Karamzin, poor Liza, is a product of sentimentalism. Sentimentalism of the story "Poor Liza"

1. Literary direction "sentimentalism".
2. Features of the plot of the work.
3. The image of the main character.
4. The image of the "villain" Erast.

In the literature of the second half of the 18th - early 19th centuries, the literary direction "sentimentalism" was very popular. The name comes from the French word "sentiment", which means "feeling, sensitivity". Sentimentalism called for paying attention to the feelings, experiences, emotions of a person, that is, the inner world acquired special importance. The story of N. M. Karamzin "Poor Lisa" is a vivid example of a sentimental work. The plot of the story is very simple. By the will of fate, a spoiled nobleman and a young naive peasant girl meet. She falls in love with him and becomes a victim of her feelings.

The image of the main character Lisa is striking in its purity and sincerity. The peasant girl is more like a fairy-tale heroine. There is nothing everyday, everyday, vulgar in it. Lisa's nature is sublime and beautiful, despite the fact that the life of a girl cannot be called fabulous. Lisa lost her father early and lives with her old mother. The girl has to work hard. But she does not grumble at fate. Liza is shown by the author as an ideal, devoid of any shortcomings. She is not characterized by a craving for profit, material values ​​\u200b\u200bdo not have any meaning for her. Lisa is more like a sensitive young lady who grew up in an atmosphere of idleness, surrounded by care and attention from childhood. A similar trend was characteristic of sentimental works. The main character cannot be perceived by the reader as rude, down to earth, pragmatic. It should be cut off from the world of vulgarity, dirt, hypocrisy, should be a model of sublimity, purity, poetry.

In Karamzin's story, Lisa becomes a toy in the hands of her lover. Erast is a typical young rake, accustomed to getting what he wants. The young man is spoiled, selfish. The lack of a moral principle leads to the fact that he does not understand Lisa's ardent and passionate nature. Erast's feelings are doubtful. He used to live, thinking only about himself and his desires. Erast was not allowed to see the beauty of the girl's inner world, because Lisa is smart, kind. But the virtues of a peasant woman are worth nothing in the eyes of a jaded nobleman.

Erast, unlike Lisa, never knew hardship. He did not have to worry about his daily bread, his whole life is a continuous holiday. And he initially considers love a game that can decorate a few days of life. Erast cannot be faithful, his affection for Lisa is just an illusion.

And Lisa deeply experiences the tragedy. It is significant that when a young nobleman seduced a girl, thunder struck, lightning flashed. A sign of nature portends trouble. And Lisa feels that she will have to pay the most terrible price for what she has done. The girl was not wrong. Not much time passed, and Erast lost interest in Lisa. Now he has forgotten about her. For the girl, this was a terrible blow.

Karamzin's story "Poor Liza" was very loved by readers, not only because of the entertaining plot, which told about a beautiful love story. Readers highly appreciated the skill of the writer, who managed to truthfully and vividly show the inner world of a girl in love. Feelings, experiences, emotions of the main character cannot leave indifferent.

Paradoxically, the young nobleman Erast is not fully perceived as a negative hero. After Lisa's suicide, Erast is crushed with grief, considers himself a murderer and yearns for her all his life. Erast did not become unhappy, for his act he suffered a severe punishment. The writer treats his character objectively. He admits that the young noble has a good heart and mind. But, alas, this does not give the right to consider Erast a good person. Karamzin says: “Now the reader should know that this young man, this Erast, was a rather rich nobleman, with a fair mind and a kind heart, kind by nature, but weak and windy. He led a distracted life, thought only of his own pleasure, looked for it in secular amusements, but often did not find it: he was bored and complained about his fate. No wonder that with such an attitude to life, love did not become something worthy of attention for a young man. Erast is dreamy. “He read novels, idylls, had a rather lively imagination and often mentally moved to those times (former or not former), in which, according to the poets, all people carelessly walked through the meadows, bathed in clean springs, kissed like doves, rested under roses and myrtle and in happy idleness they spent all their days. It seemed to him that he had found in Lisa what his heart had been looking for for a long time. What can be said about Erast if we analyze the characteristics of Karamzin? Erast is in the clouds. Fictional stories are more important to him than real life. Therefore, he quickly got bored with everything, even the love of such a beautiful girl. After all, real life always seems to the dreamer less bright and interesting than life invented.

