Search results for \"bad person\". The Evil Eye Can an evil person be the author of

Reproduced from the publication: N.M. Karamzin. Selected works in two volumes. M.; L., 1964 They say that the author needs talents and knowledge: a sharp, penetrating mind, a vivid imagination, and so on. Fair enough, but that's not enough. He also needs to have a kind, tender heart if he wants to be a friend and favorite of our soul; if he wants his gifts to shine with a flickering light; if he wants to write for eternity and collect the blessings of the nations. The Creator is always portrayed in creation and often against his will. It is in vain that the hypocrite thinks to deceive the readers and to hide an iron heart under the golden clothes of magnificent words; in vain speaks to us of mercy, compassion, virtue! All his exclamations are cold, without soul, without life; and the nourishing, ethereal flame will never pour from his creations into the tender soul of the reader. If heaven endowed some monster with the great talents of the glorious Aruet (Defender and patron of the innocent, benefactor of the Kalas family, benefactor of all the Ferney inhabitants, of course, had no evil heart.), Then, instead of the beautiful "Zaire", he would write a caricature of "Zaire ". The purest healing nectar in an impure vessel becomes a nasty, poisonous drink. When you want to paint your portrait, first look in the right mirror: can your face be an object of art, which should be graceful, depict beauty, harmony and disseminate in sensitive areas pleasant experience? If a creative nature produced you in an hour of negligence or in a moment of strife with beauty: then be prudent, do not disgrace the artist's brush - leave your intention. You take up your pen and want to be an author: ask yourself, in private, without witnesses, sincerely: what am I? for you want to paint a portrait of your soul and heart. Do you really think that Gesner could so charmingly portray the innocence and good nature of shepherds and shepherdesses, if these amiable features were alien to his own heart? You want to be an author: read the history of the misfortunes of the human race - and if your heart does not bleed, leave the pen - or it will portray to us the cold gloominess of your soul. But if everything that is sorrowful, everything that is oppressed, everything that weeps open the way to your sensitive chest; if your soul can rise to passion for good can nourish in itself the sacred, not limited by any spheres desire for the common good: then boldly call on the goddesses of Parnassus - they will pass by magnificent halls and visit your humble hut - you will not be a useless writer - and none of the good will look with dry eyes at your grave. A syllable, figures, metaphors, images, expressions - all this touches and captivates when animated by feeling; if it does not inflame the writer's imagination, then never will my tear, never my smile be his reward. Why do we like Jean-Jacques Rousseau with all his weaknesses and delusions? Why do we love to read him even when he is daydreaming or entangled in contradictions? “Because in his very delusions sparks of passionate philanthropy sparkle; because his very weaknesses show a certain sweet good nature. On the contrary, many other authors, despite their learning and knowledge, disturb my spirit even when they speak the truth: for this truth is dead in their mouth; for this truth is not poured out of a good heart; for the breath of love does not warm her. In a word: I am sure that a bad person cannot be a good author.

Subjectivism becomes the law of Karamzin's creativity. His theme - human personality - for him is expressed, first of all, in the theme of the personality of the author himself. He considers it necessary to emphasize that the very problems of the psychology of creativity, the very essence literary work he understands in a new way. Rational norms, rules and models for him can no longer determine the artistic structure; work of art, in

understanding, reflects not the ideal scheme of the objective world, but the personal character of its individual creator. Even M. N. Muravyov said that the truth is only the author's own thoughts. Truth for Karamzin is not an objective correspondence to reality, but the subjective truthfulness of the story about psychological self-observation. At the same time, Karamzin, like Muravyov and other noble sentimentalists, limits the range of emotions and character traits subject to aesthetic expression to only “pleasant”, “gentle”, “meek” experiences. The world of art is for him the world of dreams of good peaceful people, a world of escape from the real class struggle. Therefore, he recognizes as aesthetically valuable only those works that are capable of creating the psychological states of tenderness that he needs socially. All this requires a special disposition of the author's soul, since a work in a given subjectivist system of creativity should be, as it were, a reflection of this soul. Karamzin wrote a special article "What does the author need?" (1793), and here are the abstracts of this article: “They say that the author needs talents and knowledge, a sharp, penetrating mind, a vivid imagination, and so on. Fair; but this is not enough. He also needs a kind, tender heart if he wants to be a friend and favorite of our souls”; "the creator is always depicted in creation, and often against his will." 15

