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

Nikolai Mikhailovich Karamzin is an outstanding reformer of the Russian language. He left a noticeable mark on science, art, and journalism, but an important result of Karamzin’s work in the 1790s was the reform of the language, which was based on the desire to bring the written language closer to the living spoken language of the educated layer of society. Thanks to Karamzin, the Russian reader began to think, feel and express himself somewhat differently.

In our speech we use many words introduced into colloquial circulation by Karamzin. But speech is always a reflection of a person’s intellect, culture, and spiritual maturity. After Peter's reforms in Russia, a gap arose between the spiritual needs of an enlightened society and the semantic structure of the Russian language. All educated people were forced to speak French, since in the Russian language there were no 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 the Russian language, create a new speech culture, and bridge the gap between literature and life. By the way, at that time the French language really had a pan-European distribution; not only the Russian, but, for example, the German intelligentsia preferred it to their native language.

In an article of 1802 “On love for the Fatherland and national pride,” Karamzin wrote: “Our trouble is that we all want to speak French and do not think about working on mastering our own language; Is it any wonder that we don’t know how to explain to them some of the subtleties in conversation” - and called for giving the 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 At the end of the 18th century, Karamzin came to the conclusion that the Russian language was outdated and needed to be reformed. Karamzin was not a tsar, nor was he a minister. Therefore, Karamzin’s reform was expressed not in the fact that he issued some decrees and changed the norms of the language, but in the fact that he himself began to write his works in a new way and place translated works written in a new literary language in his almanacs.

Readers became acquainted with these books and learned new principles of literary speech, which were norm-oriented French(these principles are called the “new syllable”). Karamzin’s initial task was for Russians to begin to write as they speak, and for noble society to begin to speak as they write. It was these two tasks that determined the essence of the writer’s stylistic reform. In order to bring the literary language closer to the spoken language, first of all, it was necessary to free literature from Church Slavonicisms (heavy, outdated Slavic expressions, which in the spoken language had already been replaced by others, softer, more elegant).

Outdated Old Church Slavonicisms such as: abiye, byakhu, koliko, ponezhe, ubo, etc. have become undesirable. Karamzin’s statements are known: “To do, instead of to do, cannot be said in conversation, and especially to a young girl.” But Karamzin could not completely abandon Old Church Slavonicisms: this would cause enormous harm to the Russian literary language. Therefore, it was allowed to use Old Church Slavonicisms, which: a) in the Russian language retained a high, poetic character (“sitting under the shade of trees”, “on the gates of the temple I look at the image of miracles”, “this memory shook her soul”, “his hand kindled only a single sun on firmament"); b) can be used for artistic purposes (“a golden ray of hope, a ray of consolation illuminated the darkness of her sorrow”, “no one will throw a stone at a tree if there is no fruit on it”); c) being abstract nouns, they are capable of changing their meaning in new contexts (“there were great singers in Rus', whose creations were buried for centuries”); d) can act as a means of historical stylization (“I listen to the dull groan of the times,” “Nikon resigned his supreme rank and ... spent his days dedicated to God and soul-saving labors”). The second step in reforming the language was the simplification of syntactic structures. Karamzin resolutely abandoned the heavy German-Latin syntactic construction introduced by Lomonosov, which was not in keeping with the spirit of the Russian language. Instead of long and incomprehensible periods, Karamzin began to write in clear and concise phrases, using light, elegant and logically harmonious French prose as a model.

In "Pantheon" Russian writers“He decisively declared: “Lomonosov’s prose cannot serve as a model for us at all: his long periods are tiring, the arrangement of words is not always consistent with the flow of thoughts.” Unlike Lomonosov, Karamzin strove to write in short, easily understandable sentences. In addition, Karamzin replaces the Old Slavonic conjunctions yako, paki, zane, koliko, etc. with Russian conjunctions and allied words that, so that, when, how, which, where, because (“Liza demanded that Erast often visit her mother “,” “Lisa said where she lives, said and went.”) Rows of subordinating conjunctions give way to non-conjunction and coordinating constructions with conjunctions a, and, but, yes, or, etc.: “Liza fixed her gaze on him and thought. .”, “Liza followed him with her eyes, and her mother sat in thought,” “She already wanted to run after Erast, but the thought: “I have a mother!” stopped her."

Karamzin uses a direct word order, which seemed to him more natural and consistent with the train of thought and movement of a person’s feelings: “One day Lisa had to go to Moscow,” “The next day Lisa picked the best lilies of the valley and again went with them to the city,” “Erast jumped out onto the shore and approached Lisa.” The third stage of Karamzin’s language program was the enrichment of the Russian language with a number of neologisms, which were firmly included in the main vocabulary. Among the innovations proposed by the writer are the words known in our time: industry, development, sophistication, concentrate, touching, entertaining, humanity, public, generally useful, influence, future, love, need, etc., some of them have not taken root in Russian language (realness, infantile, etc.) We know that even in the era of Peter the Great, many foreign words appeared in the Russian language, but they mostly replaced words that already existed in the Slavic language and were not a necessity; in addition, these words were taken in their raw form, and therefore were very heavy and clumsy (“fortecia” instead of “fortress”, “victory” instead of “victory”).

Karamzin, on the contrary, tried to give foreign words a Russian ending, adapting them to the requirements of Russian grammar, for example, “serious”, “moral”, “aesthetic”, “audience”, “harmony”, “enthusiasm”. Karamzin and his supporters preferred words that expressed feelings and experiences, creating “pleasantness”; for this they often used diminutive suffixes (horn, shepherd, brook, mother, villages, path, bank, etc.). Words that create “beauty” were also introduced into the context (flowers, dove, kiss, lilies, esters, curl, etc.). Proper names, naming ancient gods, European artists, heroes of ancient and Western European literature, were also used by Karamzinists in order to give the story a sublime tone.

