Officers's Virtues in Russian Fiction of the Second half go the XVΙΙΙ century (Part II)

Naumov Petr Yur'evich ORCID: 0000-0002-2875-2322 PhD in Pedagogy Assistant to the head of the hospital for legal work - head of the department of legal support, FGKUZ "Main Military Clinical Hospital of the National Guard Troops of the Russian Federation" 143914, Russia, Moscow region, Balashikha, ul. Vishnyakovskaya, 101 petr.naumov.777@mail.ru Other publications by this author

Gavrila Romanovich Derzhavin played a huge role in the development of Russian poetry. Derzhavin's poetry is a big step forward in depicting military events and personalities of the military: 1) in the heroic ode "The Song of the Capture of Ishmael", the tsar and the nobles are no longer sung ? the Russian people, the valiant Ross, are sung; 2) the central figure of patriotic lyrics is again not the sovereign, but a professional military man - Suvorov, Rumyantsev, Potemkin.

Ode "To the capture of Warsaw" the poet presents the great Russian commander as a hero, as our "new Hercules":

Black cloud, gloomy wings

Ripped off the chain, covered the whole air;

The midnight whirlwind, the hero is flying!

Tma from the brow, with a whistle of dust,

The motes from the eyes run ahead,

The oaks lie in a ridge behind.

If he steps on the mountains, the mountains crack,

If it falls on the water, the water boils,

If it touches the hail, the hail will fall,

He throws towers with his hand for oblak;

Nature will tremble, turning pale before him;

Weak canes are spared only by them. ^{[10, p. 559]}.

The high syllable, solemn tone of this ode is replaced in the poem "Snigir" by a simple language and an intimate lyrical intonation.

Contemporaries testify about the history of the poem's creation: "The author had a snigir in a cage, learned to sing one knee of a military march; when the author returned to the house after the death of this hero, hearing that this bird was singing a military song, he wrote this ode in memory of such a glorious husband" ^{[4, p. 504]}.

The commander is still called a hero, but a concrete living person is drawn, not a mythologized hero; it is from everyday details that a majestic heroic figure grows, and not from fabulously hyperbolic techniques:

Who is our leader now? Who is the hero?

Who is in front of the army, burning,

Ride a nag, eat crackers;

In the cold and in the heat, tempering the sword,

Sleep on straw, watch until dawn;

Thousands of armies, walls and gates

With a handful of Russians to win everything? ^{[4, p. 206]}.

Suvorov for the poet is a "lion's heart", "wings of an eagle", "a husband so glorious in the world", but he is also a morally great man:

To be the first everywhere in strict courage;

Jokes envy, anger bayonet,

To overthrow the rock by prayer and by God;

Skiptras giving, to be called a slave;

Valor was the sufferer of the one,

To live for kings, to exhaust yourself? ^{[4, p. 206]}.

Contemporaries recall: "A few days before his death, Suvorov asked Derzhavin: "What kind of epitaph will you write to me ? ?In my opinion, a lot of words are not needed," Derzhavin replied, "it's enough to say: "Suvorov lies here." - "God have mercy, how good!" ? said the hero with alacrity. This epitaph of Derzhavin is written on the tombstone of Suvorov (in the necropolis in Leningrad)" ^{[4, p. 504]}.

In the poem "On the crossing of the Alpine Mountains" the poet says: "Yes, I'm singing Suvorov again!" Derzhavin describes the difficulties of a campaign in Northern Italy, which the commander, at the head of twenty-one thousand Russian soldiers, liberated from the French conquerors:

Leads under snow, whirlwind, hail,

Under the horror of the whole nature;

There is a spread and nearby

At every step with the darkness of death;

Everywhere is surrounded by enemies:

Water, mountains, heaven

And an army of opposing forces.

Nearby hills will fall with a crash,

In the distance there are rumbling rumbles, thunders,

The pale hunger grates in the rear ^{[4, p. 194]}.

The author gives an assessment of the figure of A.V. Suvorov in world history in the 23rd stanza of the poem, emphasizing first of all the spiritual steadfastness of this personality, its inviolability, which he designates as valor:

Take who the chronicle of the universe,

Read heroic deeds,

Valuing them with sacred truth,

Think with Suvorov;

You see those weaknesses, those vices

They shook the high spirit, ?

But he was in a hurry because of his youth

To prowess, stretch out only your hands;

Wherever he was sent to battle,

I came, I saw, I won ^{[4, p. 199]}.

