Sentimentalism (from French. sent – feeling, sensitive , English sentimental – sensitive) - an artistic movement in art and literature that replaced classicism.
Already from the name it is clear that the new direction, as opposed to the cult of reason, will proclaim the cult of feeling. Feelings come first, not great ideas. The author focuses on the reader's perception and his feelings that arise during reading.
The origins of the movement were in Western Europe in the 20s of the 18th century; sentimentalism reached Russia in the 70s, and in the first three decades of the 19th century it took a leading position.
In terms of its appearance, sentimentalism preceded romanticism. This was the end of the Enlightenment, therefore, in the works of sentimentalists, educational tendencies are preserved, which is manifested in edification and moralizing. But completely new features also appeared.
Main features of sentimentalism
- The focus is not on reason, but on feeling. The ability to sympathize and empathize was considered by writers as the most important virtue human personality.
- The main characters are not nobles and kings, as in classicism, but ordinary people, humble and poor.
- The cult of innate moral purity and innocence was glorified.
- The writers' main attention is directed to the rich inner world of a person, his feelings and emotions. And also that a person’s spiritual qualities do not depend on his origin. Thus, new heroes appeared in literature - ordinary people, who in their moral qualities often surpassed the noble heroes.
- Glorification in the works of sentimentalist writers of eternal values - love, friendship, nature.
- For sentimentalists, nature is not just a background, but a living essence with all its little details and features, as if rediscovered and felt by the author.
- My main goal Sentimentalists saw it as a way to console a person in his life, full of sorrows and suffering, to turn his heart to goodness and beauty.
Sentimentalism in Europe
This direction received its most complete expression in England, in the novels of S. Richardson and L. Stern. In Germany, prominent representatives were F. Schiller, J. V. Goethe, and in pre-revolutionary France, sentimentalist motives found their most complete expression in the works of Jean-Jacques Rousseau.
The very name of the literary movement took root after the authors wrote numerous “Travels”, which revealed to the reader the beauty of nature, selfless friendship, family idyll. Touched the most tender feelings of readers. The first novel, “A Sentimental Journey,” was written by L. Stern in 1768.
Sentimentalism in Russia
In Russia, representatives of sentimentalism were M. N. Muravyov, I. I. Dmitriev, N. M. Karamzin with his most famous work “Poor Liza,” and the young V. A. Zhukovsky. The Enlightenment traditions of sentimentalism were most clearly manifested in the works of A. Radishchev.
In Russia there were two directions of sentimentalism:
Noble
A movement that did not advocate the abolition of serfdom. Nikolai Karamzin, the author of the story “Poor Liza”, in the conflict between classes, put in first place not social factor, but moral. He believed: “even peasant women know how to love...”.
Revolutionary
In literature, this trend advocated the abolition of serfdom. Radishchev believed that the basis of all culture, as well as the basis of social existence, is the individual who declares his right to life, freedom, happiness, and creativity.
Sentimentalists created many new genres in literature. This is an everyday novel, a story, a diary, a novel in letters, an essay, a journey and others; in poetry it is an elegy, a message. Since, in contrast to classicism, there were no clear rules and restrictions, very often genres were mixed.
Since ordinary people became the heroes of the works of sentimentalists, the language of the works was significantly simplified, even vernacular appeared in it.
Distinctive features of Russian sentimentalism
- Preaching conservative views: if all people, regardless of their position in society, are capable of high feelings, then the path to universal happiness does not lie in change government system, and in moral self-improvement, moral education of people.
- Enlightenment traditions, teaching, instruction, and moralizing are clearly expressed.
- Improving the literary language by introducing colloquial forms.
Sentimentalism played an important role in literature by addressing the inner world of man; in this regard, it became a harbinger of psychological, confessional prose.
Sentimentalism remained faithful to the ideal of a normative personality, but the condition for its implementation was not the “reasonable” reorganization of the world, but the release and improvement of “natural” feelings. The hero of educational literature in sentimentalism is more individualized, his inner world is enriched by the ability to empathize and sensitively respond to what is happening around him. By origin (or by conviction) the sentimentalist hero is a democrat; rich spiritual world the commoner is one of the main discoveries and conquests of sentimentalism.
The most prominent representatives of sentimentalism are James Thomson, Edward Jung, Thomas Gray, Laurence Stern (England), Jean Jacques Rousseau (France), Nikolai Karamzin (Russia).
