In literature, classicism was born and spread in France in the 17th century. The theoretician of classicism is Nicolas Boileau, who formed the basic principles of style in the article "Poetic Art". The name comes from the Latin "classicus" - exemplary, which emphasizes the artistic basis of the style - the images and forms of antiquity, which began to have a special interest at the end of the Renaissance. The emergence of classicism is associated with the formation of the principles of a centralized state and the ideas of "enlightened" absolutism in it.

Classicism glorifies the concept of reason, believing that only with the help of the mind can one obtain and streamline a picture of the world. Therefore, the main thing in the work is its idea (that is, the main idea and form of the work must be in harmony), and the main thing in the conflict of reason and feelings is reason and duty.

The main principles of classicism, characteristic of both foreign and domestic literature:

• Forms and images from ancient (Greek and Roman) literature: tragedy, ode, comedy, epic, poetic odic and satirical forms.
• A clear division of genres into "high" and "low". The "high" include ode, tragedy and epic, the "low", as a rule, funny - comedy, satire, fable.
• Distinctive division of heroes into good and bad.
• Compliance with the principle of the trinity of time, place, action.

Classicism in Russian literature

18th century

In Russia, classicism appeared much later than in European countries, as it was "brought" along with European works and enlightenment. The existence of style on Russian soil is usually placed in the following framework:

1. The end of the 1720s, the literature of the time of Peter the Great, secular literature, which differs from the church literature that had previously dominated Russia.

The style began to develop first in translations, then in original works. The names of A. D. Kantemir, A. P. Sumarokov and V. K. Trediakovsky (reformers and developers of the literary language, they worked on poetic forms - on odes and satires) are associated with the development of the Russian classical tradition.

1. 1730-1770 - the heyday of style and its evolution. It is associated with the name of M. V. Lomonosov, who wrote tragedies, odes, and poems.
2. The last quarter of the XVIII century - the emergence of sentimentalism and the beginning of the crisis of classicism. The time of late classicism is associated with the name of D. I. Fonvizin, the author of tragedies, dramas and comedies; G. R. Derzhavin (poetic forms), A. N. Radishcheva (prose and poetry).

(A. N. Radishchev, D. I. Fonvizin, P. Ya. Chaadaev)

D. I. Fonvizin and A. N. Radishchev became not only developers, but also destroyers of the stylistic unity of classicism: Fonvizin in comedies violates the trinity principle, introduces ambiguity in the assessment of heroes. Radishchev becomes a harbinger and developer of sentimentalism, providing psychologism to the narrative, rejecting its conventions.

(Representatives of classicism)

19th century

It is believed that classicism existed by inertia until the 1820s, however, during the late classicism, the works created within its framework were only formally classical, or its principles were used intentionally, to create a comic effect.

Russian classicism of the early 19th century is moving away from its breakthrough features: the assertion of the primacy of reason, civic pathos, opposition to the arbitrariness of religion, against its oppression of reason, criticism of the monarchy.

Classicism in foreign literature

The original classicism relied on the theoretical developments of ancient authors - Aristotle and Horace ("Poetics" and "Epistle to the Pisons").

In European literature, with identical principles, style ends its existence from the 1720s. Representatives of classicism in France: Francois Malherbe (poetic works, reformation of the poetic language), J. La Fontaine (satirical works, fable), J.-B. Molière (comedy), Voltaire (drama), J.-J. Rousseau (late classic prose writer, forerunner of sentimentalism).

There are two stages in the development of European classicism:

• The development and flourishing of the monarchy, contributing to the positive development of the economy, science and culture. At this stage, representatives of classicism see as their task the glorification of the monarch, the assertion of its inviolability (Francois Malherbe, Pierre Corneille, the leading genres are ode, poem, epic).
• The crisis of the monarchy, the discovery of shortcomings in the political system. Writers do not glorify, but rather criticize the monarchy. (J. Lafontaine, J.-B. Moliere, Voltaire, leading genres - comedy, satire, epigram).

Having entered a period of decline at the end of the 17th century, Kazakhstan was revived during the Enlightenment.

The new, educational culture coexisted throughout the 18th century. with enlightenment realism, and by the end of the century it becomes again the dominant artistic trend.

Enlighteners in many ways continue the traditions of the 17th century K. They turned out to be close to the position expressed in K. of a person who is consciously related to the world and to himself, capable of subordinating his aspirations and passions to social and moral duty; pathos of civilization; rationalistic concept of artistic creativity.

However, the sociopolitical orientation of educational culture is changing. In the traditions of classicism, Voltaire creates tragedies imbued with the struggle against religious fanaticism, absolutist oppression, and the pathos of freedom. The appeal to antiquity as to the world of ideal archetypes, which was the essence of culture, including enlightenment culture, had deep roots in the ideology of the Enlightenment. Where enlighteners sought to penetrate beyond the external empiricism of life, to go beyond private life, they found themselves, as a rule, in the world of ideal abstractions, since in all their constructions they proceeded from an isolated individual and sought the essence of a person not in the social conditions of his being, not in history, but in an abstractly understood human nature.