Tale of Karamzin Poor Lisa"as a work of sentimental literature

Sentimentalism of "Poor Lisa"

Tale Poor Lisa was written by Karamzin in 1792. In many ways, it corresponds to European standards, because of which it caused a shock in Russia and turned Karamzin into the most popular writer.

At the center of this story is the love of a peasant woman and a nobleman, and the description of the peasant woman is almost revolutionary. Prior to this, two stereotypical descriptions of peasants had developed in Russian literature: either they were unfortunate oppressed slaves, or comical, rude and stupid creatures that you could not even call people. But Karamzin approached the description of the peasants in a completely different way. Liza does not need to be sympathized with, she has no landowner, and no one oppresses her. There is also nothing comic in the story. But there is a famous phrase And peasant women know how to love, which turned the minds of the people of that time, because. they finally realized that the peasants are also people who have their own feelings.

Features of sentimentalism in "Poor Liza"

In fact, there is very little that is typically peasant in this story. The images of Lisa and her mother do not correspond to reality (a peasant woman, even a state woman, could not only sell flowers in the city), the names of the heroes are also taken not from the peasant realities of Russia, but from the traditions of European sentimentalism (Lisa is derived from the names Eloise or Louise, typical of European novels).

At the heart of the story lies a universal idea: every person wants to be happy. Therefore, the main character of the story can even be called Erast, and not Lisa, because he is in love, dreams of an ideal relationship and does not even think about something carnal and vile, wishing live with Lisa like brother and sister. However, Karamzin believes that such pure platonic love cannot survive in the real world. Therefore, the culmination of the story is the loss of innocence by Liza. After that, Erast ceases to love her as purely, because she is no longer an ideal, she has become the same as other women in his life. He begins to deceive her, the relationship breaks down. As a result, Erast marries rich woman, while pursuing only selfish goals, not being in love with her.

When Lisa finds out about this, having arrived in the city, she is beside herself with grief. Considering that she has no more reason to live, because. her love is destroyed, the unfortunate girl rushes into the pond. This move emphasizes that the story is written in the tradition of sentimentalism, after all, Liza is driven exclusively by feelings, and Karamzin makes a strong emphasis on describing the feelings of the characters in Poor Liza. From the point of view of reason, nothing critical happened to her - she is not pregnant, not disgraced before society ... Logically, there is no need to drown herself. But Lisa thinks with her heart, not her mind.

One of Karamzin's tasks was to make the reader believe that the characters actually existed, that the story was real. He repeats several times what he writes not a story, but a sad story. The time and place of action are clearly indicated. And Karamzin achieved his goal: people believed. The pond, in which Liza allegedly drowned herself, became the site of mass suicides of girls who were disappointed in love. The pond even had to be cordoned off, which gave rise to an interesting epigram:

Here Erast's bride threw herself into the pond,

Drown, girls, there's plenty of room in the pond!

Moral and ethical problems of the letters of the Russian traveler. Karamzin

The main work of the first half of creativity - "Letters of a Russian traveler"; the second - "History of the Russian State". On this occasion, Pushkin wrote: "A fool alone does not change, because time does not bring him development, and experiments do not exist for him." 3

Historians note that Karamzin's evolution can be defined as a transition from "Russian cosmopolitanism" to "pronounced national narrow-mindedness", an excerpt from "Letters of a Russian Traveler" is usually cited: "... Peter moved us with his with a powerful hand... ". 4

