This subtle and precise definition is quite applicable to the heritage of the classics, in which the centuries-old spiritual experience of mankind is compressed. Classics have always been a powerful stimulant in the development of the culture of any nation. Isolate modern literature from classical traditions would mean cutting her off from national root- She will bleed and wither.
The indissoluble connection of times is especially clearly embodied in the pinnacle works of fiction, which we call classic: in their cognitive value, the undying moral influence of their heroes on many generations of people, and also in the fact that these works continue to serve as an inexhaustible spring of beauty. Great art does not know the past, it lives in the present and the future. We must not only read the classics, we must also learn to reread them. Because every meeting with them is fraught with the joy of discovery. A person at each subsequent stage of his existence is able to perceive spiritual values more and more deeply. An outstanding work, once read and perceived anew, introduces us to an atmosphere of inexplicable charm, caused, among other things, by the opportunity to really feel our own, aesthetic, in the words of Herzen, “increase.” Perhaps it is appropriate to recall here the excellent note of the young Herzen: “I have a passion for rereading the poems of the great maestros: Goethe, Shakespeare, Pushkin, Walter Scott. It would seem, why read the same thing, when at this time you can “decorate” your mind with the works of Messrs. A., B., S? Yes, the fact of the matter is that these are not the same thing; in between, some spirit changes a lot in the maestro’s eternally living works. Just as Hamlet and Faust were previously wider than me, so they are wider now, despite the fact that I am convinced of my expansion. No, I will not give up the habit of rereading, this is why I visually measure my growth, improvement, decline, direction... Humanity in its own way rereads entire millennia of Homer, and this is a touchstone for it on which it tests the power of age.”
Every turn of history gives people the opportunity to take a fresh look at themselves and rediscover the immortal pages of works of art. Each era reads them in its own way. Goncharov noted that Chatsky is inevitable when one century changes to another, that every business that requires updating gives birth to Chatsky’s shadow.
Great artists are responsive to the calls of all times; they are rightly called the eternal companions of humanity. The remarkable thing about the classical heritage is that it expresses the self-awareness of not only its era. Time moves, and with it, the classics move along the same orbit, in which a constant process of renewal takes place. She has something to say to every generation, she has many meanings. Of course, today we perceive the legacy of Gogol and Dostoevsky differently than their contemporaries, and we understand it more deeply. And this happens not because we are smarter or more insightful. The social experience of generations forms the historical tower from which a person of our era understands the spiritual culture of the past. From this donut we see many things further and more clearly. The classics are inexhaustible. Its depth is infinite, just like space is infinite. Shakespeare and Pushkin, Goethe and Tolstoy enrich the reader, but the reader, in turn, continuously enriches the works of great artists with his new historical experience. This is why our knowledge of the classics can never be considered final, absolute. Each subsequent generation discovers new, previously unseen facets in old works. This means an ever more capacious comprehension of meaning and artistic nature immortal works of the past.
The development of the classical heritage meets the modern needs of society, because society itself, this heritage, becomes an active participant modern life. The social content of the works of Russian classics is extremely important.
It's subtle and precise the definition is quite applicable to the heritage of the classics, which compresses the centuries-old spiritual experience of mankind. Classics have always been a powerful stimulant in the development of the culture of any nation. To isolate modern literature from classical traditions would mean cutting it off from its national roots - it would become drained of blood and wither away.
