World significance of Russian classical literature of the 19th century. Russian literature of the 19th century. Common and excellent in the representatives of the "Golden Age"

19.07.2020

World significance of Russian literature of the 19th century

By the end of the 19th century, Russian literature is gaining worldwide fame and recognition. According to the Austrian writer Stefan Zweig, they see it as a prophecy "about a new man and his birth from the womb of the Russian soul." The secret of the success of the Russian classics essentially lies in the fact that it overcomes the limited horizons of Western European humanism, in which, starting from the Renaissance, man recognized himself as the crown of nature and the goal of creation, having appropriated divine functions. At an early stage, humanistic consciousness played its progressive role. It contributed to the emancipation of the creative forces of the human person and gave birth to the "titans of the Renaissance". But gradually revival humanism began to reveal a significant flaw. The deification of the free human person led to the triumph of individualism. Not only creative, but also destructive instincts of human nature were liberated. "People committed the most savage crimes and in no way did they repent of them and they did so because the last criterion for human behavior was considered at that time the person who felt herself in isolation," noted the famous Russian scientist A. F. Loseev in the work "Aesthetics of the Renaissance".

Russian classical literature affirmed in the European consciousness the idea of \u200b\u200ba new man and a new humanity. At the dawn of the 60s, A. N. Ostrovsky noted the most essential feature of Russian artistic consciousness: “... In foreign literatures (as it seems to us), works that legitimize the originality of a type, that is, a personality, are always in the foreground, and the punishing personality is in the background and often in the shadows, while here in Russia it is the other way around. A distinctive feature of the Russian people, aversion from everything that has been sharply defined, from everything special, personal, egoistically rejected from the common mankind, lays on art is a special character; let's call it an accusatory character. The more elegant the work, the more popular it is, the more of this accusatory element in it. "

Personal life, isolated from the life of the people, from the point of view of the Russian writer, is extremely limited and meager. “To be a soldier, just a soldier,” decides Pierre Bezukhov, feeling in his soul the “latent warmth of patriotism,” which unites the Russian people in a moment of tragic ordeal and merges drops of human individuality into a living, acting collective, into a spiritualized whole that enlarges and strengthens everyone, who is attached to it.

And vice versa. Any desire to isolate oneself from the life of the people, any attempts at individualistic self-restraint are perceived by the Russian writer as dramatic, threatening the human personality with internal decay. Dostoevsky shows what a catastrophe a fanatical concentration on an idea that is far from popular moral ideals and hostile to them turns out to be a catastrophe for a person. We see how the soul of Raskolnikov is becoming scarce, more and more withdrawn in itself, into the narrow limits of its ideological "arithmetic", how life-giving connections with the people around are lost one after another, how the main core of human community - family feelings - is destroyed in the hero's consciousness. For Raskolnikov his own soul, similar to a tomb, becomes a "prison" and a "coffin". It is not for nothing that a parallel arises in the novel with the death and resurrection of the gospel Lazarus from Bethany. Only Sonechka Marmeladova's selfless love breaks a hole in the shell of Raskolnikov's loneliness, resurrects his dying "I" to a new life, to a new birth.

Τᴀᴋᴎᴍ ᴏϬᴩᴀᴈᴏᴍ, the understanding of personality in Russian classical literature of the second half of the 19th century went beyond the limited bourgeois ideas about the value of the individual. Dostoevsky's Crime and Punishment refuted the arithmetically one-line alternative proclaimed in the mid-19th century by the German philosopher Max Stirner: “To win or to submit are two conceivable outcomes of the struggle. The winner becomes the master, and the loser becomes the subject; the former realizes the idea majesty and “the right of sovereignty,” while the latter respectfully and loyally fulfills the “duties of citizenship.” Passing through the temptation of individualistic willfulness, Dostoevsky's heroes come to the discovery that “the self-willed, completely conscious and uncompelled self-sacrifice of all of himself for the benefit of all is ... a sign of the highest development of personality, its highest power, highest self-control, highest freedom of one's own will "(Dostoevsky F.M. with its inherent forms of communal life, in which the human personality is almost completely dissolved. Poeticization of patriarchal forms of community is found in Goncharov's "Oblomov" and "Break", in Tolstoy in "Cossacks" and "War and Peace", in Dostoevsky's finale of "Crime and Punishment". But this poeticization did not exclude a critical attitude to patriarchy on the part of all Russian writers of the second half of the 19th century. They were inspired by the ideal of the "third way", which removes the contradictions between the elementary patriarchal community and egoistic isolation, where a highly developed person remained on his own. Goncharov's artistic thought in Oblomov equally acutely feels the limitations of Oblomov's and Stoltsev's existence and strives for harmony that overcomes the extremes of two opposing lifestyles. Poeticizing the "world" of the Cossack community with its natural rhythms in the story "Cossacks", Tolstoy recognizes for Olenin, and then, in the epilogue of "War and Peace", and for Pierre Bezukhov, the high truth of moral searches, reflections on the meaning of life, on the human soul, characteristic of a developed intellect. The depiction of human destiny in dialectical unity with the destiny of the people has never turned into a belittling of the personal principle in Russian literature, a cult of the small in man. On the contrary. It is at the highest stage of their spiritual development that the heroes of War and Peace arrive at the truth of life in peace. Russian literature was very distrustful of a person of "caste," "class," of this or that social shell. The persistent desire to recreate a complete picture of the hero's connections with the world, of course, forced the writers to show the life of a person in a small circle of his contacts, in the warm ties of family kinship, friendly brotherhood, and class environment. The Russian writer was very sensitive to spiritual orphanhood, and to the so-called "false community" - to the official, formal unification of people, to the crowd seized by destructive instincts - he was irreconcilable. Tolstoy's "latent warmth of patriotism", which rallied a group of soldiers and commanders on the Raevsky battery, retains in itself that feeling of "nepotism" ĸᴏᴛᴏᴩᴏᴇ the Rostovs sacredly kept in their peaceful life. But the countdown began with a small one. Poetising "family thought", the Russian writer went further: "kinship", "sonship", "fatherhood" in his ideas expanded, collective worlds grew out of the original cells of human community, embracing the people, nation, humanity.