Erast decides to go on a military campaign. He believes that this event will give meaning to his life, that he will feel his importance. But, alas, the weak-willed nobleman during the military campaign only lost his entire fortune at cards. Dreams collided with harsh reality. Frivolous Erast is not capable of serious deeds, entertainment is most important for him. He decides to marry profitably in order to regain the desired material well-being. At the same time, Erast does not think about Lisa's feelings at all. Why does he need a poor peasant woman, if he was faced with the question of material benefits.

Liza throws herself into the pond, suicide becomes her only possible way out. The suffering of love so exhausted the girl that she does not want to live anymore.

For us, modern readers, Karamzin's story "Poor Liza" seems like a fairy tale. After all, there is nothing similar to real life in it, except, perhaps, the feelings of the main character. But sentimentalism as a literary trend turned out to be very important for Russian literature. After all, writers who create in line with sentimentalism showed the subtlest shades of human experiences. And this trend has continued to develop. On the basis of sentimental works, others appeared, more realistic and believable.

In the story of N.M. Karamzin's "Poor Liza" tells the story of a peasant girl who knows how to love deeply and selflessly. Why did the writer portray such a heroine in his work? This is explained by Karamzin's belonging to sentimentalism, a literary trend then popular in Europe. In the literature of sentimentalists, it was argued that not nobility and wealth, but spiritual qualities, the ability to deeply feel, are the main human virtues. Therefore, first of all, sentimentalist writers paid attention to the inner world of a person, his innermost experiences.

The hero of sentimentalism does not strive for exploits. He believes that all people living in the world are connected by an invisible thread and there are no barriers for a loving heart. Such is Erast, a young man of the nobility, who became Lisa's hearty chosen one. It seemed to Erast that he had found in Lisa what his heart had been looking for for a long time. He was not embarrassed that Lisa was a simple peasant girl. He assured her that for him "the most important thing is the soul, the innocent soul." Erast sincerely believed that over time he would make Lisa happy, "take her to him and live with her inseparably, in the village and in the dense forests, as in paradise."

However, reality cruelly destroys the illusions of lovers. Still, there are barriers. Burdened with debts, Erast is forced to marry an elderly rich widow. Upon learning of Lisa's suicide, "he could not console himself and considered himself a murderer."

Karamzin created a touching work about offended innocence and trampled justice, about how in a world where people's relationships are based on self-interest, the natural rights of the individual are violated. After all, the right to love and be loved is given to a person from the very beginning.

In the character of Lisa, resignation and defenselessness attract attention. In my opinion, her death can be regarded as a quiet protest against the inhumanity of our world. At the same time, Karamzin’s “Poor Liza” is an amazingly bright story about love, imbued with soft, gentle, meek sadness, turning into tenderness: “When we see each other there, in a new life, I will recognize you, gentle Liza!”.

“And peasant women know how to love!” - with this statement, Karamzin made society think about the moral foundations of life, called for sensitivity and condescension towards people who remain defenseless before fate.

The influence of "Poor Lisa" on the reader was so great that the name of Karamzin's heroine became a household name, received the meaning of a symbol. The ingenuous story of a girl who was involuntarily seduced and deceived against her will is the motif underlying many plots in 19th-century literature. The topic started by Karamzin was subsequently addressed by the largest Russian realist writers. The problems of the “little man” were reflected in the poem “The Bronze Horseman” and the story “The Stationmaster” by A.S. Pushkin, in the story "The Overcoat" by N.V. Gogol, in many works by F.M. Dostoevsky.

Two centuries after writing the story of N.M. Karamzin's "Poor Liza" remains a work that primarily touches us not with a sentimental plot, but with its humanistic orientation.

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

A teacher's word on sentimentalism

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

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

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

New content entails the emergence of new forms: the leading genres are the family psychological novel, diary, confession, and travel notes. Poetry and drama are replaced by prose. The syllable becomes sensitive, melodious, emotional. Received the development of "tearful" drama and comic opera.

In the works of sentimentalism, the voice of the narrator is very important. In the article “What does the author need?”, which became the manifesto of Russian sentimentalism, N.M. Karamzin wrote: “You want to be an author: read the history of the misfortunes of the human race - and if your heart does not bleed, put a pen, or it will portray us cold gloom your soul."

Sentimentalists:

England: Lawrence Sterne "Sentimental Journey", novel "Tristam Shandy", Richardson "Clarissa Harlow";

Germany: Goethe "The Suffering of Young Werther";

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

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

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

Analysis of the story "Poor Liza"

- One of the most striking works of sentimentalism is N.M. Karamzin's story "Poor Lisa" (1792).

