princes was a political mistake, which was fixed by the state wisdom of Moscow princes - Gatherers of Russia. At the same time, it was the princes that were corrected and its consequences - the fragmentation of Russia and the Tatar yoke.

But before reproaching Karamzin is that he has nothing new to the development of domestic historiography, it should be remembered that the author of the "history of the Russian state" did not at all set itself the tasks of philosophical understanding of the historical process or blind imitation of the ideas of Western European romantics (F. Gizo , F.Miny, J. Meshable), already then spoke about the "class struggle" and "spirit of the people" as the main driving force of history. Karamzin was not interested in historical criticism at all, and the "philosophical" direction in the history deliberately denied. The conclusions of the researcher from historical material, as well as its subjective fabrications, seem to be a "metaphysics" karamzine, which is not suitable for an image of action and character. "

Thus, with his peculiar views on the tasks of the historian Karamzin, by and large, remained out of the dominant currents of the Russian and European historiography of the XIX and XX centuries. Of course, he participated in its consistent development, but only in the form of an object for constant criticism and the brightest example of how the story is not needed.

Reaction of contemporaries

Contemporaries Karamzin - readers and fans - with delight accepted his new "historical" essay. The first eight volumes of the "Russian State History" were printed in 1816-1817 and went on sale in February 1818. Three thousandths have been huge for that time in 25 days. (And this is despite the solid price - 50 rubles). Immediately the second edition was required, which was carried out in 1818-1819 by I. V. Slyonin. In 1821, a new one, the ninth volume, and in 1824 the following two were published. The author did not have time to finish the twelfth volume of his work, which he saw the light in 1829, almost three years after his death.

"History ..." literary friends of Karamzin admired and the extensive public readers-non-specialists who suddenly discovered, like a Tolstoy-American Count, that their fatherland has a story. According to A.S. Pushkin, "Everything, even secular women, rushed to read the history of their fatherland, the unknown Dotole. She was for them a new discovery. Ancient Russia seemed to be found by Karamzin as america-Columbus. "

Liberal intelligent mugs of the 1820s found a "story ..." Karamzin backward for general views and overly tendentious:

Experts researchers, as already mentioned, reacted to the composition of Karamzin precisely as an essay, sometimes even giving his historical importance. Many people seemed too risky the Karamzin enterprise itself - to start writing such extensive work at the then state of Russian historical science.

In the life of Karamzin, critical analysis of his "history ..." appeared, and soon after the death of the author were made attempts to determine the general meaning of this work in historiography. Lellel pointed to the involuntary distortion of truth, due to patriotic, religious and political hobbies of Karamzin. Arzybashev showed that the literary techniques of the historian-Non-profesional are harmful to the writing of "history". Pogodin summed up all the disadvantages of "history", A N.A. The field saw the common cause of these shortcomings is that "Karamzin is a writer is not our time." All his points of view, both in the literature and in philosophy, politics and history, are outdated with the emergence of new influences of European romanticism in Russia. In contrasting Karamzin, Fieldy soon wrote his sixtime "history of the Russian people", where he was completely given to the power of the ideas of GIZO and other Western European romantics. Contemporaries rated this work as a "unworthy parody" on Karamzin, exposed to the author rather evil, and not always deserved attacks.

In the 1830s, "History ..." Karamzin becomes the banner of the official "Russian" direction. With the assistance of the same pursuit, its scientific rehabilitation is produced, quite the corresponding spirit of the "theory of official nationality" of Uvarova.

In the second half of the XIX century on the basis of "History ..." a mass of research and popular articles and other texts, which are based on well-known educational and teaching and methodological benefits was written. Many works have been created by the historical stories of Karamzin, a lot of works for children and young people were created, whose purpose for many years was the upbringing of patriotism, loyalty to civil debt, the responsibility of the younger generation for the fate of their homeland. This book, in our opinion, played a decisive role in the formation of views of not one generation of Russian people, having a significant impact on the basics of patriotic education of young people in the late XIX - early XX centuries.

December 14th. Final Karamzin.

