“No matter what you turn to in our literature, everything began with Karamzin: journalism, criticism, the novel, the historical story, journalism, the study of history... “No matter what you turn to in our literature, everything began with Karamzin: journalism,

N.M. Karamzin - journalist, writer, historian "Moscow Magazine" "Moscow Magazine" "Letters of a Russian Traveler" "Letters of a Russian Traveler" "Natalia, the Boyar's Daughter" "Natalya, the Boyar's Daughter" "Poor Lisa" "Poor Lisa" " History of the Russian State" "History of the Russian State" N.M. Karamzin. Hood. A.G. Venetsianov. 1828

Sentimentalism An artistic movement (current) in art and literature of the late 18th – early 19th centuries. An artistic movement (current) in art and literature of the late 18th – early 19th centuries. Direction From English. SENTIMENTAL - sensitive. From English SENTIMENTAL - sensitive. “An elegant image of the basic and everyday” (P.A. Vyazemsky.) “An elegant image of the basic and everyday” (P. A. Vyazemsky.)

“Poor Lisa” What is this work about? What is this work about? From whom is the story told? From whom is the story told? How did you see the main characters? How does the author feel about them? How did you see the main characters? How does the author feel about them? Is Karamzin's story similar to the works of classicism? Is Karamzin's story similar to the works of classicism? O. Kiprensky. Poor Lisa.

Classicism Classicism Line of comparison Sentimentalism Sentimentalism Raising a person in the spirit of loyalty to the state, the cult of reason Main idea The desire to represent the human personality in the movements of the soul Civil, social Main theme Love Strict division into positive and negative, one-linearity Heroes and characters Refusal of straightforwardness in assessing characters, attention to ordinary people Auxiliary, conditional Role of landscape Means of psychological characterization of heroes Tragedy, ode, epic; comedy, fable, satire Main genres Tale, journey, novel in letters, diary, elegy, message, idyll

Homework 1. Textbook, pp. Write down answers to the questions: Why did Karamzin’s story become a discovery for his contemporaries? Why did Karamzin's story become a discovery for his contemporaries? What tradition of Russian literature began with Karamzin? What tradition of Russian literature began with Karamzin?