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

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

How would you define the theme of this story? (the theme of the search for personal happiness). This theme was new for the literature of that time. We have already said that sentimentalist writers focus on the private, individual person.

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

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

What is the dignity of the personality of Lisa and her parents? (father - “loved work, plowed the land well and always led a sober life”; mother is faithful to the memory of her husband, brings up her daughter in strict moral terms, in particular, inspires her with the rule: “feed on her labors and take nothing for nothing”, Liza is pure , open, faithful in love, caring daughter, virtuous)

What epithets and for what purpose does Karamzin endow his heroine? (poor, beautiful, amiable, tender, obliging, timid, unhappy).

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

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

What was the flaring feeling for Lisa and for Erast, who had already tasted secular amusements? (For Lisa, this feeling was the whole meaning of her life, and for Erast, simplicity was another fun. Lisa believed Erast. From now on, she obeys his will, even when a good heart and common sense prompt her to behave in the opposite way: she hides from her mother a meeting with Erast, a fall into sin , and after the departure of Erast - the strength of his longing)

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

- "Why?"

- "I'm a peasant"

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

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

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

Did you like the story? How?

D.z.:

1. Message about sentimentalism

2. Why is "Poor Liza" a piece of sentimentalism? (written reply)

Reflection

Knew-know-want to know (ZUH)

Nikolai Mikhailovich Karamzin became the most prominent representative in Russian literature of a new literary trend - sentimentalism, popular in Western Europe at the end of the 18th century. In the story "Poor Lisa" created in 1792, the main features of this trend appeared. Sentimentalism proclaimed a priority attention to the private life of people, to their feelings, equally characteristic of people from all classes. Karamzin tells us the story of the unhappy love of a simple peasant girl, Lisa, and a nobleman, Erast, in order to prove that "peasant women know how to love." Liza is the ideal of the "natural man" advocated by the sentimentalists. She is not only “beautiful in soul and body,” but is also able to sincerely love a person who is not quite worthy of her love. Erast, although he surpasses his beloved in education, nobility and wealth, turns out to be spiritually smaller than her. He is not able to rise above class prejudices and marry Liza. Erast has a "fair mind" and a "kind heart", but at the same time he is "weak and windy." After losing at cards, he is forced to marry a rich widow and leave Lisa, which is why she committed suicide. However, sincere human feelings did not die in Erast and, as the author assures us, “Erast was unhappy until the end of his life. Having learned about the fate of Lizina, he could not be consoled and considered himself a murderer.

For Karamzin, the village becomes a hotbed of natural moral purity, and the city becomes a source of debauchery, a source of temptations that can destroy this purity. The heroes of the writer, in full accordance with the precepts of sentimentalism, suffer almost all the time, constantly expressing their feelings with abundantly shed tears. As the author himself admitted: "I love those objects that make me shed tears of tender sorrow." Karamzin is not ashamed of tears and encourages readers to do the same. As he describes in detail the experiences of Lisa, left by Erast, who had gone into the army: “From now on, her days were days

longing and sorrow, which had to be hidden from a tender mother: the more her heart suffered! Then it was only relieved when Liza, secluded in the dense forest, could freely shed tears and moan about separation from her beloved. Often the sad dove combined her mournful voice with her groaning. Karamzin forces Liza to hide her suffering from her old mother, but at the same time he is deeply convinced that it is very important to give a person the opportunity to openly express his grief, in plenty, in order to ease his soul. The author examines the essentially social conflict of the story through a philosophical and ethical prism. Erast sincerely would like to overcome class barriers on the way of their idyllic love with Lisa. However, the heroine looks at the state of affairs much more soberly, realizing that Erast "cannot be her husband." The narrator already quite sincerely worries about his characters, worries in the sense that he seems to live with them. It is no coincidence that at the moment when Erast leaves Lisa, a penetrating author's confession follows: “My heart bleeds at this moment. I forget a 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. Not only the author himself got along with Erast and Lisa, but also thousands of his contemporaries - readers of the story. This was facilitated by the good recognition not only of the circumstances, but also of the place of action. Karamzin quite accurately depicted in "Poor Lisa" the surroundings of the Moscow Simonov Monastery, and the name "Lizin's Pond" was firmly entrenched behind the pond located there. Moreover: some unfortunate young ladies even drowned themselves here, following the example of the main character of the story. Lisa herself became a model that they sought to imitate in love, however, not peasant women who did not read the Karamzin story, but girls from the nobility and other wealthy classes. The hitherto rare name Erast became very popular in noble families. Very much "Poor Lisa" and sentimentalism corresponded to the spirit of the times.

