The story " Poor Lisa", written by Nikolai Mikhailovich Karamzin, became one of the first works of sentimentalism in Russia. The love story of a poor girl and a young nobleman won the hearts of many of the writer’s contemporaries and was received with great delight. The work brought unprecedented popularity to the then completely unknown 25-year-old writer. However, with what descriptions does the story “Poor Liza” begin?
History of creation
N. M. Karamzin was distinguished by his love for Western culture and actively preached its principles. His role in the life of Russia was enormous and invaluable. This progressive and active man traveled extensively throughout Europe in 1789-1790, and upon his return he published the story “Poor Liza” in the Moscow Journal.
Analysis of the story indicates that the work has a sentimental aesthetic orientation, which is expressed in interest in people, regardless of their social status.
While writing the story, Karamzin lived at his friends’ dacha, not far from which he was located. It is believed that he served as the basis for the beginning of the work. Thanks to this, the love story and the characters themselves were perceived by readers as completely real. And the pond not far from the monastery began to be called “Liza’s Pond.”
“Poor Liza” by Karamzin as a sentimental story
“Poor Liza” is, in fact, a short story, a genre in which no one had written in Russia before Karamzin. But the writer’s innovation is not only in the choice of genre, but also in the direction. It was this story that secured the title of the first work of Russian sentimentalism.
Sentimentalism arose in Europe back in the 17th century and focused on the sensual side of human life. Issues of reason and society faded into the background for this direction, but emotions and relationships between people became a priority.
Sentimentalism has always strived to idealize what is happening, to embellish it. Answering the question about what descriptions the story “Poor Liza” begins with, we can talk about the idyllic landscape that Karamzin paints for readers.
Theme and idea
One of the main themes of the story is social, and it is connected with the problem of attitude noble class to the peasants. It is not for nothing that Karamzin chooses a peasant girl to play the role of bearer of innocence and morality.
Contrasting the images of Lisa and Erast, the writer is one of the first to raise the problem of contradictions between the city and the countryside. If we turn to the descriptions with which the story “Poor Liza” begins, we will see a quiet, cozy and natural world that exists in harmony with nature. The city is frightening, terrifying with its “huge houses” and “golden domes.” Lisa becomes a reflection of nature, she is natural and naive, there is no falsehood or pretense in her.
The author speaks in the story from the position of a humanist. Karamzin depicts all the charm of love, its beauty and strength. But reason and pragmatism can easily destroy this wonderful feeling. The story owes its success to its incredible attention to a person’s personality and his experiences. “Poor Liza” aroused sympathy among its readers thanks to amazing ability Karamzin to depict all the emotional subtleties, experiences, aspirations and thoughts of the heroine.
Heroes
A complete analysis of the story “Poor Liza” is impossible without a detailed examination of the images of the main characters of the work. Lisa and Erast, as noted above, embodied different ideals and principles.
Lisa is an ordinary peasant girl, main feature which is the ability to feel. She acts according to the dictates of her heart and feelings, which ultimately led to her death, although her morality remained intact. However, there is little peasant in the image of Lisa: her speech and thoughts are closer to book language, but the feelings of a girl who has fallen in love for the first time are conveyed with incredible truthfulness. So, despite the external idealization of the heroine, her inner experiences are conveyed very realistically. In this regard, the story “Poor Liza” does not lose its innovation.
What descriptions does the work begin with? First of all, they are in tune with the character of the heroine, helping the reader to recognize her. This is a natural, idyllic world.
Erast appears completely different to the readers. He is an officer who is only puzzled by the search for new entertainment; life in society tires him and makes him bored. He is intelligent, kind, but weak in character and changeable in his affections. Erast truly falls in love, but does not think at all about the future, because Lisa is not his circle, and he will never be able to take her as his wife.
Karamzin complicated the image of Erast. Typically, such a hero in Russian literature was simpler and endowed with certain characteristics. But the writer makes him not an insidious seducer, but a sincerely in love with a person who, due to weakness of character, could not pass the test and preserve his love. This type of hero was new to Russian literature, but immediately took root and later received the name “ extra person».
