What is the sentimentality of poor Lisa's story. Russian sentimentalism and the story of N.M. Karamzin "Poor Liza

Homework check

Message about N.M. Karamzin: Karamzin-poet, Karamzin-publicist, Karamzin-historian

The teacher's word on sentimentalism

In the second half of the 18th century, a new literary movement “sentimentalism” emerged. Translated from English. means "sensitive", "touching". Its head in Russia is considered to be N.M. Karamzin, and the trend itself is often defined as Russian "noble" sentimentalism. However, some researchers oppose the Karamzinist trend with "democratic" sentimentalism led by Radishchev. Sentimentalism arose in the West during the disintegration of feudal-serf relations. Historical prerequisites dictate the emergence of certain principles in the aesthetics of sentimentalism. Let's remember what was the main task of art for the classicists? (for the classicists, the main task of art was the glorification of the state)

And in the center of attention of sentimentalisms is a person, moreover, not a person in general, but this particular person, in all the originality of his individual personality. Its value is due not to belonging to the upper classes, but to personal merits. The goodies in most sentimental works are from the middle and lower classes. Usually, in the center of the works, a disappointed hero who complains about fate sheds a sea of ​​tears. The task of the writer is to evoke compassion for him. The daily life of a person is depicted. The action takes place in small towns and villages. Favorite meeting places for heroes are quiet, secluded places (ruins, cemeteries).

The inner world of a person, his psychology, shades of mood are the dominant themes of most of the works.

The new content entails the emergence of new forms: the leading genres are the family psychological novel, diary, confession, travel notes. Prose is replacing poetry and drama. The syllable becomes sensitive, melodious, emotional. The development of "tearful" drama and comic opera.

In the works of sentimentalism, the voice of the narrator is very important. In the article "What does an author need?", Which became a manifesto of Russian sentimentalism, N.M. Karamzin wrote: your soul. "

Sentimentalists:

England: Laurence Stern, A Sentimental Journey, The Three Hundred Shandy Novel, Clarissa Garlow Richardson;

Germany: Goethe's The Suffering of Young Werther;

France: Jean-Jacques Rousseau "Julia, or New Eloise";

Russia: N.M. Karamzin, A.N. Radishchev, N.A. Lvov, M.N. Muraviev, young V.A.Zhukovsky

The emergence of Russian sentimentalism in the 60s is explained by the fact that people of the "third rank" begin to play an important role in public life.

Analysis of the story "Poor Liza"

- One of the brightest works of sentimentalism is the story of NM Karamzin "Poor Liza" (1792).

Let us turn to the words of E. Osetrov "B.L." - this is an exemplary work dedicated not to external events, but to a “sensitive” soul. "

You read the story at home and, probably, thought about the problems that the author poses in his work. Let's find out with you what is the main theme and idea of ​​this work. Let's see how the images of the main characters of the story are presented. Let's try to explain the actions of the main characters (be sure to use the text when answering questions).

How would you define the theme of this story? (the topic of the search for personal happiness). This topic was new for the literature of that time. We have already said that sentimentalist writers place the private individual at the center of their attention.

Who are the heroes of this story? (young girl Lisa, her mother, young man Erast)

What is Lisa's life with her mother before meeting Erast? (Liza "worked day and night - weaving canvases, knitting stockings, picking flowers in the spring, and taking berries in the summer - and selling all this in Moscow")

What is the dignity of the personality of Lisa and her parents? (father - "he loved work, plowed the land well and always led a sober life"; mother is faithful to her husband's memory, brings up her daughter in strict moral concepts, in particular, instills in her the rule: "to feed on her own labor and not take anything for free", Liza is pure , open, faithful in love, caring daughter, virtuous)

What epithets and for what purpose does Karamzin endows his heroine? (poor, beautiful, kind, gentle, helpful, timid, unhappy).