The beauty of speech was created using syntactic structures close to phraseological combinations(the luminary of the day is the sun; the bards of singing - the poet; the gentle friend of our life - hope; the cypresses of conjugal love - family life, marriage; to move to the heavenly abodes - to die, etc.). Among Karamzin’s other introductions, one can note the creation of the letter E. The letter E is the youngest letter of the modern Russian alphabet. It was introduced by Karamzin in 1797. One can say even more precisely: the letter E was introduced by Nikolai Mikhailovich Karamzin in 1797, in the almanac “Aonids”, in the word “tears”. Before this, instead of the letter E in Russia they wrote the digraph io (introduced around the middle of the 18th century), and even earlier they wrote the usual letter E. In the first decade of the 19th century, the Karamzin reform literary language was met with enthusiasm and generated lively public interest in the problems of literary norms. Most of the young writers contemporary to Karamzin accepted his transformations and followed him.

But not all his contemporaries agreed with him; many did not want to accept his innovations and rebelled against Karamzin as a dangerous and harmful reformer. Such opponents of Karamzin were led by Shishkov, a famous statesman of that time. Shishkov was an ardent patriot, but was not a philologist, so his attacks on Karamzin were not philologically justified and were rather of a moral, patriotic, and sometimes even political nature. Shishkov accused Karamzin of corrupting his native language, of being anti-national, of dangerous freethinking, and even of corrupting morals. Shishkov said that only clean Slavic words You can express pious feelings, feelings of love for the fatherland. Foreign words, in his opinion, distort rather than enrich the language: “The ancient Slavic language, the father of many dialects, is the root and beginning Russian language, which was abundant and rich in itself, does not need to be enriched with French words.”

Shishkov proposed replacing already established foreign expressions with old Slavic ones; for example, replace “actor” with “actor”, “heroism” with “valiant soul”, “audience” with “listening”, “review” with “review of books”. It is impossible not to recognize Shishkov’s ardent love for the Russian language; One cannot help but admit that the passion for everything foreign, especially French, has gone too far in Russia and has led to the fact that the common people's, peasant language has become very different from the language of the cultural classes; but it is also impossible not to admit that it was impossible to stop the naturally occurring evolution of language; it was impossible to forcefully return into use the already outdated expressions that Shishkov proposed (“zane”, “ugo”, “izhe”, “yako” and others). In this language dispute, history has shown a convincing victory for Nikolai Mikhailovich Karamzin and his followers. And mastering his lessons helped Pushkin 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, 390 p.

2. Voilova K.A., Ledeneva V.V. History of the Russian literary language: a textbook for universities. M.: Bustard, 2009. - 495 p. 3. Lotman Yu.M. The Creation of Karamzin. - M., 1998, 382 p. 4. Electronic resource // sbiblio.com: Russian Humanitarian Internet University. - 2002.

