"The role of landscape in the story of N. Karamzin" Poor Liza

The meaning of the landscape in the story of N.M. Karamzin "Poor Liza"

Content:

Introduction 3 - 5 pp.

Main part 6 - 13 pages.

Conclusion p. 14

List of used literature 15 pp.

Introduction.

In the history of Russian literature of the late XVIII - at the beginning of the 19th century, a transitional period takes place, characterized by the coexistence of various directions, trends and philosophical worldviews. Along with classicism, another literary trend, sentimentalism, is gradually forming and taking shape.

Nikolai Mikhailovich Karamzin is the head of Russian sentimentalism. He became an innovator in the genre of the story: he introduced the image of the author-narrator into the narrative, used new artistic techniques to characterize the heroes and express the author's position. To reflect the changes in the worldview of a person at the beginning of XVIII century, sentimentalism needed to create a new hero: "He is presented not only and not so much in the actions dictated by the" enlightened mind ", but in his feelings, moods, thoughts, searches for truth, goodness, beauty." Therefore, the appeal to nature in the works of sentimentalists is natural: it helps in portraying the inner world of the hero.

The image of nature is one of the most important aspects of the very essence of the figurative reflection of the world, in all types of art, among all peoples and in all ages.Scenery is one of the most powerful tools for creating an imaginary, "virtual" world of a work, an essential component of artistic space and time. Artistic images of nature are always saturated with spiritual, philosophical and moral meaning - after all, they are the “picture of the world” that determines the attitude of a person to everything around him. Moreover, the problem of depicting a landscape in art is also filled with a special religious content. Researcher of Russian icon painting N.M. Tarabukin wrote: “... The art of landscape is designed to reveal in an artistic image the content of nature, its religious meaning, as a revelation of the Divine spirit. The problem of the landscape in this sense is a religious problem ... ”.

There are almost no works in Russian literature that lack a landscape. Writers have sought to incorporate this extra-plot element into their writing for a variety of purposes.

Of course, when considering the evolution of landscape in Russian literature of the endXVIII - the beginningXIX in., the main attention of researchers rivets the creativity of N.M. Karamzin, who for his contemporaries became the head of a new literary school, the founder of a new - Karamzin - period in the history of Russian literature. In his literary landscapes Karamzin most consistently and vividly presented that new perception of the world that distinguished both sentimental and pre-romantic Russian literature.

The best work of N.M. Karamzin is considered the story "Poor Liza", written by him in 1792. It touches upon all the main problems, the disclosure of which requires a deep analysis and understanding of the Russian reality of the 18th century and the essence of human nature in general. Most of his contemporaries were delighted with Poor Liza, they completely correctly understood the idea of \u200b\u200bthe author, who simultaneously analyzed the essence of human passions, relationships and the harsh Russian reality. It is in this story that picturesque pictures of nature, at first glance, can be considered random episodes, which are just a beautiful background for the main action. But the landscapes of Karamzin are one of the main means of revealing the emotional experiences of the heroes. In addition, they serve to convey the author's attitude to what is happening.

Objective.

The aim of this work is:

Determine the meaning of the landscape in the story of N.M. Karamzin "Poor Liza";

Determine how the state of nature is connected with the actions and the spiritual world of the heroes, how the landscape helps to reveal the ideological and artistic intention of the writer. Determine what opportunities this technique opens and what is the limitation of its use by Karamzin;

Compare landscapes with descriptions of nature in the works of his predecessors Lomonosov M.V. "Morning Meditation on the Majesty of God" and "Evening Meditation on the Majesty of God on the Occasion of the Great Northern Lights" and Derzhavin G.R. "Waterfall".

Tasks.

To achieve this goal, it is necessary to solve the following tasks:

Get acquainted with literary and critical works.

Determine for what purpose landscapes are introduced into works.

Work structure.

The work consists of an introduction, main part, conclusion and a list of used literature.

The 18th century as a transitional era in the development of Russian literature gave rise to several types of literary landscape. For classicism, the conventionality of the vision of nature and the genre fixation of one or another type of "ideal" landscape were characteristic. The landscape of "high" genres of classicism, especially the solemn ode, saturated with allegories and emblems, had its stable features. Prayer-reverent admiration for nature - the Universe, God's creation sounded in poetic transcriptions of the texts of the Holy Scriptures, primarily transcriptions of psalms. Its own system of landscape descriptions existed in idyllic-bucolic, pastoral genres ", in the love lyrics of classicism, primarily in the early elegy XVIII century.

Thus, Russian classicism partly created, partly inherited from its literary "samples" a fairly rich palette of landscape images. However, the conquest of sentimentalism can be called a new look at the world around a person. Nature is no longer regarded as a standard, as a set of ideal proportions; rational comprehension of the universe, the desire with the help of reason to understand the harmonious structure of nature is no longer placed in the foreground, as it was in the era of classicism. In the works of sentimentalists, nature has its own spirit of harmony. Man, being a part of nature, refers to it as a connecting link with the Creator in search of true existence, which is opposed to a meaningless secular life. Only alone with nature can a person think about his place in this world, to comprehend himself as a part of the universe. The action takes place, as a rule, in small towns, in the countryside, in secluded places that are conducive to reflection, while much attention is paid to the description of nature, which is associated with the emotional experiences of the author and his heroes, interest in folk life and poetry is shown. That is why in the works of sentimentalists, close attention is paid to both the description of rural life and rural landscapes.