What is Erast's life? (“Erast was prettya rich nobleman, with a fair mind and a kind heart, kind by nature, but weak and windy. He led an absent-minded life, thought only of his own pleasure, looked for it in worldly amusements, but often did not find it: he was bored and complained about his fate; he read novels, idylls, had a rather vivid imagination and often moved mentally in those times (former or not), in which, according to the poets, all people carelessly walked through the meadows, bathed in clean springs, kissed like turtle doves, rested under roses and myrtles and spent all their days in happy idleness ")

The plot of the story is based on the love story of Liza and Erast. How does Yakaramzin show the development of feelings between young people? (at first, their love was platonic, pure, immaculate, but then Erast is no longer content with pure hugs, and Lisa sees her happiness in Erast's contentment)

What was the flared up feeling for Liza and for the one who had already had time to taste the secular fun "Erast? (For Liza, this feeling was the whole meaning of her life, and for Erast of simplicity, another fun. Lisa believed Erast. From now on, she obeys his will, even when a good heart and common sense tell her the opposite behavior: she hides from her mother a date with Erast, the fall , and after the departure of Erast - the power of his melancholy)

Is love possible between a peasant woman and a gentleman? (It seems impossible. At the very beginning of her acquaintance with Erast, Lisa does not admit the thought of her possibility: the mother, seeing Erast, says to her daughter: “If only your fiancé was like that!” Liza's whole heart fluttered ... ”Mother! Mother! He is a master, but between the peasants ... - Liza did not finish her speech. "After Erast visited Lisa's house, she thinks:" If the one who now occupies my thoughts was born a simple peasant, a shepherd ... Dream! " a conversation with Erast after his promises to take Lisa to her after the death of her mother, the girl objects: "However, you cannot be my husband."

- "Why then?"

- "I am a peasant woman")

How do you understand the title of the story? (poor - unhappy)

The feelings of the heroes, their state are closely connected with nature. Prove that descriptions of nature "prepare" heroes and readers, "Tune" to certain events (the description of the Simonov Monastery at the beginning of the story is set up for the tragic ending of the story; Liza on the banks of the Moskva River in the early morning before meeting with Erast; description of a thunderstorm when Liza is counting herself a criminal, because she lost her innocence, integrity)

The author loves Lisa, admires her, deeply experiences her fall into sin, tries to explain the reasons for it and soften the severity of the condemnation, is even ready to justify and forgive her, but he repeatedly calls Lisa's words cruel, and this is justified, although Lisa puts a slightly different meaning in this epithet ... He gives his assessments to everything that happens, which are objective)

Did you like the story? How?

D.z .:

1. Reporting Sentimentalism

2. Why is Poor Lisa a work of sentimentalism? (written answer)

Reflection

I knew, I knew, I want to know (ZUH)

"For peasant women know how to love ..."
N.M. Karamzin

Sentimentalism is the direction of 18th century literature. It contradicts the strict norms of classicism and, first of all, describes the inner world of a person and his feelings. Now the unity of place, time and action does not matter, the main thing is a person and his state of mind. NM Karamzin is probably the most famous and talented writer who actively worked in this direction. His story "Poor Liza" reveals to the reader the tender feelings of two lovers.

Traits of sentimentalism are found in N. Karamzin's story in every line. The lyrical narration is carried on smoothly, calmly, although the intensity of passion, the power of emotions is felt in the work. The heroes experience a new feeling of love for both of them - tender and touching. They suffer, cry, part: "Liza sobbed - Erast was crying ..." The author describes in great detail the state of mind of unfortunate Liza when she accompanied Erast to the war: "... abandoned, poor, lost her feelings and memory."

The entire work is permeated with lyrical digressions. The author constantly reminds of himself, he is present in the work and comments on everything that happens to his characters. "I often come to this place and almost always meet spring there ...", - the author tells about a place near Si ... a new monastery, just there was the hut of Liza and her mother. “But I throw the brush ...”, “my heart is bleeding…”, “a tear is rolling down my face” - this is how the author describes his emotional state when he looks at his heroes. He feels sorry for Liza, she is very dear to him. He knows that his "beautiful Lisa" deserves better love, honest relationships, and sincere feelings. And Erast ... The author does not reject him, because "dear Erast" is a very kind, but by nature or upbringing, a windy young man. And the death of Lisa made him miserable for the rest of his life. N. M. Karamzin hears and understands his heroes.

A large place in the story is devoted to landscape sketches. The beginning of the work describes a place "near the Si..nov monastery", a neighborhood of Moscow. Nature smells fragrant: a "magnificent picture" opens up to the reader, and he finds himself in that time and also wanders through the ruins of the monastery. Together with the "quiet moon" we watch the date of the lovers and, sitting "under the shade of an old oak tree", we look into the "blue sky".

