Main trends in Russian literature of the 18th century. Abstract: Russian literature of the 18th century (sentimentalism and classicism)

In the 18th century, classicism came to Russia, and a little later it was replaced by the direction of sentimentalism. This century was remembered by such writers and poets as Lomonosov, Derzhavin, Zhukovsky, Fonvizin, Sumarokov, Karamzin, etc.

Various ideas were raised. The ideas of these two directions, which I named above, were especially different. So, there were a lot of ideas, but I will try to briefly describe the main ones.

Let's start with classic ideas:

Classical art prioritizes reason and rationalism. The main conflict of classic tragedies, for example, is the contradiction of feelings and duty with the inevitable victory of duty in the future. In the understanding of the classicists, duty is a rational concept, and feelings are an unbridled element. Lomonosov reveals a similar topic in his poem “Conversation with Anakrion.”

Lomonosov wrote a treatise in which he proclaimed 3 “calms” in literature: high, solemn (odes, heroic poems), medium (elegy, drama) and low (comedy, fables). Each style had its own vocabulary, violation of which was unacceptable, that is, the poet could not use lower vocabulary in writing an ode or poem. The dominant genres in the 18th century were the ode and the heroic poem. They were dedicated exclusively to rulers, exploits, and heroes (“Ode to the Capture of Khotin”, “Ode to the Day of the Ascension” by Lomonosov; “Felitsa” by Derzhavin). It was impossible to describe something mundane and mundane in the ode.

The philosophical ode became a popular genre. The most frequently asked question in 18th century philosophy is still quite relevant today: what is the meaning of our existence? (“On the Death of Prince Meshchersky” by Derzhavin, “Evening Reflection” by Lomonosov)

Fonvizin in his classic comedies ("Minor", "Brigadier") ridiculed various vices and negative traits of people: martinet, gallomania, lack of desire for Enlightenment, narrow-mindedness and narrow-mindedness.

Classicism was replaced by sentimentalism with completely different ideas and postulates. Classicism was not interested in the private and concrete; in this direction, a person was valued for his social benefit, he was a function. Sentimentalism, on the contrary, is interested in inner world person. The idea arises that it is necessary to develop a sense of compassion in a person, and then there will be no need for ethical standards and sermons, because if a person develops natural sensitivity, they will not be needed. The image of a new hero appears in literature: the sensitive hero. This is a character who has the ability to react emotionally to the misfortune of another and find the highest pleasure in compassion. The most outstanding sentimental work is " Poor Lisa" Karamzin. Lomonosov's 3 calms are losing relevance, elegy and idyll are becoming the main genres, odes are beginning to disappear.

Literature and literary works are an opportunity to express one’s attitude to what is happening, to ridicule or glorify current events, which is what writers of different centuries have done. So there was ancient Russian literature, it was replaced by medieval literature, and it was replaced by new literature, and today we have to make a description of Russian literature of the 18th century.

Brief characteristics of Russian literature of the 18th and 19th centuries

Working on the characteristics of the literature of the 18th and 19th centuries, it should be noted that the development of literature is connected with the activities of Peter the Great. Now, when characterizing the literature of the 18th century in the 9th grade, it should be noted that among literary works started to appear science books and books of journalistic content. In the literature they began to use foreign words, and most importantly, now literature and works are written not in Church Slavonic, but in the common consumer Russian language. Now the Age of Enlightenment begins.

Doing general literature 18th century, I will say that in the eighteenth century writers continue to use genres such as drama, poetry of Virsch form, story, that is, those genres that existed in the 17th century, but genres such as, for example, are added to this list love lyrics.

At the beginning of the 18th century, writers were mainly engaged in translations, and a little later they began to appear own works writers of that time. The writers' works were written in the spirit of classicism, where genres were divided into low genres, among which fable, satire, and comedy can be distinguished. Here the works are written in simple vernacular. Literature is also divided into high genres, where odes, tragedies are distinguished, heroic songs, which, unlike low genres, where the work is dedicated to life ordinary people or the bourgeoisie, where the state and the upper strata of society are praised.