The end of Emperor Alexander I and December events of 1925 deeply shocked N.M. Karamzin and adversely affected his health.

On December 14, 1825, having received the news about the uprising, the historian goes to the street: "I saw terrible persons, I heard terrible words, five-six stones fell to my legs."

Karamzin, of course, regarded the speech of the nobility against his sovereign as a rebellion and a serious crime. But among the rebels there were so many familiar: Brothers Muravyov, Nikolay Turgenev, Bestuzhev, Ryleev, Kuhelbecker (he translated the "history" of Karamzin to German).

A few days later, Karamzin will say about the Decembrists: "The delusions and crimes of these young people are the election and crime of our century."

December 14, during his movements in St. Petersburg, Karamzin was very cold and fell ill with inflammation of the lungs. In the eyes of contemporaries, he was another victim of this day: his idea of \u200b\u200bthe world collapsed, the faith was lost in the future, and a new king climbed to the throne, very far from the ideal image of an enlightened monarch. Halfall, Karamzin was every day in the palace, where he talked with the Empress Maria Fedorovna, from the memories of the late sovereign Alexander moving to reasoning about the tasks of the future reign.

Karamzin could no longer write. XII Tom "History ..." Measurement at the International Survey 1611 - 1612. The last words of the last volume - about the Little Russian Fortress: "The nuts did not give up." The last thing I really managed to make Karamzin in the spring of 1826 - along with Zhukovsky persuaded Nicholas I return from the link Pushkin. A few years later, the emperor tried to transfer the poet to the pretty of the first historicist of Russia, but the "sun of Russian poetry" into the role of the state ideologist and theorist somehow did not fit ...

In the spring of 1826 N.M. Karamzin, according to the advice of doctors, decided to go for treatment in South France or Italy. Nicholas I agreed to sponsor his trip and kindly gave a frigate of the Imperial Fleet in the disposal of the historography. But Karamzin was already too weak for travel. He died on May 22 (June 3) of 1826 in St. Petersburg. He was buried at the Tikhvin Cemetery of Alexander Nevsky Lavra.

Nikolai Mikhailovich Karamzin in the history of Russian culture.

Annotation: The material is intended for a class hour in 7-9 classes or extracurricular activities dedicated to the 250th anniversary of the birth of N.M. Karamzin.

The purpose of the event is: Get acquainted with the biography and creativity N. M. Karamzin, show its role in the development of Russian culture.

Tasks:
- Educational: to acquaint with the creative legacy of N. M. Karamzin.
- Developing: develop logical thinking, attention, speech.
- Educational: Rise a feeling of interest in learning to Russian literature and history.

Equipment: Slideshow presentation, portrait of a writer, books N. M. Karamzin.

The course of the event.

What neither contact our literature -

everything started by Karamzin:

journalism, criticism, story-novel,

story historical, publicism,

studying history.

VG Belinka

Teacher's word:

"Russian literature knew writers more great than Karamzin,

i knew more powerful talents and more burning pages. But by impact

on the reader of his era, Karamzin stands in the first row, by influencing

the culture of time in which he acted, he will withstand comparison with

any, the most brilliant names. "

A.S. Pushkin called Karamzin "Great Writer in all sense

of this word. " The role of Karamzin in the history of Russian culture is Great:

literature he showed himself as a reformer, created a genre of psychological

note; In journalism laid the fundamentalization foundations

writing work, created samples of the main types of periodic

publications; As an enlightener, he played a huge in the formation of competent

reader, teaching women to read in Russian, introduced a book in

home education children.

Today we will get acquainted with the life and creativity of N.M. Karamzin, whose 250th anniversary Russia will celebrate in 2016.

Karamzin Nikolay Mikhailovich (1766-1826), Russian historian, writer, critic, journalist, honorary member of the St. Petersburg Academy of Sciences (1818). The creator of the "Story of the Russian State" (vol. 1-12, 1816-29), one of the significant works in Russian historiography. The founder of Russian sentimentalism ("Letters of the Russian Traveler", "Poor Lisa", etc.). Editor of the Moscow Journal (1791-92) and "European Bulletin" (1802-1803).

