"Poor Liza": analysis of Karamzin's work. "The image of Lisa in the story" Poor Liza "N
Lisa is the main character in N. M. Karamzin's story "Poor Liza", a poor young peasant woman from a village near Moscow. Liza was left early without her father, who was the breadwinner of the family. After his death, he and his mother quickly became impoverished. Lisa's mother was a kind, sensitive old woman, but already unable to work. Therefore, Lisa took on any job and worked without sparing herself. She wove canvases and knitted stockings, picked berries and flowers, and then sold them in the city. The main character traits of Lisa are sensitivity, naivety, purity and the ability to love devotedly. She sees only the good in people, although her mother warned her that there are also “evil” people who can offend.
One day, while selling flowers in Moscow, she met a young rich nobleman who asked to continue selling her products only to him. Lisa's mother was pleased with this news, because her daughter would no longer have to travel to the city so often. Lisa's new acquaintance named Erast begins to visit the girl often and the young people fall in love. They often meet and walk by the pond. However, Erast subsequently betrays Lisa. Having said that he is leaving for the service, he no longer returns to her. During his service, he played cards a lot and lost his entire fortune. As a result, he had to marry a rich widow. Lisa's heart could not stand such news, and the girl drowned herself in a deep pond.
After her death, other girls, unhappy in love, began to come to the grave of the girl. Erast was unhappy until the end of his life and considered himself guilty of Lisa's death.
Makshegulov Ilshat Ilgizovich
The story of Nikolai Mikhailovich Karamzin "Poor Lisa" is rightfully considered the pinnacle of Russian prose sentimentalism. Prose, which put the life of the heart and the manifestation of human feelings at the forefront. Perhaps, in our days, when life values are shifted, you will not see anyone with aggression, betrayal and murder, “Poor Liza” will seem to someone a naive work, far from the truth of life, the feelings of the characters are implausible, and the whole story smacks of sweet, cloying a taste of over-sentimentality. But "Poor Liza", written by Karamzin in 1792, will forever remain the most important step, a milestone in the history of Russian literature. This story is an inexhaustible source of themes, ideas and images for all subsequent Russian authors. In my project work, I would like to dwell on the image of Lisa and the role that this image has played for all Russian literature. Therefore, I set the following goals: (slide 2) and tasks (slide 3). The 4th slide is a short biography of Karamzin.
The story "Poor Liza" refers to sentimentalism. (5th slide)
6th slide - the history of the creation of the story.
There are several characters in the story: the peasant woman Liza, her mother, the nobleman Erast and the narrator. (7th slide) The core of the plot is the love story between Erast and Lisa. There are many stories in which a man seduces and then leaves a girl in literature. But the peculiarity of the story of Liza and Erast is that it was precisely such a balance of power in Russia of the eighteenth century that was the most common: a gentleman, landowner, nobleman, using his position, without a twinge of conscience, without punishment, and, most importantly, without condemning society, seduces a girl, below him in social status.
(8th slide) For the first time, Lisa's name appears in the title of the story. Already at this stage, we can understand that it is the female image that will become the main one in the work. In addition, from the title we can catch the author's attitude towards Liza: he calls her "poor".
(9th slide). For the second time, we meet Lisa in the narrator's memoirs: "more often than not, the memory of the deplorable fate of Liza, poor Liza, attracts me to the walls of the Si ... new monastery." Judging by the epithets that the narrator uses when talking about Lisa (“beautiful”, “amiable”), it may seem to the reader that the narrator was a man in love with Lisa, and only after reading the story to the end, we understand that he simply pities the poor girl. In general, the narrator in the story is the spokesman for the author's attitude, and Karamzin loves his heroine. For what? (10th slide).
Lisa is a peasant woman, she lives in a hut "with an old woman, her mother." Liza's father, a "prosperous peasant" died, so "his wife and daughter were impoverished" and "were forced to rent out their land, and for very little money." Her mother could not work, and “Liza, who remained after her father of fifteen years, - only Liza, not sparing her tender youth, not sparing her rare beauty, worked day and night - weaved canvases, knitted stockings, picked flowers in spring, and in summer took berries - and sold them in Moscow. We are not yet familiar with the heroine, but we already understand that she is hardworking, ready to make sacrifices for the sake of her loved ones. Gradually, step by step, Karamzin reveals to us the deep and surprisingly pure soul of the main character. She has a very soft and sensitive heart: “often tender Lisa could not hold back her own tears - ah! she remembered that she had a father and that he was gone, but to calm her mother she tried to hide the sadness of her heart and seem calm and cheerful. She is very shy and timid. At the first meeting with Erast, Liza is constantly flushed with embarrassment: "She showed him the flowers - and blushed."
The role of the landscape in the story. (11th slide)
The main character of the story is extremely honest. Her honesty towards other people is manifested in the episode with the purchase of flowers: when Erast offers Lisa a ruble instead of five kopecks, she replies that she "does not need too much." In addition, the heroine is ridiculously naive: she easily tells where her house is to the first person she likes.
When describing the main character, attention is drawn to her speech characteristics. It is on this basis that we can say that the image of Liza as a representative of her estate has not been worked out clearly enough. Her speech betrays in her not a peasant woman living by her hard work, but rather an airy young lady from high society. (Slide 13) “If the one who now occupies my thoughts was born a simple peasant, a shepherd, - and if he now he drove his flock past me; Oh! I would bow to him with a smile and say affably: “Hello, dear shepherd boy! Where are you driving your flock? And here green grass grows for your sheep, and flowers bloom here, from which you can weave a wreath for your hat. But, despite this, it was the image of Lisa that became the first image of a woman from the people in Russian literature. This attempt, progressive for the 18th century, to bring to the stage a heroine not usual for a love story - a young lady, namely a peasant woman, has a deep meaning. Karamzin, as it were, destroys the boundaries between classes, pointing out that all people are equal before God and before love, "for even peasant women know how to love."