The story “Poor Liza” begins with a description of Moscow and “a terrible bulk of houses and churches”, and immediately after that the author begins to paint a completely different picture: “Below there are thick, densely green, flowering meadows, and beyond them, over yellow sands, a fresh river flows, agitated by the light oars of fishing boats ... On the other side of the river is an oak grove, near which numerous herds graze ... " Karamzin takes the position of defending the beautiful and natural, the city is unpleasant for him, he is drawn to "nature". Thus, here the description of nature serves to express the author's position.

Most of the landscapes of the story are aimed at conveying the state of mind and experience of the main character. It is she, Liza, who is the embodiment of everything natural and beautiful, this heroine is as close to nature as possible: “Even before the ascent of the sun, Liza got up, went down to the bank of the Moskva River, sat down on the grass and gazed at the white fogs ... awakened all creation ... "

Nature at this moment is beautiful, but the heroine is sad, because a new, hitherto unknown feeling is born in her soul, it is beautiful and natural, like a landscape around. In a few minutes, when an explanation takes place between Lisa and Erast, the girl's experiences dissolve in the surrounding nature, they are just as beautiful and pure. "What a wonderful morning! How fun it is in the field! The larks never sang so well, the sun never shone so brightly, never the flowers smelled so nice! "

A wonderful romance begins between Erast and Lisa, their relationship is chaste, their embrace is "pure and pure." The surrounding landscape is also pure and immaculate. “After that, Erast and Liza, fearing not to keep their word, saw each other every evening ... most often under the shade of century-old oaks ... oaks overshadowing a deep, clean pond, fossilized in ancient times. There, the often quiet moon, through the green branches, strewn its light Liza's hair with its rays, with which marshmallows and the hand of a dear friend played. "

The time for an innocent relationship is passing, Liza and Erast become close, she feels like a sinner, a criminal, and the same changes occur in nature as in Lisa's soul: “Meanwhile, lightning flashed and thunder struck ... black clouds - it seemed that nature was complaining about Liza's lost innocence, " This picture reveals not only the state of mind of Lisa, but also foreshadows the tragic ending of this story.

The heroes of the work part, but Liza does not yet know that this is forever, she is unhappy, her heart is breaking, but there is still a faint hope in it. “The morning dawn, which, like a“ scarlet sea ”, spreads“ across the eastern sky, ”conveys the heroine's pain, anxiety and confusion and also testifies to an unkind ending.

Lisa, having learned about Erast's betrayal, ended her unhappy life, she threw herself into the same pond, near which she was once so happy, she was buried under the "gloomy oak tree", which is a witness of the happiest moments of her life.

Before the development of the plot begins, the themes of the main characters of the story are clearly defined in the landscape - the theme of Erast, whose image is inextricably linked with the "terrible bulk of houses" of "greedy" Moscow, shining with "golden domes", the theme of Liza, conjugated with an inextricable associative connection with life beautiful natural nature, described using the epithets “blooming”, “light”, “light”, and the theme of the author, whose space is not physical or geographical, but spiritual and emotional in nature: the author acts as a historian, chronicler of the life of his heroes and keeper of memory about them.

Liza's image is invariably accompanied by a motif of whiteness, purity and freshness: on the day of her first meeting with Erast, she appears in Moscow with lilies of the valley in her hands; at the first appearance of Erast under the windows of Liza's hut, she gives him milk, pouring it from a "clean jug covered with a clean wooden mug" into a glass wiped with a white towel; on the morning of Erast's arrival on the first date, Liza, “puffed up, looked at the white mists that were stirring in the air”; after the declaration of love to Liza it seems that “the sun never shone so brightly”, and on subsequent dates “the quiet moon silvered her fair hair with rays”.

Each appearance of Erast on the pages of the story is somehow connected with money: at the first meeting with Liza, he wants to pay her a ruble for lilies of the valley instead of five kopecks; when he buys Liza's work, he wants to "always pay ten times the price she sets"; before leaving for the war, “he forced her to take some money from him”; in the army, he “instead of fighting the enemy, played cards and lost almost all of his estate”, which is why he was forced to marry an “elderly rich widow” (we involuntarily compare Liza, who refused for the sake of Erast to “the son of a rich peasant”). Finally, at the last meeting with Lisa, before driving her out of his house, Erast puts a hundred rubles in her pocket.

The semantic leitmotifs given in the landscape sketches of the author's introduction are realized in the narration of images synonymous with them: the golden domes of greedy Moscow - the motive of money that accompanies Erast; flowering meadows and a bright river of nature near Moscow - motives of flowers; whiteness and purity surrounding the image of Lisa. Thus, the description of the life of nature extends extensively to the entire figurative system of the story, introducing an additional aspect of the psychologization of the narrative and expanding its anthropological field with the parallelism of the life of the soul and the life of nature.