Acquaintance with the biography of N.M.Karamzin.

1 student: Nikolai Mikhailovich was born on December 12, 1766 in the estate Nikolai Mikhailovich Karamzin born in s. Znamensky (Karamzinka) of the Symbir County, in the family of the retired captain Mikhail Egorovich Karamzin, the descendant of the Crimean-Tatar Murza Kara-Murza. From autumn to spring, Karamzines usually lived in Simbirsk, in a mansion on the old crown, and in the summer - in the village of Znamensky. (Now the non-residential settlement is 35 km. Yuz. Ulyanovsk).
Father Mikhail Egorovich Karamzin was a medium-rate nobleman. Little Nikolai grew up in the estate of the Father, received a home education. In 1778, Nikolai Mikhailovich went to Moscow to the House of Professor of Moscow University I. M. Shaden.
According to that time at the 8th age, it was recorded for the service in the regiment and studied in the Moscow boarding house. Since 1781, he served in St. Petersburg in the Preobrazhensky regiment. Here began his literary activities. From February 1783 he was on vacation in Simbirsk, where, finally, resigned with the rank of Lieutenant. Simbirsk got close to local masons, but did not get involved in their ideas. Since 1785 N.M. Karamzin lives in the capitals, regularly, until 1795 coming to Simbirsk.

2 student In 1789, Karamzin published the first story "Eugene and

Yulia". In the same year, he goes abroad. In Europe, Karamzin was

on the eve of the French revolution. In Germany, he met with Crate, in

France he listened to Mirabo and Robospiera. This trip had a certain

the impact on his worldview and further creativity. After

return from abroadat the insistence of the Father in 1783, Nikolai entered the service to the Preobrazhensky Guards Regiment of St. Petersburg, but soon resigned. After consisted in Moscow in a "friendly scientist society." They also got acquainted with writers - N. I. Novikov, A. M. Kutuzov, A. A. Petrov.
Karamzin comes closer from G.R. Derzhavin, A.M.

Kutuzov. Under the influence of A.M. Kutuzova he meets the literature

english predocant, well oriented in literature

french Enlightenment (Voltaire, J.Z.Russo).

In 1791-1792 After the year of traveling in Europe, they were undertaken by the publication of the Moscow Journal, which gave Russian journalism, according to Yu.M. Lotman, the standard of the Russian literary and critical magazine. A significant part of the publications in it was made by the works of Karamzin himself, in particular, the fruit of his trip in Europe - "Letters of the Russian Traveler," who determined the main tone of the magazine - educational, but without excess official. However, in 1792, the Moscow Journal was discontinued after the publication of Oda Karamzin "to grace" in it, the reason for the creation of which was the arrest of the close Karamzin of the Russian writer N.I. Novikova.

On the pages of this magazine, he publishes his works of "Letters of the Russian Traveler" (1791-1792), the story "Poor Lisa" (1792), "Natalia, Boyarskaya Daughter" (1792)and essay "Flor Silin". In these works, the main features of Sentimental Karamzin and his school were expressed with the greatest strength.

Tale "Poor Lisa". Sentimentalism.

Teacher's word: "Karamzin first in Russia began to write a story ... in which people acted, depictedlife of the heart and passions in the middle of ordinary life, "wrote V.G. Belinsky

3 student: This is the story of love of the peasant girl Lisa and

nobleman Erast. The story of Karamzin became the first Russian work,

heroes of which the reader could empathize the same as the heroes of Rousseau, Goethe and

other European novelists. Literary critics noted that

the uncomplicated plot of Karamzin presented psychologically deeply and

penetrate. Karamzin became a recognized head of the new literary

schools, and the story "Poor Lisa" is a model of Russian sentimentalism.

"Lizin Pond" near the Simon Monastery became especially visited

the place at the fans of the writer's creativity.