The very name "Poor Liza" is also symbolic, where in one word both the social position and the state of the soul of a person are reflected. The story of N.M. Karamzin will not leave any reader indifferent, it will touch the delicate strings of the soul, and this can be called sentimentality.

SENTIMENTALISM OF THE STORY BY N. M. KARAMZIN "POOR LIZA"

1. Introduction.

Poor Liza is a work of sentimentalism.

2. The main part.

2.1 Lisa is the main character of the story.

2.2 Classical inequality of heroes is the main cause of the tragedy.

2.3 "And peasant women know how to love!"

3. Conclusion.

Little man theme.

Under him [Karamzin] and as a result of his influences, heavy pedantry and scholasticism were replaced by sentimentality and secular ease.

V. Belinsky

The story of Nikolai Mikhailovich Karamzin "Poor Liza" is the first work of Russian literature, most vividly embodying the main features of such a literary trend as sentimentalism.

The plot of the story is very simple: it is the love story of a poor peasant woman, Liza, for a young nobleman, who leaves her for a marriage of convenience. As a result, the girl rushes into the pond, seeing no reason to live without her beloved.

The innovation introduced by Karamzin is the appearance in the story of a narrator who, in numerous lyrical digressions, expresses his sadness and makes us empathize. Karamzin is not ashamed of his tears and encourages readers to do the same. But not only the heartache and tears of the author make us imbued with this simple story.

Even the smallest details in the description of nature evoke a response in the hearts of readers. After all, it is known that in the vicinity of the old monastery above the Moskva River, Karamzin himself was very fond of walking, and after the publication of the work, the name “Lizin Pond” was stuck behind the monastery pond with its old willows.

There are no strictly positive or negative characters in the works of sentimentalism. Likewise, the heroes of Karamzin are living people with their own virtues and vices. Without denying

Liza does not at all look like a typical "Pushkin" or "Turgenev" girl. She does not embody the author's feminine ideal. For Karamzin, she is a symbol of the soulfulness of a person, his naturalness and sincerity.

The writer emphasizes that the girl did not read about love even in novels, which is why the feeling seized her heart so much, that is why the betrayal of her beloved led her to such despair. The love of Liza, a poor, uneducated girl, for a noble youth "with a fair mind" is a struggle between real feelings and social prejudices.

From the very beginning, this story was doomed to a tragic ending, because the class inequality of the protagonists was too significant. But the author, describing the fate of young people, places accents in such a way that it becomes clear his personal attitude to what is happening.

Karamzin not only values ​​spiritual aspirations, experiences and the ability to love higher than material wealth and position in society. It is in the inability to love, to experience truly deep

feeling he sees the cause of this tragedy. “And peasant women know how to love!” - with this phrase, Karamzin drew the readers' attention to the joys and problems of the common man. No amount of social superiority can justify the hero and relieve him of responsibility for his actions.

Considering it impossible for some people to control the lives of others, the writer denied serfdom and considered his primary task to be the ability to draw attention to people who were weak and dumb.

Humanism, empathy, indifference to social problems - these are the feelings that the author is trying to awaken in his readers. Literature of the late 18th century is gradually moving away from civic themes and focuses its attention on the theme of personality, the fate of an individual person with his inner world, passionate desires and simple joys.

Sentimentalism (French feeling) is an artistic method that arose in England in the middle of the 18th century. and spread mainly in European literature: Shzh Richardson, L. Stern - in England; Rousseau, L. S. Mercier - in France; Herder, Jean Paul - in Germany; N. M. Karamzin and early V. A. Zhukovsky - in Russia. As the last stage in the development of the Enlightenment, sentimentalism, in its ideological content and artistic features, opposed classicism.

In sentimentalism, the social aspirations and sentiments of the democratic part of the "third estate", its protest against feudal vestiges, against the growing social inequality and the leveling of personality in the emerging bourgeois society found their expression. But these progressive tendencies of sentimentalism were essentially limited by its aesthetic credo: the idealization of natural life in the bosom of nature, as free from any coercion and oppression, devoid of the vices of civilization.

