Which phrase do you think defines the idea of the story? Poor Lisa"? Justify your answer.
The phrase is “even peasant women know how to love.” Sentimentalists, unlike classicists, preferred the cult of feeling over the cult of reason. At the same time, they affirmed the extra-class value of a person, his high moral qualities. This key phrase from Karamzin gives A New Look to the problem social inequality. Differences in social and property status do not yet indicate the superiority of one class over another. Lisa’s father and mother had high moral values, and she herself worked hard. The author describes in detail the development of her love feeling from inception to despair. For Lisa, the loss of love is tantamount to the loss of life. The idea of the story is concentrated in the phrase we cited, which has become the formula of sentimental literature.
The manner of expressing feelings that is characteristic of the main character of the story is also important for understanding the author’s position: in its vocabulary, concepts and ideas, it is no different from the expression of the feelings of an educated young lady. V.I. Korovin explains this by saying that “ art assignment Karamzin’s goal was partly to bring the feelings of a peasant woman closer to the feelings of an educated young lady and thereby erase the differences in the content and forms of mental experiences.”
Describe the main character of the story. Which artistic media chosen by the author to create her external and internal appearance? How is the writer’s attitude towards her expressed?
The image of Lisa is described in detail by the author. The heroine inherited high moral qualities and beliefs from her parents: hard work, honesty, sincerity, kindness. She is pure, naive, unselfish and therefore poorly protected from the vices that dominate around her. She is open to natural manifestations of feelings and therefore prone to delusions, after which a tragic epiphany occurs. The author treats his heroine with tender feelings, admires her, deeply experiences her joys and tragedy, and constantly worries about her fate. Memories of Lisa’s deplorable fate make him “shed tears of tender sorrow.” And the very title of the story expresses Karamzin’s sympathetic and sentimental attitude towards Liza.
The characteristics of Lisa’s external and internal appearance are made up of the author’s descriptions and comments of her actions, as well as through the indirect transmission of her mother’s reviews or the loving outpourings of Erast himself. Karamzin notes that Liza worked without sparing “her rare beauty, without sparing her tender youth.” Her beauty is also evidenced by the impression she “made on his heart.” The kind old mother called Lisa, by Divine mercy, her nurse, the joy of her old age, and prayed that the Lord would reward her for what she was doing for her mother. From this we learn that Lisa is virtuous, that she not only reveres her mother, but also frees her from all worries that are beyond her weak health.
What verbal details convey the movement of Lisa’s feelings for Erast - from timid affection to ardent passion?
The essential detail with which Lisa and Erast began their acquaintance was the flowers that Lisa sold. The request he made to pick flowers just for him sparked the first feeling in the girl’s soul. She turned out to be more significant for her than for Erast, and therefore the next day, when he did not come, she did not sell the lilies of the valley to anyone and threw them into the Moscow River. Another detail is the timid glances she cast at young man. Karamzin notes the expression of Liza’s feelings in her appearance - “her cheeks glowed like the dawn on a clear summer evening” - as they grew. Erast's kiss and his first declaration of love echoed in her soul with delightful music. As we see, color and sound details are important in conveying the movement of feelings from timid affection to ardent passion. The achievement of the apogee of love, which, according to the writer, led to the destruction of the heroine’s purity, is also accompanied by a number of important verbal details. A new word appears and rushes (into his arms). Before this, they had hugged on dates, their hugs were pure and immaculate. Now changes are happening around them both in nature and in the color and sound range: kisses became fiery, the darkness of the evening (in contrast to the quiet moon, the bright month) fed desires; “Not a single star shone in the sky - no ray could illuminate the errors.” After the fact, “lightning flashed and thunder roared. Lisa trembled." “The storm roared menacingly, rain poured from black clouds - it seemed that nature was lamenting about Liza’s lost innocence.” After such a turning point in the relationship between Lisa and Erast, Karamzin began to convey in more detail the inner state of the young man, who was becoming more and more indifferent to his beloved. From this time on, natural symbols practically disappear from the narrative. The ancient oak trees that witnessed their love are mentioned only twice. The epithet gloomy now belongs to the oak tree over the grave of poor Lisa.
Pay attention to the role of gesture in revealing the inner state of the characters. Analyze this technique of the author.
Gesture in literature is one of the important techniques in conveying the internal state of a character. Karamzin also uses it widely. Let's analyze the scene of the meeting between Lisa and Erast in the city, when she saw him in a carriage approaching the house. Her feeling of joy from the meeting was expressed in gestures: she rushed, he felt herself in his arms. Although it is said that he felt himself being embraced, the author thereby emphasizes the swiftness of her joyful action. The swiftness of her movements is the swiftness in the expression of feelings. Then his gestures become swift - he wants to quickly free himself from Liza, so that no one sees him in the embrace of a simple peasant woman on the eve of a profitable marriage: he took him by the hand, led her into the office, locked the door, put the money in her pocket, took her out of the office and ordered the servant to escort her girl from the yard. And all this was so fast that Lisa couldn’t come to her senses.