The basis of A. N. Ostrovsky’s play “The Thunderstorm” is the conflict of the “dark kingdom” and the bright beginning, presented by the author in the image of Katerina Kabanova. A thunderstorm is a symbol of the heroine’s mental turmoil, the struggle of feelings, moral elevation in tragic love, and at the same time, the embodiment of the burden of fear under the yoke of which people live.
The work depicts the musty atmosphere of a provincial town with its rudeness, hypocrisy, and the power of the rich and “elders.” The “Dark Kingdom” is an ominous environment of heartlessness and stupid, slavish worship of the old order. The kingdom of obedience and blind fear is opposed by the forces of reason, common sense, enlightenment, represented by Kuligin, as well as the pure soul of Katerina, which, albeit unconsciously, is hostile to this world with the sincerity and integrity of her nature.
Katerina spent her childhood and youth in a merchant environment, but at home she was surrounded by affection, her mother’s love, and mutual respect in the family. As she herself says, “... she lived, did not worry about anything, like a bird in the wild.”
Given in marriage to Tikhon, she found herself in an ominous environment of heartlessness and stupid, slavish admiration for the power of the old, long-rotten order, which the “tyrants of Russian life” so greedily clutch at. Kabanova tries in vain to instill in Katerina her despotic laws, which, in her opinion, constitute the basis of domestic well-being and the strength of family ties: unquestioning submission to the will of her husband, obedience, diligence and respect for elders. This is how her son was raised.
Kabanova intended to mold Katerina into something similar to what she had turned her child into. But we see that for a young woman who finds herself in her mother-in-law’s house, such a fate is excluded. Dialogues with Kabanikha
show that “Katerina’s nature will not accept base feelings.” In her husband's house she is surrounded by an atmosphere of cruelty, humiliation, and suspicion. She tries to defend her right to respect, does not want to please anyone, wants to love and be loved. Katerina is lonely, she lacks human participation, sympathy, love. The need for this draws her to Boris. She sees that outwardly he is not like other residents of the city of Kalinov, and, not being able to recognize the inner essence, considers him a person from another world. In her imagination, Boris seems to be the only one who will dare to take her from the “dark kingdom” to a fairy-tale world.
Katerina is religious, but her sincerity in faith differs from the religiosity of her mother-in-law, for whom faith is only a tool that allows her to keep others in fear and obedience. Katerina perceived the church, icon painting, and Christian chants as an encounter with something mysterious, beautiful, taking her far from the gloomy world of the Kabanovs. Katerina, as a believer, tries not to pay much attention to Kabanova’s teachings. But this is for the time being. The patience of even the most patient person always comes to an end. Katerina “endures until... until such a demand of her nature is insulted in her, without the satisfaction of which she cannot remain calm.” For the heroine, this “demand of her nature” was the desire for personal freedom. To live without listening to stupid advice from all sorts of wild boars and others, to think as one thinks, to understand everything on one’s own, without any extraneous and useless admonitions - this is what is of the greatest importance to Katerina. That's something she won't let anyone trample on. Her personal freedom is her most precious value. Katerina even values life much less.
At first, the heroine resigned herself, hoping to find at least some sympathy and understanding from those around her. But this turned out to be impossible. Even Katerina began to have some “sinful” dreams; as if she were racing against three frisky horses, intoxicated with happiness, next to her loved one... Katerina protests against seductive visions, but human nature defended its rights. A woman has awakened in the heroine. The desire to love and be loved grows with inexorable force. And this is a completely natural desire. After all, Katerina is only 16 years old - the very flowering of young, sincere feelings. But she doubts, reflects, and all her thoughts are fraught with panic. The heroine is looking for an explanation for her feelings, in her soul she wants to justify herself to her husband, she is trying to tear away vague desires from herself. But reality, the real state of affairs returned Katerina to herself: “Before whom am I pretending...”
Katerina's most important character trait is honesty with herself, her husband and other people; unwillingness to live in a lie. She says to Varvara: “I don’t know how to deceive, I can’t hide anything.” She does not want and cannot be cunning, pretend, lie, hide. This is confirmed by the scene when Katerina confesses to her husband that she is cheating.
Its greatest value is freedom of the soul. Katerina, accustomed to living, as she admitted in a conversation with Varvara, “like a bird in the wild,” is burdened by the fact that in Kabanova’s house everything comes “as if from under captivity!” But before it was different. The day began and ended with prayer, and the rest of the time was spent walking around the garden. Her youth is covered in mysterious, bright dreams: angels, golden temples, paradise gardens - can an ordinary earthly sinner dream of all this? And Katerina had just such mysterious dreams. This testifies to the extraordinary nature of the heroine. The reluctance to accept the morality of the “dark kingdom”, the ability to preserve the purity of her soul is evidence of the strength and integrity of the heroine’s character. She says about herself: “And if I get really tired of it here, they won’t hold me back by any force. I’ll throw myself out the window, throw myself into the Volga.”
With such a character, Katerina, after betraying Tikhon, could not stay in his house, return to a monotonous and dreary life, endure constant reproaches and moralizing from Kabanikha, or lose freedom. It is difficult for her to be in a place where she is not understood and humiliated. Before her death, she says: “What goes home, what goes to the grave, it’s all the same... It’s better in the grave...” She acts according to the first call of her heart, according to the first spiritual impulse. And this, it turns out, is her problem. Such people are not adapted to the realities of life, and always feel that they are superfluous. Their spiritual and moral strength, which is able to resist and fight, will never dry up. Dobrolyubov rightly noted that “the strongest protest is the one that rises... from the chests of the weakest and most patient.”
And Katerina, without realizing it, challenged the tyrant force: however, it led her to tragic consequences. The heroine dies defending the independence of her world. She doesn't want to become a liar and a pretender. Love for Boris deprives Katerina’s character of integrity. She is cheating not on her husband, but on herself, which is why her judgment of herself is so cruel. But, dying, the heroine saves her soul and gains the desired freedom.
Katerina's death at the end of the play is natural - there is no other way out for her. She cannot join those who profess the principles of the “dark kingdom”, become one of its representatives, since this would mean destroying everything that is bright and pure in herself, in her own soul; cannot come to terms with the position of a dependent, join the “victims” of the “dark kingdom” - live according to the principle “if only everything is sewn and covered.” Katerina decides to part with such a life. “Her body is here, but her soul is no longer yours, she is now before a judge who is more merciful than you!” - Kuligin says to Kabanova after the tragic death of the heroine, emphasizing that Katerina has found the desired, hard-won freedom.
Thus, A. N. Ostrovsky showed his protest against the hypocrisy, lies, vulgarity and hypocrisy of the world around him. The protest turned out to be self-destructive, but it was and is evidence of the free choice of an individual who does not want to put up with the laws imposed on her by society.

The drama “The Thunderstorm” was written by A.N. Ostrovsky on the eve of the peasant reform in 1859. The author reveals to the reader the features of the social structure of that time, the characteristics of a society standing on the threshold of significant changes.

Two camps

The play takes place in Kalinov, a merchant town on the banks of the Volga. Society was divided into two camps - the older generation and the younger generation. They involuntarily collide with each other, since the movement of life dictates its own rules, and it will not be possible to preserve the old system.

The “Dark Kingdom” is a world characterized by ignorance, lack of education, tyranny, house-building, and aversion to change. The main representatives are the merchant's wife Marfa Kabanova - Kabanikha and Dikoy.

Kabanikha's world

Kabanikha torments her family and friends with groundless reproaches, suspicions and humiliations. For her, it is important to adhere to the rules of the “old times,” even at the expense of ostentatious actions. She demands the same from her environment. Behind all these laws there is no need to talk about any feelings even towards one’s own children. She brutally rules over them, suppressing their personal interests and opinions. The entire way of life of the Kabanovs' house is based on fear. To intimidate and humiliate is the life position of a merchant’s wife.

