Biology 

The image of Lisa and the world of her emotional experiences. Characteristics of the hero Lisa, Poor Lisa, Karamzin

(The illustration shows a portrait painted by O. Kiprensky based on the work of N.M. Karamzin “Poor Liza”)

Poor girl Lisa is the main character of the story by N.M. Karamzin “Poor Liza”, published in 1792 in the “Moscow Journal” and is a striking example of classic sentimental prose. At that time, a dogmatic, ecclesiastical orientation reigned in Russian literature, completely devoid of feelings and emotions. The story, written by the author after visiting more advanced Europe, where the public was engrossed in samples of sentimental literature, became a real breakthrough in Russian literature of the late 18th and early 19th centuries and marked a new stage in its further development. It contains all the most striking signs of sentimentalism: idealized heroes, simple and understandable problems for the general public, a very mediocre and far from new storyline (the seduction of a poor peasant girl by a rich master in the conditions of ordinary Russian reality).

Characteristics of the heroine

Liza is a simple and hardworking 17-year-old peasant girl who cannot even read or write, who earns her living by selling flowers in the spring and berries in the summer. Selling lilies of the valley for five kopecks, she refuses a generous offer to buy them for a ruble, because this contradicts her honest and modest nature, far from pragmatism and material enrichment. The poor thing does not refuse any work (weaving canvas, knitting socks, selling flowers and berries) in order to somehow support herself and her sick old mother, who lives with her in a poor empty hut on a green meadow near the local monastery.

The girl is distinguished by a calm and quiet disposition, timidity and shyness in communication (she blushes easily and is embarrassed when talking with strangers). At the same time, she has an attractive Slavic appearance (blond hair, blue eyes), a sensual and vulnerable soul, capable of passionate love and loyalty to the very grave. Her naivety, kindness and inexperience ultimately lead to the sad ending of her love relationship with a young rake and spendthrift, who used her for his own purposes and, after completely cooling off, married a rich widow for the sake of his fortune.

Having met a young and attractive nobleman Erast in the city, Lisa first feels deep sympathy for him, and then falls madly in love, completely immersed in the ocean of passions and discarding all reasonable arguments. Her pure and childishly naive soul does not see evil in people and attributes only light and good things to them, although her old mother warns her about how “evil people can offend a poor girl.”

Having given all of herself without looking back to the sophisticated seducer Erast, Lisa cannot even imagine how this could end for her and believes him without looking back. Under his harmful influence, she becomes secretive and insincere and begins to hide from her mother, who was closest to her in the world, her relationship with the young nobleman. Later, trying to pay off his former lover, he gives Lisa 100 rubles, which she, in turn, after her tragic death sends to her poor mother, also trying to somehow brighten up the terrible sin she committed. And the elderly mother, having learned about the death of her only joy in life, her beloved daughter, immediately falls dead. Then other unfortunate girls in love began to come to the grave where the simple peasant girl Liza was buried with such a tragic fate to grieve and cry about their broken heart and cruelly trampled feelings.

The image of the heroine in the work

The tragic ending at the end of this work, although it fully fits into the concept of a classic sentimental novel, was still a bit of a shock for the Russian reader of that time, accustomed to a happy ending to events, and led to a real revolution in their consciousness. However, those strong emotions and feelings caused by the suicide of the main character would have been impossible to evoke if the ending of the story had been less sad and tragic. In “Poor Liza,” Karamzin, for the first time in Russian literature, contrasts the city (the bright representative is the young nobleman Erast) with the village (the sweet and trusting child of nature Liza). A village girl, simple and naive, finds herself defenseless against a cunning and treacherous city dweller and dies, unable to withstand the cruelty and soullessness of the world around her.

Makshegulov Ilshat Ilgizovich

Nikolai Mikhailovich Karamzin’s story “Poor Liza” is rightfully considered the pinnacle of Russian prose of sentimentalism. Prose that puts the life of the heart and the manifestation of human feelings at the forefront. Perhaps in our days, when life values ​​have been displaced, aggression, betrayal and murder are no longer seen, “Poor Liza” will seem to someone a naive work, far from the truth of life, the feelings of the characters implausible, and the whole story smacks of sweet, cloying a taste of excessive sentimentality. But “Poor Liza,” written by Karamzin in 1792, will forever remain the most important step, a milestone in the history of Russian literature. This story is an inexhaustible source of themes, ideas and images for all subsequent Russian authors. In my project work, I would like to dwell on the image of Lisa and the role that this image played for all Russian literature. Therefore, I set the following goals: (slide 2) and tasks (slide 3). The 4th slide is a short biography of Karamzin.

The story “Poor Liza” relates to sentimentalism. (5th slide)

6th slide - the story of the creation of the story.

There are several characters in the story: the peasant woman Lisa, her mother, the nobleman Erast and the narrator. (7th slide) The core of the plot is the love story between Erast and Lisa. There are many stories in literature in which a man seduces and then abandons a girl. But the peculiarity of the story of Lisa and Erast is that precisely this balance of power in Russia of the eighteenth century was the most common: a master, landowner, nobleman, taking advantage of his position, without a twinge of conscience, without punishment, and, most importantly, without condemnation of society, seduces a girl, which is below him in social status.

(8th slide) For the first time, Lisa’s name appears in the title of the story. Already at this stage we can understand that it is the female image that will become the main one in the work. In addition, from the title we can grasp the author’s attitude towards Lisa: he calls her “poor”.

(9th slide). The second time we meet Lisa in the narrator’s memories: “what most often attracts me to the walls of the Si...nova monastery is the memory of the deplorable fate of Lisa, poor Lisa.” Judging by the epithets that the narrator uses when talking about Lisa (“beautiful”, “gracious”), the reader may think that the narrator was a man in love with Lisa, and only after reading the story to the end do we understand that he simply feels sorry for the poor girl. In general, the narrator in the story is an exponent of the author’s attitude, and Karamzin loves his heroine. For what? (10th slide).