Already in the "Letters of a Russian Traveler" one can find an idea that contains in embryo the future appeal of the author to national history: "It hurts, but it must be fair to say that we still do not have a good Russian history, that is, written with a philosophical mind, with criticism, with noble eloquence." Acquaintance with Russian chronicles, -

works of historians M.M. Shcherbatova, V.N. Tatishcheva, I.N. Boltina and others led Karamzin to the realization of the need to find a "philosophical method for the arrangement of objects" in the study of a rich in great events Russian history. And recognizing that we need a "philosopher-historian", Karamzin, being, according to V.G. Belinsky, “everywhere and in everything ... not only a reformer, but also an initiator, a creator”, on his own initiative, having achieved the title of court historiographer, for many years he “took the vows of historians” (P.A. Vyazemsky’s expression). 5

The researcher of this book, V.V. Sipovsky, speaks about the richness and diversity of “life by feeling” in the “Letters of a Russian Traveler”: “Nature, art, humane ideas - all this excites our traveler, all this sets him in a certain way, causes corresponding echoes in his sensitive soul. “The journey was undertaken by him, by the way, precisely with the aim of“ knowing himself ”: he was waiting for a mass of various impressions, and therefore diligently looked for something interesting for the heart, hoping in this way to make a series of experiments on his soul. “What is more entertaining for a man than himself?” he exclaims. 6

In 1790, in Letters from a Russian Traveler, Karamzin outlined his idea of ​​Russian history: “They say that our history in itself is less entertaining: I don’t think, only mind, taste, and talent are needed. You can choose, animate, color; and the reader will be surprised how something attractive, strong, worthy of attention not only of Russians, but also of foreigners could come out of Nestor, Nikon, etc. ... We had our own Charlemagne: Vladimir; his Louis XI: Tsar John; his Cromwell: Godunov, and also such a sovereign, who was nowhere like him: Peter the Great. Karamzin's interest in history manifested itself in
writing historical stories - "Marfa Posadnitsa", "Natalia - Boyar's Daughter". In 1800, he admitted that “He got into Russian history up to his ears; I sleep and see Nikon with Nestor. 7

Probably none of the superstitions that arose thousands of years ago was as widespread as the belief in "evil eye".

If a person suddenly fell ill with an unknown disease, it was believed that he was jinxed. If the chickens stopped laying, the cows did not give milk, the cattle fell, the house caught fire - the "evil eye" of some local witch was to blame.

Belief in this phenomenon was especially strong in Europe in the Middle Ages. In all countries, the fires of the Inquisition burned, thousands of women were burned, accused of causing harm through the "evil eye".

Belief in the "evil eye" is ubiquitous in our time. Many people are ashamed to admit it. Nevertheless, having entered into trust, one can hear the most amazing stories about cases of the "evil eye" from the lips of highly educated and respected people.

In addition to the evil eye, people believe in "slander". For example, a child is growing quite healthy, but suddenly a neighbor meets him and says to his mother: “What a healthy guy you have grown up!” These words are pronounced "not in good hour”, and from that time the child begins to get sick, lose weight and wither away.

Not only his enemies, but also close people can slander a person (for example, his own mother can cause such harm to a child). In rare cases, a person may even slander himself. Therefore, in a conversation, peasants often insert: “To say at an hour”, “would not make a reservation”, etc. It is believed that these sayings prevent a slander.

In his book "On Nature" Avicenna wrote: "Often the soul affects another's body in the same way as its own - as, for example, when exposed to the evil eye."

Back in the Middle Ages, the most advanced scientists guessed that the human eye is capable of releasing the mysterious energy “od”, which can affect others. This energy was discovered only 120 years ago, after photography was invented.

One of the first to record the mysterious radiation of the eyes on a photographic plate was the Parisian artist Pierre Boucher. This happened by accident. As he himself said, in the evening he "drunk himself to hell." All night, in a drunken delirium, he dreamed of devils with pitchforks chasing him. Early in the morning, without getting enough sleep, he went to the laboratory: the customers could not wait, and therefore it was urgent to develop the photographic films taken the day before.

Cassettes lay interspersed on the desktop, both exposed and blank. Bush did not figure out which of them to show, which not - he showed everything. And he was dumbfounded: the same vile faces of night guests with pitchforks looked at him from photographic plates.