Wild

Even more primitive is the merchant Dikoy, a true tyrant, humiliating those around him with loud shouts and abuse, insults and exaltation of his own personality. Why is he acting this way? It’s just that for him it’s a kind of way of self-realization. He brags to Kabanova about how he subtly scolded this or that, admiring his ability to come up with new abuse.

The heroes of the older generation understand that their time is coming to an end, that their usual way of life is being replaced by something different, fresh. This makes their anger become more and more uncontrollable, more violent.

The philosophy of the Wild and Kabanikha is supported by the wanderer Feklusha, a respected guest for both. She tells frightening stories about foreign countries, about Moscow, where instead of people there are certain creatures with dog heads. These legends are believed without realizing that they are thereby exposing their own ignorance.

Subjects of the "dark kingdom"

The younger generation, or rather its weaker representatives, succumb to the influence of the kingdom. For example, Tikhon, who since childhood has not dared to say a word against his mother. He himself suffers from her oppression, but he does not have enough strength to resist her character. Largely because of this, he loses Katerina, his wife. And only bending over the body of his deceased wife does he dare to blame his mother for her death.

Dikiy’s nephew, Boris, Katerina’s lover, also becomes a victim of the “dark kingdom.” He was unable to resist cruelty and humiliation and began to take them for granted. Having managed to seduce Katerina, he could not save her. He didn't have the courage to take her away and start a new life.

A ray of light in a dark kingdom

It turns out that only Katerina breaks out of the usual life of the “dark kingdom” with her inner light. She is pure and spontaneous, far from material desires and outdated life principles. Only she has the courage to go against the rules and admit it.

I think that “The Thunderstorm” is a remarkable work for its coverage of reality. The author seems to encourage the reader to follow Katerina to the truth, to the future, to freedom.

Lesson for 9th grade on the topic “Two contradictions in N.M. Karamzin’s story “Poor Liza”
During the classes.I.Organization of attention.-Hello guys.

Today we will hold a discussion on literature on the topic: “Two contradictions in the story by N.M. Karamzin "Poor Liza".

You will have to guess for yourself which two contradictions will be discussed, but a little later. (Slide No. 1)

II. Discussion on the topic of the lesson

- Read the epigraph. What does it tell us about the writer? (Slide No. 2)

-He is endowed with a kind heart and sensitivity.

- Capable of thinking.

-Can’t get past troubles and suffering.

A story about the writer and his work, attitude, Karamzin’s views on enlightenment and education, patriotism. (Slide No. 3)

- 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 joined the Preobrazhensky Regiment in St. Petersburg, to which he was assigned at birth.

The first literary experiments date back to his military service. The young man's literary inclinations brought him closer to prominent Russian writers. Karamzin began as a translator and edited Russia’s first 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 by a chance acquaintance with I.P. Turgenev, an active freemason, an associate of the famous writer and 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. (Slide No. 4) embarking on a long journey through Western Europe.

- (SLIDE 5) In the fall of 1790, Karamzin returned to Russia and from 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 stories “Natalia, the Boyar’s Daughter”, “Poor Liza”. 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.

Beginning with the publication of the Moscow Journal, Karamzin appeared before Russian public opinion as 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 the events of the political, cultural, and civil life of the country over seven centuries. A.S. Pushkin noted the “witty search for truth, a clear and accurate depiction of events” in Karamzin’s historical work.

-Karamzin is called a writer – a sentimentalist. What is this direction?

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

Sentimentalism is an artistic movement (current) in art and literature of the late 18th – early 19th centuries. The very name “sentimentalism” (from English. sentimental– sensitive) indicates that feeling becomes the central aesthetic category of this direction.

What are the main genres of sentimentalism?

Story, journey, novel in letters, diary, elegy, message, idyll

What is the main idea of synthementalism?

The desire to represent the human personality in the movements of the soul

What is Karamzin’s role in the direction of sentimentalism?

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

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 the simple, everyday life of a person, about his feelings and 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”).

I draw your attention to the reproduction of the painting “Simonov Monastery” by G. Afanasyev, 1823, and I suggest taking a walk around the outskirts of Moscow with the lyrical hero. The beginning of which work do you remember? (“Poor Liza”) From the heights of the “gloomy, Gothic” towers of the Simonov Monastery, we admire the splendor of the “majestic amphitheater” in the rays of the evening sun. But the eerie howl of the winds within the walls of the deserted monastery and the sad ringing of the bell foreshadow the tragic ending of the whole story.

What is the role of landscape?

A means of psychological characterization of heroes

Slide 9.

-What is this story about?(About love)

Yes, indeed, the story is based on a plot that is widespread in the literature of sentimentalism: a young rich nobleman achieved the love of a poor peasant girl, left her and secretly married a rich noblewoman.

-What can you say about the narrator?(The guys note that the narrator is involved in the relationships of the characters, he is sensitive, it is no coincidence that he repeats “Ah,” he is noble, vulnerable, and keenly feels the misfortune of others.)

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

-What do we learn about Erast?

Kind, but spoiled.