4 student:Sentimentalism(Fr. Sentimentalisme, from FR. Sentiment - feeling) - mindset in Western European and Russian culture and the corresponding literary direction. In the XVIII century, the definition of "sensitive" understood susceptibility, the ability to mention the mental response to all manifestations of life. For the first time, this word with a moral and aesthetic tint of the value appeared in the title of the novel of the English writer Lorenz Stern "Sentimental Journey".

Works written in this artistic direction make focus on readership perception, that is, the sensuality arising from reading them. In Europe, sentimentalism existed from the 20s to the 80s of the XVIII century, in Russia - from the end of the XVIII to the beginning of the XIX century.

The hero of the literature sentimentalism is an individuality, he is a bit to the "life of the soul", has a variety of psychological peace and exaggerated abilities in the sphere of feelings. It is focused on the emotional sphere, which means that social and civil problems move into its consciousness into the background.

By origin (or by convictions), the sentimentalist hero - Democrat; The rich spiritual world of commoner is one of the main discoveries and conquests of sentimentalism.

From the philosophy of the enlighteners, sentimentalists accepted the idea of \u200b\u200bthe extrallinary value of the human person; The wealth of the inner world and the ability to feel confessed by every person regardless of his social status. A person who is unspoken by social convention and vices of society, "Natural", guided only by the prompting of his natural good feeling, is the ideal of sentimentalists. Such a person could rather be a leav of the middle and lower social layers - a poor nobleman, a tradesman, a peasant. The person is sophisticated in secular life, who has perceived the system of values \u200b\u200bof society, where social rear

inequality is a negative character, it has features worthy of indignation and renewing readers.

Sentimentalist writers in their works pay great attention to nature as a source of beauty and harmony, it was on the lap of nature that a "natural" man could form. The sentimentalist landscape has to reflements about high, to the awakening in a man of light and noble feelings.

The main genres in which sentimentalism was shown elegy, Message, Diary, Notes, Epistolar Roman. It was these genres that the writer was given the opportunity to turn to the inner world of man, to reveal the soul, imitate the sincerity of the heroes in the expression of their feelings.

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

Sentimentalism penetrated into Russia in the 1780s - early 1790s due to the translation of the novels "Werker" I.V. Goethe, "Pamela", "Clarissa" and "Grandison" S. Richardson, "New Eloise" J.-zh. Rousseau, "Paul and Virgin" J.-A. Bernarden de Saint Pierre. The era of Russian sentimentalism opened Nikolai Mikhailovich Karamzin "Letters of the Russian Traveler" (1791-1792).

His story "Poor Lisa" (1792) is a masterpiece of Russian sentimental prose.

Overactions N.M. Karamzin caused a huge number of imitation to life; At the beginning of the XIX century, "poor Masha" AE appeared. Izmailova (1801), "Journey to Hollunny Russia" (1802), "Henrietta, or a triumph of deception over weakness or delusion" I. Svoschinsky (1802), numerous tenses G.P. Kamenev ("History of Poor Marya"; "Unfortunate Margarita"; "Beautiful Tatyana") and others

N.M. Karamzin - historian, creator of the "Story of the Russian State"

Teacher's word: Activities of Karamzin, who led in Russia

literary direction - sentimentalism, and first brought together

historiography with artistic creativity, different parties

constantly attracted attention to N.V. Gogol, M.Yu. Lermontova, I.S.

Turgenev, F.M. Dostoevsky, L.N. Tolstoy. With the name Karamzin connected

a special stage in the development of Russian culture.

5 student: Interest in history arose from Karamzin from the mid-1790s. He wrote a story on the historical theme - "Marfa-Posalman, or the conquest of Novgorod" (Published in 1803). In the same year, Alexander I was appointed to the position of historographer, and until the end of his life was engaged in writing the "history of the Russian state".

Karamzin opened the history of Russia for a broad educated public. According to Pushkin, "Everything, even secular women, rushed to read the story of their fatherland, the unknown Dotole. She was for them a new discovery. Ancient Russia seemed to be found by Karamzin as America - Columbus. "

In his work, Karamzin performed more as a writer than a historian - describing historical facts, he cared for the beauty of the tongue, less than all trying to make any conclusions from the events described by it. Nevertheless, high scientific value represents its comments that contain many appointments from manuscripts, mostly published by Karamzin.