At the end of the 18th century. in Russia, the growth of capitalism has been outlined. Under these conditions, a certain part of the nobility, who felt the instability of feudal relations and at the same time did not accept new social trends, put forward a different sphere of life, which had previously been ignored. It was an area of ​​intimate, personal life, the defining motives of which were love and friendship. This is how sentimentalism arose as a literary trend, the last stage in the development of Russian literature in the 18th century, covering the initial decade and spreading into the 19th century. By its class nature, Russian sentimentalism is deeply different from Western European sentimentalism, which arose among the progressive and revolutionary bourgeoisie, which was an expression of its class self-determination. Russian sentimentalism is basically a product of noble ideology: bourgeois sentimentalism could not take root on Russian soil, since the Russian bourgeoisie was just beginning - and extremely uncertainly - its self-determination; the sentimental sensitivity of Russian writers, which affirmed new spheres of ideological life, previously, during the heyday of feudalism, little significant and even forbidden - longing for the leaving freedom of feudal life.

The story of N. M. Karamzin "Poor Liza" was one of the first sentimental works of Russian literature of the 18th century. Its plot is very simple - a weak-willed, albeit kind nobleman Erast falls in love with a poor peasant girl Liza. Their love ends tragically: the young man quickly forgets about his beloved, intending to marry a rich bride, and Lisa dies by throwing herself into the water.

But the main thing in the story is not the plot, but the feelings that she was supposed to awaken in the reader. Therefore, the main character of the story becomes the Narrator, who, with sadness and sympathy, tells about the fate of the poor girl. The image of the sentimental narrator became a revelation in Russian literature, since before the narrator remained “behind the scenes” and was neutral in relation to the events described. Poor Lisa is characterized by short or detailed lyrical digressions, at each dramatic plot twist we hear the author's voice: “my heart is bleeding ...”, “a tear is rolling down my face”.

For the sentimentalist writer, it was extremely important to address social issues. He does not denounce Erast for the death of Liza: the young nobleman is just as unhappy as the peasant girl. But, and this is especially important, Karamzin was almost the first in Russian literature to discover a "living soul" in a representative of the lower class. "And peasant women know how to love" - ​​this phrase from the story has long become a winged in Russian culture. This is where another tradition of Russian literature begins: sympathy for the common man, his joys and troubles, the protection of the weak, the oppressed and the dumb - this is the main moral task of the artists of the word.

The title of the work is symbolic, containing, on the one hand, an indication of the socio-economic aspect of solving the problem (Liza is a poor peasant girl), on the other hand, the moral and philosophical one (the hero of the story is an unhappy person, offended by fate and people). The polysemy of the name emphasized the specifics of the conflict in the work of Karamzin. The love conflict between a man and a girl (the story of their relationship and the tragic death of Lisa) is the leading one.

The heroes of Karamzin are characterized by internal discord, the inconsistency of the ideal with reality: Liza dreams of being a wife and mother, but is forced to accept the role of a mistress.

Plot ambivalence, outwardly little noticeable, manifested itself in the "detective" basis of the story, the author of which is interested in the reasons for the heroine's suicide, and in the unusual solution to the problem of the "love triangle", when the peasant woman's love for Erast threatens family ties sanctified by sentimentalists, and "poor Liza" herself replenishes a number of images of "fallen women" in Russian literature.

Karamzin, referring to the traditional poetics of the "speaking name", was able to emphasize the discrepancy between the external and internal in the images of the heroes of the story. Liza surpasses Erast ("loving") in the talent to love and live by love; "meek", "quiet" (translated from Greek) Liza commits actions that require decisiveness and willpower, running counter to the social laws of morality, religious and moral norms of behavior.

The pantheistic philosophy assimilated by Karamzin made Nature one of the main heroes of the story, empathizing with Lisa in happiness and sorrow. Not all heroes in the story have the right to intimate communication with the world of Nature, but only Liza and the Narrator.

In Poor Liza, N. M. Karamzin gave one of the first examples of a sentimental style in Russian literature, which focused on the colloquial speech of the educated part of the nobility. He assumed the grace and simplicity of the syllable, a specific selection of "euphonious" and "tasteless" words and expressions, the rhythmic organization of prose, bringing it closer to poetic speech.

In the story "Poor Liza" Karamzin showed himself to be a great psychologist. He was able to masterfully reveal the inner world of his heroes, first of all, their love experiences.