Liza is a peasant woman, she lives in a hut “with an old woman, her mother.” Lizin’s father, a “prosperous villager,” died, so “his wife and daughter became impoverished” and “were forced to rent out their land, and for very little money.” Her mother could not work, and “Liza, who was fifteen years old after her father, was Liza alone, not sparing her tender youth, not sparing her rare beauty, she worked day and night - weaving canvas, knitting stockings, picking flowers in the spring, and in the summer I took the berries and sold them in Moscow.” We are not yet familiar with the heroine, but we already understand that she is hardworking and ready to make sacrifices for the sake of her loved ones. Gradually, step by step, Karamzin reveals to us the deep and surprisingly pure soul of the main character. She has a very soft and sensitive heart: “often tender Lisa could not hold back her own tears - ah! she remembered that she had a father and that he was gone, but to reassure her mother she tried to hide the sadness of her heart and appear calm and cheerful.” She is very shy and timid. At the first meeting with Erast, Lisa constantly blushes with embarrassment: “She showed him the flowers and blushed.”

The role of landscape in the story. (11th slide)

The main character of the story is extremely honest. Her honesty towards other people is manifested in the episode with the purchase of flowers: when Erast offers Lisa a ruble instead of five kopecks, she replies that she “doesn’t need anything extra.” In addition, the heroine is ridiculously naive: she easily tells where her house is to the first person she likes.

When describing the main character, attention is drawn to her speech characteristics. It is on this basis that we can say that the image of Lisa as a representative of her class is not developed clearly enough. Her speech reveals in her not a peasant woman living by her hard work, but rather an airy young lady from high society. (13 slide) “If the one who now occupies my thoughts was born a simple peasant, a shepherd, - and if he now he drove his flock past me; Oh! I would bow to him with a smile and say affably: “Hello, dear shepherd! Where are you driving your flock? And here green grass grows for your sheep, and here flowers grow red, from which you can weave a wreath for your hat.” But, despite this, it was the image of Lisa that became the first image of a woman from the people in Russian literature. In this, progressive for the 18th century, attempt to bring to the stage a heroine not usual for a love story - a young lady, namely a peasant woman, there is a deep meaning. Karamzin seems to destroy the boundaries between classes, pointing out that all people are equal before God and before love, “for even peasant women know how to love.”

Karamzin’s innovation was the very interpretation of the female image. Let us remember that in the eighteenth century women did not have sufficient freedom. An attempt to love of your own free will, contrary to public opinion, was regarded as a crime against morality. This theme, proposed by Karamzin, will also be reflected in the works of later authors. In particular, Alexander Nikolaevich Ostrovsky. But in “Poor Lisa” the author allowed his heroine to fall in love. To love at the behest of your heart, of your own free will. To love passionately, passionately and forever. “(14 slide) When you,” Lisa said to Erast, “when you tell me: “I love you, my friend!”, when you press me to your heart and look at me with your touching eyes, ah! then it feels so good to me, It’s so good that I forget myself, I forget everything except Erast. It’s wonderful, my friend, that without knowing you I could live calmly and cheerfully. Now I don’t understand it, now I think that without you life is not life, but life! sadness and boredom. 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."

15 slide - social status of the heroine.

The author allowed the heroine to love and does not condemn her for it. On the contrary, it is Erast who seems to the reader to be a scoundrel and a villain after he, having deceived, abandons Lisa. The author condemns his hero, who does not pass the test of the strongest feeling on earth - love.

16slide comparison hero

Karamzin's hero, Erast, betrayed and killed love. For this he will be punished even after Lisa’s death. He will be unhappy “until the end of his life”: “Having learned about Lizina’s fate, he could not be consoled and considered himself a murderer.” At the end of the story we learn that Erast is dying: the narrator “met him a year before his death.”

Lisa not only passes the test of love. Her image in love is revealed in all its fullness and beauty. 19 slide “As for Lisa, she, completely surrendering to him, only lived and breathed for him, in everything, like a lamb, she obeyed his will and placed her happiness in his pleasure...”

In general, Lisa is endowed with almost all Christian virtues. Even in difficult times, in separation from her loved one, she discovers such wonderful qualities as respect for her parents and a willingness to sacrifice everything for her loved one. “What keeps me from flying after dear Erast? War is not scary for me; It's scary where my friend is not there. I want to live with him, I want to die with him, or I want to save his precious life with my death.” “She already wanted to run after Erast, but the thought; “I have a mother!” - stopped her.”

One of the most important moments in revealing the image of Lisa is her suicide. The purest, angelic soul commits a sin, which was and is considered one of the most terrible sins in Christianity. The heroine was distraught with grief. Slide 24 “I can’t live,” thought Lisa, “I can’t!.. Oh, if only the sky would fall on me!” If the earth swallowed up the poor!.. No! The sky is not falling; the earth does not shake! Woe is me!". “She left the city and suddenly saw herself on the shore of a deep pond, under the shade of ancient oak trees, which a few weeks before had been silent witnesses to her delight. This memory shook her soul; the most terrible heartache was depicted on her face...she threw herself into the water.”

Lisa's suicide makes her image vital and tragic. Lisa appears before us differently, unable to withstand grief, broken, abused. The most important thing in her life, her purpose and highest meaning - love - was killed. And Lisa dies. It's amazing how the author treats the death of his heroine. Although Karamzin, remembering that suicide is a sin, does not give Liza’s soul any rest. In the empty hut “the wind howls, and the superstitious villagers, hearing this noise at night, say;

Slide 25 “There is a dead man groaning there; Poor Liza is moaning there!” But the writer forgives his heroine. The narrator’s mysterious phrase is “When we see each other there, in a new life, I will recognize you, gentle Lisa!” - reveals to us all the author’s love for his heroine. Karamzin believes that his Liza, this purest soul, will go to heaven, to a new life.

Karamzin determined that female characters in Russian literature will be educators of feelings. A new life for Lisa, or rather for her image, began much later, in the next century. 27 slide Lisa was reborn again in the heroines of Pushkin, Turgenev, Goncharov, Dostoevsky, Ostrovsky, Tolstoy. The image of poor Liza anticipated a whole gallery of beautiful female Russian characters: from Pushkin’s Liza from “The Young Lady the Peasant” and Dunya from “The Station Agent” to Katerina Kabanova from “The Dowry” and Katyusha Maslova from “Resurrection.”

Conclusion 28 slide

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Slide captions:

Topic of project work: The image of Lisa in Karamzin’s story “Poor Lisa”

The purpose of the project work: 1. To prove that N.M. Karamzin’s story “Poor Liza” is a vivid example of works of sentimentalism. 2. Find out why the novel is called “Poor Liza.” 3. The image of poor Lisa in the works of writers of the 19th century

Objectives: o educational: consolidate knowledge about the biography of N.M. Karamzin; give the concept of sentimentalism as a literary movement; present the story “Poor Liza” by N.M. Karamzin as an example of sentimentalism; in educational: to contribute to the education of a spiritually developed personality, the formation of a humanistic worldview. cultivate an attitude towards love as an extra-class value of a person. developmental: promote the development of critical thinking, interest in the literature of sentimentalism.