The literature of the Great French Revolution, which clothed heroic aspirations in ancient myths and legends (the work of M. J. Chenier and others), is closely connected with enlightenment cinema. "(Marx K. and Engels F., ibid., vol. 8, p. 120).

Under the influence of French literature, French literature also developed in other European countries: in England (A. Pope and J. Addison), Italy (V. Alfieri and partly Ugo Foscolo), and Germany (J. K. Gottsched). The classicist works of Gottsched, wholly oriented towards French models, did not leave a significant mark in German literature, and only in the second half of the 18th century did they. A new German classicism is taking shape as an original artistic phenomenon (so-called Weimar classicism).

Unlike French, he puts forward moral and aesthetic problems to the fore. Its foundations were laid by J. I. Winkelmann, but it reached its highest peak with J. W. Goethe and F. Schiller in the Weimar period of their work. The "noble simplicity", harmony and artistic perfection of the Greek classics, which arose in the conditions of polis democracy, were opposed by German poets to the squalor of German reality and all modern civilization, crippling a person. Schiller and, to some extent, Goethe, sought in art the main means of educating a harmonious personality and, turning to antiquity, sought to create a new, modern, high-style literature capable of fulfilling this task.

In the epoch of the Napoleonic Empire, k. lost its lively progressive content. He was characterized by external official pomposity and splendor, cold and dead academicism. Nevertheless, as an epigone current, it existed in France until the 30s and 40s. 19th century

In the middle of the 18th century a new trend in k. arises, corresponding to enlightenment k. in literature and developing initially in polemics with rococo. In architecture, now more and more often they refuse rigid planning schemes, they strive to emphasize the constructive meaning of the order, special attention is paid to the interior and flexible planning of a comfortable residential building. The landscape environment of the "English" park becomes an ideal setting for a classic building of a new type.

Huge influence on K. 18 century. contributed to the development of archaeological knowledge about Greek and Roman antiquity (especially the excavations of Herculaneum and Pompeii), as well as the theoretical works of I. I. Winkelmann, J. V. Goethe, and F. Militsius.

In the French architecture of this era, new architectural types were formed: an exquisitely intimate mansion, a laconic monumental public building, an open city square (architects J. A. Gabriel, J. J. Souflot). Civil pathos and lyrical dreaminess are combined in different ways in the plastic arts of J. B. Pigalle, E. M. Falcone, J. A. Houdon, the historical and mythological painting of J. M. Vienne, and the decorative landscapes of J. Robert.

On the eve of the French Revolution in architecture, there is a desire for severe lapidarity of forms, for impressive didactic images, architects are increasingly turning to the motifs of the Greek archaic, the art of Ancient Egypt, sometimes to a system without orders (buildings and projects by K. N. Ledoux, E. L. Bullet, J. J. Lekeu). These searches (noted also by the influence of the architectural etchings of G. B. Piranesi) served as the starting point for the late C., or Empire.

In French painting, the most important representative of the revolutionary trend was J. L. David, whose work is saturated with courageous drama and solemnity of figurative structure. In the era of Napoleon I, the features of magnificent representativeness (Ch. Percier, P. Fontaine, J.-F. Chalgrin) intensified in the architecture of the French Empire, which often led to excessive refinement of details, which also affected the decorative and applied arts. The painting of the late C., despite the appearance of individual major masters (D. Ingres), degenerates into an official-apologetic or sentimental-erotic salon trend.

You will learn everything about the representatives of classicism by reading this article.

Representatives of classicism

What is classicism?

Classicism- This is a style in art, which is based on imitation of the standards of Antiquity. The heyday of the direction refers to the XVII-XIX centuries. It reflects the desire for integrity, simplicity, consistency.

Representatives of Russian classicism

Classicism in Russia appeared at the beginning of the 18th century from the moment of the transformations of Peter I and the publication of the theory of the "Three Calms" by Lomonosov and the reform of Trediakovsky. The most prominent representatives of this trend are:

• Antioch Dmitrievich Kantemir,
• Alexander Petrovich Sumarokov
• Ivan Ivanovich Khemnitser.

Russian baroque and Byzantine culture are mixed in Russian architecture. Main representatives of classicism in architecture - Eropkin, Kazakov, Zemtsov, Rossi, Korobov, Montferrand and Stasov.

In painting, the smoothness of forms is emphasized, and chiaroscuro and line are the main elements of form. Representatives of classicism in painting: I. Akimov, P. Sokolov, K. Lorrain and N. Poussin. Lorrain created landscapes, which depicted the connection between nature and man, their harmony and interaction. And Poussin painted masterpieces depicting heroic deeds in a historical style.