Indissoluble bond times is especially clearly embodied in the pinnacle works of fiction, which we call classic: in their cognitive significance, the undying moral influence of their heroes on many generations of people, and also in the fact that these works continue to serve as an inexhaustible spring of beauty. Great art does not know the past, it lives in the present and the future. We must not only read the classics, we must also learn to reread them. Because every meeting with them is fraught with the joy of discovery. A person at each subsequent stage of his existence is able to perceive spiritual values more and more deeply. An outstanding work, once read and perceived anew, introduces us to an atmosphere of inexplicable charm, caused, among other things, by the opportunity to really feel our own, aesthetic, in the word, “increase.” Perhaps it is appropriate to recall here the excellent note of the young Herzen: “I have a passion for rereading the poems of the great maestros: Goethe, Shakespeare, Pushkin, Walter Scott. It would seem, why read the same thing, when at this time you can “decorate” your mind with the works of Messrs. A., B., S? Yes, the fact of the matter is that these are not the same thing; in between, some spirit changes a lot in the maestro’s eternally living works. Just as before they were wider than me, so now they are wider, despite the fact that I am convinced of my expansion. No, I will not give up the habit of rereading, this is why I visually measure my growth, improvement, decline, direction... Humanity in its own way rereads entire millennia of Homer, and this is a touchstone for it on which it tests the power of age.”
Every turn history gives people the opportunity to take a fresh look at themselves and rediscover the immortal pages of works of art. Each era reads them in its own way. Goncharov noted that it is inevitable when one century changes to another that every business that requires renewal gives birth to Chatsky’s shadow.
Great artists are responsive to the calls of all times; they are rightly called the eternal companions of humanity. The remarkable thing about the classical heritage is that it expresses the self-awareness of not only its era. Time moves, and with it, the classics move along the same orbit, in which a constant process of renewal takes place. She has something to say to every generation, she has many meanings. Of course, today we perceive the heritage differently than their contemporaries, and we understand it more deeply. And this happens not because we are smarter or more insightful. The social experience of generations forms the historical tower from which a person of our era understands the spiritual culture of the past. From this donut we see many things further and more clearly. The classics are inexhaustible. Its depth is infinite, just like space is infinite. Shakespeare and Goethe and Tolstoy enrich the reader, but the reader, in turn, continuously enriches the works of great artists with his new historical experience. This is why our knowledge of the classics can never be considered final, absolute. Each subsequent generation discovers new, previously unseen facets in old works. This means an ever more comprehensive comprehension of the meaning and artistic nature of the immortal works of the past.
Mastering the classical heritage meets the modern needs of society, because it itself, this heritage, becomes an active participant in modern life. The social content of the works of Russian classics is extremely important. It has always been fertilized by the advanced ideas of the time and expressed the spirit liberation struggle people, their hatred of despotism and indomitable desire for freedom. The German writer Heinrich Mann said perfectly that Russian classic literature was a revolution “even before the revolution happened.”
Russian literature has always been distinguished by extraordinary sensitivity to the solution of moral issues, invariably intertwined with the most important social problems modernity. great poet was proud that in his cruel age“He “praised... freedom” and awakened “good feelings.” What is striking here is the unexpected juxtaposition of such seemingly different historical meaning words like “freedom” and “kind”. The first of them in romantic poetry was almost always associated with boiling passions, with a titanic and cruel struggle, with courage, daring, a dagger, and revenge. And here it stands next to the words “good feelings.” Remarkable is Pushkin’s conviction that someday in the future the awakening of good feelings in people will be interpreted as something equivalent to the glorification of freedom. But all Russian classics are a preaching of humanity, goodness and the search for paths leading to it!
Improve your soul, your moral world Tolstoy called on people. How the worst tragedy imagined fading in Pechorin best qualities his character - love for people, tenderness for the world, desire to embrace humanity.
For the great Russian writers, hatred of various manifestations of injustice was the highest measure of a person’s moral virtues. With its indomitable moral pathos, as well as artistic perfection, Russian literature has long won recognition throughout the world. “Where, for forty years,” recalled Romain Rolland, “we looked for our spiritual food and our daily bread, when our black soil was no longer enough to satisfy our hunger? Who else but Russian writers were our leaders?”
In today's In our struggle for a new man, the great artists of the past are with us. The struggle against injustice and various manifestations of evil is nothing more than a struggle in the name of the victory of goodness and humanity. Such an “evil” genre of literature as satire knows this too. Wasn’t Gogol’s heart most tender, dreaming of a different, more perfect reality! Didn’t Shchedrin, who was so merciless with his time, want Russia well? Good people in the name of good they became irreconcilable to various manifestations of evil and what gave rise to it. Beautiful ideals require wonderful feelings.