N.M. Karamzin Military service Death of father Resignation Simbirsk Passion for Freemasonry Literature Study of history Simbirsk province Noble but poor noble family Secular education Knowledge of foreign languages ​​Travel to Europe

Sentimentalism An artistic movement (current) in art and literature of the late 18th – early 19th centuries. From English SENTIMENTAL - sensitive. “An elegant image of the basic and everyday” (P.A. Vyazemsky)

History of the creation of the story The story “Poor Liza” was written in 1792. In 1796, the story was published as a separate book. The story “Poor Liza” was received by the Russian public with such enthusiasm because in this work Karamzin was the first to express that “new word”. The heroine’s suicide was such a “new word” in the story.

Plot of the story: And the love story between Erast and Lisa. There are many stories in literature in which a man seduces and then abandons a girl. But the peculiarity of the story of Lisa and Erast is that precisely this balance of power in Russia of the eighteenth century was the most common: a master, landowner, nobleman, taking advantage of his position, without a twinge of conscience, without punishment, and, most importantly, without condemnation of society, seduces a girl, which is below him in social status.

For the first time, Lisa's name appears in the title of the story. Already at this stage we can understand that it is the female image that will become the main one in the work. In addition, from the title we can grasp the author’s attitude towards Lisa: he calls her “poor”.

“But the most pleasant place for me is the place where the gloomy Gothic towers of the Si...nova monastery rise.” Simonov Monastery

“On the other side of the river one can see an oak grove, near which numerous herds graze: there young shepherds, sitting under the shade of trees, sing simple, sad songs and thereby shorten the summer days, so monotonous for them.” Moscow River

Karamzin's landscape is not only the background of the action, but also a means of psychological characterization of the hero, a “mirror of the soul.” The entire love story of Lisa and Erast is immersed in a picture of the life of nature, constantly changing according to the stages of development of love feelings. The role of landscape in the story

Speech characteristics “If the one who now occupies my thoughts was born a simple peasant, a shepherd, - and if he were now driving his flock past me; Oh! I would bow to him with a smile and say affably: “Hello, dear shepherd! Where are you driving your flock? And here green grass grows for your sheep, and here flowers grow red, from which you can weave a wreath for your hat.” But, despite this, it was the image of Lisa that became the first image of a woman from the people in Russian literature. In this, progressive for the 18th century, attempt to bring to the stage a heroine not usual for a love story - a young lady, namely a peasant woman, there is a deep meaning. Karamzin seems to destroy the boundaries between classes, pointing out that all people are equal before God and before love, “for even peasant women know how to love.”

“When you,” said Lisa to Erast, “when you tell me: “I love you, my friend!”, when you press me to your heart and look at me with your touching eyes, ah! then it happens to me so good, so good that I forget myself, I forget everything except Erast. It’s wonderful? It’s wonderful, my friend, that without knowing you I could live calmly and cheerfully! Now I don’t understand it, now I think that without you life is not life, but sadness and boredom. 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."

poor Social status not rich, living in poverty The attitude of the author is unhappy, miserable, I feel sorry for her Social status of the heroine

Lisa Erast The name Elizabeth means “who worships God.” Beautiful in soul and body, of rare beauty, she worked day and night, a kind...peasant woman. The name Erast means “beloved.” Quite a rich nobleman, with a fair mind and a kind heart... but weak and flighty. He led an absent-minded life, thinking only about his own pleasure... The heroes are separated not only by social, but also by moral barriers. Comparison of heroes

Artist Kiprensky “Poor Liza” On the day of her first meeting with Erast, she appears in Moscow with lilies of the valley in her hands; when Erast first appears under the windows of Lisa’s hut, she gives him milk, pouring it from a “clean jar covered with a clean wooden mug” into a glass wiped with a white towel; on the morning of Erast’s arrival for their first date, Lisa, “... looked at the white mists that were agitated in the air.” Motif of whiteness, purity and freshness

First meeting "…. Lisa came to Moscow with lilies of the valley. A young, well-dressed, pleasant-looking man met her on the street. She showed him the flowers and blushed. “Are you selling them, girl?” – he asked with a smile. “I’m selling,” she answered. - “What do you need?” - “Five kopecks.” - “It’s too cheap.......”

“As for Lisa, she, completely surrendering to him, only lived and breathed for him, in everything, like a lamb, she obeyed his will and placed her happiness in his pleasure...”

When he first meets Lisa, he wants to pay her a ruble for the lilies of the valley instead of five kopecks; when buying Liza’s work, he wants to “always pay ten times the price she sets”; before leaving for the war, “he forced her to take some money from him”; in the army, “instead of fighting the enemy, he played cards and lost almost all his estate,” which is why he was forced to marry “an elderly rich widow.” Money motive

Lisa loved her mother, hardworking, selfless, timid, pure, helpful, joyful, lovely soul

“Liza sobbed - Erast cried - left her - she fell - knelt down, raised her hands to the sky and looked at Erast, who was moving away - further - further - and finally disappeared - the sun shone, and Lisa, abandoned, poor, I lost my senses and memory." Scene of the heroes parting

Reasons for Lisa's suicide Loss of the meaning of life Erast's betrayal Erast's frivolity Love for Erast Deceived trust

“I can’t live,” thought Lisa, “I can’t!.. Oh, if only the sky would fall on me!” If the earth swallowed up the poor!.. No! The sky is not falling; the earth does not shake! Woe is me!". “She left the city and suddenly saw herself on the shore of a deep pond, under the shade of ancient oak trees, which a few weeks before had been silent witnesses to her delight. This memory shook her soul; the most terrible heartache was depicted on her face...she threw herself into the water.”

A dead man is moaning there; Poor Liza is moaning there!” But the writer forgives his heroine. The narrator’s mysterious phrase is “When we see each other there, in a new life, I will recognize you, gentle Lisa!”

“...Now maybe they have already reconciled!”