Scientists became interested in this phenomenon and soon the first publications about "psychic photographs" appeared in the press.

Signs of people with the evil eye

The belief that the gaze has a mysterious power that can harm other people, pets and plants has been common among all peoples living on earth since ancient times.

Even in the ancient Roman Empire, there was a law according to which a person guilty of the evil eye could be sentenced to death penalty. The "evil eye" is spoken of in Arabic tales, Scandinavian sagas, in the traditions of the Australians and the Aztecs.

Belief in the "evil eye" has survived to this day. And since people are afraid of the evil eye, they want to know from whom it can come, and therefore they strive to find external signs that distinguish the person who should beware.

What are these signs? How to determine if a person is capable of harming you with his gaze?

Ways to identify the owner of the "evil eye" are different for different peoples. But it is always assumed that a person with an "evil eye" is given out either by physical flaws that are conspicuous, or by oddities in behavior and appearance. So, in ancient times, the Romans and Greeks were wary of people suffering from strabismus (by the way, strabismus is one of the signs of telepathic abilities), people with large bulging eyes, as well as people with deep-set small eyes. Of particular concern were people whose irises had different colors (for example, one eye was blue and the other brown).

Residents of the southern regions of the Earth, where black-eyed aborigines predominantly lived, usually shunned blue-eyed and gray-eyed people, and, conversely, people from the north were afraid of people with dark eyes.

The feeling of fear was caused by people with lush eyebrows, as well as those whose eyebrows grew together.

Other signs by which you can distinguish people with the "evil eye":

1. One-eyed people (because a one-eyed person will always envy a person with two eyes; this is probably why in many nations the one-eyed giant always embodies the forces of evil).

2. Toothless people or people with bad body odor.

3. People whose complexion is different from normal (yellowish, sallow).

4. People suffering from thinness.

5. People seeking solitude (lonely, withdrawn, silent).

6. People talking to themselves.

7. In some countries, monks of mendicant orders (Italy), monks with long and flowing beards (Naples), blacksmiths, rope-makers, coopers (Brittany) and, in general, all beggars were ranked among people capable of jinxing.

At all times it has been widely believed that old ugly women have a "bad look" and are witches. Pythagoras also advised not to go anywhere and stay at home if an ugly old woman met at the door.

Witch's Evil Eye

During the Inquisition, the owners of the "evil eye" were searched all over Europe and mercilessly burned at the stake. The concepts of "evil eye" and "witch" have always been inseparable from each other. There were more and more trials of witches and sorcerers. A scientific substantiation of the charges made was required, and it was not long in coming. All the major philosophers and theologians of that time were engaged in the study of sorcery.

One of them was Saint Thomas Aquinas. Through philosophical reflection, he came to the conclusion that “due to strong mental stress, changes and movements occur in the elements of the human body.

They are mainly connected with the eyes, which, by means of a special radiation, infect the air at a considerable distance.

Thomas Aquinas was convinced that the gaze of people prone to evil is poisonous and brings damage. First of all, it harms children, who are very impressionable. St. Thomas added that "with God's permission or for some other hidden reason, it does not do here without the malice of the devil if a woman has entered into an alliance with him."

In the Middle Ages, it was believed that the owners of the "evil eye" were most often menstruating women. “New and clean mirrors become cloudy when a woman looks into them during menstruation,” such an opinion was common in many countries. Some authors told about cases when, in the presence of such women, the strings of musical instruments were torn, cucumbers and pumpkins withered.

In December 1484, Pope Innocent VIII promulgated a bull stating that many people in Germany and some other countries “by their sorcery, charms, spells and other terrible superstitious vicious and criminal deeds cause women premature birth, send spoilage on the offspring of animals, cereals, grapes on vines and fruits on trees, as well as spoil men, women, domestic animals and other animals, as well as vineyards, gardens, meadows, pastures, fields, bread and all earthly growths; that they mercilessly torment both internal and external terrible pains of men, women and domestic animals; that they prevent men from producing and women from begetting children, and deprive husbands and wives of the ability to perform their conjugal duties; that, moreover, with blasphemous lips they renounce the very faith received at holy baptism, and that, at the instigation of the enemy of the human race, they dare to commit countless other kinds of unspeakable villainies and crimes, to the destruction of their souls, to an insult to divine majesty. and to the temptation of many multitudes of people.”