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Homework on the topic: Saltykov-Shchedrin called fiction"shrinkable universe".
- What is a “Shrinked Universe”?
- Who is the founder of Russian romanticism?
- Who called I. A. Krylov’s fables “the book of wisdom of the people themselves” and why?
- Who was K. F. Ryleev?
- Tell us briefly about the poems of E. A. Baratynsky
- Tell us briefly about the poems of F. I. Tyutchev
- Tell us briefly about the poems of Ya. P. Polonsky
- Tell us briefly about the poems of A. N. Maykov
- Tell us briefly about the poems of A. N. Pleshcheev
- Tell us briefly about the poems of N. A. Nekrasov
- Remember what you read works of the XIX century and try to determine which literary movement (romanticism or realism) they belong to. Justify your answer.
- Think about how realism differs from the first half of the 19th century century, which in both Europe and Russia is considered the period of the formation of realism, from the era of its maturity (second half of the century).
- Watch how the hero changes in the works of classicism, sentimentalism, romanticism and realism. What character traits become leading?
M. E. Saltykov-Shchedrin called fiction a “condensed universe.”
The founders of Russian romanticism were V. A. Zhukovsky and K. N. Batyushkov.
In the work of V. A. Zhukovsky, the leading genres were ballads and elegies, and K. N. Batyushkov - epistles and elegies.
N.V. Gogol called I. A. Krylov’s fables “the book of wisdom of the people themselves.” We can agree with this judgment, because I. A. Krylov wrote in a rustic manner, the characters in his fables were animals, which brings them closer to folk tales, but the main thing is that the simple and precise truths for which his fables were composed were close to simple, but deep folk wisdom and were, as it were, apt Russian proverbs unfolded into a short story. For example, the fable “Dragonfly and the Ant” perfectly illustrates the proverb: “Prepare a sleigh in the summer, and a cart in the winter,” and the fable “Wagon Train” illustrates the proverb: “Don’t cross your dad into the heat” and “Eggs don’t teach a hen.”
Kondraty Fedorovich Ryleev was a Decembrist, the soul of Northern society. He was one of the five leaders of the uprising hanged in 1826.
The poems of E. A. Baratynsky are elegies, messages, poems. They are devoted to the problem of withering creative abilities and the death of noble impulses in an environment that kills them by endlessly reproducing the same thing.
The philosophical scale in the poems of F. I. Tyutchev is manifested by finding analogies and general patterns in the existence of nature and human life - external and internal, physiological and mental.
Sympathy for the suffering of his homeland can be found in such poems as “Above this dark crowd...”, “Cicero”. Comprehension native nature occurs in the poems “Summer Evening”, “Autumn Evening”, “There is in the original autumn...”. Reflections on love and compassion are the theme of the following poems: “She was sitting on the floor...”, “I am still languishing with the longing of desires...”.
The poems of Yakov Petrovich Polonsky are dedicated to the spiritual life of a poor man, his memories and dreams of love and better life. I know such of his poems that became songs as “The Gypsy Song” (“My fire is shining in the fog...”), “The Recluse” (“In a familiar street...”). In the 6th grade we read his poem “There are two gloomy clouds on the mountains...”, “Look at the darkness...”.
The work of Apollon Nikolaevich Maykov is imbued with the idyllic beauty of nature. His language is plastic and rich in color images. In the 5th grade we read his poem “Swallows” (“My garden is fading every day...”), in the 6th grade - “Dawn” (“Here is a greenish stripe...”), “ Autumn" (“The golden leaf is already covering...”) and “Landscape” (“I love the forest path...”).
The works of Alexei Nikolaevich Pleshcheev expressed the desire of leading nobles and commoners to participate in life common people, to protect him from brutal oppression by those in power. In the 5th grade we read his poem “Spring” (“The snow is already melting, the streams are running...”).