The peasant family in Nekrasov's poem "Frost, Red Nose" is a particle of the all-Russian world: the thought of Daria turns into the thought of a stately Slav, the deceased Proclus is like the Russian hero Mikul Selyaninovich. And the event that happened in a peasant family - the death of a breadwinner - as in a drop of water reflects not even centuries-old, but thousand-year troubles of Russian mothers, wives and brides. Being appears through the peasant life, centuries-old history... The elements of life are mutually permeable, "everything is like an ocean, everything flows and touches," says Dostoevsky through the mouth of Elder Zosima, "in one place you touch it - at the other end of the world it is given away." The French critic Melchior de Vogue, for example, wrote about Tolstoy: “... we want the novelist to make a selection so that he would single out a person or fact from the chaos of beings and things and study his chosen subject in isolation from others. interdependence of phenomena, he does not dare to break the countless threads connecting a person, an act, a thought - with the general course of the universe; he never forgets that everything is conditioned by everything. "

The breadth of the Russian hero's connections with the world went beyond the narrowly understood time and space. The world was perceived not as a self-sufficient life of the present day cut off from the past, but as a passing moment burdened with the past and directed into the future. Hence - Turgenev's idea of \u200b\u200bthe power of the past over the present in the "Noble nest", "Fathers and Children", as well as the often repeated motive of the silent participation of the dead in the affairs of the living. Hence, the appeal to cultural and historical experience in illuminating the character of a literary hero. Oblomov's type, for example, is rooted in the mists of time. This nobleman, whose Oblomov laziness was generated by the services of three hundred Zakhars, by some of his character traits is associated with the epic hero Ilya Muromets, with the wise fabulous simpleton Emelya, and at the same time he has something of Hamlet and the sadly funny Don Quixote. Dostoevsky's heroes also retain tense ties with world spiritual experience: the shadows of Napoleon and the Messiah hover over the image of Raskolnikov, the face of Christ is guessed behind the figure of Prince Myshkin.

Russian realism of the middle of the 19th century, without losing its social acuteness, comes to philosophical questions, raises the eternal problems of human existence. Saltykov-Shchedrin, for example, defined the pathos of Dostoevsky's work: “In terms of the depth of his intention, the breadth of the tasks of the moral world developed by him, this writer ... not only recognizes the legitimacy of those interests that excite modern society, but even goes further, enters the realm of foresight and forebodings, which constitute the goal not of immediate, but of the most distant searches of mankind. Let us point out at least the attempt to portray the type of person who has achieved complete moral and spiritual balance, which is the basis of the novel "The Idiot" - and, of course, this will be enough to agree that this is such a task before which all sorts of questions about women's labor pale , about the distribution of values, about freedom of thought, etc. This is, so to speak, the ultimate goal, in view of which even the most radical solutions to all other issues of interest to society seem to be only intermediate stations. "

The search by Russian writers of the second half of the 19th century for "world harmony" led to an irreconcilable collision with the imperfection of the surrounding reality, and this imperfection was realized not only in social relations between people, but also in the disharmony of human nature itself, which clothe each individually unique phenomenon, each personality with an inexorable death. Dostoevsky argued that "man on earth is only a developing being, therefore, not finished, but transitional."

The heroes of Dostoevsky, Turgenev, Tolstoy were acutely worried about these questions. Pierre Bezukhov says that life can have meaning only if this meaning is not denied, is not extinguished by death: "If I see, I clearly see this staircase that leads from plant to man ... why should I suppose that this staircase ... is interrupted by me, and does not lead further and further to higher beings. I feel that I not only cannot disappear, as nothing disappears in the world, but that I will always be and always have been. " ...

“To hate!” Exclaims Yevgeny Bazarov. “Yes, for example, you said today, passing by the hut of our head Philip, - she is so nice, white, - now, you said, Russia will then reach perfection when the last man has this the same premises, and each of us must contribute to this ... And I hated this last man, Philip or Sidor, for whom I have to get out of my skin and who will not even say thank you to me ... and why would I thank him? Well, he will live in a white hut, and a burdock will grow out of me; well, and then? "

The question of the meaning of human existence is posed here with the utmost acuteness: we are talking about the tragic essence of the human idea of \u200b\u200bprogress, about the price at which it pays off. Who will justify the countless sacrifices that faith demands for the good of future generations? And will future generations be able to bloom and bliss, consigning to oblivion the price at which their material well-being was achieved? Bazarov's doubts contain problems over which Dostoevsky's heroes from Raskolnikov to Ivan Karamazov will fight. And the ideal of "world harmony" towards which Dostoevsky is heading includes not only the idea of \u200b\u200bsocialist brotherhood, but also the hope for the rebirth of human nature itself, right up to the hopes for future eternal life and general resurrection.