Sentimentalism in English literature
Thomas Gray
England was the birthplace of sentimentalism. At the end of the 20s of the 18th century. James Thomson, with his poems “Winter” (1726), “Summer” (1727) and Spring, Autumn., subsequently combined into one whole and published () under the title “The Seasons,” contributed to the development of a love of nature in the English reading public by drawing simple, unpretentious rural landscapes, following step by step the various moments of the life and work of the farmer and, apparently, striving to place the peaceful, idyllic country situation above the vain and spoiled city.
In the 40s of the same century, Thomas Gray, the author of the elegy “Rural Cemetery” (one of the most famous works of cemetery poetry), the ode “Towards Spring”, etc., like Thomson, tried to interest readers village life and nature, to awaken in them sympathy for simple, unnoticed people with their needs, sorrows and beliefs, while at the same time giving their creativity a thoughtful and melancholy character.
Richardson's famous novels - "Pamela" (), "Clarissa Garlo" (), "Sir Charles Grandison" () - are also of a bright and typical product of English sentimentalism. Richardson was completely insensitive to the beauties of nature and did not like to describe it - but he put it first psychological analysis and made the English, and then the entire European public, keenly interested in the fate of the heroes and especially the heroines of his novels.
Laurence Sterne, author of “Tristram Shandy” (-) and “A Sentimental Journey” (; after the name of this work the direction itself was called “sentimental”), combined Richardson’s sensitivity with a love of nature and a peculiar humor. Stern himself called the “sentimental journey” “a peaceful journey of the heart in search of nature and all spiritual desires that can inspire us more love to our neighbors and to the whole world than we usually feel.”
Sentimentalism in French literature
Jacques-Henri Bernardin de Saint-Pierre
Moving to the continent, English sentimentalism I found somewhat prepared soil in France. Quite independently of the English representatives of this trend, Abbé Prévost (“Manon Lescaut,” “Cleveland”) and Marivaux (“Life of Marianne”) taught the French public to admire everything touching, sensitive, and somewhat melancholic.
Under the same influence, “Julia” or “ New Eloise"Russo (), who always spoke of Richardson with respect and sympathy. Julia reminds many of Clarissa Garlo, Clara reminds her of her friend, miss Howe. The moralizing nature of both works also brings them closer to each other; but in Rousseau’s novel nature plays a prominent role; the shores of Lake Geneva - Vevey, Clarens, Julia’s grove - are described with remarkable art. Rousseau's example did not remain without imitation; his follower, Bernardin de Saint-Pierre, in his famous work"Paul and Virginie" () moves the scene to South Africa, accurately foreshadowing best essays Chateaubrean makes his heroes a charming couple of lovers living far from city culture, in close communication with nature, sincere, sensitive and pure in soul.
Sentimentalism in Russian literature
Sentimentalism penetrated into Russia in the 1780s and early 1790s thanks to translations of the novels “Werther” by J.V. Goethe, “Pamela,” “Clarissa” and “Grandison” by S. Richardson, “The New Heloise” by J.-J. Rousseau, "Paul and Virginie" by J.-A. Bernardin de Saint-Pierre. The era of Russian sentimentalism was opened by Nikolai Mikhailovich Karamzin with “Letters of a Russian Traveler” (1791–1792).
His story "Poor Liza" (1792) is a masterpiece of Russian sentimental prose; from Goethe's Werther he inherited a general atmosphere of sensitivity, melancholy and the theme of suicide.
The works of N.M. Karamzin gave rise to a huge number of imitations; at the beginning of the 19th century appeared "Poor Liza" by A.E. Izmailov (1801), "Journey to Midday Russia" (1802), "Henrietta, or the Triumph of Deception over Weakness or Delusion" by I. Svechinsky (1802), numerous stories by G.P. Kamenev ( “The Story of Poor Marya”; “Unhappy Margarita”; “Beautiful Tatiana”), etc.
Ivan Ivanovich Dmitriev belonged to Karamzin’s group, which advocated the creation of a new poetic language and fought against the archaic pompous style and outdated genres.
Marked by sentimentalism early work Vasily Andreevich Zhukovsky. The publication in 1802 of a translation of Elegy written in the rural cemetery of E. Gray became a phenomenon in artistic life Russia, because he translated the poem “into the language of sentimentalism in general, translated the genre of elegy, and not the individual work of an English poet, which has its own special individual style"(E.G. Etkind). In 1809, Zhukovsky wrote a sentimental story “Maryina Roshcha” in the spirit of N.M. Karamzin.
Russian sentimentalism had exhausted itself by 1820.
It was one of the stages of pan-European literary development that completed the Age of Enlightenment and opened the way to romanticism.
