SENTIMENTALISM (French sentimentalisme, from English sentimental - sensitive, French sentiment - feeling), artistic movement in Western literature and art. Europe and Russia ser. 18 – beginning 19th centuries Sometimes seen within the broader cultural movement of Pre-Romanticism.
The origin of S. is associated with the rethinking of rationalism. the principles of classicism with its monumentality, rigor and heroism, thoughtfulness of norms and rules; The polemic against the compromise-dual morality of Rococo was also important. Philosophy the basis of socialism was sensationalism (J. Locke), developed in the works of A. Shaftesbury, according to whose views morality is inherent in human nature itself and is associated not with reason, but with a special “moral sense”: a person has an innate ability to distinguish good from evil and strive for virtue; through open expression of feelings, he expresses his belonging to society and his own individuality. Sensitivity is conceptualized as the foundation of citizenship. society, therefore, at an early stage, S. turns out to be close to educational ideas of educating a person and improving the world. Sentimentalists focus on the emotional sphere of human life - the “life of the heart” and the “movements of the soul”; events that take place in a family, a circle of friends, or between lovers are brought to the fore, insignificant on the scale of history, but important for a specific fate. The cult of the “natural” (in S. usually coinciding with the “moral”) means. contributed to the popularization of the theme of nature, appeal to pristine landscapes, as well as to the everyday life of rural residents - owners of small estates, village priests, peasants, in whose lives a direct connection is revealed between the natural virtue of man and the “kindness” of nature. Means. S. was influenced by the ideas of J. J. Rousseau about the “natural man”, capable of maintaining his moral innocence and purity away from the temptations of civilization.
In literature
In literature, S. initially took shape in English. lit-re. Its origins are associated with the poetry of J. Thomson (“The Seasons,” 1730), E. Young (“Night Thoughts,” 1742–45), T. Gray (“Elegy Written in a Country Cemetery,” 1751); Sentimentalistic tendencies are noticeable in psychology. the novels of S. Richardson, the late G. Fielding, but most vividly embodied in the work of L. Stern (the name “S.” was established in Europe after the publication of his novel “A Sentimental Journey through France and Italy” in 1768); among the most means. representatives - O. Goldsmith, J. Lillo and E. Moore. In France, the works of D. Diderot, J. J. Rousseau (the novel “Julia, or New Heloise,” 1761, the pinnacle of the French S.), J. F. Marmontel, J. P. C. de Florian are associated with S. , J. A. Bernardin de Saint-Pierre, Detouches, P. C. N. de Lachausse; in Germany - F. G. Klopstock, G. E. Lessing, young J. V. Goethe (the novel “The Sorrows of Young Werther”, 1774), K. F. Moritz, the poets of the “Union of the Grove” (L. K. G. Hölti and others), Jean Paul; in Poland - F. Karpiński. In Russia, S. was most clearly manifested in the work of N. M. Karamzin; Sentimentalists include M. N. Muravyov, I. I. Dmitriev, Yu. A. Neledinsky-Meletsky, V. V. Kapnist, N. A. Lvov; features of sentimentalist poetics are inherent in the works of A. N. Radishchev.
The characteristic genres of S.'s poetry are elegy, idyll, epistle; dramaturgy - tearful comedy, bourgeois drama; in prose, the epistolary novel, travel notes, diaries and other forms with a pronounced confessional beginning predominate. The desire to evoke in the reader a feeling of the closeness of the story being told to his own life experience and its absolute authenticity gave rise to peculiar local legends: for example, about the existence of a real tree under which Werther, the hero of Goethe’s novel, sat; the pond where poor Liza from the same family drowned herself. stories by N. M. Karamzin, etc.
Late S. is distinguished by a consistent interest in the irrational in the human soul and in the surrounding world, in the sphere of the mysterious, unknown and terrible, which is embodied in the genre of the Gothic novel.
Sentimentalist writers
Sentimentalism was most clearly expressed in English literature. An example of this literary trend can be the novels of S. Richardson and L. Stern.
German sentimentalism is represented by the works of F. Schiller and I.V. Goethe.
If we talk about French sentimentalism, then we need to remember J. -J. Rousseau.
In Russian literature, the names of M. N. Muravyov, I. I. Dmitriev, N. M. Karamzin are associated with the direction that interests us. “Journey from St. Petersburg to Moscow” by Radishchev has features of sentimentalism. Zhukovsky’s early poems are often classified in this direction.