- What phrase do you think defines the idea of the story “Poor Liza”? Justify your answer.
- Describe the main character of the story. What artistic means did the author choose to create her external and internal appearance? How is the writer’s attitude towards her expressed?
- What verbal details convey the movement of Lisa’s feelings for Erast - from timid affection to ardent passion?
- Pay attention to the role of gesture in revealing the internal state of the characters. Analyze this technique of the author.
- Can Erast be considered a villain or an insidious seducer? How does Karamzin describe him, how does he reveal his attitude towards him? Compare the manner of depicting Erast with the manner of depicting heroes in the works of Russian classicism using the example of works known to you.
- How do you see the image of the narrator?
- What is the purpose of lyrical digressions in the story?
- What is the role of landscape in the story? How is it connected with the mood and feelings of lovers?
The phrase is “even peasant women know how to love.” Sentimentalists, unlike classicists, preferred the cult of feeling over the cult of reason. At the same time, they affirmed the extra-class value of a person, his high moral qualities. This key phrase from Karamzin gives a new look at the problem of social inequality. Differences in social and property status do not yet indicate the superiority of one class over another. Lisa’s father and mother had high moral values, and she herself worked hard. The author describes in detail the development of her love feeling from inception to despair. For Lisa, the loss of love is tantamount to the loss of life. The idea of the story is concentrated in the phrase we cited, which has become the formula of sentimental literature.
The manner of expressing feelings that is characteristic of the main character of the story is also important for understanding the author’s position: in its vocabulary, concepts and ideas, it is no different from the expression of the feelings of an educated young lady. V.I. Korovin explains this by saying that “Karamzin’s artistic task was partly to bring the feelings of a peasant woman closer to the feelings of an educated young lady and thereby erase the differences in the content and forms of mental experiences.”
The image of Lisa is described in detail by the author. The heroine inherited high moral qualities and beliefs from her parents: hard work, honesty, sincerity, kindness. She is pure, naive, selfless and therefore poorly protected from the vices that dominate around her. She is open to natural manifestations of feelings and therefore prone to delusions, after which a tragic insight occurs. The author treats his heroine with tender feelings, admires her, deeply experiences her joys and tragedy, and is constantly worried about her fate. Memories of Lisa’s deplorable fate make him “shed tears of tender sorrow.” And the very title of the story expresses Karamzin’s sympathetic and sentimental attitude towards Liza.
The characteristics of Lisa’s external and internal appearance are made up of the author’s descriptions and comments of her actions, as well as through the indirect transmission of her mother’s comments or the loving outpourings of Erast himself. Karamzin notes that Liza worked without sparing “her rare beauty, without sparing her tender youth.” Her beauty is also evidenced by the impression she “made on his heart.” The kind old mother called Lisa, by Divine mercy, her nurse, the joy of her old age, and prayed that the Lord would reward her for what she was doing for her mother. From this we learn that Lisa is virtuous, that she not only reveres her mother, but also frees her from all worries that are beyond her weak health.
The essential detail with which Liza and Erast’s acquaintance began was the flowers that Liza traded. The request he made to pick flowers just for him sparked the first feeling in the girl’s soul. She turned out to be more significant for her than for Erast, and therefore the next day, when he did not come, she did not sell the lilies of the valley to anyone and threw them into the Moscow River. Another detail is the timid glances she cast at the young man. Karamzin notes the expression of Liza’s feelings in her appearance - “her cheeks glowed like the dawn on a clear summer evening” - as they grew. Erast's kiss and his first declaration of love echoed in her soul with delightful music. As we see, color and sound details are important in conveying the movement of feelings from timid affection to ardent passion. The achievement of the apogee of love, which, according to the writer, led to the destruction of the heroine’s purity, is also accompanied by a number of important verbal details. A new word appears and rushes (into his arms). Before this, they had hugged on dates, their hugs were pure and immaculate. Now changes are happening around them both in nature and in the color and sound range: kisses became fiery, the darkness of the evening (in contrast to the quiet moon, the bright month) fed desires; “Not a single star shone in the sky - no ray could illuminate the errors.” After the fact, “lightning flashed and thunder struck. Lisa began to tremble.” “The storm roared menacingly, rain poured from black clouds - it seemed that nature was lamenting about Liza’s lost innocence.” After such a turning point in the relationship between Lisa and Erast, Karamzin began to convey in more detail the inner state of the young man, who was becoming more and more indifferent to his beloved. From this time on, natural symbols practically disappear from the narrative. The ancient oak trees that witnessed their love are mentioned only twice. The gloomy epithet now belongs to the oak tree over the grave of poor Lisa.