A. S. Pushkin so estimated the works of Karamzin on the history of Russia:

"In his" History "elegance, simplicity prove to us, without any whiff, the need for selfhood and the charms of the whip."

6 student: In 1803 N.M. Karamzin is appropriate for

the position of the court historically, begins to work on the "history of the Russian state" and is working on it to the end of his life.

"The history of the Russian state" was printed on Tom, caused big

interest among the public. Vyazemsky noted that Karamzin his "story ..."

"Saved Russia from the invasion of oblivion, appealed her to life, showed us that

we have a fatherland. "

N.M. Karamzin for this work was awarded the static adviser

and the Order of St. Anna 1st degree.

with dedication to Alexander I.

This work caused the enormous interest of contemporaries. Immediately around

"Stories ..." Karamzin unfolded a wide controversy, reflected in

print, as well as preserved in handwritten literature. Subached

critics the historical concept of Karamzin, his language (performances M. T.

Kachenovsky, I. Lelevly, N.S. Arzybasheva et al.), His political

views (statements M.F. Orlova, N.M. Muravyeva, N.I. Turgenev).

But many met the "story ..." enthusiastically: k.n. Batyushkov, I.I.

Dmitriev, Vyazemsky, Zhukovsky and others.

solemn meeting of the Imperial Russian Academy "in connection with

election to her members. Special attention has been paid here.

national originality of Russian literature, said "People's

the property of Russians. " In 1819, Karamzin again performed at the meeting

Russian Academy with reading excerpts from t. 9 "History ...",

dedicated to the reign of Ivan the Terrible. In 1821, it was published from T. 9

his work, in 1824 - t. 10 and 11; t. 12, the latter containing the description

events before the beginning of the XVII century. Karamzin did not have time to complete (posthumously issued in

1829).

The emergence of new volumes showing the despotism of Ivan the Terrible and

who narrated the crime of Boris Godunov, caused revival

threaters around the labor of Karamzin. The ratio of A.S. Pushkin K.

Karamzin and its activities. Having become acquainted with the historiogram back in 1816

in the royal village, Pushkin returned to him and his family respect and

affection that he did not prevent him from jogging with Karamzin

slow disputes. Taking part in the controversy around "History ...", Pushkin

hotly performed in the defense of Karamzin, emphasizing social importance

his work and calling him a "feat of an honest person." His tragedy

"Boris Godunov" Pushkin dedicated "precious for Russians of memory" N.M.

Karamzin.

N.M. Karamzin - the reformer of the Russian language.

Teacher's word: His merit of N.M.Karamzin in the field of reforming the Russian language. "How did not change the views of Karamzin throughout his life, the idea of \u200b\u200bprogress remained their solid foundation. She expressed in the presentation of the continuity of the improvement of man and humanity. "According to Karamzin, the happiness of humanity lies through the improvement of a separate personality. "The main engine here is not moral (as Masons considered), but art (...). And to instruct contemporaries in the art of living Karamzin considered its primary task. He wanted to fulfill the second Petrovsk reform: not state life, not external conditions of social existence, but to "art to be ourselves" - the goal that can be achieved not by the efforts of the government, but the actions of cultural people, primarily writers.

7 student: The most important part of this program was the reform of the literary language, which was based on the desire to bring a written language with a living spoken speech of the educated society. "

In 1802, in the journal "Journal of Europe" N.M. Karamzin published an article "Why in Russia there is little copyright talent."

Creativity Karamzin had a significant impact on the development of the Russian literary language. He sought not to use church Slavonic vocabulary and grammar, but to refer to the language of his era, the language of "ordinary" people, use the grammar and syntax of French as an example. One of the first Karamzin began to use the letter E, introduced new words (neologisms) (charity, love, impression, refinement, human, etc.), Varvarisms (sidewalk, Kucher, etc.).

