The meaning of Russian literature of the 18th century is brief. Russian poets of the 18th century
Keywords: Russian literature
Start XVIII century, according to many modern researchers, does not quite coincide with the beginning of a new era in the development of Russian literature. The Peter the Great era, with which traditional Russian history courses begin literature XVIII century, has become turning point in the history of Russian statehood and culture, but still hardly a turning point in literature. Rather, at this time the transition from Old Russian, medieval literature to modern literature, which had emerged in the second half of the previous century, continued. Profound qualitative changes in all areas of secularizing culture left their mark on literature, in which already from the second half XVII century, interest in depicting the human personality increased, the dramatic understanding of life deepened, new genera and species appeared literary works(panegyric and love lyrics, school and court drama). It was in the second half of the 17th century that the active process of mastering a variety of Western European languages began, which continued during the Peter the Great era. artistic experience, its original and creative processing.
Mastering something new did not mean a decisive break with domestic ones. literary traditions, and in many ways made it possible to further develop a whole series peculiarities of Russian national culture. Russian XVIII century was often called a period of “accelerated” development of literature, because in less than a hundred years Russian literature went a way that most Western literature required much more long term. Following the emergence of the Baroque in Russia, classicism was established, and soon sentimentalism and literary movements arose and flourished, as a result of which the boundaries between them turned out to be very relative.
At the same time, Russian literature of the 18th century was created in conditions of constantly expanding, lively contacts between Russia and the West. Educated Russian people at this time, as a rule, knew well French, many of them read two or three modern European languages and at least one ancient one. Works of French, English, German philosophy, literature, and journalism were well known to them in the original, but throughout the entire 18th century the number and quality of translations from ancient and basic translations increased and improved. European languages. Russian literature and culture XVIII century not only recognized itself as an organic part of the European cultural movement of its time, but also strived for creative competition with the literatures of other peoples of Europe, and above all - with the most famous and authoritative in those years French literature XVII-XVIII centuries
An important aspect of the cultural reality of the 18th century. researchers believe a gradual rethinking of goals and objectives literary creativity. Literature, of course, had not yet become a profession proper; until the 1760s, it did not have any more or less clear social, much less political function but the fight for it social status it turns out, according to the observations of V.M. Zhivov, an inevitable companion to the literary activity of a number of leading writers of the “eighteenth century”.
During this period, a new literary direction appeared - sentimentalism (M. Kheraskov, M. Muravyov, N. Karamzin, I. Dmitriev, etc.), characterized by an increased interest in the inner world of man. Sentimentalists believed that man is kind by nature, devoid of hatred, deceit, and cruelty, and that on the basis of innate virtue, public and social instincts are formed that unite people into society. Hence the belief of sentimentalists that it is the natural sensitivity and good inclinations of people that are the key to an ideal society. In the works of that time, the main place began to be given to the education of the soul and moral improvement. Sentimentalists considered sensitivity to be the primary source of virtue, so their poems were filled with compassion, melancholy and sadness. The genres that were preferred also changed. Elegies, messages, songs and romances took first place.
The main characters are ordinary person, striving to merge with nature, find peaceful silence in it and find happiness. Sentimentalism, like classicism, also suffered from a certain limitation and weaknesses. In the works of this movement, sensitivity develops into melancholy, accompanied by sighs and abundantly moistened with tears.
And again, Russian reality invaded the world of poetry and showed that only in the unity of the general and personal, and with the subordination of the personal to the general, can a citizen and a person be realized. This was proven in his work by the “father of Russian poets” G.R. Derzhavin, who managed to show with his works that all aspects of life are worthy of poetry.
But in poetry late XVII In the 1st century, the concept of “Russian man” was identified only with the concept of “Russian nobleman”. Derzhavin took only the first step in understanding national character, showing the nobleman both in the service of the Fatherland and at home. The integrity and completeness of man's inner life had not yet been revealed.