Karamzin's innovation was the very interpretation of the female image. Recall that in the eighteenth century a woman did not have sufficient freedom. An attempt to love according to one's own will, contrary to public opinion, was regarded as a crime against morality. This theme, proposed by Karamzin, will also be reflected in the works of later authors. In particular, Alexander Nikolaevich Ostrovsky. But in "Poor Liza" the author allowed his heroine to fall in love. To love at the behest of the heart, of one's own free will. Love passionately, passionately and forever. "(14 slide) When you," Liza said to Erast, "when you tell me:" I love you, my friend! "When you press me to your heart and look at me with your touching eyes, oh! then it feels so good to me so good that I forget myself, I forget everything except Erast. Wonderful? Wonderful, my friend, that without knowing you, I could live calmly and cheerfully! Now it is "incomprehensible to me, now I think that without you life is not life, but sadness and boredom. Without your dark eyes, a bright month; without your voice, the singing nightingale is boring; without your breath, the breeze is unpleasant to me.
15-slide - the social status of the heroine.
The author allowed the heroine to love and does not condemn her for it. On the contrary, it is Erast who seems to the reader to be a scoundrel and a villain, after he, having deceived, leaves Lisa. The author condemns his hero, who does not pass the test of the strongest feeling on earth - love.
16slide-mapping hero
The hero of Karamzin, Erast, betrayed and killed love. For this, he will be punished even after Lisa's death. He "until the end of his life" will be unhappy: "Having learned about the fate of Lizina, he could not be consoled and considered himself a murderer." At the end of the story, we learn that Erast is dying: the narrator "met him a year before his death."
Lisa not only passes the test of love. Her image in love is revealed in all its fullness and beauty. 19 slide “What belongs to Liza, she, completely surrendering to him, only lived and breathed with him, in everything, like a lamb, obeyed his will and in his pleasure believed her happiness ... "
In general, Liza is endowed with almost all Christian virtues. Even in a difficult moment, in separation from her beloved, she reveals such wonderful qualities as respect for her parents and a willingness to sacrifice everything for her loved one. “What keeps me from flying after dear Erast? War is not terrible for me; it's scary where my friend is not. I want to live with him, I want to die with him, or save his precious life with my own death. “She already wanted to run after Erast, but the thought; "I have a mother!" stopped her."
One of the most important moments in revealing the image of Lisa is her suicide. The purest, angelic soul commits a sin, which was and is considered one of the most terrible in Christianity. The heroine went mad with grief. 24 slide “I can’t live,” thought Liza, “I can’t! .. Oh, if only the sky would fall on me! If the earth swallowed up the poor!.. No! The sky doesn't fall; the earth does not move! Woe is me!". “She left the city and suddenly saw herself on the banks of a deep pond, under the shade of ancient oaks, which a few weeks before had been silent witnesses of her delights. This memory shook her soul; the most terrible heartache was depicted on her face ... she threw herself into the water.
Liza's suicide makes her image vital and tragic. Liza appears before us as another, unable to withstand grief, broken, scolded. Killed the most important thing in her life, the purpose and the highest meaning - love. And Lisa dies. It's amazing how the author relates to the death of his heroine. Although Karamzin, remembering that suicide is a sin, does not give Lizina's soul rest. In the deserted hut, “the wind howls, and the superstitious villagers, hearing this noise at night, say;
25 slide “There is a dead man groaning; poor Liza is moaning there!” But the writer forgives his heroine. The mysterious phrase of the narrator - “When we see each other there, in a new life, I will recognize you, gentle Liza!” - reveals to us all the author's love for his heroine. Karamzin believes that his Lisa, this purest soul, will go to heaven, to a new life.
Karamzin determined that female images in Russian literature would be educators of feelings. A new life for Liza, or rather for her image, began much later, in the next century. 27 slide Liza was reborn again in the heroines of Pushkin, Turgenev, Goncharov, Dostoevsky, Ostrovsky, Tolstoy. The image of poor Liza anticipated a whole gallery of beautiful female Russian characters: from Pushkin's Lisa from The Young Lady-Peasant Woman and Dunya from The Stationmaster to Katerina Kabanova from The Dowry and Katyusha Maslova from Resurrection.
Conclusion 28 slide
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Slides captions:
Theme of the project work: The image of Liza in Karamzin's story "Poor Liza"
The purpose of the project work: 1. To prove that N.M. Karamzin's story "Poor Lisa" is a vivid example of the works of sentimentalism. 2. Find out why the novel is called "Poor Liza." 3. The image of poor Lisa in the works of writers of the 19th century
Tasks: about educational: to consolidate knowledge about the biography of N.M. Karamzin; give the concept of sentimentalism as a literary trend; present the story "Poor Lisa" by N.M. Karamzin as an example of sentimentalism; in hospitals: to promote the upbringing of a spiritually developed personality, the formation of a humanistic worldview. to educate the attitude to love as an extra-class value of a person. developing: to promote the development of critical thinking, interest in the literature of sentimentalism.
N.M. Karamzin Military service Father's death Retirement Simbirsk Passion for Freemasonry Engagement in literature Studying history Simbirsk province A well-born, but not rich noble family Secular education Knowledge of foreign languages Traveling around Europe
Sentimentalism An artistic direction (flow) in art and literature of the late 18th - early 19th centuries. From English. SENTIMENTAL - sensitive. "An elegant image of the basic and everyday" (P.A. Vyazemsky)
The history of the creation of the story The story "Poor Lisa" was written in 1792. In 1796, the story was published as a separate book. The story "Poor Liza" was accepted by the Russian public with such enthusiasm because in this work Karamzin was the first to express that "new word". Such a “new word” was the suicide of the heroine in the story.
The plot of the story: And the love story between Erast and Lisa. There are many stories in which a man seduces and then leaves a girl in literature. But the peculiarity of the story of Liza and Erast is that it was precisely such a balance of power in Russia of the eighteenth century that was the most common: a gentleman, landowner, nobleman, using his position, without a twinge of conscience, without punishment, and, most importantly, without condemning society, seduces a girl, below him in social status.