Conclusion Lisa was reborn again in the heroines of Pushkin, Turgenev, Goncharov, Dostoevsky, Ostrovsky, Tolstoy. The image of poor Liza anticipated a whole gallery of beautiful female Russian characters: from Pushkin’s Liza from “The Young Lady the Peasant” and Dunya from “The Station Agent” to Katerina Kabanova from “The Dowry” and Katyusha Maslova from “Resurrection.”

Conclusion: For Karamzin, as a sentimentalist writer, feelings are more important and stronger than reason. They are what make a person human if they are pure and noble. - Maybe you too will have to make a choice in life between reason and feelings. In our progmatic age, reason (and even calculation) often wins. Classical literature reminds us that without real feelings a person loses his soul and is unlikely to be happy (which is what happened to Erast). Although Karamzin warns: “The fulfillment of all desires is the most dangerous temptation of love.” Writers often touch on the problem of the struggle between feelings and reason, but do not give an answer, because “this mystery is great.”

Liza not only speaks like a book, but also thinks. Nevertheless, the psychology of Lisa, who fell in love with a girl for the first time, is revealed in detail and in a natural sequence. Before throwing herself into the pond, Lisa remembers her mother, she took care of the old woman as best she could, left her money, but this time the thought of her was no longer able to keep Lisa from taking a decisive step. As a result, the character of the heroine is idealized, but internally integral.

Erast's character is much different from Lisa's character. Erast is depicted in greater accordance with the social environment that raised him than Lisa. This is a “rather rich nobleman,” an officer who led an absent-minded life, thought only about his own pleasure, looked for it in social amusements, but often did not find it, was bored and complained about his fate. Endowed with “a fair amount of intelligence and a kind heart,” being “kind by nature, but weak and flighty,” Erast represented a new type of hero in Russian literature. For the first time, the type of disappointed Russian aristocrat was outlined in it.

Erast recklessly falls in love with Lisa, not thinking that she is a girl not in his circle. However, the hero does not stand the test of love.

Before Karamzin, the plot automatically determined the type of hero. In “Poor Liza,” the image of Erast is much more complex than the literary type to which the hero belongs.

Erast is not a “cunning seducer”; he is sincere in his oaths, sincere in his deception. Erast is as much the culprit of the tragedy as he is the victim of his “ardent imagination.” Therefore, the author does not consider himself to have the right to judge Erast. He stands on a par with his hero - because he converges with him at the “point” of sensitivity. After all, it is the author who acts in the story as a “reteller” of the story that Erast told him: “...I met him a year before his death. He himself told me this story and led me to Lisa’s grave...”

Erast begins a long series of heroes in Russian literature, whose main feature is weakness and inability to adapt to life, and for whom the label of “superfluous person” has been assigned for a long time in literary criticism.

Plot, composition

As Karamzin himself puts it, the story “Poor Liza” is “a rather uncomplicated fairy tale.” The plot of the story is simple. This is the love story of a poor peasant girl Lisa and a rich young nobleman Erast. He was tired of social life and social pleasures. He was constantly bored and “complained about his fate.” Erast “read idyll novels” and dreamed of that happy time when people, unencumbered by the conventions and rules of civilization, lived carefree in the lap of nature. Thinking only about his own pleasure, he “looked for it in amusements.” With the advent of love in his life, everything changes. Erast falls in love with the pure “daughter of nature” - the peasant woman Lisa. Chaste, naive, joyfully trusting of people, Lisa seems to be a wonderful shepherdess. Having read novels in which “all the people walked blithely along the rays, swam in clean springs, kissed like turtle doves, rested under roses and myrtles,” he decided that “he found in Liza what his heart had been looking for for a long time.” Lisa, although “the daughter of a rich villager,” is just a peasant woman who is forced to earn her own living. Sensuality - the highest value of sentimentalism - pushes the heroes into each other's arms, gives them a moment of happiness. The picture of pure first love is drawn in the story very touchingly. “Now I think,” says Lisa to Erast, “that without you life is not life, but sadness and boredom. Without your eyes the bright month is dark; without your voice the nightingale singing is boring...” Erast also admires his “shepherdess.” “All the brilliant amusements of the great world seemed insignificant to him in comparison with the pleasures with which the passionate friendship of an innocent soul nourished his heart.” But when Lisa gives herself to him, the jaded young man begins to cool in his feelings for her. In vain does Lisa hope to regain her lost happiness. Erast goes on a military campaign, loses all his fortune at cards and, in the end, marries a rich widow. And Liza, deceived in her best hopes and feelings, throws herself into the pond near the Simonov Monastery.

Artistic originality

But the main thing in the story is not the plot, but the feelings that it was supposed to awaken in the reader. Therefore, the main character of the story is the narrator, who talks with sadness and sympathy about the fate of the poor girl. The image of a sentimental narrator became a discovery in Russian literature, since previously the narrator remained “behind the scenes” and was neutral in relation to the events described. The narrator learns the story of poor Liza directly from Erast and often comes to be sad at “Liza’s grave.” The narrator of “Poor Lisa” is mentally involved in the relationships of the characters. The title of the story itself is based on combining the heroine’s own name with an epithet characterizing the narrator’s sympathetic attitude towards her.

The author-narrator is the only intermediary between the reader and the life of the characters, embodied in his word. The narration is told in the first person, the constant presence of the author reminds of himself with his periodic appeals to the reader: “now the reader should know...”, “the reader can easily imagine...”. These formulas of address, emphasizing the intimacy of emotional contact between the author, characters and reader, are very reminiscent of the methods of organizing narrative in the epic genres of Russian poetry. Karamzin, transferring these formulas into narrative prose, ensured that the prose acquired a soulful lyrical sound and began to be perceived as emotionally as poetry. The story “Poor Lisa” is characterized by short or extended lyrical digressions; at every dramatic turn of the plot we hear the author’s voice: “my heart is bleeding...”, “a tear is rolling down my face.”

In their aesthetic unity, the three central images of the story - the author-narrator, poor Liza and Erast - with a completeness unprecedented in Russian literature, realized the sentimentalist concept of personality, valuable for its extra-verbal moral virtues, sensitive and complex.

Karamzin was the first to write smoothly. In his prose, words were intertwined in such a regular, rhythmic way that the reader was left with the impression of rhetorical music. Smoothness in prose is the same as meter and rhyme in poetry.

Karamzin introduces the rural literary landscape into the tradition.