The most characteristic work of sentimentalism in Russian literature is called “Poor Liza” by Karamzin.
In architecture and fine arts
State Budgetary Institution "Samara Regional Art Museum" Semyon F. Shchedrin. "Mill and tower of Pil in Pavlovsk." 1792. Art Museum (Samara).
In architecture and fine arts, S. is in many ways in touch with Rococo and Classicism. For a number of the largest masters, the 2nd floor. 18 – beginning 19th centuries S. is only one of the components of their creativity. In the creation of landscape parks in the 18th century. and the architecture of the small palaces, pavilions and other buildings located in them reflected the cult of nature characteristic of S., elegiac. and pastoral moods (architects W. Kent, W. Chambers in Great Britain, J. A. Gabriel, R. Meek in France, F. W. Erdmansdorff in Germany; in Russia - C. Cameron, P. di G. Gonzago, V. I. Neelov). B will depict. Art-ve characteristic features of S. can be considered tenderness, grace of modeling and color. shades, airiness of distances, foliage, etc.; the general imprint of noble simplicity; assertion of self-worth internal. the human world - in the poetic portraits of women, youth and children by sculptors E. M. Falcone, M. I. Kozlovsky, painters J. B. Greuze, J. L. Voil, M. L. E. Vigée-Lebrun, T. Gainsborough , A. Kaufman, V. L. Borovikovsky, in melancholic landscapes with ancient ruins and park buildings by Yu. Robert, Semyon F. Shchedrin and others.
Sentimentalism in Russian culture
At the end of the century, a new direction appeared in Russian literature - sentimentalism (from the French sentiment - feeling). The most famous representative of this trend was N. M. Karamzin (the novel “Poor Liza”), whose work began in the 90s. of the passing century, completing, like the work of A. N. Radishchev, the history of literature of the 18th century.
In painting, instead of conventional techniques of icon painting, the laws of realism enter into practice. Already in the first quarter of the 18th century. The concept of genre diversity begins to take shape. Gradually, the secular plot begins to occupy the main place. In addition to portraiture, historical painting appears. But it is still closely connected with the ancient Russian traditions of depicting battles.
Only with the creation of the Academy of Arts in 1757 did historical painting begin to emerge as an independent genre. The work of A.P. Losenko (1737-1773) “Vladimir and Rogneda” can be considered the first great historical pictorial work, although the historical genre was not the only one for him. G. I. Ugryumov (1764-1823) was especially drawn to themes of national history. Painted in the style of classicism, the paintings “The Election of Mikhail Fedorovich to the Tsardom”, “The Capture of Kazan” and others, with all their compositional conventionality and theatricality, had a huge influence on the development of Russian historical painting.
Portrait painting amazes with its variety: front, chamber, full-length, full-length, double. One of the founders of Russian portrait painting was I. N. Nikitin (1690-1742). The first self-portrait was painted by A. M. Matveev (1701 - 1739): “Self-portrait with his wife Irina Stepanovna.” Particular attention should be paid to the portrait miniature. One of the most talented portrait painters was F. S. Rokotov (1735-1808), who mastered the art of Western European ceremonial portraiture. His late work reflected the transition common to Russian art from refined rococo to the clarity and rigor of classicism. D. G. Levitsky (1735-1822) in his best works (portraits of A. F. Kokorinov, P. A. Demidov) managed to combine the solemn elation of the image with features of naturalness and everyday life, with a keen perception of the materiality of surrounding accessories, revealing the profession, social affiliation, interests of the person depicted. Many of the artist’s works were bought by foreigners, and now they are in European museums, in particular the Louvre.
In the works of V.L. Borovikovsky (1757-1825) in the mid-90s. The features of sentimentalism are most vividly embodied in Russian fine art. In contrast to the official class portrait, he developed a type of image of a “private person”, whose feelings are most fully manifested against the backdrop of a park landscape. These include portraits of Catherine II, where the empress is depicted in a cloak and with an Italian greyhound on a walk in Tsarskoye Selo Park, good weather in Bryansk and Moscow. But at the beginning of the 19th century he gradually moved to the aesthetics of classicism. Trying to portray strong, energetic people, the artist emphasizes in them such features as citizenship, nobility, and the dignity of human nature (portraits of A. A. Dolgoruky, V. L. Borovsky).