The Russian hero often neglects personal benefits and comforts, is ashamed of his well-being, if it suddenly comes to him, and prefers self-restraint and inner restraint. So his personality responds to an acute awareness of the imperfection of social relations between people, the imperfection of human nature, the fundamental foundations of being. He denies the possibility of happiness, bought at the price of oblivion of past generations, oblivion of fathers, grandfathers and great-grandfathers, he considers such self-satisfied happiness unworthy of a sensitive, conscientious person.

Russian classical literature felt anxiety for the fate of mankind at that stage of its history, when, in violation of great religious truths, a fanatical belief in science, in its absolute impeccability, arose, when it seemed to radical thinkers of the revolutionary enlightenment that it was possible to eliminate the social imperfection. By all means, our classical literature strove to contain this unbridled, unbridled impulse. Let us recall Platon Karataev with Tolstoy, Sonechka Marmeladova, Alyosha Karamazov and Elder Zosima with Dostoevsky. Let us recall the wary attitude of Russian writers to the active person. Was it not a presentiment of the danger of a self-deified human mind that forced Goncharov to stigmatize Stolz and almost to put the "lazy" Oblomov on a pedestal?

Turgenev in his Bazarov, Dostoevsky in his Raskolnikov, Tolstoy in Napoleon, is it not for this reason that they focused their attention on the tragedy of a courageous innovator, a reckless radical who can chop down the living tree of national culture, break the link of times? And even Saltykov-Shchedrin, in the finale of The History of a City, warned through the autocrat Gloom-Burcheev: “Someone will come who will be worse than me!” And in the 90s Chekhov never tired of warning the Russian intelligentsia: "Nobody knows the real truth."

But the active century of wars, revolutions and global social upheavals turned out to be not very sensitive to the warnings of Russian classical literature. Russia was destined to go through the stage of deification of finite human truths, through a faith that is noble in its intentions, but terribly bloody in execution, in a revolutionary-transforming mind capable of creating heaven on a sinful earth.

The lessons of the classics were completely forgotten. The intense spiritual labor of Tolstoy and Dostoevsky was contemptuously branded as "foolishness in Christ" or as reactionary "dostoevism." But it was Dostoevsky in the finale of Crime and Punishment, in Raskolnikov's prophetic dream, who foresaw the impending crisis of revival humanism, the crisis of European civilization, which deified itself at the end of the 19th century, decided to take "all the capital" at once and did not want to "wait for favors from nature ".

V.S.Soloviev articles dedicated to the memory of Dostoevsky, formulated the truths, to the discovery of which came along with the creator of "Crime and Punishment" Russian classical literature. She showed above all that "individuals, even the best people, do not have the right to rape society in the name of their personal superiority." She also showed that "public truth is not invented by individual minds, but is rooted in popular feelings."

The deepest nationality of Russian classical literature was also in a special view of the life of the people, in its special relation to popular thought. Russian writers of the second half of the 19th century, speaking out against the self-deification of the masses. Οʜᴎ they distinguished the people as an integral unity of people, inspired by the upper light of simplicity, goodness and truth, from the human crowd, seized by the moods of group egoism. This confrontation between the people and the crowd was especially clearly shown by Tolstoy in the epic novel War and Peace.

The lessons of Russian classical literature have not yet been mastered and not even fully understood, we are just making our way to their comprehension, passing through the bitter experience of the historical upheavals of the 20th century. And in this sense, the Russian classics still remain ahead, not behind us.

The world significance of Russian literature of the 19th century - concept and types. Classification and features of the category "World significance of Russian literature of the 19th century" 2017, 2018.