Gesture in literature is one of the important techniques in conveying the internal state of a character. Karamzin also uses it widely. Let's analyze the scene of the meeting between Lisa and Erast in the city, when she saw him in a carriage approaching the house. Her feeling of joy from the meeting was expressed in gestures: she rushed, he felt herself in his arms. Although it is said that he felt himself being embraced, the author thereby emphasizes the swiftness of her joyful action. The swiftness of her movements is the swiftness in the expression of feelings. Then his gestures become swift - he wants to quickly free himself from Lisa, so that no one sees him in the embrace of a simple peasant woman on the eve of a profitable marriage: he took her by the hand, led her into the office, locked the door, put the money in her pocket, led her out of the cabin - and ordered the servant to escort the girl from the yard. And all this was so fast that Liza couldn’t come to her senses.
The meaning of the fate of poor Lisa outlined in the story is precisely that Erast is not a villain and a seducer, but a completely kind and sincere person, but weak and flighty. He sought pleasure, led an absent-minded lifestyle, “read novels, idylls, had a fairly vivid imagination and often wandered in thoughts to those times (former or not), in which, according to the poets, all people they walked carelessly through the meadows, bathed in clean springs, kissed like mounts, rested under roses and myrtles, and spent all their days in happy idleness.” He was attracted to Lisa not only by her external, but mainly by her spiritual beauty, her pure, immaculate expression of love. It seemed to him that he had found in her what his heart had been looking for for a long time. Erast quite sincerely dreamed that he would live with her like brother and sister and with contemptuous disgust he recalled the voluptuous pleasures he had already experienced. To which the writer wisely commented: “Reckless young man! Do you know your heart? Can you always be responsible for your movements? Is reason always the king of your feelings? His vices are rooted not in his own soul, but in the morals of society. When the relationship between Lisa and Erast reached a sensual level, Lisa retained and even lived out her love for him, and above all spiritual love, and Erast’s feelings began to decline, for such relationships were not new to him. Erast turns out to be a slave to “circumstances” that force him to marry a rich bride and part with Lisa as unceremoniously as he did. However, Karamzin also has compassion for him, because he still sees in him a “good fellow.” Having learned about Liza’s suicide, Erast deeply and sincerely suffers and “considers himself a murderer.” “So the “insensitivity” of society, enshrined in social and property inequality, separates and destroys people who are good by nature and becomes an insurmountable obstacle to their happiness. But since the sad love story of two good souls, then their reconciliation is possible where there are no social conventions and prejudices, where humanity reigns in its authentic and pure form. Therefore, Karamzin’s story ends with a pacifying chord” (V.I. Korovin).
In the works of classicism positive and negative heroes sharply opposed to each other. And the hero in such situations, of course, was portrayed as a calculating and ruthless seducer.
The narrator is a contemporary of the heroes of the story “Poor Liza.” He knows Erast, who tells him this sad story. This is a kind-hearted, sensitive, sentimental person who deeply feels the grief of people. The narrator is an educated person who has life experience, observant, knows how to give people the right characteristics. The narrator loves Moscow, its surroundings, and nature native land, often walks to admire the beauty of the landscape. Material from the site
There are not many lyrical digressions in the story. The author has more detailed judgments accompanying the depiction of the love of the heroes, which, however, can also be classified as digressions, for example: “Oh Liza, Liza! What happened to you? But there are also direct lyrical digressions, for example, at the beginning of “Poor Lisa”. The narrator often comes to the Danilov Monastery “in the dark days of autumn to grieve with nature.” This retreat creates a lyrical and philosophical mood, the ground for sad reflections about life and death, about the bitter pages of the history of the fatherland.
The landscape creates an emotional background for the perception of the plot of the story and the fate of its heroes, and is in harmony with the feelings of the lovers. At the beginning of the story, for example, there is a sharp contrast between the majestic amphitheater of Moscow with golden domes and the green flowering meadows located at its foot and the wretched, ruined hut in which Liza lived with her mother thirty years ago. From the panorama of Moscow, the narrator glances at the Simonov Monastery, remembers in connection with it the story of poor Liza, indicates the nature of her mood, and then directs her gaze to her former home. This is how the landscape compositionally builds approaches to the beginning of the sad story of Lisa and her love for Erast. The author’s mood (“tender sorrow”) is gradually conveyed to the reader through reading the landscape and the narrator’s thoughts about the pictures he saw.
Against the backdrop of beautiful landscape sketches, the characters’ love feeling arises and develops. They are found “on the river bank or in a birch grove, but most often under the shade of hundred-year-old oak trees<…>- oak trees overshadowing a deep, clear pond, fossilized in ancient times.” The quiet moon harmonizes with Lisa’s hair, “silvering it.” The fusion of love and nature is interestingly described: silver-plated moonlight Lisa's hair plays with marshmallows and the hand of a dear friend, which creates an airy, chaste image of a loving feeling. We hear about such a merging of feeling with the perception of nature in the words of Lisa, containing a declaration of love for Erast: “without your eyes the bright month is dark; without your voice the nightingale singing is boring; without your breath the breeze is unpleasant to me.” Observed by us literary devices characteristic of sentimentalism.
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- Was Erast’s feeling for Lisa sincere?
- How did the relationship between Lisa and Erast develop?
based on the story “Poor Liza” by Karamzin N.M.
