Bibliographic index. History of Russian literature of the 18th century. Lebedeva O.B

A proposed textbook on the history of Russian literature of the 18th century. focused on higher education programs liberal arts education, adopted and used in the practice of teaching the history of Russian literature in higher education educational institutions Russian Federation. From existing textbooks currently used in pedagogical process, it is distinguished by the fact that the history of Russian literature of the 18th century. the author tried to consistently interpret in the aspect of historical poetics, paying primary attention to the originality of genre models and the genre system.

A similar approach to studying and teaching the history of Russian literature of the 18th century. emerged in scientific works Russian philologists back in the 1920-1930s.

It is enough to mention at least the classic work of Yu. N. Tynyanov “Ode as an oratorical genre”, articles by L. V. Pumpyansky and a number of studies by G. A. Gukovsky, starting from the article “On the Sumarokov tragedy” (1926) to the monograph “Russian poetry” XVIII century (L., 1927), the problems of which were partly reflected in his textbook on the history of Russian literature of the 18th century.

IN modern literary criticism this trend was continued in the works of Yu. M. Lotman, B. A. Uspensky, V. N. Toporov, N. D. Kochetkova and others. And it is precisely this trend, which characterizes the main direction of modern historical and literary science, that was least reflected in existing textbooks on the history of Russian literature of the 18th century.

The desire to bring closer the content of the textbook addressed to teachers and students high school, to the main trend of modern philological science, obviously gravitating in its development towards cultural knowledge and the methodology of historical poetics, dictated the main aspect of the presentation of historical and literary facts, which the author of the proposed textbook sought to adhere to in all cases.

Without deviating from traditionally established ideas about the historical and literary paradigm of the 18th century. and the generally accepted chronological principle of its development, the author tried to consistently interpret the history of Russian literature of the 18th century. in the aspect of historical poetics, that is, to present the literary process of the era under study as the history of the emergence, development, interaction and change of productive genre models of Russian literature, considering that this aspect in the existing educational literature paid incomparably less attention than the ideological, worldview, problematic and sociological.

Thus, in the proposed textbook Russian literature XVIII V. is not presented as a set of exhaustive descriptions creative heritage individual writers, but as a dynamic genre system. It was this initial position that determined the basic principles of selection literary material and his compositions.

First of all, the proposed angle of view forced the author to abandon the generally accepted principle of factual encyclopedicism, as determining the thematic composition of the textbook, in particular, to omit biographical information about writers, historical commentary should be introduced only in individual cases necessary from the point of view of aesthetic factors of interpretation of this text, as well as make a targeted selection of texts from the totality of the creative heritage of Russian writers of the 18th century.

As a rule, the biographical empiricism of the life of a writer of the 18th century. has little connection with his literary personality, represented by the leading genres of his work and the scale of functioning of his author’s genre models in the literary consciousness of the era. On the contrary, it was the literary personality that was the fundamental aesthetic innovation that distinguishes the author's Russian literature of the 18th century. from the anonymous bookishness of the Russian Middle Ages. Exceptions to general pattern gaps between the biographical and literary personality of the writer are very rare.

So, to talk about Lomonosov’s literary position, for example, information about his scientific activity, and for the analysis of the genre model of the solemn ode they are, in principle, inapplicable, since the personality of the author of the ode appears in it in an emphasized generalized human cross-section. To characterize Cantemir's satire, it is completely unimportant that he was a diplomat; stylistic originality Trediakovsky's lyrics and epic in no way correlate with his academic activities. On the other hand, Emin’s extraordinary biography directly determined the aesthetics and poetics of his novels, the autobiographical nature of Derzhavin’s lyrics is an aesthetic factor that determines its originality, and Karamzin’s life-building requires a correlation of his texts with the facts of his biography. In these and all similar, aesthetically motivated cases, the author sought to provide the necessary biographical information, omitting it in other cases that were not so important.