The 19th century is called the "Golden Age" of Russian poetry and the age of Russian literature on a global scale. Do not forget that the literary leap that took place in the 19th century was prepared by the entire course of the literary process of the 17th and 18th centuries. The 19th century is the time of the formation of the Russian literary language, which took shape largely thanks to A.S. Pushkin.
But the 19th century began with the flowering of sentimentalism and the formation of romanticism. The indicated literary trends found expression, first of all, in poetry. The poetic works of poets E.A. Baratynsky, K.N. Batyushkova, V.A. Zhukovsky, A.A. Feta, D.V. Davydova, N.M. Yazykov. The work of F.I. Tyutchev's "Golden Age" of Russian poetry was completed. Nevertheless, the central figure of this time was Alexander Sergeevich Pushkin.
A.S. Pushkin began his ascent to the literary Olympus with the poem "Ruslan and Lyudmila" in 1920. And his novel in verse "Eugene Onegin" was called an encyclopedia of Russian life. Romantic poems by A.S. Pushkin's "The Bronze Horseman" (1833), "Bakhchisarai Fountain", "Gypsies" opened the era of Russian romanticism. Many poets and writers considered A.S. Pushkin as their teacher and continued the traditions of creating literary works... One of these poets was M.Yu. Lermontov. Known for his romantic poem "Mtsyri", the poetic story "The Demon", many romantic poems. It is interesting that Russian poetry of the 19th century was closely connected with the social and political life of the country. Poets tried to comprehend the idea of \u200b\u200btheir special destiny. The poet in Russia was considered a conductor of divine truth, a prophet. Poets urged the authorities to listen to their words. Vivid examples of understanding the role of the poet and influence on the political life of the country are the poems of A.S. Pushkin's The Prophet, the ode to Liberty, The Poet and the Crowd, poem by M.Yu. Lermontov "On the death of a poet" and many others.
Along with poetry, prose began to develop. The prose writers of the beginning of the century were influenced by the English historical novels by W. Scott, whose translations were very popular. The development of Russian prose of the 19th century began with the prose works of A.S. Pushkin and N.V. Gogol. Pushkin, under the influence of English historical novels, creates a story “ Captain's daughter", Where the action takes place against the background of grandiose historical events: during the Pugachev rebellion. A.S. Pushkin did a colossal work exploring this historical period. This work was largely political in nature and was directed to those in power.
A.S. Pushkin and N.V. Gogol outlined the main artistic types that would be developed by writers throughout the 19th century. This is an artistic type of "superfluous person", an example of which is Eugene Onegin in the novel by A.S. Pushkin, and the so-called type of "little man", which is shown by N.V. Gogol in his story "The Overcoat", as well as A.S. Pushkin in the story " Stationmaster».
Literature inherited its journalistic and satirical character from the 18th century. In the prose poem by N.V. Gogol "Dead Souls" the writer in a sharp satirical manner shows a swindler who buys dead Souls, different types of landowners, who are the embodiment of various human vices (the influence of classicism affects). The comedy "The Inspector General" is sustained in the same plan. The works of A. Pushkin are also full of satirical images. Literature continues to satirically depict Russian reality. The tendency to depict the vices and shortcomings of Russian society - characteristic of all Russian classical literature. It can be traced in the works of almost all 19th century writers. At the same time, many writers implement the satirical tendency in a grotesque form. Examples of grotesque satire are the works of N. V. Gogol "The Nose", M. Ye. Saltykov-Shchedrin "Lord Golovlevs", "The history of one city."
Since the middle of the 19th century, the formation of Russian realistic literature has been taking place, which is created against the background of the tense socio-political situation that developed in Russia during the reign of Nicholas I. The crisis of the serf system is brewing, the contradictions between the government and the common people are strong. There is a need to create a realistic literature that sharply reacts to the socio-political situation in the country. Literary critic V.G. Belinsky denotes a new realistic trend in literature. His position is developed by N.A. Dobrolyubov, N.G. Chernyshevsky. A dispute arises between Westerners and Slavophiles about the paths of Russia's historical development.
The writers turn to the socio-political problems of Russian reality. The genre of the realistic novel is developing. I.S. Turgenev, F.M. Dostoevsky, L.N. Tolstoy, I.A. Goncharov. Socio-political and philosophical issues prevail. Literature is distinguished by a special psychologism.
The development of poetry dies down somewhat. It is worth noting the poetic works of Nekrasov, who was the first to introduce social issues into poetry. Known for his poem "Who Lives Well in Russia?", As well as many poems, where the hard and hopeless life of the people is comprehended.
The literary process of the late 19th century was discovered by the names of N. S. Leskov, A.N. Ostrovsky A.P. Chekhov. The latter proved to be a master of the small literary genre - the story, as well as an excellent playwright. Competitor A.P. Chekhov was Maxim Gorky.
The end of the 19th century was marked by the formation of pre-revolutionary sentiments. The realistic tradition was beginning to fade. It was replaced by the so-called decadent literature, the distinctive features of which were mysticism, religiosity, as well as a presentiment of changes in the country's social and political life. Subsequently, decadence developed into symbolism. This opens a new page in the history of Russian literature.

Russian literatureXIX century

XIX century - the heyday of Russian literature, which develops in a feverish rhythm; trends, trends, schools and fashions are changing at a dizzying speed; each decade has its own poetics, its own ideology, its own artistic style. The sentimentalism of the tenties is giving way to the romanticism of the twenties and thirties; the forties saw the birth of the Russian idealistic “wisdom” and the Slavophil teaching; the fifties - the appearance of the first novels by Turgenev, Goncharov, Tolstoy; the nihilism of the sixties is replaced by populism of the seventies, the eighties are filled with the glory of Tolstoy, an artist and a preacher; in the nineties, a new flowering of poetry begins: the era of Russian symbolism.

By the beginning of the 19th century, Russian literature, having experienced the beneficial effects of classicism and sentimentalism, was enriched with new themes, genres, artistic images and creative techniques. She entered her new century on the wave of the pre-romantic movement aimed at creating a national, original literature in its forms and content and meeting the needs of the artistic development of our people and society. This was the time when, along with literary ideas, a wide penetration into Russia of all sorts of philosophical, political, historical concepts that had formed in Europe at the turn of the 19th century began.

In Russia romanticism as an ideological and artistic direction in the literature of the beginning of the 19th century was generated by the deep dissatisfaction of the advanced part of Russians with Russian reality. The rise of romanticism

Associated with the poetry of V.A. Zhukovsky. His ballads are imbued with the ideas of friendship, love for the Fatherland.

Realismestablished in the 30-40s along with romanticism, but by the middle of the 19th century it became the dominant trend in culture. In its ideological orientation, it becomes critical realism. At the same time, the works of the great realists are permeated with the ideas of humanism and social justice.

For some time now it has become a habit to talk about nationalities, to demand nationality, to complain about the absence of nationality in works of literature - but no one thought to define what he meant by this word. "Nationality in writers is a dignity that may well be assessed by some compatriots - for others, does it not exist or even may seem like a vice" - this is how A.S. Pushkin

Living literature should be the fruit of a nation, nourished, but not suppressed by sociability. Literature is and is literary life, but its development is constrained by the one-sidedness of the imitative trend that kills the nationality, without which there can be no full literary life.

In the mid-1930s, critical realism established itself in Russian classical literature, which opened up tremendous opportunities for writers to express Russian life and Russian national character.