Liza (Poor Liza) is the main character of the story, which, along with other works published by Karamzin in the Moscow Journal (Natalia, the Boyar's Daughter, Frol Silin, the Benevolent Man, Liodor, etc.), is not just brought literary fame to its author, but made a complete revolution in the public consciousness of the 18th century. For the first time in the history of Russian prose, Karamzin turned to a heroine endowed with emphatically ordinary features. His words “...even peasant women know how to love” became popular.
Poor peasant girl Lisa is left an orphan early on. She lives in one of the villages near Moscow with her mother - “a sensitive, kind old lady”, from whom she inherits her main talent - the ability to love. To support himself and his mother, L. takes on any job. In the spring she goes to the city to sell flowers. There, in Moscow, L. meets the young nobleman Erast. Tired of the wind social life, Erast falls in love with a spontaneous, innocent girl “with the love of a brother.” It seems so to him. However, soon platonic love turns into sensual. L., “having completely surrendered to him, she only lived and breathed by him.” But gradually L. begins to notice the change taking place in Erast. He explains his cooling off by the fact that he needs to go to war. To improve matters, Erast marries an elderly rich widow. Having learned about this, L. drowns himself in the pond.
Sensitivity - so in the language of the late 18th century. determined the main advantage of Karamzin’s stories, meaning by this the ability to sympathize, to discover the “tenderest feelings” in the “curves of the heart,” as well as the ability to enjoy the contemplation of one’s own emotions. Sensitivity is also the central character trait of L. She trusts the movements of her heart and lives by “tender passions.” Ultimately, it is ardor and ardor that lead to L.’s death, but it is morally justified.
Karamzin was one of the first to introduce the contrast between city and countryside into Russian literature. In Karamzin's story, a village man - a man of nature - finds himself defenseless when he finds himself in urban space, where laws different from the laws of nature apply. No wonder L.’s mother tells her (thus indirectly predicting everything that will happen later): “My heart is always in the wrong place when you go to the city; I always put a candle in front of the image and pray to the Lord God that he will protect you from all troubles and misfortunes.”
It is no coincidence that the first step on the path to disaster is L.’s insincerity: for the first time she “retreats from herself”, hiding, on Erast’s advice, their love from her mother, to whom she had previously confided all her secrets. Later, it was in relation to his dearly beloved mother that L. would repeat Erast’s worst act. He tries to “pay off” L. and, driving her away, gives her a hundred rubles. But L. does the same, sending his mother, along with the news of his death, the “ten imperials” that Erast gave her. Naturally, L.’s mother needs this money just as much as the heroine herself: “Liza’s mother heard about terrible death her daughter, and her blood grew cold with horror—her eyes closed forever.”
The tragic outcome of the love between a peasant woman and an officer confirms the rightness of his mother, who warned L. at the very beginning of the story: “You still don’t know how evil people They might offend the poor girl.” General rule turns into a specific situation, poor L. herself takes the place of the impersonal poor girl, and universal plot transferred to Russian soil and acquires a national flavor.
For the arrangement of characters in the story, it is also important that the narrator learns the story of poor L. directly from Erast and himself often comes to be sad at “Liza’s grave.” The coexistence of the author and the hero in the same narrative space was not familiar to Russian literature before Karamzin. The narrator of “Poor Lisa” is mentally involved in the relationships of the characters. Already the title of the story is based on the connection own name heroine with an epithet characterizing the sympathetic attitude of the narrator towards her, who constantly repeats that he has no power to change the course of events (“Ah! Why am I writing not a novel, but a sad true story?”).
“Poor Lisa” is perceived as a story about true events. L. belongs to the characters with “registration”. “...More and more often I am attracted to the walls of the Si...nova Monastery - the memory of the deplorable fate of Lisa, poor Lisa,” - this is how the author begins his story. With a gap in the middle of a word, any Muscovite could guess the name of the Simonov Monastery, the first buildings of which date back to the 14th century. (to date only a few buildings have survived, most of them were blown up in 1930). The pond, located under the walls of the monastery, was called the Fox Pond, but thanks to Karamzin’s story it was popularly renamed Lizin and became a place of constant pilgrimage for Muscovites. In the minds of the monks of the Simonov Monastery, who zealously guarded the memory of L., she was, first of all, a fallen victim. Essentially, L. was canonized by sentimental culture.
First of all, the same unhappy girls in love, like L. herself, came to cry at the place of Liza’s death. According to eyewitnesses, the bark of the trees growing around the pond was mercilessly cut up by the knives of the “pilgrims.” The inscriptions carved on the trees were both serious (“In these streams, poor Liza passed away her days; / If you are sensitive, passer-by, sigh”), and satirical, hostile to Karamzin and his heroine (the couplet acquired particular fame among such “birch epigrams”: “Erast’s bride perished in these streams. / Drown yourself, girls, there’s plenty of room in the pond.”