Plot and originality
The plot of the work is quite simple. This is the story of the tragic love of a peasant woman and a nobleman, the result of which was the death of Lisa.
What descriptions does the story “Poor Liza” begin with? Karamzin draws a natural panorama, the bulk of the monastery, a pond - it is here, surrounded by nature, that the main character lives. But the main thing in a story is not the plot or descriptions, the main thing is feelings. And the narrator must awaken these feelings in the audience. For the first time in Russian literature, where the image of the narrator has always remained outside the work, a hero-author appears. This sentimental narrator learns a love story from Erast and retells it to the reader with sadness and sympathy.
Thus, there are three main characters in the story: Lisa, Erast and the author-narrator. Karamzin also introduces the technique of landscape descriptions and somewhat lightens the ponderous style of the Russian literary language.
The significance of the story “Poor Lisa” for Russian literature
Analysis of the story, thus, shows Karamzin’s incredible contribution to the development of Russian literature. In addition to describing the relationship between city and village, the appearance of the “extra person,” many researchers note the emergence of “ little man- in the image of Lisa. This work influenced the work of A. S. Pushkin, F. M. Dostoevsky, L. N. Tolstoy, who developed the themes, ideas and images of Karamzin.
The incredible psychologism that brought Russian literature worldwide fame also gave rise to the story “Poor Liza.” What descriptions does this work begin with! There is so much beauty, originality and incredible stylistic lightness in them! Karamzin’s contribution to the development of Russian literature cannot be overestimated.
based on the story “Poor Liza” by Karamzin N.M.
Liza (Poor Liza) is the main character of the story, which, along with other works published by Karamzin in the Moscow Journal (Natalia, the Boyar's Daughter, Frol Silin, the Benevolent Man, Liodor, etc.), is not just brought literary fame to its author, but made a complete revolution in the public consciousness of the 18th century. For the first time in the history of Russian prose, Karamzin turned to a heroine endowed with emphatically ordinary features. His words “...even peasant women know how to love” became popular.
Poor peasant girl Lisa is left an orphan early on. She lives in one of the villages near Moscow with her mother - “a sensitive, kind old lady”, from whom she inherits her main talent - the ability to love. To support himself and his mother, L. takes on any job. In the spring she goes to the city to sell flowers. There, in Moscow, L. meets the young nobleman Erast. Tired of the windy social life, Erast falls in love with a spontaneous, innocent girl “with the love of a brother.” It seems so to him. However, soon platonic love turns into sensual love. L., “having completely surrendered to him, she only lived and breathed by him.” But gradually L. begins to notice the change taking place in Erast. He explains his cooling off by the fact that he needs to go to war. To improve matters, Erast marries an elderly rich widow. Having learned about this, L. drowns himself in the pond.
Sensitivity - so in the language of the late 18th century. determined the main advantage of Karamzin’s stories, meaning by this the ability to sympathize, to discover the “tenderest feelings” in the “curves of the heart,” as well as the ability to enjoy the contemplation of one’s own emotions. Sensitivity is also the central character trait of L. She trusts the movements of her heart and lives by “tender passions.” Ultimately, it is ardor and ardor that lead to L.’s death, but it is morally justified.
Karamzin was one of the first to introduce the contrast between city and countryside into Russian literature. In Karamzin's story, a village man - a man of nature - finds himself defenseless when he finds himself in an urban space, where laws different from the laws of nature apply. No wonder L.’s mother tells her (thus indirectly predicting everything that will happen later): “My heart is always in the wrong place when you go to the city; I always put a candle in front of the image and pray to the Lord God that he will protect you from all troubles and misfortunes.”
It is no coincidence that the first step on the path to disaster is L.’s insincerity: for the first time she “retreats from herself”, hiding, on Erast’s advice, their love from her mother, to whom she had previously confided all her secrets. Later, it was in relation to his dearly beloved mother that L. would repeat Erast’s worst act. He tries to “pay off” L. and, driving her away, gives her a hundred rubles. But L. does the same, sending his mother, along with the news of his death, the “ten imperials” that Erast gave her. Naturally, L.’s mother needs this money just as much as the heroine herself: “Liza’s mother heard about the terrible death of her daughter, and her blood cooled with horror - her eyes closed forever.”
