History of the state of the Russian year of writing. Karamzin "History of the Russian State" - a brief critical analysis

20.07.2023

Karamzin from its very appearance was an immediate and universal success. She broke records in sales. The vast majority of readers took it as a canonical picture of the Russian past. Even the liberal minority, who did not like her main thesis about the effectiveness of the autocracy, was carried away by the literary charm of the presentation and the novelty of the facts. Since then, critical views have changed, and today no one will survive the enthusiasm of the public who read this in 1818. Karamzin's historical view is narrow and distorted by the character of his worldview, specific to the 18th century. He studied exclusively (or almost exclusively) the political activities of Russian sovereigns. The Russian people are practically left without attention, which is emphasized by the very name - History of Russian Goverment. The judgments that he makes about the kings (since those of lower rank do not attract his attention too much) are often composed in a moralistic, sentimental spirit. His fundamental idea of the redeeming virtues of autocracy distorts the reading of some facts.

Nikolai Mikhailovich Karamzin. Portrait by Tropinin

But these shortcomings also have a good side. By forcing the reader to perceive Russian history as a whole, Karamzin helped him understand its unity. Speaking about the behavior of sovereigns from the point of view of a moralist, he got the opportunity to condemn them for selfish or despotic policies. Focusing on the actions of the princes, he gave his work a dramatic effect: most of all, the reader's imagination was struck by the stories of individual monarchs, no doubt based on solid facts, but presented and combined with the art of a real playwright. The most famous of them is the story of Boris Godunov, which became the great tragic myth of Russian poetry and the source of Pushkin's tragedy and Mussorgsky's folk drama.

Nikolai Mikhailovich Karamzin. Video lecture

Style Stories rhetorical and eloquent. This is a compromise with literary conservatives, who are in favor of what he wrote history, forgave Karamzin all his previous sins. But in the main, it nevertheless represents the development of the French, in the spirit of the 18th century, style of the young Karamzin. It is abstract and sentimental. It avoids, or rather misses, all local and historical overtones. The choice of words is designed to universalize and humanize rather than individualize ancient Rus', and the monotonously rounded rhythmic cadences create a sense of continuity, but not complexity, of history. Contemporaries loved this style. Some of the few critics did not like his grandiloquence and sentimentality, but on the whole the whole era was fascinated by him and recognized him as the greatest achievement of Russian prose.

Among the diverse aspects of the ideological and artistic problems of the "History of the Russian State", one should also note the problem of the national character, which Karamzin uncovered in a peculiar way. The very term "people" in Karamzin is ambiguous; it could be filled with different content.

So, in the article of 1802 "On love for the fatherland and national pride" Karamzin substantiated his understanding of the people - the nation. “Glory was the cradle of the Russian people, and victory was the herald of its being,” the historian writes here, emphasizing the originality of the national Russian character, the embodiment of which, according to the writer, are famous people and heroic events of Russian history.

Karamzin does not make social distinctions here: the Russian people appear in the unity of the national spirit, and the righteous "rulers" of the people are the bearers of the best features of the national character. Such are Prince Yaroslav, Dmitry Donskoy, such is Peter the Great.

The theme of the people - the nation occupies an important place in the ideological and artistic structure of the "History of the Russian State". Many provisions of the article "On Love for the Fatherland and National Pride" (1802) were deployed here on convincing historical material.

The Decembrist N. M. Muravyov, already in the ancient Slavic tribes described by Karamzin, felt the forerunner of the Russian national character - he saw the people, "great in spirit, enterprising", containing "some kind of wonderful desire for greatness."

The description of the era of the Tatar-Mongol invasion, the disasters that the Russian people experienced, and the courage that they showed in their striving for freedom, are also imbued with a deep patriotic feeling.

The people's mind, says Karamzin, "in the greatest embarrassment, finds some way to act, like a river blocked by a rock, looking for a current, although under the ground or through stones it oozes in small streams." With this bold poetic image, Karamzin ends the fifth volume of the History, which tells about the fall of the Tatar-Mongol yoke.

But turning to the internal, political history of Russia, Karamzin could not avoid another aspect in covering the topic of the people - the social one. A contemporary and witness to the events of the Great French Revolution, Karamzin sought to understand the causes of popular movements directed against the “legitimate rulers”, to understand the nature of the rebellions that filled the slave history of the initial period.

In the noble historiography of the XVIII century. there was a widespread idea of the Russian rebellion as a manifestation of the "savagery" of an unenlightened people, or as a result of the intrigues of "rogues and swindlers." This opinion was shared, for example, by V. N. Tatishchev.

Karamzin takes a significant step forward in understanding the social causes of popular uprisings. He shows that the forerunner of almost every revolt is a disaster, sometimes more than one, that falls on the people: this is crop failure, drought, disease, but most importantly, “oppression of the strong” is added to these natural disasters. “Deputies and tiuns,” notes Karamzin, “plundered Russia like the Polovtsy.”

And the consequence of this is the woeful conclusion of the author from the testimony of the chronicler: “the people hate the king, the most good-natured and merciful, for the rapacity of judges and officials.” Speaking about the formidable power of popular uprisings in the era of the Time of Troubles, Karamzin, following chronicle terminology, sometimes calls them heavenly punishment sent down by providence.

But this does not prevent him from clearly naming the real, completely earthly causes of popular indignation - "the violent tyranny of the twenty-four years of the Johns, the hellish game of Boris's lust for power, the disasters of fierce hunger ...". Complex, full of tragic contradictions, Karamzin painted the history of Russia. The thought about the moral responsibility of rulers for the fate of the state relentlessly arose from the pages of the book.