N.V. Smirnova

03.19.-03.20.2020, Thursday-Friday: Mikhail Nebogatov. I AM MYSELF. Part two (continued) I offer the text of the autobiography, most likely dating back to 1962, when Nebogatov had not yet been accepted as a member of the Union of Writers of the USSR and when a collection of poems about nature “Native Country Roads” was being prepared, which was published in 1963. (By the nature of the text, one can judge that it was compiled according to some kind of model, where the author had to answer a certain range of questions, as in a questionnaire. - Note by N. Inyakina). I will attach the manuscript with photographs. Shall we read it? Autobiography Born on October 5, 1921 in the city. Guryevsk, Kemerovo region (formerly Novosibirsk) in the family of an employee (father was an accountant at a metallurgical plant, mother was a housewife). He graduated from seven classes and, due to financial insecurity, was forced to leave school. From 1938 to April 1941 he worked as an inventory technician in Kemerovo. In April 1941 he was drafted into the army. Before the war, he served in the city of Brody, Lviv region, then in the active army. Participated in battles. Was wounded twice. In November 1943, he was demobilized due to injury and returned to Kemerovo. He worked as a military instructor in a vocational school, and as a cultural worker in a woodworking artel. For two years he was an employee of the regional newspaper "Kuzbass", and for the same amount of time - an employee of the regional radio. Lately– from 1953 to 1957 worked as department editor fiction at the regional book publishing house. Since September 1957 I have not been a member of the staff anywhere; I live by literary work. He began publishing in 1945, mainly in the Kuzbass newspaper, as well as in the local almanac, in the Siberian Lights magazine and in various collections. He published five books of poetry: “Sunny Days” (1952), “On the Banks of the Tom” (1953), “To Young Friends” (1957), “To My Countrymen” (1958), “Lyrics” ( 1961). Recently I proposed a new collection to a local publishing house - poems about nature. Non-partisan. Married. I have three children. Wife, Maria Ivanovna Nebogatova – born in 1925; children: Svetlana - since 1947, Alexander - since 1949, Vladimir - since 1950. Home address: Kemerovo, Sovetsky Prospekt, 67, apt. 52. _______________ (signature) Nebogatov Mikhail Alexandrovich. And here is what M. Nebogatov writes in the story “About Myself,” published in the collection “May Snow” (1966). I take this story from Svetlana Nebogatova’s book “Mikhail Nebogatov. POET. Diary entries different years" – Kemerovo, 2006. – 300 pp.: ill. (see pp. 5-6): ABOUT MYSELF “I was born on October 5, 1921 in Guryevsk, Kemerovo region. My father, Alexander Alekseevich, was an accountant at a metallurgical plant. All I remember about him is that he was a very tall and very broad-shouldered man with kind eyes. He died, as they say, overnight, having gone to the forest in winter to get firewood. This happened when I was not even five years old. A great burden fell on the shoulders of my mother, Klavdia Stepanovna. Besides me, the youngest, she had two other minor children with her, and it was not easy for the housewife-mother to feed and clothe us. The need was so desperate that I sometimes did not go to school for weeks: I had no shoes. Everyday hardships were brightened up by friendship in the family, kindness and affection of the mother. An illiterate woman, she nevertheless had an extraordinary mind, had a good sense of the living poetic word, and knew many poems by heart (especially Nekrasov and Koltsov). Her speech was full of proverbs and sayings, and some neighbors were even afraid of her sharp tongue. I think that the love for literature and in particular poetry was instilled in me by her, my mother. I started writing poetry as a child. My first work was born like this: I read Nekrasov’s poem “Orina, Mother of a Soldier” and translated it in my own way, in my own words. He distorted Nekrasov, of course, shamelessly, but he did not recognize his experience as a failure, he was very proud of it in his soul. For a long time, my love for poetry coexisted with my passion for drawing. I made copies of various pictures quite successfully: they took not the last place at school exhibitions. In 1937, the family moved to Kemerovo. Soon I was forced to leave teaching and start an independent career path in the inventory bureau, as an inventory technician. My older brother and sister had started families by this time, and her youngest son became the mother’s breadwinner. (Mikhail is the thirteenth child in the family. – Ed.). In April 1941 I was drafted into the army, and in June the Great Patriotic War broke out. At first I was an ordinary Red Army soldier, then - in the spring of 1943 - I attended a three-month course at a military school, from where I graduated with the rank of junior lieutenant. Participated in battles in the Smolensk and Voroshilovgrad regions. In the fall of the same year, 1943, he was demobilized due to injury and returned to Kemerovo. During my military service, I wrote less than a dozen poems. Frankly speaking, I envy those poets who, even in a combat situation, in the most unsuitable conditions for creativity, continued to create. Both at the front and at first after returning home, I did not at all think that literature would one day become my profession; I studied poetry in an amateurish way, casually. The beginning of a serious creative work I think the year is 1945, when my poems began to appear frequently in the regional newspaper Kuzbass. After the army, for the first time he worked as a military commander, a cultural worker, then he was invited to the editorial office of the Kuzbass newspaper as a literary employee. He was also a radio correspondent and editor of the fiction department at the Kemerovo book publishing house. In 1952, my first collection of poems, Sunny Days, was published. Then books of poetry were published: “On the Banks of the Tom” (1953), “To Young Friends” (1957), “To My Countrymen” (1958), “Lyrics” (1961), “Native Country Roads” (1963). In 1962 he was admitted to the Union of Writers of the USSR. My favorite contemporary poet is Alexander Tvardovsky. I consider him my teacher." [In the book: May snow. – Kemerovo Book Publishing House, 1966. – P. 82-84] I’ll show you the cover of the collection and remind you. We will better recognize and understand the poet Nebogatov by reading his answers to the Questionnaire (for this, let us again turn to the book by Svetlana Nebogatova, mentioned above, p. 299. I will give Nebogatov’s answers in capital letters). QUESTIONNAIRE IN “Lit. Russia" published a material entitled "Unusual Questionnaire" (from the archive of Ivan Sergeevich Turgenev). Twice in his life he was asked the same questions (in 1869 and 1880), to which, with two exceptions, he gave completely different answers. These are the exceptions, that is, exactly the same answers (nineteen years later). To the question: what is your distinctive character trait? – answered: laziness. And the second question: who are your favorite poets? First answer: Homer, Shakespeare, Goethe, Pushkin. Second: the same. I wanted to do the same experiment for myself: try to answer the questions asked to Turgenev as if someone had asked them to me. In other words, try to understand yourself. Ivan Sergeevich probably answered without thinking, impromptu, but every question forces me to think for a long time, and then, perhaps, I won’t be able to answer something like him, briefly, in one or two words. And yet it’s interesting to understand yourself, although no one, it seems to me, can fully understand themselves. The complexity of this experiment is in one thing: I could answer some questions with exactly the same definitions, they coincide completely - Turgenev’s and mine, but here it is necessary, apparently, to add something, to answer in more detail, in order not just to repeat the classic, but to say something... then yours. So, someone's questions and my answers. – What is your favorite virtue? – SINCERENESS, HEARTfulness. (Turgenev has sincerity in the first case, youth in the second). – What is your favorite quality in a man? – STRENGTH OF CHARACTER, GENERALITY. – What is your favorite quality in a woman? – DEVOTION, CHARM OF FEMININITY. – What is your distinctive character trait? – MEEKNESS OPPOSITE TO ITSELF. – How do you imagine happiness? – INHINEATE GOOD TALENT, ABILITY TO TAKE CARE OF IT, HARDWORK. – How do you imagine misfortune? – LOSS OF HEALTHY MENTALITY FOR A PERSON, WAR – FOR THE PEOPLE. – What are your favorite colors and flowers? – SCARLET, BLUE. LIGHTS, Cornflowers. – If you weren’t you, who would you like to be? – JUST A GOOD, KIND PERSON. – Who are your favorite prose writers? – CHEKHOV, BUNIN, SHOLOKHOV, SHUKSHIN. – Who are your favorite poets? – PUSHKIN, LERMONTOV, NEKRASOV, YESENIN, TVARDOVSKY, ISAKOVSKY, VASHENKIN, BUNIN. – Who are your favorite artists and composers? – LEVITAN, STRAUSS. – Who is your favorite hero in history? – LENIN, STALIN, GAGARIN. – What are your favorite heroines in history? - TERESHKOVA. – What are your favorite characters in the novel? – IN THE NOVEL – MAKAR NAGULNOV, IN THE POEM – VASILY TERKIN. – What are your favorite heroines in the novel? – ANNA KARENINA, AKSINYA. – What is your favorite food? – CHET CAVIAR. BUT SHE IS NOT. – What are your favorite names? – ALEXANDER, VLADIMIR, IVAN, MARIA, NINA, SVETLANA, ANNA. – What do you hate most? – TO THE LIKE OF POWER, TO UNNATURALITY, TO FALSETY, TO BETRAYING IN FRIENDSHIP, TO HEARING. -Who do you despise most? historical figures? – BULGARIN, DANTES, HITLER. – What is your current state of mind? – UNBALANCED. THEN IT SEEMES TO ME THAT POETRY IS MY CALLING, THEN I START TO DOUBT: WAS IT NOT IN VAIN THAT I DEVOTED MY WHOLE LIFE TO IT? – For what vice do you have more indulgence than me? (In Turgenev, in the first case: to drunkenness, in the second - to everyone). I also answer: – TO EVERYONE, BECAUSE THERE ARE NO IMPACTABLE PEOPLE. WE ARE ALL, AS THEY SAY, SINNERS. I don’t know if my poems reflect the essence of these answers - my human essence - but all of them - answers - are extremely sincere. But they are hardly exhaustive, because - alas - it is difficult to say about something briefly and concisely. Only the great can do this. In the third and final part, I will give several poems in which, in addition to autobiographical information, we will also find some information about what kind of person the poet Nebogatov was. I’m talking about those verses in which we will encounter the pronoun “I”, and in which we will see some additional touches to the portrait. As they say on TV: “Stay with us! Don't switch!" THE END TO FOLLOWS... In the photo: the cover of the book “Mikhail Nebogatov. POET. Diary entries from different years"