G. R. Derzhavin defines his role as an artist as the glorification of great deeds and as the condemnation of bad deeds.

In the poet's biggest ode "Waterfall", the images of P. A. Rumyantsev and G. A. Potemkin are drawn. Outstanding generals, military theorists and military reformers are depicted against the background of a colorful waterfall, the "prototype" of which was the Kivach waterfall on the rapids of the Suna River in the former Olonets Province. The reason for writing the work was the death of Potemkin, who struck the poet by the fact that the all-powerful nobleman died in the steppe (Grigory Alexandrovich, seriously ill, was returning after the end of the second Russian-Turkish war by the road from Yass to Nikolaev). The image of Potemkin in this ode is highly indicative. Lomonosov in his poetry drew the ideal of a sovereign and a military commander, Derzhavin, who himself took part in the suppression of the Pugachev uprising, but then devoted many years to state work directly related to people's lives, chooses one parameter as a measure for evaluating the activities of both civilian high-ranking officials and high?ranking officers - benefit for the people. Derzhavin poetry is the poetry of thoughts about military exploits, and about glory, and about duty to the Fatherland, and about duty to one's conscience:

Is it not better to be less known,

And to be more useful;

Merits that will not fade;

Only the truth is sung by the singers,

Which will not last forever

Rattle the feathers of sweet lyres;

Only the idol of the righteous is holy ^{[4, p. 98]}.

The odes "On the death of Prince Meshchersky" and "God" are called philosophical; we consider them philosophical and psychological, because by linking the analysis of the achievements and status of people with the fulfillment of great state tasks, with the dictates of time, with God's laws, with the highest laws of the development of the world, Derzhavin also brings these reflections to the level of specific psychological qualities the specific characters portrayed by him. This is not yet a detailed description of the inner world, but it is the naming of its components, but the naming is multi-lingual, comprehensive: telling in the ode "Waterfall" about the fate of Potemkin, whose state talent the poet recognized, but at the same time noted his ambition, greed, tyranny, the artist recreates the artistic appearance of the hero's personality with the help of historical comparisons, when the psychological picture it comes ready together with the name of a historical character ? so, with the expression "Alcibiades dust", the poet compares Potemkin with the Athenian commander and politician Alcibiades, who combined talents and intemperance, arrogance and narcissism; in the expression "To take the helmet of Achilles is not shy, having found Firs in the field?", Derzhavin sees Potemkin as Achilles, and Termite, a cowardly military commander who blasphemed Achilles in Homer's Iliad, sees P. A. Zubov.

Rumyantsev in the image of Derzhavin is a worthy gray?haired man, "the wall of the fatherland of everything", over which the Moon bends:

Looked, and barely shone,

Bowing his horns before the elder,

How would I respectfully learn

He has his own enemy in him,

Whom she dreaded,

To whom the universe marveled ^{[4, p. 95]}.

It is Rumyantsev, sitting by the waterfall, who puts thoughts into the mouth of Derzhavin ? and not only about life and death, about time and its judgment, but also about the impermanence of power and glory. A worthy gray?haired man at the waterfall and with him is an image not only of people's lives ("Isn't This waterfall depicting the life of people to us?"), but also an image of Time itself. Not even God ? that's the true Judge. And this Judge evaluates the life of Prince Potemkin ? the personality is no longer unambiguously clear, like Lomonosov's Peter Lomonosov, like Derzhavin's Suvorov and the same Rumyantsev, but the personality is contradictory. How contradictory is the life path of the Prince of Tauride. Here is the height:

Are you not a confidant near the throne

The northern Minerva had;

In the temple of the Muses, the friend of Apollo;

On the field of Mars, he was reputed to be a leader;

The resolver of thoughts in war and peace,

Might?though not in porphyry?

Are you not the one who dared to weigh

The power of Ross, the spirit of Catherine

And leaning on them, he wanted to

To lift up your thunder on those rapids,

On which ancient Rome stood,

And did you shake the whole universe? ^{[4, p. 99]}.

But death is ordinary, unvarnished:

Whose corpse, as at the crossroads of the mist,

Lying on the dark bosom of the night?

Simple rags of the loins,

Two mites cover the eyes,

Fingers are pressed to the cold chest,

The mouths are silent and open!

Whose bed is the earth, whose shelter is the blue air,

Palaces ? are the views deserted around?

Are you not the son of happiness and glory,

The magnificent Prince of Taurida?

Aren 't you from the height of honor

Has he fallen among the steppes without reason? ^{[4, p. 99]}.

Psychologism in the portrayal of heroes is not born in literature out of the blue. In order to be able to describe the inner world of people, it was necessary to comprehend many concepts that affect the formation of a person, his activities: the concept of the role of a person in the family, in the state, the spiritual world of the person himself, the concept of the role of the sovereign, the role of power, war and peace, valor, the soul and spirit. In the 17th century, G.R. Derzhavin's ode "God" was widely known, translated into almost all Western European languages. A. Ya. Kucherov, in the introductory article to the publication of the poet's poems, writes that under the concept of deity Derzhavin "... judging by the autocommentary, he also meant "infinite space, continuous life in the movement of matter and the endless flow of time"" ^{[13, p. 475]}. The poet writes:

You contain a chain of beings in yourself,

You keep it and live it;

You match the end with the beginning

And you give death a belly.

As sparks pour out, they strive,

So the suns will be born from you;

Like on a cloudy, clear day in winter

Specks of frost sparkle,

They come back, they swell, they shine, ?

So the stars are in the abysses below you ^{[15, p. 566]}.

Having described the power of the Earth and the Sun, the power of the Universe, the poet represents man as "one point", which is nothing before God, but special:

Nothing! But you shine in me

By the majesty of your goodness;

You're portraying yourself in me,

Like the sun in a small drop of water ^{[15, p. 566]}.