N. A. Nekrasov is certainly the brightest representative of civil poetry. He writes about peasants, about their difficult, hopeless life, often from within this life itself and in its own language. His simple, laconic poems and poems were very popular among the people. In previous classes we studied excerpts from the poem “Frost - Red Nose”, the poem “ Railway", "Peasant Children", the poem "Who Lives Well in Rus'" will be studied.
From romantic works XIX century, I would name the poems and ballads of V. A. Zhukovsky, the poems of A. S. Pushkin, created during the period of southern exile, “Mtsyri” by M. Yu. Lermontov and most of his poems, the stories of A. A. Bestuzhev-Marlinsky and V. F. Odoevsky. Although it's very various works- and romanticism is individually manifested in the work of each writer - nevertheless, their belonging to the romantic movement can be explained by a number of general principles of depicting reality. First of all, this is dissatisfaction with the world around us, with the unspiritual principle. Belief in the beautiful, pure, immaculate, eternal, but unattainable, unites the work of the romantics. Zhukovsky's works belong to one of the most striking movements of romanticism - contemplative-psychological, which promotes the cult of high, spiritual love, sincere and faithful friendship. For a romantic, nature is an eternally living, embodying divine principle. He is looking for inner harmony in her, the opportunity to improve his emotional world. Romantic hero is not afraid of death, but sees in it a sweet transition from the real, earthly world to the world of eternal ideas, unattainable dreams, truth and the absolute. Such romanticism is characterized by the pathos of light sadness. The followers of Byronic romanticism, the influence of which Pushkin and Lermontov experienced in their time, showed deep pessimism in their assessment surrounding reality. They portrayed a strong, frustrated personality, an embittered lone rebel who challenged God, morality, and authority. As a rule, this is a voluntary exile, for whom love remains the only joy, but it is also taken away from him by the injustice of life, which pushes the hero either to suicide, a duel, or to a crime. Civil romantics (K.F. Ryleev, Decembrist poets) were ready to transform the existing system through struggle. They turned to Russian history and Russian folklore, drew stories from there and heroic characters. The genre of duma became close to them. D. V. Venevitinov, poets of wisdom, F. I. Tyutchev belonged to philosophical romanticism. They deliberately avoided the image social conflicts to purely philosophical and moral problems, and through their understanding they examined the themes of love, friendship, poet and poetry.
Such works of the 19th century as A. S. Pushkin’s novels “The Captain’s Daughter” and “Dubrovsky”, N. V. Gogol’s comedy “The Inspector General”, “Notes of a Hunter” and the novels of I. S. Turgenev, stories by A. P. Chekhov, the works of L. N. Tolstoy belong to realism. They deeply explore life itself, reality. The heroes act in specific socio-historical conditions, their behavior, characters, views, and lifestyle depend on these conditions. Sometimes these two directions are combined in the work of the same writer, for example in the work of Pushkin or Lermontov. Material from the site
Indeed, in the first half of the 19th century, the formation of realism took place; even within the work of the same writer, largely romantic and realistic approaches to the development of reality coexist (Pushkin, Lermontov, Gogol), heroes often co-exist They combine realistic and romantic principles in their depiction (“Taman” in the novel “A Hero of Our Time”). We find the classic and realistic in the content and composition of “Woe from Wit” by A. S. Griboedov. In the second half of the century in Russian and Western European literature realism is already establishing itself as the predominant method. At this time, he receives a critical direction, rejecting negative phenomena in social life, affirming new norms of relations between people (Nekrasov, Chernyshevsky, Saltykov-Shchedrin) or returning to the eternal moral values(Turgenev, Dostoevsky, Tolstoy, Chekhov).