The same can be said about the motivations for introducing historical sketches of the era. Despite the fact that Russian history XVIII V. was very stormy throughout the century, only two of its periods have aesthetic richness, both are transitional eras in the development of Russian mentality, Russian statehood and Russian literature. This is the era of state reforms at the beginning of the century, associated with the name of Peter I, and the first decades of the reign of Catherine P. The First gave birth to new type personality and mass aesthetic consciousness, which determined general direction literary process, the second is a new type of relationship between ideology and aesthetics. Therefore, an outline of the socio-political and spiritual atmosphere is given only for these two cultural and historical periods. The new quality of Russian literature at the origins of the modern era of Russian culture and at the moment of the first deep crisis of the Enlightenment worldview in these cases is deeply motivated by extraliterary reality that comes into direct contact with aesthetic activities. Of course historical facts, the realities of Russian and European life necessary to understand this or that literary text, are constantly present on the pages of the textbook, but the nature of their aesthetic refraction is emphasized.

Finally, the criteria for selecting literary material are determined by the obvious inequality of genre models within the population literary texts one writer: with general diversity these models for each creative individuality, the literary personality of the writer is determined only by individual genre structures - namely those that have the prospect of further existence not only in the literature of the 18th century, but also beyond its chronological boundaries. In the case of Kantemir, whose name has become synonymous with the genre of satire, with Lomonosov, whose literary personality is isomorphic to the genre of the solemn ode, with Bogdanovich - the “singer of Dushenka”, with Chulkov - the author of the first original Russian novel, Fonvizin - the “writer of Nedoroslya”, etc. , such an approach probably does not need special motivation.

“ high comedy", presenting Kapnist as the author of the comedy "The Yabeda", focusing on the formation of the genre system of Russian sentimentalist prose in the works of Radishchev and Karamzin, etc.

It seems that the through-thought of the proposed textbook also requires special motivation - namely, the emphasis on the existence of the tradition of the older genres of satire and solemn ode and the study of their functions in Russian literary process XVIII century Yu. N. Tynyanov also showed the exceptional role of the oratorical solemn ode, which exhausted its genre existence in the work of the creator of this model, M. V. Lomonosov, but became an underlying tendency of the Russian literary process not only in the 18th century, but also in the first third of the 19th century. The same can be said about the patterns of existence of the genre of satire, which has grown into a trend in the development of Russian literature already beyond the boundaries of Cantemir’s work, where satire exists exclusively in its genre quality.

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. You can change your Russian dress to a German one, 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? Much, but the deepest, most intangible and most important national values ​​remained, from ancient history migrated to a new one, 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; it has a 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. From total flow the so-called " belles lettres", 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 models, the “rules” of art.

One of the first cultural acquisitions of Russia from Europe was classicism. It was a very harmonious, understandable and uncomplicated system 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. Literary work- this is the result of the author’s imagination, but at the same time a reasonably organized, logically, according to the 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 great 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 begins not with tragedies on ancient themes, but with 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 traditions into it 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 love lyrics Sumarokova is a breakthrough to the “inner” person, interesting not because he is a citizen, public figure, but because it carries within itself a whole world of 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 very in a broad sense- from state management to estate management. 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 Lisa", which to some extent became a turning point for Russian literature. This story proclaimed inner world man is the main theme of art, demonstrating the spiritual equality of all people as opposed to social inequality. Karamzin laid the foundation for Russian prose, cleared the literary language of archaisms, and the narrative of 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.

O. B. Lebedeva

History of Russian literature of the 18th century

Textbook for universities

Preface

A proposed textbook on the history of Russian literature of the 18th century. is focused on the program of higher education in the humanities, adopted and used in the practice of teaching the history of Russian literature in higher educational institutions of the Russian Federation. It differs from existing textbooks currently used in the pedagogical process in that the history of Russian literature of the 18th century. the author tried to consistently interpret in the aspect of historical poetics, paying primary attention to the originality of genre models and the genre system.