The whole love story of Liza and Erast is immersed in the picture of the life of nature, constantly changing according to the stages of development of love feelings. Particularly obvious examples of such a correspondence between the emotional fullness of a landscape sketch and the semantic content of a particular plot twist are given by the melancholic autumn landscape of the introduction, foreshadowing the general tragic denouement of the story, a picture of a clear, dewy May morning, which is a declaration of love between Lisa and Erast, and a picture of a terrible night thunderstorm. accompanying the beginning of a tragic turn in the fate of the heroine. Thus, “a landscape from an auxiliary device with“ frame ”functions, from a“ pure ”decoration and an external attribute of the text has turned into an organic part of an artistic structure that realizes the general concept of the work,” became a means of producing reader’s emotion, acquired “correlation with the inner world of a person as a kind of mirror souls ".

The above examples show how important it is to describe pictures of nature in a work of art, how deeply they help to penetrate into the soul of the heroes and their experiences.

Not only Karamzin, but also his predecessors M.V. Lomonosov and G.R.Derzhavin paid great attention to the depiction of nature.

M.V. Lomonosov used solemn occasions to create vivid and majestic pictures of the universe.Lomonosov made his vast knowledge of science the subject of poetry. His "scientific" poems are not a simple transposition of the achievements of science into poetic form. This is really poetry, born of inspiration, but only unlike other types of lyrics, here the poetic delight was excited by the inquisitive thought of the scientist. Lomonosov dedicated poems with scientific themes to natural phenomena, primarily to the space theme. As a deist philosopher, Lomonosov saw in nature a manifestation of the creative power of a deity. But in his poems he reveals not the theological, but the scientific side of this issue: not the comprehension of God through nature, but the study of nature itself, created by God. This is how two closely related works appeared: "Morning meditation on the majesty of God" and "Evening meditation on the majesty of God in the event of the great northern lights." Both poems were written in 1743.

In each of the "Reflections" the same composition is repeated. First, phenomena are depicted that are familiar to a person from his daily impressions. Then the poet-scientist lifts the veil over the invisible, hidden area of \u200b\u200bthe Universe, which introduces the reader to new, unknown worlds. So, in the first stanza of "Morning Reflection" the sunrise, the coming of the morning, the awakening of all nature are depicted. Then Lomonosov begins to talk about the physical structure of the Sun. A picture is drawn that is accessible only to the inspired gaze of a scientist who is capable of speculatively imagining what the “mortal” human “eye” cannot see - the red-hot, raging surface of the sun:

There the fiery ramparts strive

And they find no shores;

There are fiery whirlwinds spinning,

Fighting for many centuries;

There stones, like water, boil,

The rains are burning there.

Lomonosov appears in this poem as an excellent popularizer of scientific knowledge. He reveals the complex phenomena occurring on the surface of the Sun with the help of ordinary, highly visible "earthly" images: "fiery shafts", "flaming vortices", "burning rains".

In the second, "evening" meditation, the poet turns to the phenomena that appear to man in the firmament at nightfall. At the beginning, as in the first poem, a picture is given that is directly accessible to the eye:

The day hides his face;

A gloomy night covered the fields;<...>

The abyss of stars is full;

The stars are endless, the bottom abyss.

This magnificent sight awakens the inquisitive thought of a scientist. Lomonosov writes about the infinity of the universe, in which a person looks like a small grain of sand in a bottomless ocean. For readers accustomed, according to the Holy Scriptures, to consider the earth the center of the universe, this was a completely new look at the world around him. Lomonosov raises the question of the possibility of life on other planets, offers a number of hypotheses about the physical nature of the northern lights.

G.R.Derzhavin takes a new step in depicting a person. In the poem "Waterfall", dedicated to GA Potemkin, Derzhavin tries to draw people in all their complexity, depicting both their positive and negative sides.

At the same time, in the work of Derzhavin during these years, the image of the author is greatly expanded and complicated. To a large extent, this is facilitated by the poet's increased attention to the so-called anacreontic songs - small poems written on motives or "in the spirit" of the ancient Greek lyricist Anacreon. Derzhavin's anacreontika is based on "a lively and tender impression of nature," in the words of Derzhavin's friend and translator Anacreon - N. A. Lvov. "This new and large section of Derzhavin's poetry," writes A. V. Zapadov, "served for him as an exit into the joyful world of nature, made it possible to talk about a thousand small but important things for man, which had no place in the system of genres of classicist poetics Addressing Anacreon, imitating him, Derzhavin wrote his own, and the national roots of his poetry are "especially clear" in the Anacreon songs.

In the ode "Waterfall" Derzhavin proceeds from a visual impression, and in the first stanzas of the ode, the magnificent verbal painting depicts the Kivach waterfall on the Suna River in the Olonets province:

The mountain is falling down diamond

From the heights of four rocks,

Abyss and silver for pearls

Boils down below, hits up with bumps<...>

Noises - and in the midst of a dense forest

Lost in the wilderness then<...> .