Representatives of classicism in Russian literature

The brightest representatives of classicism in literature: Sumarokov, Trediakovsky, Kantemir, Lomonosov. A little more about each of them. Trediakovsky went down in history as a man who revealed the essence of classicism. But Lomonosov did a great job on the art form. Sumarokov is the founder of the dramatic system of classicism. His famous work "Dmitry the Pretender" revealed opposition to the tsarist regime.

It is worth noting that all subsequent famous representatives of classicism studied with Lomonosov. He owns the design of the rules of versification and the processing of the grammar of the Russian language. This writer introduced the principles of classicism into Russian literature. He divided all words into three main groups (“three calms”):

• The first group is distinguished by solemnity and majesty. It is dominated by Russian old vocabulary. Odes, tragedies, heroic epics were suitable for it.
• The second group included elegies, dramas, satires.
• The third group included comedies and fables.

Outstanding representatives of classicism divided their heroes into positive (who always win) and negative characters. The plot, as a rule, was based on a love triangle, the struggle of men for the possession of a woman. The action of the works is limited in time (no more than 3 days) and takes place in one place.

22.12.2014 5210 740 Abdrakhmanova Asel Maratovna

a) make an overview of the era (cultural, economic,
political situation)
b) introduce students to the literary movement
"classicism", note its main features and
characteristics
Developing:
a) assimilation by students of a complex of theoretical
concepts on the topic
Educational:
a) expand the horizons of students
b) develop the aesthetic taste of students