After the reforms of Peter I, who “opened a window to Europe,” outwardly quite quickly (until the end of this century) synchronization of the literary process of Russia and the Western European region was established. In V. K. Trediakovsky’s treatise “A New and Brief Method for Composing Russian Poems” (1735), in “Letter on the Rules of Russian Poetry” (1739) by M. V. Lomonosov, in “Epistole on Poetry” (1748) by A. P. Sumarokov substantiated the syllabic-tonic system of versification, determined the stylistic norms of almost all poetic genres, and mastered the principles of classicism.
Lomonosov's odes can easily stand comparison with the odes of Pope and Voltaire, and the odes of G. R. Derzhavin even more reflect the spirit of new times. The classic tragedies of Sumarokov (“Khoreyev”, “Dimitri the Pretender”, etc.) are in no way inferior to the tragedies of Gottsched. Gorgeous satirical comedy D. I. Fonvizin “Undergrowth”. A short story " Poor Lisa"by the greatest Russian sentimentalist N.M. Karamzin made readers shed no less tears than Richardson's "Clarissa" and "Julia, or New Eloise"Rousseau, and A.N. Radishchev in "Journey from St. Petersburg to Moscow" came close to the pathos of Rousseau's treatises.
Largely learning from European writers of the 17th–18th centuries, Russian writers of the 18th century avoided the slavish dependence on ancient models characteristic of European classicists.
So, starting from the 18th century, a certain synchronization of Russian and European literatures took place, despite the fact that domestic literature in a number of respects it has retained its independent development.
17. Literature of the Petrine era(end of the 17th – first quarter of the 18th century). Characteristics of the era. The process of “Europeanization of Russia”. Processes of “secularization” in ideology, culture, and everyday life. Transition from old culture to new. Meaning words V political struggle; journalism; propaganda of new moral and household standards. Translated prose, its role in the development of Russian literature and the formation of public opinion in the Petrine era (“The Honest Mirror of Youth”, “On the Sacking of Troy”, “On the Laws of War and Peace”, etc.). The birth of journalism: the Vedomosti newspaper.
The genre of travel to the Peter the Great era. Heyday oratory; genres of sermon, “words”. Their ideological content: praise of the acts of Peter I. Poetics of the genre. Oratory activities of Stefan Yavorsky, Feofan Prokopovich.
Handwritten literature - old in form, but new in content, stories, translated novels, adaptations of works of ancient Russian literature.
Original stories of the era (“The History of the Russian sailor Vasily Kariotsky”, “The History of Alexander, a Russian nobleman”, “The History of a certain son of the nobility...”, etc.). Their difference from the stories of the late 17th century. Features of the poetics: secular content, a fictional plot developing along the lines of revealing the character of the main character, whose fate is the result of his actions, and not the action of fate, as in ancient Russian stories. Meaning love theme in stories. Reflection of educational and journalistic ideas of Peter the Great's time in the stories. Features of poetics, baroque elements in stories, originality of composition and style. The influence of translated and original stories of Peter's time on the work of F. Emin and M. Chulkov.
Development of poetry. New genres: love song, cant. Panegyrics, their journalistic beginning.
Theater and dramaturgy of Peter's time. School theater. Poetics of school theater plays. Attempts to organize a secular theater. Interludes as a prototype of Russian comedies.
Development of folklore in the Peter the Great era. Dual attitude towards Peter in folklore works.
Baroque as a literary movement of the Peter the Great era. The emergence of the Baroque under the influence of Polish-Ukrainian-Belarusian influences and internal Russian needs. Baroque poetics. New genres, new ideological trends, new style. Educational character Russian Baroque.
In Russian literature of the 18th century, the first independent direction began to take shape - classicism. Classicism developed based on examples ancient literature and Renaissance art. On the development of Russian literature in the 18th century, great influence provided, as well as the school of European education.
Vasily Kirillovich Trediakovsky made a significant contribution to the development of literature of the 18th century. He was a wonderful poet and philologist of his time. He formulated the basic principles of versification in the Russian language.
His principle of syllabic-tonic versification was the alternation of stressed and unstressed syllables in a line. The syllabic-tonic principle of versification, formulated back in the 18th century, is still the main method of versification in the Russian language.