And the famous stanza when Derzhavin raises a person to the level of a Deity:

I am the link of worlds everywhere existing,

I am an extreme degree of substance;

I am the center of the living,

The trait is the beginning of the deity;

I'm rotting my body in the dust,

I command the thunders with my mind,

I am a king ? I am a slave ? I am a worm ? I am a god! ^{[15, p. 567]}.

The works of G. R. Derzhavin were studied by V. G. Belinsky, Ya. K. Grot, Gr. Gukovsky, I. A. Vinogradov, D. D. Blagoy, A.V. Zapadov, G. A. Gukovsky, A.V. Kucherov, K. P. Oreshin, O. Mikhailov, M. Guselnikova, V. L. Korovin, M. Kalinin, V. F. Khodasevich, E. M. Epstein.

Soviet and Russian literary critic and writer A.V. Zapadov called the distinctive qualities of Derzhavin's poetry its national features, patriotism, glorification of warrior heroes - from generals to soldiers; the scientist saw the undoubted merit of Derzhavin's work that he "extraordinarily expanded the thematic scope of Russian poetry, in the full sense of the word brought poetry closer to life," and historical he defined the merit of the artist as follows: "... he introduced into poetry an 'ordinary human word'. It was unheard of, new, unexpected. Everyday affairs and concerns of people suddenly became the subject of poetry. /.../ Derzhavin introduced the Russian spoken language into poetry and vigorously promoted the strengthening of the national-democratic foundations of our literary language" ^{[7, pp. 58-64]}.

Alexander Nikolaevich Radishchev entered Russian and European public and literary life primarily as the author of "Journey from St. Petersburg to Moscow". The genre of travel, characteristic of sentimentalism, allowed the artist to create in the work an extraordinary breadth of coverage of the phenomena of Russian reality of the XVII century and an extraordinary depth of penetration into the social contradictions of the era.

The names of the fragments that make up this story are the names of postal stations of cities and villages that the traveler passes through. The main idea of the book is the condemnation of serfdom. So, in the chapter "Gorodnya" ^{[14, p. 191-198]}, the writer tells the tragic story of the serf intellectual Vanyusha: the hero is glad for the upcoming military service, because it will save him from humiliation and beatings: "A soldier's life is difficult, but better than a noose. It would be nice if that were the end, but to die a languid death, under a baton, under cats, in shackles, in a cellar, naked, barefoot, hungry, thirsty, with the usual abuse; my lord, although you consider a serf to be your estate, often worse than cattle, but, unfortunately for them to the bitterest, they are not devoid of sensitivity." The author-narrator asks Vanyusha how, "being only of a low state, he achieved concepts that are often lacking in people who are uncharacteristically called noble." And Vanyusha says that his old master gave him education on a par with his son, "a kind-hearted, reasonable and virtuous man, who often wept over the death of his slaves, wanted to distinguish me for the long-term merits of my father..." And the old master valued Vanyusha more than his own son: "... your happiness depends entirely on you. You have more motives for learning and morality than my son. He will be rich for me and will not know the need, and you have met her since birth. So, try to be worthy of my care for you." The master sent his son and Vanyusha abroad, but soon died. The master's son got married, and his wife began to humiliate, insult and punish Vanyusha, and then ordered him to marry the maid, who was made a mother by her nephew. Vanyusha resolutely refused not only immediately, but also after being beaten by cats. Cats are four?tailed whips with knots at the ends, they were introduced in 1720 and were used to punish sailors, prostitutes and harborers of runaway peasants and criminals. Vanyusha only had to be a military man, but by education, upbringing and way of thinking and acting, he is an intellectual. Radishchev shows how a literate, thinking and decent person was formed from a peasant, ready to stand up to the end for his honor: "Inhuman woman! it is in your power to torment me and wound my body; you say that the laws give you this right over us. I don't believe much in this either; but I know for sure that no one can be forced to marry."

G. P. Makogonenko notes that it is said about himself: "I am a man, equal to all others." He is "firm in thought" and hates "timidity of spirit." The human dignity awakened in him makes him active and courageous" ^{[12, p.117]}.

The last chapter of "Travels..." is "The Word about Lomonosov". Paying tribute to the genius of the scientist, Radishchev blames him for the fact that, following the general custom of caressing the ears of kings with praise, he flattered those who, like Elizabeth, are not worthy even of "honking."

G. P. Makogonenko wrote: "A. N. Radishchev depicted the people in his "Journey ..." in a way that he had never been depicted in either Russian or world literature, before Radishchev, the people were not a hero of art" ^{[12, p. 116]}. It is for the art of sentimentalism that the assessment of a person as a person, regardless of his origin and position in society, has become important. Radishchev showed how internally free, strong and decent a peasant can be ? such as Vanyusha (in the chapter "Gorodnya"), as a hardworking plowman (the chapter "Lyuban"), as a guy defending the honor of his bride (the chapter "Zaitsovo"), as a hero-sailor who saves those dying on the lake people (the head of "Chudovo"), like Mikhail Vasilyevich Lomonosov, the focus of great talents and opportunities of the common man.