Karamzin and his story were certainly mentioned when describing the Simonov Monastery in guidebooks to Moscow and special books and articles. But gradually these references began to have an increasingly ironic character, and already in 1848, in the famous work of M. N. Zagoskin “Moscow and Muscovites” in the chapter “Walk to the Simonov Monastery” not a word was said either about Karamzin or his heroine. As sentimental prose lost the charm of novelty, “Poor Liza” ceased to be perceived as a story about true events, much less as an object of worship, but became in the minds of most readers (a primitive fiction, a curiosity, reflecting the tastes and concepts of a bygone era.
The image of “poor L.” immediately sold out in numerous literary copies of Karamzin’s epigones (cf., for example, “The Unhappy Liza” by Dolgorukov). But the image of L. and the associated ideal of sensitivity received serious development not in these stories, but in poetry. The invisible presence of “poor L.” palpably in Zhukovsky’s elegy, published ten years after Karamzin’s story, in 1802. Rural cemetery", which, according to V.S. Solovyov, laid the foundation for truly human poetry in Russia." The very plot of the seduced villager is addressed by three major poet Pushkin's time: E. A. Baratynsky (in the plot poem "Eda", 1826, A. A. Delvig (in the idyll "The End of the Golden Age", 1828) and I. I. Kozlov (in the "Russian story" "Mad", 1830).
In “Belkin’s Tales,” Pushkin twice varies the plot outline of the story about “poor L.”, enhancing its tragic sound in “ Stationmaster” and turning it into a joke in “The Peasant Young Lady.” The connection between “Poor Liza” and “The Queen of Spades,” whose heroine is named Lizaveta Ivanovna, is very complex. Pushkin develops Karamzin’s theme: his “poor Liza” (like “poor Tanya,” the heroine of “Eugene Onegin”) experiences a catastrophe: having lost hope of love, she marries another, quite worthy person. All Pushkin’s heroines, who are in the “force field” of Karamzin’s heroine, are destined for a happy or unhappy life, but life. “To the Origins”, P. I. Tchaikovsky returns Pushkin’s Liza to Karamzin, in whose opera “ Queen of Spades“Liza (no longer Lizaveta Ivanovna) commits suicide by throwing herself into the Winter Canal.
L.'s fate different options its permission was carefully spelled out by F. M. Dostoevsky. In his work, both the word “poor” and the name “Liza” acquire a special status from the very beginning. The most famous among his heroines - namesakes of the Karamzin peasant woman - are Lizaveta ("Crime and Punishment"), Elizaveta Prokofyevna Epanchina ("The Idiot"), blessed Lizaveta and Liza Tushina ("Demons"), and Lizaveta Stinking ("The Brothers Karamazov"). But the Swiss Marie from “The Idiot” and Sonechka Marmeladova from “Crime and Punishment” would also not exist without Liza Karamzin. The Karamzin scheme also forms the basis of the history of the relationship between Nekhlyudov and Katyusha Maslova, the heroes of L. N. Tolstoy’s novel “Resurrection”.
In the 20th century “Poor Liza” has by no means lost its meaning: on the contrary, interest in Karamzin’s story and its heroine has increased. One of the sensational productions of the 1980s. became a theatrical version of “Poor Lisa” at M. Rozovsky’s theater-studio “At the Nikitsky Gate”.
| Lisa | Erast | |
| Character qualities | Modest; shy; timid; kind; beautiful not only in appearance, but also in soul; tender; tireless and hardworking. | Courteous, with a naturally kind heart, quite intelligent, a dreamer, also calculating, frivolous and reckless. |
| Appearance | A beautiful girl with pink cheeks, blue eyes and fair hair (She worked without sparing “her rare beauty, without sparing her tender youth”). Lisa did not look like a peasant woman, rather like an airy young lady from high society. | A young, well-dressed man. He had gentle eyes and beautiful pink lips. The face is pleasant and kind. |
| Social status | Daughter of a wealthy villager; later an orphan living with his old mother. A simple girl, a peasant woman. | A young officer, a nobleman, a rather distinguished gentleman. |
| Behavior | Supports his sick mother, cannot read or write, often sings plaintive songs, knits and weaves well. | He leads the life of a real gentleman, loves to have fun and often plays gambling(lost all his estate while he had to fight), reads novels and idylls. Has a bad effect on Lisa. |
| Feelings and experiences | Victim of feelings. He loves Erast with all his heart. His kiss and the first declaration of love echoed delightful music in the girl’s soul. She looked forward to every meeting. Later, Lisa deeply worries about what happened. You can see that when the young man seduced the girl, thunder struck and lightning flashed. Having learned that Erast was getting married, without thinking twice the unfortunate girl threw herself into the river. For Lisa there is no mind, for her there is only a heart. Broken heart. | Master of feelings. Most of his time he did not know what to do with himself and was waiting for something else. He “looked” for pleasure in fun.” A meeting takes place in the city, and Erast experiences feelings for the “daughter of nature.” He found in Lisa what his heart had been looking for for so long. But all this affection was rather an illusion, because loving person He wouldn’t have done that, and after Lisa’s death, what saddens him is not the loss of his beloved, but the feeling of guilt. |