Following the ideas of sentimentalism. Karamzin emphasizes the role of the author's personality in the work and the impact of his views on the world. The author's presence sharply distinguished his work from the agent and novels of classicism writers. It should be noted the presence of art techniques, which most often uses Karamzin to express their personal attitude to the subject, phenomenon, event, fact. In his works there are many perphrases, comparisons, likes, epithets. Researchers Creativity Karamzin celebrate the observance of its prose at the expense of a rhythmic organization and musicality (repeats, inversion, exclamation, etc.)

Final word of the teacher: In one of the last letters, Russian Foreign Minister Russian wrote "approaching the end of his activity, I thank you

God for his destiny. Maybe I'm mistaken, but my conscience is late.

The kind of fatherland can not blame me. I was always ready

serve him without humiliating his personality for which I am responsible before the same

Russia. Yes, let I only do that I described the history of the barbaric ages,

let me not have seen either on the battlefield, nor in the Council of husbands of state. But

since I'm not a coward and not a sloth, I say: "So it was

Heavens "and, without a funny pride of my craft writer, I see myself without shame among our generals and ministers."

N.M.Karamzin - journalist, writer, historian "Moscow Journal" "Moscow Journal" "Letters of the Russian Traveler" "Letters of the Russian Traveler" "Natalia, Daughter Boyarskaya" "Natalia, Daughter Boyarskaya" "Poor Lisa" "Poor Lisa" " The history of the Russian state "" The history of the Russian state "N.M. Karamzin. Hood A.G.Vetsianov. 1828.

Sentimentalism The artistic direction (current) in the art and literature of the end of the XVIII - early XIX centuries. Artistic direction (current) in the art and literature of the end of the XVIII - early XIX centuries. The direction from the English. Sentimental - sensitive. From English. Sentimental - sensitive. "The elegant image of the main and everyday" (P.A. Ivyzemsky.) "The elegant image of the main and everyday" (P.A. Ivyzemsky.)

"Poor Lisa" What is this work? What is this work? What person is the narrative? What person is the narrative? What did you see the main characters? How does the author belong to them? What did you see the main characters? How does the author belong to them? Does the story of Karamzin look like on the works of classicism? Does the story of Karamzin look like on the works of classicism? O. Kiprensky. Poor Lisa.

Classicism Classicism Comparison line Sentimentalism Sentimentalism Education of a person in the spirit of loyalty to the state, the cult of mind The main idea is the desire to submit a human personality in the movements of the soul Civilian, public main topics Love strict division on positive and negative, single-core heroes and characteristics of rectinence in assessing characters, attention to Simple people auxiliary, the conditional role of the landscape of the psychological characteristic of the heroes of the tragedy, Oda, epic; Comedy, Basnya, Satira Main genres Tale, travel, novel in letters, diary, Elegy, Message, Idyll

Homework 1. Tutorial, page Write answers to questions: Why did the story of Karamzin become a discovery for his contemporaries? Why did the story of Karamzin become a discovery for his contemporaries? The beginning of which tradition of Russian literature is Karamzin? The beginning of which tradition of Russian literature is Karamzin?

: journalism, criticism, story, novel, stories of historical, publicism, history study. V.G. Belinsky

Nikolai Mikhailovich Karamzin is an outstanding reformer of the Russian language. He left a noticeable trace in science, art, journalism, but an important result of the creativity of Karamzin of the 1790s was the reform of the language, which was based on the desire to bring the written language with a living spoken speech of the educated layer of society. Thanks to Karamzin, the Russian reader began to think somewhat somewhat, feel and explicitly.

We use in our speech many words introduced into the colloquial turnover of exactly Karamzin. But the speech is always reflection and intellect, and culture, and human spiritual maturity. After Petrovsky transformations in Russia, there was a gap between the spiritual requests of the enlightened society and the semantic buildings of the Russian language. All educated people were forced to speak French, since in Russian did not exist words and concepts to express many thoughts and feelings. In order to express in Russian, the diversity of concepts and manifestations of the human soul, it was necessary to develop Russian, create a new speech culture, overcome the gap between literature and life. By the way, at that time, French really had a pan-European distribution; Not only Russian, but, for example, and the German intelligentsia preferred his native language.