All works of the 18th century had clear boundaries and were written according to the rule of three unities, that is, the work had one plot, basically the events described take place within one day, and in one place. In the literature of the 18th century one can clearly distinguish positive and negative heroes, all the heroes wear speaking names, for example, Starodum, Prostakova. Literature of the 18th century touches on such problems as the problem of education, and the works themselves have a simple plot, easy to understand and perceive. Who is the representative of classicism? Here it is worth remembering Krylov, Fonvizin, Derzhavin and other writers.

But classicism was not eternal and here it is replaced by sentimentalism, where in their works writers began to stop and concentrate attention on the feelings of the characters. Here we can highlight such writers as Kamenev, Karamzin, Zhukovsky.

IN early XVIII century, during the Peter the Great era, Russia began to develop rapidly thanks to transformations in all areas of state and cultural life. These transformations led to the centralization of autocratic statehood and themselves contributed to it. At this time, Russia's independence strengthened, its military power increased, its cultural rapprochement with European countries occurred, and its influence on the European arena increased.

Widely using the achievements of domestic and world science, culture, technology, industry, education, Peter I, with his reforms, opened new paths for Russian literature. Despite the fact that the movement of Russia slowed down after the death of Peter the Great, Russian society achieved enormous results in the field of culture and education in the 18th century. The Russian monarchs, especially Peter I and Catherine II, clearly understood that they would move the country forward, destroy the inert patriarchal order, the old superstitions that created obstacles to the growth of material values ​​and new social relations, and establish new secular state and moral standards and concepts are possible only with the help of education, enlightenment, culture, and the press. In this regard, literature has received exceptional attention.

Various layers of Russian society in these conditions received the opportunity for broad mental and artistic activity: Moscow University, secondary schools and vocational schools, introduced new calendar, the first Russian newspaper was founded, the Academy of Sciences, the Academy of Arts, the Free Economic Society, and the first permanent Russian theater were established. Society was given the opportunity to express their opinions and criticize the affairs of the government, nobles and dignitaries.

Russian literature XVIII centuries inherited from ancient Russian literature a high understanding of the art of words and the mission of the writer, of the powerful educational impact of the book on society, on the minds and feelings of fellow citizens. She gave these historically established features new forms, using the possibilities of classicism and the Enlightenment.

The main idea of ​​the development of literature in the era of classicism was the pathos of state building and transformation. Therefore, high civil-patriotic poetry and accusatory and satirical criticism of the vices of society and the state, circumstances and people who hindered progress came to the fore in literature. The central genre of high civic poetry was the ode. The critical direction was represented by the genres of high satire, close to ode, fable and domestic comedy morals

These main directions in the development of literature were determined at the beginning of the century. In the first third of the century, classicism was formed, the birth of which was facilitated by one of the highest hierarchs Orthodox Church- writer Feofan Prokopovich. The founders of classicism were A. D. Kantemir, V. K. Trediakovsky and M. V. Lomonosov. Besides them, the largest writer, whose work began in the first half of the 18th century, was A.P. Sumarokov.

In the second half of the 18th century, around the 1760s, a new period began in literature. At this time, new genres appeared: prose novel, story, comic opera and “tear drama”.

As social contradictions deepened, satire became increasingly widespread. To soften her impact on society, Catherine II herself became the secret publisher of the satirical magazine “Everything.” The Empress wanted to reduce the role of public satire and increase the importance of government satire, serving the political interests of the monarchy. She invited writers and publishers to follow her example. Russian society took advantage of this. Several satirical magazines immediately appeared in Russia (“Both this and that”, “Mixture”, “Hellish Mail”, “Drone”, “Neither this nor that in prose and verse”, “Podenshchina”). The most radical magazines that fought with Catherine’s “Everything and Everything” were the magazines of the outstanding Russian educator N.I. Novikov - “Drone” and “Painter”.