For the first time, Lisa's name appears in the title of the story. Already at this stage, we can understand that it is the female image that will become the main one in the work. In addition, from the title we can catch the author's attitude towards Liza: he calls her "poor".
“But the most pleasant for me is the place on which the gloomy Gothic towers of the Si ... new monastery rise.” Simonov Monastery
“On the other side of the river, an oak grove is visible, near which numerous herds graze: there young shepherds, sitting under the shade of trees, sing simple, dull songs and shorten the summer days, which are so monotonous for them.” Moscow river
The landscape in Karamzin is not only the background of the action, but also a means of psychological characterization of the hero, a “mirror of the soul”. The whole love story of Lisa and Erast is immersed in a picture of the life of nature, constantly changing according to the stages of development of a love feeling. The role of landscape in the story
Speech characteristics “If the one who now occupies my thoughts was born a simple peasant, a shepherd, and if he now drove his flock past me; Oh! I would bow to him with a smile and say affably: “Hello, dear shepherd boy! Where are you driving your flock? And here green grass grows for your sheep, and flowers bloom here, from which you can weave a wreath for your hat. But, despite this, it was the image of Lisa that became the first image of a woman from the people in Russian literature. This attempt, progressive for the 18th century, to bring to the stage a heroine not usual for a love story - a young lady, namely a peasant woman, has a deep meaning. Karamzin, as it were, destroys the boundaries between classes, pointing out that all people are equal before God and before love, "for even peasant women know how to love."
“When you,” Lisa said to Erast, “when you tell me:“ I love you, my friend! ”, When you press me to your heart and look at me with your touching eyes, oh! then it happens to me so well, so well that I forget myself, I forget everything except Erast. It's wonderful? It's wonderful, my friend, that without knowing you, I could live calmly and cheerfully! Now it's "incomprehensible to me, now I think that without you life is not life, but sadness and boredom. Without your dark eyes, a bright month; without your voice, the singing nightingale is boring; without your breath, the breeze is unpleasant to me.
poor Social status poor, living in poverty Attitude of the author unhappy, miserable, sorry for her
Liza Erast The name Elizabeth means “revering God.” Beautiful in soul and body, of rare beauty, she worked day and night, a kind ... peasant woman. The name Erast means "beloved" A rather rich nobleman, with a fair mind and a kind heart ... but weak and windy. He led a distracted life, thinking only about his own pleasure... The heroes are separated not only by social, but also by moral barriers. Hero Matching
Artist Kiprensky "Poor Lisa" On the day of her first meeting with Erast, she appears in Moscow with lilies of the valley in her hands; at the first appearance of Erast under the windows of Liza's hut, she gives him milk to drink, pouring it from a "clean pot covered with a clean wooden circle" into a glass wiped with a white towel; on the morning of Erast's arrival on the first date, Lisa, "... looked at the white mists that waved in the air." Motif of whiteness, purity and freshness
First meeting "…. Liza came to Moscow with lilies of the valley. A young, well-dressed, pleasant-looking man met her in the street. She showed him the flowers and blushed. "Do you sell them, girl?" he asked with a smile. “Selling,” she replied. “What do you need?” – “Five kopecks.” – “It’s too cheap…….”
“As for Lisa, she, completely surrendering to him, only lived and breathed them, in everything, like a lamb, obeyed his will and in his pleasure she believed her happiness ...”
At the first meeting with Liza, he wants to pay her a ruble instead of five kopecks for lilies of the valley; buying Liza's work, he wants to "always pay ten times more than the price she sets"; before leaving for the war, "he forced her to take some money from him"; in the army, he "instead of fighting the enemy, played cards and lost almost all his estate", which is why he is forced to marry "an elderly rich widow." money motif
Liza loved her mother, industrious, selfless, timid, pure, helpful, joyful soul, lovely
“Liza sobbed - Erast cried - left her - she fell - knelt down, raised her hands to the sky and looked at Erast, who moved away - further - further - and, finally, disappeared, - the sun shone, and Liza, left, poor, I lost my senses and memory. The parting scene
Causes of Lisa's suicide Loss of the meaning of life Erast's betrayal Erast's frivolity Love for Erast Deceived trust
“I can’t live,” Liza thought, “I can’t! .. Oh, if only the sky would fall on me! If the earth swallowed up the poor!.. No! The sky doesn't fall; the earth does not move! Woe is me!". “She left the city and suddenly saw herself on the banks of a deep pond, under the shade of ancient oaks, which a few weeks before had been silent witnesses of her delights. This memory shook her soul; the most terrible heartache was depicted on her face ... she threw herself into the water.
There is a dead man groaning; poor Liza is moaning there!” But the writer forgives his heroine. The mysterious phrase of the narrator - “When we see each other there, in a new life, I will recognize you, gentle Liza!”
“…Now, maybe they have already reconciled!”
Conclusion Liza was reborn again in the heroines of Pushkin, Turgenev, Goncharov, Dostoevsky, Ostrovsky, Tolstoy. The image of poor Liza anticipated a whole gallery of beautiful female Russian characters: from Pushkin's Lisa from The Young Lady-Peasant Woman and Dunya from The Stationmaster to Katerina Kabanova from The Dowry and Katyusha Maslova from Resurrection.
Conclusion: For Karamzin, as a sentimentalist writer, feelings are more important and stronger than reason. It is they who make a man a man if they are pure and noble. - Maybe you will have to make a choice in life between reason and feelings. In our progmatic age, reason (and even calculation) often wins. Classical literature reminds us that without real feelings a person loses his soul and is unlikely to be happy (which happened to Erast). Although Karamzin warns: "The fulfillment of all desires is the most dangerous temptation of love." Writers often touch upon the problem of the struggle between feelings and reason, but do not give an answer, because "this mystery is great."