Literature: 1. V.Ya.
Korovina
2. Yu.M. Lotman Textbook on Russian Literature
3. Literary encyclopedic dictionary
1. Org. moment
Greeting students, checking for absentees.
In today's lesson, we will see what changes and transformations the 18th century brought with it, how these transformations affected literature.
We will also get acquainted with the literary movement "classicism" (one of the main trends in Russian literature of the 18th century)
It was that troubled time
When Russia is young
Straining strength in the struggles,
Husband with the genius of Peter.
The literature of the 18th century (as well as the literature of any other period) is inextricably linked with the era, with the cultural and socio-political life of the country.
Review of the cultural and political situation in Russia in the 18th century.
Russia of the 18th century (the initial period of the Petrine era) is undergoing a series of cardinal transformations in all areas of state, cultural, and political life.
Russia's independence is being strengthened, its military might is growing, and its influence in the European arena is growing. Thanks to all the transformations, autocratic power is also being strengthened. The 18th century is the century of enlightened absolutism with its ideas of citizenship, patriotism, and the unity of the nation.
Absolutism - autocracy
/ Moscow University opens, general education and vocational schools are created, a new calendar is introduced, the first Russian newspaper is founded, the Academy of Sciences, the Academy of Arts, the first permanent Russian theater are established /
To move the country forward, eradicate patriarchal foundations, superstitions, it was necessary to pay attention to the development of the following areas: - education
- the science
- culture
- seal
Literature is of particular importance in this regard.
The literature of the 18th century brings with it the image of a man who feels like a citizen and a patriot, who is ready to sacrifice personal well-being for the good of society, the state, ready to subordinate his feelings to public duty.
The dominant trend in the literature of the 18th century was classicism.
Classicism - (from Latin classicus - exemplary), artistic style and aesthetic trend in European literature of the 18th - early 19th centuries, one of the most important features of which was the appeal to ancient images as an ideal aesthetic standard.
/ The concept of beauty in the art of classicism is associated with symmetry and harmony. This was also reflected in the rules of behavior for people in a secular society: a violent expression of feelings was considered indecent in the 18th century and was perceived as a sign of low origin or bad education. The manifestation of even the strongest passions should be like deep waters enclosed in granite banks./
Features of classicism
1. Adoption of the ideas of enlightened absolutism - patriotism, citizenship, the unity of the nation.
2. Affirmation of the priority of reason.
3. At the heart of the aesthetics of classicism is the principle of rationalism: a work of art must be reasonably and consistently constructed, logically verified (from the principle of "imitation of nature").
4. Compliance with certain creative norms and rules (strict plot and compositional organization).
5. A clear division of heroes into positive and negative
6. "Invariance" of the hero (lack of internal development).
7. Idealization of the hero (odes of Lomonosov)
8. Interest in the folk language, use in the works of folk speech.
9. Objectivity of the narrative.
Features of classicism
1. The division of genres into "high" and "low".
High: (tragedy, epic, ode; their sphere is public life, historical events, mythology; their heroes are monarchs, generals)
Low: (comedy, satire, fable) depict the private, everyday life of middle-class people.
Each genre has strict boundaries and clear formal features; no mixing of the sublime and the base, the tragic and the comic, the heroic and the mundane is allowed.
The leading genre of classicism was tragedy, addressed to the most important social and moral problems of the century. Social conflicts appear in it as reflected in the souls of the characters, who are faced with the need to choose between moral duty and personal passions.
2. Law of "three unities" (unity of time, place and action)
unity of time - the action takes place within one day
unity of place - the action takes place in one place
unity of action - one-plot line, a large number of characters (connected with the plot)
Russian classicism originated in the 2nd quarter of the 18th century in the work of the founders of new Russian literature A.D. Kantemira, V.K. Trediakovsky, M.V. Lomonosov.
Features of Russian classicism.
connection with modern reality
satirical orientation
appeal to specific phenomena of Russian life
the predominance of national-historical themes
high level of development of the ode genre
3. Lesson summary
In the era of classicism, Russian literature mastered the genre and style forms that had developed in the West, joined the pan-European literary development, while retaining its national identity.
3. Homework a) to teach a lecture on classicism
b) preparation of reports on the activities of M.V.
Lomonosov (individual tasks)
Lesson topic: M.V. Lomonosov. reformist
activities in the field of the Russian language and
literature.
Lesson Objectives: Educational:
a) introduce students to the personality of one of the
the greatest figures of education - M.V.
Lomonosov
b) reveal the essence of the reforms of M.V. Lomonosov
Developing:
a) master a set of theoretical concepts on
this topic
Educational:
a) instill in children a sense of national pride,
patriotism
Literature:
Literary Encyclopedic Dictionary (articles:
ode, Lomonosov)
Yu.M. Lotman Textbook on Russian Literature for
middle classes
Textbook on Russian literature, ed.
V.Ya. Korovina
1. Org. moment
In today's lesson, we will get acquainted with the personality of an outstanding figure in Russian education - M.V. Lomonosov, and also evaluate the significance of his reform activities.
2. "A word about Lomonosov" Combining extraordinary willpower with
the extraordinary power of the concept,
Lomonosov embraced all branches of education.
The thirst for science was the strongest passion
this soul full of passions. Historian,
orator, mechanic, chemist, mineralogist,
artist and poet, he experienced everything
and penetrated everything.
A.S. Pushkin
Mikhail Vasilievich Lomonosov
(1711-1765)
M.V. Lomonosov was born on November 8 (19), 1711 in the village of Denisovka (now the village of Lomonosovo) of the Arkhangelsk province in the family of a Pomor peasant. He went with his father on ships for fish in the White Sea and the Arctic Ocean (hard work, endurance). He learned to read and write early and by the age of 14 had read all the books that he could get his hands on: Magnitsky's Arithmetic, Smotrytsky's Slavic Grammar and Simeon of Polotsky's Rhyming Psalter.
In December 1730 he left (against the will of his father) with a fish convoy to Moscow.
In January 1731, Lomonosov, posing as a noble son, entered the Moscow Spavian-Greek-Latin Academy, where he received good training in ancient languages ​​and other humanities (he knew more than 30 languages). He knew Latin perfectly, and was later recognized as one of the best Latinists in Europe.
At the beginning of 1736, as one of the best students, Lomonosov was sent to the university at the St. Petersburg Academy of Sciences, and in the autumn of the same year - to Germany, to the University of Marburg, where he studied natural and human sciences for 3 years. In 1739 he went to Freiburg, where he studied chemistry and mining at the Mining Academy. In 1741 Lomonosov returned to Russia. In 1745 he became professor of chemistry (academician) of the St. Petersburg Academy of Sciences. At this time, Lomonosov was engaged in astronomy, navigation, local history, geography, meteorology, and mathematics.
Let's listen to messages about Lomonosov's activities in the field of chemistry, physics, astronomy.
Student messages
/ Add. In 1748 M.V. Lomonosov created the chemical laboratory of the Academy of Sciences, where he conducted scientific research, including developing the composition of glass, porcelain, and smalt, which he used for his mosaics. He independently designed devices for chemical research, optical instruments. /
In 1755, on the initiative of Lomonosov, Moscow University was opened
Lomonosov's reforms in the field of the Russian language and literature.
Advances in language
1. In 1755 Lomonosov's Russian grammar was published. In it, for the first time, sounds were separated from letters, and the physiological and acoustic properties of sounds were also considered. The Grammar gives the first classification of the main dialects of the Russian language. The Russian and Church Slavonic languages ​​are clearly distinguished, their main differences are determined at different levels of organization of the sound system.
2. Lomonosov created the concept of "three calms" / reform in the field of language stylistics /
The essence of the reform
According to Lomonosov, each literary genre must be written in a certain "calm".
"High calm" is typical for heroic poems, odes, "prosaic speeches about important matters."
"Medium" - for poetic messages, elegies, satires, descriptive prose.
"Low" - for comedies, epigrams, fables.
Differences of "calms" in the field of vocabulary
"High calm" - Slavicisms + neutral words (common in both Church Slavonic and Russian)
"Medium calm" - common words + some Slavic words
"Low calm" - neutral vocabulary + colloquial words
Also excluded:
1. obsolete Slavicisms, already incomprehensible to Lomonosov's contemporaries (ovogda, ryasny)
2. rude, swear words (grunt, drag)
Examples
Church Slavism: daughter, Lord, I cry, opened
Common words for both Church Slavonic and Russian (neutral) words: hand, glory, god, now
Colloquial (not in Church Slavonic) I say, a stream that
Reform in the field of literature (in the field of versification)
Lomonosov sought to comprehend the secrets of language and the secrets of poetry. Back in 1736, he acquired a treatise by the theoretician of the Russian language V.K. Trediakovsky "A new and concise way to add Russian poetry", which he was extremely interested in. Lomonosov's answer was "Letter on the rules of Russian poetry" (1739).
The main provisions of the "letter"
1. Lomonosov extended the syllabic-tonic principle to the entire Russian versification (syllabic-tonic - syllable-stressed, previously it was syllabic, based on the length of syllables)
2. Lomonosov brilliantly showed the expressive possibilities of iambic.
3. Skillfully applied a combination of male and female rhymes (Trediakovsky insisted on using only female rhymes)