A similar approach to studying and teaching the history of Russian literature of the 18th century. appeared in the scientific works of Russian philologists back in the 1920-1930s.

It is enough to mention at least the classic work of Yu. N. Tynyanov “Ode as an oratorical genre”, articles by L. V. Pumpyansky and a number of studies by G. A. Gukovsky, starting from the article “On the Sumarokov tragedy” (1926) to the monograph “Russian poetry” XVIII century (L., 1927), the problems of which were partly reflected in his textbook on the history of Russian literature of the 18th century.

In modern literary criticism, this trend has been continued in the works of Yu. M. Lotman, B. A. Uspensky, V. N. Toporov, N. D. Kochetkova and others. And it is precisely this trend that characterizes the main direction of modern historical and literary science that has turned out to be least reflected in existing textbooks on the history of Russian literature of the 18th century.

The desire to bring the content of the textbook, addressed to teachers and students of higher education, closer to the main trend of modern philological science, obviously gravitating in its development towards cultural knowledge and the methodology of historical poetics, dictated the main aspect of the presentation of historical and literary facts, which the author of the proposed textbook sought to adhere to in all cases .

Without deviating from traditionally established ideas about the historical and literary paradigm of the 18th century. and the generally accepted chronological principle of its development, the author tried to consistently interpret the history of Russian literature of the 18th century. in the aspect of historical poetics, that is, to present the literary process of the era under study as the history of the emergence, development, interaction and change of productive genre models of Russian literature, considering that this aspect in the existing educational literature has received incomparably less attention than the ideological, worldview, problematic and sociological.

Thus, in the proposed textbook Russian literature of the 18th century. is presented not as a set of comprehensive descriptions of the creative heritage of individual writers, but as a dynamic genre system. It was this initial position that determined the basic principles of the selection of literary material and its composition.

First of all, the proposed angle of view forced the author to abandon the generally accepted principle of factual encyclopedicism as determining the thematic composition of the textbook, in particular - to omit biographical information about writers, to introduce historical commentary only in individual cases necessary from the point of view of aesthetic factors of interpretation of a given text, and also to produce purposeful selection of texts from the totality of the creative heritage of Russian writers of the 18th century.

As a rule, the biographical empiricism of the life of a writer of the 18th century. has little connection with his literary personality, represented by the leading genres of his work and the scale of functioning of his author’s genre models in the literary consciousness of the era. On the contrary, it was the literary personality that was the fundamental aesthetic innovation that distinguishes the author's Russian literature of the 18th century. from the anonymous bookishness of the Russian Middle Ages. Exceptions to the general pattern of the gap between the biographical and literary personality of the writer are very rare.

Thus, for talking about Lomonosov’s literary position, for example, information about his scientific activities is important, but for analyzing the genre model of the solemn ode, they are in principle inapplicable, since the personality of the author of the ode appears in it in an emphasized generalized, universal human context. To characterize Cantemir's satire, it is completely unimportant that he was a diplomat; the stylistic originality of Trediakovsky's lyrics and epic does not in any way correlate with his academic activities. On the other hand, Emin’s extraordinary biography directly determined the aesthetics and poetics of his novels, the autobiographical nature of Derzhavin’s lyrics is an aesthetic factor that determines its originality, and Karamzin’s life-building requires a correlation of his texts with the facts of his biography. In these and all similar, aesthetically motivated cases, the author sought to provide the necessary biographical information, omitting it in other cases that were not so important.