| Attitude towards others | Very trusting; I am convinced that there are only good people around good people. Lisa is hospitable, helpful and grateful | Frequent guest of social events. The story does not talk about his attitude towards other people, but we can conclude that he first of all thinks about himself. |
| Attitude towards wealth | She is poor, earns money by working (picking flowers) to support herself and her mother; moral qualities are more important than material means. | Quite rich; measures everything in money; enters into a marriage of convenience, submitting to circumstances; tries to pay off Lisa with one hundred rubles. |
2 version of the table
| Lisa | Erast | |
| Appearance | Extraordinarily beautiful, young, fair-haired. | Handsome, young, stately, charming |
| Character | Tender, sensual, meek, trusting. | Weak character, two-faced, irresponsible, cowardly, naturally kind, but flighty. |
| Social status | Peasant girl. The daughter of a wealthy villager, after whose death she became poor. | Secular aristocrat, rich, educated. |
| Life position | You can only live by honest work. You need to take care of your mother and not upset her. Be honest and nice with others. | Life was boring for him, so he often looked for entertainment. |
| Attitude to moral values | She valued moral values above all else. She could only give up for the sake of someone, and not on her own whim. | He recognized morality, but often deviated from its principles, guided only by his own desires |
| Attitudes towards material values | Considers money only as a means of subsistence. I never chased wealth. | Counts wealth fundamental factor cheerful, happy life. For the sake of wealth, he married an elderly woman whom he did not love. |
| Moral | Highly moral. | All his thoughts were highly moral, but his actions contradicted this. |
| Attitude to family | She is devoted to her mother and loves her dearly. | Not shown, but most likely he is devoted to his family. |
| Relation to the city | She grew up in the countryside, so she loves nature. Prefers life in the wilderness to city social life. | Completely and completely urban man. Would never trade city privileges for village life, just for the purpose of having fun. |
| Sentimentalism | Sensual, vulnerable. Does not hide feelings, is able to talk about them. | Sensual, impetuous, sentimental. Capable of experiencing. |
| Attitude towards love | He loves purely and devotedly, completely and completely surrendering to his feelings. | Love is like entertainment. In his relationship with Lisa, he is driven by passion. When there are no more prohibitions, he quickly cools down. |
| Meaning public opinion | It doesn't matter to her what they say about her. | Depends on public opinion and position in society |
| Relationships | Her feelings were crystal clear from the very beginning. Falling in love grew into strong love. Erast was an ideal, the one and only. | Liza's pure beauty attracted Erast. At first, his feelings were brotherly. He didn't want to mix them with lust. But over time, passion won. |
| Strength of mind | I couldn’t cope with the pain in my soul and betrayal. I decided to commit suicide. | Erast had the fortitude to plead guilty to the death of the girl. But still I didn’t have the fortitude to tell her the truth. |
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- The poetry boom of the sixties of the 20th century The sixties of the 20th century were the time of the rise of Russian poetry. Finally, a thaw came, many prohibitions were lifted and authors were able to openly express their opinions without fear of repression and expulsion. Collections of poetry began to be published so frequently that, perhaps, there has never been such a “publishing boom” in the field of poetry, either before or since. " Business Cards"of this time - B. Akhmadulina, E. Yevtushenko, R. Rozhdestvensky, N. Rubtsov, and, of course, the rebel bard […]
- Essay-reasoning: Is it possible to return after the war? Plan: 1. Introduction a) From “The Ivanov Family” to “Return” 2. Main part a) “The home was strange and incomprehensible” 3. Conclusion a) “To understand with the heart” To understand “with the heart” means to understand P. Florensky V In 1946, Andrei Platonov wrote the story “The Ivanov Family,” which was then called “The Return.” The new name is more appropriate philosophical issues story and emphasizes its main theme - return after the war. And we are talking about [...]