1. The formation of literary activity.
2. The beginning of Russian sentimental-romantic prose and poetry.
3. Karamzin’s innovation and its significance for Russian literature.

N. M. Karamzin was born into the family of a Simbirsk nobleman and spent his childhood in a village located on the banks of the Volga. The future literary figure received an excellent education at the boarding school of Schaden, a professor at Moscow University. While still a student, the young man showed interest in Russian literature, moreover, he tried himself in prose and poetry. However, Karamzin for a long time cannot set a goal for himself, determine his purpose in this life. He is helped in this by I. S. Turgenev, a meeting with whom turned his whole life upside down young man. Nikolai Mikhailovich moves to Moscow and becomes a visitor to I. A. Novikov’s circle.

Soon attention is paid to the young man. Novikov instructs Karamzin and A. A. Petrov to edit the magazine “ Children's reading for the heart and mind." This literary activity certainly brings great benefit to a young writer. Gradually, in his works, Karamzin abandons complex, overloaded syntactic structures and high lexical means. His worldview is greatly influenced by two things: enlightenment and Freemasonry. And in the latter case not small role played by the Freemasons' desire for self-knowledge, interest in inner life person. It is human character, personal experiences, soul and heart that the writer puts at the head of the table in his works. He is interested in everything that is in any way connected with the inner world of people. On the other hand, all of Nikolai Mikhailovich’s work is marked by a peculiar attitude towards the order established in Russia: “I am a republican at heart. And I will die like this... I do not demand a constitution or representatives, but in my feelings I will remain a republican, and, moreover, a loyal subject of the Russian Tsar: this is a contradiction, not only an imaginary one! At the same time, Karamzin can be called the founder of Russian sentimental-romantic literature. Despite the fact that the literary heritage of this talented person is relatively small, it has never been fully collected. There remain many diary entries and private letters containing new ideas for the development of Russian literature that have not yet been published.

Karamzin's first literary steps have already attracted the attention of the entire literary community. To some extent, the great Russian commander A.M. Kutuzov predicted his future: “The French Revolution took place in him... but years and experiences will once cool his imagination, and he will look at everything with different eyes.” The commander's assumptions were confirmed. In one of his poems Nikolai Mikhailovich writes:

But time and experience destroy
Castle in the air of youth;
The beauty of magic disappears...
Now I see a different light, -

Karamzin's poetic works constantly touch upon, reveal, expose the essence of man, his soul and heart. In his article “What does an author need?” the poet directly states that any writer “paints a portrait of his soul and heart.” Co student years the talented young man shows interest in poets of the sentimental and pre-romantic movements. He speaks enthusiastically of Shakespeare due to his lack of selectivity in the object of his work. Great playwright of the past, according to Karamzin, opposed the classicists and approached the romantics. His ability to penetrate into “human nature” delighted the poet: “...for every thought he finds an image, for every sensation an expression, for every movement of the soul the best turn.”

Karamzin was a preacher of a new aesthetics, which did not accept any dogmatic rules and clichés and did not at all interfere with the free imagination of a genius. In the poet’s understanding, it acted as a “science of taste.” In Russian literature, conditions have arisen that require new ways of depicting reality, ways based on sensitivity. That is why neither “low ideas” nor descriptions of terrible scenes could appear in a work of art. The writer’s first work, designed in a sentimental style, appeared on the pages of “Children’s Reading” and was called “Russian True Tale: Evgeny and Yulia.” It told about the life of Mrs. L. and her pupil Julia, who, “waking up with nature,” enjoyed the “pleasures of the morning” and read “the works of true philosophers.” However, the sentimental story ends tragically - the mutual love of Julia and Mrs. L.'s son Evgeniy does not save the young man from death. This work is not entirely typical of Karamzin, although it touches on some sentimental ideas. The work of Nikolai Mikhailovich is more characterized by a romantic vision of the world around him, as well as genre speciation. This is precisely what many poems of the talented writer, created in an elegiac tone, testify to:

My friend! Materiality is poor:
Play with your dreams in your soul,
Otherwise life will be boring.