The same can be said about the motivations for introducing historical sketches of the era. Despite the fact that Russian history of the 18th century. was very stormy throughout the century, only two of its periods have aesthetic richness, both are transitional eras in the development of Russian mentality, Russian statehood and Russian literature. This is the era of state reforms at the beginning of the century, associated with the name of Peter I, and the first decades of the reign of Catherine II. The first gave birth to a new type of personality and mass aesthetic consciousness, which determined the general direction of the literary process, the second - a new type of relationship between ideology and aesthetics. Therefore, an outline of the socio-political and spiritual atmosphere is given only for these two cultural and historical periods. The new quality of Russian literature at the origins of the modern era of Russian culture and at the moment of the first deep crisis of the Enlightenment worldview in these cases is deeply motivated by extraliterary reality, which comes into direct contact with aesthetic activity. Of course, historical facts, the realities of Russian and European life, necessary for understanding this or that literary text, are constantly present on the pages of the textbook, but the nature of their aesthetic refraction is emphasized.

Finally, the criteria for selecting literary material are determined by the obvious unequal value of genre models within the totality of literary texts of one writer: with the general diversity of these models for each creative individual, the literary personality of the writer is determined only by individual genre structures - namely those that have the prospect of further existence not only in literature of the 18th century, but also beyond its chronological boundaries. In the case of Kantemir, whose name has become synonymous with the genre of satire, with Lomonosov, whose literary personality is isomorphic to the genre of the solemn ode, with Bogdanovich - the “singer of Dushenka”, with Chulkov - the author of the first original Russian novel, Fonvizin - the “writer of Nedoroslya”, etc. , such an approach probably does not need special motivation.

In the textbook, the literary process of the era is considered as the history of the emergence, development, interaction and change of genre models of Russian literature. Each literary phenomenon is presented in the context of general trends in the literary process. Given general periodization Russian literature of the 18th century, cultural era Peter I. Separate chapters are devoted to the works of Kantemir, Lomonosov, Trediakovsky, Sumarokov, Fonvizin, Karamzin, Krylov, Derzhavin, Radishchev. The textbook presents a holistic analysis of texts included in the list of required literature for the course. For philology students of universities and pedagogical institutes, for literature teachers of schools, colleges and lyceums.

A proposed textbook on the history of Russian literature of the 18th century. is focused on the program of higher education in the humanities, adopted and used in the practice of teaching the history of Russian literature in higher educational institutions of the Russian Federation. It differs from existing textbooks currently used in the pedagogical process in that the history of Russian literature of the 18th century. the author tried to consistently interpret in the aspect of historical poetics, paying primary attention to the originality of genre models and the genre system.

A similar approach to studying and teaching the history of Russian literature of the 18th century. appeared in the scientific works of Russian philologists back in the 1920-1930s.
It is enough to mention at least the classic work of Yu.N. Tynyanov “Ode as an oratorical genre”, articles by L. V. Pumpyansky and a whole series of studies by G. A. Gukovsky, starting from the article “On the Sumarokov tragedy” (1926) to the monograph “Russian poetry of the 18th century. (L., 1927), the problems of which were partly reflected in his textbook on the history of Russian literature of the 18th century.

In modern literary criticism, this trend has been continued in the works of Yu. M. Lotman, B. A. Uspensky, V.N. Toporova, N.D. Kochetkova and others. And it is precisely this, which characterizes the main direction of modern historical and literary science, that was least reflected in the existing textbooks on the history of Russian literature of the 18th century.