Trediakovsky was a great connoisseur of European poetry and translated foreign authors. Thanks to him, the first fiction novel, exclusively secular topics. It was a translation of the work “Ride to the City of Love” by the French author Paul Talman.
A.P. Sumarokov was also a great man of the 18th century. The genres of tragedy and comedy developed in his work. Sumarokov’s dramaturgy contributed to the awakening in people human dignity and higher moral ideals. IN satirical works Russian literature of the 18th century was marked by Antioch Cantemir. He was a wonderful satirist, making fun of nobles, drunkenness and self-interest. In the second half of the 18th century, the search for new forms began. Classicism ceased to meet the needs of society.
He became the largest poet in Russian literature of the 18th century. His work destroyed the framework of classicism and brought alive colloquial speech into a literary style. Derzhavin was a wonderful poet, thinking person, poet-philosopher.
At the end of the 18th century, a literary movement called sentimentalism emerged. Sentimentalism is aimed at exploring the inner world of a person, personality psychology, experiences and emotions. The heyday of Russian sentimentalism in Russian literature of the 18th century was the works of a and a. Karamzin, in the story, expressed interesting things that became a bold revelation for Russian society of the 18th century.
IN early XVIII century, during the Peter the Great era, Russia began to develop rapidly thanks to transformations in all areas of state and cultural life. These transformations led to the centralization of autocratic statehood and themselves contributed to it. At this time, Russia's independence strengthened, its military power increased, its cultural rapprochement with European countries occurred, and its influence on the European arena increased.
Widely using the achievements of domestic and world science, culture, technology, industry, education, Peter I, with his reforms, opened new paths for Russian literature. Despite the fact that the movement of Russia slowed down after the death of Peter the Great, Russian society achieved enormous results in the field of culture and education in the 18th century. Russian monarchs, especially Peter I and Catherine II, clearly understood that to move the country forward, to destroy the inert patriarchal order, the old superstitions that created obstacles to growth material assets and new social relations, to approve new secular state and moral standards and concepts are possible only with the help of education, enlightenment, culture, and the press. In this regard, literature has received exceptional attention.
Various layers of Russian society in these conditions received the opportunity for broad mental and artistic activity: Moscow University, secondary schools and vocational schools were opened, a new calendar was introduced, the first Russian newspaper was founded, the Academy of Sciences, the Academy of Arts, Volnoye were established economic society, the first permanent Russian theater. Society was given the opportunity to express their opinions and criticize the affairs of the government, nobles and dignitaries.
Russian literature of the 18th century inherited from ancient Russian literature high performance about the art of words and the mission of the writer, about the powerful educational impact of the book on society, on the minds and feelings of fellow citizens. She gave these historically established features new forms, using the possibilities of classicism and the Enlightenment.
The main idea of the development of literature in the era of classicism was the pathos of state building and transformation. Therefore, high civil-patriotic poetry and accusatory and satirical criticism of the vices of society and the state, circumstances and people who hindered progress came to the fore in literature. The central genre of high civic poetry was the ode. The critical direction was represented by the genres of high satire, close to ode, fable and domestic comedy morals
These main directions in the development of literature were determined at the beginning of the century. In the first third of the century, classicism was formed, the birth of which was facilitated by one of the highest hierarchs Orthodox Church- writer Feofan Prokopovich. The founders of classicism were A. D. Kantemir, V. K. Trediakovsky and M. V. Lomonosov. Besides them, the largest writer, whose work began in the first half of the 18th century, was A.P. Sumarokov.
In the second half of the 18th century, around the 1760s, literature experienced a new period. At this time, new genres appeared: prose novel, story, comic opera and “tear drama”.
Since social contradictions deepened, satire became increasingly widespread. To soften her impact on society, Catherine II herself became the secret publisher of the satirical magazine “Everything.” The Empress wanted to reduce the role of public satire and increase the importance of government satire, serving the political interests of the monarchy. She invited writers and publishers to follow her example. Russian society took advantage of this. Several satirical magazines immediately appeared in Russia (“Both this and that”, “Mixture”, “Hellish Mail”, “Drone”, “Neither this nor that in prose and verse”, “Podenshchina”). The most radical magazines that fought with Catherine’s “Everything and Everything” were the magazines of the outstanding Russian educator N.I. Novikov - “Drone” and “Painter”.