In the works of classicism, such qualities of heroes as loyalty to duty, the ability to suppress their personal feelings and interests in the name of duty, patriotism, and service to the state were highly valued. For heroes sentimental works(this is where the polemic between classicism and other trends in literature lies) is characterized by the cult of feeling, love, passion. They are sensitive, highly emotional, and prone to detailed love explanations. The romantic hero is unusual and acts in unusual, exceptional circumstances, prefers to escape into an exotic environment, and is sometimes prone to mysticism. His moods are characterized by melancholy, sadness, and acute feelings of loss.
How can you, the lucky ones, understand what I understood through longing? (V. A. Zhukovsky)
Feelings of guilt and remorse are especially acute.
A realistic hero is versatile, closely connected with the socio-historical conditions in which he finds himself. It is typical and develops in typical circumstances. The hero in Russian realism directs his activities to transform life.
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On this page there is material on the following topics:
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- Tolstoy's works belong to realism
- short essay on eggs don't teach chickens
- poetry19th century
What is a "Shrinked Universe"?
M. E. Saltykov-Shchedrin called fiction a “condensed universe.”
Who is the founder of Russian romanticism?
The founders of Russian romanticism were V. A. Zhukovsky and K. N. Batyushkov.
In the work of V. A. Zhukovsky, the leading genres were ballads and elegies, and K. N. Batyushkov - messages and elegies.
Who called I. A. Krylov’s fables “the book of wisdom of the people themselves” and why?
I. A. Krylov’s fables were called “the book of wisdom of the people themselves” by N. V. Gogol. We can agree with this judgment, because I. A. Krylov wrote in a rustic manner, the characters of his fables were animals, which brings them closer to folk tales, but most importantly - simple and accurate truths, for the sake of which his fables were composed, were close to simple, but deep folk wisdom and were, as it were, deployed in short story apt Russian proverbs. For example, the fable “Dragonfly and the Ant” perfectly illustrates the proverb: “Prepare the sleigh in the summer, and the cart in the winter,” and the fable “Wagon Train” illustrates the proverb: “Don’t cross your dad into the heat” and “Eggs don’t teach the hen.”
Who was K. F. Ryleev?
Kondraty Fedorovich Ryleev was a Decembrist, the soul of Northern society. He was one of the five leaders of the uprising hanged in 1826.
Tell us briefly about the poems of E. A. Baratynsky
The poems of E. A. Baratynsky are elegies, messages, poems. They are devoted to the problem of the withering of creative abilities and the death of noble impulses in an environment that kills them by endlessly reproducing the same thing.
Tell us briefly about the poems of F. I. Tyutchev
The philosophical scale in the poems of F. I. Tyutchev is manifested by finding analogies and general patterns in the existence of nature and human life - external and internal, physiological and mental.
Sympathy for the suffering of his homeland can be found in such poems as “Above this dark crowd...” and “Cicero.” Comprehension of native nature occurs in the poems “Summer Evening”, “Autumn Evening”, “There is in the original autumn...”. Reflections on love and compassion are the theme of the following poems: “She was sitting on the floor...”, “I am still languishing with the longing of desires...”.
Tell us briefly about the poems of Ya. P. Polonsky
The poems of Yakov Petrovich Polonsky are dedicated to the spiritual life of a poor man, his memories and dreams of love and a better life. I know such of his poems that became songs as “Song of the Gypsy” (“My fire is shining in the fog...”), “Recluse” (“In a familiar street...”). In the 6th grade we read his poem “There are two gloomy clouds on the mountains...”, “Look at the darkness...”.
Tell us briefly about the poems of A. N. Maykov
The description of events in the novels and other works of Apollon Nikolaevich Maykov is imbued with the idyllic beauty of nature. His language is plastic and rich in color images. In the 5th grade we read his poem “Swallows” (“My garden is fading every day...”), in the 6th grade - “Dawn” (“Here is a greenish stripe...”), “Autumn” ("There's already a golden leaf...") and "Landscape" ("I love the forest path...").
Tell us briefly about the poems of A. N. Pleshcheev
The works of Alexei Nikolaevich Pleshcheev expressed the desire of leading nobles and commoners to participate in the life of the common people, to protect them from cruel oppression by those in power. In the 5th grade we read his poem “Spring” (“The snow is already melting, the streams are flowing...”).