A special effective force of Russian critical realism lies in the fact that, pushing aside progressive romanticism as the predominant trend, it mastered, preserved and continued its best traditions:

Dissatisfaction with the present, dreams of the future. Russian critical realism is distinguished by a vivid national originality also in the form of its expression. The life truth, which was the basis for the works of Russian progressive writers, often did not fit into traditional genre-specific forms. Therefore, Russian literature is characterized by frequent violations of genre-specific forms.

VG Belinsky most strongly condemned the delusions of conservative and reactionary criticism, who saw the transition to realism in Pushkin's poetry, who considered “Boris Godunov” and “Eugene Onegin” to be the pinnacles, and rejected the primitive identification of the nationality with the common people. Belinsky underestimated Pushkin's prose, his fairy tales, he, in general, correctly outlined the scale of the writer's work as the focus of literary achievements and innovative beginnings that determine the further development of Russian literature in the 19th century.

In Pushkin's poem "Ruslan and Lyudmila" one can feel the striving for nationality, which manifests itself early in Pushkin's poetry, and in the poems "The Fountain of Bakhchisarai", "Prisoner of the Caucasus" Pushkin passes to the position of romanticism.

Pushkin's work completes the development of Russian literature at the beginning of the 19th century. At the same time, Pushkin stands at the origins of Russian literature, he is the founder of Russian realism, the creator of the Russian literary language.

Tolstoy's ingenious work had a tremendous impact on world literature.

In the novels "Crime and Punishment", "The Idiot" Dostoevsky realistically depicted the collision of bright, distinctive Russian characters.

The creativity of M.E. Saltykov-Shchedrin is directed against the autocratic-serf system.

N.V. Gogol is one of the writers of the 1930s. In the work "Evenings on a Farm near Dikanka" the bureaucratic world is disgusting to him and he, like A. Pushkin, plunged into the fairy-tale world of romance. Ripening as an artist, Gogol abandoned the romantic genre and switched to realism.

Also the activity of M.Yu. Lermontov belongs to this time. The pathos of his poetry lies in moral questions about the fate and rights of the human person. The origins of Lermontov's work are associated with the culture of European and Russian romanticism. In his early years, he wrote three dramas marked with the stamp of romanticism.

The novel "Heroes of Our Time" is one of the main works of the literature of psychological realism of the 19th century.

The 1st stage of VG Belinsky's critical activity dates back to this time. He had a tremendous influence on the development of literature, social thought, and reading tastes in Russia. He was a fighter for realism, demanded simplicity and truth from literature. The highest authorities for him were Pushkin and Gogol, to whose work he devoted a number of articles.

Having studied the letter of V.G. Belinsky to N.V. Gogol, we see that it is directed not only against Gogol's anti-social, political and moral sermons, but in many respects also against his literary judgments and assessments.

Under the conditions of the post-reform life, the social thought of Russia, which found predominant expression in literature and criticism, turned more and more persistently from the present to the past and the future in order to identify the laws and trends of historical development.

Russian realism of the 1860s-1870s acquired noticeable differences from Western European realism. In the works of many realist writers of that time, motives appear that foreshadowed and prepared the shift towards revolutionary romanticism and socialist realism that would take place at the beginning of the 20th century. The flourishing of Russian realism manifested itself with the greatest brightness and scope in the novel and story in the second half of the 19th century. It was the novels and stories of the largest Russian artists of that time that acquired the greatest public resonance in Russia and abroad. The novels and many stories of Turgenev, Leo Tolstoy, Dostoevsky almost immediately after their publication received a response in Germany, France, and the USA. Foreign writers and critics felt in the Russian novel of those years the connection between concrete phenomena of Russian reality and the processes of development of all mankind.

The flourishing of the Russian novel, the desire to penetrate into the depths of the human soul and at the same time to comprehend the social nature of society and those laws in accordance with which it develops, became the main distinguishing quality of Russian realism of the 1860-1870s.

The heroes of Dostoevsky, L. Tolstoy, Saltykov-Shchedrin, Chekhov, Nekrasov reflected on the meaning of life, on conscience, on justice. In the structure of the new realistic novel and story, their hypotheses were confirmed or rejected, their concepts and ideas about the world when faced with reality were too often dispelled like smoke. Their novels should be regarded as a real feat of the artist. For the development of Russian realism, I.S. Turgenev did a lot with his novels. The most famous novel is Fathers and Sons. It depicts a picture of Russian life at a new stage in the liberation movement. Turgenev's last novel "Nov" was received by Russian critics. In those years, populism was the most significant phenomenon of social life.

The flourishing of critical realism also manifested itself in Russian poetry in the 1860s and 1870s. The work of Saltykov-Shchedrin became one of the heights of Russian critical realism in the 1960s and 1980s. A brilliant satirist, using allegories, personifications, skillfully posed and conducted the most pressing questions modern life... The accusatory pathos is inherent in the work of this writer. The stranglers of democracy had a sworn enemy in him.

A significant role in the literature of the 80s was played by such works as "Little things in life", "Poshekhonskaya satire". With great skill, he reproduced in them the terrible consequences of serf life and no less terrible pictures of the moral fall of post-reform Russia. “The Story of How a Man Fed 2 Generals” or “The Wild Landowner” are devoted to the most important problems of Russian life, they went to press with great censorship difficulties.

The greatest realist writers not only reflected life in their works, but also looked for ways to transform it.