The satirical direction almost entirely dominated in poems (“Message to my servants Shumilov, Vanka and Petrushka”, “Fox the Executor”) and comedies (“Corion”, “Foreman”, “Undergrown”) by D. I. Fonvizin, in the comedies of I . B. Knyazhnina (“Boaster”, “Weirdos”), in the comedy “Sneak” by V. V. Kapnist, in the prose and comedies of I. A. Krylov (“Pranksters”, “Trumph, or Podschipa” and written already in early XIX century "Fashion Shop" and "Lesson for Daughters").
At the same time, interest in big tall shapes literature. After the tragedies of A. P. Sumarokov in the last quarter of the 18th century, Ya. B. Knyazhnin (“Rosslav”, “Vadim Novgorodsky”) and other playwrights, for example N. P. Nikolev (“Sorena and Zamir”) turned to this genre.
In the second half of the 18th century, the genre system of classicism began to fetter the creative thought of writers, and they tried to destroy and reform it. The heroic poem, characteristic of Kantemir (“Petriad”), Lomonosov (“Peter the Great”), Sumarokov (“Dimitriada”), now fades into the background. The last attempt in this genre - “Rossiyada” by M. M. Kheraskov - was not crowned with success. Since then, the favorite genres of Russian authors have been the “irocomic” poem, the humorous poem and the comic opera, in which the genre of the heroic poem was ironically re-imagined (“The Ombre Player”, “Elisha, or the Irritated Bacchus” by V. I. Maykov; “Darling” by I. . F. Bogdanovich).
The same tendencies of exhaustion of classicism as a literary movement are noticeable in the work of the greatest poet of the 18th century G. R. Derzhavin, who updated the principles of classicism and preceded the emergence of romanticism.
IN late XVIII century, a new literary direction emerges in literature - sentimentalism. He had a strong influence on A. N. Radishchev, the greatest Russian thinker and angry writer, whose feelings were outraged by the people's troubles, the oppressed position of the peasants and the common Russian people in general. His main work, “Journey from St. Petersburg to Moscow,” was written in the “travel” genre, beloved by sentimentalists, and was caused by emotional shock from the pictures of injustice and lawlessness he saw. This “sensitivity,” this concern of the heart, is extremely close to sentimentalists.
The founder of sentimentalism and the largest writer of this trend was N. M. Karamzin - poet, prose writer, essayist, journalist, “our last chronicler and our first historian,” according to Pushkin, and reformer of the Russian literary language. Many poems, ballads and stories brought him all-Russian fame. His greatest achievements are associated with such works as “Letters of a Russian Traveler”, the story “Poor Liza”, “History of the Russian State”, as well as with the transformation of the literary language. Karamzin outlined and implemented a reform, thanks to which the gap between the oral, spoken and written, book language of Russian society was eliminated. Karamzin wanted the Russian literary language to express new concepts and ideas that developed in the 18th century as clearly and accurately as the French language spoken by Russian educated society.
Karamzin’s closest ally was I. I. Dmitriev, the author of popular historical and patriotic works, songs, romances, satirical tales and fables (“Ermak”, “Liberation of Moscow”, “The Gray Dove is Moaning...”, “Someone else’s Talk”, “Fashionable Wife”, etc.). He talentedly embodied the principles of sentimentalism in his songs in folk spirit Yu. A. Neledinsky-Meletsky, who owns several songs (for example, “I’ll go out to the river ...”) that have survived in the song repertoire to this day.
Russian literature of the 18th century in its rapid development ensured the future great achievements of the art of words that followed in XIX century. She almost caught up with leading European literature and was able to “... become on par with the century in enlightenment.”