Main features of the literature of sentimentalism
So, taking into account all of the above, we can identify several main features of Russian literature of sentimentalism: a departure from the straightforwardness of classicism, an emphasized subjectivity of the approach to the world, a cult of feeling, a cult of nature, a cult of innate moral purity, innocence, the rich spiritual world of representatives of the lower classes is affirmed. Attention is paid to the spiritual world of a person, and feelings come first, not great ideas.
In painting
The direction of Western art of the second half of the 18th century, expressing disappointment in “civilization” based on the ideals of “reason” (Enlightenment ideology). S. proclaims feeling, solitary reflection, simplicity rural life “little man" J.J.Russo is considered the ideologist of S.
One of the characteristic features of Russian portrait art of this period was citizenship. The heroes of the portrait no longer live in their own closed, isolated world. The consciousness of being necessary and useful to the fatherland, caused by the patriotic upsurge in the era of the Patriotic War of 1812, the flowering of humanistic thought, which was based on respect for the dignity of the individual, and the expectation of imminent social changes are restructuring the worldview advanced man. The portrait of N.A., presented in the hall, is adjacent to this direction. Zubova, granddaughters A.V. Suvorov, copied by an unknown master from a portrait of I.B. Lumpy the Elder depicting a young woman in a park, away from convention social life. She looks at the viewer thoughtfully with a half-smile; everything about her is simplicity and naturalness. Sentimentalism is opposed to straightforward and excessive logical reasoning about the nature of human feeling, emotional perception, directly and more reliably leading to the comprehension of truth. Sentimentalism expanded the idea of human mental life, coming closer to understanding its contradictions, the very process of human experience. At the turn of two centuries, the work of N.I. developed. Argunov, a gifted serf of the Sheremetyev counts. One of the significant trends in Argunov’s work, which was not interrupted throughout the 19th centuries, is the desire for concreteness of expression, an unpretentious approach to a person. A portrait of N.P. is presented in the hall. Sheremetyev. It was donated by the Count himself to the Rostov Spaso-Yakovlevsky Monastery, where the cathedral was built at his expense. The portrait is characterized by realistic simplicity of expression, free from embellishment and idealization. The artist avoids painting the hands and focuses on the model’s face. The coloring of the portrait is based on the expressiveness of individual spots of pure color, colorful planes. In the portrait art of this time, a type of modest chamber portrait was emerging, completely freed from any features. external environment, demonstrative behavior of models (portrait of P.A. Babin, P.I. Mordvinov). They do not pretend to be deeply psychologistic. We are dealing only with a fairly clear fixation of models, calm state of mind. A separate group consists of children's portraits presented in the hall. What is captivating about them is the simplicity and clarity of the interpretation of the image. If in the 18th century children were most often depicted with attributes mythological heroes in the form of cupids, Apollos and Dianas, then in the 19th century artists strive to convey the direct image of a child, the warehouse of a child’s character. The portraits presented in the hall, with rare exceptions, come from noble estates. They were part of estate portrait galleries, the basis of which were family portraits. The collection was of an intimate, predominantly memorial nature and reflected the personal attachments of the models and their attitude towards their ancestors and contemporaries, the memory of whom they tried to preserve for posterity. Studying portrait galleries deepens the understanding of the era, allows you to more clearly sense the specific environment in which the works of the past lived, and understand a number of their features artistic language. Portraits provide rich material for studying the history of Russian culture.
V.L. experienced a particularly strong influence of sentimentalism. Borovikovsky, who depicted many of his models against the background of an English park, with a soft, sensually vulnerable expression on his face. Borovikovsky was connected with the English tradition through the circle of N.A. Lvova - A.N. Venison. He knew well the typology of English portraiture, in particular from the works of the German artist A. Kaufmann, fashionable in the 1780s, who was educated in England.
English landscape painters also had some influence on Russian painters, for example, such masters of idealized classicist landscape as Ya.F. Hackert, R. Wilson, T. Jones, J. Forrester, S. Dalon. In the landscapes of F.M. Matveev, the influence of “Waterfalls” and “Views of Tivoli” by J. Mora can be traced.
In Russia, the graphics of J. Flaxman (illustrations to Gormer, Aeschylus, Dante), which influenced the drawings and engravings of F. Tolstoy, and the small plastic works of Wedgwood were also popular - in 1773, the Empress made a fantastic order for the British manufactory for “ Service with green frog"of 952 objects with views of Great Britain, now stored in the Hermitage.
Miniatures by G.I. were performed in English taste. Skorodumov and A.Kh. Rita; The genre “Pictorial Sketches of Russian Manners, Customs and Entertainments in One Hundred Colored Drawings” (1803-1804) performed by J. Atkinson were reproduced on porcelain.