Unable to think about his actions.

He didn't know his character well.

The intention to seduce was not part of his plans...

-Can we say that his way of thinking was influenced by sentimental literature?(Yes. He read novels, idylls; he had a fairly vivid imagination and was often transported to those times in which... people walked carelessly through the meadows... and spent all their days in happy idleness." Soon he “could no longer be content with just pure embraces "He wanted more, more, and finally he couldn't want anything."

Erast Karamzin determines the reasons for the cooling quite accurately. The young peasant woman lost the charm of novelty for the master. Erast breaks up with Lisa rather coldly. Instead of words about a “sensitive soul” there are cold words about “circumstances” and a hundred rubles for the heart given to him and the crippled life. How does the “theme of money” illuminate human relationships?

(The guys say that sincere help should be expressed in actions, in direct participation in the fate of people. Money serves as a cover for unclean intentions. “I forget the man in Erast - I’m ready to curse him - but my tongue does not move - I look at the sky, and a tear rolls down my face.")

- How is the theme of love between Lisa and Erast resolved?(For Lisa, the loss of Erast is tantamount to the loss of life, further existence becomes meaningless, she commits suicide. Erast realized his mistakes, “could not be consoled,” reproaches himself, goes to the grave.)

Is Karamzin’s story similar to works of classicism? ?

I invite the children to write words on one side of the paper “hearts” (they were cut out of paper in advance and are on their desks) - internal experiences that speak O love Lisa. Show “hearts”, read: « Confusion, excitement, sadness, crazy joy, happiness, anxiety, melancholy, fear, despair, shock.”

I invite students to write on the back of the “hearts” words that characterize Erast’s love ( I read: “Deceiver, seducer, egoist, unintentional traitor, insidious, first sensitive, then cold”)

What was the main thing in Lisa’s attitude towards Erast?

a/n: Love

What word can be replaced?

p/o: Feelings.

What could help her cope with this feeling?

p/o: Reason. (slide 11)

What are feelings?

What is the mind? (Slide 12)

What prevailed in Lisa's feelings or reason?

(Slide 13)

Lisa's feelings are distinguished by their depth and consistency. She understands that she is not destined to be Erast’s wife, and even repeats twice: “He is a master; and between peasants...", "However, you cannot be my husband!..I am a peasant..."

But love turns out to be stronger than reason. After Erast’s confession, the heroine forgot about everything and gave all of herself to her beloved.

What dominated Erast’s feelings or reason?

What words support this? Find in the text and read .(Slide 14)

This story was perceived as true: the surroundings of the Simonov Monastery, where Liza lived and died, “Lizin’s Pond,” became for a long time a favorite place of pilgrimage for the reading noble public .

- (Slide 16) Pay attention to the words of the narrator. What feelings overwhelm him?

(Slide 17) - Do similar stories exist today?

-For what reason do lovers break up?

(Slide 18) -So what is the meaning of the name? ( You can refer to the explanatory dictionary article. As a rule, students say that “poor” means “unhappy.”) (Slide 19)

- “What “feelings” does the story foster in readers?”

Result.-What does the author of the story warn us about?
By : warns of the need for reason in love
-How should a person build his happiness?
By: a person builds his happiness on the harmony of feelings and reason
-What does this story teach us? by compassion for your neighbor, by empathizing, by helping, you yourself can become spiritually richer, purer Homework.

Textbook, pp. 67-68 - questions.

Write down answers to questions:

Why did Karamzin's story become a discovery for his contemporaries?

What tradition of Russian literature began with Karamzin?

Pure, high glory of Karamzin
belongs to Russia.
A. S. Pushkin

Nikolai Mikhailovich Karamzin belongs to the century of Russian enlightenment, appearing before his contemporaries as a first-class poet, playwright, critic, translator, reformer, who laid the foundations of the modern literary language, journalist, and creator of magazines. The personality of Karamzin successfully merged the greatest master of artistic expression and a talented historian. Everywhere his activities are marked by the features of true innovation. He largely prepared the success of his younger contemporaries and followers - figures of the Pushkin period, the golden age of Russian literature.
N.M. Karamzin is a native of a steppe village in Simbirsk, the son of a landowner, a hereditary nobleman. The origins of the formation of the worldview of the future great writer and historian are Russian nature, the Russian word, and the traditional way of life. The caring tenderness of a loving mother, the love and respect of parents for each other, a hospitable home where the father’s friends gathered for a “voluble conversation.” From them Karamzin borrowed “Russian friendliness, ... gained the Russian spirit and noble noble pride.”
Initially he was educated at home. His first teacher was the village sexton, with his obligatory book of hours, with which the teaching of Russian literacy began then. Soon he began to read books left by his late mother, mastering several then popular adventure novels, which contributed to the development of imagination, broadening his horizons, and strengthening the belief that virtue always wins.
Having completed his home science course, N.M. Karamzin goes to Moscow to the boarding house of Moscow University professor Schaden, a wonderful teacher and erudite. Here he improves himself in foreign languages, domestic and world history, seriously studies literature, artistic and moral-philosophical, and turns to his first literary experiments, starting with translations.