The satirical direction almost entirely dominated in poems (“Message to my servants Shumilov, Vanka and Petrushka”, “Fox the Executor”) and comedies (“Corion”, “Foreman”, “Undergrown”) by D. I. Fonvizin, in the comedies of I . B. Knyazhnina (“Boastful”, “Weirdos”), in the comedy “Sneak” by V. V. Kapnist, in the prose and comedies of I. A. Krylov (“Pranksters”, “Trumph, or Podschipa” and written already in early XIX century "Fashion Shop" and "Lesson for Daughters").

At the same time, interest in big tall shapes literature. After the tragedies of A. P. Sumarokov in the last quarter of the 18th century, Ya. B. Knyazhnin (“Rosslav”, “Vadim Novgorodsky”) and other playwrights, for example N. P. Nikolev (“Sorena and Zamir”) turned to this genre.

In the second half of the 18th century, the genre system of classicism began to fetter the creative thought of writers, and they tried to destroy and reform it. The heroic poem, characteristic of Kantemir (“Petriad”), Lomonosov (“Peter the Great”), Sumarokov (“Dimitriada”), now fades into the background. The last attempt in this genre - “Rossiyada” by M. M. Kheraskov - was not crowned with success. Since then, the favorite genres of Russian authors have been the “irocomic” poem, the humorous poem and the comic opera, in which the genre of the heroic poem was ironically re-imagined (“The Ombre Player”, “Elisha, or the Irritated Bacchus” by V. I. Maykov; “Darling” by I. . F. Bogdanovich).

The same tendencies of exhaustion of classicism as a literary movement are noticeable in the work of the greatest poet of the 18th century G. R. Derzhavin, who updated the principles of classicism and preceded the emergence of romanticism.

At the end of the 18th century, a new thing appeared in literature literary direction- sentimentalism. He had a strong influence on A. N. Radishchev, the greatest Russian thinker and angry writer, whose feelings were outraged by the people's troubles, the oppressed position of the peasants and the common Russian people in general. His main work, “Journey from St. Petersburg to Moscow,” was written in the “travel” genre, beloved by sentimentalists, and was caused by emotional shock from the pictures of injustice and lawlessness he saw. This “sensitivity,” this concern of the heart, is extremely close to sentimentalists.

The founder of sentimentalism and the largest writer of this trend was N. M. Karamzin - poet, prose writer, publicist, journalist, “our last chronicler and our first historian,” according to Pushkin, and reformer of the Russian literary language. Many poems, ballads and stories brought him all-Russian fame. His greatest achievements are associated with such works as “Letters of a Russian Traveler”, the story “Poor Liza”, “History of the Russian State”, as well as with the transformation of the literary language. Karamzin outlined and implemented a reform, thanks to which the gap between the oral, spoken and written, book language of Russian society was eliminated. Karamzin wanted the Russian literary language to express new concepts and ideas that developed in the 18th century as clearly and accurately as the French language spoken by Russian educated society.

Karamzin’s closest associate was I. I. Dmitriev, the author of popular historical and patriotic works, songs, romances, satirical tales and fables (“Ermak”, “Liberation of Moscow”, “The Gray Dove is Moaning...”, “Someone else’s Talk”, “Fashionable Wife”, etc.). The principles of sentimentalism were talentedly embodied in his songs in the folk spirit by Yu. A. Neledinsky-Meletsky, who owns several songs (for example, “I’ll go out to the river ...”) that have survived in the song repertoire to this day.

Russian literature of the 18th century in its rapid development ensured the future great achievements of the art of words that followed in XIX century. She almost caught up with leading European literature and was able to “... become on par with the century in enlightenment.”