Another famous work by Karamzin, “Letters of a Russian Traveler,” is a continuation of the tradition of travel, popular in those days in Russia thanks to the work of F. Delorme and K. F. Moritz. The writer turned to this genre not by chance. He was famous for his relaxed form of narration about everything that could come across the author’s path. In addition, in the process of travel, the character of the traveler himself is revealed in the best possible way. In his work, Karamzin pays great attention to the main character and narrator; it is his feelings and experiences that are fully manifested here. The traveler's state of mind is described in a sentimental manner, but the depiction of reality amazes the reader with its truthfulness and realism. Often the author uses a fictitious plot invented by a traveler, but immediately corrects himself, claiming that the artist should write everything as it was: “I wrote in the novel. That the evening was the most stormy; that the rain did not leave a dry thread on me... but in fact the evening turned out to be the quietest and clearest.” Thus, romance gives way to realism. In his work, the author is not an outside observer, but an active participant in everything that happens. He states the facts and gives an acceptable explanation of what happened. The focus of the work is the problem of the socio-political life of Russia and art. That is, again romance is closely intertwined with reality. The writer's sentimental style is manifested in melodiousness, in the absence of rude, colloquial expressions in the text, and in the predominance of words expressing various feelings.

Karamzin's poetic works are also filled with pre-romantic motifs, often characterized by moods of sadness, loneliness and melancholy. For the first time in Russian literature, the writer in his poetry turns to the otherworldly, bringing happiness and peace. This theme sounds especially clear in the poem “Cemetery”, constructed in the form of a dialogue between two voices. The first tells about the horror instilled in a person by thoughts of death, while the other sees only joy in death. In his lyrics, Karamzin achieves an amazing simplicity of style, abandoning vivid metaphors and unusual epithets.

Generally literary creativity Nikolai Mikhailovich played a big role in the development of Russian literature. V. G. Belinsky rightfully attributed to the poet the discovery of a new literary era, believing that this talented man “created an educated literary language in Rus',” which significantly helped “to make the Russian public eager to read Russian books.” Karamzin’s activities played a huge role in the development of such outstanding Russian writers as K. N. Batyushkov and V. A. Zhukovsky. From his very first literary experiments, Nikolai Mikhailovich showed innovative qualities, trying to find his own path in literature, revealing characters and themes in a new way, using stylistic means, in particular in terms of prose genres.

Karamzin himself characterizes his work in the best possible way, speaking about the activities of W. Shakespeare, however, following the same principles: “he did not want to observe the so-called unities, which our current dramatic authors so firmly adhere to. He did not want to put tight limits on his imagination. His spirit soared like an eagle and could not measure its soaring with the measure with which sparrows measure theirs.”

Lesson Objectives

Educational:

Contribute to the education of a spiritually developed personality, the formation of a humanistic worldview.

Educational:

To promote the development of critical thinking and interest in the literature of sentimentalism.

Educational:

Briefly introduce students to the biography and work of N.M. Karamzin, give an idea of ​​sentimentalism as a literary movement.

Equipment: computer; multimedia projector; Microsoft Power Point presentation<Приложение 1>; Handout<Приложение 2>.

Epigraph for the lesson:

Whatever you turn to in our literature, everything begins with journalism, criticism, the novel story, the historical story, journalism, and the study of history.

V.G. Belinsky

During the classes

Teacher's opening speech.

We continue to study Russian literature of the 18th century. Today we have to meet an amazing writer, with whose work, according to the famous 19th century critic V.G. Belinsky, “a new era of Russian literature began.” The name of this writer is Nikolai Mikhailovich Karamzin.

II. Recording the topic, epigraph (SLIDE 1).

Presentation

III. A teacher's story about N.M. Karamzin. Creating a cluster (SLIDE 2).

N.M. Karamzin was born on December 1 (12), 1766 in the Simbirsk province into a well-born but poor noble family. The Karamzins descended from the Tatar prince Kara-Murza, who was baptized and became the founder of the Kostroma landowners.

For his military service, the writer’s father received an estate in the Simbirsk province, where Karamzin spent his childhood. He inherited his quiet disposition and penchant for daydreaming from his mother Ekaterina Petrovna, whom he lost at the age of three.

When Karamzin was 13 years old, his father sent him to the boarding school of Moscow University professor I.M. Schaden, where the boy attended lectures, received a secular upbringing, studied German and French perfectly, read English and Italian. At the end of the boarding school in 1781, Karamzin left Moscow and settled in St. Petersburg in Preobrazhensky Regiment, to which he was assigned at birth.

At the time military service include the first literary experiments. The young man's literary inclinations brought him closer to prominent Russian writers. Karamzin started as a translator, edited the first one in Russia children's magazine“Children's reading for the heart and mind.”

After the death of his father in January 1784, Karamzin retired with the rank of lieutenant and returned to his homeland in Simbirsk. Here he led a rather absent-minded lifestyle, typical of a nobleman of those years.

A decisive turn in his fate was made casual acquaintance with I.P. Turgenev, active Freemason, associate famous writer and the book publisher of the late 18th century N.I. Novikova. Over the course of four years, the aspiring writer moved in Moscow Masonic circles and became close friends with N.I. Novikov, becomes a member of the scientific society. But soon Karamzin experiences deep disappointment in Freemasonry and leaves Moscow, setting off on a long journey through Western Europe (SLIDE 3).

- (SLIDE 4) In the fall of 1790, Karamzin returned to Russia and in 1791 began publishing the “Moscow Journal,” which was published for two years and had great success with the Russian reading public. The leading place in it was occupied by fiction, including the works of Karamzin himself - “Letters of a Russian Traveler”, the story “Natalia, the Boyar’s Daughter”, “ Poor Lisa" New Russian prose began with Karamzin's stories. Perhaps, without even expecting it, Karamzin outlined the features of an attractive image of a Russian girl - a deep and romantic nature, selfless, truly folk.

Since the publication of the Moscow Journal, Karamzin appeared before the Russian public opinion like the first professional writer and journalist. In noble society, the pursuit of literature was considered more of a hobby and certainly not a serious profession. The writer, through his work and constant success with readers, established the authority of publishing in the eyes of society and turned literature into an honorable and respected profession.