- 1st version of the table Kalashnikov Kiribeevich Position in the poem Stepan Paramonovich Kalashnikov is an extremely positive, although tragic, hero. Kiribeevich - discreetly negative character. To show this, M.Yu. Lermontov does not call him by name, but only gives him the nickname “son of the Basurman.” Position in society Kalashnikov was engaged in merchants, that is, trade. He had his own shop. Kiribeevich served Ivan the Terrible, was a warrior and defender. Family life Stepan Paramonovich […]
- The history of Russia for 10 years or the work of Sholokhov through the crystal of the novel" Quiet Don"Describing the life of the Cossacks in the novel "Quiet Don", M. A. Sholokhov also turned out to be a talented historian. The years of great events in Russia, from May 1912 to March 1922, the writer recreated in detail, truthfully and very artistically. History in this period was created, changed and was detailed through the fates of not only Grigory Melekhov, but also many other people. They were his close relatives and distant relatives, […]
- Turning to Reflections on Themes this direction, first of all, remember all our lessons in which we talked about the problem of “fathers and sons.” This problem is multifaceted. 1. Perhaps the topic will be formulated in such a way as to force you to talk about family values. Then you should remember works in which fathers and children are blood relatives. In this case, we will have to consider psychological and moral principles family relationships, role family traditions, disagreements and […]
- First option I see in front of me a very bright painting by the Russian artist Alexander Yakovlevich Golovin. It's called "Flowers in a Vase." This is a still life that the author turned out to be very lively and joyful. There's a lot in it white, household utensils and flowers. The author depicted many details in the work: a vase for sweets, a golden-colored ceramic glass, a clay figurine, a jar with roses and a glass container with a huge bouquet. All items are on a white tablecloth. A colorful scarf is thrown over the corner of the table. Center […]
- How I wash the floors In order to wash the floors clean, and not pour water and smear the dirt, I do this: I take a bucket from the pantry that my mother uses for this, as well as a mop. I pour hot water into a basin and add a tablespoon of salt to it (to kill germs). I rinse the mop in the basin and squeeze it thoroughly. I wash the floors in each room, starting from the far wall towards the door. I look into all the corners, under the beds and tables, this is where the most crumbs, dust and other evil spirits accumulate. Having washed each […]
- TO mid-19th V. under the influence of the realistic school of Pushkin and Gogol, a new remarkable generation of Russian writers grew up and was formed. The brilliant critic Belinsky already in the 40s noted the emergence of a whole group of talented young authors: Turgenev, Ostrovsky, Nekrasov, Herzen, Dostoevsky, Grigorovich, Ogarev, etc. Among these promising writers was Goncharov, future author"Oblomov", whose first novel " An ordinary story"Aroused high praise from Belinsky. LIFE AND CREATIVITY I. […]
- The 19th century is distinguished by an astonishing depth of understanding human soul in Russian literature. We can answer this question using the example of three great Russian writers: Tolstoy, Gogol and Dostoevsky. Tolstoy in “War and Peace” also revealed the world of the soul of his heroes, doing it “in a masterly manner” and easily. He was a high moralist, but his search for truth unfortunately ended in a departure from the truth of the Orthodox faith, which subsequently negatively affected his work (for example, the novel “Resurrection”). Gogol with his satire [...]
- The Field of Austerlitz is very important for Prince Andrei, there was a reassessment of his values. At first he saw happiness in glory, social activities, career. But after Austerlitz, he “turned” to his family and realized that it was there that he could find true happiness. And then his thoughts became clear. He realized that Napoleon was not a hero or a genius, but simply a pitiful and cruel person. So, it seems to me, Tolstoy shows which path is true: the path of family. Another important scene is a feat. Prince Andrei performed a heroic [...]
- 1. Introduction. The poet's personal attitude to the topic. There is not a single poet who does not write about love, although each of them has his own attitude towards this feeling. If for Pushkin love is a creative feeling, a beautiful moment, a “divine gift” that encourages creativity, then for Lermontov it is confusion of the heart, the pain of loss and, ultimately, a skeptical attitude towards love. To love... but who? For a while it’s not worth the effort, But it’s impossible to love forever..., (“Both boring and sad”, 1840) - muses the lyrical […]
- Introduction Love poetry occupies one of the main places in the work of poets, but the degree of its study is small. There are no monographic works on this topic; it is partially covered in the works of V. Sakharov, Yu.N. Tynyanova, D.E. Maksimov, they talk about it as a necessary component of creativity. Some authors (D.D. Blagoy and others) compare love theme in the works of several poets at once, characterizing some common features. A. Lukyanov considers the love theme in the lyrics of A.S. Pushkin through the prism [...]
- Introduction. Some people find Goncharov's novel “Oblomov” boring. Yes, indeed, throughout the first part Oblomov lies on the sofa, receiving guests, but here we get to know the hero. In general, the novel contains few intriguing actions and events that are so interesting to the reader. But Oblomov is “our people's type,” and it is he who is the bright representative of the Russian people. That's why the novel interested me. In the main character, I saw a piece of myself. You should not think that Oblomov is a representative only of Goncharov’s time. And now they live [...]
- Evgeny Bazarov Anna Odintsova Pavel Kirsanov Nikolay Kirsanov Appearance Long face, broad forehead, huge greenish eyes, nose, flat on top and pointed below. Blonde long hair, sand-colored sideburns, a self-confident smile on thin lips. Naked red arms Noble posture, slender figure, tall stature, beautiful sloping shoulders. Light eyes, shiny hair, a barely noticeable smile. 28 years old Average height, thoroughbred, about 45. Fashionable, youthfully slender and graceful. […]
- Pushkin worked on the novel “Eugene Onegin” for over eight years - from the spring of 1823 to the autumn of 1831. We find the first mention of the novel in Pushkin’s letter to Vyazemsky from Odessa dated November 4, 1823: “As for my studies, I am now writing not a novel, but a novel in verse – a devilish difference.” The main character of the novel is Evgeny Onegin, a young St. Petersburg rake. From the very beginning of the novel it becomes clear that Onegin is very strange and, of course, special person. He was, of course, in some ways similar to the people [...]