That is why the traditional Enlightenment idea of the monarchy as a reliable form of political structure for vast states - an idea shared by Karamzin - received new content in his History. True to his educational convictions, Karamzin wanted the History of the Russian State to become a great lesson for the reigning autocrats, to teach them statesmanship.

But that did not happen. Karamzin's "History" was destined otherwise: it entered the Russian culture of the 19th century, becoming, first of all, a fact of literature and social thought. She revealed to her contemporaries the enormous wealth of the national past, a whole artistic world in the living form of past centuries.

The inexhaustible variety of themes, plots, motives, characters determined the attractive force of the History of the Russian State for more than one decade, including for the Decembrists, despite the fact that they could not accept the monarchist concept of Karamzin's historical work and subjected it to sharp criticism.

The most insightful contemporaries of Karamzin, and above all Pushkin, saw in the History of the Russian State another, his most important innovation - an appeal to the national past as a prehistory of modern national existence, rich in instructive lessons for him.

Thus, Karamzin's long-term and multi-volume work was the most significant step for its time on the path to the formation of citizenship in Russian social and literary thought and the establishment of historicism as a necessary method of social self-knowledge.

This gave Belinsky every reason to say that The History of the Russian State "will forever remain a great monument in the history of Russian literature in general and in the history of the literature of Russian history", and to give "gratitude to the great man for having given the means to recognize the shortcomings of his time , moved forward the era that followed him.

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983

A. Venetsianov "Portrait of N.M. Karamzin"

"I was looking for the path to the truth,
I wanted to know the reason for everything ... "(N.M. Karamzin)

"History of the Russian State" was the last and unfinished work of the outstanding Russian historian N.M. Karamzin: a total of 12 volumes of research were written, Russian history was presented until 1612.

Interest in history appeared in Karamzin in his youth, but there was a long way to his calling as a historian.

From the biography of N.M. Karamzin

Nikolai Mikhailovich Karamzin was born in 1766 in the family estate of Znamenskoye, Simbirsk district, Kazan province, in the family of a retired captain, a middle-class Simbirsk nobleman. Received home education. Studied at Moscow University. For a short time he served in the Preobrazhensky Guards Regiment of St. Petersburg, it was to this time that his first literary experiments date.

After retiring, he lived for some time in Simbirsk, and then moved to Moscow.

In 1789, Karamzin left for Europe, where in Koenigsberg he visited I. Kant, and in Paris he became a witness to the Great French Revolution. Returning to Russia, he publishes Letters from a Russian Traveler, which make him a famous writer.

Writer

"The influence of Karamzin on literature can be compared with the influence of Catherine on society: he made literature humane"(A.I. Herzen)

Creativity N.M. Karamzin developed in line with sentimentalism.

V. Tropinin "Portrait of N.M. Karamzin"

Literary direction sentimentalism(from fr.sentiment- feeling) was popular in Europe from the 20s to the 80s of the 18th century, and in Russia from the end of the 18th to the beginning of the 19th century. The ideologist of sentimentalism is J.-J. Ruso.

European sentimentalism entered Russia in the 1780s and early 1790s. thanks to translations of Goethe's Werther, novels by S. Richardson and J.-J. Rousseau, who were very popular in Russia:

She liked novels early on;

They replaced everything for her.

She fell in love with deceptions

And Richardson and Rousseau.

Pushkin is talking here about his heroine Tatyana, but all the girls of that time read sentimental novels.

The main feature of sentimentalism is that attention in them is primarily paid to the spiritual world of a person, in the first place are feelings, and not reason and great ideas. The heroes of the works of sentimentalism have an innate moral purity, integrity, they live in the bosom of nature, love it and are merged with it.

Such a heroine is Liza from Karamzin's story "Poor Lisa" (1792). This story was a huge success with readers, followed by numerous imitations, but the main significance of sentimentalism and in particular the story of Karamzin was that such works revealed the inner world of a simple person who evoked the ability to empathize in others.

In poetry, Karamzin was also an innovator: the former poetry, represented by the odes of Lomonosov and Derzhavin, spoke the language of reason, and Karamzin's poems spoke the language of the heart.

N.M. Karamzin is a reformer of the Russian language

He enriched the Russian language with many words: “impression”, “love”, “influence”, “entertaining”, “touching”. Introduced the words "epoch", "concentrate", "scene", "moral", "aesthetic", "harmony", "future", "catastrophe", "charity", "free-thinking", "attraction", "responsibility" ”, “suspicion”, “industry”, “refinement”, “first-class”, “human”.

His language reforms caused a heated controversy: members of the Conversation of Russian Word Lovers society, headed by G. R. Derzhavin and A. S. Shishkov, adhered to conservative views and opposed the reform of the Russian language. In response to their activities, in 1815 the literary society "Arzamas" was formed (it included Batyushkov, Vyazemsky, Zhukovsky, Pushkin), which sneered at the authors of "Conversations" and parodied their works. The literary victory of "Arzamas" over "Conversation" was won, which also strengthened the victory of Karamzin's language changes.

Karamzin also introduced the letter Y into the alphabet. Prior to this, the words “tree”, “hedgehog” were written like this: “іolka”, “іozh”.

Karamzin also introduced a dash, one of the punctuation marks, into Russian writing.

Historian

In 1802 N.M. Karamzin wrote the historical story “Martha the Posadnitsa, or the Conquest of Novgorod”, and in 1803 Alexander I appointed him to the post of historiographer, thus, Karamzin devoted the rest of his life to writing “The History of the Russian State”, in fact, finishing with fiction.