Alexander Sergeevich Pushkin, sensitive to the spirit of the era, compared Russia in the 18th century to a ship launched “with the sound of an ax and the thunder of cannons.” “The sound of the ax” can be understood in different ways: either as the scale 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, has not yet dressed himself in granite and bronze for centuries; either the sound of the ax meant that they were in a hurry to launch the ship, and work continued on it, already leaving; or it was the sound of an ax chopping off unruly heads. And the “crew” of this ship was in a hurry to enter Europe: they hastily cut the ropes that connected the ship with its native shore, with the past, forgetting traditions, consigning them to oblivion cultural values, which seemed barbaric in the eyes of “enlightened” Europe. Russia was moving away from Rus'.

And yet you cannot escape yourself. Can be changed Russian dress speak German, cut your beard and learn Latin. There are external traditions, and there are internal ones, invisible to us, developed by our ancestors over hundreds and hundreds of years. What changed in the 18th century? Many things, but the deepest, most intangible and most important national values remained from ancient history migrated to the new; from ancient Russian literature they quietly but confidently entered the literature of the 18th century. This is a reverent attitude towards the written word, faith in its truth, faith that a 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; this is inexhaustible patriotism; This close connection with folk poetry. Writing never became a profession in Rus', it was and remains a calling, literature was and remains a guide to a correct, high life.

According to established tradition, in the 18th century we begin the countdown of new Russian literature. From that time on, Russian literature began to move towards European literature, in order to finally merge with it already in the 19th century. What stands out from the general flow is the so-called “beautiful literature,” that is, fiction, the art of words. Fiction, author's imagination, and entertainment are encouraged here. The author - poet, playwright, prose writer - is no longer a copyist, not a compiler, not a recorder of events, but a creator, creator art worlds. In the 18th century the time comes original literature, it is not the truthfulness of what is described that begins to be valued, not adherence to canons, not similarity to models, but, on the contrary, the originality, uniqueness of the writer, flight of thought and imagination. However, such literature was just being born, and Russian writers at first also followed traditions and patterns, 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 artistic principles, quite suitable for Russia in the early and mid-18th century. Typically, classicism arises where absolutism—the unlimited power of the monarch—is strengthened and flourishes. This was the case in France in the 17th century, and this was the case in Russia in the 18th century.

Reason and order must prevail 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 rules, 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 huge educational value. Classicism divides everything literary genres into “high” and “low” genres. The first include 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 meaning: tragedy creates a role model, and, for example, an ode glorifies the deeds of modern heroes - generals 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 intervene in modern life. It is significant that, unlike France, the path of classicism in our country does not begin with tragedies in antique themes, but from topical satire. The founder of the satirical movement was Antioch Dmitrievich Kantemir(1708-1744). In his passionate satires (accusatory poems), he stigmatizes nobles who shirk their duty to the state, to their honored ancestors. Such a nobleman does not deserve respect. The focus of Russian classic writers is the education and upbringing of an enlightened person who continues the work of Peter I. And Kantemir, in his satires, constantly addresses this theme, 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 and solemn poems on “high” themes. The purpose of the ode is glorification, and Lomonosov glorifies Russia, its power and wealth, its present and future greatness under the enlightened leadership of a wise monarch.

In an ode dedicated to the accession to the throne of Elizabeth Petrovna (1747), the author addresses the new queen, but glorification turns into teaching, into a “lesson to kings.” The new monarch must be worthy of his predecessor, Peter the Great, inherited from him rich country, and therefore one should patronize the sciences, preserve the “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 an ideal person, a hero, a role model. Yes, satire made fun of it. Yes, the ode glorified. But, giving an example to follow, ridiculing, glorifying, the writers taught. It was this edifying spirit that made the works of Russian classicists not abstract art, but an intervention in their contemporary life.

However, so far we have only named 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 their own to Russian literature, and each deviated from the principles of classicism - so rapid was the development of literature in the 18th century.