It is characteristic that Karamzin's Liza and her mother, although declared to be peasant women, speak the same language as the nobleman Erast and the author himself. The writer, like the Western European sentimentalists, did not yet know the speech distinction of the heroes, representing classes of society that were opposite in terms of the conditions of existence. All the heroes of the story speak Russian literary language, close to the real spoken language of that circle of educated noble youth to which Karamzin belonged. Also, the peasant life in the story is far from the true folk life. Rather, it was inspired by the notions of the “natural man” characteristic of sentimentalist literature, the symbols of which were shepherds and shepherds. Therefore, for example, the writer introduces an episode of Lisa's meeting with a young shepherd who "drives a flock along the river bank, playing the flute." This meeting makes the heroine dream that her beloved Erast would be "a simple peasant, a shepherd", which would make their happy union possible. The writer, nevertheless, was mainly occupied with truthfulness in the depiction of feelings, and not with the details of the folk life unfamiliar to him.

Having affirmed sentimentalism in Russian literature with his story, Karamzin took a significant step in terms of its democratization, abandoning the strict, but far from real life schemes of classicism. The author of "Poor Liza" not only sought to write "as they say", freeing the literary language from Church Slavonic archaisms and boldly introducing new words borrowed from European languages ​​into it. For the first time, he refused to divide heroes into purely positive and purely negative, showing a complex combination of good and bad traits in Erast's character. Thus, Karamzin took a step in the direction in which realism, which replaced sentimentalism and romanticism, moved the development of literature in the middle of the 19th century.

The story "Poor Liza", written in 1792, became the first sentimental story in Russian literature. The love story of a peasant woman and a nobleman did not leave readers of that time indifferent. So what is the sentimentalism of "Poor Lisa"?

Sentimentalism in the story

Sentimentalism is a direction in literature where the feelings of the characters come first, despite their low or high position.

The plot of the story unfolds before the reader the love story of a poor peasant girl and a nobleman. The author, from an enlightening position, defends the extra-class value of a person, refuses prejudices. “Even peasant women know how to love,” writes Karamzin, and this statement was new for Russian literature.

Examples of sentimentalism in the story "Poor Lisa" include the constant experiences and suffering of the characters, the expression of their feelings. Also, this genre can be attributed to such features as the author's lyrical digressions, a description of nature.

Landscape sketches in the story create a certain mood and resonate with the experiences of the characters. So, the thunderstorm scene emphasizes the fear and confusion in Lisa's soul, tells the reader that ahead is a tragic turn of events.

The literature of sentimentalism opened the world of human feelings and experiences for readers of the 18th century, made it possible to feel the fusion of the human soul with nature.

External and internal conflict

“Poor Lisa” is a tragic love story. A simple, peasant girl Liza, who lives in the vicinity of Moscow, goes to the city to sell flowers. There she meets a young man named Erast. They fall in love with each other.

The plot of the story is based on a system of internal and external conflicts. The external conflict is a social contradiction: he is a nobleman, she is a peasant woman. The heroes suffer because of social prejudice, but then they begin to believe that the power of love will overcome them. And at some point it seems to the reader that the love story will have a happy ending. But there are other conflicts in the story that develop the action in a tragic way. This is an internal conflict in the soul of Erast, which arose due to the prevailing life circumstances. The hero leaves for the location of the active army, and Lisa remains to wait for him, believing the promises and confessions of her lover. Having lost money and property in cards, Erast is unable to pay the resulting debts. And then he finds the only way out: to marry a rich bride. Lisa accidentally learns about the betrayal and decides to drown herself. The motive for suicide was also new to Russian literature. Upon learning of the death of his beloved, Erasmt painfully experiences his betrayal. We learn about this at the end of the story.

This story causes sympathy in the hearts of readers for the characters of the story. The author also sympathizes with his characters. The author's position is visible in the title of the story. We also cannot call Erast a negative hero, this image evokes sympathy for the sincere repentance that he feels, realizing the horror of his act, the depth of betrayal that led to Lisa's death. The author's position is also expressed through direct statements belonging to the narrator in the story: “Reckless young man!