In a bookish way, Lisa not only speaks, but also thinks. Nevertheless, the psychology of Lisa, who fell in love with a girl for the first time, is revealed in detail and in a natural sequence. Before rushing into the pond, Lisa remembers her mother, she took care of the old woman as best she could, left her money, but this time the thought of her was no longer able to keep Lisa from taking a decisive step. As a result, the character of the heroine is idealized, but internally whole.
The character of Erast is much different from the character of Lisa. Erast is described more in line with the social environment that brought him up than Lisa. This is a “rather rich nobleman”, an officer who led a dispersed life, thought only of his own pleasure, looked for him in secular amusements, but often did not find him, was bored and complained about his fate. Endowed with "a fair mind and a kind heart", being "kind by nature, but weak and windy", Erast represented a new type of hero in Russian literature. In it, for the first time, the type of a disappointed Russian aristocrat is outlined.
Erast recklessly falls in love with Lisa, not thinking that she is not a girl of his circle. However, the hero does not stand the test of love.
Before Karamzin, the plot automatically determined the type of hero. In Poor Liza, the image of Erast is much more complicated than the literary type to which the hero belongs.
Erast is not an "insidious seducer", he is sincere in his oaths, sincere in his deceit. Erast is as much the culprit of the tragedy as he is the victim of his "ardent imagination". Therefore, the author does not consider himself entitled to judge Erast. He stands on a par with his hero - because he converges with him at the "point" of sensitivity. After all, it is the author who acts in the story as a “narrator” of the plot that Erast told him: “... I met him a year before his death. He himself told me this story and led me to Liza's grave ... ".
Erast begins a long series of heroes in Russian literature, the main feature of which is weakness and inability to live, and for whom the label of “an extra person” has long been entrenched in literary criticism.
plot, composition
In the words of Karamzin himself, the story "Poor Liza" is "a rather uncomplicated fairy tale." The plot of the story is simple. This is the love story of a poor peasant girl Liza and a rich young nobleman Erast. Public life and secular pleasures bored him. He was constantly bored and "complained about his fate." Erast “read idyllic novels” and dreamed of that happy time when people, not burdened by the conventions and rules of civilization, lived carelessly in the bosom of nature. Thinking only of his own pleasure, he "looked for it in amusements." With the advent of love in his life, everything changes. Erast falls in love with the pure "daughter of nature" - the peasant woman Lisa. Chaste, naive, joyfully trusting people, Lisa appears as a wonderful shepherdess. Having read novels in which “all people carelessly walked along the rays, bathed in clean springs, kissed like turtledoves, rested under roses and myrtle”, he decided that he “found in Liza what his heart had been looking for for a long time.” Liza, although "the daughter of a rich peasant", is just a peasant woman who is forced to earn her own living. Sensuality - the highest value of sentimentalism -: pushes the characters into each other's arms, gives them a moment of happiness. The picture of pure first love is drawn very touchingly in the story. “Now I think,” Liza says to Erast, “that without you life is not life, but sadness and boredom. Without your dark eyes, a bright month; the singing nightingale is boring without your voice...” Erast also admires his “shepherdess”. “All the brilliant amusements of the great world seemed to him insignificant in comparison with the pleasures with which the passionate friendship of an innocent soul fed his heart.” But when Lisa gives herself to him, the satiated young man begins to grow cold in his feelings for her. In vain Lisa hopes to regain her lost happiness. Erast goes on a military campaign, loses all his fortune in cards and, in the end, marries a rich widow. And deceived in her best hopes and feelings, Liza throws herself into a pond near the Simonov Monastery.
Artistic originality
But the main thing in the story is not the plot, but the feelings that it was supposed to awaken in the reader. Therefore, the main character of the story becomes the narrator, who, with sadness and sympathy, tells about the fate of the poor girl. The image of a sentimental narrator became a discovery in Russian literature, since before the narrator remained “behind the scenes” and was neutral in relation to the events described. The narrator learns the story of poor Lisa directly from Erast, and he himself often comes to be sad at Liza's Grave. The narrator of "Poor Liza" is mentally involved in the relationship of the characters. Already the title of the story is built on the combination of the heroine's own name with an epithet that characterizes the narrator's sympathetic attitude towards her.
The author-narrator is the only mediator between the reader and the life of the characters, embodied by his word. The narration is conducted in the first person, the constant presence of the author reminds of himself by his periodic appeals to the reader: "now the reader should know ...", "the reader can easily imagine ...". These address formulas, emphasizing the intimacy of the emotional contact between the author, the characters and the reader, are very reminiscent of the methods of organizing narrative in the epic genres of Russian poetry. Karamzin, transferring these formulas into narrative prose, ensured that prose acquired a penetrating lyrical sound and began to be perceived as emotionally as poetry. The story "Poor Lisa" is characterized by short or extended lyrical digressions, at every dramatic turn of the plot we hear the author's voice: "my heart bleeds ...", "a tear rolls down my face."
In their aesthetic unity, the three central images of the story - the author-narrator, poor Lisa and Erast - with a completeness unprecedented in Russian literature, realized the sentimentalist concept of a personality, valuable for its extra-ordinary moral virtues, sensitive and complex.
Karamzin was the first to write smoothly. In his prose, words were intertwined in such a regular, rhythmic way that the reader was left with the impression of rhetorical music. Smoothness in prose is the same as meter and rhyme in poetry.
Karamzin introduces the tradition of the rural literary landscape.
The meaning of the work
Karamzin laid the foundation for a huge cycle of literature about "little people", opened the way for the classics of Russian literature. The story "Rich Lisa" essentially opens the theme of the "little man" in Russian literature, although the social aspect in relation to Liza and Erast is somewhat muffled. Of course, the gulf between a rich nobleman and a poor peasant woman is very large, but Lisa is least of all like a peasant woman, rather like a sweet secular young lady, brought up on sentimental novels. The theme of "Poor Liza" appears in many works by A.S. Pushkin. When he wrote "The Young Lady-Peasant Woman", he definitely focused on "Poor Liza", turning the "sad story" into a "novel" with a happy ending. In The Stationmaster, Dunya is seduced and taken away by the hussars, and her father, unable to bear the grief, becomes an inveterate drunkard and dies. In The Queen of Spades, the further life of Karamzin's Liza is visible, the fate that would have awaited Liza if she had not committed suicide. Liza also lives in the novel "Sunday" by L.N. Tolstoy. Seduced by Nekhlyudov, Katyusha Maslova decides to throw herself under a train. Although she remains to live, her life is full of dirt and humiliation. The image of Karamzin's heroine continued in the works of other writers.