Exploring manuscripts of the 16th century, Karamzin discovered and published in 1821 Afanasy Nikitin's Journey Beyond the Three Seas. In this regard, he wrote: “... while Vasco da Gamma was only thinking about the possibility of finding a way from Africa to Hindustan, our Tverite was already a merchant on the coast of Malabar”(historical region in South India). In addition, Karamzin was the initiator of the installation of a monument to K. M. Minin and D. M. Pozharsky on Red Square and took the initiative to erect monuments to prominent figures in Russian history.

"History of Russian Goverment"

Historical work of N.M. Karamzin

This is a multi-volume work by N. M. Karamzin, describing Russian history from ancient times to the reign of Ivan IV the Terrible and the Time of Troubles. Karamzin's work was not the first in the description of the history of Russia, before him there were already historical works by V. N. Tatishchev and M. M. Shcherbatov.

But Karamzin's "History" had, in addition to historical, high literary merits, including due to the ease of writing, it attracted not only specialists, but also simply educated people to Russian history, which greatly contributed to the formation of national self-consciousness, interest in the past. A.S. Pushkin wrote that “everyone, even secular women, rushed to read the history of their fatherland, hitherto unknown to them. She was a new discovery for them. Ancient Russia seemed to have been found by Karamzin, just as America was found by Columbus.

It is believed that in this work Karamzin nevertheless showed himself more not as a historian, but as a writer: "History" is written in a beautiful literary language (by the way, Karamzin did not use the letter Y in it), but the historical value of his work is unconditional, because . the author used manuscripts that were first published by him and many of which have not survived to this day.

Working on "History" until the end of his life, Karamzin did not have time to finish it. The text of the manuscript breaks off at the chapter "Interregnum 1611-1612".

The work of N.M. Karamzin over the "History of the Russian State"

In 1804, Karamzin retired to the Ostafyevo estate, where he devoted himself entirely to writing the History.

Manor Ostafyevo

Ostafyevo- the estate near Moscow of Prince P. A. Vyazemsky. It was built in 1800-07. the poet's father, Prince A. I. Vyazemsky. The estate remained in the possession of the Vyazemskys until 1898, after which it passed into the possession of the Sheremetevs.

In 1804, A.I. Vyazemsky invited his son-in-law, N.M. Karamzin, who worked here on the History of the Russian State. In April 1807, after the death of his father, Pyotr Andreevich Vyazemsky became the owner of the estate, under which Ostafyevo became one of the symbols of the cultural life of Russia: Pushkin, Zhukovsky, Batyushkov, Denis Davydov, Griboedov, Gogol, Adam Mickiewicz visited here many times.

The content of Karamzin's "History of the Russian State"

N. M. Karamzin "History of the Russian State"

In the course of his work, Karamzin found the Ipatiev Chronicle, it was from here that the historian drew many details and details, but did not clutter up the text of the narrative with them, but put them in a separate volume of notes that are of particular historical significance.

In his work, Karamzin describes the peoples who inhabited the territory of modern Russia, the origins of the Slavs, their conflict with the Varangians, talks about the origin of the first princes of Rus', their reign, describes in detail all the important events of Russian history until 1612.

The value of N.M. Karamzin

Already the first publications of the "History" shocked contemporaries. They read it excitedly, discovering the past of their country. Writers used many plots in the future for works of art. For example, Pushkin took material from History for his tragedy Boris Godunov, which he dedicated to Karamzin.

But, as always, there were critics. Basically, liberals contemporary to Karamzin objected to the etatist picture of the world expressed in the work of the historian, and his belief in the effectiveness of the autocracy.

Statism- this is a worldview and ideology that absolutizes the role of the state in society and promotes the maximum subordination of the interests of individuals and groups to the interests of the state; a policy of active state intervention in all spheres of public and private life.

Statism considers the state as the highest institution, standing above all other institutions, although its goal is to create real opportunities for the comprehensive development of the individual and the state.

The liberals reproached Karamzin for following in his work only the development of the supreme power, which gradually took on the forms of autocracy contemporary to him, but neglected the history of the Russian people themselves.

There is even an epigram attributed to Pushkin:

In his "History" elegance, simplicity
They prove to us without prejudice
The need for autocracy
And the charms of the whip.

Indeed, by the end of his life, Karamzin was a staunch supporter of absolute monarchy. He did not share the point of view of the majority of thinking people on serfdom, was not an ardent supporter of its abolition.

He died in 1826 in St. Petersburg and was buried at the Tikhvin cemetery of the Alexander Nevsky Lavra.

Monument to N.M. Karamzin in Ostafyevo

Introduction

Books and magazines of that time bear traces of someone else's will.
The tsarist officials mercilessly disfigured the best works of Russian literature. it took the painstaking work of Soviet literary historians to clear the texts of classical works from distortions. Russian classical literature and social thought of the 19th century is a colossal wealth, an ideological, artistic, moral wealth inherited by our time. But you can use it in different ways. against the backdrop of the tragic judges of his contemporaries, Karamzin's fate seems happy.

He entered literature early and quickly gained fame as the country's first pen. He successfully traveled and communicated with the first minds and talents of Western Europe.

His almanacs and magazines were loved by readers. he is the author of the history of the Russian state, a diligent reader of poets and politicians, a witness of the great French revolution, an eyewitness to the rise and fall of Napoleon, he called himself a "republican in his soul." pre-Pushkin era. Karamzin's name was first mentioned in German, French and English literature.

Karamzin's life was unusually rich not so much in external events, although there was no shortage of them, but in internal content, which more than once led the writer to the fact that he was surrounded by twilight.