Alexander Petrovich Sumarokov(1717-1777) - one of the creators of Russian classicist tragedy, the plots for which he drew from Russian history. Thus, the main characters of the tragedy “Sinav and Truvor” are the Novgorod prince Sinav and his brother Truvor, as well as Ilmena, with whom both of them are in love. Ilmena reciprocates Truvor's feelings. Consumed by jealousy, Sinav pursues his lovers, forgetting about the duty of a just monarch. Ilmena marries Sinav because her nobleman 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, was unable to subordinate his feelings to reason and duty, and this is precisely what is required of a person in classical works.
But if Sumarokov’s tragedies generally fit into the rules of classicism, then in love lyrics he was a true innovator, where, as we know, feelings always triumph over reason. What is especially noteworthy is that in Sumarokov’s poetry he relies on the traditions of folk women’s lyrical songs, and often it is the woman who is the heroine of his poems. Literature sought to go beyond the circle 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, public figure, but by what it carries the whole world feelings, experiences, suffering, love.

Along with classicism, Enlightenment ideas also 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 resonated in literature. The ideal of an enlightened nobleman was especially dear to Russian writers. Let's remember Starodum from the comedy Denis Ivanovich Fonvizin(1744 (1745) - 1792) "Minor" and his statements. Monologues and remarks of the hero, the reasoner, the mouthpiece of the author’s ideas, reveal the educational program. It comes 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 triumph when the laws and the people who implement them are virtuous. And for this it is necessary to educate enlightened, moral, educated people.

One of the most famous books 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 structured in the form of travel notes, life observations, sketches and reflections, which lead the author to the idea of ​​​​the injustice of the entire system of life, starting with autocracy.

Literature of the 18th century looks more and more closely not at clothes and actions, but at social status and civil duties, but into the soul of a person, into the world of his feelings. Under the sign of "sensibility" literature says goodbye to the 18th century. On the basis of educational ideas, a literary movement grows - 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, purified literary language from archaisms, and the narrative - from pomposity. He taught Russian writers independence, because true creativity is a deeply personal matter, impossible without inner freedom. But inner freedom has its own external manifestations: writing becomes a profession, the artist no longer has to commit himself to service, because creativity is the most worthy public field.

“Life and poetry are one,” proclaims V. A. Zhukovsky. “Live as you write, write as you live,” picks up K. N. Batyushkov. 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.

In the era of Peter the Great in the 18th century. in response to the demands of the time, there was a rapid transformation of literature, updating its ideological, genre and thematic appearance. Peter's reform activities and the initiative to transform Russia determined the organic assimilation of enlightenment ideas by literature and new writers, and above all the political teachings of the enlighteners - the concept of enlightened absolutism. Enlightenment ideology gave modern forms traditional features Russian literature. As D.S. Likhachev pointed out, in the era of accelerated construction of the Russian centralized state government and social topics, there is a rapid development of journalism.

Journalism will penetrate into other genres of literature, thereby determining its special, openly educational character. Teaching as the most important tradition of young Russian literature was inherited by the new time and acquired a new quality: the Russian writer acted as a citizen who dared to teach the reign of the next monarch. Lomonosov taught Elizabeth to reign, Novikov and Fonvizin - first Catherine II, and then Paul I, Derzhavin - Catherine II, Karamzin - Alexander I, Pushkin - during the difficult time of the defeat of the Decembrist uprising - Nicholas I.

Journalism became a feature of Russian literature of the 18th century, determining the originality of its artistic appearance.

Undoubtedly, the most important and fundamental feature new literature was that it was literature created through the efforts of individual authors. Appeared in society new type writer whose literary activity was determined by his personality.

During this period, Russian classicism entered the historical arena, becoming a necessary stage in the development of Russian literature as pan-European literature. Russian classicism created a multi-genre art, which at first asserted its existence only through the poetic word; prose will begin to develop later - from the 1760s. Through the efforts of several generations of poets, many genres of lyrical and satirical poetry were developed. The classicist poets (Lomonosov, Sumarokov, Kheraskov, Knyazhnin) approved the genre of tragedy. Thus, the conditions were prepared for the organization and successful activities Russian theater. The Russian theater, created in 1756, began its work under the leadership of Sumarokov. Classicism, having begun the creation of national literature, contributed to the development of ideals of citizenship, formed the idea of ​​​​heroic character, included in national literature artistic experience antique and European art, showed the ability of poetry to analytically reveal the human spiritual world.