It is in this story that the refined psychologism of Russian artistic prose, recognized throughout the world, is born. Here Karamzin, opening the gallery of "superfluous people", stands at the source of another powerful tradition - the image of smart loafers, for whom idleness helps to keep a distance between themselves and the state. Thanks to blessed laziness, superfluous people are always in opposition. If they had served their country honestly, they would have had no time for Liz's seduction and witty digressions. In addition, if the people are always poor, then the extra people are always with the means, even if they squandered, as happened with Erast. He has no affairs in the story, except for love.
№; 4 There are almost no works in Russian literature in which there would be no landscape. Writers have sought to include this extra-plot element in their works for a variety of purposes. So, for example, in the story “Poor Lisa” by Karamzin, picturesque pictures of nature, at first glance, can be considered random episodes that are just a beautiful background for the main action. But landscapes are one of the main means of revealing the emotional experiences of the characters. In addition, they serve to convey the attitude of the author to what is happening.
At the beginning of the story, the author describes Moscow and the “terrible mass of houses,” and immediately after that he begins to paint a completely different picture: “Down below ... along the yellow sands, a fresh river flows, agitated by the light oars of fishing boats ... On the other side of the river, an oak grove is visible, near which numerous herds graze ... ”Karamzin takes the position of protecting the beautiful and natural, the city is unpleasant to him, he is drawn to“ nature ”. Thus, here the description of nature serves to express the author's position.
Most of the landscapes of the story are aimed at conveying the state of mind and experience of the main character. It is she, Lisa, who is the embodiment of everything natural and beautiful, this heroine is as close to nature as possible: “Even before the sun rose, Liza got up, went down to the banks of the Moscow River, sat down on the grass and looked at the white mists in a sulky mood ... but soon the rising luminary of the day awakened all creation…”
The heroine is sad, because a new, hitherto unknown feeling is born in her soul, but it is beautiful and natural for her, like the landscape around. Within a few minutes, when an explanation takes place between Lisa and Erast, the girl's experiences dissolve in the surrounding nature, they are just as beautiful and pure. And after the separation of the lovers, when Liza feels like a sinner, a criminal, the same changes take place in nature as in Liza's soul. Here, the picture of nature reveals not only Lisa's state of mind, but also portends the tragic ending of this story.
One of the main landscape functions in the novel "A Hero of Our Time" is to more fully and deeply reveal the personality of the main character, Pechorin. His character is reflected in his descriptions of nature ("Fatalist", "Taman", "Princess Mary").
Pechorin is able to feel the movement of air, the stirring of tall grass, to admire the "foggy outlines of objects", revealing spiritual subtlety and depth. He, a lonely man, nature in difficult times helps to maintain peace of mind. “I greedily swallowed fragrant air,” writes Pechorin after an emotionally intense meeting with Vera.
Nature in the novel is constantly opposed to the world of people with their petty passions, and Pechorin's desire to merge with the harmonious world of nature turns out to be futile. The landscapes written by the protagonist are full of movement - such descriptions emphasize the hero's inner energy, his constant tension, thirst for action, reflect the dynamics of his mental states.
Thus, landscapes in a work of art help to penetrate deeply into the soul of the characters and their experiences, to better understand the ideological intent of the author.
2) This story by N. M. Karamzin, published in the Moscow Journal in 1792, was extremely popular and caused a lot of imitation in Russian literature. The main goal of the creator of the story is the image of the rich spiritual world of the Russian peasant woman and the destructive power of money. The title of the work is symbolic, containing, on the one hand, an indication of the socio-economic aspect of solving the problem (Liza is a poor peasant girl), on the other hand, the moral and philosophical one (the hero of the story is an unfortunate person offended by fate and people). The polysemy of the title emphasized the specifics of the conflict in Karamzin's work. The love conflict between a man and a girl (the story of their relationship and the tragic death of Lisa) is leading. The social beginning of the conflict (the love of a nobleman and a peasant woman), associated with class prejudices and economic circumstances (the ruin of Erast and the need to marry a rich woman), turns out to be less significant for Karamzin, receding into the background.
It is generally accepted that "Poor Liza" is a classic example of Russian sentimentalism. The sentimental in the story is manifested in the poeticization of feelings, changeable and contradictory, the artist's close attention to the intimate world of a private person, in a special, emphatically emotional, elegant style. In the work of Karamzin, one can also find features of a pre-romantic character (in the image of the Simonov Monastery, in the "criminal" plot of the story, its tragic ending, etc.). The heroes of Karamzin are characterized by internal discord, the inconsistency of the ideal with reality: Liza dreams of being a wife and mother, but is forced to come to terms with the role of a mistress; Erast hopes that the platonic love for a peasant girl will contribute to his moral revival, but reality destroys the world of his illusion. "Poor Lisa" is a sentimental pre-romantic love story. Sentimentalism was characterized by the use of teleological plots. The writer's appeal to the plot with a predetermined end, the reader's warning at the beginning of the story about the death of the heroine, the conscious rejection of the complexity of the plot narrative - all this contributed to the reader's concentration on revealing the inner world of the characters, on the perception of the natural beauty and harmony of the style, on identifying the specifics of creating an artistic image, where a large role was played by a portrait, detail, gesture. The plot ambivalence, outwardly hardly noticeable, manifested itself in the “detective” basis of the story, the author of which is interested in the reasons for the suicide of the heroine, and in the unusual solution to the problem of the “love triangle”, when the love of a peasant woman for Erast threatens family ties, sanctified by sentimentalists, and “poor Liza” herself replenishes a number of images of "fallen women" in Russian literature.