N.M. Karamzin was inclined to receive further education in Germany, at the University of Leipzig, but at the insistence of his father he began to serve in St. Petersburg in the Preobrazhensky Guards Regiment. But military service and secular pleasures could not tear him away from literary studies. Moreover, relative N.M. Karamzina I.I. Dmitriev, a poet and prominent dignitary, introduces him to the circle of St. Petersburg writers.
Soon Karamzin retires and leaves for Simbirsk, where he has great success in local secular society, being equally skillful at whist and in ladies' society. Later he thought about this time with longing, as if it were lost. A sharp change in his life was brought about by a meeting with an old family acquaintance, a famous lover of antiquities and Russian literature, Ivan Petrovich Turgenev. Turgenev was N.I.’s closest friend. Novikov and shared his broad educational plans. He took young Karamzin to Moscow and invited N.I. to participate in educational and publishing activities. Novikova.
The beginning of his own literary activity dates back to this time: translations from Shakespeare, Lessing, etc., publishing debut in the magazine "Children's Reading", the first mature poetic works. Among them are the program poem “Poetry”, messages to Dmitriev, “War Song”, etc. We have preserved them in the collection “Karamzin and the Poets of His Time” (1936).

These works are important not only for revealing the origins of his work, they mark a qualitatively new step in the development of Russian poetry. A subtle connoisseur of 18th-century literature P.A. Vyazemsky wrote about N.M. Karamzine: “As a prose writer, he is much higher, but many of his poems are very remarkable. With them began our inner, homely, soulful poetry, the echoes of which were later heard so vividly and deeply in the strings of Zhukovsky, Batyushkov and Pushkin himself.”
Captivated by the idea of self-improvement, having tested himself in translations and poetry, N.M. Karamzin realized that he would write without knowing what else. Therefore, he set off on a trip to Europe in order to add significance to future works through the acquired experience.
So, an ardent, sensitive, dreamy, educated young man, Karamzin sets off on a trip to Western Europe. In May 1789 - September 1790. he traveled around Germany, Switzerland, France, and England. He visited remarkable places, scientific meetings, theaters, museums, observed public life, got acquainted with local publications, met famous people - philosophers, scientists, writers, and compatriots who were abroad.
In Dresden, I visited the famous art gallery; in Leipzig, I enjoyed the many bookstores, public libraries, and people who needed books. But Karamzin the traveler was not a simple observer, sentimental and carefree. He persistently seeks meetings with interesting people, takes advantage of every available opportunity to talk with them about exciting moral issues. He visited Kant, although he had no letters of recommendation to the great philosopher. I talked with him for about three hours. But not every young traveler could speak as an equal with Kant himself! At a meeting with German professors, he talked about Russian literature and, to prove that the Russian language “is not disgusting to the ears,” he read Russian poetry to them. He recognized himself as an authorized representative of Russian literature.

Nikolai Mikhailovich really wanted to go to Switzerland, to the “land of freedom and prosperity.” He spent the winter in Geneva, admiring the magnificent Swiss nature and visiting places haunted by the memory of the great Jean-Jacques Rousseau, whose Confessions he had just read.
If Switzerland seemed to him the pinnacle of spiritual communication between man and nature, then France was the pinnacle of human civilization, the triumph of reason and art. To Paris N.M. Karamzin found himself in the midst of a revolution. Here he visited the National Assembly and revolutionary clubs, followed the press, and talked with prominent political figures. He met Robespierre and retained respect for his revolutionary conviction until the end of his life.
And how many surprises were hidden in the Parisian theaters! But most of all he was struck by the naive melodrama from Russian history - “Peter the Great”. He forgave the ignorance of the directors, the absurdity of the costumes, and the absurdity of the plot - a sentimental love story between an emperor and a peasant woman. I forgave him because after the end of the performance he “wiped away his tears” and was glad that he was Russian! And the excited spectators around him were talking about Russians...

Here he is in England, “in that land that in his childhood he loved with such fervor.” And he likes a lot here: cute English women, English cuisine, roads, crowds and order everywhere. Here the artisan reads Hume, the maid reads Stern and Richardson, the shopkeeper talks about the trade benefits of his fatherland, newspapers and magazines are of interest not only to city dwellers, but also to villagers. They are all proud of their constitution and somehow impress Karamzin more than all other Europeans.
Nikolai Mikhailovich’s natural powers of observation are striking, allowing him to grasp the characteristic features of everyday life, notice little things, and create general characteristics of the Parisian crowd, the French, and the English. His love for nature, interest in the sciences and arts, deep respect for European culture and its outstanding representatives - all this speaks of the high talent of a person and a writer.
His journey lasted a year and a half, and all this time N.M. Karamzin remembered the dear fatherland he had left behind and thought about its historical destinies, and was sad about his friends who remained at home. Having returned, he began to publish “Letters of a Russian Traveler” in the “Moscow Journal” he created. Subsequently, they were compiled into a book the likes of which Russian literature has never known before. A hero came into it, endowed with a high consciousness of his personal and national dignity. The book also reflected the noble personality of the author, and the depth and independence of his judgments earned him fame, the love of readers, and recognition in Russian literature for a long time. He himself said about his book: “Here is the mirror of my soul for eighteen months!”
“Letters of a Russian Traveler” was a huge success among readers, based on the entertaining content and light, elegant language. They became a kind of encyclopedia of knowledge about Western Europe and for more than fifty years were considered one of the most fascinating books in the Russian language, going through several editions.
Our library preserves the first volume of “Letters,” published by A.S. Suvorin in 1900 in the series “Cheap Library”.