In music
In music, the exponents of sentimentalist sentiments were C. F. E. Bach and other representatives of the Berlin school. – 2nd floor 18th century (see also Gallant style), in Russia - O. A. Kozlovsky. S.'s aesthetics had a direct impact on the development of the opera: the richness and sophistication of emotions and innate nobility were emphasized in the characterization of the characters. The plot motif of the “test of virtue” has become a favorite, where the high moral qualities of Ch. the hero (in comic opera usually a commoner) are contrasted with the immoralism of his opponents. S. manifested himself most clearly in the comic opera (“The Village Sorcerer” by J. J. Rousseau, 1752). In the 1760s–70s. Operas in line with S. aesthetics were created by P. A. Monsigny, F. Philidor, and A. E. M. Grétry. Representatives of S. in Italy. opera - N. Piccinni, P. Anfossi, partly G. Paisiello (“Nina, or Crazy in Love,” 1789). In line with S., attempts were made at a qualitatively new synthesis of music and drama. action in the genre of melodrama.
Differences from classicism and romanticism
The object of our research is sometimes confused with other literary movements, between which it has become a kind of transitional link. So what are the differences?
Differences between sentimentalism and romanticism:
- Firstly, at the head of sentimentalism are feelings, and at the head of romanticism is the human personality straightened to its full height;
- Secondly, the sentimental hero is opposed to the city and the harmful influence of civilization, and the romantic hero is opposed to society;
- And thirdly, the hero of sentimentalism is kind and simple, love plays the main role in his life, and the hero of romanticism is melancholic and gloomy, his love often does not save, on the contrary, it plunges into irrevocable despair.
Differences between sentimentalism and classicism:
- Classicism is characterized by the presence of “speaking names”, the relationship of time and place, the rejection of the unreasonable, and the division into “positive” and “negative” heroes. While sentimentalism “glorifies” the love of nature, naturalness, and trust in man. The characters are not so clear-cut; their images are interpreted in two ways. Strict canons disappear (there is no unity of place and time, there is no choice in favor of duty or punishment for the wrong choice). The sentimental hero looks for the good in everyone, and he is not chained into a template in the form of a label instead of a name;
- Classicism is also characterized by its straightforwardness and ideological orientation: in the choice between duty and feeling, it is appropriate to choose the first. In sentimentalism it’s the other way around: only simple and sincere emotions are the criterion for assessing a person’s inner world.
- If in classicism the main characters were noble or even had divine origin, but in sentimentalism representatives of the poor classes come to the fore: burghers, peasants, honest workers.
In performing arts
In performing arts, theoretical The foundations of S. were laid by the works of J. J. Rousseau (“Letter to D’Alembert on Spectacles,” 1758), L. S. Mercier (“On the Theater, or New Experience on Dramatic Art,” 1773), and J. Lenz ( "Notes on the Theater", 1774). New repertoire, rejection of rationalism. method, from the declamation and statuary nature of classicism, the cult of feeling and deepened interest in internal. the human world required the actor to develop the everyday behavior of the characters, show the development of the image, and convey the intonations of lively, excited conversational speech. All this contributed to the accumulation of realism. trends in acting, in various. degrees manifested in the work of outstanding actors of the 2nd gender. 18th century – D. Garrick (Great Britain), F. L. Schroeder and I. F. Brockmann (Germany). In Russia, S.'s influence was felt in the play of A. D. Karatygina (see Karatygins), Ya. E. Shusherin, V. P. Pomerantsev (see Pomerantsevs).
Conditions for the emergence of a new direction
In the second half of the 18th century there was a struggle against feudal orders in Europe. Enlightenmentists defended the interests of the so-called third estate, which often found itself oppressed. Classicists glorified the merits of monarchs in their works, and sentimentalism (in Russian literature) became the opposite direction in this regard several decades later. Representatives advocated the equality of people and put forward the concept of a natural society and natural man. They were guided by the criterion of reasonableness: the feudal system, in their opinion, was unreasonable. This idea was reflected in Daniel Defoe’s novel Robinson Crusoe, and later in the works of Mikhail Karamzin. In France, a striking example and manifesto is the work of Jean-Jacques Rousseau “Julia, or the new Heloise”; in Germany - “The Sorrows of Young Werther” by Johann Goethe. In these books, the tradesman is portrayed as an ideal person, but in Russia everything is different.