Karamzin’s merit as a historian is enormous. For twenty years he worked on the “History of the Russian State,” in which he reflected his view on political, cultural, civil life country for seven centuries. A.S. Pushkin noted the “witty search for truth, a clear and accurate depiction of events” in Karamzin’s historical work.

IV. Conversation about the story “Poor Liza”, read at home (SLIDE5).

You have read N.M. Karamzin’s story “Poor Liza”. What is this work about? Describe its content in 2-3 sentences.

From whom is the story told?

How did you see the main characters? How does the author feel about them?

Is Karamzin's story similar to the works of classicism?

V. Introduction of the concept of “sentimentalism” (SLIDE 6).

Karamzin established in Russian literature the artistic opposition to fading classicism - sentimentalism.

Sentimentalism is an artistic movement (current) in art and literature of the late 18th - early 19th centuries. Remember what a literary movement is. (You can check the last slide of the presentation). The very name “sentimentalism” (from the English sentimental - sensitive) indicates that feeling becomes the central aesthetic category of this direction.

A friend of A.S. Pushkin, poet P.A. Vyazemsky, defined sentimentalism as “an elegant image of the basic and everyday.”

How do you understand the words: “elegant”, “basic and everyday”?

What do you expect from works of sentimentalism? (Students make the following assumptions: these will be “beautifully written” works; these will be light, “calm” works; they will talk about simple, Everyday life person, about his feelings, experiences).

Paintings will help us more clearly show the distinctive features of sentimentalism, because sentimentalism, like classicism, manifested itself not only in literature, but also in other forms of art. Look at two portraits of Catherine II (SLIDE7). The author of one of them is a classicist artist, the author of the other is a sentimentalist. Determine which direction each portrait belongs to and try to justify your point of view. (Students unmistakably determine that the portrait made by F. Rokotov is classicist, and the work of V. Borovikovsky belongs to sentimentalism, and prove their opinion by comparing the background, color, composition of the paintings, pose, clothing, facial expression of Catherine in each portrait).

And here are three more paintings from the 18th century (SLIDE 8). Only one of them belongs to the pen of V. Borovikovsky. Find this picture and justify your choice. (On the slide of the painting by V. Borovikovsky “Portrait of M.I. Lopukhina”, I. Nikitin “Portrait of Chancellor Count G.I. Golovkin”, F. Rokotov “Portrait of A.P. Struyskaya”).

VI. Independent work. Compiling a pivot table (SLIDE 9).

In order to summarize the basic information about classicism and sentimentalism as literary movements of the 18th century, I invite you to fill out the table. Draw it in your notebooks and fill in the blanks. Additional material about sentimentalism, you can find some important features of this trend that we did not note in the texts lying on your desks.

The time to complete this task is 7 minutes. (After completing the task, listen to the answers of 2 - 3 students and compare them with the slide material).

VII. Summing up the lesson. Homework(SLIDE 10).

Textbook, pp. 210-211.
Write down answers to questions:

Why did Karamzin's story become a discovery for his contemporaries?
What tradition of Russian literature began with Karamzin?

Literature.

Egorova N.V. Universal lesson developments in literature. 8th grade. - M.: VAKO, 2007. - 512 p. - (To help the school teacher).
Marchenko N.A. Karamzin Nikolai Mikhailovich. - Literature lessons. - No. 7. - 2002/ Supplement to the magazine “Literature at School”.

Related educational materials:

Nikolai Mikhailovich Karamzin in the history of Russian culture.

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

Purpose of the event: get acquainted with the biography and work of N. M. Karamzin, show his role in the development of Russian culture.

Tasks:
- educational: to introduce the creative heritage of N. M. Karamzin.
- developing: develop logical thinking, attention, speech.
- educational: to cultivate a sense of interest in studying Russian literature and history.

Equipment: slide presentation, portrait of the writer, books by N. M. Karamzin.

Progress of the event.

Whatever you turn to in our literature -

everything started with Karamzin:

journalism, criticism, novella,

historical story, journalism,

studying history.

V.G. Belinsky

Teacher's word:

“Russian literature knew writers greater than Karamzin,

knew more powerful talents and more searing pages. But in terms of impact

on the reader of his era, Karamzin is in the first row in terms of influence on

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

any, the most brilliant names.”

A.S. Pushkin called Karamzin “a great writer in every sense

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

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

stories; laid the foundations for professionalization in journalism

writing work, created samples of the main types of periodicals

publications; as an educator he played a huge role in the formation of a literate

reader, taught women to read in Russian, introduced the book into

home education of children.

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

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

Acquaintance with the biography of N.M. Karamzin.

1 Student: Nikolai Mikhailovich was born on December 12, 1766 on the estate. Nikolai Mikhailovich Karamzin was born in the village. Znamenskoye (Karamzinka) of Simbirsk district, in the family of retired captain Mikhail Egorovich Karamzin, a descendant of the Crimean Tatar murza Kara-Murza. From autumn to spring, the Karamzins usually lived in Simbirsk, in a mansion on Old Venets, and in the summer - in the village of Znamensky. (Nowadays an uninhabited village 35 km southwest of Ulyanovsk).
Father Mikhail Yegorovich Karamzin was a middle-class nobleman. Little Nikolai grew up on his father’s estate and was educated at home. In 1778, Nikolai Mikhailovich went to Moscow to the boarding house of Moscow University professor I.M. Schaden.
As was the custom of that time, at the age of 8 he enlisted in the regiment and studied at a Moscow boarding school. From 1781 he served in St. Petersburg in the Preobrazhensky Regiment. This is where his literary activity began. From February 1783 he was on leave in Simbirsk, where he finally retired with the rank of lieutenant. In Simbirsk he became close to local masons, but was not carried away by their ideas. Since 1785 N.M. Karamzin lived in the capitals, regularly coming to Simbirsk until 1795.