It is known that this was a publicly available series, the need for which was felt by Russian society throughout the second half of the 19th century. More than 500 books by Russian and foreign authors were published here, which were published in mass editions and cost no more than 40 kopecks. Among them are A. Griboedov, N. Gogol, A. Pushkin, D. Davydov, E. Baratynsky, F. Dostoevsky, V. Shakespeare, G. Hauptmann.
In our copy of “Letters of a Russian Traveler” you can see unique materials taken from the Leipzig edition of the book in 1799, translated by I. Richter, who was a friend of the author and did his translation before his eyes in Moscow. N.M. Karamzin, as stated in Richter’s preface, reviewed this translation himself. Its peculiarity lies in the fact that it is accompanied by several copper engravings depicting some scenes described on the journey - genre pictures of a good-natured comic nature. And since Richter’s translation was published not without the assistance of Karamzin, we can assume his participation in the selection of subjects for illustrations. Our edition includes accurate photographs of these engravings, a portrait of the author, and a copy of the title page of Part I of the separate 1797 edition of the Letters. We placed them in the text of the story.
We have a copy of “Letters”, published in the “Russian Class Library” series, published under the editorship of the famous philologist and educator A.N. Chudinova. It was printed in St. Petersburg, in the printing house of I. Glazunov in 1892.

This manual is a selection from the works of N.M. Karamzin places, the most important and significant, according to the publishers. Since this publication is educational, it is equipped with numerous and detailed comments and footnotes to help the teacher of Russian literature.

Meanwhile, Nikolai Mikhailovich is trying his hand at prose, looking for himself in various literary genres: sentimental, romantic, historical stories. The fame of the best fiction writer in Russia comes to him. For the first time, the public, brought up on foreign literature, reads with such keen interest and sympathy a Russian author. Popularity of N.M. Karamzin grows both in the circle of provincial nobles and in the merchant-philistine environment.

He is rightfully considered one of the transformers of the Russian language. Of course, he had predecessors. D. Kantemir, V. Trediakovsky, D. Fonvizin, as I. Dmitriev noted, “attempted to bring the book language closer to that used in societies,” but this task was fully solved by N.M. Karamzin, who “began to write in a language suitable to the spoken language, when parents with children, Russians with Russians, were not ashamed to speak their natural language.”

He is concerned about issues of education, dissemination of knowledge, education, and moral education. In the article “On the book trade and the love of reading in Russia” (Works of Karamzin. T. 7. M., 1803. pp. 342-352), he reflects on the role of reading, which “has an influence on the mind, without which no heart can survive.” feels, nor imagination imagines,” and asserts that “novels...contribute in some way to enlightenment...whoever reads them will speak better and more coherently...learn both geography and natural history. In a word, it’s good that our public reads novels.”

N.M. Karamzin introduced into Russian literature both a new understanding of man and new genres, later so brilliantly mastered by K. Batyushkov, V. Zhukovsky, A. Pushkin. He enriched the poetic language with new images and phrases that made it possible to express the complexity of a person’s spiritual life, his subtle feelings and tragic experiences.
But interest in history and a great desire to study only it have always dominated. That's why he left fine literature, turning to history. N.M. Karamzin is sure that “history, in a sense, is the sacred book of peoples: the main, necessary; a mirror of their existence and activity; the tablet of revelations and rules; the covenant of ancestors to posterity; addition, explanation of the present and example of the future..."
So, work ahead on the creation of the largest historical canvas - “History of the Russian State”. In 1803, Nikolai Mikhailovich received a decree signed by Emperor Alexander I, which stated that, approving his desire in such a commendable undertaking as the composition of a complete history of our Fatherland, the emperor appoints him a historiographer, court adviser and grants him an annual pension. Now he could devote all his energy to the implementation of his plan.
Pushkin noted that Karamzin retired “to his study room during the most flattering successes” and devoted several years of his life to “silent and tireless labors.” Nikolai Mikhailovich is working especially intensively on the composition of “History” in Ostafyevo, the estate of the Vyazemsky princes near Moscow. He was married for the second time to the daughter of Prince A.I. Vyazemsky, Ekaterina Andreevna. In her person he found a reliable friend, an intelligent, well-educated assistant. She helped in rewriting completed chapters and corrected the first edition of the History. And most importantly, she provided that peace of mind and conditions for creativity, without which her husband’s enormous work would simply be impossible. Karamzin usually got up at nine o'clock and began the day, in any weather, with an hour's walk or horseback ride. After breakfast, he went into his office, where he worked until three or four o’clock, sitting over manuscripts for months and years.