The literature of post-reform Russia, which adequately continued the traditions of critical realism, was the most philosophical and social in Europe.

List of references.

History of Russian literature of the XI-XX centuries

Russian literature textbook

(Yu.M. Lotman)

3. Great Russian writers of the XIX century

(K.V. Mochulsky)

4. Russian literature of the XIX century

(M.G. Zeldovich)

5. History of Russian literature first

half of the 19th century

(A.I. Revyakin)

6. History of Russian literature of the XIX century

(S.M. Petrova)

7. From the history of the Russian novel of the XIX century

(E.G. Babaev)

Test

N.V. Gogol (1809-1852)

a) the story "Overcoat"

b) the story "Viy"

c) the poem "Gantz Kuchulgarten"

2.F.M.Dostoevsky (1821-1881)

a) the novel "Demons"

b) the novel "Notes from the House of the Dead"

c) the novel "The Gambler"

d) the novel "Teenager"

3.V.A. Zhukovsky (1783-1852)

a) the ballad "Lyudmila"

b) the ballad "Svetlana"

4. A.S. Pushkin (1799-1837)

a) the poem "Ruslan and Lyudmila"

b) drama "Boris Godunov"

c) the poem "House in Kolomna"

d) the poem "Gavriliad"

e) the story "Kirdjali"

f) fairy tale "The groom"

5.ME Saltykov-Shchedrin (1826-1889)

a) the fairy tale "Sheep-non-remembering"

b) the fairy tale "Horse"

c) the tale "Worker Emelya and an empty drum"

d) the tale "Selfless Hare"

e) the novel "Lord Golovlevs"

6.M.Yu. Lermantov (1814-1841)

a) the poem "Mtsyri"

b) drama "Masquerade"

7.L. Tolstoy (1828-1910)

a) the novel "Anna Karenina"

b) the story "Polikushka"

c) the novel "Resurrection"

Plan

1. The assertion of humanism, citizenship and nationality in the literature of the first half of the 19th century

2. Development of realistic traditions in literature

post-reform Russia.

Test

on cultural studies

Topic: Russian literatureXIX centuryrussian literature 20 century in chronological order. Abstract \u003e\u003e Literature and Russian language

To make such a turn! Russian literature first decades 19 century was aristocratic - Chatsky, Onegin ... biographies of prominent people 19 century... So Past and thoughts - the most versatile piece russian literature... Only Old Russian ...

Cheat sheet for Russian literature

Cheat sheet \u003e\u003e Literature and Russian language

Traditions russian literature 19 century on the edge centuries... Realism in literature silver century... 2.L-ra and art at the turn 19 -20 ... realist. stories of Gorky. Late XIX century in russian literature a new hero appears - a tramp, a man ...

Russian philosophy XIX century (3)

Abstract \u003e\u003e Philosophy

Role in various national literary traditions. Russian literature has always maintained an organic connection with tradition ... the issues of formation russian philosophy in 19 century, philosophical teachings of Westerners and Slavophiles ...

Theater 18-19x centuries in Russia

Abstract \u003e\u003e Literature and Russian language

Glory is based russian literature 19 century russian literature... Karamzin's word ... glory is based russian literature 19 century... The significance of Karamzin's activities for russian literature... Karamzin's word ...

But the 19th century began with the flowering of sentimentalism and the formation of romanticism. The indicated literary trends found expression, first of all, in poetry. The poetic works of poets E.A. Baratynsky, K.N. Batyushkova, V.A. Zhukovsky, A.A. Feta, D.V. Davydova, N.M. Yazykov. The work of F.I. Tyutchev's "Golden Age" of Russian poetry was completed. Nevertheless, the central figure of this time was Alexander Sergeevich Pushkin.

A.S. Pushkin began his ascent to the literary Olympus with the poem "Ruslan and Lyudmila" in 1920. And his novel in verse "Eugene Onegin" was called an encyclopedia of Russian life. Romantic poems by A.S. Pushkin's "The Bronze Horseman" (1833), "Bakhchisarai Fountain", "Gypsies" opened the era of Russian romanticism. Many poets and writers considered A.S. Pushkin as their teacher and continued the tradition of creating literary works laid down by him. One of these poets was M.Yu. Lermontov. Known for his romantic poem "Mtsyri", the poetic story "The Demon", many romantic poems. It is interesting that Russian poetry of the 19th century was closely connected with the social and political life of the country. Poets tried to comprehend the idea of \u200b\u200btheir special destiny. The poet in Russia was considered a conductor of divine truth, a prophet. Poets urged the authorities to listen to their words. Vivid examples of understanding the role of the poet and influence on the political life of the country are the poems of A.S. Pushkin's The Prophet, the ode to Liberty, The Poet and the Crowd, poem by M.Yu. Lermontov "On the death of a poet" and many others.

Along with poetry, prose began to develop. The prose writers of the beginning of the century were influenced by the English historical novels by W. Scott, whose translations were very popular. The development of Russian prose of the 19th century began with the prose works of A.S. Pushkin and N.V. Gogol. Pushkin, influenced by English historical novels, creates the story "The Captain's Daughter", where the action takes place against the backdrop of grandiose historical events: during the Pugachev rebellion. A.S. Pushkin did a colossal work exploring this historical period. This work was largely political in nature and was directed to those in power.