However, this landscape sketch immediately takes on the meaning of a symbol of human life - open and accessible to the eye in its earthly phase and lost in the darkness of eternity after the death of a person: "Isn't it the life of people for us // depicts this waterfall?" And then this allegory develops very consistently: a sparkling and thundering waterfall open to the eyes, and a modest stream that originates from it, lost in a deep forest, but drinks with its water all those who come to its shores, are likened to time and glory: “Isn't it time from heaven pouring<...> // Honor shines, glory spreads? " ; “O glory, glory in the light of the mighty! // You definitely are this waterfall<...>»

The main part of the ode personifies this allegory in comparison of the lifetime and posthumous destinies of two great contemporaries of Derzhavin, a favorite of CatherineII Prince Potemkin-Tavrichesky and the disgraced commander Rumyantsev. It must be assumed that the poet, sensitive to the word, was carried away, among other things, by the possibility of a contrasting play on their significant surnames. Derzhavin avoids calling Rumyantsev, who is in the darkness of disgrace, by his last name, but his image appearing in the ode is all shrouded in the brilliance of luminiferous metaphors, consonant with her: "like a rosy ray of dawn", "in a crown of lightning blush." On the contrary, Potemkin, brilliant, omnipotent, amazed his contemporaries with the luxury of his way of life, the brilliance of an extraordinary personality, in a word, being in plain sight during his lifetime, in the ode “Waterfall” is immersed in darkness by an untimely death: “Whose corpse, as if at a crossroads, haze, // Lies in the dark bosom of the night? Potemkin's bright and loud lifetime glory, as well as his personality itself, are likened in Derzhavin's ode to a magnificent, but useless waterfall:

Marvel at people around you

Always gathers in droves, -

But if he with his water

Conveniently won't make everyone drink<...>

The life of Rumyantsev, no less talented, but undeservedly bypassed by fame and honors, evokes in the poet's mind the image of a stream, whose quiet murmur will not be lost in the flow of time:

Not better than the lesser known

And it is more useful to be;<...>

And a quiet murmur in the distance

Attract offspring with attention?

The question of which of the two commanders is more worthy of life in the memory of posterity remains open for Derzhavin, and if the image of Rumyantsev, created by the poet in the ode "Waterfall", in the highest degree corresponds to Derzhavin's ideas about an ideal statesman ("Blessed when, striving for glory, // He kept the common good " , then the image of Potemkin, overtaken by sudden death at the highest takeoff of his brilliant fate, is fanned by the author's heartfelt lyrical emotion: "Aren't you from the height of honor // Fell in a flash among the steppes?" The solution to the problem of human immortality in the memory of descendants is given in a universal human sense and in an abstract-conceptual way:

Hear, the waterfalls of the world!

O noisy chapters of glory!

Your sword is bright, colored purple,

If you have loved the truth,

When they had only meta

To deliver happiness to the light.

The considered natural landscapes in the works of MV Lomonosov and GR Derzhavin are just as beautiful as in the story "Poor Liza" by NM Karamzin, but they are introduced into the works for a different purpose. In Karamzin's work, nature conveys the state of mind, the mood of the heroes portrayed. Lomonosov in his works glorifies the universe. And Derzhavin the greatness of nature is compared with the greatness of the glorified heroes, but does not convey their state of mind.

Conclusion.

Our work allows us to conclude that the reflection of nature in Russian literature of the late 18th - early 19th centuries has a multifaceted meaning. The landscape literally from the beginning of the work receives an emotional characteristic - it is not just a dispassionate background against which events unfold, and not a decoration that adorns the picture, but a piece of living nature, as if rediscovered by the author, felt by him, perceived not with his mind, not with his eyes, but with his heart ...

In Poor Liza, the landscape is not only used to create an atmosphere, mood, but also carries a certain symbolic meaning, emphasizes the close connection between “natural man” and nature.

A special role belongs to the narrator, whose image was also new to literature.XVIII century. The beauty of direct communication surprisingly influenced the reader, creating an inextricable emotional connection between him and the author, which develops into a substitution of reality for fiction. With Poor Liza, the Russian reading public received one important gift - the first place of literary pilgrimage in Russia. Having experienced for himself what an emotional charge is fraught with the effect of co-presence, the writer accurately indicates the place of action of his story - the vicinity of the Simonov Monastery. Even Karamzin himself had no idea what effect his innovations would have on the reader. Almost immediately, "Poor Liza" began to be perceived by readers as a story about true events. Numerous pilgrims rushed to the modest reservoir at the monastery walls. The real name of the pond was forgotten - from now on it became Lisa's pond.

Actually, with "Poor Liza" a new era began in Russian literature, henceforth the sensitive person becomes the main measure of everything.

Undoubtedly, N.M. Karamzin is one of the most significant figures in the history of Russian literature of the late 18th - early 19th centuries.

List of used literature:

G. Derzhavin. N. Karamzin. V. Zhukovsky. Poems. Stories. Journalism. - M .: Olympus; LLC "Publishing house AST-LTD", 1997.

M.V. Lomonosov. Selected works. North-West Book Publishing House. Arkhangelsk. 1978.

T.A. Kolganova. Russian literatureXVIII century. Sentimentalism. - M .: Bustard. 2002.