The role of Karamzin in the history of Russian culture is not measured only by his literary and scientific work. Karamzin created the stereotype of a Russian traveler in Europe. Karamzin created many works, among them the remarkable Letters of a Russian Traveler and the great History of the Russian State. But the greatest creation of Karamzin was himself, his life, and his spiritualized personality. It was with it that he had a great moral impact on Russian literature. Karamzin introduced the highest ethical requirements into literature as ordinary. And when Zhukovsky
Pushkin, and after them all the great writers of the 19th century, continued the construction of Russian literature, they started from the level set by Karamzin as a matter of course, the basis of writing. Work on the "History of the Russian State" can be divided into three distinct periods: the time of publication of the "Moscow Journal", creativity 1793 - 1800 and the period
"Bulletin of Europe".
Pushkin called Karamzin Columbus, who opened the Ancient
Rus', just as the famous traveler discovered to Europeans
America. Using this comparison, the poet himself did not imagine to what extent it was correct, Columbus was not the first European to reach the shores of
America, and that his very journey was made possible only by the experience accumulated by his predecessors. Calling Karamzin the first Russian historian, one cannot but recall the names of V.N. Tatishchev, I.N. Boltin, M.M.
Shcherbatov, not to mention a number of publishers of documents that, despite the imperfection of their methods of publication, attracted attention and aroused interest in the past of Russia.

Karamzin had predecessors, but only his History of the State
Russian ”became not just another historical work, but the first history
Russia. Karamzin's "History of the Russian State" not only informed readers of the fruits of many years of research by the historian - it turned the consciousness of the Russian reading society upside down.

The “History of the Russian State” was not the only factor that made the consciousness of the people of the 19th century historical: the war of 1812, Pushkin’s work, and the general movement of philosophical thought played a decisive role here.
Russia and Europe of those years. But Karamzin's "History" stands among these events.
Therefore, its significance cannot be assessed from any one-sided point of view.

Is the "History" of Karamzin a scientific work, conscious of a complete picture of the past of Russia from its first centuries to the eve of the reign of Peter I?
“There can be no doubt about that. For a number of generations of Russian readers, Karamzin's work was the main source of acquaintance with the past of their homeland. The great Russian historian S. M. Solovyov recalled: “The story of Karamzin also fell into my hands: up to 13 years, i.e. before my admission to the gymnasium, I read it at least 12 times.

Is Karamzin's "History" the fruit of independent historical research and in-depth study of sources? – And there is no doubt about it: the notes, in which Karamzin concentrated the documentary material, served as the starting point for a significant number of subsequent historical studies, and until now Russian historians constantly refer to them, never ceasing to be amazed at the enormity of the author’s work.

Is Karamzin's "History" a remarkable literary work? – Her artistic merits are also obvious. Karamzin himself once called his work a "historical poem"; and in the history of Russian prose of the first quarter of the 19th century, Karamzin's work occupies one of the most prominent places. Decembrist A. Bestuzhev-Marlinsky, reviewing the last lifetime volumes of the History (10-11) as a phenomenon of “elegant prose”, wrote: “We can safely say that in literary terms we found a treasure in them. There we see the freshness and strength of the style, the temptation of the story and the variety in the structure and sonority of the turns of the language, so obedient at the hand of a true talent.

But the most important thing is that it does not belong to any of them inseparably: "The History of the Russian State" is a phenomenon of Russian culture in its entirety and should be considered only in this way. On November 31, 1803, by a special Decree of Alexander I, Karamzin received the title of historiographer. From that moment on, in the words of P. A. Vyazemsky, he “took his hair as a historian” and did not give up the historian’s pen until his last breath. In 1802-
In 1803, Karamzin published a number of articles on Russian history in the journal Vestnik Evropy.

On June 11, 1798, Karamzin sketched out a plan for the "Eulogy to Peter I".
Already from this entry it is clear that it was about the intention of an extensive historical study, and not a rhetorical exercise. The next day, he added the following thought, clearly showing what he expected to devote himself to in the future: “Is Providence spare me; or something that is more terrible for me than death will not happen ... ".

In the second half of 1810, Karamzin sketched "Thoughts for History
Patriotic War". Claiming that the geographical position of Russia and
France makes it almost unbelievable that they “could directly strike one against the other, Karamzin pointed out that only a complete change in“ the entire political state of Europe ”could make this war possible. And he directly called this change: "Revolution", adding to this historical reason a human one: "Napoleon's character".

It is generally accepted that Karamzin's work is divided into two eras: before 1803 and before 1803.
Karamzin is a writer; later a historian. On the one hand, Karamzin did not cease to be a writer even after he was awarded a historiographer (A. Bestuzhev, P.
Vyazemsky evaluated Karamzin’s History as an outstanding phenomenon in Russian prose, and this is, of course, true: Karamzin’s History belongs to art in the same way as, for example, Herzen’s Past and Thoughts), but on the other
- "he got into Russian history up to his ears" long before official recognition.

There are other, more weighty grounds for opposing the two periods of creativity. The main work of the first half of creativity -
"Letters from a Russian Traveler"; the second - "History of the state
Russian". Pushkin wrote: "A fool alone does not change, because time does not bring him development, and experiments do not exist for him." For example, to prove that Karamzin's evolution can be defined as a transition from "Russian cosmopolitanism" to "pronounced national narrow-mindedness", an excerpt from "Letters of a Russian Traveler" is usually cited: "... Peter moved us with his powerful hand ...".

In "Letters from a Russian Traveler" Karamzin showed himself as a patriot who remained abroad as a "Russian traveller". However,
Karamzin never abandoned the idea of the beneficence of the influence of Western enlightenment on the cultural life of Russia. In the history of Russian culture, the opposition of Russia to the West has developed, S. F. Platonov pointed out: “In his works, Karamzin completely abolished the age-old opposition of Rus' and Europe, as different and irreconcilable worlds; he thought of Russia as one of the European countries, and the Russian people, as one of equal quality with other nations. “Based on the idea of the unity of human culture, Karamzin did not exclude his people from cultural life. He recognized his right to moral equality in the fraternal family of enlightened peoples.