A.S. Pushkin and N.V. Gogol outlined the main artistic types that would be developed by writers throughout the 19th century. This is an artistic type of "superfluous person", an example of which is Eugene Onegin in the novel by A.S. Pushkin, and the so-called type of "little man", which is shown by N.V. Gogol in his story "The Overcoat", as well as A.S. Pushkin in the story "The Station Master".
Literature inherited its journalistic and satirical character from the 18th century. In the prose poem by N.V. Gogol's "Dead Souls" the writer in a sharp satirical manner shows a swindler who buys up dead souls, various types of landowners who are the embodiment of various human vices (the influence of classicism is felt). The comedy "The Inspector General" is sustained in the same plan. The works of A. Pushkin are also full of satirical images. Literature continues to satirically depict Russian reality. The tendency to depict the vices and shortcomings of Russian society is a characteristic feature of all Russian classical literature. It can be traced in the works of almost all writers of the 19th century. At the same time, many writers implement the satirical tendency in a grotesque form. Examples of grotesque satire are the works of N. V. Gogol "The Nose", M. Ye. Saltykov-Shchedrin "Lord Golovlevs", "The history of one city."

From the middle of the 19th century, the formation of Russian realistic literature took place, which was created against the background of the tense socio-political situation that developed in Russia during the reign of Nicholas I. The crisis of the serf system is brewing, the contradictions between the government and the common people are strong. There is a need to create a realistic literature that sharply reacts to the socio-political situation in the country. Literary critic V.G. Belinsky denotes a new realistic trend in literature. His position is developed by N.A. Dobrolyubov, N.G. Chernyshevsky. A dispute arises between Westerners and Slavophiles about the paths of Russia's historical development.

The writers turn to the socio-political problems of Russian reality. The genre of the realistic novel is developing. I.S. Turgenev, F.M. Dostoevsky, L.N. Tolstoy, I.A. Goncharov. Socio-political and philosophical issues prevail. Literature is distinguished by a special psychologism.

The development of poetry dies down somewhat. It is worth noting the poetic works of Nekrasov, who was the first to introduce social issues into poetry. Known for his poem "Who Lives Well in Russia? ”, As well as many poems, where the hard and hopeless life of the people is comprehended.

The literary process of the late 19th century was discovered by the names of N. S. Leskov, A.N. Ostrovsky A.P. Chekhov. The latter proved himself to be a master of the small literary genre - the story, as well as an excellent playwright. Competitor A.P. Chekhov was Maxim Gorky.

The end of the 19th century was marked by the formation of pre-revolutionary sentiments. The realistic tradition was beginning to fade. It was replaced by the so-called decadent literature, the distinctive features of which were mysticism, religiosity, as well as a presentiment of changes in the country's social and political life. Subsequently, decadence developed into symbolism. This opens a new page in the history of Russian literature.

Humanism of Russian classical literature

The main source of the artistic power of Russian classical literature is its close connection with the people; in serving the people, Russian literature saw the main meaning of its existence. "Burn the hearts of people with a verb" called the poets A.S. Pushkin. M.Yu. Lermontov wrote that the mighty words of poetry should sound

... like a bell on a veche tower

During the days of celebrations and people's troubles.

N.A. gave his lyre to the struggle for the happiness of the people, for their liberation from slavery and poverty. Nekrasov. The work of genius writers - Gogol and Saltykov-Shchedrin, Turgenev and Tolstoy, Dostoevsky and Chekhov - with all the differences in the artistic form and ideological content of their works, is united by a deep connection with the life of the people, a truthful depiction of reality, a sincere desire to serve the happiness of the motherland. Great Russian writers did not recognize “art for art,” they were the heralds of socially active art, art for the people. Revealing the moral greatness and spiritual wealth of the working people, they awakened the reader's sympathy for ordinary people, faith in the strength of the people, its future.

Beginning in the 18th century, Russian literature waged a passionate struggle to free the people from the oppression of serfdom and autocracy.

This is Radishchev, who portrayed the autocratic system of the era as "a monster bastard, mischievous, huge, hundred-zeal and bark."

This is Fonvizin, who exposed rude serf-owners like the Prostakovs and Skotinins to shame.

This is Pushkin, who considered the most important merit that in "his cruel age he glorified freedom."

This is Lermontov, who was exiled by the government to the Caucasus and there found his untimely death.

There is no need to list all the names of Russian writers in order to prove the fidelity of our classical literature to the ideals of freedom.

Along with the severity of the social problems that characterize Russian literature, it is necessary to point out the depth and breadth of its posing of moral problems.

Russian literature has always tried to awaken "good feelings" in the reader, protested against any injustice. Pushkin and Gogol for the first time raised their voices in defense of the "little man", a modest worker; after them were taken under the protection of the "humiliated and insulted" Grigorovich, Turgenev, Dostoevsky. Nekrasov. Tolstoy, Korolenko.

At the same time, the consciousness grew in Russian literature that the "little man" should not be a passive object of pity, but a conscious fighter for human dignity. This idea was especially clearly manifested in the satirical works of Saltykov-Shchedrin and Chekhov, who condemned any manifestation of submissiveness and obsequiousness.

A large place in Russian classical literature is given to moral problems. With all the variety of interpretations of the moral ideal by various writers, it is easy to notice that all the positive heroes of Russian literature are characterized by dissatisfaction with the existing situation, an indefatigable search for truth, aversion to vulgarity, a desire to actively participate in public life, and a readiness for self-sacrifice. In these features, the heroes of Russian literature differ significantly from the heroes of the literature of the West, whose actions are mostly directed by the pursuit of personal happiness, career, and enrichment. Heroes of Russian literature, as a rule, cannot imagine their personal happiness without the happiness of their homeland and people.