There were fewer British artists working in Russia in the second half of the 18th century than French or Italian ones. Among them, the most famous was Richard Brompton, the court artist of George III, who worked in St. Petersburg in 1780 - 1783. He owns portraits of the Grand Dukes Alexander and Konstantin Pavlovich, and Prince George of Wales, which became examples of the image of heirs at a young age. Brompton's unfinished image of Catherine against the backdrop of the fleet was embodied in the portrait of the Empress in the Temple of Minerva by D.G. Levitsky.
French by birth P.E. Falcone was a student of Reynolds and therefore represented English school painting. The traditional English aristocratic landscape presented in his works, dating back to Van Dyck of the English period, did not receive wide recognition in Russia.
However, Van Dyck's paintings from the Hermitage collection were often copied, which contributed to the spread of the genre of costume portraiture. The fashion for images in the English spirit became more widespread after the return from Britain of the engraver Skorodmov, who was appointed “Engraver of Her Imperial Majesty’s Cabinet” and elected Academician. Thanks to the work of the engraver J. Walker, engraved copies of paintings by J. Romini, J. Reynolds, and W. Hoare were distributed in St. Petersburg. The notes left by J. Walker talk a lot about the advantages of the English portrait, and also describe the reaction to the acquired G.A. Potemkin and Catherine II of Reynolds's paintings: "the manner of thickly applying paint... seemed strange... for their (Russian) taste it was too much." However, as a theorist Reynolds was accepted in Russia; in 1790 his “Speeches” were translated into Russian, in which, in particular, the right of the portrait to belong to a number of the “highest” types of painting was substantiated and the concept of “portrait in the historical style” was introduced.
Literature
- E. Schmidt, “Richardson, Rousseau und Goethe” (Jena, 1875).
- Gasmeyer, “Richardson’s Pamela, ihre Quellen und ihr Einfluss auf die englische Litteratur” (Lpc., 1891).
- P. Stapfer, “Laurence Sterne, sa personne et ses ouvrages” (P., 18 82).
- Joseph Texte, “Jean-Jacques Rousseau et les origines du cosmopolitisme littéraire” (P., 1895).
- L. Petit de Juleville, “Histoire de la langue et de la littérature française” (Vol. VI, issue 48, 51, 54).
- “History of Russian Literature” by A. N. Pypin, (vol. IV, St. Petersburg, 1899).
- Alexey Veselovsky, “Western influence in new Russian literature” (M., 1896).
- S. T. Aksakov, “ Various essays"(M., 1858; article about the merits of Prince Shakhovsky in dramatic literature).
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2010.:- Synonyms
- Luchko, Klara Stepanovna
Stern, Lawrence
See what “Sentimentalism” is in other dictionaries: - Sentimentalism literary direction in the West Europe and Russia XVIII beginning 19th century I. SENTIMENTALISM IN THE WEST. The term "S." formed from the adjective “sentimental” (sensitive), to swarm is already found in Richardson, but gained particular popularity after ...
See what “Sentimentalism” is in other dictionaries: Literary encyclopedia - SENTIMENTALISM. By sentimentalism we understand that direction of literature that developed at the end of the 18th century and colored early XIX Dictionary of literary terms
sentimentalism- a, m. sentimentalisme m. 1. The literary movement of the second half of the 18th and early 19th centuries, which replaced classicism, characterized by special attention to the spiritual world of man, to nature and partly idealizing reality. BAS 1.… … Historical Dictionary of Gallicisms of the Russian Language
SENTIMENTALISM- SENTIMENTALISM, SENTIMENTALISM sensitivity. Complete dictionary foreign words, which have come into use in the Russian language. Popov M., 1907. sentimentalism (French sentimentalisme sentiment feeling) 1) European literary movement of the late 18th… Dictionary of foreign words of the Russian language
SENTIMENTALISM- (from the French sentiment), a current in European and American literature and art of the 2nd half of the 18th and early 19th centuries. Starting from enlightenment rationalism (see Enlightenment), he declared that the dominant of human nature is not reason, but... Modern encyclopedia
Russian literature of the 18th century
(sentimentalism and classicism)
Students of class 9A
School-gymnasium No. 3
Aziza Akhmedova.
Introduction. 3
1. Literature of Peter's time. 4
2. The era of classicism. 5
3. The era of sentimentalism. 13
Conclusion. 18
Introduction
On January 1, 1700, by decree of Peter the Great, the advent of the “new year and centennial century” was unexpectedly celebrated for everyone.