V. K. Kantor, writer, critic, literary critic, in the magazine "Questions of Literature" made an article "From where and where did the traveler go?.. ("Journey From St. Petersburg to Moscow" by A. N. Radishchev)", in which he points out that Radishchev posed a lot of problems in his famous work, so the writer is still being treated and appealed to, and cannot abandon him, calling both the first noble revolutionary and "a rebel worse than Pugachev Russian Russian Russian Russian writer (Catherine II), and the first Westerner (Herzen), and the first Russian intellectual (Berdyaev), and the first Russian humanist (Eidelman), and the Roman Stoic (Billington), the first Russian suicide, who paved the way for Russian suicidal writers who could not endure the political cataclysms of Russia (Chkhartishvili). Quoting the words of Radishchev himself that severity and inhumanity are very dangerous, which lead to revenge and destruction, accuses the author that the collapse of our state occurred "not without some participation of our hero" ^{[8, pp. 83-138]}. No. Radishchev was indeed the first to humanistically say that any person should be valued and respected ? this is exactly what he saw as the path of development of Russia and human society in general. V. S. Lobareva in the article ""The journey from St. Petersburg to Moscow "as a search for the path of transformation in Russia" rightly and accurately believes: "The prophetic mission of the artist is to create peace in a word, to light up the "hearts of people", to bring light-truth to humanity. It seems that it was for this purpose that Radishchev wrote "Journey ..." and placed "The Word about Lomonosov" at the end of it. Note that a friend of the traveler (the head of the "Hotilov") utters one very important phrase: "The device on the shield of freedom is as repugnant to our bliss as the bonds themselves… Always look at the hearts of your fellow citizens. If you find peace and tranquility in them, then you can truly say, "They are blessed." Therefore, neither the path of liberal socio-economic reforms nor the revolutionary path of transformation will lead society to bliss. Enlightenment, the "transformation" of man himself as the first foundation of the world is the closest and truest way" ^{[11, pp. 240-246]}.

Noteworthy in the work of A. N. Radishchev are "Songs sung at competitions in honor of ancient Slavic deities", of which he managed to write one ? "The Song of Vseglas". This work tells how the free citizens of Novgorod defend their city from enemies. "The Song of Vseglas" is notable for the fact that the author presents in it the creation of the world not in a biblical format, but in a Slavic version: cosmogony is given as the "creative power" of Perun and the gods of the universal elements, stemming from their words and immense thought. On the Earth already created, the author draws a god-like image of a priest-warrior, great both in the feats of protecting people and in the art of magic, which he uses for the benefit of his kind. The significance of the metrics and rhythmics chosen by the author for the "Songs" is that this is the first experience of a polymetric poem in Russian literature: different verse sizes correspond to compositional and thematic transitions.

J. L. Barskov, G. P. Makogonenko, I. Ya. Shchipanov, D. D. Blagoy, G. V. Plekhanov, V. P. Semenikov, G. A. Gukovsky, V. Orlov, A. Startsev, Yu. M. Lotman, L. B. Svetlov, P. N. Berkov, G. Storm, Yu. F. Karyakin, E. R. Plimak, D. S. Babkin.

The famous fabulist, but also the playwright and journalist Ivan Andreevich Krylov during 1789-1793 acted as a publisher of satirical magazines. His "Spirit Mail" is a collection of essays that are united by a common idea and form. These are letters from underground, air and water spirits, who, penetrating everywhere, can see life, including hidden from the eyes, and inform the wizard Malikulmulk about this life. In these letters we meet judges Tikhokradovs, and dandies Pripryzhkin, and dandies Shameless, and merchants Plutorezov, but also officers Rubakins.

In the letter "From the dwarf Zor to the wizard Malikulmulku" ^{[14, pp. 650-656]}, a conversation is given at the table on the name day of a rich merchant Plutorez. The dragoon captain Rubakin was among the guests, who gathered a lot. The conversation turned to the owner's fourteen-year-old son: whether to enroll him in military service or arrange for him to the royal court. How does this conversation characterize Officer Rubakin?

The officer, in response to the happiness that the courtier promises to the son of the owner, asking for a "mere trifle" ? twenty thousand! ? offers his own version of the fate of a teenager. Rubakin calls military service a wonderful state, because it is not subject to the rigors and dangers that are associated with court life: "There is nothing forbidden to a military man: he drinks in order to be brave; changes mistresses so as not to be anyone's prisoner; plays in order to get used to the impermanence of happiness, only akin to in war; deceives in order to accustom his spirit to military tricks; and moreover, his fate is completely known to him, because it consists only in two words: to kill his enemy or to be killed by it himself. Where he beats, there is nothing sacred for him, because he must force himself to be afraid; if he is beaten, then he should turn his back and have a good horse; in short, a military man needs more forehead than brain, and sometimes more legs than hands, and I have grown old already in service, but I have always been of the opinion that it is not good for a soldier to be clever" ^{[14, p. 654]}. Rubakin, as well as the courtier, as well as Judge Tikhokradov, asks for money for his services to get the boy into his regiment.