In Article 1802, "On Love to Fatherland and People's Pride", Karamzin wrote: "Our trouble is that we all want to speak French and do not think to work on the processing of our own language; Whether they are wonderful that they do not know how to express them some subtleties in the conversation "- and urged to give his native language all the subtleties of the French language. At the end of the 18th century, Karamzin came to the conclusion that the Russian language is outdated and needs reform. Karamzin was not the king, he was not the minister. Therefore, the reform of Karamzin was not expressed that he issued some decrees and changed the norms of the language, and in the fact that he himself began to write his works in a new way and put the translation works written by a new literary language in his almanachas.

Readers got acquainted with these books and learned the new principles of literary speech, which were focused on the norms of the French language (these principles were called "New Slog"). The initial task of Karamzin was that Russians began to write, as they say and so that in the noble society began to speak, as they write. It is these two tasks that determined the essence of the stylistic reform of the writer. To bring closer to the literary language to colloquial, first of all, it was necessary to release literature from church salvations (heavy, outdated Slavic expressions, which in colloquial language were already replaced by other, softer, elegant).

Outdated old-travelers have become undesirable such as: Abiye, Byahu, Coliko, Further, Tsey, and others, Karamzin's statements are known: "To teach, instead of doing, it is impossible to say in a conversation, and especially the young maiden." But it was not possible to completely refuse the old places, Caramzin could not: it would cause great harm to the Russian literary language. Therefore, the use of old-bands, which are: a) in Russian retained a high, poetic character ("Sitting under the shadows of trees", "I consider the image of miracles on the gates of the temple," "this memory shook her soul", "His hand took only a single sun on Heavenly Code "); b) can be used for artistic purposes ("Chilly Light of Hope, the Beam of Consolation illuminated the darkness of her grief", "no one will throw a stone in a tree if there are no fruits on it"); c) being distracted nouns, capable of changing their meaning in new contexts for them ("Great singers were in Russia, whose creations are buried in the centuries"); d) they can act as a means of historical stylization ("I look at the deaf moan time", "Nikon has arisen from himself the Supreme San and ... Borrowed the days of his, God and disorders dedicated to"). The second step in reforming the language was the simplification of syntactic structures. Karamzin resolutely refused the heavy and inappropriate spirit of the Russian language of the German-Latin syntactic design introduced by Lomonosov. Instead of long and uncomfortable periods, Karamzin began to write clear and brief phrases, using a sample light, elegant and logically slender French prose.

In the "Pantheon of Russian Writers" he strongly stated: "Prose Lomonosov cannot serve as a model for us: long periods are tedious, the location of words is not always in appearance with the current thoughts." Unlike Lomonosov, Karamzin sought to write short, easily prominent proposals. In addition, Karamzin replaces the Old Slavonic on the origin of the Jaco Union, Paki, Zane, Coliko, False, and others. Russian unions and allied words that, when, how, which, where, because ("Lisa demanded that Erast often visited her mother "," Lisa said, where she lives, she said and went. ") Rows of subordinate unions are inferior to the place of non-union and writing structures with alliances A, and, yes, or, or others:" Lisa rushed his eyes and thought. . "," Lisa accompanied his eyes, and mother sat in thought, "" she already wanted to run behind the erast, but thought: "I have a mother!" stopped her. "

Karamzin uses a direct order of words, which seemed to him more natural and the corresponding movement of thoughts and the movement of man's feelings: "In one day, Lisa had to go to Moscow," "On the other day, narrowing Lisa the best lonsters and again went with them to the city", "Erast jumped as shore, approached Lisa." The third stage of the Karamzin language program was the enrichment of the Russian language by a number of neologisms, which firmly entered the main vocabulary. According to the news proposed by the writer, the words are known in our time: industry, development, refinement, focus, touching, enormality, humanity, public, generalized, influence, future, love, need, etc., some of them did not fit in Russian We know the language (drawing, infancy, etc.) that many foreign words have appeared in the Petrovsk era in Russian, but they have mostly replaced the words that have already existed in the Slavic language and were not necessity; In addition, these words were taken in the untreated form, and therefore were very difficult and clumsy ("fortification" instead of the "Fortress", "Victoria" instead of "victory").