Vishnevskaya G.A. From the history of Russian romanticism (Literary and theoretical judgments of N.M. Karamzin 1787-1792).M., 1964.

Tarabukin N.M. The landscape problem. M., 1999.

Grigorian K.N. Pushkin Elegy: National Origins, Precursors, Evolution. - L., 1990.

V. Muravyov Nikolay Mikhailovich Karamzin. M., 1966.

Orlov P.A. Russian sentimental story. M., 1979.

A.V. Zapadov G. Derzhavin. N. Karamzin. V. Zhukovsky. Poems. Stories. Journalism. - M .: Olympus; LLC "Publishing house AST-LTD", 1997. S. 119

G. Derzhavin. N. Karamzin. V. Zhukovsky. Poems. Stories. Journalism. - M .: Olympus; LLC "Publishing house AST-LTD", 1997. S. 123

At the end of the 18th century, the works of N.M. Karamzin aroused great interest in Russian literature. For the first time, his characters spoke in a simple language, and their thoughts and feelings were in the foreground. What was new was that the author openly expressed his attitude to what was happening and gave him an assessment. The role of the landscape was also special. In the story "Poor Liza" he helps to convey the feelings of the heroes, to understand the motives of their actions.

The beginning of the piece

The outskirts of "greedy" Moscow and the magnificent countryside with a bright river, lush groves, endless fields and several small villages - such contrasting pictures appear in the exposition of the story. They are absolutely real, familiar to every inhabitant of the capital, which initially gives the story its credibility.

The panorama is complemented by the towers and domes of the Simonov and Danilov monasteries shining in the sun, symbolizing the connection between history and the common people who keep it sacred. And also the acquaintance with the main character begins.

This landscape sketch cultivates the idyll of country life and sets the tone for the entire story. The fate of a poor peasant woman, Liza, will be tragic: a simple peasant girl brought up next to nature will become a victim of an all-devouring city. And the role of the landscape in the story "Poor Liza" will only increase as the action develops, since the changes in nature will be in complete harmony with what will happen to the characters.

Features of sentimentalism

This approach to writing works was not something unique: it is a distinctive feature of sentimentalism. The historical and cultural trend with this name in the 18th century became widespread, first in Western Europe, and then in Russian literature. Its main features:

the prevalence of the cult of feelings, which was not allowed in classicism;
harmony of the hero's inner world with the external environment - a picturesque rural landscape (this is the place where he was born and lives);
instead of the sublime and solemn - touching and sensual, associated with the experiences of the characters;
the main character is endowed with rich spiritual qualities.

Karamzin became the writer in Russian literature who brought the ideas of sentimentalism to perfection and fully implemented all its principles. This is confirmed by the characteristics of the story "Poor Liza", which occupied a special place among his works.

The image of the main character

The plot seems pretty simple at first glance. In the center of the narrative is the tragic love of a poor peasant woman (something that did not exist before!) For a young nobleman.

Their chance meeting quickly turned into love. Pure, kind, brought up far from city life, full of pretense and deception, Lisa sincerely believes that her feelings are mutual. In her striving to be happy, she steps over the moral norms by which she has always lived, which is not at all easy for her. However, the story of Karamzin "Poor Liza" shows how untenable such love is: very soon it turns out that her beloved deceived her. The whole action unfolds against the backdrop of nature, which has become an involuntary witness of first boundless happiness, and then the heroine's irreparable grief.

The beginning of a relationship

The first meetings of lovers are filled with the joy of communicating with each other. Their meetings take place either on the banks of the river or in a birch grove, but more often at three oak trees growing near the pond. Landscape sketches help to understand the smallest changes in her soul. In long minutes of waiting, she plunges into thought and does not notice what has always been a part of her life: a month in the sky, a nightingale singing, a light breeze. But as soon as the beloved appears, everything around is transformed and becomes amazingly beautiful and unique for Lisa. It seems to her that the larks never sang so well for her before, the sun did not shine so brightly, and the flowers did not smell so good. Absorbed in her feelings, poor Liza could think of nothing else. Karamzin picks up the mood of his heroine, and their perception of nature in the happy moments of the heroine's life is very close: this is a feeling of delight, serenity and peace.

The fall of Lisa

But there comes a time when physical intimacy replaces pure, immaculate relationships. Poor Liza, brought up on Christian commandments, perceives everything that has happened as a terrible sin. Karamzin again emphasizes her confusion and fear with the changes taking place in nature. After what happened, the sky opened over the heads of the heroes, and a thunderstorm began. Black clouds covered the sky, rain poured out of them, as if nature itself mourned the girl's “crime”.

The feeling of impending trouble is intensified by the scarlet dawn that appeared in the sky at the moment of the heroes' farewell. It recalls the scene of the first declaration of love, when everything seemed bright, radiant, full of life. Contrasting landscape sketches at different stages of the heroine's life help to understand the transformation of her inner state during the acquisition and loss of the person most dear to her heart. Thus, the story of Karamzin "Poor Liza" went beyond the classical depiction of nature in. From an insignificant detail that played the role of decoration, the landscape turned into a way of conveying heroes.