Russian literature of the 18th century, like many other cultural phenomena in Russia at that time, went through a long and complex path of intensive development. She is connected with the best traditions ancient Russian literature: its patriotism, reliance on folk art, growing interest in the human personality, accusatory orientation. Reform activities Peter I, the renewal and Europeanization of Russia, extensive state building, the transformation of the country into a strong world power despite the cruelty of the serfdom system - all this was reflected in the literature of that time. Classicism became the leading literary movement of the 18th century.
Classicism (from Latin classicus - exemplary) is a literary movement that developed in European literature XVII century and appeared in Russia in the XVIII century. It addressed ancient heritage as a norm and an ideal model. It is characterized by civic issues and educational tasks. The works of classic writers reflected the ideas of the strong independent state with the absolute power of the monarch, and the education of the citizen was considered the main task. Therefore, the main conflict in the works of classicism is the conflict between duty and feeling. The aesthetics of classicism is based on the principle of rationality and strict normativity (hierarchy of genres, clear plot and compositional organization, division of heroes into positive and negative, schematism in their depiction, etc.). Material from the site
Classicism is a pan-European phenomenon. But in different countries it had its own characteristics. Russian classicism was closely connected with the ideas of the European Enlightenment about the need for fair laws, education, recognition of the value of the human person, the development of science and philosophy, revealing the secrets of the universe. At the same time, the decisive role in transforming the state on this kind of basis was assigned to the enlightened monarch, whose ideal Russian classicists saw in Peter I. But in modern times they did not find such a person, because great value their works emphasized the social and moral education of autocrats: an explanation of their duties towards their subjects, a reminder of their duty to the state, etc. On the other hand, the negative phenomena of Russian reality of this era were subjected to satirical ridicule and exposure, which further strengthened the connection of Russian classicism with modernity and gave it a satirical sharpness. Unlike European, Russian classicism is more closely related to folk traditions and oral folk art. He often uses material from Russian history rather than from antiquity. The ideal of Russian classicists is a citizen and patriot, striving to work for the good of the Fatherland. He must become active creative personality, fight social vices and, in the name of duty, give up personal happiness.
The achievements of Russian classicism are associated with poetic activity and theoretical works M.V. Lomonosov, poems by G.R. Derzhavin, fables by I.A. Krylov, comedies by D.I. Fonvizin and others. But already in the last quarter of the 18th century, the canons of classicism were largely shaken by the classicist writers themselves, such as I.A. Krylov, D.I. Fonvizin and especially G.R. Derzhavin.
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Ticket 1. General characteristics and periodization.
The 18th century was a turning point. A change was taking place in relation to the human personality. At the turn of the 17th-18th centuries there was a change in cultural reference points and sources of influence. Ch. cult. Became a reference point western Europe, but Europeanization is a relative term. The process of Europeanization began in the mid-17th century, key event, there were cultural reforms. In the 17th century, the Kyiv elders came to Moscow - the first Russian Westerners. Those who carried out the reform of books, thanks to them, poetry and drama appeared in Russia. In mid. On the 17th century, by Polish order, translations of European novels began in Moscow. Europeanization began with St. Polish Fr. German liters.
Process of discovery Zap-Eur. cult. M/b is called transplantation (Likhachev). Development Western culture was more painful than the Byzantine one. Russian cult. forgot lane apprenticeship. Most of the 18th century went to apprenticeship.1 transpl. It happened evenly and purposefully. In Peter. The era of transpl. is spontaneous, therefore the first beginning. 18 in – chaotic. Euro set Pr. Eurolpeiz. was refused. Visa. Cult. I didn’t want to give up my position. In the 18th century there was a national brine. Literary Other rus lit. She did not die with Russia. Chit other russian texts were dem. Bottoms. There was a secularization of Russian cult. It was expressed in a change in genre systems. Satire verses, odes, drama genres, comedies, tragedies, elegies, idylls came. In the 18th century, the poet and drama genres dominated. In the 18th century, the idea of the very nature of TV, of the author’s relationship to literary work. Individualization of auto consciousness. The professionalization of writers is gradually taking place, mass literature is appearing. Russian literature is developing rapidly, what the Hebrew literature experienced in 250 years, Russian literature - in 100 years. 18th century AD. Lit of the Russian Renaissance.