Lomonosov, drawing on the artistic experience of mankind, wrote deeply national, original odes, expressing the spirit of a rising nation. The pathos of his poetry became the idea of ​​​​affirming the greatness and power of Russia, youth, energy and creative activity that believes in its strength and its historical vocation nation. Idea statements was born in the process of creative explanation and generalization of experience, the real practice of “Russian sons”. The poetry created by Lomonosov existed next to the satirical movement, the founder of which was Kantemir.

During the reign of Catherine II, the Russian Enlightenment, journalist and writer Nikolai Novikov, playwright and prose writer Denis Fonvizin, philosopher Yakov Kozelsky entered the public arena. Along with them, scientists S. Desnitsky, D. Anichkov, propagandist and popularizer of educational ideology, Professor N. Kurganov, compiler of one of the most popular books century "Pismovnik". In the 1780s. Novikov created the largest educational center in Moscow on the basis of the Moscow University printing house he rented. IN

late 1780s A young writer, a student of Russian enlighteners, and a talented prose writer, Ivan Krylov, entered literature.

At the same time, in Russia, almost simultaneously with other European countries, another literary movement was formed, called sentimentalism. The penetration of sentimentalism into Russian literature began already in the 1770s. It is especially noticeable in the work of M. Kheraskov and the poets of his circle, who united in the Moscow university magazine “Useful Amusement.” Russian writers knew the works of English, French and German sentimentalists very well and translated them intensively. Hence the understandable, peculiar commonality of themes, genres, motifs and even heroes among writers of this movement.

The creator of Russian sentimentalism as new and original artistic system Karamzin was a poet, prose writer, publicist, literary and theater critic, publisher and author of the multi-volume History of the Russian State. A real literary school for Karamzin was editing the magazine “ Children's reading for the heart and mind" (1785–1789), published by Novikov, for whom Karamzin translated many works European literature XVIII century Travel through European countries in 1789–1790. turned out to be a decisive moment in Karamzin’s literary fate. Undertaking the publication of the Moscow Journal, Karamzin acted both as a writer and as a theorist of a new direction, who deeply and independently accepted the experience of contemporary European literature, the main aesthetic principles whose sincerity of feeling and “pure natural taste” became.

Already in the first literary works The writer appears in two types of heroes: a “natural man” and a civilized, enlightened man. The writer is looking for heroes of the first type in the peasant environment, an environment not spoiled by civilization that has preserved patriarchal foundations. Karamzin’s famous story “Poor Liza” (1791) attracted contemporaries with its humanistic idea: “And peasant women know how to love.” main character In the story, the peasant woman Liza embodies the writer’s idea of ​​a “natural person”: she is “beautiful in soul and body,” kind, sincere, capable of loving devotedly and tenderly.

Perhaps Karamzin’s most significant work, “Letters of a Russian Traveler,” represents European life at the end of the 18th century. - morals and life, social order, politics and culture of Karamzin’s contemporary Europe. Main character- a “sensitive”, “sentimental” person, this determines his attention to nature, interest in works of art, in every person he meets and, finally, his thoughts about the good of all people, about the “moral rapprochement of peoples.” In an article of 1802 “On love for the fatherland and national pride,” Karamzin wrote: “Our trouble is that we all want to speak French and do not think about working on mastering our own language.” The bilingualism of Russian educated society seemed to Karamzin to be one of the main obstacles to the national self-determination of Europeanized Russian literature and culture, but the final solution to the problem of reforming the language of Russian prose and poetry belongs not to Karamzin, but to Pushkin.

Sentimentalism directly prepared the flowering of Russian romanticism at the beginning of the 19th century.

Test questions and assignments

Poetry: Simeon Polotsky, Sylvester Medvedev, Karion Istomin.

N. Karamzin “Poor Liza.”

Poetry V. Trediakovsky, M. Lomonosov, A. Sumarokov, G. Derzhavin.