Final scenes of the story

The love of Lisa and Erast did not last long. Broken and in dire need of money, the nobleman soon married a rich widow, which was the most terrible blow for the girl. She could not survive the betrayal and committed suicide. The heroine found peace in the very place where the most passionate dates took place - under an oak tree by the pond. And next to the Simonov monastery, which appears at the beginning of the story. The role of the landscape in the story "Poor Liza" in this case is reduced to giving the work a compositional and logical completeness.

The story ends with a story about the fate of Erast, who never became happy and often visited the grave of his former lover.

The role of landscape in the story "Poor Liza": results

When analyzing a work of sentimentalism, one cannot fail to mention how the author manages to convey the feelings of the heroes. The main technique is the creation of an idyll based on the complete unity of rural nature with its bright colors and pure soul, a sincere person, like poor Liza. Heroes like her cannot lie, pretend, so their fate is often tragic.

Liza (poor Liza) is the main character of the story, who made a complete revolution in the public consciousness of the 18th century. For the first time in the history of Russian prose, Karamzin turned to a heroine endowed with emphatically ordinary features. His words “and love the peasant women ...

Karamzin's story Poor Liza, which had a significant impact on the formation and development of new Russian literature, enjoyed tremendous success among Russian readers of the early 19th century. The plot of this story is very simple: it boils down to a sad love story ...

New!
Nikolai Mikhailovich Karamzin entered the history of Russian literature as the founder of a new literary movement - sentimentalism. This trend replaced classicism in the late eighteenth - early nineteenth century. It got its ...

At the end of the 18th century, the direction of sentimentalism arises in literature, for which the main thing is the inner world of a person with its simple and simple joys. Poor Liza is a story about the sad fate of a peasant girl who fell in love with a nobleman and was abandoned ...

Ardently loving her parents, she cannot forget about her father, but hides her sadness and tears so as not to disturb her mother. She tenderly cared for her mother, got her medicines, worked day and night (“weaved canvases, knitted stockings, in the spring tore flowers, and ...

New!
The story of Nikolai Mikhailovich Karamzin "Poor Liza" has become a typical example of sentimentalism. Karamzin was the founder of this new literary trend in Russian literature. In the center of the story is the fate of the poor peasant girl Liza ...

There are almost no works in Russian literature that lack a landscape. Writers have sought to incorporate this off-plot element into their writing for a variety of purposes. So, for example, in the story “Poor Liza” by Karamzin, picturesque pictures of nature, at first glance, can be considered random episodes, which are just a beautiful background for the main action. But landscapes are one of the main means of revealing the emotional experiences of the heroes. In addition, they serve to convey the author's attitude to what is happening.

At the beginning of the story, the author describes Moscow and "a terrible bulk of houses", and immediately after that begins to paint a completely different picture: "Below ... on the yellow sands, a fresh river flows, agitated by the light oars of fishing boats ... On the other side of the river is an oak grove, near which numerous herds graze ... "Karamzin takes the position of protecting the beautiful and natural, the city is unpleasant to him, he is drawn to" nature ". Thus, here the description of nature serves to express the author's position.

The heroine is sad, because a new, hitherto unknown feeling is born in her soul, but it is beautiful and natural for her, like the landscape around. Within a few minutes, when an explanation takes place between Lisa and Erast, the girl's experiences dissolve in the surrounding nature, they are just as beautiful and pure. And after the parting of the lovers, when Liza feels like a sinner, a criminal, the same changes take place in nature as in Lisa's soul. Here the picture of nature reveals not only the state of mind of Lisa, but also foreshadows the tragic ending of this story.

One of the main landscape functions in the novel "A Hero of Our Time" is to reveal more fully and deeply the personality of the main character, Pechorin. His character is reflected in his descriptions of nature ("Fatalist", "Taman", "Princess Mary").

Pechorin is able to feel the movement of air, the stirring of tall grass, to admire the "foggy outlines of objects", revealing spiritual subtlety and depth. For him, a lonely person, nature in difficult moments helps to maintain peace of mind. “I eagerly swallowed the fragrant air,” Pechorin writes after an emotionally intense meeting with Vera.

Nature in the novel is constantly opposed to the world of people with their petty passions, and Pechorin's desire to merge with the harmonious world of nature is in vain. The landscapes belonging to the pen of the main character are full of movement - such descriptions emphasize the inner energy of the hero, his constant tension, thirst for action, reflect the dynamics of his mental states.

Thus, landscapes in a work of art help to penetrate deeply into the souls of the heroes and their experiences, to better understand the ideological intention of the author.

In this lesson we will get acquainted with the story of N.M. Karamzin "Poor Liza". We will find out why this work was in a special place among other works of Russian literature, and also analyze the role of landscape in this story.

Topic: LiteratureXVIII century

Lesson: "Poor Lisa". The inner world of heroes. The role of landscape

In the last lesson we talked about the unity of everything that Karamzin wrote, about one thought that pervades everything that Karamzin wrote, from beginning to end. This idea is to write the history of the soul of the people together with the history of the state.