"History of the Russian State" puts the reader in front of a number of paradoxes. First of all, I must say about the title of this work. Its title is "History of the State". On the basis of this, Karamzin began to be defined as a "statist".

Karamzin's trip abroad coincided with the beginning of the French Revolution. This event had a huge impact on all his further reflections. The young Russian traveler was at first carried away by liberal dreams under the influence of the first weeks of the revolution, but later he was frightened by the Jacobin terror and went over to the camp of its opponents - very far from reality. It should be noted that Karamzin, who is often, but completely unreasonably, identified with his literary counterpart - the narrator from the "Letters of a Russian Traveler", was not a superficial observer of events: he was a constant bearer of the National Assembly, listened to the speeches of Mirabeau, Abbé Maury, Robespierre and others.

It can be said with certainty that none of the prominent figures of Russian culture had such detailed and directly personal impressions of
French Revolution like Karamzin. He knew her by sight. Here he met with history.

It is no coincidence that Pushkin called Karamzin's ideas paradoxes: the exact opposite happened to him. The beginning of the revolution was perceived by Karamzin as the fulfillment of the promises of the philosophical century. “We considered the end of our century the end of the main disasters of mankind and thought that it would be followed by an important, general connection of theory with practice, speculation with activity,” Karamzin wrote in the mid-1790s. Utopia for him is not the realm of certain political or social relationships, and the realm of virtue; a radiant future depends on the high morality of the people, and not on politics. Virtue generates freedom and equality, and not freedom and equality - virtue. The politician Karamzin treated any forms with distrust. Karamzin, who appreciated the sincerity and moral qualities of political figures, singled out from among the speakers of the Assembly the short-sighted and devoid of artistry, but already acquired the nickname "incorruptible" Robespierre, whose very shortcomings in oratory seemed to him virtues.
Karamzin chose Robespierre. The tears that Karamzin shed on the coffin
Robespierre, were the last tribute to the dream of Utopia, the Platonic Republic, the State of Virtue. Now Karamzin is attracted by a realist politician.
The stamp of rejection has been removed from the policy. Karamzin begins to publish "Bulletin
Europe” is the first political magazine in Russia.

On the pages of Vestnik Evropy, skillfully using foreign sources, selecting translations in such a way that they express their thoughts in their language,
Karamzin develops a consistent political doctrine. People are egoists by nature: “Egoism is the true enemy of society”, “unfortunately everywhere and everything is egoism in man”. Selfishness turns the lofty ideal of the republic into an unattainable dream: "Without lofty popular virtue, the Republic cannot stand." Bonaparte seems to Karamzin to be that strong ruler - a realist who builds a management system not on "dreamy" theories, but on the real level of people's morality. He is outside the party. It is curious to note that, following his political concept, Karamzin highly appreciates Boris Godunov during this period. “Boris Godunov was one of those people who create their own brilliant destiny and prove the miraculous power
Nature. His family did not have any celebrity.

The idea of "History" has matured in the bowels of the "Bulletin of Europe". This is evidenced by the ever-increasing number of materials on Russian history on the pages of this journal. Karamzin's views on Napoleon changed.
Passion began to give way to disappointment. After the transformation of the first consul into the emperor of the French, Karamzin bitterly wrote to his brother: “Napoleon
Bonaparte exchanged the title of a great man for the title of emperor: the authorities showed him better glory. The intention of the "History" was to show how
Russia, having passed through centuries of fragmentation and disasters, ascended to glory and power with unity and strength. It was during this period that the name
"History of the State". In the future, the idea underwent changes. But the title could no longer be changed. However, the development of statehood was never for Karamzin the goal of human society. It was only a means. Karamzin's idea of the essence of progress changed, but the belief in progress, which gave meaning to human history, remained unchanged. In its most general form, progress for Karamzin consisted in the development of humanity, civilization, enlightenment and tolerance. Literature is called upon to play the main role in the humanization of society. In the 1790s, after breaking with the Freemasons, Karamzin believed that it was belles-lettres, poetry, and novels that would be these great civilizers. Civilization - getting rid of the rudeness of feelings and thoughts. It is inseparable from subtle shades of experiences. Therefore, the Archimedean point of support in the moral improvement of society is language. Not dry moral sermons, but the flexibility, subtlety and richness of language improve the moral physiognomy of society. It was these thoughts that Karamzin had in mind, the poet K. N. Batyushkov. But in
1803, at the very time when desperate disputes boiled over Karamzin's language reform, he himself was already thinking more broadly. The reform of the language was intended to make the Russian reader "communal", civilized and humane.
Now Karamzin faced another task - to make him a citizen. And for this, Karamzin believed, it is necessary that he had the history of his country. We need to make him a man of history. That is why, Karamzin "cut his hair in historians." The state has no history until the historian told the state about its history. Giving readers the history of Russia, Karamzin gave Russia a history. The turbulent events of the past Karamzin had a chance to describe in the midst of the turbulent events of the present, on the eve of 1812 Karamzin is working on Volume VI
"History", completing the end of the XV century.