“The History of the Russian State” was created on the basis of a critical study of all previous literature and the development of various sources stored in archives and libraries. In addition to the state ones, Karamzin used the private collections of Musin-Pushkin, the Rumyantsevs, the Turgenevs, the Muravyovs, Tolstoy, Uvarov, and the collections of the university and synodal libraries. This allowed him to introduce into scientific use a huge amount of historical material and, above all, archival primary sources, famous chronicles, the work of Daniil Zatochnik, the Code of Law of Ivan III, many embassy affairs, from which he drew the high patriotic idea of power, the indestructibility of the Russian land while it is united.
Nikolai Mikhailovich often complained about how difficult and slow progress “is my only business and main pleasure.” And the work was truly gigantic! He divided the text into two parts. The upper, main, “for the public” - artistically processed, figurative speech, where events unfold, where historical figures act in carefully reconstructed specific circumstances, where their speech is heard, the roar of battles of Russian knights with enemies who attacked cities and towns with a sword and fire. From volume to volume Karamzin describes not only wars, but also all civil institutions, legislation, morals, customs, and the character of our ancestors.

But, in addition to the main text, there are numerous notes (“notes”, “notes”, as the author called them), which provided comparisons of various chronicle texts, contained critical judgments about the work of predecessors, and provided additional data not included in the main text. Of course, scientific research of this level required a lot of time. When starting work on creating “History,” Nikolai Mikhailovich intended to complete it in five years. But in all this time he only reached 1611.

Work on “The History of the Russian State” took the last 23 years of N.M.’s life. Karamzin. In 1816, he brought the first eight volumes to St. Petersburg, they began to be printed in three printing houses at once - Senate, medical and military. They went on sale at the beginning of 1818 and were a stunning success.
Its first 3,000 copies sold out in one month. They eagerly awaited the release of new volumes, read them with lightning speed, argued and wrote about them. A.S. Pushkin recalled: “Everyone, even secular women, rushed to read the history of their fatherland, hitherto unknown to them, it was a new discovery for them...” He admitted that he himself read the History with “greed and attention.”

“The History of the Russian State” was not the first book about Russian history, but it was the first book about Russian history that could be read easily and with interest, the story of which was memorable. Before Karamzin, this information was distributed only to a narrow circle of specialists. Even the Russian intelligentsia knew almost nothing about the country's past. Karamzin made a whole revolution in this regard. He opened Russian history for Russian culture. For the first time, the enormous material studied by the writer was presented systematically, vividly and entertainingly. The bright, full of contrasts, spectacular stories in his “History” made a huge impression and were read like a novel. The artistic talent of N.M. was also revealed in the historical work. Karamzin. All readers admired the historiographer’s language. According to V. Belinsky, this is “a marvelous carving on copper and marble, which neither time nor envy will destroy.”

“The History of the Russian State” has been published several times in the past. During the historian’s lifetime, it managed to be published in two editions. The unfinished 12th volume was published posthumously.
A number of translations have appeared into major European languages. The author himself did the proofreading of the first two editions. Nikolai Mikhailovich made many clarifications and additions to the second edition. All subsequent ones were based on it. The most famous publishers republished it several times. “History” was repeatedly published as supplements to popular magazines.

To this day, “The History of the Russian State” remains a valuable historical source and is read with great interest.
Fiction, journalism, publishing, history, language - these are the areas of Russian culture that were enriched as a result of the activities of this talented person.
Following Pushkin, one can repeat now: “The pure, high glory of Karamzin belongs to Russia, and not a single writer with true talent, not a single truly learned person, even among those who were his opponents, refused him tribute of respect and gratitude.”
We hope that our material will help bring Karamzin’s era closer to the modern reader and provide an opportunity to feel the full power of the talent of the Russian enlightener.

List of works by N.M. Karamzina,
mentioned in the review:

Karamzin, Nikolai Mikhailovich Translations of Karamzin: in 9 volumes - 4th ed. – St. Petersburg: Printing house of A. Smirdin, 1835.
T. 9: Pantheon of Foreign Literature: [Ch. 3]. – 1835. – , 270 p. R1 K21 M323025 KH(RF)

Karamzin, Nikolai Mikhailovich. History of the Russian State: in 12 volumes / N. M. Karamzin. – Second edition, revised. – St. Petersburg: In the printing house of N. Grech: Dependent on the Slenin brothers, 1818–1829.
T. 2. – 1818. – 260, p. 9(C)1 K21 29930 KH(RF)
T. 12 – 1829. – VII, 330, 243, p. 9S(1) K21 27368 KH(RF)

Karamzin and the poets of his time: poems / art., ed. and note. A. Kucherov, A. Maksimovich and B. Tomashevsky. - [Moscow] ; [Leningrad]: Soviet writer, 1936. – 493 pp.; l. portrait ; 13X8 cm. – (Poet's Library. Small series; No. 7) R1 K21 M42761 KH (RF).