2 Student In 1789, Karamzin published his first story, “Eugene and

Julia". In the same year he goes abroad. Karamzin was in Europe

the day before French Revolution. In Germany he met with Kant, in

In France he listened to Mirabeau and Robospierre. This trip had a certain

influence on his worldview and further creativity. After

returning from abroadAt the insistence of his father, in 1783 Nikolai entered service in the Preobrazhensky Guards Regiment of St. Petersburg, but soon retired. Afterwards he was a member of the Friendly Scientific Society in Moscow. There he also met writers - N. I. Novikov, A. M. Kutuzov, A. A. Petrov.
Karamzin becomes close to G.R. Derzhavin, A.M.

Kutuzov. Under the influence of A.M. Kutuzov he gets acquainted with literature

English pre-romanticism, well versed in literature

French Enlightenment (Voltaire, J.J. Rousseau).

In 1791-1792 after a year of traveling around Europe, he undertook the publication of the Moscow Journal, which gave Russian journalism, according to Yu.M. Lotman, the standard of Russian literary criticism magazine. A significant part of the publications in it were the works of Karamzin himself, in particular, the fruit of his trip to Europe - “Letters of a Russian Traveler”, which determined the main tone of the magazine - educational, but without excessive officiality. However, in 1792, the “Moscow Journal” was discontinued after the publication of Karamzin’s ode “To Grace” in it, the reason for the creation of which was the arrest of the Russian writer N.I., who was close to Karamzin. Novikova.

On the pages of this magazine he publishes his works “Letters of a Russian Traveler” (1791-1792), the stories “Poor Liza” (1792), “Natalia, the Boyar’s Daughter” (1792)and the essay “Flor Silin”. These works most forcefully expressed the main features of the sentimental Karamzin and his school.

The story "Poor Lisa". Sentimentalism.

Teacher's word: “Karamzin was the first in Rus' to write stories... in which people acted, depictedlife of the heart and passions in the midst of ordinary life,” wroteV.G. Belinsky

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

nobleman Erast. Karamzin's story became the first Russian work,

whose heroes the reader could empathize with in the same way as the heroes of Rousseau, Goethe and

other European novelists. Literary scholars have noted that

Karamzin presented the simple plot with psychological depth and

soulfully. Karamzin became the recognized head of the new literary

schools, and the story “Poor Liza” is an example of Russian sentimentalism.

“Lizin Pond” near the Simonov Monastery has become especially visited

a place for fans of the writer’s work.

4 Student:Sentimentalism(French sentimentalisme, from French sentiment - feeling) - a state of mind in Western European and Russian culture and a corresponding literary direction. In the 18th century, the definition of “sensitive” was understood as receptivity, the ability to respond spiritually to all manifestations of life. For the first time this word with a moral and aesthetic connotation of meaning appeared in the title of the novel English writer Laurence Stern " Sentimental Journey».

Works written within this artistic movement focus on the reader's perception, that is, on the sensuality that arises when reading them. In Europe, sentimentalism existed from the 20s to the 80s of the 18th century, in Russia - from the end of the 18th to the beginning of the 19th century.

The hero of the literature of sentimentalism is an individual, he is sensitive to the “life of the soul”, has a diverse psychological world and exaggerated abilities in the sphere of feelings. He is focused on the emotional sphere, which means that social and civic problems fade into the background in his mind.

By origin (or by conviction) the sentimentalist hero is a democrat; rich spiritual world the commoner is one of the main discoveries and conquests of sentimentalism.

From the philosophy of the Enlightenment, sentimentalists adopted the idea of ​​​​the extra-class value of the human person; the wealth of the inner world and the ability to feel were recognized for every person, regardless of his social status. A person, unspoiled by social conventions and the vices of society, a “natural” person, guided only by the impulses of his natural good feelings - this is the ideal of the sentimentalists. Such a person could most likely be from the middle and lower social strata - a poor nobleman, tradesman, peasant. A person skilled in social life, who has adopted the value system of a society where the social reigns

inequality is a negative character; he has traits that deserve the indignation and censure of readers.

Sentimentalist writers in their works great attention paid to nature as a source of beauty and harmony, it was in the bosom of nature that a “natural” person could be formed. A sentimentalist landscape encourages thinking about lofty things and awakening bright and noble feelings in a person.

The main genres in which sentimentalism manifested itself were elegy, message, diary, notes, epistolary novel. It was these genres that gave the writer the opportunity to turn to inner world person, reveal the soul, imitate the sincerity of the heroes in expressing their feelings.

Most famous representatives sentimentalism - James Thomson, Edward Jung, Thomas Gray, Laurence Stern (England), Jean-Jacques Rousseau (France), Nikolai Karamzin (Russia).

Sentimentalism penetrated into Russia in the 1780s and early 1790s thanks to translations of the novels “Werther” by I.V. Goethe, "Pamela", "Clarissa" and "Grandison" by S. Richardson, "New Heloise" by J.-J. Rousseau, "Paul and Virginie" by J.-A. Bernardin de Saint-Pierre. The era of Russian sentimentalism was opened by Nikolai Mikhailovich Karamzin with “Letters of a Russian Traveler” (1791–1792).

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

Works by N.M. Karamzin gave rise to a huge number of imitations; At the beginning of the 19th century, “Poor Masha” by A.E. appeared. Izmailov (1801), “Journey to Midday Russia” (1802), “Henrietta, or the Triumph of Deception over Weakness or Delusion” by I. Svechinsky (1802), numerous stories by G.P. Kameneva (“The Story of Poor Marya”; “Unhappy Margarita”; “Beautiful Tatiana”), etc.

N.M. Karamzin – historian, creator of “History of the Russian State”

Teacher's word: The activities of Karamzin, who headed an entire

literary trend - sentimentalism, and for the first time brought together

historiography with artistic creativity, different sides

constantly attracted the attention of N.V. Gogol, M.Yu. Lermontov, I.S.