The macrostructure of the story is three-part: an introduction on behalf of the Narrator with a picture of the panorama of Moscow, Danilov and Simonov monasteries; the main part, which tells about Lisa's love story; conclusion, where the Narrator reports the tragic fate of the rest of the heroes of the work. The system of images of N.M. Karamzin can be represented as an antithetical pair of monocentric circles formed around the images of Lisa and Erast by secondary characters (the widow, Erast's friends, the valet; Lisa's mother, the shepherd boy, Anyuta). Outside this system are the image of the Narrator, on behalf of whom the story is being told, and the image of Nature, sympathizing with "poor Liza", worried about her fate. Such a system of images allowed Karamzin to create a work that is flexible in its structure, combining objective (on behalf of the characters) and subjective (on behalf of the narrator) narration.
N. M. Karamzin appeared in the story "Poor Lisa" as a master of psychological analysis. He managed to convey the process of the origin and development of a love feeling through a word, intonation, gesture, facial expressions, an act showed the psychological complexity of the images of Lisa and Erast. Karamzin, referring to the traditional poetics of the "speaking name", managed to emphasize the discrepancy between the external and the internal in the characters of the story. Lisa surpasses Erast ("loving") in the talent to love and live in love; "meek", "quiet" (translated from Greek) Lisa commits acts that require determination and willpower, which run counter to the social laws of morality, religious and moral norms of behavior. The leading principle of revealing the artistic image in Karamzin's story is the depiction of the emotional world of a person, the creation of his psychological portrait. The direct characterization given to the main characters by the Narrator, and the indirect characterization contained in the words of secondary characters, were an important means of revealing the images. The image of a person in action, moral or immoral act, motivation, feeling helped the writer in creating living, psychologically reliable characters. This goal was also served by the technique of verbal portraiture, the use of bright artistic details, and the speech characteristics of the characters.
The functions of Nature in the work are ambiguous. Pantheistic philosophy, assimilated by Karamzin, made Nature one of the main characters of the story, empathizing with Lisa in happiness and sorrow. In addition, Nature appears in the writer's work both as a scene of action (river bank, grove, pond), and as a general emotional and coloristic background of the work. Karamzin used two main techniques for depicting space in the story: the panorama technique (rural or urban landscapes) and the focus technique, when the author organically moves from the picture of the natural world to the image of the hero; narrowing the observed space and concentrating attention on the person: the view of Moscow - Simonov Monastery - an oak grove and a meadow near the monastery walls - an abandoned hut - Lisa. At the same time, the image of Nature necessarily ends with a story about a person living "in the arms of Nature." Not all characters in the story have the right to intimate communication with the world of Nature, but only Liza and the Narrator. It is noteworthy that Erast is far from understanding the language of Nature, is depicted outside of his natural, family ties: in the formation of his character, the motivation of actions, the social principle dominates. Such a distinction between heroes into "natural" and "civilized", characteristic of the works of sentimentalists, emphasizes the acuteness of the conflict in Karamzin's story, and prepares the tragic ending of the work.
In "Poor Liza" N. M. Karamzin gave one of the first samples of sentimental style in Russian literature, which was guided by the colloquial and everyday speech of the educated part of the nobility. He assumed the elegance and simplicity of the style, the specific selection of "euphonious" and "not spoiling the taste" words and expressions, the rhythmic organization of prose, bringing it closer to poetic speech.
5)1. The image of the narrator and its meaning in the story of N. M. Karamzin "Poor Liza"
V. G. Belinsky believed that with Karamzin, including "Poor Lisa" (1792), "a new era of Russian literature" began. “He was the first in Rus' who began to write stories that interested society ... in which people acted, the life of the heart and passions was depicted.”
K. is a sentimentalist writer. He believed that feelings, the soul of a person should become the subject of an artistic image. And he was also convinced that the basis of human progress is "virtue", "tender" human heart. This position alienated the writer from the topical issues of public life. At the same time, having replaced the rationality of classicism, it contributed to the development of psychologism in literature. K. attached great importance to the lively expressiveness of prose narration. He was guided by the convergence of the literary style with the spoken language of the educated nobility. As a writer, he was the first to speak the language of "feelings", giving spirituality to prose. All signs of a sentimental narrative are clearly reflected in the best and most popular story by K. "Poor Liza."
Sentimentalism - from fr. "feeling" - a trend in European art of the late 18th - early 19th centuries. century, which arose as a reaction to the rationalist art of classicism. S. affirms the inherent value of the individual, the world of her feelings, in contrast to classicism, where the state principle, public duty were elevated to a cult and opposed to personal development.
Signs of works of sentimentalism:
Particular attention to the inner, mental world of man, to nature;
Idealization of reality, nature;
The cult of sensual experiences;
Search for positive properties in your spiritual, inner world;
Ignoring social issues;
Depiction of the characters of ordinary people close to nature, simple relationships, heroes prone to introspection and sensitivity;
Enrichment of the literary language with live colloquial speech;
Genre diversity (novel in letters, novel-confession, journey, poem, elegy, message)
The hero is most often disappointed, having lost faith in the reality of the harmony of the world and happiness, shedding bitter tears and complaining about fate.
This is not a knight, not a leader, not a statesman and not a person who can handle big things and violent passions, but a mere mortal.
The task of the artist is to evoke sympathy for this simple person, compassion, respect.
Visual means of works of sentimentalism:
The composition is arbitrary;
Most of all, K. is interested in the inner life of modern man, subject to "the strongest action of passions." The narration is conducted on behalf of the author, to whom Erast told about the events.