The fight against witches in Germany and France was led by members of the Dominican order, professors of theology G. Institoris and J. Sprenger. They not only led the investigations and executions of thousands of people, but also compiled the Witches' Hammer manual for the Inquisition, which talked about the methods of witchcraft and the signs by which it was possible to guess the witch. The same book spoke of the evil eye.

“It may happen,” wrote G. Institoris and J. Sprenger, “that a man or woman, having cast a glance at the body of a boy, makes some changes in him with the help of an evil eye, imagination or sensual passion.

Sensual passion is connected with a certain change in the body. The eyes, on the other hand, perceive impressions easily. Therefore, it often happens that internal bad excitement gives them a bad imprint. The power of imagination is easily reflected in the eyes due to their sensitivity and proximity of the center of imagination to the senses.

If the eyes are full of malefic properties, it may happen that they impart bad qualities to the surrounding air. Through the air they reach the eyes of the boy they are looking at, and reach through them to his internal organs. As a result, he is deprived of the opportunity to digest food, bodily development and growth.

Experience allows you to see this with your own eyes. We see that a person suffering from an eye disease can, at times, with his gaze, bring damage to the one who looks at him. This happens because the eyes, full of evil properties, infect the surrounding air, through which the healthy eyes of the one who looks at them become infected.

Infection is transmitted in a straight line ... In this case, the imagination of someone who believes that he can become infected is of great importance.

Today in the lesson we will talk about the story of N.M. Karamzin "Poor Lisa", learn the details of its creation, historical context, we will determine what the author's innovation is, analyze the characters of the heroes of the story, and also consider the moral issues raised by the writer.

It must be said that the publication of this story was accompanied by extraordinary success, even a stir among the Russian readership, which is not surprising, because the first Russian book appeared, the heroes of which could be empathized in the same way as Goethe's The Sufferings of Young Werther or The New Eloise by Jean-Jacques Rousseau. We can say that Russian literature began to become on the same level with European. The enthusiasm and popularity were such that even a pilgrimage to the place of events described in the book began. As you remember, the case takes place not far from the Simonov Monastery, the place was called "Lizin's pond". This place is becoming so popular that some evil-speaking people even compose epigrams:

Drowned here
Erast's bride...
Get drunk girls
There's plenty of room in the pond!

Well, can you do
Godless and worse?
Fall in love with a tomboy
And drown in a puddle.

All this contributed to the unusual popularity of the story among Russian readers.

Naturally, the popularity of the story was given not only by the dramatic plot, but also by the fact that it was all artistically unusual.

So before Karamzin, no one had ever written in Russia. Moreover, the unusualness began already with the exposition, with a description of the place where the action of the story would take place.

“Perhaps no one living in Moscow knows the surroundings of this city as well as I do, because no one more often than me is in the field, no one more than me wanders on foot, without a plan, without a goal - where the eyes look - through the meadows and groves, hills and plains. Every summer I find new pleasant places or new beauties in old ones. But most pleasant for me is the place on which the gloomy, Gothic towers of the Si ... New Monastery rise.(Fig. 3) .

Rice. 3. Lithography of the Simonov Monastery ()

Here, too, there is unusualness: on the one hand, Karamzin accurately describes and designates the place of action - the Simonov Monastery, on the other hand, this encryption creates a certain mystery, understatement, which is very much in line with the spirit of the story. The main thing is the installation on the non-fiction of events, on documentary. It is no coincidence that the narrator will say that he learned about these events from the hero himself, from Erast, who told him about this shortly before his death. It was this feeling that everything happened nearby, that one could be a witness to these events, intrigued the reader and gave the story special meaning and special character.