Meaning of the work

Karamzin laid the foundation for a huge cycle of literature about “little people” and opened the way for the classics of Russian literature. The story “Rich Liza” essentially opens the theme of the “little man” in Russian literature, although the social aspect in relation to Liza and Erast is somewhat muted. Of course, the gap between a rich nobleman and a poor village woman is very large, but Lisa is least like a peasant woman, more like a sweet society young lady brought up on sentimental novels. The theme of “Poor Lisa” appears in many works by A.S. Pushkin. When he wrote “The Peasant Young Lady,” he was most definitely guided by “Poor Liza,” turning the “sad story” into a “novel” with a happy ending. In “The Station Agent,” Dunya is seduced and taken away by a hussar, and her father, unable to bear the grief, becomes an alcoholic and dies. In “The Queen of Spades,” the further life of Karamzin’s Liza is visible, the fate that would have awaited Liza if she had not committed suicide. Lisa also lives in the novel “Sunday” by L.N. Tolstoy. Seduced by Nekhlyudov, Katyusha Maslova decides to throw herself under the train. Although she remains to live, her life is full of dirt and humiliation. The image of Karamzin’s heroine continued in the works of other writers.

It is in this story that the sophisticated psychologism of Russian artistic prose, recognized throughout the world, originates. Here Karamzin, opening the gallery of “extra people,” stands at the source of another powerful tradition - the depiction of smart slackers, for whom idleness helps maintain a distance between themselves and the state. Thanks to blessed laziness, extra people are always in opposition. If they had served their fatherland honestly, they would not have had time to seduce Liz and make witty asides. In addition, if the people are always poor, then the extra people always have money, even if they squandered it, as happened with Erast. He has no affairs in the story except love.

No. 4 There are almost no works in Russian literature that lack landscape. Writers have sought to include this extra-plot element in their works for a variety of purposes. So, for example, in the story “Poor Liza” by Karamzin, picturesque pictures of nature, at first glance, can be considered random episodes that are just a beautiful background for the main action. But landscapes are one of the main means of revealing the emotional experiences of the characters. In addition, they serve to convey the author’s attitude to what is happening.

At the beginning of the story, the author describes Moscow and the “terrible mass of houses,” and immediately after that he begins to paint a completely different picture: “Below... along the yellow sands, a fresh river flows, agitated by the light oars of fishing boats... On the other side of the river an oak grove is visible, next to where numerous herds graze...” Karamzin takes the position of defending the beautiful and natural, the city is unpleasant to him, he is drawn to “nature.” Thus, here the description of nature serves to express the author’s position.

Most of the landscapes in the story are aimed at conveying the state of mind and experience of the main character. It is she, Lisa, who is the embodiment of everything natural and beautiful, this heroine is as close as possible to nature: “Even before the sun rose, Lisa got up, went down to the bank of the Moscow River, sat down on the grass and, saddened, looked at the white mists... but soon the rising luminary of the day awakened all creation..."

The heroine is sad because a new, hitherto unknown feeling is born in her soul, but for her it is beautiful and natural, like the landscape around her. Within a few minutes, when an explanation takes place between Lisa and Erast, the girl’s experiences dissolve in the surrounding nature, they are just as beautiful and pure. And after the lovers separate, when Liza feels like a sinner, a criminal, the same changes occur in nature as in Liza’s soul. Here the picture of nature reveals not only Lisa’s state of mind, but also foreshadows the tragic ending of this story.

One of the main landscape functions in the novel “A Hero of Our Time” is to more fully and deeply reveal the personality of the main character, Pechorin. His character is reflected in his descriptions of nature (“Fatalist”, “Taman”, “Princess Mary”).

Pechorin is able to feel the movement of air, the stirring of tall grass, and admire the “foggy outlines of objects,” revealing spiritual subtlety and depth. For him, a lonely person, nature helps him maintain peace of mind in difficult moments. “I greedily swallowed the fragrant air,” writes Pechorin after an emotionally intense meeting with Vera.

Nature in the novel is constantly contrasted with the world of people with their petty passions, and Pechorin’s desire to merge with the harmonious world of nature turns out to be futile. The landscapes written by the protagonist are full of movement - such descriptions emphasize the hero’s internal energy, his constant tension, thirst for action, and reflect the dynamics of his mental states.

Thus, landscapes in a work of art help to penetrate deeply into the soul of the characters and their experiences, and to better understand the author’s ideological intent.

2) This story by N. M. Karamzin, published in the Moscow Journal in 1792, was extremely popular and caused a lot of imitations in Russian literature. The main goal of the creator of the story is to depict the rich spiritual world of the Russian peasant woman and the destructive power of money. The title of the work is symbolic, containing, on the one hand, an indication of the socio-economic aspect of solving the problem (Lisa is a poor peasant girl), on the other hand, a moral and philosophical one (the hero of the story is an unfortunate person, offended by fate and people). The polysemy of the title emphasized the specificity of the conflict in Karamzin’s work. The love conflict between a man and a girl (the story of their relationship and the tragic death of Lisa) is leading. The social origin of the conflict (the love of a nobleman and a peasant woman), associated with class prejudices and economic circumstances (the ruin of Erast and the need to marry a rich woman), turns out to be less significant for Karamzin and fades into the background.

It is generally accepted that “Poor Liza” is a classic example of Russian sentimentalism. The sentimental in the story is manifested in the poeticization of feelings, changeable and contradictory, the artist’s close attention to the intimate world of a private person, in a special, emphatically emotional, elegant style. In Karamzin’s work one can also detect features of a pre-romantic character (in the depiction of the Simonov Monastery, in the “criminal” plot of the story, its tragic ending, etc.). Karamzin's heroes are characterized by internal discord, a discrepancy between the ideal and reality: Liza dreams of being a wife and mother, but is forced to come to terms with the role of a mistress; Erast hopes that platonic love for a peasant girl will contribute to his moral revival, but reality destroys the world of his illusion. "Poor Liza" is a sentimental and pre-romantic love story. Sentimentalism was characterized by the use of teleological plots. The writer's approach to a plot with a predetermined ending, the reader's warning at the beginning of the story about the death of the heroine, the conscious rejection of the complexity of the plot narrative - all this contributed to the concentration of the reader's attention on revealing the inner world of the heroes, on the perception of the natural beauty and harmony of the style, on identifying the specifics of the creation of artistic image, where portrait, detail, gesture played a big role. Plot ambivalence, outwardly little noticeable, manifested itself in the “detective” basis of the story, the author of which is interested in the reasons for the heroine’s suicide, and in the unusual solution to the problem of the “love triangle”, when the peasant woman’s love for Erast threatens family ties, sanctified by sentimentalists, and “poor Liza” herself replenishes the number of images of “fallen women” in Russian literature.