The officer is insulted by the comparison of warriors with podyachim: "Can't you make it in time? This is one thing, when we take what fortress, how much glory it brings us, and how much pleasure we then feel, enriching ourselves with everything that only our eyes will then come across. Who else can have such a will to appropriate things that never belonged to him without the slightest violation of the right?" ^{[14, p. 655]}.

The modern researcher V. D. Ivanov in the article "Psychological thought in the philosophical and journalistic works of I. A. Krylov" notes: 1) Krylov enters the educational field with an understanding of the human spirit as a contradiction (coming from Sh. Montesquieu) and with a desire for a deep knowledge of human psychology, philosophical understanding of his being and the improvement of human nature; 2) the orienting thought of the author of "Spirit Mail" is the connection of the question of the "inner, spiritual world" of a person with the material and social world; 3) in the magazine "Spirit Mail" Krylov raises issues important for understanding of the psychological thought of the late Enlightenment era, ? a description of human nature in the specifics of its social essence, the search for significant characteristics of human virtue, his perception of the value of work and the development of diligence, awareness of the need for bodily and spiritual struggle as a way for a person to change himself; 4) Krylov in his philosophical letters, articles, fables represents the ideal of a "reasonable", "honest", "constant", who is able to fight for the achievement of high life principles, for whom the struggle is necessary not only as a set of ideas guiding his life, but also as a type of behavior consistent with the goals, needs and value orientations present in his perception of the world of things, people, spirit ^[9].

I. A. Krylov's pen also belongs to the "shutotragedia" "Pinch, or Triumph". This poetic text depicts a fairy-tale country, the head of which is King Vakula, playing with children's kubari, and the environment is represented by blind and deaf generals, Marshal Durduran, Prince Slyunyai, armed with a wooden sword, etc. Podschipa is the tsar's daughter, and Slobber and the German Prince Triumph, an impudent soldier, are fighting for her hand. Triumph first conquers the capital of this country, but then is expelled from the kingdom.

Written on the threshold of the XV century, the play is a parody of the template of a classic tragedy. The traditional Alexandrian verse is filled with coarse everyday speech. Contemporaries saw in the heroes of this comedy a satire on Paul I, his entourage and Prussomania.

"Podschipa" was not designed for a public open production ? it was written for the home theater of the Princes Golitsyns (I. A. Krylov, then disgraced by S. F. Golitsyn, was a personal secretary and home teacher). From direct satire, the artist gradually moves to the allegorical nature of the fable. And work in this genre brought the poet a stunning success, the fabulist Krylov became an unsurpassed greatness of Russian literature. In the days of the Patriotic War of 1812, the poet's fables became a response to its most important events. "Section", "Wagon train", "Wolf in the kennel" ridicule Rostopchin and Arakcheev, the impatient Alexander I and Napoleon, who started the wartime feuds. So, Alexander I in the fable "Wagon Train" is represented by a young hot horse breaking a string of carts and carts, because he rushes down the mountain at high speed; and Kutuzov is represented by an old horse carefully carrying horse-drawn transport from the mountain. Contemporaries, as well as descendants, read both literal and allegorical meanings, as well as prototypes of the characters of Krylov's "little comedies".

L. S. Vygotsky in his "Psychology of Art" writes about the work "The Wolf in the Kennel" as the most amazing of Krylov's fables, which has no equal "neither in the general emotional impression it makes, nor in the external structure to which it is subordinated" ^{[2, p. 171]}. The scientist says that this fable has long been interpreted and understood as an appendix to historical events. According to contemporaries, Kutuzov pointed to himself as a hunter and, taking off his hat, ran his hand through his gray hair, saying the words "You are gray, and I, buddy, am gray." The wolf, from this point of view, is Napoleon; and the whole situation described in the fable is the predicament of the French emperor after the victory at Borodino. Vygotsky insists: the historical reason can never explain anything in the fable; the scientist writes that this fable, like all others, develops in two opposite emotional planes ? 1) a swift attack on the wolf and 2) parallel negotiations where peace is at stake: "Will anyone say that the wolf is pathetic in these majestic negotiations, in this extraordinary courage and perfect calm? Is it possible not to be surprised that confusion and anxiety are attributed not to the wolf, but to the kennels and dogs?" ? the psychologist writes. He believes that the combination of the two planes creates an experience characteristic of a tragedy, where a catastrophe simultaneously marks both the peak of death and the peak of the hero's triumph, why one of the critics said that Krylov, leading his wolf to death, could, parodying the gospel text and the words of Pilate, who led Christ to death, say: "Ecce lupus"" ("Here is the wolf") ^{[2, pp. 171-186]}.

The works of I. A. Krylov were studied by M. E. Lobanov, P. A. Pletnev, V. F. Kenevich, V. V. Kallash, L. N. Maikov, A. I. Lyashenko, A. Kirpyachnikov, V. Peretz, V. G. Belinsky, S. M. Babintsev, M. A. Gordin, N. L. Stepanov, K. Trunin, I. Sergeev, D. D. Blagoy, N. L. Brodsky.