Features of the narrative manner of K.:
Reality is viewed through the prism of the author's emotions;
Special intimacy, sincerity;
An abundance of poetic figures and tropes;
Unity and simplicity of the plot (sequence of events);
The clarity of the composition;
Conciseness, clarity, simplicity of language
The theme of the story is at its beginning (4 paragraph)
The story ends with a conciliatory chord. This is where the essence of Karamzin's sentimental worldview comes into play.
The “beautiful” sentimentalism of Karamzin in its best examples ... turned out to be an expression of living human feelings and could affect these feelings in a wide range of his contemporaries” The “third estate” that appeared in Europe allowed sentimentalism to flourish more magnificently.
Lisa is a poor peasant girl, the main character of the story, which made a complete revolution in the public consciousness of the 18th century.
K. for the first time in the history of Russian prose turned to the heroine, endowed with emphatically mundane features. His words "and peasant women know how to love" became winged. Lisa's main talent, which she inherits from her mother, is the ability to love devotedly. Sensitivity - the main advantage of K.'s story - is the ability to sympathize, to discover "the most tender feelings", as well as the ability to enjoy the contemplation of one's own emotions. It is ardor and ardor that lead Lisa to death, but morally she is justified. Thought K .: for a spiritually rich, sensitive person to do good deeds is natural. The motif of the conversion of a pure and immaculate girl acquires an emphatically social sound in the story. K. was one of the first to introduce the opposition of town and country into Russian literature. A village man - a man of nature - turns out to be defenseless, getting into a city where his own laws apply. It is no coincidence that the first step on the road to disaster is Lisa's insincerity: she hides, on the advice of Erast, their love from her mother, whom she had previously confided in all her secrets. The tragic outcome of the love of a peasant woman and an officer confirms the correctness of her mother, who warned Liza at the beginning of the story: “You still don’t know how evil people can offend a poor girl.”
The coexistence of the author and his hero in the same narrative space before K. was not familiar to Russian literature. The narrator is mentally involved in the relationship of the characters. Already the title of the story is built on the combination of the name of the heroine with an epithet that characterizes the sympathetic attitude of the narrator towards her, who constantly repeats that he has no power to change the course of events. K. does not reveal the true causes of evil. He only complains about the laws of a civilized society that forced Erast, a good person from birth, but spoiled by upbringing, to abandon Lisa for the sake of a profitable marriage to a rich noblewoman. K. also pities Erast, because, according to the writer, he is a victim of unreasonable human relations. The writer's appeal to the moral essence of the conflict increased his attention to the inner world, the psychology of the characters, which was important from the point of view of the further development of Russian prose.
The image of Liza is not devoid of idealization, some of her feelings are more characteristic of an educated noblewoman than a peasant woman. K. reveals the state of mind of L. mainly through gestures, facial expressions, intonation, but sometimes he tries to penetrate the hidden experience of the heroine by directly depicting them. The main question the author is trying to answer is the following: the hostility of the existing relations to the ideals of goodness and justice. He mourns for humanity as a whole, raises the difficult problems of the moral responsibility of everyone for their actions. K. made an attempt to explain the troubles of mankind by its separation from the natural world or the intervention of "fate".
Composition
The story of Nikolai Mikhailovich Karamzin "Poor Lisa" is rightfully considered the pinnacle of Russian prose sentimentalism. Prose, which put the life of the heart and the manifestation of human feelings at the forefront.
Perhaps, in our days, when life values are shifted, you will not see anyone with aggression, betrayal and murder, “Poor Lisa” will seem to someone a naive work, far from the truth of life, the feelings of the characters are implausible, and the whole story smacks of sweet, cloying a taste of over-sentimentality. But "Poor Liza", written by Karamzin in 1792, will forever remain the most important step, a milestone in the history of Russian literature. This story is an inexhaustible source of themes, ideas and images for all subsequent Russian authors.
In this essay, I would like to dwell on the image of Lisa and the role that this image has played for all Russian literature.
There are several characters in the story: the peasant woman Liza, her mother, the nobleman Erast and the narrator. The core of the plot is the love story between Erast and Lisa. There are many stories in which a man seduces and then leaves a girl in literature. But the peculiarity of the story of Liza and Erast is that it was precisely such a balance of power in Russia of the eighteenth century that was the most common: a gentleman, landowner, nobleman, using his position, without a twinge of conscience, without punishment, and, most importantly, without condemning society, seduces a girl, below him in social status.
For the first time, Lisa's name appears in the title of the story. Already at this stage, we can understand that it is the female image that will become the main one in the work. In addition, from the title we can catch the author's attitude towards Liza: he calls her "poor".
The second time we meet Liza is in the narrator’s memoirs: “More often than not, the memory of the deplorable fate of Liza, poor Liza, attracts me to the walls of the Si ... new monastery.” Judging by the epithets that the narrator uses when talking about Lisa (“beautiful”, “amiable”), it may seem to the reader that the narrator was a man in love with Lisa, and only after reading the story to the end, we understand that he simply pities the poor girl. In general, the narrator in the story is the spokesman for the author's attitude, and Karamzin loves his heroine. For what?
Lisa is a peasant woman, she lives in a hut "with an old woman, her mother." Liza's father, a "prosperous peasant" died, so "his wife and daughter were impoverished" and "were forced to rent out their land, and for very little money." Her mother could not work, and “Liza, who remained after her father of fifteen years, - Liza alone, not sparing her tender youth, not sparing her rare beauty, worked day and night - weaved canvases, knitted stockings, picked flowers in spring, and in summer took berries and sold them in Moscow.” We are not yet familiar with the heroine, but we already understand that she is hardworking, ready to make sacrifices for the sake of her loved ones.
Gradually, step by step, Karamzin reveals to us the deep and surprisingly pure soul of the main character. She has a very soft and sensitive heart: “often tender Lisa could not hold back her own tears - ah! she remembered that she had a father and that he was gone, but to calm her mother she tried to hide the sadness of her heart and seem calm and cheerful. She is very shy and timid. At the first meeting with Erast, Liza is constantly flushed with embarrassment: "She showed him the flowers - and blushed."