Tell us briefly about the poems of N. A. Nekrasov
N. A. Nekrasov is certainly the brightest representative of civil poetry. He writes about peasants, about their difficult, hopeless life, often from within this life itself and in its own language. His simple, laconic poems and poems were very popular among the people. In previous classes, excerpts from the poem “Frost - Red Nose”, the poem “Railroad”, “Peasant Children” were studied, and the poem “Who Lives Well in Rus'” will be studied.
Remember the works of the 19th century you have read and try to determine which literary direction(romanticism or realism) they belong. Justify your answer.
Among the romantic works of the 19th century, I would name the poems and ballads of V. A. Zhukovsky, the poems of A. S. Pushkin, created during the period of southern exile, “Mtsyri” by M. Yu. Lermontov and most of his poems, the stories of A. A. Bestuzhev - Marlinsky and V.F. Odoevsky. Although these are very different works - and romanticism is individually manifested in the work of each writer - nevertheless, their belonging to the romantic movement can be explained by the following: general principles images of reality. First of all, it is dissatisfaction with the world around us, with its unspiritual beginning. Belief in the beautiful, pure, immaculate, eternal, but unattainable unites the work of the romantics. Zhukovsky's works belong to one of the most striking movements of romanticism - contemplative-psychological, which promotes the cult of high, spiritual love, sincere and faithful friendship. For a romantic, nature is eternally alive, embodying the divine principle. He is looking for inner harmony in her, the opportunity to improve his emotional world. The novel's (immortal work) hero is not afraid of death, but sees in it a sweet transition from the real, earthly world to the world of eternal ideas, unattainable dreams, truth and the absolute. Such romanticism is characterized by the pathos of light sadness. The followers of Byronic romanticism, the influence of which Pushkin and Lermontov experienced in their time, showed deep pessimism in their assessment of the surrounding reality. They portrayed a strong, frustrated personality, an embittered lone rebel who challenged God, morality, and authority. As a rule, this is a voluntary exile, for whom love remains the only joy, but it is also taken away from him by the injustice of life, which pushes the hero either to suicide, a duel, or to a crime. Civil romantics (K. F. Ryleev, Decembrist poets) were ready to transform the existing system through struggle. They turned to Russian history and Russian folklore, drawing stories and heroic characters from there. The genre of duma became close to them. D. V. Venevitinov, poets of wisdom, F. I. Tyutchev belonged to philosophical romanticism. They specifically moved away from depicting social conflicts to purely philosophical and moral problems and, through their comprehension, examined the themes of love, friendship, poet and poetry.
Such works of the 19th century as the novels of A. S. Pushkin " Captain's daughter" and "Dubrovsky", N.V. Gogol's comedy "The Inspector General", "Notes of a Hunter" and the novels of I.S. Turgenev, the stories of A.P. Chekhov, the works of L.N. Tolstoy belong to realism. They deeply explore the life, real reality. Heroes act in specific socio-historical conditions, their behavior, characters, views, lifestyle depend on these conditions. Sometimes these two directions are combined in the work of the same writer, for example in the work of Pushkin or Lermontov.
Think about how realism of the first half of the 19th century, which in both Europe and Russia is considered the period of the formation of realism, differs from the era of its maturity (the second half of the century).
Indeed, in the first half of the 19th century, the formation of realism took place; even within the work of the same writer, largely romantic and realistic approaches to the development of reality coexist (Pushkin, Lermontov, Gogol), heroes often combine realistic and romantic principles in their depiction (“ Taman" in the novel "Hero of Our Time"). We find the classic and realistic in the content and composition of “Woe from Wit” by A. S. Griboyedov. In the second half of the century, in Russian and Western European literature, realism was already established as the predominant method. At this time, he receives a critical direction, rejecting negative phenomena in social life, affirming new norms of relations between people (Nekrasov, Chernyshevsky, Saltykov-Shchedrin) or returning to eternal moral values (Turgenev, Dostoevsky, Tolstoy, Chekhov).