The outstanding historian and writer Nikolai Mikhailovich Karamzin became famous not only for the "History of the Russian state" ? the audience enthusiastically greeted his story "Poor Liza" about a girl seduced and abandoned by a master ^{[12, pp. 35-53]}. The main advantage of this sentimentalist work was to reveal the psychology of the characters.

A. A. Kayev considers the male image of the story, the image of Erast, the predecessor of Onegin, Pechorin, etc. as a type of disappointed Russian aristocrat ^{[10, p. 609]}. Karamzin characterizes the hero as follows: "Erast was a rather rich nobleman, with a fair mind and a kind heart, kind by nature, but weak and windy. He led an absent-minded life, thought only about his pleasure, looked for it in secular amusements, but often did not find it, was bored and complained about his fate." The young man assures his beloved that "after the death of her mother, he will take her to him and live with her inseparably, in the village and in the dense forests, as in paradise." But soon Erast left, he was in the army, however, "instead of fighting the enemy, he played cards and lost almost all of his estate." Burdened with debts, a nobleman marries an elderly rich widow who has been in love with him for a long time. Lisa commits suicide, and Erast, upon learning about this, cannot be comforted, because he considers himself her killer, and he was unhappy until the end of his days.

Researchers write that the ennobling influence of love on the character of the hero is conveyed by Karamzin psychologically subtly: "... after all, how much she loves him, he seemed nicer to himself." But a gambling loss, debts, a desire not to lose their social position lead to a marriage of convenience. However, the reader does not attack Erast with accusations, because he judges himself. The original denouement is recognized by literary critics as one of the elements of realism in the story. P. A. Orlov says that the theme of the work is revealed by the writer exclusively in psychological terms, in the sphere of purely love relations of the hero and heroine; the conflict between Lisa and Erast is revealed by the author as a contradiction between a nature capable of strong and selfless feeling, and an egoistic nature and weak-willed. Orlov names the qualities of the story that made it a step forward in the art of revealing the psychology of the characters: an unspoken phrase, a gesture, a lyrical landscape as artistic means that allow subtly and economically to reveal the experiences of the characters ? previously, writers used long and tedious monologues for this ^{[13, p. 73]}.

The work of the Doctor of Psychological Sciences, Professor of the Institute of Education Management of RAO V. S. Sobkin ""Ah, "Poor Lisa", Ah" ? the experience of psychological analysis of the story of N. M. Karamzin" deserves attention ^[16]. The researcher believes that the author loses two games with the reader in parallel, two games ? in the artistic field and in the real field. Erast Sobkin sees the appearance of the hero as a provocation of the seduction plot: Karamzin needs the slowness of the character with the seduction of Lisa in order for the reader to mature a sentimental feeling in the process of reading. The researcher believes that an important psychological characteristic of the hero's personality is the tendency to imagine himself in a fictional situation saturated with literary associations, to look at himself from the outside and admire himself, while in fact he is insincere and insidious; the narrator in the story, noting Erast's intelligence, kindness of heart and vivid imagination, fixes the personal immaturity of the hero. Sobkin sees the writer's game: first the reader is guided to a tragic denouement, then this reader's hypothesis is repressed, then it is actualized again, because pure and disinterested relationships with a girl turn only into a means to satisfy the need for possession, and the logic of Erast's behavior changes, which is based on egosecurity mechanisms that bring extrapunitive and manipulative reactions to the fore in relation to Lisa, associated with the formation of her feelings of guilt and sacrifice. Here the author of the article admits: this is one of the possible reader's interpretations. In general, the work is, in our opinion, only an interpretation of the story by a psychologist, a psychological commentary on the story, but not a psychological analysis by and large, which would say a new word about this work of fiction ? details, individual characteristics of the personality and behavior of the characters are analyzed, there is even an idea, but there is no understanding of the meaning of the image of Erast. Literary studies of N.M. Karamzin's novella represent this work of fiction much more deeply, even in terms of its psychologism. V.S. Sobkin's work lacks psychology proper ? analysis of such events in life.

The works of N. M. Karamzin were studied by A. Ya. Kucherov, V. G. Belinsky, Yu. M. Lotman, I. A. Kryazhimskaya, N. I. Mordovchenko, L. I. Kulakova, M. A. Arzumanova, D. D. Blagoy, G. P. Makogonenko, V. Tolstoy, Yu. V. Doikov, N. L. Stepanov, N. Ya. Eidelman.

Conclusions. Thus, the XVII century in the development of Russian culture is a turning point: this is a transition from religious scholasticism to the rationalism of classicism and sentimentalism sensitivity, it is the growth of national consciousness, critical attitude to reality, strengthening of freedom and humanity.

The XVII century in Russian literature is the period of the formation of psychologism, the period of searching for its guiding qualities, properties, and techniques. In order to be able to describe the inner world of people, it was necessary to comprehend many concepts that affect the formation of a person, his activities: the concept of the role of a person in the family, in the state, the spiritual world of the person himself, the concept of the role of the sovereign, the role of power, war and peace, valor, the soul it was necessary to present psychological personality traits in an ideal, "pure" form, when the hero becomes the bearer of a certain psychological characteristic ? and only without showing the versatility of the personality.