Rice. 4. Erast and Lisa ("Poor Lisa" in a modern production) ()

It is curious that this private, uncomplicated story of two young people (the nobleman Erast and the peasant woman Lisa (Fig. 4)) turns out to be inscribed in a very wide historical and geographical context.

“But the most pleasant for me is the place where the gloomy, Gothic towers of the Si ... new monastery rise. Standing on this mountain, you see on the right side almost all of Moscow, this terrible mass of houses and churches, which appears to the eyes in the form of a majestic amphitheater»

Word amphitheater Karamzin singles out, and this is probably no coincidence, because the scene becomes a kind of arena where events unfold, open to the eyes of everyone (Fig. 5).

Rice. 5. Moscow, XVIII century ()

“a magnificent picture, especially when the sun shines on it, when its evening rays blaze on countless golden domes, on countless crosses, ascending to the sky! Below are fat, densely green flowering meadows, and behind them, on yellow sands, a bright river flows, agitated by the light oars of fishing boats or rustling under the helm of heavy plows that float from the most fruitful countries. Russian Empire and endow greedy Moscow with bread"(Fig. 6) .

Rice. 6. View from Sparrow Hills ()

On the other side of the river, an oak grove is visible, near which numerous herds graze; there the young shepherds, sitting under the shade of the trees, sing simple, melancholy songs, and thereby shorten the summer days, so uniform to them. Farther away, in the dense greenery of ancient elms, the golden-domed Danilov Monastery shines; still farther, almost at the edge of the horizon, the Sparrow Hills turn blue. On the left side, you can see vast fields covered with bread, forests, three or four villages, and in the distance the village of Kolomenskoye with its high palace.

Curiously, why does Karamzin frame private history with this panorama? It turns out that this history is becoming a part of human life, a part of Russian history and geography. All this gave the events described in the story a generalizing character. But, giving a general hint at this world history and this extensive biography, Karamzin nevertheless shows that private history, the history of individual people, not famous, simple, attracts him to itself much more strongly. 10 years will pass, and Karamzin will become a professional historian and begin to work on his "History of the Russian State", written in 1803-1826 (Fig. 7).

Rice. 7. Cover of the book by N. M. Karamzin "History of the Russian State" ()

But for now, the focus of his literary attention is the story of ordinary people - the peasant woman Lisa and the nobleman Erast.

Perhaps the main artistic discovery of Karamzin in "Poor Liza" is the image of the narrator, the narrator. We are talking on behalf of a person who is interested in the fate of his heroes, a person who is not indifferent to them, who sympathizes with other people's misfortunes. That is, Karamzin creates the image of the narrator in full accordance with the laws of sentimentalism. And now this is becoming unprecedented, this is the first time in Russian literature.

Sentimentalism- this is a worldview and a tendency of thinking aimed at identifying, strengthening, emphasizing the emotional side of life.

In full accordance with Karamzin's intention, the narrator does not accidentally say: “I love those objects that touch my heart and make me shed tears of tender sorrow!”

The description in the exposition of the fallen Simonov Monastery, with its collapsed cells, as well as the crumbling hut in which Liza and her mother lived, introduce the theme of death into the story from the very beginning, creates that gloomy tone that will accompany the story. And at the very beginning of the story, one of the main themes and favorite ideas of the figures of the Enlightenment sounds - the idea of ​​the extra-class value of a person. And it sounds weird. When the narrator talks about the history of Liza's mother, about the early death of her husband, Liza's father, he will say that she could not be consoled for a long time, and will utter the famous phrase: "... for even peasant women know how to love".

Now this phrase has become almost catchy, and we often do not correlate it with the original source, although in Karamzin's story it appears in a very important historical, artistic and cultural context. It turns out that the feelings of common people, peasants are no different from the feelings of noble people, nobles, peasant women and peasants are capable of subtle and tender feelings. This discovery of the extra-class value of a person was made by the figures of the Enlightenment and becomes one of the leitmotifs of Karamzin's story. And not only in this place: Liza will tell Erast that there can be nothing between them, since she is a peasant woman. But Erast will begin to console her and will say that he does not need any other happiness in life, except for Lisa's love. It turns out that, indeed, the feelings of ordinary people can be as subtle and refined as the feelings of people of noble birth.