The tragic outcome of the love between a peasant woman and an officer confirms the rightness of his mother, who warned L. at the very beginning of the story: “You still don’t know how evil people They might offend the poor girl.” General rule turns around specific situation, poor L. herself takes the place of the impersonal poor girl, and the universal plot is transferred to Russian soil and acquires a national flavor.
For the arrangement of characters in the story, it is also important that the narrator learns the story of poor L. directly from Erast and himself often comes to be sad at “Liza’s grave.” The coexistence of the author and the hero in the same narrative space was not familiar to Russian literature before Karamzin. The narrator of “Poor Lisa” is mentally involved in the relationships of the characters. Already the title of the story is based on the connection own name heroine with an epithet characterizing the sympathetic attitude of the narrator towards her, who constantly repeats that he has no power to change the course of events (“Ah! Why am I writing not a novel, but a sad true story?”).
“Poor Lisa” is perceived as a story about true events. L. belongs to the characters with “registration”. “...More and more often I am attracted to the walls of the Si...nova Monastery - the memory of the deplorable fate of Lisa, poor Lisa,” - this is how the author begins his story. With a gap in the middle of a word, any Muscovite could guess the name of the Simonov Monastery, the first buildings of which date back to the 14th century. (to date, only a few buildings have survived, most of them were blown up in 1930). The pond, located under the walls of the monastery, was called the Fox Pond, but thanks to Karamzin’s story it was popularly renamed Lizin and became a place of constant pilgrimage for Muscovites. In the minds of the monks of the Simonov Monastery, who zealously guarded the memory of L., she was, first of all, a fallen victim. Essentially, L. was canonized by sentimental culture.
First of all, the same unhappy girls in love, like L. herself, came to cry at the place of Liza’s death. According to eyewitnesses, the bark of the trees growing around the pond was mercilessly cut up by the knives of the “pilgrims.” The inscriptions carved on the trees were both serious (“In these streams, poor Liza passed away her days; / If you are sensitive, passer-by, sigh”), and satirical, hostile to Karamzin and his heroine (the couplet acquired particular fame among such “birch epigrams”: “Erast’s bride perished in these streams. / Drown yourself, girls, there’s plenty of room in the pond”).
Karamzin and his story were certainly mentioned when describing the Simonov Monastery in guidebooks to Moscow and special books and articles. But gradually these references began to have an increasingly ironic character, and already in 1848, in the famous work of M. N. Zagoskin “Moscow and Muscovites” in the chapter “Walk to the Simonov Monastery” not a word was said either about Karamzin or his heroine. As sentimental prose lost the charm of novelty, “Poor Liza” ceased to be perceived as a story about true events, much less as an object of worship, but became in the minds of most readers (a primitive fiction, a curiosity, reflecting the tastes and concepts of a bygone era.
The image of “poor L.” immediately sold out in numerous literary copies of Karamzin’s epigones (cf., for example, “The Unhappy Liza” by Dolgorukov). But the image of L. and the associated ideal of sensitivity received serious development not in these stories, but in poetry. The invisible presence of “poor L.” palpably in Zhukovsky’s elegy “Rural Cemetery,” published ten years after Karamzin’s story, in 1802, which laid, according to V.S. Solovyov, “the beginning of truly human poetry in Russia.” The very plot of the seduced villager was addressed by three major poets of Pushkin’s time: E. A. Baratynsky (in the plot poem “Eda”, 1826, A. A. Delvig (in the idyll “The End of the Golden Age”, 1828) and I. I. Kozlov (in the “Russian story” “Mad”, 1830).