The military officers depicted by the prose writers and poets of the XVII century are Emperor Peter I himself, a warrior-priest, generals Suvorov, Rumyantsev, Potemkin, resembling gods and heroes and at the same time "earthly" people, this virtuous, enlightened mind Milo, as well as rude brigadier Ignatiy Andreevich, thievish and dissolute dragoon Captain Rubakin and kind, but weak-willed Erast. The large-scale image of the reformer tsar in the odes and in the poem by M. V. Lomonosov influenced the image of Peter in subsequent Russian literature, in particular, in the works of Pushkin; Brigadier Fonvizin is considered the literary ancestor of the Griboyedov Rock?Tooth, and Erast is the predecessor of Onegin, Pechorin, and other images of disappointed aristocrats.

8. Conclusion.

Intelligence and the characteristics of the intelligentsia correlate directly. M.L. Gasparov sees the peculiarity of the Russian intelligentsia in the fact that, detached from participation in power and dissatisfied with everyday practical work, it focuses on theoretical work ? the development of national identity ^[3].

Many psychologists have turned to art; the psychology of art contributes to the development of holistic ideas about a person, to the study of the living soul and consciousness of a person. The fundamental work "Psychology of Art" by L. S. Vygotsky received universal recognition ^[2].

The Russian psycholinguist V. P. Belyanin in his book "Psychological literary Studies" ^[1], listing the directions of research of a literary text (linguistic analysis, linguistic and cultural analysis, literary analysis, sociological interpretation, linguophenomenological approach to the text, work in line with experimental aesthetics, work in the field of physiology of sensory systems), focuses on psycholinguistics, which is characterized by a wide the view of speech as the result of human speech-thinking activity.

The textbook was the work of the famous cultural critic and literary critic A. B. Esin "The psychology of Russian classical literature", who claims that no literary work can do without some, even the most brief and primitive, information about the inner world of the actors; however, one can talk about psychologism only when the psychological image becomes the main way. It is worth admitting that the significance of the work done in the development of literary psychologism by the Russian writers of the XVII century was insufficiently appreciated by A.B. Yesin.

In the literary work of M. V. Lomonosov, we meet with the image of Peter the Great, who appears in the odes as the ideal of an enlightened monarch, and in the poem "Peter the Great" as "a builder, a swimmer, a hero in the fields, in the seas." The first Russian emperor is depicted in the poem as a conquering warrior, a winner, a converter, a tireless worker, inspiring everyone with his personal example - and this is on a historical plot, with faithful adherence to reality in the depiction of events. The large-scale image of the reformer tsar in the odes and in the poem by M.V. Lomonosov influenced the image of Peter in subsequent Russian literature, in particular, in the works of Pushkin. V.G. Belinsky called Lomonosov himself "Peter the Great of Russian Literature."

D. I. Fonvizin created in the comedy "Brigadier" the image of a former cavalryman, an old retired nobleman. Although Ignatiy Andreevich has a high military rank, he is a deeply ignorant person who does not know literacy and considers it unnecessary. The brigadier's son Ivan despises his country, everything is Russian and, brought up by a French coachman, is delirious with France alone. Ignatius Andreevich is sorry. that he allowed his wife to spoil his son, that he did not send him to the regiment. Fonvizin considers education a means to cure all social ills, and the education of true nobles ? intelligent, educated, loving the Fatherland and respecting their native culture, people of duty and high morality ? considers the primary social task.

In the comedy "Nedorosl", the officer is Milon, this is the image of a well?behaved young man who honors "virtue decorated with enlightened reason." A. A. Kayev in the textbook "Russian Literature" writes about the heroes of the comedy "Nedorosl" Milone and Sophia that "these are idealized representatives of that "new nature" of people, which, although and not particularly successfully, but they really tried to create according to the ideas of Locke and Rousseau in some pedagogical institutions (for example, Betsky) and in conditions of home education" ^{[7, p. 531]}.

G. R. Derzhavin made a great contribution to the development of Russian poetry. Derzhavin's poetry is a big step forward in depicting military events and personalities of the military: 1) in the heroic ode "The Song of the Capture of Ishmael", the tsar and the nobles are no longer sung ? the Russian people, the valiant Ross, are sung; 2) the central figure of patriotic lyrics is again not the sovereign, but a professional military man - Suvorov, Rumyantsev, Potemkin.

Soviet and Russian literary critic and writer A.V. Zapadov called the distinctive qualities of Derzhavin's poetry its national features, patriotism, glorification of warrior heroes - from generals to soldiers; the scientist saw the undoubted merit of Derzhavin's work that he "extraordinarily expanded the thematic scope of Russian poetry, in the full sense of the word brought poetry closer to life."

A. N. Radishchev entered the Russian and European social and literary life primarily as the author of "Journey from St. Petersburg to Moscow". In the chapter "Gorodnya", the writer tells the tragic story of the serf intellectual Vanyusha: the hero is happy about the upcoming military service, because it will save him from humiliation and beatings.