Watch how the hero changes in the works of classicism, sentimentalism, romanticism and realism. What character traits become leading?
In the works of classicism, such qualities of heroes as loyalty to duty, the ability to suppress their personal feelings and interests in the name of duty, patriotism, and service to the state were highly valued. The heroes of sentimental works (this is the polemic between classicism and other trends in literature) are characterized by the cult of feeling, love, passion. They are sensitive, highly emotional, prone to detailed love explanations. The novel (immortal work) has an unusual hero who acts in unusual, exceptional circumstances, prefers to escape into an exotic environment, and is sometimes prone to mysticism. His moods are characterized by melancholy, sadness, and acute feelings of loss.
How can you, the lucky ones, understand what I understood through longing? (V. A. Zhukovsky)
Feelings of guilt and remorse are especially acute.
A realistic hero is versatile, closely connected with the socio-historical conditions in which he finds himself. It is typical and develops under typical circumstances. The hero in Russian realism directs his activities to transform life.
This subtle and precise definition is quite applicable to the heritage of the classics, in which the centuries-old spiritual experience of mankind is compressed. Classics have always been a powerful stimulant in the development of the culture of any nation. To isolate modern literature from classical traditions would mean cutting it off from its national roots - it would become drained of blood and wither away.
The indissoluble connection of times is especially clearly embodied in the pinnacle works of fiction, which we call classic: in their cognitive significance, the undying moral influence of their heroes on many generations of people, and also in the fact that these works continue to serve as an inexhaustible spring of beauty. Great art does not know the past, it lives in the present and the future. We must not only read the classics, we must also learn to reread them. Because every meeting with them is fraught with the joy of discovery. A person at each subsequent stage of his existence is able to perceive spiritual values more and more deeply. An outstanding work, once read and perceived anew, introduces us to an atmosphere of inexplicable charm, caused, among other things, by the opportunity to really feel our own, aesthetic, in the words of Herzen, “increase.” Perhaps it is appropriate to recall here the excellent note of the young Herzen: “I have a passion for rereading the poems of the great maestros: Goethe, Shakespeare, Pushkin, Walter Scott. It would seem, why read the same thing, when at this time you can “decorate” your mind with the works of Messrs. A., B., S? Yes, the fact of the matter is that these are not the same thing; in between, some spirit changes a lot in the maestro’s eternally living works. Just as Hamlet and Faust were previously wider than me, so they are wider now, despite the fact that I am convinced of my expansion. No, I will not give up the habit of rereading, this is why I visually measure my growth, improvement, decline, direction... Humanity in its own way rereads entire millennia of Homer, and this is a touchstone for it on which it tests the power of age.”
Every turn of history gives people the opportunity to take a fresh look at themselves and rediscover the immortal pages of works of art. Each era reads them in its own way. Goncharov noted that Chatsky is inevitable when one century changes to another, that every business that requires updating gives birth to Chatsky’s shadow.
Great artists are responsive to the calls of all times; they are rightly called the eternal companions of humanity. The remarkable thing about the classical heritage is that it expresses the self-awareness of not only its era. Time moves, and with it, the classics move along the same orbit, in which a constant process of renewal takes place. She has something to say to every generation, she has many meanings. Of course, today we perceive the legacy of Gogol and Dostoevsky differently than their contemporaries, and we understand it more deeply. And this happens not because we are smarter or more insightful. The social experience of generations forms the historical tower from which a person of our era understands the spiritual culture of the past. From this donut we see many things further and more clearly. The classics are inexhaustible. Its depth is infinite, just like space is infinite. Shakespeare and Pushkin, Goethe and Tolstoy enrich the reader, but the reader, in turn, continuously enriches the works of great artists with his new historical experience. This is why our knowledge of the classics can never be considered final, absolute. Each subsequent generation discovers new, previously unseen facets in old works. This means an ever more comprehensive comprehension of the meaning and artistic nature of the immortal works of the past.