CONTENT
Preface
Introduction to the history of Russian literature of the 18th century.
Features of the philosophical picture of the world in the rationalistic worldview
The originality of the national concept of literature as a branch of the spiritual life of society
Rationalistic type of aesthetic consciousness and its priorities: thought, reason, ideal
Periodization of Russian literature of the 18th century.
Literature of the first third of the 18th century.
Socio-political and cultural atmosphere of the era of state reforms
Authorless histories of the first third of the 18th century: everyday prose. "The Tale of the Russian sailor Vasily Koriotsky"
Ideological prose of the first third of the 18th century: the genre of sermon in the works of F. Prokopovich. Poetics of oratorical prose
Classicism as an artistic method
The concept of classicism
Picture of the world, concept of personality, typology of conflict in the literature of classicism
Aesthetics of classicism
The originality of Russian classicism
Regulatory acts Russian classicism. Reform of versification by V. K. Trediakovsky - M. V. Lomonosov
Regulation of the genre system of Russian literature in the aesthetics of A. P. Sumarokov
Reform of the literary language style M.V. Lomonosov
Poetics of the satire genre in the works of A.D. Cantemira (1708-1744)
The place of satire in Cantemir’s work
Genre varieties of satire. Genetic characteristics of oratorical genres
Peculiarities of word usage: words with objective meaning and abstract concepts
Typology of artistic imagery and features of the material world image of satire
Satire as a genre and as an aesthetic trend in Russian literature of the 18th century.
Genre varieties of ode in the lyrics of M.V. Lomonosov (1711-1765)
Literary position and aesthetic manifestos of Lomonosov
Poetics of the solemn ode as an oratorical genre. The concept of the odic canon
Principles of odic word usage: abstract concepts and words with objective meaning
Typology of artistic imagery and features of the conceptual world image of the solemn ode
Spiritual and Anacreontic odes as lyrical genres
Works of V. K. Trediakovsky (1703-1769)
Metrico-stylistic originality of Trediakovsky’s transitional lyrics. Syllabic verses
Syllabo-tonic of individual meter. Poems of Lomonosov meters
Translations of Western European prose. “Going to the Island of Love” as a genre prototype of the novel “education of feelings”
"Tilemakhida" as a genre model of a political-state educational epic novel.
Drama and lyrics by A. P. Sumarokov (1717-1777)
Genre universalism literary heritage Sumarokov and his aesthetic tendencies
Fundamentals of genre typology of tragedy and comedy
The poetics of the tragedy genre in its successive connections with ode. Stylistics, attributes, spatial organization of text
Typology of artistic imagery, nature of conflict, genre uniqueness of tragedy
The poetics of the comedy genre in its genetic connections with satire and tragedy
Pun word and the function of double concepts in comedic conflict
Typology of artistic imagery: people - things and people - ideas
Typology of denouement as an indicator of the genre syncretism of Sumarokov’s comedies
Genre composition of Sumarokov's lyrics. Poetics of the song genre: song and tragedy
Poetics of the fable genre: fable and comedy
The place of literary parody in the work of Sumarokov and in the Russian literary process
“Comedy of Manners” in the works of V. I. Lukin (1737-1794)
Ideology and aesthetics of the “prepositional direction” of drama in the theoretical works of V. I. Lukin
Poetics of the comedy “Mot, Corrected by Love”: Role talking character
Poetics of the comedy “The Scrubber”: synthesis of odo-satirical genre formants
Satirical journalism 1769-1774. as an indicator of genre trends in the literature of the transition period
Socio-political and cultural situation in the first years of the reign of Catherine II
The dispute about satire and the peasant question as an ideological and aesthetic category of satirical journalism
Odic and satirical world images in the journalism of “The Drone” and “The Painter”
Narrative prose 1760-1770
Ways of development of Russian artistic prose
Genre models of the travel novel and the emotional education novel in the works of F.A. Emina
Poetics and genre originality of the novel by M.D. Chulkova "Pretty Cook"
Lyric-epic poem 1770-1780.
Burlesque as an aesthetic category of literature of the transition period and form verbal creativity
Heroic-comic poem by V. I. Maykov “Elisha, or the irritated Bacchus.” Parody aspect of the plot
Conventionally fantastic and real-life plot plans
Forms of expression author's position as a factor in aesthetics and poetics of storytelling
Iroic-comic poem by I. F. Bogdanovich “Darling”. The aesthetic meaning of the interpretation of an “alien” plot
Myth and folklore in the plot of the poem
Aesthetics of everyday life
Irony and lyricism as forms of expressing the author's position. The author and the reader in the plot of the poem
Poetics of dramaturgy D. I. Fonvizin (1745-1792)
Talking like dramatic action in the comedy "Brigadier"
Pun word and the nature of artistic imagery in the comedy “Minor”
Genre traditions of satire and ode in the comedy “Minor”
The problem of the genre originality of the comedy “Minor”
Poetics of poetic high comedy: “Sneak” by V. V. Kapnist (1757-1823)
“Sneak” and “Nedorosl”: the tradition of prosaic high comedy in the poetic variety of the genre
Functions pun word in the comedy “Sneak”: characterological, effective, genre-forming, world-modeling
Features of the denouement and typology of the hero-ideologist in Russian high comedy
Genre and stylistic originality of G.R.’s lyrics Derzhavina (1743-1816)
Contrast and specificity of figurative and stylistic structures in Derzhavin’s lyrics of 1779-1783.
Odo-satirical world image in the solemn ode “Felitsa”
Aesthetic category personalities in Derzhavin's lyrics 1790-1800.
Empirical man in “home” poetry. Everyday motives of the lyrics
Man in the context of social connections. Derzhavin's satire
The man is a contemporary of his historical era. Battle lyrics
"The Secret of Nationality". Anacreontic poetry
Existential aspects of personality in philosophical odes and aesthetic manifestos
Parody genres in the works of I.A. Krylova (1769-1844)
Journal of one author “Spirit Mail”. Plot and composition
Traditions of Russian satirical journalism in “Spirit Mail”
Parody genres of “false panegyric” and “oriental story”
The joke tragedy "Podschip": literary parody and political pamphlet
The genre system of Russian sentimentalist prose in the works of A.N. Radishcheva (1749-1802)
Sentimentalism as literary method
The originality of Russian sentimentalism
Ideological positions early Radishchev
Typological structure of Radishchev's narrative prose. “Letter to a friend living in Tobolsk”
“Life of F.V. Ushakov": genre traditions of life, confession, educational novel
"Journey from St. Petersburg to Moscow." Narrative structure as a model of the cognition process
The problem of the author and the hero
Features of composition and plotting
Genre originality“Travels” in relation to the national literary tradition
"Diary of one week." Problem artistic method Radishcheva
Aesthetics and poetics of narrative prose N.M. Karamzin (1766-1826)
Narration in “Letters of a Russian Traveler”: essay, journalistic, artistic aspects as a prototype of the novel structure
The personal aspect of narration: the problem of life-building and its implementation in the opposition “author - hero”
Poetics and aesthetics of sentimentalism in the story “Poor Liza”
The evolution of the historical story genre: from “Natalia, boyar's daughter" and "Martha the Posadnitsa"
Pre-romantic trends in Karamzin’s narrative prose: “The Island of Bornholm”
Poetics of novel narration in “A Knight of Our Time.”