The macrostructure of the story is three-part: an introduction on behalf of the Narrator depicting a panorama of Moscow, Danilov and Simonov monasteries; the main part, which tells about Lisa’s love story; conclusion, where the Narrator reports on the tragic fate of the remaining heroes of the work. The system of images of the story by N.M. Karamzin can be imagined as an antithetical pair of monocentric circles formed around the images of Lisa and Erast by secondary characters (the widow, Erast’s friends, the valet; Lisa’s mother, the shepherd boy, Anyuta). Outside this system are the image of the Narrator, on whose behalf the story is told, and the image of Nature, who sympathizes with “poor Lisa” and worries about her fate. Such a system of images allowed Karamzin to create a work that was flexible in its structure, combining objective (on behalf of the characters) and subjective (on behalf of the narrator) narration.

N. M. Karamzin acted in the story “Poor Liza” as a master of psychological analysis. He was able to convey the process of the origin and development of a love feeling through words, intonation, gesture, facial expressions; his action showed the psychological complexity of the images of Lisa and Erast. Karamzin, turning to the traditional poetics of the “speaking name,” managed to emphasize the discrepancy between the external and internal in the images of the heroes of the story. Lisa surpasses Erast (“loving”) in the talent of loving and living by love; “meek”, “quiet” (translated from Greek) Lisa commits actions that require determination and willpower, contrary to public moral laws, religious and moral norms of behavior. The leading principle of revealing the artistic image in Karamzin's story is the image of a person's emotional world, the creation of his psychological portrait. Direct characterization given to the main characters by the Narrator, and indirect characterization contained in the words of secondary characters, were an important means of revealing images. The depiction of a person in action, a moral or immoral act, motivation, feeling helped the writer in creating living, psychologically reliable characters. This purpose was also served by the technique of verbal portraiture, the use of vivid artistic detail, and the speech characteristics of the characters.

The functions of Nature in the work are ambiguous. The pantheistic philosophy adopted by Karamzin made Nature one of the main characters of the story, empathizing with Lisa in happiness and sorrow. In addition, Nature appears in the writer’s work both as a setting (river bank, grove, pond) and as the general emotional and coloristic background of the work. Karamzin used two main methods of depicting space in the story: the method of panoramic (rural or urban landscapes) and the method of focusing, when the author organically moves from a picture of the natural world to the image of the hero; narrowing the observed space and concentrating attention on the person: view of Moscow - Simonov Monastery - oak grove and meadow near the monastery walls - abandoned hut - Liza. At the same time, the image of Nature necessarily ends with a story about a person living “in the arms of Nature.” Not all the characters in the story have the right to intimate communication with the world of Nature, but only Lisa and the Narrator. It is noteworthy that Erast is far from understanding the language of Nature and is depicted outside of his natural, family ties: the formation of his character and motivation for actions is dominated by the social principle. Such a distinction between heroes into “natural” and “civilized,” characteristic of the works of sentimentalists, emphasizes the severity of the conflict in Karamzin’s story and prepares the tragic ending of the work.

In “Poor Liza,” N. M. Karamzin gave one of the first examples of a sentimental style in Russian literature, which was oriented toward the colloquial speech of the educated part of the nobility. It assumed elegance and simplicity of style, a specific selection of “harmonious” and “not spoiling the taste” words and expressions, and a rhythmic organization of prose that brought it closer to poetic speech.

5)1. The image of the narrator and its meaning in N. M. Karamzin’s story “Poor Liza”

V. G. Belinsky believed that with Karamzin, including “Poor Liza” (1792), “a new era of Russian literature” began. “He was the first in Rus' to write stories that interested society... in which people acted, the life of the heart and passions was depicted.”

K. is a sentimentalist writer. He believed that feelings, the soul of a person should become the subject of artistic depiction. He was also convinced that the basis of human progress is “good behavior”, a “tender” human heart. This position alienated the writer from topical issues of public life. At the same time, it, having replaced the rationality of classicism, contributed to the development of psychologism in literature. K. attached great importance to the lively expressiveness of prose storytelling. He focused on bringing the literary style closer to the spoken language of the educated nobility. As a writer, he was the first to speak the language of “feelings” and gave spirituality to his prose. All the signs of a sentimental narrative are clearly reflected in K.’s best and most popular story, “Poor Liza.”

Sentimentalism - from French. “feeling” is a movement in European art of the late 18th – early 19th centuries. century, which arose as a reaction to the rationalistic art of classicism. S. affirms the intrinsic value of the individual, the world of his feelings, in contrast to classicism, where the principle of state and public duty were elevated to a cult and opposed to personal development.

Signs of works of sentimentalism:

Particular attention to the inner, mental world of man, to nature;

Idealization of reality, nature;

Cult of sensory experiences;

Search for positive properties in your spiritual, inner world;

Ignoring social issues;

Depiction of the characters of ordinary people close to nature, simple relationships, heroes prone to introspection and sensitivity;

Enriching the literary language with lively spoken language;

Genre diversity (novel in letters, confessional novel, travel, poem, elegy, epistle)

The hero is most often disappointed, having lost faith in the reality of world harmony and happiness, shedding bitter tears and complaining about fate.

This is not a knight, not a leader, not a statesman and not a person who can handle big things and violent passions, but a mere mortal.

The artist’s task is to evoke sympathy for this simple person, compassion, respect.

Visual means of works of sentimentalism:

The composition is arbitrary;

Most of all, K. is interested in the inner life of modern man, subject to “the strongest influence of passions.” The narration is told on behalf of the author, to whom Erast told about the events.

Features of K.'s narrative style:

Reality is viewed through the prism of the author's emotions;

Special intimacy, sincerity;

An abundance of poetic figures and tropes;

Unity and simplicity of plot (sequence of events);

Clarity of composition;

Laconism, clarity, simplicity of language

The theme of the story is at the beginning (paragraph 4)

The story ends with a reconciling chord. Here the essence of Karamzin’s sentimental worldview is reflected.

Karamzin’s “beautiful” sentimentalism in its best examples... turned out to be an expression of living human feelings and could touch these feelings among a wide range of his contemporaries.” The “third estate” that appeared in Europe allowed sentimentalism to flourish more magnificently.