The subsequent years in burned-out Moscow were difficult and sad, but work on the History continues. By 1815, Karamzin finished 8 volumes, wrote the "Introduction" and decided to go to St. Petersburg to obtain permission and funds to print what was written. At the beginning of 1818, 3000 copies of the first 8 volumes were published. The appearance of the "History of the Russian State" became a social event. "History" has long been the main subject of controversy. In Decembrist circles, she was met critically. Appearance
"History" influenced the course of their thought. Now not a single thinking person in Russia could think outside the general perspectives of Russian history. A
Karamzin went further. He worked on IX, X and XI volumes of "History" - the time of the oprichnina, Boris Godunov and the Time of Troubles. In these volumes, Karamzin reached an unsurpassed height as a prose writer: this is evidenced by the power of delineation of characters, the energy of narration. During the reign of Ivan III and Vasily
Ivanovich not only strengthened statehood, but also achieved success in original Russian culture. At the end of volume VII, in a review of the culture of the 15th-16th centuries, Karamzin noted with satisfaction the emergence of secular literature - for him, an important sign of the success of education: “... we see that our ancestors were engaged not only in historical or theological writings, but also in novels; loved works of wit and imagination.

In the "History" the ratio changes and the criminal conscience renders useless all the efforts of the statesman's mind. The immoral cannot be useful to the state. The pages dedicated to the reign of Boris Godunov and the Time of Troubles belong to the heights of historical painting
Karamzin, and it is no coincidence that it was he who inspired Pushkin to create "Boris
Godunov.

Death, which interrupted the work on the "historical poem", decided all the issues. If we talk about the significance of the "History of the Russian State" in the culture of the early 19th century and what attracts the modern reader in this monument, then it would be appropriate to consider the scientific and artistic aspects of the issue. The merits of Karamzin in discovering new sources, creating a broad picture of Russian history, combining scholarly commentary with the literary merits of narration are beyond doubt. But the "History of the Russian State" should also be considered among works of fiction. As a literary phenomenon, it belongs to the first quarter of the 19th century. It was the time of the triumph of poetry.
The victory of the Karamzin school led to the fact that the concepts of "literature" and "poetry" were identified.

Pushkin's drama was inspired by Shakespeare, the chronicles of the History of the Russian State. But Karamzin is not Karamzit. Critics of "History" in vain reproached Karamzin for not seeing a deep idea in the movement of events. Karamzin was imbued with the idea that history makes sense.

N. M. Karamzin (Tradition of the Ages) M., 1988

I. "Ancient Russia discovered by Karamzin".

N. Karamzin entered the history of Russian literature as a major writer - sentimentalist, who actively worked in the last decade of the 18th century. In recent years, the situation has begun to change - 2 two-volume essays have been published
Karamzin, Letters of a Russian Traveler were published twice. But Karamzin's main book, on which he worked for more than two decades, which had a huge impact on Russian literature of the 19th century, is practically still unknown to the modern reader, The History of the Russian State.
History has fascinated him since his youth. That is why many pages of the Letters of a Russian Traveler are dedicated to her. History has been an art for many centuries, not a science. For Pushkin, Belinsky Karamzin's "History" is a major achievement of Russian literature of the early 19th century, not only a historical, but also an outstanding literary work. The originality of the "History of the Russian State"
Karamzin and was determined by the time of its writing, the time of development of new historical thinking, the understanding of the national identity of Russian history throughout its entire course, the nature of the events themselves and the trials that have befallen the Russian nation for many centuries. Work on
"History" lasted more than two decades - from 1804 to 1826. By 1820
"History of the Russian State" was published in French, German, Italian. In 1818, the Russian reader received the first eight volumes of History, which told about the ancient period of Russia. And by that time V. Scott managed to publish six novels - they told about the past
Scotland. Both writers in Russia were rightly called Columbus.
“Ancient Russia,” wrote Pushkin, “seemed to be found by Karamzin, like America
Columbus." In the spirit of the time, each of them acted both as an artist and as a historian. Karamzin, in the preface to the first volume of the History, summarizing his already established principles for depicting Russian history, stated:
History is not a novel. He contrasted "fiction" with "truth." This position was also developed under the influence of the real Russian literary process and the creative evolution of the writer himself.

In the 1800s, literature was flooded with original and translated works - in poetry, prose and drama - on a historical theme.
It is history that can reveal the "truth" and "mystery" of the life of society and man, Karamzin also came in his development. This new understanding of history was manifested in the 1795 article "The Discourse of the Philosopher, Historian and Citizen". Because
Karamzin, embarking on the "History", refuses "fiction", from those specific and traditional means by which epics, tragedies or novels were created. To know the "truth" of history meant not only to renounce one's own agnosticism, calling on the objectivity of the real world, but also to abandon the way of depicting this world, traditional for the art of that time. IN
Russia, this merger will be brilliantly carried out by Pushkin in the tragedy "Boris
Godunov", but from the standpoint of realism, Karamzin's "History" preceded Pushkin's success, and to a large extent prepared it. Refusal
Karamzin from “fiction” did not mean a denial of the possibilities of artistic study of history in general. "History of the Russian State" and captured the search for and development of these new, so to speak, equivalent to the historical truth of the principles of its depiction. The most important feature of this emerging structure in the process of writing was the combination of analytical (scientific) and artistic principles. Consideration of the elements of such a structure clearly shows how both the searches themselves and the writer's discoveries turned out to be nationally conditioned.

In the "History of the Russian State" there are not only love, but, in general, fictional plots. The author does not introduce the plot into his work, but extracts it from history, from real historical events and situations - the characters act in the circumstances set by history. Only a genuine, and not fictional, plot brings the writer closer to the "truth" hidden by the "veil of time."