At the beginning of the story, another very important topic will sound. We see that in the exposition of his work, Karamzin concentrates all the main themes and motives. This is the theme of money and its destructive power. At the first date of Lisa and Erast, the guy will want to give her a ruble instead of the five kopecks requested by Lisa for a bouquet of lilies of the valley, but the girl will refuse. Subsequently, as if paying off Liza, from her love, Erast will give her ten imperials - one hundred rubles. Naturally, Liza will automatically take this money, and then she will try through her neighbor, a peasant girl Dunya, to transfer it to her mother, but this money will also be of no use to her mother. She will not be able to use them, because upon the news of Lisa's death, she herself will die. And we see that, indeed, money is the destructive force that brings misfortune to people. Suffice it to recall the sad story of Erast himself. For what reason did he refuse Lisa? Leading a frivolous life and losing at cards, he was forced to marry a wealthy elderly widow, that is, he, too, is actually sold for money. And this incompatibility of money as an achievement of civilizations with the natural life of people is demonstrated by Karamzin in Poor Liza.

With a fairly traditional literary plot - a story about how a young rake-nobleman seduces a commoner - Karamzin nevertheless solves it not quite traditionally. It has long been noted by researchers that Erast is not at all such a traditional example of an insidious seducer, he really loves Lisa. He is a man with a good mind and heart, but weak and windy. And it is this frivolity that destroys him. And destroys him, like Lisa, too strong sensitivity. And here lies one of the main paradoxes of Karamzin's story. On the one hand, he is a preacher of sensitivity as a way of moral improvement of people, and on the other hand, he also shows how excessive sensitivity can bring detrimental consequences. But Karamzin is not a moralist, he does not call to condemn Liza and Erast, he calls on us to sympathize with their sad fate.

Just as unusual and innovative Karamzin uses landscapes in his story. The landscape for him ceases to be just a scene of action and a background. The landscape becomes a kind of landscape of the soul. What happens in nature often reflects what happens in the soul of the characters. And nature seems to respond to the characters on their feelings. For example, let's remember a beautiful spring morning when Erast first sails along the river in a boat to Lisa's house, and vice versa, a gloomy, starless night, accompanied by a storm and thunder, when the heroes fall into sin (Fig. 8). Thus, the landscape also became an active artistic force, which was also an artistic discovery of Karamzin.

Rice. 8. Illustration for the story "Poor Liza" ()

But the main artistic discovery is the image of the narrator himself. All events are presented not objectively and dispassionately, but through his emotional reaction. It is he who turns out to be a genuine and sensitive hero, because he is able to experience the misfortunes of others as his own. He mourns his too sensitive heroes, but at the same time remains true to the ideals of sentimentalism and a faithful adherent of the idea of ​​\u200b\u200bsensibility as a way to achieve social harmony.

Bibliography

1. Korovina V.Ya., Zhuravlev V.P., Korovin V.I. Literature. Grade 9 Moscow: Enlightenment, 2008.
2. Ladygin M.B., Esin A.B., Nefyodova N.A. Literature. Grade 9 Moscow: Bustard, 2011.
3. Chertov V.F., Trubina L.A., Antipova A.M. Literature. Grade 9 M.: Education, 2012.

1. Internet portal "Lit-helper" ()
2. Internet portal "fb.ru" ()
3. Internet portal "KlassReferat" ()

Homework

1. Read the story "Poor Liza".
2. Describe the main characters of the story "Poor Liza".
3. Tell us, what is Karamzin's innovation in the story "Poor Liza".

Bad or bad we can call a person who experiences the need to harm others and implements it, consciously or semi-consciously, which can be expressed in the spread of nasty things, the imposition of guilt and morally dubious beliefs.