Lisa is a poor peasant girl, the main character of the story, which made a complete revolution in the public consciousness of the 18th century.

For the first time in the history of Russian prose, K. turned to a heroine endowed with emphatically ordinary features. His words “even peasant women know how to love” became popular. Lisa's main talent, which she inherits from her mother, is the ability to love devotedly. Sensitivity - the main advantage of K.'s story - is the ability to sympathize, to discover the “tenderest feelings,” as well as the ability to enjoy the contemplation of one’s own emotions. It is ardor and ardor that lead Lisa to death, but she is morally justified. K.’s thought: for a mentally rich, sensitive person, doing good deeds is natural. The motive for the conversion of a pure and immaculate girl takes on a distinctly social meaning in the story. K. was one of the first to introduce into Russian literature the contrast between city and countryside. A country man - a man of nature - finds himself defenseless when he finds himself in a city where its own laws apply. It is no coincidence that the first step on the path to disaster is Lisa’s insincerity: on Erast’s advice, she hides their love from her mother, to whom she previously confided all her secrets. The tragic outcome of the love between a peasant woman and an officer confirms the rightness of the mother who warned Lisa at the beginning of the story: “You still don’t know how evil people can offend a poor girl.”

The coexistence of the author and his hero in the same narrative space was not familiar to Russian literature before K. The narrator is mentally involved in the relationships of the characters. The title of the story itself is based on combining the heroine’s name 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. K. does not reveal the true causes of evil. He only complains about the laws of civilized society, which forced Erast, a good man from birth, but spoiled by his upbringing, to abandon Lisa for the sake of a profitable marriage to a rich noblewoman. K. also feels sorry for Erast, because, according to the writer, he is a victim of unreasonable human relationships. The writer's appeal to the moral essence of the conflict increased his attention to the inner world, the psychology of the heroes, which was important from the point of view of the further development of Russian prose.

The image of Lisa is not without idealization; some of her feelings are more characteristic of an educated noblewoman than a peasant woman. K. reveals L.’s state of mind primarily through gestures, facial expressions, and intonation, but sometimes he tries to penetrate the heroine’s hidden experiences by directly depicting them. The main question that the author is trying to answer is the following: the hostility of existing relations to the ideals of goodness and justice. He mourns for humanity as a whole and raises difficult issues of everyone's moral responsibility for their actions. K. made an attempt to explain the troubles of mankind by his separation from the natural world or the intervention of “fate.”

Sentimentalism is one of the most significant literary movements of the 18th century in Russia, the brightest representative of which was N.M. Karamzin.
Russian stories, the main content of which was a story about love, and the greatest value was sensitivity, appeared before Karamzin. But it was his “Poor Lisa” that became the best work of sentimentalism, and the characters and the idea of ​​this work became firmly established not only in literature, but also in culture itself, the way of life of people.
The narrator tells us the story of sad love, the unfulfilled happiness of “poor Lisa.” The seemingly simple title of the story is very meaningful and has a double meaning. Firstly, the epithet “poor” hints at the heroine’s low social status. Lisa, although the daughter of a “rich villager,” is a peasant woman who is forced to earn her own living and take care of her mother. Secondly, the narrator’s reverent, sympathetic attitude towards the girl is already embedded here.
It is important that the narrator prefaces Lisa’s story with an introduction that tells about the Simonov Monastery. The focus of the narrator here is the “moan of times,” that is, the historical past of the monastery, “the history of our fatherland.” This is followed by a narrative of Lisa's life. Thus, in his story, the author connected the fate of a person - simple, small, “non-historical” - with the fate of a great state, showing their indestructible relationship and equivalent value.
Lisa, as the ideal of sentimentalism, is a child of nature. She does not know city life, she feels like a stranger in Moscow - she is forced to appear in this big city only by the need to earn money. Only among the fields and forests, or by the river, or in a small hut, does the girl feel free.
Already on the day of the first meeting of Lisa and Erast, many of Lisa’s character traits are revealed. We can judge the girl’s shyness and inexperience in communicating with boys (“she showed him flowers and blushed,” “she was surprised, she dared to look at the young man, and she blushed even more”), about her spiritual purity, ingenuousness (“I don’t need too much.” ), naivety and openness to the whole world (Lisa told a complete stranger where she lived).
During the date, when Erast first tells Lisa about his love, they are sitting on the grass, on the bank of the river. After this meeting, the girl for the first time has a secret from her mother. Erast asks Lisa not to talk about their love, and the girl makes a promise. In return, happy Lisa only asks her mother to admire the beautiful morning. And the old woman admires it, because “the kind daughter cheered up her entire nature with her joy.”
Only this early morning on the bank of the river did Lisa realize that she loved and was loved. From now on, the earthly world was embodied for the heroine in a “dear friend.” For her, the beauty of love replaces God and becomes higher than everything in the world.
To the young, flighty rake Erast, Lisa seemed like the heroine of the novels that he read, like any nobleman of that time: “It seemed to him that he had found in Lisa what his heart had been looking for for a long time.” Of course, Lisa’s speech, appearance, and actions greatly distinguished her from the secular ladies with whom Erast had previously interacted. This girl became a breath of fresh air for the young man, an angel who gave him new wings. Therefore, happiness with this “sweet, kind” Lisa seemed endless to him.
But one night, the lovers' feelings escalated to the very limit, and Lisa lost her innocence. From that moment on, the colors of pure eternal love began to rapidly fade in Erast’s eyes. For him, in their connection, everything became familiar and ordinary. Lisa’s feelings, on the contrary, strengthened and became even stronger. When she found out that Erast was going to war, she fainted from grief.
Only concern for her mother and duty to her stop Lisa from following Erast to war: “She already wanted to run after Erast, but the thought: “I have a mother!” - stopped her. Lisa sighed and, bowing her head, walked with quiet steps towards her hut.”
But, having experienced a break with Erast, so unexpected and humiliating for her (“He kicked me out! He loves someone else? I died!”), Lisa is so shocked that she forgets about her moral duty towards her mother. She repeats the act of Erast, who gave her one hundred rubles in return for his love. Lisa also, paying off her mother, gives her “ten imperials.”
The author shows that over time, Erast remembered the social inequality between him and Lisa. To improve his financial situation, he easily renounces the girl and marries an elderly rich lady.
It is important that the narrator does not condemn the actions of his heroes. He says that he heard this sad story only a year ago from Erast himself and did not have the opportunity to warn young people from mistakes. But at the moment of the most dramatic events, he sympathizes and empathizes with Lisa and Erast: “Ah, Lisa, Lisa! Where is your guardian angel? Where is your innocence? Or: “Reckless young man! Do you know your heart? Can you always be responsible for your movements? Is reason always the king of your feelings?
Thus, Karamzin’s story “Poor Liza” and the very image of the main character are a vivid example of sentimentalist prose, which has become a classic example of this trend in Russian literature.