Russian writers asserted their bright ideals primarily by artistic images of people with warm hearts, an inquisitive mind, a rich soul (Chatsky, Tatyana Larina, Rudin, Katerina Kabanova, Andrei Bolkonsky, etc.)

By truthfully covering Russian reality, Russian writers did not lose faith in the bright future of their homeland. They believed that the Russian people "will pave the way for themselves ..."

II. Russian literature of the late 18th - early 19th centuries

2.1 The main features of literary trends

The literary direction is the work of writers who have a commonality of views on the goals and objectives of art

The following literary directions are distinguished:

Classicism;

Sentimentalism;

Romanticism;

Realism.

Classicism(exemplary, first class).

In the 18th century, the works of Ancient Greece and Ancient Rome were considered exemplary, worthy of imitation. Studying them allowed writers to develop rules for their works:

1. Knowing life and reflecting it in literature is possible only with the help of reason.

2. All genres of literature should be strictly divided into "high" and "low". "Tall" were the most popular, they were

Tragedies;

The "low" included:

Comedy;

In the "high" genres glorified noble deeds of people who put duty to the Fatherland above personal well-being. "Low" were different b about more democracy, written in a simpler language, stories were taken from life and non-nobility strata of the population.

3. Tragedies and comedies had to strictly observe the rules of the "three unities":

Unity of time (required that all events fit into a period not exceeding one day);

Unity of place (required that all events take place in one place);

Unity of action (prescribed that the plot was not complicated by unnecessary episodes)

For its time, classicism had a positive meaning, since writers proclaimed the importance of a person fulfilling his civic duties.

(Russian classicism is associated primarily with the name of the genius scientist and remarkable poet Mikhail Vasilyevich Lomonosov).

Sentimentalism(from the French word "sentimental" - sensitive).

In the center of the image, the writers put the everyday life of an ordinary person, his personal emotional experiences, his feelings. Sentimentalism rejected the strict rules of classicism. When creating a work, the writer relied on his feelings and imagination. The main genres are family and everyday novels, sensitive stories, travel descriptions, etc.

(N.M. Karamzin "Poor Liza")

Romanticism

The main features of romanticism:

1. The fight against classicism, the fight against the rules that restrict the freedom of creativity.

2. In the works of romantics, the personality of the writer and his experiences are clearly manifested.

3. Writers show interest in everything extraordinary, bright, mysterious. The basic principle of romanticism: the portrayal of exceptional characters in exceptional circumstances.

4. Romantics are characterized by an interest in folk art.

5. Romantic works are distinguished by the colorfulness of the language.

(Romanticism manifested itself most vividly in Russian literature in the works of V.A.Zhukovsky, the Decembrist poets, in the early works of A.S. Pushkin, M.Yu. Lermontov).

"Realism," said M. Gorky, "refers to a truthful, unadorned depiction of people and their living conditions." The main feature of realism is the portrayal of typical characters in typical circumstances.

Typical we call those images in which the most vividly, fully and truthfully embodied the most important features characteristic of a particular historical period for a particular social group.

(In the formation of Russian realism in the early 19th century, I.A.Krylov and A.S. Griboyedov played an important role, but A.S. Pushkin was the true founder of Russian realistic literature).

2.2 Derzhavin G.R., Zhukovsky V.A. (Overview study)

2.2.1 Derzhavin Gavriil Romanovich (1743 - 1816)

“We have in Derzhavin a great, brilliant Russian poet, who was a true echo of the life of the Russian people, a true echo of the century of Catherine II” (VG Belinsky).

In the second half of the 18th century, there was a rapid growth and strengthening of the Russian state. This was facilitated by the era of victorious campaigns of the heroic Russian troops, led by Suvorov and his associates. The Russian people are confidently developing their national culture, science and education.

The successes achieved entered into striking conflict with the plight of the serf peasantry, which constituted the majority of the population of Russia.

The "noble empress" Catherine II, who had a reputation in Western Europe as an enlightened and humane empress, immensely intensified serfdom. This resulted in numerous peasant unrest, which in 1773-1775 developed into a formidable people's war led by E. Pugachev.

The question of the fate of the people became a burning problem that attracted close attention of the best people of the era. Including G.R. Derzhavin.

Derzhavin's life experience was rich and varied. He began his service as an ordinary soldier, and ended it as a minister. In his official activities, he came into contact with the life of different strata of society, from the common people to the court circles. And this rich life experience is widely reflected by Derzhavin, an honest and direct man, in his work.

Derzhavin took a lot from the rules of classicism. Here classicism is manifested in the depiction of the image of Catherine II, endowed with all kinds of virtues; in harmony of construction; in a ten-line stanza typical for a Russian ode, etc.

But, contrary to the rules of classicism, according to which it was impossible to mix different genres in one work, Derzhavin combines ode with satire, sharply opposing the positive image of the queen to the negative images of her nobles (G. Potemkina, A. Orlova, P. Panin).

Departure from classicism and in violation of strict rules in the language. For the ode, the "high" style was supposed, and Derzhavin, along with the solemn and dignified style, has very simple words ("You see the tomfoolery through your fingers. You cannot stand one evil only"). And sometimes there are even lines of "low calm" ("And they don't smear their faces with soot").

Ode to "Sovereigns and Judges" (read)

Derzhavin witnessed the Peasant War under the leadership of Pugachev and, of course, understood that the uprising was caused by the exorbitant oppression of serfdom and the abuse of officials who robbed the people.