Lesson results: (1st)
Thus, Lomonosov gave scope to Russian verse, made it flexible, sonorous, expressive. He brought the literary language closer to the spoken language (= accessibility).
Lomonosov's reforms in the areas of literary language and versification met the cultural needs of the nation. To express significant social content, new literary genres were needed, and Lomonosov opened up wide artistic horizons for poetry. At the same time, the philological activity of the scientist also had a broader meaning: it reflected the spirit of transformation characteristic of the post-Petrine era, in which Lomonosov's scientific and poetic work unfolded.
Lesson topic: The genre of ode in the work of M.V. Lomonosov
Lesson Objectives: Educational:
a) introduce students to the work of M.V.
Lomonosov
Developing:
a) determine the main ideas and themes of M.V.
Lomonosov
b) identify linguistic and stylistic features
creativity of Lomonosov (based on odes)
Educational:
a) the development of a linguistic aesthetic ideal
students

1. Org. moment
In the previous lesson, we met with the personality of M.V. Lomonosov, his reform activities. In today's lesson, we will turn to the work of Lomonosov (specifically, to odes)
2. Lecture with elements of conversation
Before defining the main themes of M. V. Lomonosov's work, we need to understand what he saw as the purpose of the poet and poetry.
The poet, in the view of Lomonosov, cannot confine himself to singing the movements of the human heart alone, he must be excited and animated by events that are important for the entire state, the entire country.
The idea of ​​the state, serving it, underlies all the work of M.V. Lomonosov. The theme of the power and greatness of Russia, the patriotic pathos of the “benefit of society” were combined in Lomonosov’s poetry with the glorification of Peter 1 as an enlightened sovereign. And the solemn ode became the genre that Lomonosov chose to glorify the wealth and power of Russia.
Ode - / a genre of lyric poetry /, a poem of a solemn nature in honor of a person or event.
This genre arose in antiquity and at first was a song with a wide lyrical content. In Russian poetry, the ode was perceived as a genre of civil lyrics with an obligatory "high" content and "sublime" style. In his work, Lomonosov most often used two varieties of ode - spiritual and commendable.
Let's try to make a small scheme. But first, let's think - what could be included in the content of these odes, what are they about? (a spiritual ode? an ode of praise?)
Oh yeah
Commendable Spiritual
Created for solemn occasions (philosophical)
court life. Topics: glorification Main topics:
sciences, enlightenment, peace, monarchs as 1. imperfection
guardians of science and peace. Often society, loneliness
biblical, historical person are used.
associations. The main tone is enthusiastic. 2. the greatness of nature
3. Od analysis
Consider Lomonosov's ode "Evening meditation on the Majesty of God in the event of the great northern lights"
(Expressive reading by the teacher of the ode)
What type of ode does this one belong to? Prove it.
(Philosophical ode, since the author's reflections are given in it)
What is the author thinking about?
(About the greatness of nature, its incomprehensibility, mystery, power and man - a "grain of sand" in this unknown world)
But! Man seeks to penetrate the secrets of nature, that is, he is not a powerless contemplator, depressed and drooping. Man is a rational, thinking being. He admires the greatness of the Creator and his power, but does not leave attempts to penetrate into the essence of phenomena.
Conversation.
Analysis by stanza.
1st stanza - a majestic picture of nature is drawn (examples are given)
Look what a beautiful metaphorical image the author draws
The abyss has opened, the stars are full ...
What is the author talking about in this line?
(about the night sky)
Against the background of this gloomy solemn picture of nature is a person drawn? What does the author compare the person to?
(With a grain of sand, with a small spark, with a feather)
What extraordinary natural phenomenon does the author admire?
(northern lights)
To whom does the author turn for an explanation of this natural phenomenon?
(to scientists, sages)
On the one hand, the author admires the natural phenomenon as a miracle, on the other hand, he tries to understand and explain it.
What artistic and expressive means does the author use in the ode and for what?
(The author uses a lot of rhetorical questions, exclamations, special "high" vocabulary to create a special emotional mood, to create the importance and depth of the topic)
Now let's turn to the ode "On the day of the accession to the All-Russian throne of Her Majesty Empress Elizabeth Petrovna in 1747"
(expressive reading by students)
The day of accession to the throne occupied a central place in the annual cycle of court holidays. In 1747, the fifth anniversary of Elizabeth's accession was celebrated.
Can this ode be considered classical in content and form? (we will put this question at the forefront)
Note the features of classicism.
Sphere - public life; heroes - monarchs (Elizabeth, Peter); heroes are idealized; "high" content, "sublime" language.
What is glorified in the ode? We can understand it from the first lines
The joy of the kings and kingdoms of the earth, beloved silence ...