From now on, Russians had to live according to the new calendar. The nobles were ordered to wear German dress and cut their beards. Everyday life, education and even church administration acquire a secular character. With the active support of Peter, new secular literature is being created.
“Our literature suddenly appeared in the 18th century,” wrote A.S. Pushkin.
Although by the beginning of this century Russian literature had gone through a centuries-long path of development, the creators new culture- supporters of Peter's innovations - saw in the past not a support, but something outdated that should be remade. They understood Peter's reforms as the creation of Russia from the darkness of historical oblivion. Peter's opponents, on the contrary, saw in the transformations the death of the ancient foundations of the Moscow state. But the suddenness, scale of the changes, and their consequences were felt by everyone.
1. Literature of Peter's time
The beginning of the 18th century was turbulent for Russia. The creation of our own fleet, wars for access to sea routes, the development of industry, the flourishing of trade, the construction of new cities - all this could not but affect the growth of national consciousness. People of Peter's times felt their involvement in historical events, the greatness of which they felt in their destinies. Boyar Russia is a thing of the past.
Time required work. Everyone was obliged to work for the benefit of society and the state, imitating the tireless “worker on the throne.” Every phenomenon was assessed primarily from the point of view of its usefulness. Literature could be useful if it glorified the successes of Russia and explained the sovereign's will. Therefore, the main qualities of literature of this era are topicality, life-affirming pathos and an orientation toward universal accessibility. Thus, in 1706, the so-called “school dramas” appeared, plays written by teachers of religious educational institutions.
School drama could be filled with political content. In the play, written in 1710 on the occasion of the victory at Poltava, the biblical king David is directly likened to Peter the Great: just as David defeated the giant Goliath, so Peter defeated the Swedish king Charles XII.
A large clergy class was hostile to the reforms. Peter tried unsuccessfully more than once to win over Church leaders to his side. He looked for faithful people who would have the gift of speech and persuasion and obediently carried out his line among the clergy.
Feofan Prokopovich, a church leader and writer, became such a person. Feofan's sermons are always political speeches, a talented presentation of the official point of view. They were printed in state printing houses and sent to churches. Feofan's large journalistic works - "Spiritual Regulations" (1721) and "The Truth of the Will of the Monarchs" (1722) - were written on behalf of Peter. They are devoted to justifying the unlimited power of the monarch over the lives of his subjects.
Prokopovich's poetic creativity is varied. He composes spiritual verses, elegies, and epigrams. His “Victory Song for the notorious Poltava Victory” (1709) marked the beginning of numerous eighteenth-century odes to the victories of Russian weapons.
Feofan was not only a practitioner, but also a literary theorist. He compiled the courses "Poetics" and "Rhetoric" (1706-1707) at Latin. In these works, he defended literature as an art that obeys strict rules, bringing “pleasure and benefit.” In his poems, he demanded clarity and condemned the “darkness” of learned poetry of the 17th century. In “Rhetoric,” he, following European authors, proposed distinguishing three styles: “high,” “middle,” and “low,” assigning each of them to specific genres. Prokopovich's treatises were not published in a timely manner, but became known to theorists of Russian classicism - Lomonosov studied them in manuscript.
2. The era of classicism
The literature of Peter the Great's time was in many ways reminiscent of the literature of the past century. New ideas were spoken in old language - in church sermons, school dramas, handwritten stories. Only in the 30s and 40s was it completely revealed in Russian literature new page- classicism. However, like the literature of Peter the Great’s time, the work of classic writers (Kantemir, Sumarokov and others) is closely connected with the current political life countries.
Classicism appeared in Russian literature later than in Western European literature. He was closely associated with the ideas of European enlightenment, such as: the establishment of firm and fair laws binding on everyone, the enlightenment and education of the nation, the desire to penetrate the secrets of the universe, the affirmation of the equality of people of all classes, recognition of the value of the human person regardless of position in society.
Russian classicism is also characterized by a system of genres, an appeal to the human mind, and the conventionality of artistic images. It was important to recognize the decisive role of the enlightened monarch. The ideal of such a monarch for Russian classicism was Peter the Great.
After the death of Peter the Great in 1725, a real possibility arose of curtailing the reforms and returning to the old way of life and government. Everything that constituted the future of Russia was at risk: science, education, the duty of a citizen. That is why satire is especially characteristic of Russian classicism.