- “...the whole horror is that he no longer has a dog’s heart, but a human heart. And the lousiest of all that exist in nature.” M. Bulgakov When the story “Fatal Eggs” was published in 1925, one of the critics said: “Bulgakov wants to become a satirist of our era.” Now, on the threshold of the new millennium, we can say that he has become one, although he did not intend to. After all, by the nature of his talent he is a lyricist. And the era made him a satirist. M. Bulgakov was disgusted by bureaucratic forms of government […]
N.M. Karamzin wrote an extremely touching and dramatic story about a simple and at the same time eternal situation: she loves, but he does not. But before answering the question about what is the characterization of Lisa from the story “Poor Lisa,” you need to at least refresh your memory a little about the plot of the work.
Plot
Lisa is an orphan. Left without a father, she is forced to go to work: selling flowers in the city. The girl is very young and naive. On one of her “working days,” Lisa saw a young man (Erast) in the city who bought flowers from her, paying 20 times more than they cost. Erast said at the same time that these hands should pick flowers only for him. However, the next day he did not show up. Lisa was upset (like all young girls, she was very susceptible to compliments). But the next day, Erast himself visited Lisa at her home and even talked to her mother. The young man seemed very pleasant and polite to the old mother.
Things went on like this for some time. Erast reveled in Lisa’s virginity and purity, and she (a peasant girl of the 19th century) was simply stunned by the advances of a handsome young nobleman.
The turning point in the relationship came when Lisa spoke about her possible imminent marriage. She was upset and depressed, but Erast calmed her down and painted her future and said that the sky above them would be filled with diamonds.
Lisa cheered up a little - she believed Erast and, in a wave of relief, gave him her innocence. As one might expect, the nature of the meetings has changed. Now Erast again and again took possession of the girl, now without a twinge of conscience using her for his needs. Then Erast got bored with Lisa and his relationship with her, and he decided to run away from all this hardship into the army, where he did not serve the Fatherland, but quickly squandered his fortune.
Returning from the army, Erast, of course, didn’t say a word to Lisa about this; she herself once saw him on the street in a carriage. She rushed to him, but after a not very pleasant conversation that happened between them, ex-lover threw Lisa out the door, putting money in her.
Out of such grief, Lisa went and drowned herself in the pond. The old mother followed her in. As soon as she learned about the death of her daughter, she immediately had a stroke and died.
Now we are ready to answer the question of what is the characteristic of Lisa from the story “Poor Lisa”.
Lisa's character
Lisa was practically a child, even though she had to go to work early because her father died. But she did not have time to learn life properly. The girl’s inexperience attracted the young superficial nobleman, who saw the purpose of his life in pleasure. Poor Liza with her admiration is also in this row. Erast was very flattered by the attitude of such a young and such a fresh girl, but she was naive to the extreme. She took the attitude of the young rake at face value, and this was all a game out of boredom, in fact. Who knows, maybe even Lisa secretly hoped for the lady’s position over time. Among her other character qualities, it is worth noting kindness and spontaneity.
Perhaps we have not described all facets of personality main character, but, as it seems, there is enough information here for the characterization of Lisa from the story “Poor Lisa” to be understandable and covering the very essence of her being.
Erast and its internal content
Second main thing actor story - Erast is a typical esthetician and hedonist. He lives only to enjoy. He has intelligence. He could have been brilliantly educated, but instead the young master is simply wasting his life, and Lisa is entertainment for him. While she was pure and immaculate, the girl interested Erast, how the ornithologist was fascinated by the species of birds he had recently discovered, but when Lisa surrendered to Erast, she became the same as everyone else, which means he became bored, and he, driven by a thirst for pleasure, moved on , without really thinking about the consequences of his vile behavior.
Although the behavior of a young man becomes unethical only through the prism of certain moral values. If a person is unprincipled (as Erast was), then he cannot even feel the share of baseness that is contained in his actions.
A person who seeks only pleasure in life is superficial by definition. He is not capable of deep feelings. And, of course, he is an opportunist, as evidenced by Erast’s marriage for money with an already middle-aged widow.
The confrontation between Lisa and Erast is like a struggle between light and shadow, good and evil
At first glance, it seems that Lisa and Erast are like day and night or good and evil. Accordingly, the characterization of Lisa from the story “Poor Lisa” and the characterization of Erast are deliberately contrasted by the author of the story, but this is not entirely true.
If the image of Lisa is good, then neither the world nor people need such good. It's simply not viable. Nevertheless, in general, the story “Poor Liza” is well written (if a little sentimental). The characteristic of Lisa that can exhaustively define her is naivety, reaching the point of stupidity. But this is not her fault, because we are talking about a peasant girl of the 19th century.
Erast is also not evil in its pure form. Evil requires strength of character, and the young nobleman is not endowed with it, unfortunately. Erast is just an infantile boy running away from responsibility. It is completely empty and meaningless. His behavior is disgusting, but it is difficult to call him evil, much less the embodiment of evil. This is all that the story “Poor Lisa” revealed to us. The description of Erast is more than exhaustive.