Everything that Karamzin wrote was intended for a narrow circle of readers. First of all, for those with whom he was personally acquainted and with whom he communicated. This is the part of the high society, the Petersburg and Moscow nobility, which was involved in literature. And also for some of the people, whose number was measured by the number of seats in the imperial theater. As a matter of fact, those one and a half to two thousand people who gathered at the performances of the imperial theaters and made up the entire audience to which Karamzin addressed. These were people who could see each other, see, first of all, in the theater, at balls, meetings of high society, which were sometimes official, sometimes not. But these meetings have always represented the circle of contacts and interests that shaped the future of Russian literature.

Everything that Karamzin wrote is addressed to the circle of people whom he calls friends. If we open “Letters of a Russian Traveler”, then we read the very first phrase - an appeal to friends: “I parted with you, dear, parted! My heart is tied to you with all the most tender feelings, and I am constantly moving away from you and will continue to move away! " 18 months later, returning from a trip, Karamzin ends his "Letters of a Russian Traveler" again with an appeal to his friends: "Shore! Fatherland! I bless you! I am in Russia and in a few days I will be with you, my friends! .. "And further:" And you, dear ones, rather prepare me a neat hut in which I could have fun in freedom with the Chinese shadows of my imagination, be sad with my heart and be comforted with friends. " The appeal to friends, as a cross-cutting motive, is constantly present in the text, and in the text of any work of Karamzin.

Figure: 2. The title page of "Letters of a Russian Traveler" ()

About the landscape

The story "Poor Liza" consists of fragments connected by a story about the author's experiences, and these are fragments of two kinds. The first of them (and with this the story begins) is a description of nature. Description of nature, which serves Karamzin exclusively as a reflection of the inner state of the author-narrator. There is some idea about the person who writes the text. It turns out that it is impossible to read without this representation. In order to read the text, one must, as it were, take the place of the one who wrote it, one must merge with the author and see with his eyes what he saw, and feel for him what he felt. This is a special kind of landscape, which, apparently, appears for the first time in Russian literature in Karamzin's works. Here is the beginning: “... no one is more often than mine in the field, no one more than mine wanders on foot, without a plan, without a goal - wherever they look - through meadows and groves, over hills and plains. Every summer I find new pleasant places or new beauty in old ones. "

Karamzin does not dwell on details, he does not describe color, he does not convey sound, he does not talk about some small details, objects ... He talks about impressions, about what mark visible objects (their colors and sounds) leave in his soul ... And this somehow tunes the reader and makes him think and feel in unison with how the author thinks and feels. And whether Karamzin wanted it or not, he did it on purpose or by accident, it appeared. But this is precisely what became such a material feature of Russian prose for several centuries to come.

Figure: 3. Illustration for the story "Poor Liza". G. D. Epifanov (1947) ()

And "Poor Liza" is in a special place among these works. The fact is that friendly meetings of the times of Karamzin represented a very clear line between the male and female part of society. Men tended to communicate separately. If this is not a ball, not a children's holiday, then most often only men were present in the meeting where future or current Russian writers met. The appearance of a woman was as yet impossible. Nevertheless, women were the subject of male conversations, male interests, and women were most often referred to by what men wrote. Already Karamzin noticed that the Russian reader at the turn of the 18th-19th centuries is mainly women. And his story, dedicated to a woman, whose main character was a woman, was addressed primarily to the reader, and not to the reader. Later, Karamzin turned to a male reader in his multivolume History of the Russian State. He turned to the female reader at the very moment when, apparently, the idea of \u200b\u200bthe unity of the history of the country and the history of the soul was born. It was the female soul that was of particular interest.

It must be understood that in the education system, in the communication system that existed in that era (both the separate education of boys and girls, and the separate communication of men and women) constituted a very important part. And in this sense, in the male community of writers, women were something of an ideal that they served, before which they bowed, to which the texts they wrote turned.

Figure: 4. "Poor Liza". O. A. Kiprensky (1827) ()

"Poor Liza" is the embodiment of the feminine ideal that Karamzin and his circle of friends see. At the same time, one must understand that fiction, some kind of artificiality, the schematic nature of the whole plot of Poor Liza was a completely natural thing for that time.

There is a chasm between a nobleman and a peasant; there is a chasm between a master and his servant. The love story between a rich and noble man named Erast and a poor peasant girl named Lisa is a very real story. And in the circle of acquaintances to whom Karamzin addresses his story, the majority should have recognized real prototypes - those people whose story Karamzin tells in his story. Everyone else who did not personally know about these circumstances could guess that real people are behind the characters. And Karamzin does not finish speaking, does not give any factual instructions, any hints at those who really stand behind these characters. But everyone guesses that the story is not fictional, the story is actually the most common and traditional: the master seduces the peasant woman and then abandons her, the peasant woman commits suicide.

Figure: 5. Illustration for the story "Poor Liza". M.V. Dobuzhinsky (1922) ()

This is a standard situation now for us, for those who look at this history from the height of two centuries that have passed since then. There is nothing unusual and mysterious about it. In essence, this is the story of a television series. This story, which is repeatedly rewritten in notebooks, and now these notebooks have migrated to the Internet and are called blogs, and there, in essence, are told exactly the same sentimental stories that girls have become accustomed to since the days of Karamzin. And to this day, these stories are extremely popular. What is the feature? What keeps our attention in this story now, two centuries later? From this point of view, it is very interesting to look at the reviews and comments that are left on the Internet by modern readers who have just read the story "Poor Liza". They, it turns out, try this story on themselves. They put themselves in Lisa's shoes and talk about what they would do in similar circumstances.