The most prominent of the first figures of the new literary era, writing in this genre, was Prince Antioch Dmitrievich Cantemir (1708-1744). His father, an influential Moldavian aristocrat, was famous writer and a historian. Prince Antiochus himself, although in writerly modesty he called his mind “the unripe fruit of short-lived science,” was in fact a highly educated man by the highest European standards. Latin, French and Italian poetry he knew perfectly. In Russia, his friends were Archbishop Feofan Prokopovich and historian V.N. Tatishchev. For the last twelve years of his life, Cantemir was an envoy to London and Paris.
From his early youth, Antiochus wanted to see the noble society around him educated, free from prejudices. He considered following ancient norms and customs a prejudice.
Cantemir is better known as the author of nine satires. They expose various vices, but the poet's main enemies are the saint and the slacker - the dandy. They are displayed in the lines of the first satire “On those who blaspheme the teaching.” In the second satire, “On the Envy and Pride of Evil Nobles,” the good-for-nothing slacker Eugene is presented. He squanders the fortune of his ancestors, wearing a camisole worth an entire village, and at the same time envies the success of ordinary people who have achieved high ranks through their services to the king.
The idea of the natural equality of people is one of the boldest ideas in literature of that time. Cantemir believed that it was necessary to educate the nobility in order to prevent the nobleman from descending to the state of an unenlightened peasant:
"It doesn't do much good to call you the king's son,
If you do not differ from a vile disposition from a hound's. "
Kantemir specifically dedicated one of his satires to education:
"The main thing of education is that
So that the heart, having driven out passions, matures
To establish good morals so that through this it will be useful
Your son was a boon to the fatherland, kind to people and always welcome. "
Cantemir also wrote in other genres. Among his works there are “high” (odes, poems), “middle” (satires, poetic letters and songs) and “low” (fables). He tried to find means in the language to write differently in different genres. But these funds were still not enough for him. New Russian literary language not installed. How a “high” syllable differs from a “low” one was not entirely clear. Cantemir’s own style is colorful. He writes in long phrases, built according to the Latin model, with sharp syntactic shifts; there is no concern that the boundaries of the sentences coincide with the boundaries of the verse. It is very difficult to read his works.
The next prominent representative of Russian classicism, whose name is known to everyone without exception, is M.V. Lomonosov (1711-1765). Lomonosov, unlike Kantemir, rarely ridicules enemies of enlightenment. In his solemn odes, the “affirming” principle prevailed. The poet glorifies Russia's successes on the battlefield, in peaceful trade, in science and art.
“Our literature begins with Lomonosov... he was its father, its Peter the Great.” This is how V.G. determined the place and significance of Mikhail Vasilyevich Lomonosov’s work for Russian literature. Belinsky.
M.V. was born. Lomonosov near the city of Kholmogory, on the banks of the Northern Dvina, in the family of a wealthy but illiterate peasant engaged in navigation. The boy felt such a craving for learning that at the age of 12 he went from native village on foot to Moscow. The poet N. Nekrasov told us “how the Arkhangelsk man, by his own and God’s will, became intelligent and great.”
In Moscow, Mikhail entered the Slavic-Greek-Latin Academy and, despite the fact that he lived in dire need, he graduated brilliantly. Among the best graduates of the Academy, Lomonosov was sent to study in St. Petersburg, and then, in 1736, to Germany. There Lomonosov took a course in all sciences, both mathematical and verbal. In 1741, Mikhail Vasilyevich returned to Russia, where he served in the Academy of Sciences until the end of his life. He was patronized by Count I.I. Shuvalov, beloved of Empress Elizabeth. Therefore, Lomonosov himself was in favor, which allowed his talents to truly unfold. He did a lot scientific works. In 1755, according to his proposal and plan, Moscow University was opened. Lomonosov's official duties also included composing poems for court holidays, and most of his odes were written on such occasions.
The art of the era of sentimentalism originated in Western Europe from the middle of the 18th century. It began to develop from a gradual distance artistic thought of that time from the ideas of the Enlightenment. The cult of reason was replaced by sensitivity. At the same time, the ideas of the enlighteners are not forgotten, but rethought. In art, changes resulted in a departure from clear, straightforward classicism to sensitive sentimentalism, because “feelings do not lie!”
The style manifested itself most clearly in literature, where J.-J. Rousseau ideologically substantiated the new direction: he proclaimed the value of nature, the education of feelings, the departure from socialization into solitude, from civilization to life in nature, in rural areas. Other heroes came into literature - common people.
(Louise Leopold Boilly "Gabriel Arnault")
Art happily accepted new idea for service. Canvases with landscapes characterized by simplicity of composition began to appear, as well as portraits in which the artist captured vivid emotions. Poses portrait heroes they breathe naturalness, their faces reflect calmness and tranquility.