Turgeneva, F.M. Dostoevsky, L.N. Tolstoy. Associated with the name Karamzin

a special stage in the development of Russian culture.

5 Student: Karamzin developed an interest in history in the mid-1790s. He wrote a story on historical topic- “Martha the Posadnitsa, or the Conquest of Novgorod” (published in 1803). In the same year, by decree of Alexander I, he was appointed to the position of historiographer, and until the end of his life he was engaged in writing “The History of the Russian State.”

Karamzin opened the history of Russia to a wide educated public. According to Pushkin, “everyone, even secular women, rushed to read the history of their fatherland, hitherto unknown to them. She was a new discovery for them. Ancient Russia, it seemed, was found by Karamzin, like America was found by Columbus.”

In his work, Karamzin acted more as a writer than a historian - when describing historical facts, he cared about the beauty of the language, least of all trying to draw any conclusions from the events he described. Nevertheless, his commentaries, which contain many extracts from manuscripts, mostly first published by Karamzin, are of high scientific value.

A. S. Pushkin assessed Karamzin’s works on Russian history as follows:

“In his “History” elegance and simplicity prove to us, without any bias, the necessity of autocracy and the charms of the whip.”

6 Student: In 1803 N.M. Karamzin receives an official appointment to

position of court historiographer, begins to work on the “History of the Russian State” and works on it until the end of his life.

“History of the Russian State” was published in volumes, causing great

public interest. Vyazemsky noted that Karamzin, with his “History...”

“saved Russia from the invasion of oblivion, called it to life, showed us that

“We have a fatherland.”

N.M. Karamzin was awarded the rank of state councilor for this work.

and the Order of St. Anna 1st degree.

with dedication to Alexander I.

This work aroused great interest among contemporaries. Immediately around

“Stories...” Karamzin sparked a wide controversy, reflected in

printing, as well as preserved in manuscript literature. Subjected

criticism of Karamzin’s historical concept, his language (speeches by M. T.

Kachenovsky, I. Lelevel, N.S. Artsybashev and others), his political

views (statements by M.F. Orlov, N.M. Muravyov, N.I. Turgenev).

But many greeted “History...” with enthusiasm: K.N. Batyushkov, I.I.

Dmitriev, Vyazemsky, Zhukovsky and others.

ceremonial meeting of the Imperial Russian Academy" in connection with

election to its membership. Special attention there was a focus on problems

national identity of Russian literature, spoke about the “folk

property of Russians." In 1819 Karamzin again spoke at a meeting

Russian Academy with reading excerpts from volume 9 “History...”,

dedicated to the reign of Ivan the Terrible. Volume 9 went out of print in 1821

his work, in 1824 - vols. 10 and 11; v. 12, the last one containing a description

events before the beginning of the 17th century. Karamzin did not have time to complete it (published posthumously in

1829).

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

telling about the crime of Boris Godunov, caused a revival

controversy surrounding Karamzin's work. The attitude of A.S. is indicative. Pushkin to

Karamzin and his activities. Having met the historiographer back in 1816

in Tsarskoe Selo, Pushkin maintained respect for him and his family and

affection, which did not prevent him from entering into quite a relationship with Karamzin

sharp disputes. Having taken part in the controversy surrounding “History...”, Pushkin

warmly defended Karamzin, emphasizing the social significance

his work and calling it “the feat of an honest man.” Your tragedy

Pushkin dedicated “Boris Godunov” to the “precious memory for Russians” of N.M.

Karamzin.

N.M. Karamzin is a reformer of the Russian language.

Teacher's word: Great are the merits of N.M. Karamzin in the field of reforming the Russian language. “No matter how Karamzin’s views changed throughout his life, the idea of ​​progress remained their solid foundation. It was expressed in the idea of ​​​​the continuity of improvement of man and humanity.” According to Karamzin, the happiness of humanity lies through the improvement of the individual. “The main engine here is not morality (as the Freemasons believed), but art (...). And Karamzin considered instructing his contemporaries in the art of living as his primary task. He wanted to implement, as it were, Peter’s second reform: not of state life, not of the external conditions of social existence, but of the “art of being oneself” - a goal that can be achieved not through the efforts of the government, but through the actions of people of culture, especially 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 the written language closer to the living spoken language of an educated society.”

In 1802, in the journal “Bulletin of Europe” N.M. Karamzin published an article “Why there are few creative talents in Russia.”

Karamzin's work had a significant impact on the development of the Russian literary language. He sought not to use Church Slavonic vocabulary and grammar, but to turn to the language of his era, the language of “ordinary” people, using the grammar and syntax of the French language as an example. Karamzin was one of the first to use the letter Yo, introduced new words (neologisms) (charity, love, impression, sophistication, humane, etc.), barbarisms (sidewalk, coachman, 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 presence of the author sharply distinguished his works from the stories and novels of classicist writers. It should be noted that artistic techniques, which Karamzin most often uses to express his personal attitude to an object, phenomenon, event, fact. His works contain many paraphrases, comparisons, similes, and epithets. Researchers of Karamzin’s work note the melodiousness of his prose due to the rhythmic organization and musicality (repetitions, inversions, exclamations, etc.)

Final word teachers: In one of his last letters to the Minister of Foreign Affairs of Russia, Karamzin wrote: “As I approach the end of my activities, I thank

God for your destiny. Maybe I'm mistaken, but my conscience is calm.

My dear Fatherland cannot blame me for anything. I was always ready

serve him without humiliating my personality, for which I am responsible to the same

Russia. Yes, even if all I did was describe the history of the barbarian centuries,

let me not be seen either on the battlefield or in the council of statesmen. But

since I am not a coward or a sloth, I say: “So it was as it pleased

Heaven" and, without ridiculous pride in my craft as a writer, without shame I see myself among our generals and ministers."