"Silence" - that is, the peaceful state of the state as the best time for the development of sciences and arts. And Elizabeth is the keeper of this silence.
Elizabeth, Peter, Catherine are idealized as monarchs-enlighteners, patrons of the sciences and education. Lomonosov draws the image of an ideal sovereign, shows how he should be, gives a "lesson to the kings."
Through the glorification of Elizabeth as the guardian of education and the sciences, the sciences themselves are glorified. To whom is the author addressing (and for what purpose) in the passage?
O you who await...
(The author appeals to the sons of Russia with a call to prove that they are no worse than foreign craftsmen, scientists and can serve the development and prosperity of their country)
4. Lesson summary
We, having analyzed the odes of Lomonosov, see that they are imbued with high civic pathos and their main goal (as well as all of Lomonosov's work) was to glorify the wealth, power and greatness of enlightened Russia.
5. Homework
Analyze in writing an excerpt from the ode (On the day of the ascension ...)
O you who await...

Lesson topic: A.N. Radishchev "Journey from St. Petersburg
to Moscow"
Lesson Objectives: Educational:
a) introduce students to personality and creativity
A.N. Radishcheva
b) note the importance of social activities
writer
Developing:
a) identify the main themes and ideas of creativity
A.N. Radishcheva
Educational:
a) instill in children a sense of compassion,
philanthropy

Literature: Yu.M. Lotman Textbook on Russian Literature for
middle classes
Textbook on Russian literature, ed.
V.Ya. Korovina

1. Org. moment
In today's lesson, we will get acquainted with the personality and work of A.N. Radishchev. A thoughtful writer, a subtle observer, a sharp satirist, a man with a tragic fate, Radishchev left a deep mark on the history of Russian literature.
2. "A word about Radishchev"
Radishchev was born into the family of a wealthy landowner. He studied first at home, in the village, then in Moscow, at Moscow University. Then he was enrolled in the Corps of Pages (the relative gets acquainted with the empress, with high society, palace intrigues, sees the life of the world "from the inside")
The writer's reading circle included the works of enlightenment philosophers - Voltaire, Montesquieu, Rousseau. Radishchev traveled extensively abroad, where he studied jurisprudence, natural science, chemistry, medicine, and philosophy.
“Autocracy is the state most repugnant to human nature” – this is the thought that Radishchev took away from this journey. Returning to Russia, Radishchev entered the service. He tried everywhere and in everything to act according to his conscience and earned the respect of the best people of his era.
I looked around me - my soul became wounded by the sufferings of mankind. He turned my gaze into my inwardness - and saw that the misfortunes of a person come from a person, and often only because he looks indirectly at the objects surrounding him.
Radishchev made a bold attempt to look directly at the objects. In the home printing house, innocently called the vigilance of the censor, he published the book “Journey from St. Petersburg to Moscow”
This work angered Catherine. Radishchev was sentenced to death, but then the execution was commuted to imprisonment. Alexander 1 returned Radishchev to court. The writer worked on the commission for the drafting of laws, proposed to introduce freedom of printing, freedom of trade. Radishchev also proposes to introduce a jury trial, to abolish torture during interrogations, to release serfs, to abolish corporal punishment. Naturally, this could not please the government. Not wanting to serve the state contrary to his principles, the writer commits suicide.
So, let's turn to the main book of Radishchev. "Journey from St. Petersburg to Moscow" - was an expression of such love of truth, which was one of the most notable phenomena in the history of Russian literature of the 18th century.
Radishchev describes his journey from the new capital of Russia to the old one. Naming the chapters by the names of the stations, he tells various incidents and incidents that he observed in life or which he himself witnessed. He meets with different people: peasants, nobles, merchants... All of Russia, with its misfortunes, poverty, filth, confronts the author.
3. Analysis of the chapter "Copper"
What terrible and cynical phenomenon of Russian life underlies the events of the chapter "Copper"? (examples!)
(sale of serfs)
How are those in power depicted (landlords, nobles)?
(cruel, cynical, dehumanized)
What human values ​​are violated in the chapter?
/ Human gratitude, faith (the sacrament of the wedding), moral duty, God's gift (child) /
We see people in positions of authority mock both human laws and God's laws. They lose their humanity.
What feelings fill the soul of the author after what he saw?
(pity, shame, compassion, rage)
4. The result of the lesson:
Without rose-colored glasses, Radishchev looked at the Russian reality of his time and, with exceptional courage, condemned the despotism reigning in Russia, the arbitrariness of the authorities, the lack of rights of subjects and the horrendous situation of the peasants.
5. Homework
Analyze the chapter "Lyubani" according to the plan.
A) How is the peasantry depicted in the chapter?
b) How does he feel about his position?
C) What is the author's attitude towards the peasants?
D) What thoughts does the author see?