This does not mean that all people should be divided into good and bad once and for all - we all have strong and weak sides, everyone can do right or wrong - however, this does not negate the fact that in a specific period of time this or that person can be bad or decent for us. And this gap can be very long ...

Some people become instruments of God, others may become instruments of the lower worlds, disrupting mental balance surrounding. On an intuitive level, they are able to capture our sensitive places, areas of uncertainty and doubt, and put pressure on them at the most inopportune moment. At the same time, everything may look random and unintentional on the outside, but it tends to repeat itself from time to time.

So, once I had to submit documents for a project, which I had been preparing for a very long time and in the end I was extremely psychologically exhausted. After everything was arranged, and they were accepted from me, with a clear conscience I went to meet my old acquaintances in a cafe.

I was not alone in my research: one of them also went through a similar project and was familiar with the application process. While I was waiting for the dish I ordered from the waiter, the talk turned to technical difficulties, and this acquaintance began to argue that it was necessary to submit another voluminous document. My cheekbones crumpled. Have I really spoiled the work of two years by providing the wrong package of documents?! Having overcome the feeling of embarrassment, I asked my friend about it again and received an affirmative answer.

I went home on my own. It was Sunday, and it was possible to start the procedure for submitting additional documents only in the morning. But I was not sure that the time was not lost forever. I tried not to get hysterical, which didn't work very well. The next morning, I turned to other knowledgeable people for advice, and also reread the project requirements. It turned out that the documents in question were never required, and I did everything right.

I still can't fully explain this case to myself. But when similar accidents happened again with the same person, I thought hard. Considering other troubles that arose before in communication, I decided to end the relationship, henceforth limiting myself to words of greeting and a polite question “how are you?”

Sometimes our path to our goal takes a lot of time, requires effort, concentration and the rejection of some other benefits and entertainment. The result is not always visible immediately, and our choice is understandable to people.

For example, many women and men are looking for strong long-term relationships and true love. However, there are often “friends” and “well-wishers” who have long conversations about the fact that nothing like this happens in life. Others begin to reproach that love was not found because of our wrong behavior. At the same time, many people forget that things are not going well for them themselves, or that they themselves were recently alone. Still others just talk about their wild life and constantly describe drunken parties and short-term relationships as a form of heroism.

Of course, each person has the right to choose his own model of behavior and live the way he wants. But does he have the right to constantly rub salt in the wound and devalue goals that are important to others?

The main antidote in such situations is awareness true state of affairs And rejection of stereotypes alien to us. The value of our good deeds should be clear, first of all, to ourselves, and we have the right to repulse those who impose otherwise on us. If necessary, you can limit or exclude communication with individuals or to fence off morally from them.

If a person on the way to his goal experiences doubts and worries about the result, it can be especially painful for him to listen to various bad arguments. Sometimes there is a feeling of annoyance and inner pain, it seems that the chosen goals are wrong, there is anguish and uncertainty, even envy for the lives of others.

Here it is very important to distinguish what we envied: bad or good. If something happened to our neighbor, and we are annoyed that we ourselves do not have it, this is understandable, although not very beautiful. This is treated with the realization that we are all individual, everyone has their own life, with their own trials and achievements, and God has a providence for all of us. The neighbor is not to blame for our difficulties in this case. If we envied the bad, were seduced by dishonesty and the easy achievement of goals with the help of dubious means, it is necessary for ourselves to give these facts an unambiguous assessment. We may well condemn unseemly acts, while trying to be indulgent with human weaknesses, which is the meaning of the commandment “do not judge, you will not be judged”.

We need to return to the thought of what is really important to us, what virtues we value and what we do not accept. As a rule, this dispels annoyance and gives us peace of mind and strength to move on in the right direction. And if unpleasant and bad people can be bypassed, then why create difficulties for yourself where they are optional.

Well and we should not forget about our own shortcomings and cockroaches either and if we have already acted as a bad person for someone, we need to repent and try to make amends. And the Lord will be merciful to all of us sinners.

As they say, with the reverend you will be reverend ...

That's what you just said, I don't understand.

(c) The film "The Island"