Men represent themselves in this story quite differently. None of the readers identifies with Erast and does not try to try on this role. A completely different male look, a completely different idea of \u200b\u200bthe text, completely different thoughts, completely different feelings for men.

Apparently, then in 1792 Nikolai Mikhailovich Karamzin discovered Russian literature as female literature. And this discovery still continues to be important and relevant. The successors of this women's story, and then the women's novel, created by Karamzin, are quite common in our days, and book counters display a wide selection of women's stories and novels. And not always women compose them, more often men compose them. But, nevertheless, these novels are still very popular.

Women's literature. Contemporary women's stories. The regularity of the formation of Russian literature: a woman as a judge for a man

Following the landscapes, the second element, the second part of the texts that are included in the story, is conversations. These are conversations that, as a rule, give only a hint, an outline. They are completely different from the real conversations that people have with each other. And now, and in the 18th century, when Karamzin's story was written, people spoke differently. Those dialogues that Karamzin reproduces, they rather outline, give some hints, short designations of those feelings that people experience when they say these words. Words by themselves are unimportant, the feelings behind them are important. Here is Lisa's mother talks about the impression that Erast makes on her:

"But how can we call you, kind, gentle master?" the old woman asked. “My name is Erastom,” he answered. "Erastom," Liza said quietly, "Erastom!" She repeated this name five times, as if trying to harden it. Erast said goodbye to them and went. Liza followed him with her eyes, while her mother sat in thought and, taking her daughter by the hand, said to her: “Oh, Liza! How good and kind he is! If only your groom was like that! " All Liza's heart fluttered. "Mother! Mother! How can this be? He is a master, but among the peasants ... "- Liza did not finish her speech."

Perhaps this is the first case in the entire history of Russian literature when a character's interrupted speech gives more than its continuation. What Lisa is silent about is more important than what she talks about. The technique of silence, when an unspoken word acts much more strongly, is perceived much brighter than a sounding word, was known in poetry. As a matter of fact, Karamzin also has a poem "Melancholy", where he uses it. This is an imitation of Delisle, which ends with the words: “There is a feast ... but you do not see, do not heed and put your head on your hand; Your joy is to be silent, to be silent and to look at the past with a tender gaze ”. In a poem, trying to convey feelings through silence is something like a pause in music. When the sound of a voice or a musical instrument stops, the listener has a pause, there is a time when he can experience, feel what he just heard. Karamzin gives the same: he interrupts Liza's monologue, and she does not say what worries her the most. She is worried about the abyss between her and her lover. She worries that their marriage is impossible.

Lisa sacrifices herself, she refuses a rich peasant groom who proposed to her. And she is silent here about what is most important for the reader. This ability to give the reader to hear, feel, understand what cannot be conveyed in words, Karamzin to a large extent discovered as an opportunity for literature.

Speaking about the beginning of women's literature in Russia with Poor Lisa, one should understand that women's literature is not at all prohibited for men. And when we say that the heroes do not identify themselves with the negative character of this story, we do not mean at all that this story disgusts the male reader. We are talking about the fact that the male reader identifies himself with another hero. This hero is an author-narrator.

A man who, walking around the outskirts of Moscow, stumbled upon the hut where Lisa lived with her mother and tells this whole story not at all in order to read another moral for the edification of descendants and contemporaries. Not. He talks about his experiences, about what touched him. Let's pay attention: the words “touch” and “feel” are some of those words that Karamzin used in Russian for the first time.

Another thing is that he borrowed these words from the French language and sometimes simply used French words, replacing French roots with Russian ones, sometimes without changing them. Nevertheless, readers (both men and women) remain readers of Karamzin, because it is important for them to follow the movement of the soul that makes up the meaning, which makes up the core, the essence of the story.

This discovery of Karamzin is much more important than his discoveries in literature and history. And the opening of the soul, the opening of the opportunity to look deep into a person, as an opportunity to look into the soul of another person and look into his own soul and read something like that, previously unknown, is the main discovery of Karamzin. A discovery that largely determined the entire future course of Russian literature.

1. Korovina V.Ya., Zhuravlev V.P., Korovin V.I. Literature. Grade 9. M .: Education, 2008.

2. Ladygin M.B., Esin A.B., Nefedova N.A. Literature. Grade 9. M .: Bustard, 2011.

3. Devil V.F., Trubina L.A., Antipova A.M. Literature. Grade 9. M .: Education, 2012.

1. What was the audience to which N.М. addressed? Karamzin? Describe the circle of its readers.

2. What work of N.М. Karamzin is mainly addressed to the male reader, and which one to the female reader?

3.Which character from N.M. Karamzin's "Poor Liza" often identify with male readers?

4. To what extent does the silence technique used by N.М. Karamzin?

5. * Read the text "Poor Liza" by N.М. Karamzin. Tell us about your impressions.

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