Karamzin, on the contrary, tried to give foreign words to the Russian end, adapting them to the requirements of Russian grammar, for example, "serious", "moral", "aesthetic", "audience", "harmony", "enthusiasm". Karamzin and his supporters preferred the words expressing feelings and experiences creating "nice", for this, it was often used diminishing suffixes (horn, a shepherd, rods, matushka, villages, a path, berazhok, etc.). Also introduced into the context of the words that create "beautiful" (flowers, ruling, kiss, lilies, ethers, curl, etc.). The names of their own, calling the ancient gods, European artists, the heroes of the ancient and Western European literature, were also used by Karamzinists in order to give the narrative an elevated tonality.

The beautiful speech was created with the help of syntactic structures close to phraseological combinations (the day of the day - the sun; Bards of singing - the poet; the meek girlfriend of our life - hope; Cypars of married love - Family construction, marriage; move to Horny Residents - die, etc. ). From other introductions of Karamzin, it is possible to mark the creation of the letter E. Letter E is the youngest letter of the modern Russian alphabet. It was introduced by Karamzin in 1797. It can be said even more rather: the letter is introduced by Nikolai Mikhailovich Karamzin in 1797, in the Almana "Aonids", in the word "tears". Before that, instead of the letter Ö in Russia, IO wrote in Russia (it was introduced near the middle of the 18th century), and even earlier it was written by the usual letter E. In the first decade of the XIX century, the Karamzin reform of the literary language was encountered with enthusiasm and gave birth to a living public interest in the problems of the literary norm. Most of the young writers, modern Karamzin, adopted his transformations and went after him.

But not all contemporaries agree with him, many did not want to accept his innovations and rebelled for Karamzin, as on a dangerous and harmful reformer. At the head of such opponents of Karamzin stood a shishkov, the famous statesman of that time. Shishkov was a hot patriot, but was not a philologist, so attacks him on Karamzin were not philologically substantiated and wore moral, patriotic, and sometimes even political character. Shishkov accused Karamzin in the damage of the native language, in the anti-national direction, in dangerous free-forming and even in spoilage of morals. Shishkov said that only purely Slavic words can be expressed by the feelings of the pious, feelings of love for the Fatherland. Foreign words, in his opinion, are distorted, and do not enrich the language: "Ancient Slavic language, the father of many adverbs, there is a root and the beginning of the Russian language, who was abused by himself and rich, he does not need to be enriching French words."

Shishkov offered to replace the already established foreign expressions with old Slavic; For example, replace the "actor" on the "Guide", "Heroism" - "Dobial", "Audience" - "Listen", "Review" - "Consideration of Books". It is impossible not to recognize the hot love of Shishkov to the Russian language; It is impossible not to recognize that the passion for all foreign, especially French, has gone into Russia too far and led to the fact that common, the peasant language began to differ much from the language of cultural classes; But it is also impossible not to admit that it was impossible to stop the naturally beginning evolution of the language; It was impossible forcibly to get into use already outdated expressions, which offered shishkov ("zane", "UBO", "izh", "Yako" and others). In this language dispute, the story has shown a convincing victory of Nikolai Mikhailovich Karamzin and his followers. And the assimilation of his lessons helped Pushkin to complete the formation of the language of new Russian literature.

Literature

1. Vinogradov V.V. Language and style of Russian writers: from Karamzin to Gogol. -M., 2007, 390s.

2. Warovova K.A., Ledneva V.V. The history of the Russian literary language: a textbook for universities. M.: Drop, 2009. - 495 p. 3. Lotman Yu.M. Creation of Karamzin. - M., 1998, 382c. 4. Electronic resource // Sbiblio.com: Russian Humanitarian Internet University. - 2002.

N.V. Smirnova