- ...maybe our own Platonov
And the quick-witted Newtons
Russian land gives birth.
M.V. Lomonosov

Russian writers of the 18th century

There was that troubled time
When Russia is young,
Straining strength in struggles,
She dated the genius of Peter.
A.S. Pushkin

Old Russian literature left a rich heritage, which, however, was mostly unknown to the 18th century, because most monuments ancient literature was discovered and published at the end of the 18th and 19th centuries(for example, “The Tale of Igor’s Campaign”). In this regard, in the 18th century, Russian literature was based on the Bible and European literary traditions.

Monument to Peter the Great (" Bronze Horseman"), sculptor Matteo Falcone

The 18th century is age of enlightenment in Europe and Russia. In one century, Russian literature travels a long way in its development. The ideological basis and prerequisites for this development were prepared by economic, political and cultural reforms Peter the Great(reigned 1682 - 1725), thanks to whom backward Rus' turned into a powerful Russian Empire. Since the 18th century Russian society studies world experience in all areas of life: in politics, economics, education, science, art. And if until the 18th century Russian literature developed in isolation from European literature, now it is mastering the achievements of Western literatures. Thanks to the activities of the companion Peter Feofan Prokopovich, poets Antioch Cantemir And Vasily Trediakovsky, encyclopedist scientist Mikhail Lomonosov works on the theory and history of world literature are being created, foreign works are being translated, and Russian versification is being reformed. This is how things began to happen the idea of ​​Russian national literature and Russian literary language.