In “Belkin’s Tales,” Pushkin twice varies the plot outline of the story about “poor L.”, enhancing its tragic sound in “ Stationmaster” and turning it into a joke in “The Peasant Young Lady.” The connection between “Poor Liza” and “The Queen of Spades,” whose heroine is named Lizaveta Ivanovna, is very complex. Pushkin develops Karamzin’s theme: his “poor Liza” (like “poor Tanya,” the heroine of “Eugene Onegin”) experiences a catastrophe: having lost hope of love, she marries another, quite worthy person. All Pushkin’s heroines, who are in the “force field” of Karamzin’s heroine, are destined for a happy or unhappy life, but life. “To the origins”, P. I. Tchaikovsky returns Pushkin’s Liza to Karamzin, in whose opera “The Queen of Spades” Liza (no longer Lizaveta Ivanovna) commits suicide by throwing herself into the Winter Canal.
L.'s fate different options its permission was carefully spelled out by F. M. Dostoevsky. In his work, both the word “poor” and the name “Liza” acquire a special status from the very beginning. The most famous among his heroines - namesakes of the Karamzin peasant woman - are Lizaveta ("Crime and Punishment"), Elizaveta Prokofyevna Epanchina ("The Idiot"), blessed Lizaveta and Liza Tushina ("Demons"), and Lizaveta Smerdyashaya ("The Brothers Karamazov"). But the Swiss Marie from “The Idiot” and Sonechka Marmeladova from “Crime and Punishment” would also not exist without Liza Karamzin. The Karamzin scheme also forms the basis of the history of the relationship between Nekhlyudov and Katyusha Maslova, the heroes of L. N. Tolstoy’s novel “Resurrection”.
In the 20th century “Poor Liza” has by no means lost its meaning: on the contrary, interest in Karamzin’s story and its heroine has increased. One of the sensational productions of the 1980s. became a theatrical version of “Poor Lisa” at M. Rozovsky’s theater-studio “At the Nikitsky Gate”.
What phrase do you think defines the idea of the story “Poor Liza”? Justify your answer.
The phrase is “even peasant women know how to love.” Sentimentalists, unlike classicists, preferred the cult of feeling over the cult of reason. At the same time, they affirmed the extra-class value of a person, his high moral qualities. This key phrase from Karamzin gives A New Look on the problem of social inequality. Differences in social and property status do not yet indicate the superiority of one class over another. Lisa’s father and mother had high moral values, and she herself worked hard. The author describes in detail the development of her love feeling from inception to despair. For Lisa, the loss of love is tantamount to the loss of life. The idea of the story is concentrated in the phrase we cited, which has become the formula of sentimental literature.
The manner of expressing feelings that is characteristic of the main character of the story is also important for understanding the author’s position: in its vocabulary, concepts and ideas, it is no different from the expression of the feelings of an educated young lady. V.I. Korovin explains this by saying that “Karamzin’s artistic task was partly to bring the feelings of a peasant woman closer to the feelings of an educated young lady and thereby erase the differences in the content and forms of emotional experiences.”
Describe main character stories. Which artistic media chosen by the author to create her external and internal appearance? How is the writer’s attitude towards her expressed?
The image of Lisa is described in detail by the author. The heroine inherited high moral qualities and beliefs from her parents: hard work, honesty, sincerity, kindness. She is pure, naive, unselfish and therefore poorly protected from the vices that dominate around her. She is open to natural manifestations of feelings and therefore prone to delusions, after which a tragic epiphany occurs. The author treats his heroine with tender feelings, admires her, deeply experiences her joys and tragedy, and constantly worries about her fate. Memories of Lisa’s deplorable fate make him “shed tears of tender sorrow.” And the very title of the story expresses Karamzin’s sympathetic and sentimental attitude towards Liza.
The characteristics of Lisa’s external and internal appearance are made up of the author’s descriptions and comments of her actions, as well as through the indirect transmission of her mother’s reviews or the loving outpourings of Erast himself. Karamzin notes that Liza worked without sparing “her rare beauty, without sparing her tender youth.” Her beauty is also evidenced by the impression she “made on his heart.” The kind old mother called Lisa, by Divine mercy, her nurse, the joy of her old age, and prayed that the Lord would reward her for what she was doing for her mother. From this we learn that Lisa is virtuous, that she not only honors her mother, but also frees her from all worries that are beyond her weak health.