It is for the art of sentimentalism that the assessment of a person as a person, regardless of his origin and position in society, has become important. Radishchev showed how internally free, strong and decent a peasant can be ? such as Vanyusha (in the chapter "Gorodnya"), as a hardworking plowman (the chapter "Lyuban"), as a guy defending the honor of his bride (the chapter "Zaitsovo"), as a hero-sailor who saves those dying on the lake people (the head of "Chudovo"), like Mikhail Vasilyevich Lomonosov, the focus of great talents and opportunities of the common man.

Noteworthy in the work of A. N. Radishchev are "Songs sung at competitions in honor of ancient Slavic deities", of which he managed to write one ? "The Song of Vseglas". In this work, the author draws a god-like image of a priest-warrior, great both in the feats of protecting people and in the art of magic, which he uses for the benefit of his kind.

The famous fabulist, but also playwright and journalist I. A. Krylov acted as a publisher of satirical magazines during 1789-1793. His "Spirit Mail" is a collection of essays that are united by a common idea and form. Here we meet the judges of the Tikhokradovs, and the dandies of the Pripryzhkins, and the dandies of the Shameless, and the merchants of the Plutores, but also the officers of the Rubakins. Officer Rubakin says: "There is nothing forbidden to a military man: he drinks in order to be brave; he changes mistresses so as not to be anyone's prisoner; he plays in order to get used to the inconstancy of happiness, only akin to war; he deceives in order to accustom his spirit to military tricks; and besides, his fate is completely known to him, because it consists only in two words: to kill your enemy or to be killed by it yourself."

A modern researcher V. D. Ivanov notes: in the magazine "Mail of Spirits" Krylov raises problems important for understanding the psychological thought of the late Enlightenment era ? the description of human nature in the specifics of its social essence, the search for significant characteristics of human virtue, the perception of the value of work and the development of diligence, awareness of the need for bodily and spiritual struggle as a way of changing a person himself ^[6].

In the "joke comedy" by I. A. Krylov "Pinch, or Triumph", the writer draws deaf generals of Marshal Durduran, Prince Slobbering, armed with a wooden sword, the German Prince of Triumph, an impudent soldier. Contemporaries saw in the heroes of this comedy a satire on Paul I, his entourage and Prussomania.

From direct satire, the artist gradually moves to the allegorical nature of the fable. And work in this genre brought the poet a stunning success. In the days of the Patriotic War of 1812, the poet's fables "Section", "Wagon train", "Wolf in the kennel" became a response to its most important events.

N. M. Karamzin became famous not only for the "History of the Russian state" ? the audience enthusiastically greeted his story "Poor Liza" about the girl seduced and abandoned by the master. The main advantage of this sentimentalist work was to reveal the psychology of the characters.

A. A. Kayev considers the male image of the story, the image of Erast, the predecessor of Onegin, Pechorin, etc. like a disappointed Russian aristocrat. Karamzin characterizes the hero as follows: "Erast was a rather rich nobleman, with a fair mind and a kind heart, kind by nature, but weak and windy. He led an absent-minded life, thought only about his pleasure, looked for it in secular amusements, but often did not find it, was bored and complained about his fate." P. A. Orlov says that the theme of the work was revealed by the writer exclusively in psychological terms, in the sphere of purely love relations of the hero and heroine; the conflict between Lisa and Erastom is revealed by the author as a contradiction between a nature capable of strong and selfless feeling, and an egoistic and weak-willed nature.

Thus, the XVII century in the development of Russian culture is a turning point: this is a transition from religious scholasticism to the rationalism of classicism and sentimentalism sensitivity, it is the growth of national consciousness, critical attitude to reality, strengthening of freedom and humanity.

The XVII century in Russian literature is the period of the formation of psychologism, the period of searching for its guiding qualities, properties, and techniques. In order to be able to describe the inner world of people, it was necessary to comprehend many concepts that affect the formation of a person, his activities: the concept of the role of a person in the family, in the state, the spiritual world of the person himself, the concept of the role of the sovereign, the role of power, war and peace, valor, the soul it was necessary to present psychological personality traits in an ideal, "pure" form, when the hero becomes the bearer of a certain psychological characteristic ? and only without showing the versatility of the personality.

The military officers depicted by the prose writers and poets of the XVII century are Emperor Peter I himself, these are warrior?priests, these are the commanders Suvorov, Rumyantsev, Potemkin, who resemble gods and heroes and at the same time "earthly" people, this is the virtuous, enlightened mind Milo, as well as the rude brigadier Ignatiy Andreevich, a thievish and dissolute dragoon Captain Rubakin and kind, but weak-willed Erast. The large-scale image of the reformer tsar in the odes and in the poem by M. V. Lomonosov influenced the image of Peter in subsequent Russian literature, in particular, in the works of Pushkin; Brigadier Fonvizin is considered the literary ancestor of Griboyedov's Scalozub, and Erast is the predecessor of Onegin, Pechorin, and other images of disappointed aristocrats.