Russian poetry, which emerged in the 17th century, was based on the syllabic system, which is why Russian poems (verses) did not sound entirely harmonious. In the 18th century M.V. Lomonosov and V.K. Trediakovsky is being developed syllabic-tonic system of versification, which led to the intensive development of poetry, and the poets of the 18th century relied on Trediakovsky’s treatise “A New and Brief Method of Composing Russian Poems” and Lomonosov’s “Letter on the Rules of Russian Poetry.” The birth of Russian classicism is also associated with the names of these two prominent scientists and poets.

Classicism(from the Latin classicus - exemplary) is a movement in the art and literature of Europe and Russia, which is characterized by strict adherence to creative norms and rules And focus on antique designs. Classicism arose in Italy in the 17th century, and as a movement developed first in France and then in other European countries. Nicolas Boileau is considered the creator of classicism. In Russia, classicism originated in the 1730s. in the works of Antioch Dmitrievich Kantemir (Russian poet, son of the Moldavian ruler), Vasily Kirillovich Trediakovsky and Mikhail Vasilyevich Lomonosov. The work of most Russian writers of the 18th century is associated with classicism.

Artistic principles of classicism are like that.

1. A writer (artist) must depict life in ideal images (ideally positive or “ideally” negative).
2. In works of classicism good and evil, high and low, beautiful and ugly, tragic and comic are strictly separated.
3. Heroes of classic works clearly divided into positive and negative.
4. Genres in classicism are also divided into “high” and “low”:

5. Dramatic works were subject to the rule of three unities - time, place and action: the action took place over the course of one day in the same place and was not complicated by side episodes. Wherein dramatic work necessarily consisted of five acts (actions).

The genres of ancient Russian literature are becoming a thing of the past. From now on, Russian writers use genre system Europe, which still exists today.

M.V. Lomonosov

The creator of the Russian ode was Mikhail Vasilyevich Lomonosov.

A.P. Sumarokov

The creator of Russian tragedy is Alexander Petrovich Sumarokov. His patriotic plays were dedicated to the most notable events Russian history. The traditions laid down by Sumarokov were continued by playwright Yakov Borisovich Knyazhnin.

HELL. Cantemir

The creator of Russian satire (satirical poem) is Antioch Dmitrievich Kantemir.

DI. Fonvizin

The creator of Russian comedy is Denis Ivanovich Fonvizin, thanks to which satire became educational. Its traditions were continued at the end of the 18th century by A.N. Radishchev, as well as comedian and fabulist I.A. Krylov.

A crushing blow to the system of Russian classicism was dealt by Gavrila Romanovich Derzhavin, who began as a classicist poet, but broke in the 1770s. canons (creative laws) of classicism. He mixed high and low, civic pathos and satire in his works.

Since the 1780s leading place takes a new direction in the literary process - sentimentalism (see below), in line with which M.N. worked. Muravyov, N.A. Lvov, V.V. Kapnist, I.I. Dmitriev, A.N. Radishchev, N.M. Karamzin.

The first Russian newspaper "Vedomosti"; number dated June 18, 1711

Beginning to play a significant role in the development of literature journalism. Until the 18th century, there were no newspapers or magazines in Russia. The first Russian newspaper called "Vedomosti" Peter the Great released it in 1703. In the second half of the century there appeared literary magazines: "All sorts of things" (publisher: Catherine II), "Drone", "Painter" (publisher N.I. Novikov), "Hell Mail" (publisher F.A. Emin). The traditions they established were continued by the publishers Karamzin and Krylov.

In general, the 18th century is an era of rapid development of Russian literature, an era of universal enlightenment and the cult of science. In the 18th century, the foundation was laid that predetermined the beginning of the “golden age” of Russian literature in the 19th century.