Stage 1 90 17 -20 18 century. Peter's era. Continuation of other Russian Baroque. The era of translations. Rus pr-y very little.1) verses-poems syllabic.
2) school drama. Writers Stepan Yavorsky, dm Rostovsky, Feofan Prokopovich, Andrey and Semyon Denisov.
Stage 2 30-50 18th century. The period of formation of Russian classicism. Change of genres. 1) verse. Satire, 2) ode 3) class com 4) tragedy. Happening
ref russian language, russian versification. Syllabich. Sist syllabo tonic. (ref Trediakovsky-LOMONOSOV). Kantemir. Trediak, Lomon, Sumarok
3rd period 60-90 Catherine's era. The heyday of creative writers. Ek spent lib. Ref. The heyday of journalism begins: essay, travel. The leading direction is classicism, it will acquire a civil character, sentimentalism of the 90s and pre-romanticism appears, prose returns to literature. Genre of the story and novel. This era is called the era of enlightenment. Fonvizin, Derzhavin, Karamzin, Radishchev. Krylov.
Ticket 2. Peter's era in Russian literature, the work of Rostovsky and Yavorsky.
This is the most unliterary era. The state was reformed, there was a suspension of literature. P1 was a man of business, not of aesthetic pleasure, this is the era of people and things. A fleet was created, reg. army, synod, St. Petersburg as an antipode to Moscow. 650 books were created, P1 required that the book be useful, these were the main ones. textbooks, almost all translations. In 1722 a table of ranks was created. Stepan Yavorsky and DM Rostovsky Were invited by Peter from Ukraine to promote reforms. Stefan-Ryazan Metropolitan, rector of the SGL Academy, head Holy Synod. Syllabic poems and polemical works. Dmitry of Rostov was appointed Metropolitan of Rostov
Both didn't like it wild life And from time to time they tried to set him on the right path. This forced P to bring F Prokopovich closer to him.
Ticket 3. Baroque style in Russian literature, Disputes about the borders of Russian Baroque.
Baroque is a pan-European style, especially manifested in Spain, Italy, France, in the 16th century. This is a tragic style. The authors consider life tragic, it is walking through a labyrinth, a person is alone. Pendulum law. An intermediate place between revival and classicism. Baroque pearl irregular shape, everything is based on disharmony. This is the most 1lit for example in Russia, the brightest. writer - Simeon of Polotsk. Russian Baroque is essentially excellent, it is a combination of the incompatible.
Christ and language images
Comic and tragic
Natur-zm and fantasy
Poetry and prose
Union of Arts
1 item image b/w 2
Baroque art of allegory, addressed to highly educated people. A very complex claim in terms of language. Basic genres of syllabic verse: sermon (church and ceremonial) and school drama.
Ticket 4. Russian theater, school drama.
Theater in Russia appeared in the 70s 17 in it was the theater of 1 spectator - the Tsar, the court theater of Alexei Mikhailovich.
The plays were written by a German pastor on biblical themes, the performances lasted 8-10 hours. When p1 the theater develops, 3 types of theater:
1 public
2 courtier
3 school
The public theater was organized in 1702, German actors, humiliation for Moscow, theater on Red Square, 15 plays, closed in 1707, the repertoire was secular, both modern and Renaissance (Molière), and ancient history. The theater showed that human life or a piece of art. Court theater 1707-1717 It was created in Preobrazhensk. Several Russian plays were written:
Plays of secular content, sources - chivalric novels.
Lives of saints, they were called either actions or comedies. School theater existed at educational institutions. The plays were written by teachers of rhetoric and literature. The actors were children. The Shk theater performed educational functions. The subjects were taken historical. The theater tried to develop intonation and diction. The very first school theater was the SGL Academy Theater in 1702. Theaters in the province existed until the 19th century; school theater plays are divided into 3 groups:
Plays with religious content - MORALITY, the plot was the Bible and the lives of saints.
Historical and panegyric content. Scenes from historical events.
Dialogues and recitations.