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Sensitive to the spirit of the era, Alexander Sergeevich Pushkin compared Russia in the 18th century with a ship launched "at the sound of an ax and the thunder of cannons." The “knock of an ax” can be understood in different ways: either as the scope of construction, the remaking of the country, when St. Petersburg, from the shores of which the ship departed, still resembled a hastily put together theatrical scenery, had not yet been dressed in granite and bronze for centuries; whether the knock of the ax meant that they were in a great hurry to launch the ship, and on it, already departing, work continued; whether it was the sound of an ax cutting off unruly heads. And the "crew" of this ship was in a great hurry to enter Europe: they hastily cut the ropes that connected the ship with its native shore, with the past, forgetting traditions, forgetting cultural values ​​that seemed barbaric in the eyes of "enlightened" Europe. Russia moved away from Rus'.

And yet you can't get away from yourself. You can change your Russian dress to German, cut your beard and learn Latin. There are external traditions, and there are internal ones that are not visible to us, developed by our ancestors over hundreds and hundreds of years. What changed in the 18th century? Much, but the deepest, most intangible and most important national values ​​remained, migrated from ancient history to the new, from ancient Russian literature they imperceptibly but surely entered the literature of the 18th century. This is a reverent attitude to the written word, faith in its truth, faith that the word can correct, teach, enlighten; this is a constant desire to see the world with "spiritual eyes" and create images of people of high spirituality; it is inexhaustible patriotism; it is closely related to folk poetry. Writing never became a profession in Rus', it was and remained a vocation, literature was and remained a guide to a correct, high life.

According to an established tradition, from the 18th century we begin the countdown of new Russian literature. Since that time, Russian literature began to move towards European literature, in order to finally merge into it already in the 19th century. The so-called "belles-lettres" stands out from the general stream, that is, fiction, the art of the word. Fiction, author's fantasy, and amusement are encouraged here. The author - a poet, playwright, prose writer - is no longer a copyist, compiler, recorder of events, but a creator, creator of artistic worlds. In the 18th century, the time of author's literature comes, it is not the veracity of what is described, not following the canons, not similarity with samples, but, on the contrary, the originality, originality of the writer, the flight of thought and fantasy that begins to be valued. However, such literature was just being born, and Russian writers at first also followed the traditions and models, the “rules” of art.

One of the first cultural acquisitions of Russia from Europe was classicism. It was a very harmonious, understandable and uncomplicated system of artistic principles, quite suitable for Russia at the beginning and middle of the 18th century. Classicism usually arises where absolutism, the unlimited power of the monarch, is strengthened and flourishes. So it was in France in the 17th century, so it was in Russia in the 18th century.

Reason and order must prevail both in human life and in art. A literary work is the result of the author's imagination, but at the same time a reasonably organized, logically, according to the rules, built creation. Art should demonstrate the triumph of order and reason over the chaos of life, just as the state personifies reason and order. Therefore, art also has a great educational value. Classicism divides all literary genres into "high" and "low" genres. The first are tragedy, epic, ode. They describe events of national importance and the following characters: generals, monarchs, ancient heroes. "Low" genres - comedy, satire, fable show the life of people of the middle classes. Each genre has its own educational value: tragedy creates a role model, and, for example, an ode sings of the deeds of the heroes of our time - commanders and kings, "low" genres ridicule the vices of people.

The originality of Russian classicism was already manifested in the fact that from the very beginning it began to actively interfere in modern life. It is significant that, unlike France, the path of classicism in our country begins not with tragedies on ancient themes, but with topical satire. The founder of the satirical direction was Antioch Dmitrievich Kantemir(1708-1744). In his passionate satires (accusatory poems), he stigmatizes nobles who evade their duty to the state, to their well-deserved ancestors. Such a gentleman does not deserve respect. The focus of attention of Russian classicist writers is the education and upbringing of an enlightened person who continues the work of Peter I. And Cantemir in his satires constantly refers to this topic, which was cross-cutting for the entire 18th century.

Mikhail Vasilievich Lomonosov(1711 - 1765) entered the history of Russian literature as the creator of odes, solemn poems on "high" topics. The purpose of the ode is glorification, and Lomonosov glorifies Russia, its power and wealth, its present and future greatness under the enlightened guidance of a wise monarch.