Given the same history, the plot tells a person in his broad connections with the general life of the country, state, nation. This is how the characters of famous historical figures are built. The life of Ivan the Terrible opened up an abyss of opportunities for building a love story - the tsar had seven wives and countless of those who were victims of his "shameless voluptuousness." But
Karamzin proceeded from the social conditions that determined both the character of the tsar, and his actions, and the "epoch of torment" that shook all of Russia.
The historical situation, which created the possibility of the seizure of power by B. Godunov, had a decisive influence on his policy, on his attitude towards the people, determined his crime and moral suffering. Thus, not only history became the material for literature, but literature also became a means of artistic knowledge of history. His "History" is inhabited only by genuine historical figures.

Karamzin emphasizes the talent, originality and mind of ordinary people who acted independently, without a tsar and boyars, who knew how to think stately and reasonably. The historical plot, the use of a given situation, justified a different method, born of Russian tradition, of depicting a person - not in a "homely way", not from the side of his private family life, but from the side of his connections with the big world of national, nationwide being. That is why Karamzin demanded from writers to depict heroic Russian women, whose character and personality were manifested not in domestic life and “family happiness”, but in political, patriotic activities. In this regard, he wrote: “Nature sometimes loves extremes, departs from its ordinary law and gives women characters that take them out of home obscurity to the folk theater ...” The method of depicting Russian characters in History is to bring them “from home obscurity to folk theater”, it was developed ultimately from the generalization of the experience of the historical life of the Russian nation. Many folk songs captured the heroic prowess, the poetry of life, filled with activity, struggle, high feat, which opened up outside the home family existence. Gogol in Ukrainian songs discovered precisely these traits of the character of the people: “Everywhere one can see the strength, joy, power with which the Cossack throws the silence and carelessness of home life in order to go into all the poetry of battles, dangers and wild feast with comrades ... ". This method concealed the opportunity to most fully and clearly reveal the fundamental features of the Russian national character.

Karamzin, turning to history, was forced to develop a special genre for his narration. The study of the genre nature of Karamzin's work convinces us that it is not the realization of already found principles. It is rather a kind of self-adjusting model, the type and nature of which was influenced by the experience of the writer, and more and more new materials were attracted, requiring new illumination, and increasing trust in the artistic knowledge of “truth” from volume to volume.

Having abandoned "fiction", Karamzin could not use one of the traditional literary genres for his narration. It was necessary to develop a genre form that would organically correspond to the real historical plot, be able to accommodate the huge and diverse factual material that was included in the "History" under the sign of analytical and emotional perception, and, most importantly, give the writer wide freedom in expressing his position.

But to develop did not mean to invent, Karamzin decided to be consistent - and in developing the genre, he relied on the national tradition. And here the chronicle played a decisive role. Its main genre feature is syncretism. The chronicle freely included in its composition many works of ancient Russian literature - lives, stories, messages, lamentations, folk poetic legends, etc. Syncretism became the organizing principle of Karamzin's History. The writer did not imitate, he continued the chronicle tradition. The author's position, split into two principles - analytical and artistic, - united all the material introduced into the "History", determined the inclusion in the form of quotations or retelling of the lives, stories, legends and "miracles" included in the annals, and the chronicler's story itself, which was either accompanied by comments , or turned out to be merged with the opinion of the creator of the "History".
Chronicle syncretism is the main feature of the genre of "History of the Russian State". This genre, an original creation by Karamzin, helped him both to express Russian national identity in its dynamics and development, and to develop a special ethical style of narration about a heroic nation whose sons emerged from home obscurity to the theater of people's life.
The achievements of the writer were assimilated by Russian literature. His innovative attitude to the genre, the search for a special, free genre structure that would correspond to new material, new plot, new tasks of artistic research of the "real world" of history, turned out to be close to new Russian literature. And it is not by chance, but naturally, that we will meet this free attitude to the genre in Pushkin (“free” novel in verse - “Eugene Onegin”), Gogol (poem “Dead Souls”), Tolstoy (“War and Peace”). In 1802, Karamzin wrote: "France, by its greatness and character, should be a monarchy." A few years later, this "prophecy" came true - Napoleon proclaimed France an empire, and himself emperor. On the examples of the reign of Russian monarchs - positive and negative -
Karamzin wanted to teach to reign.

The contradiction turned out to be a tragedy for Karamzin, the political concept led to a dead end. And, despite this, the writer did not change his method of clarifying the truth, which was revealed in the process of artistic research of the past, remained true to it, even if it contradicted his political ideal. This was the victory of Karamzin - the artist. That is why Pushkin called "History" the feat of an honest man.

The inconsistency of Karamzin's work was well understood by Pushkin. Pushkin not only understood and saw the artistic nature of the "History", but also determined the originality of its artistic method and genre. According to Pushkin, Karamzin acted as a historian and as an artist, his work is a synthesis of analytical and artistic knowledge of history. The originality of the artistic method and the very genre of "History" is due to the chronicle tradition. This idea is both fair and fruitful.

Karamzin, the historian, used the facts of the chronicle, subjecting them to criticism, verification, explanation and commentary. Karamzin - the artist mastered the aesthetic principles of the chronicle, perceiving it as a national Russian type of story about the past, as a special artistic system that captured the Russian view of the historical events of historical figures, of fate
Russia.

Pushkin correctly understood the enormity of the content of Karamzin's work, writing that he found Russia, like Columbus found America. This clarification is very important: opening
Ancient Rus', Karamzin opened the historical role of the Russian people in the formation of a great power. Describing one of the battles, Karamzin emphasizes that it was love of freedom that inspired ordinary people when they heroically fought the enemy, showed a wonderful frenzy and, thinking that the one killed by the enemy should serve him as a slave in hell, they plunged swords into their hearts when they could no longer be saved. : because they wanted to preserve their liberty in the future life. The most important feature of the artistic element
"History" is the patriotism of its author, which determined the possibility of creating an emotional image of "past centuries".