The popularity of the story “Poor Liza,” which we will analyze, was so great that the surroundings of the Simonov Monastery (it is there that the tragic events described in the work take place) became the place of a kind of “pilgrimage”; admirers of Karamzin’s talent thus expressed their attitude to the fate of their favorite heroine .

The plot of the story “Poor Liza” can safely be called traditional: a poor peasant girl is cruelly deceived by a rich and noble man, she cannot stand the betrayal and dies. As we see, nothing particularly new is offered to the reader, but into this hackneyed plot Karamzin brings genuine human interest in the characters, he describes their story in a confidential, intimate manner, he is drawn to the world of the heroes’ spiritual experiences, in contact with which he himself experiences deep and sincere feelings that find expression in numerous lyrical digressions that characterize both the heroes, and, first of all, the author himself, his humanistic position, and willingness to understand each of the heroes.

The image of Liza became a very major artistic discovery for its time, Karamzin’s main idea sounded not even polemical, but defiantly: “... and peasant women know how to love!” Let’s pay attention to the exclamation mark, the author insists on his own, ready with the story of “poor Liza “to prove this assertion, which at first could only cause a smile for most “enlightened readers” at best.

The image of Lisa in the story "Poor Lisa" was created in line with the contrast between rural life, close to nature, pure and chaste, where the value of a person is determined only by his human qualities, and urban, conventional and in this conditionality spoiled, spoiling a person, forcing him to adapt to circumstances and lose face for the sake of "decency", the observance of which is - in human terms - very expensive.

In the image of the heroine, Karamzin highlights such a trait as selflessness. She works “tirelessly” to help her mother, who called her “divine mercy, nurse, the joy of her old age and prayed to God to reward her for everything she does for her mother.” Suffering from grief caused by the death of her father, she “to calm her mother, tried to hide the sadness of her heart and appear calm and cheerful.” The girl’s human dignity is manifested in the fact that she proudly and calmly bears her cross, she cannot take money that she has not earned, she sincerely and naively believes that she is unworthy to be the “master’s” chosen one, although she feels great love for him. The scene of the heroes' declaration of love is permeated with poetry; in it, along with conventions, one can feel a genuine feeling, poetically embodied in the emotional experiences of the heroes, to which the pictures of nature are consonant - the morning after the declaration of love is called "beautiful" by Lisa. The images of “shepherdess” and “shepherdess” most fully convey the spiritual purity of the characters and the chastity of their attitude towards each other. For some time, the heroine’s spiritual purity transformed Erast: “All the brilliant amusements of the great world seemed insignificant to him in comparison with the pleasures with which the passionate friendship of an innocent soul nourished his heart. With disgust, he thought about the contemptuous voluptuousness with which his feelings had previously reveled.”

The idyllic relationship between the “shepherdess” and the “shepherdess” continued until Lisa informed her lover about the marriage of a rich son to her, after which they, maddened by the fear of losing each other, crossed the line separating “platonic love” from sensual, and In this, Liza turns out to be incomparably higher than Erast, she completely surrenders to a new feeling for herself, while he tries to comprehend what happened, to look at his beloved girl in a new way. A wonderful detail: after her “fall,” Lisa is afraid that “the thunder will kill me like a criminal!” What happened had a fatal impact on Erast’s attitude towards Lisa: “Platonic love gave way to feelings that he could not be proud of and that were no longer new to him.” This is precisely what caused his deception: he was fed up with Lisa, her pure love, in addition, he needed to improve his material affairs with a profitable marriage. His attempt to pay off Lisa is described by the author with stunning force, and the words with which he actually expels Lisa from his life speak of his true attitude towards her: “Escort this girl from the yard,” he orders the servant.

Lisa's suicide is shown by Karamzin as the decision of a person for whom life is over primarily because he was betrayed, he is not able to live after such a betrayal - and makes a terrible choice. Terrible for Lisa also because she is devout, she sincerely believes in God, and suicide for her is a terrible sin. But her last words are about God and her mother, she feels guilty before them, although she is no longer able to change anything, too terrible a life awaits her after she learned about the betrayal of a man whom she trusted more than herself. ..

The image of Erast in the story "Poor Liza" is shown by the author as a complex and contradictory image. He truly loves Lisa, he tries to make her happy and he succeeds, he enjoys his feeling for her, those new sensations for himself that are caused by this feeling. However, he still cannot overcome in himself what could probably be called the influence of light; he rejects secular conventions to some extent, but then he again finds himself in their power. Is it possible to blame him for his cooling towards Lisa? Could the heroes be happy together if this cooling did not exist? An innovation in the creation of an artistic image by Karamzin can be considered the depiction of the mental suffering of Erast, who drives Lisa out of his new life: here the “villainous act” of the hero is experienced by him so deeply that the author cannot condemn him for this act: “I forget the man in Erast - I’m ready to curse him - but my tongue does not move - I look at the sky, and a tear rolls down my face.” And the ending of the story gives us the opportunity to see that the hero suffers from what he did: “Erast was unhappy until the end of his life. Having learned about Lizina’s fate, he could not be consoled and considered himself a murderer.”

Sentimentalism is characterized by a certain “sensitivity”, which the author of the story himself is distinguished by. Such deep experiences may seem strange to a modern reader, but for Karamzin’s time it was a true revelation: such a complete, deepest immersion in the world of the heroes’ spiritual experiences became for the reader a way to know himself, an introduction to the feelings of other people, talentedly described and “lived” the author of the story "Poor Liza", made the reader spiritually richer, revealed to him something new in his own soul. And, probably, in our time, the author’s ardent sympathy for his heroes cannot leave us indifferent, although, of course, both people and times have changed a lot. But at all times, love remains love, and loyalty and devotion have always been and will be feelings that cannot but attract the souls of readers.