In the ode dedicated to the accession to the throne of Elizabeth Petrovna (1747), the author refers to the new queen, but the glorification turns into a lesson, into a "lesson to the kings." The new monarch must be worthy of his predecessor, Peter the Great, of the rich country he inherited, and therefore he should patronize the sciences, maintain "beloved silence", that is, peace: Lomonosov's odes glorify both the achievements of science and the greatness of God.

Having "borrowed" classicism from the West, Russian writers nevertheless introduced into it the traditions of ancient Russian literature. This is patriotism and instructiveness. Yes, tragedy created the ideal of a person, a hero, a role model. Yes, satire made fun. Yes, the ode glorified. But, giving an example to follow, ridiculing, glorifying, the writers taught. It was this instructive attitude that made the works of the Russian classicists not an abstract art, but an intervention in their contemporary life.

However, so far we have named only the names of Kantemir and Lomonosov. And V. K. Trediakovsky, A. P. Sumarokov, V. I. Maikov, M. M. Kheraskov, D. I. Fonvizin paid their tribute to classicism. G. R. Derzhavin and many others. Each of them contributed something of his own to Russian literature, and each deviated from the principles of classicism - so rapid was the development of 18th century literature.

Alexander Petrovich Sumarokov(1717-1777) - one of the creators of the Russian classicist tragedy, the plots for which he drew from Russian history. So, the main characters of the tragedy "Sinav and Truvor" are the Novgorod prince Sinav and his brother Truvor, as well as Ilmena, with whom they are both in love. Ilmena reciprocates Truvor. Consumed by jealousy, Sinav pursues his beloved, forgetting about the duty of a just monarch. Ilmena marries Sinav because her noble father demands it, and she is a man of duty. Unable to bear the separation, Truvor, expelled from the city, and then Ilmena, commit suicide. The reason for the tragedy is that Prince Sinav did not curb his passion, could not subordinate feelings to reason, duty, and this is exactly what is required of a person in classical works.
But if the tragedies of Sumarokov generally fit into the rules of classicism, then in love lyrics he was a true innovator, where, as you know, feelings always defeat the mind. What is especially noteworthy is that in poetry Sumarokov relies on the traditions of folk female lyrical songs, and often it is the woman who is the heroine of his poems. Literature sought to go beyond the range of themes and images prescribed by classicism. And Sumarokov's love lyrics are a breakthrough to the "inner" person, interesting not because he is a citizen, a public figure, but because he carries a whole world of feelings, experiences, suffering, love.

Together with classicism, the ideas of the Enlightenment came to Russia from the West. All evil comes from ignorance, the Enlighteners believed. They considered ignorance to be tyranny, the injustice of laws, the inequality of people, and often the church. The ideas of the Enlightenment echoed in literature. The ideal of an enlightened nobleman was especially dear to Russian writers. Let's remember the Starodum from the comedy Denis Ivanovich Fonvizin(1744 (1745) - 1792) "Undergrowth" and his sayings. The monologues and remarks of the hero, reasoner, mouthpiece of the author's ideas, reveal the educational program. It boils down to the demand for justice in the broadest sense - from the administration of the state to the management of the estate. The author believes that justice will prevail when the laws and the people who implement them are virtuous. And for this it is necessary to educate enlightened, moral, educated people.

Enlightenment ideas permeated one of the most famous books of the 18th century - "Journey from St. Petersburg to Moscow". Radishcheva(1749-1802), the author of this work, Catherine the Great called "a rebel worse than Pugachev." The book is built in the form of travel notes, life observations, scenes and reflections that lead the author to the idea of ​​the injustice of the entire system of life, starting with autocracy.

The literature of the 18th century looks more and more closely not at clothes and deeds, not at social status and civic obligations, but at the soul of a person, at the world of his feelings. Under the sign of "sensibility" literature says goodbye to the 18th century. On the basis of enlightenment ideas, a literary trend is growing - sentimentalism. Do you remember the little story Nikolai Mikhailovich Karamzin(1766-1826) "Poor Liza", which to some extent became a turning point for Russian literature. This story proclaimed the inner world of man as the main theme of art, demonstrating the spiritual equality of all people, as opposed to social inequality. Karamzin laid the foundation for Russian prose, cleared the literary language of archaisms, and narration from pomposity. He taught Russian writers independence, because true creativity is a deeply personal matter, impossible without inner freedom. But inner freedom also has its outer manifestations: writing becomes a profession, the artist no longer needs to tie himself to the service, for creativity is the most worthy state field.

"Life and poetry are one," VA Zhukovsky proclaims. “Live as you write, write as you live,” K. N. Batyushkov will pick up. These poets will step from the 18th century into the 19th century, their work is another story, the history of Russian literature of the 19th century.