What verbal details convey the movement of Lisa’s feelings for Erast - from timid affection to ardent passion?
The essential detail with which Lisa and Erast began their acquaintance was the flowers that Lisa sold. The request he made to pick flowers just for him sparked the first feeling in the girl’s soul. She turned out to be more significant for her than for Erast, and therefore the next day, when he did not come, she did not sell the lilies of the valley to anyone and threw them into the Moscow River. Another detail is the timid glances she cast at young man. Karamzin notes the expression of Liza’s feelings in her appearance - “her cheeks glowed like the dawn on a clear summer evening” - as they grew. Erast's kiss and his first declaration of love echoed in her soul with delightful music. As we see, color and sound details are important in conveying the movement of feelings from timid affection to ardent passion. The achievement of the apogee of love, which, according to the writer, led to the destruction of the heroine’s purity, is also accompanied by a number of important verbal details. A new word appears and rushes (into his arms). Before this, they had hugged on dates, their hugs were pure and immaculate. Now changes are happening around them both in nature and in the color and sound range: kisses became fiery, the darkness of the evening (in contrast to the quiet moon, the bright month) fed desires; “Not a single star shone in the sky - no ray could illuminate the errors.” After the fact, “lightning flashed and thunder roared. Lisa trembled." “The storm roared menacingly, rain poured from black clouds - it seemed that nature was lamenting about Liza’s lost innocence.” After so much turning point In the relationship between Lisa and Erast, Karamzin began to convey in more detail the inner state of the young man, who was becoming more and more indifferent to his beloved. From this time on, natural symbols practically disappear from the narrative. The ancient oak trees that witnessed their love are mentioned only twice. The epithet gloomy now belongs to the oak tree over the grave of poor Lisa.
Pay attention to the role of gesture in revealing the inner state of the characters. Analyze this technique of the author.
Gesture in literature is one of the important techniques in conveying the internal state of a character. Karamzin also uses it widely. Let's analyze the scene of the meeting between Lisa and Erast in the city, when she saw him in a carriage approaching the house. Her feeling of joy from the meeting was expressed in gestures: she rushed, he felt herself in his arms. Although it is said that he felt himself being embraced, the author thereby emphasizes the swiftness of her joyful action. The swiftness of her movements is the swiftness in the expression of feelings. Then his gestures become swift - he wants to quickly free himself from Lisa, so that no one sees him in the embrace of a simple peasant woman on the eve of a profitable marriage: he took him by the hand, led her into the office, locked the door, put the money in her pocket, took her out of the office and ordered the servant to escort her girl from the yard. And all this was so fast that Lisa couldn’t come to her senses.
| Lisa | Erast | |
| Character qualities | Modest; shy; timid; kind; beautiful not only in appearance, but also in soul; tender; tireless and hardworking. | Courteous, with a naturally kind heart, quite intelligent, a dreamer, also calculating, frivolous and reckless. |
| Appearance | A beautiful girl with pink cheeks, blue eyes and fair hair (She worked without sparing “her rare beauty, without sparing her tender youth”). Lisa did not look like a peasant woman, rather like an airy young lady from high society. | A young, well-dressed man. He had gentle eyes and beautiful pink lips. The face is pleasant and kind. |
| Social status | Daughter of a wealthy villager; later an orphan living with his old mother. Ordinary girl, peasant woman. | A young officer, a nobleman, a rather distinguished gentleman. |
| Behavior | Supports his sick mother, cannot read or write, often sings plaintive songs, knits and weaves well. | He leads the life of a real gentleman, loves to have fun and often gambles (he lost his entire estate while he was supposed to be fighting), reads novels and idylls. Has a bad effect on Lisa. |
| Feelings and experiences | Victim of feelings. He loves Erast with all his heart. His kiss and the first declaration of love echoed delightful music in the girl’s soul. She looked forward to every meeting. Later, Lisa deeply worries about what happened. You can see that when the young man seduced the girl, thunder struck and lightning flashed. Having learned that Erast was getting married, without thinking twice the unfortunate girl threw herself into the river. For Lisa there is no mind, for her there is only a heart. Broken heart. | Master of feelings. Most With his time, he didn’t know what to do with himself and was waiting for something else. He “looked” for pleasure in fun.” A meeting takes place in the city, and Erast experiences feelings for the “daughter of nature.” He found in Lisa what his heart had been looking for for so long. But all this affection was rather an illusion, because loving person He wouldn’t have done that, and after Lisa’s death, what saddens him is not the loss of his beloved, but the feeling of guilt. |