The main character of the story is extremely honest. Her honesty towards other people is manifested in the episode with the purchase of flowers: when Erast offers Lisa a ruble instead of five kopecks, she replies that she "does not need too much." In addition, the heroine is ridiculously naive: she easily tells where her house is to the first person she likes.
When describing the main character, attention is drawn to her speech characteristics. It is on this basis that we can say that the image of Liza as a representative of her estate has not been worked out clearly enough. Her speech betrays in her not a peasant woman living by her hard work, but rather an airy young lady from high society. “If the one who now occupies my thoughts was born a simple peasant, a shepherd, - and if he now drove his flock past me; Oh! I would bow to him with a smile and say affably: “Hello, dear shepherd boy! Where are you driving your flock? “And here green grass grows for your sheep, and flowers bloom here, from which you can weave a wreath for your hat.” But, despite this, it was the image of Lisa that became the first image of a woman from the people in Russian literature. In this attempt, progressive for the 18th century, to bring to the stage a heroine not usual for a love story - a young lady, namely a peasant woman, there is a deep meaning. Karamzin, as it were, destroys the boundaries between classes, pointing out that all people are equal before God and before love, "for even peasant women know how to love."
Another innovation of Karamzin was the very interpretation of the female image. Recall that in the eighteenth century a woman did not have sufficient freedom. In particular, a woman did not have the freedom to love by choice. The choice for the woman was made by her parents. It is easy to imagine that in this state of affairs, happy marriages in which spouses loved each other were hardly a frequent occurrence. An attempt to love according to one's own will, contrary to public opinion, was regarded as a crime against morality. This theme, proposed by Karamzin, will also be reflected in the works of later authors. In particular, Alexander Nikolayevich Ostrovsky.
But in "Poor Liza" the author allowed his heroine to fall in love. To love at the behest of the heart, of one's own free will. Love passionately, passionately and forever. “When you,” Liza said to Erast, “when you say to me:“ I love you, my friend! ”, When you press me to your heart and look at me with your touching eyes, ah! then it happens to me so well, so well, that I forget myself, I forget everything except Erast. Wonderful? It's wonderful, my friend, that I, not knowing you, could live calmly and cheerfully! Now it’s “incomprehensible to me, now I think that without you life is not life, but sadness and boredom. Without your dark eyes, a bright month; without your voice, the singing nightingale is boring; without your breath, the breeze is unpleasant to me.
The author allowed the heroine to love and does not condemn her for it. On the contrary, it is Erast who seems to the reader to be a scoundrel and a villain, after he, having deceived, leaves Lisa. The author condemns his hero, who does not pass the test of the strongest feeling on earth - love. This technique of “testing by love” will become very important in the work of the great Russian writer Ivan Sergeevich Turgenev. He will find his most complete embodiment in the novels "Fathers and Sons", "Rudin", "Noble Nest". In Goncharov's novel Oblomov, the protagonist also had to pass the test of love.
The hero of Karamzin, Erast, betrayed and killed love. For this, he will be punished even after Lisa's death. He "until the end of his life" will be unhappy: "Having learned about the fate of Lizina, he could not be consoled and considered himself a murderer." At the end of the story, we learn that Erast is dying: the narrator "met him a year before his death."
Lisa not only passes the test of love. Her image in love is revealed in all its fullness and beauty. “As for Lisa, she, completely surrendering to him, only lived and breathed with him, in everything, like a lamb, obeyed his will and placed her happiness in his pleasure ... "
In general, Liza is endowed with almost all Christian virtues. Even in a difficult moment, in separation from her beloved, she reveals such wonderful qualities as respect for her parents and a willingness to sacrifice everything for her loved one. “What keeps me from flying after dear Erast? War is not terrible for me; it's scary where my friend is not. I want to live with him, I want to die with him, or save his precious life with my own death. “She already wanted to run after Erast, but the thought; "I have a mother!" stopped her."
One of the most important moments in revealing the image of Lisa is her suicide. The purest, angelic soul commits a sin, which was and is considered one of the most terrible in Christianity. The heroine is mad with grief. “I can’t live,” Liza thought, “I can’t!.. Oh, if only the sky would fall on me! If the earth swallowed up the poor!.. No! The sky doesn't fall; the earth does not move! Woe is me!". “She left the city and suddenly saw herself on the banks of a deep pond, under the shade of ancient oaks, which a few weeks before had been silent witnesses of her delights. This memory shook her soul; the most terrible heartfelt torment was depicted on her face ... she threw herself into the water.
Liza's suicide makes her image vital and tragic. Liza appears before us as another, unable to withstand grief, broken, scolded. Killed the most important thing in her life, the purpose and the highest meaning - love. And Lisa dies. It's amazing how the author relates to the death of his heroine. Although Karamzin, remembering that suicide is a sin, does not give Lizina's soul rest. In the deserted hut, “the wind howls, and the superstitious villagers, hearing this noise at night, say; “There is a dead man groaning; poor Liza is moaning there!” But the writer forgives his heroine. The mysterious phrase of the narrator - "When we see each other there, in a new life, I will recognize you, gentle Liza!" - reveals to us all the author's love for his heroine. Karamzin believes that his Lisa, this purest soul, will go to heaven, to a new life.
For the first time in Karamzin, a woman acts as the highest moral ideal. It was to the woman that Karamzin intended to introduce into Russian literature such an important and defining theme as the elevation of the human spirit through suffering. And, finally, it was Karamzin who determined that female images in Russian literature would be educators of feelings.
A new life for Liza, or rather for her image, began much later, in the next century. Lisa was reborn again in the heroines of Pushkin, Turgenev, Goncharov, Dostoevsky, Ostrovsky, Tolstoy. The image of poor Liza anticipated a whole gallery of beautiful female Russian characters: from Pushkin's Lisa from The Young Lady-Peasant Woman and Dunya from The Stationmaster to Katerina Kabanova from The Dowry and Katyusha Maslova from Resurrection.