The poetics of school theater is purely baroque. We are talking about a turning point in the hero’s fate: From happiness to unhappiness and vice versa.
Ticket 5. Handwritten stories 1/3 of the 18th century.
In the 18th century, two branches of literature developed separately:
1 High literature
2 Democratic literature.
On dem. influenced Western European. fiction.
“The story of the Russian sailor Vasily Koriotsky”, “the story of the brave cavalier Alexander”. The author of these works is unknown; most likely they were created in a democratic environment. Researchers compare these stories with PLDR. What they have in common:
Anonymity
Handwriting
Entertaining and practical nature.
The main hero is a man who is ready to sacrifice everything for his friends. More more history have novels with Europeans, this is 1 attempt to create a Russian adventure novel. Related to European novels:
Adventures,
Battles for the lady of the heart
Travel by sea
“...about Vasily...”
A bizarre interweaving of novelty and antiquity, it is written in another Russian language and has a student’s character.
“…. About the gentleman Alexander.."
The story is noteworthy in 2 aspects: 1) this is 1 encyclopedia about love, because... Dr. Ruslit rejected love.
2) the story experienced baroque phenomena.
The hero's wanderings
The structure and composition of the story.
Inserted novellas
Mixing verse and prose
A mixture of church words and barbarisms, a comical effect.
Ticket 6. Old Believer literature 1/3 18th century.
Old Believer literature arose in the mid-17th century in connection with the past schism. In 17, the leader of the art movement was Archpriest Avvakum. 1658-1682 there was a Pustozersky center. In 1682, the st./arr. were burned, thus ending the 1st stage of st.
Stage 1 – Vygoleksinsky Monastery, it was founded in 1694 on the Vyg River. Founders: Daniil Vikulin, Andrey Denisov - future abbot of the monastery. M existed until 1856. In the 18th century, the monastery was the center of cultural culture. The heyday came in 1/3 of the 18th century.
Singing school, foundry, icon painting.
VL st/obr entered into a dispute with the authorities, P issued a decree that they should pay a double capitation salary and should work in industry. enterprises, they must also wear yellow collars. Famous writers: Andrey and Semyon Denisov, Ivan Denisov-historian. Essays are divided into 2 groups: - of a business nature (statutes).
Literary works
The Vygovites abandoned cultural confrontation; high literature contained the same genres as the Baroque, except for drama. “The Tale of the Siege of the Solovetsky Monastery” by Semyon Denisov in the 20s of the 18th century was also published in standard printing houses. Pr0e m/b is called historical, because. the events of the 17th century are described.
The story is written in 2 genres: hagiography and historical story. Martyrion-hagiography about witnesses - martyrs, the cat is accepted violent death at the hands of Gentiles, confessing Christ. The author introduces many realistic scenes that were not there before. The baroque nature of the story is evidenced by a number of cross-cutting metaphors, the image of a garden-vineyard - one of the stable emblems of Baroque literature. The author uses the theme of metamorphosis: the garden dies, everything turns into the opposite. The image of Troy is a cross-cutting metaphor. Her death is mentioned at the very beginning of the story. Denisov is trying to compete with Homer in poetic skill. Other features of the Baroque: a combination of verse and prose. The author introduces new words and plays up the contrast between past and present.
Ticket 7. The work of Feofan Prokopovich.
He came from Ukraine in 1715, studied at the Kiev-Mogilev Academy, and also studied in Poland. Became a court writer P1, found Russian literature in Lilya Prokopovich new type employee writer. After Peter's death, he was commissioned to write the funeral eulogy. The word is a work of author’s art, the author uses rhetorical questions, exclamations and appeals, compositionally the word consists of 3 parts:
1 lament for Peter
2 glorification of Peter
3 praise E1 to the widow. The combination of praise and lamentation is a feature of the Baroque, in Part 2 F uses the poetics of reflection, called P-Japheth and Moses (biblical characters), Solomon. Plays up the contrast between the past and the present, leading to the etymologization of the name. Peter the Stone. The language is very high, replete with church words and rhetorical figures. (chiasmus)