The development of the classical heritage meets the modern needs of society, because society itself, this heritage, becomes an active participant in modern life. The social content of the works of Russian classics is extremely important. It has always been fertilized by the progressive ideas of the time and expressed the spirit of the people's liberation struggle, their hatred of despotism and the indomitable desire for freedom. The German writer Heinrich Mann famously said that Russian classical literature was a revolution “even before the revolution happened.”
Russian literature has always been distinguished by its extraordinary sensitivity to solving moral issues, which are invariably intertwined with the most important social problems of our time. The great poet was proud that in his “cruel age” he “glorified ... freedom” and awakened “good feelings.” What is striking here is the unexpected juxtaposition of words so seemingly different in historical meaning as “freedom” and “good.” The first of them in romantic poetry was almost always associated with boiling passions, with a titanic and cruel struggle, with courage, daring, a dagger, and revenge. And here it stands next to the words “good feelings.” Remarkable is Pushkin’s conviction that someday in the future the awakening of good feelings in people will be interpreted as something equivalent to the glorification of freedom. But all Russian classics are a preaching of humanity, goodness and the search for paths leading to it!
Tolstoy urged people to improve their soul, their moral world. Lermontov imagined the extinction of the best qualities of his character in Pechorin - love for people, tenderness for the world, the desire to embrace humanity - as a terrible tragedy.
For the great Russian writers, hatred of various manifestations of injustice was the highest measure of a person’s moral virtues. With its indomitable moral pathos, as well as artistic perfection, Russian literature has long won recognition throughout the world. “Where, for forty years,” recalled Romain Rolland, “we looked for our spiritual food and our daily bread, when our black soil was no longer enough to satisfy our hunger? Who else but Russian writers were our leaders?”
In our struggle today for a new man, the great artists of the past are with us. The struggle against injustice and various manifestations of evil is nothing more than a struggle in the name of the victory of goodness and humanity. Such an “evil” genre of literature as satire knows this too. Wasn’t Gogol’s heart most tender, dreaming of a different, more perfect reality! Didn’t Shchedrin, who was so merciless with his time, want Russia well? Good people, in the name of good, became irreconcilable to various manifestations of evil and what gave rise to it. Beautiful ideals require wonderful feelings.
"Childhood" by Maxim Gorky - autobiographical story. It describes the life and cruel morals bourgeois environment in which a half-orphan boy is forced to grow up. In his childhood, Alyosha encounters many people, both good and bad. But among them there is a man who owns special role. This is grandmother Akulina Ivanovna. The grandmother always remains the center of his attention, acting as an intermediary between the boy and big world, from her Alyosha receives the most valuable life lessons. Grandmother is “round, big-headed, with huge eyes and a funny doughy nose...”. Alyosha is especially attracted to her appearance
One of the main issues of creativity of A.S. Pushkin was the question of the relationship between the individual and the state, as well as the ensuing problem “ little man" It is known that it was Pushkin who seriously developed this problem, which was later “picked up” by N.V. Gogol, and F.M. Dostoevsky. Pushkin's poem " Bronze Horseman"reveals the eternal conflict - the contradiction between the interests of the individual and the state. Pushkin believed that this conflict was inevitable, at least in Russia. It is impossible to govern the state and take into account the interests of every “little person.” Moreover, Russia is a semi-Asian country,
For the results of the 2002-2003 primary year, I and ten other students from our school were awarded a trip to the capital of Ukraine - Kiev. During this hour we visited the Kiev-Pechersk Lavra, the Taras Shevchenko Museum, and walked along Khreshchatyk and St. Andrew's Wagon. For our sake, the Dnieper-Slavuta has been favored more than ever. Kiev greeted us with the smiling faces of the philistines, grandiose daily life and quiet green streets. Over two days of excursions and walks, we came to love our capital. We hope that this is just the beginning of getting to know Kiev. We are so happy for this wonderful gift! (loadposition textmod