However, the works of some masters who created in the style of sentimentalism are guilty of moralizing and artificially exaggerated sensitivity.
(Dmitry Grigorievich Levitsky "Portrait of Glafira Ivanovna Alymova")
Eighteenth-century sentimentalism grew out of classicism and became the forerunner of romanticism. The style was first formed in the work of English artists in the middle of the century and lasted until the beginning of the next. It was then that he came to Russia and was embodied in paintings talented artists of its time.
Sentimentalism in painting
Sentimentalism in the art of painting is a special view of the depiction of reality, through strengthening and emphasizing the emotional component artistic image. The painting should, according to the artist, influence the viewer’s feelings and evoke an emotional response - compassion, empathy, tenderness. Sentimentalists place feeling, not reason, at the basis of their worldview. The cult of feeling appeared, both strong and weak side artistic direction. Some paintings cause rejection in the viewer by their sweetness and the desire to openly pity him, to impose feelings unusual for him, to squeeze out a tear.
(Jean-Baptiste Greuze "Portrait of a Young Woman")
Appearing on the “wreck” of Rococo, sentimentalism was, in fact, the last stage of a degenerating style. Many canvases European artists they depict unhappy young commoners with an innocent and suffering expression on their pretty faces, poor children in beautiful rags, and old women.
Famous sentimentalist artists
(Jean-Baptiste Greuze "Portrait" young man in Hat")
One of the brightest representatives of the trend was French artist J.-B. Dreams. His paintings with an edifying plot are distinguished by moralism and sweetness. Grez created many paintings with girls’ heads yearning for dead birds. The artist created moralizing comments for his canvases in order to further enhance their moralizing ideological content. Among the works of 18th century painters, the style can be read in the paintings of Ya.F. Hackert, R. Wilson, T. Jones, J. Forrester, S. Dalon.
(Jean-Baptiste Simeon Chardin "Prayer before dinner")
French artist J.-S. Chardin was one of the first to introduce social motives into his work. The painting “Prayer Before Dinner” contains many features of sentimentalism, in particular, the instructiveness of the plot. However, the painting combines two styles - rococo and sentimentalism. Here the topic of the importance of women's participation in raising sublime feelings in children is raised. The Rococo style left its mark in the construction of an elegant composition, many small details, and a rich color palette. The poses of the characters, objects, and the entire furnishings of the room are elegant, which is typical for painting of that time. The artist’s desire to appeal directly to the viewer’s feelings is clearly visible, which clearly indicates the use of a sentimental style when painting the canvas.
Sentimentalism in Russian art
The style came to Russia belatedly, in the first decade of the 19th century, along with the fashion for antique cameos, which was introduced by the French Empress Josephine. Russian artists transformed two existing styles at that time, neoclassicism and sentimentalism, creating a new one - Russian classicism in its most romantic form. V. L. Borovikovsky, A. G. Venetsianov, I. P. Argunov worked in this manner.
(Semyon Fedorovich Shchedrin "Landscape in the vicinity of St. Petersburg")
Sentimentalism allowed artists to assert in their paintings the intrinsic value of the human personality, its inner world. Moreover, this became possible through showing a person’s feelings in an intimate setting, when he is left alone with himself. Russian artists populated the landscape with their heroes. Alone with nature, left alone, a person is able to manifest his natural state of mind.
Russian sentimentalist artists
(Vladimir Borovikovsky "Portrait of M.I. Lopukhina")
Borovikovsky’s painting “Portrait of M. I. Lopukhina” is famous. A young woman in a loose dress leaned gracefully on the railing. The Russian landscape with birch trees and cornflowers is conducive to sincerity, as is the expression on the heroine’s sweet face. Her thoughtfulness reveals trust in the viewer. A smile plays on his face. The portrait is rightfully considered one of the best examples of Russian classic work. The sentimental direction is clearly visible in the artistic style of the canvas.
(Alexey Gavrilovich Venetsianov "The Sleeping Shepherd")
Among the artists of this time, Russian classical painting was clearly manifested in the work of A. G. Venetsianov. His “pastoral” paintings became famous: the paintings “The Reapers”, “The Sleeping Shepherd” and others. They breathe freshness and love for people. The canvases are painted in the manner of Russian classicism with sentimental expression. The paintings evoke a response of admiring the landscape and the faces of the characters in the paintings. The style found its expression in the harmony of the peasants with the surrounding nature, in calm facial expressions, and the dim colors of Russian nature.