| Attitude towards others | Very trusting; I am convinced that there are only good people around good people. Lisa is hospitable, helpful and grateful | Frequent guest social events. The story does not talk about his attitude towards other people, but we can conclude that he first of all thinks about himself. |
| Attitude towards wealth | She is poor, earns money by working (picking flowers) to support herself and her mother; moral qualities are more important than material means. | Quite rich; measures everything in money; enters into a marriage of convenience, submitting to circumstances; tries to pay off Lisa with one hundred rubles. |
2 version of the table
| Lisa | Erast | |
| Appearance | Extraordinarily beautiful, young, fair-haired. | Handsome, young, stately, charming |
| Character | Tender, sensual, meek, trusting. | Weak character, two-faced, irresponsible, cowardly, naturally kind, but flighty. |
| Social status | Peasant girl. The daughter of a wealthy villager, after whose death she became poor. | Secular aristocrat, rich, educated. |
| Life position | You can only live by honest work. You need to take care of your mother and not upset her. Be honest and nice with others. | Life was boring for him, so he often looked for entertainment. |
| Attitude to moral values | She valued moral values above all else. She could only give up for the sake of someone, and not on her own whim. | He recognized morality, but often deviated from its principles, guided only by his own desires |
| Attitudes towards material values | Considers money only as a means of subsistence. I never chased wealth. | Considers wealth to be a fundamental factor in cheerfulness, happy life. Married for wealth elderly woman, which I didn’t like. |
| Moral | Highly moral. | All his thoughts were highly moral, but his actions contradicted this. |
| Attitude to family | She is devoted to her mother and loves her dearly. | Not shown, but most likely he is devoted to his family. |
| Relation to the city | She grew up in the village, so she loves nature. Prefers life in the wilderness to city social life. | Completely and completely urban man. He would never exchange city privileges for country life, just for the purpose of having fun. |
| Sentimentalism | Sensual, vulnerable. Does not hide feelings, is able to talk about them. | Sensual, impetuous, sentimental. Capable of experiencing. |
| Attitude towards love | He loves purely and devotedly, completely and completely surrendering to his feelings. | Love is like entertainment. In his relationship with Lisa, he is driven by passion. When there are no more restrictions, he quickly cools down. |
| The importance of public opinion | It doesn't matter to her what they say about her. | Depends on public opinion and position in society |
| Relationships | Her feelings were crystal clear from the very beginning. Falling in love turned into strong love. Erast was an ideal, the one and only. | Liza's pure beauty attracted Erast. At first, his feelings were brotherly. He didn't want to mix them with lust. But over time, passion won. |
| Strength of mind | I couldn’t cope with the pain in my soul and betrayal. I decided to commit suicide. | Erast had the fortitude to plead guilty to the death of the girl. But still I didn’t have the fortitude to tell her the truth. |
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- How I wash the floors In order to wash the floors clean, and not pour water and smear the dirt, I do this: I take a bucket from the pantry that my mother uses for this, as well as a mop. I pour it into the basin hot water, add a tablespoon of salt to it (to kill germs). I rinse the mop in the basin and squeeze it thoroughly. I wash the floors in each room, starting from the far wall towards the door. I look into all the corners, under the beds and tables, this is where the most crumbs, dust and other evil spirits accumulate. Having washed each […]
- By the middle of the 19th century. under the influence of the realistic school of Pushkin and Gogol, a new remarkable generation of Russian writers grew up and was formed. The brilliant critic Belinsky already in the 40s noted the emergence of a whole group of talented young authors: Turgenev, Ostrovsky, Nekrasov, Herzen, Dostoevsky, Grigorovich, Ogarev, etc. Among these promising writers was Goncharov, the future author of Oblomov, the first novel which " An ordinary story"Aroused high praise from Belinsky. LIFE AND CREATIVITY I. […]
- The 19th century is distinguished by an astonishing depth of understanding human soul in Russian literature. We can answer this question using the example of three great Russian writers: Tolstoy, Gogol and Dostoevsky. Tolstoy in “War and Peace” also revealed the world of the soul of his heroes, doing it “in a masterly manner” and easily. He was a high moralist, but his search for truth unfortunately ended in a departure from the truth Orthodox faith, which subsequently negatively affected his work (for example, the novel “Sunday”). Gogol with his satire [...]