Karamzin, Nikolai Mikhailovich. Letters from a Russian traveler: from a portrait. auto and rice / N. M. Karamzin. – 4th ed. – St. Petersburg: Edition of A. S. Suvorin, . – (Cheap Library; No. 45).
T. 1. – . – XXXII, 325 p., l. portrait, l. ill. R1 K21 M119257KH(RF)

Karamzin, Nikolai Mikhailovich. Selected works: [in 2 hours] / N. M. Karamzin. - St. Petersburg: Publishing house I. Glazunov, 1892. - (Russian classroom library: a guide to the study of Russian literature / edited by A. N. Chudinov; issue IX).
Part 2: Letters from a Russian traveler: with notes. - 1892. - , VIII, 272 pp., front. (portrait).R1 K21 M12512 KH (RF)

Karamzin, Nikolai Mikhailovich. Works of Karamzin: in 8 volumes - Moscow: In the printing house of S. Selivanovsky, 1803. - .
T. 7. – 1803. – , 416, p. R1 K21 M15819 KH(RF)

Karamzin, Nikolai Mikhailovich. History of the Russian State: in 12 volumes / N. M. Karamzin. – 3rd ed. – St. Petersburg: Dependent on bookseller Smirdin, 1830–1831.
T. 1 – 1830. – XXXVI, 197, 156, 1 p. kart. 9(S)1 K21 M12459 KH(RF)

Karamzin, Nikolai Mikhailovich. History of the Russian State / Op. N. M. Karamzin: in 3 books. containing 12 volumes, with full notes, decorations. portrait auto., grav. on steel in London. – 5th ed. – St. Petersburg: Publishing house. I. Einerlinga: In type. Eduard Pratz, 1842–1844.
Book 1 (volumes 1, 2, 3, 4) – 1842. – XVII, 156, 192, 174, 186, 150, 171, 138, 162, stb., 1 l. kart. (9(C)1 K21 F3213 KH(RF)

Karamzin, Nikolai Mikhailovich. History of the Russian State: in 12 volumes / Op. N. M. Karamzina - Moscow: Publishing house. A. A. Petrovich: Typo-lithogr. Comrade N. Kushnerev and Co., 1903.

T. 5–8. – 1903. – 198, 179, 112, 150 pp. 9(C)1 K21 M15872 KH

Karamzin, Nikolai Mikhailovich. History of the Russian State / N. M. Karamzin; oven under the supervision of prof. P. N. Polevoy. T. 1–12. – St. Petersburg: Type. E. A. Evdokimova, 1892.

T. 1 – 1892. – 172, 144 pp., front. (portrait, fax), 5 l. ill. : ill. (Library of the North). 9(C)1 K21 29963

List of used literature:

Lotman Yu. M. The Creation of Karamzin / Yu. M. Lotman; preface B. Egorova. – Moscow: Book, 1987. – 336 p. : ill. – (Writers about writers). 83.3(2=Rus)1 L80 420655-KH

Muravyov V.B. Karamzin: / V. Muravyov. – Moscow: Young Guard, 2014. – 476, p. : l. ill., portrait 83.3(2=Rus)1 M91 606675-KH

Smirnov A. F. Nikolai Mikhailovich Karamzin / A. F. Smirnov. – Moscow: Rossiyskaya Gazeta, 2005. – 560 p. : ill. 63.3(2) S50 575851-KH

Eidelman N. Ya. The last chronicler / N. Ya. Eidelman. – Moscow: Vagrius, 2004. – 254 p. 63.1(2)4 E30 554585-KH
Tsurikova G. “Here is the mirror of my soul...” / G. Tsurikova, I. Kuzmichev // Aurora. – 1982. – No. 6. – P. 131-141.

Head sector of rare and valuable books
Karaseva N.B

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 the young man’s whole life upside down. 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 undoubtedly brings great benefits to the 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. Moreover, in the latter case, the Freemasons’ desire for self-knowledge and interest in the inner life of a person played no small role. 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.” Since his student years, the talented young man has shown 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. The 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.

In general, the literary work of 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.”

Nikolai Mikhailovich Karamzin in the history of Russian culture.

Annotation: The material is intended for conducting a class hour in grades 7-9 or an extracurricular event 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

on the eve of the 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 by the English writer Laurence Stern “A 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; the rich spiritual world of the common people 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 experienced in social life, who has accepted 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 paid great attention 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 the inner world of a person, reveal his soul, and imitate the sincerity of the heroes in expressing their feelings.

The most famous representatives of sentimentalism are 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 a historical theme - “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 seemed to be found by Karamzin, like America 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. Particular attention was paid here to the 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 there are artistic techniques that Karamzin most often uses to express his personal attitude to an object, phenomenon, event, or 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 words from the teacher: 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."

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.

A decisive turn in his fate was made by a chance acquaintance with I.P. Turgenev, an active freemason, an associate of the famous writer and 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 stories “Natalia, the Boyar’s Daughter”, “Poor Liza”. 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.

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”?

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, some important features of this trend that we have not noted, you can find 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”.

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