The art of sentimentalism in its purest form was especially developed in Austria and Germany at the end of the 18th and beginning of the 19th centuries. In Russia, artists painted in a unique manner, in which the style was used in symbiosis with other directions.
Classicism in Russian literature of the 18th century
Actually literature of the 18th century
Literature of Peter's time
Know the differences between 18th century literature. from ancient literature.
Have an idea of what classicism and sentimentalism are;
The originality of the literary process in the 18th century.
Lesson No. 1
Goals:
Progress of the lesson:
1. Organizational moment, goals:
2. Update:
3. Lecture:
The 18th literary century is equal to the chronological century. General value The literary 18th century lies in its transitional nature: from ancient literature literature made the transition to the classics (19th century).
Differences between Russian literature of the 18th century and ancient literature:
1. Ancient literature was handwritten, and in the 18th century literature received a printing press, which made the printed word widespread;
2. Ancient literature did not claim authorship, which cannot be said about the literature of the 18th century, although at that time there were still many untitled works, the first professional writers nevertheless appeared;
3. Ancient literature was largely ecclesiastical, and among the literature of the 18th century there is quite a lot of secular works;
Within the literature of the 18th century, two stages of its development can be distinguished:
This stage covers 1/3 of the 18th century until the 30s.
It was at this time that printing began to develop greatly. The first spelling reform is taking place, as a result of which obsolete letters (for example, yus) are leaving the alphabet. In the era of Peter the Great, a newspaper with political news began to be published for the first time. It was at this time that the following books appeared: “An Honest Mirror of Youth”, “Butts on How to Write Compliments”, etc. Lyrics were actively developing in the Peter the Great era, i.e. poetry. They are not written in the form familiar to us, and often do not even have a rhyme, although the first poets already wrote them in a column. It was at this time that the need for a reform of Russian versification began to mature, which Vasily Kirillovich Trediakovsky began to carry out. Later, this issue arouses the interest of Mikhail Vasilyevich Lomonosov, who proposes his own reform project. October 17, 1672 is considered to be the date of birth of the Russian theater. On this day, the first premiere took place at the court of Tsar Alexei Mikhailovich, lasting 10 hours without intermission.
This period is characterized by the development of two literary movements: classicism and sentimentalism. Such names as Mikhail Vasilyevich Lomonosov and Alexander Petrovich Sumarokov are associated with the emergence and development of classicism. Denis Ivanovich Fonvizin, Gavrila Romanovich Derzhavin.
Name Lomonosov connected not only with the history of the development of literature, but also other sciences. This man entered philology not only as the author of “Russian Grammar” and the creator of the theory of three “calms” of language (high, middle and low), not only as the author dramatic works, but also as a talented poet who translated the odes of the ancient Greek poet Anacreon, and also created his own. The most famous of them were “Ode on the Capture of Khotin” (written after the capture of the Turkish fortress located in Moldova by Russian troops), “Ode on the day of accession to the All-Russian throne of Her Majesty Empress Elizabeth Petrovna in 1747.” This ode contains the following lines: “...the Russian land can give birth to its own Platos, / And the quick-witted Newtons / The Russian land.”
Fonvizin entered Russian literature as the author of the most famous of that period dramatic work- the comedy “The Minor” (1782), which still does not leave the stage. The main topic In this work, the writer was very concerned about the issue of noble “evil morality.” Fonvizin wrote: “I saw contemptuous descendants from the most respectable ancestors... I am a nobleman, and this is what tore my heart apart.” The main character of the play, Mitrofan, appears to us as a complete ignoramus, he is a moral immature, because he does not know how to respect the dignity of other people and in a civil sense, since he does not at all understand his responsibilities to the state.
The development of sentimentalism in Russian literature is associated, first of all, with the name Karamzin. This writer became one of the most consistent educators who condemned the tyranny and despotism of rulers and advocated for the transcendental value of man. The most famous works are “Letters of a Russian Traveler” and “Poor Liza”. Both of them were first published in a magazine published by Karamzin himself (Moscow Journal). The writer’s great feat was his work on “The History of the Russian State.” Pushkin wrote: “ Ancient Russia... found by Karamzin, like America by Columbus.” However, all this does not exhaust the merits of the writer. Belinsky believed that Karamzin’s work had a significant influence on the development of literature in the 19th century. The critic even spoke about the Karamzin period in Russian literature, which lasted until the 20s. 19th century. Belinsky wrote: “Karamzin... was the first to replace the dead language of the book with the living language of society.”
4. D/Z
Give a lecture, write down definitions of what classicism is, sentimentalism, what an ode is; reports on the works of Derzhavin and Radishchev (5 min).