- The Field of Austerlitz is very important for Prince Andrei, there was a reassessment of his values. At first, he saw happiness in fame, social activities, and career. But after Austerlitz, he “turned” to his family and realized that it was there that he could find true happiness. And then his thoughts became clear. He realized that Napoleon was not a hero or a genius, but simply pathetic and Cruel person. So, it seems to me, Tolstoy shows which path is true: the path of family. Another important scene is a feat. Prince Andrei performed a heroic [...]
- 1. Introduction. The poet's personal attitude to the topic. There is not a single poet who does not write about love, although each of them has his own attitude towards this feeling. If for Pushkin love is a creative feeling, a beautiful moment, a “divine gift” that encourages creativity, then for Lermontov it is confusion of the heart, the pain of loss and, ultimately, a skeptical attitude towards love. To love... but who? For a while it’s not worth the effort, But it’s impossible to love forever..., (“Both boring and sad”, 1840) - muses the lyrical […]
- Introduction Love poetry occupies one of the main places in the work of poets, but the degree of its study is small. There are no monographic works on this topic; it is partially covered in the works of V. Sakharov, Yu.N. Tynyanova, D.E. Maksimov, they talk about it as a necessary component of creativity. Some authors (D.D. Blagoy and others) compare the love theme in the works of several poets at once, characterizing some common features. A. Lukyanov considers the love theme in the lyrics of A.S. Pushkin through the prism [...]
- Introduction. Some people find Goncharov's novel “Oblomov” boring. Yes, indeed, throughout the first part Oblomov lies on the sofa, receiving guests, but here we get to know the hero. In general, the novel contains few intriguing actions and events that are so interesting to the reader. But Oblomov is “our people's type,” and it is he who is the bright representative of the Russian people. That's why the novel interested me. In the main character, I saw a piece of myself. You should not think that Oblomov is a representative only of Goncharov’s time. And now they live [...]
- Evgeny Bazarov Anna Odintsova Pavel Kirsanov Nikolay Kirsanov Appearance Long face, wide forehead, huge greenish eyes, nose, flat on top and pointed below. Blonde long hair, sand-colored sideburns, a self-confident smile on thin lips. Naked red arms, noble posture, slender figure, high growth, beautiful sloping shoulders. Light eyes, shiny hair, a barely noticeable smile. 28 years old Average height, thoroughbred, about 45. Fashionable, youthfully slender and graceful. […]
- Pushkin worked on the novel “Eugene Onegin” for over eight years - from the spring of 1823 to the autumn of 1831. We find the first mention of the novel in Pushkin’s letter to Vyazemsky from Odessa dated November 4, 1823: “As for my studies, I am now writing not a novel, but a novel in verse – a devilish difference.” The main character of the novel is Evgeny Onegin, a young St. Petersburg rake. From the very beginning of the novel, it becomes clear that Onegin is a very strange and, of course, special person. He was, of course, in some ways similar to the people [...]
- “...the whole horror is that he no longer has a dog’s heart, but a human heart. And the lousiest of all that exist in nature.” M. Bulgakov When the story “Fatal Eggs” was published in 1925, one of the critics said: “Bulgakov wants to become a satirist of our era.” Now, on the threshold of the new millennium, we can say that he has become one, although he did not intend to. After all, by the nature of his talent he is a lyricist. And the era made him a satirist. M. Bulgakov was disgusted by bureaucratic forms of government […]
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