The "History" captures the unity of the analytical study and the emotional image of the "past centuries". At the same time, neither the analytical nor the emotional method of studying and depicting contradicted the truth - each helped to assert it in its own way. Truth serves as the basis for historical poetry; but poetry is not history: the former most of all wants to arouse curiosity and for this interferes with fiction, the latter rejects the most witty inventions and wants only the truth.

For Karamzin, in this case, the annalistic story, the annalistic point of view is a type of consciousness of the era, and therefore he does not consider it possible to introduce
"corrections" of the historian in the view of the chronicler. Revealing Godunov's inner world by psychological means, drawing his character, he proceeds not only from the facts gleaned from the annals, but also from the general historical situation recreated by the chronicler. The story about Godunov thereby opened up to modern literature a completely new type of artistic knowledge and reproduction of history, firmly based on national tradition.
It was this position of Karamzin that was understood and supported by Pushkin in his defense
"History" from Polevoy's attacks, she gave him the opportunity to call the writer our last chronicler.

The artistic beginning of the "History" made it possible to reveal the process of developing the mental warehouse of the Russian nation. Analyzing numerous facts of the initial period of Russian history, the writer comes to understand the enormous role of the people in the political life of the country. The study of history made it possible to write about two faces of the people - he is “kind”, he is also “rebellious”.

According to Karamzin, the virtue of the people did not at all contradict the people's "love for rebellions." The artistic study of history revealed this truth to the writer. He understood that it was not love for the "establishments" of autocrats, but "love for rebellions" directed against autocrats who did not fulfill their duty to take care of the welfare of their subjects, which distinguishes the Russian people.

Pushkin, when working on Boris Godunov, to use the writer's discoveries. Still not knowing the works of French historians, Pushkin, relying on the national tradition, develops historicism as a method of knowing and explaining the past and present, following Karamzin in revealing Russian national identity - he creates the image of Pimen.

Karamzin in "History" opened the vast artistic world of chronicles.
The writer "cut a window" into the past, he really, like Columbus, found ancient Russia, linking the past with the present.

"History of the Russian State" rightfully invaded the living process of literary development, helped the formation of historicism, contributing to the movement of literature along the path of national identity. She enriched literature with important artistic discoveries, absorbing the experience of chronicles.
"History" armed new literature with important knowledge of the past, helped it to rely on national traditions. At the first stage, Pushkin and Gogol, in their appeal to history, showed how enormous and important Karamzin's contribution was.

"History" enjoyed unparalleled success for many decades of the 19th century, influencing Russian writers.

The term "History" has many definitions. Storytelling and events. History is a process of development. This past. History must enter the consciousness of society, it is not only written and read. Nowadays, not only books, but also radio and television perform the function. Initially, historical description exists as an art form. Each field of knowledge has an object of study. History studies the past. The task of history is to reproduce the past in the unity of the necessary and the accidental. The central component of art is the artistic image. A historical image is a real event. Fiction is excluded in the historical image, and fantasy plays an auxiliary role. The image is created unambiguously if the historian is silent about something. Man is the best object for the study of history. The main merit of the Renaissance culture is that it opened the spiritual world of man.

The feat of Karamzin.

According to Pushkin, "Karamzin is a great writer in every sense of the word."

Karamzin's language, which has evolved from "Letters of a Russian Traveler" and "Poor Liza" to "History of the Russian State". His work is the history of the Russian autocracy. "History of the Russian State" dropped out of the history of literature. History is a science that transcends; literature is an art that transcends its boundaries. The history of Karamzin is for him a sphere of aesthetic pleasure. Karamzin formulates the methodological principles of his work. "History of the Russian State" is considered as a monument of Russian literature.

The tradition of Karamzin in the art of historiography has not died, and it cannot be said that it is flourishing.

Pushkin believed that Karamzin devoted his last years to history, and he devoted his whole life to this.

The attention of the author of the "History of the Russian State" is drawn to how the state arose. Karamzin puts Ivan III above Peter I. Volume 6 is dedicated to him (Ivan III). With the history of the wanderings of a simple Russian at his own peril and risk, without state initiative and support, Karamzin finishes his consideration of the era of Ivan III.

The chapters of Karamzin's work are divided into years of the reign of one or another monarch, they are named after them.

In the "History of the Russian State" descriptions of battles, campaigns, as well as everyday life, economic and cultural life. In the 1st chapter of the 7th volume it is written that Pskov joins Moscow with Vasily III. Karamzin opened Russian history to Russian literature. "History of the Russian State" is an image from which poets, prose writers, playwrights, etc. drew inspiration. IN
"History of the Russian State" we see the plot of Pushkin's "Songs about the Thing
Oleg”, as well as “Boris Godunov” and “History of the Russian State”. 2 tragedies about Boris Godunov, written by 2 poets and based on materials
"History of the Russian State".

Belinsky called The History of the Russian State a great monument in the history of Russian literature.

Historical drama blossoms earlier, but its possibilities were limited.

Interest in history is an interest in a person, in his environment and life.
The novel opened up broader perspectives than the drama. In Russia Pushkin and
Tolstoy raised the historical novel to great prose. The great masterpiece in this genre is War and Peace. Historical events serve as the backdrop against which actions unfold. Historical figures appear suddenly in a historical novel. Fictional characters as main characters. The novel as a drama refers to historical material, pursues the goal of artistic reproduction of historical reality. A complete fusion of history and art is rare. The line between them is blurred, but not completely. You could say they are allies. They have one goal - the formation of historical consciousness. Art gives history an artistic culture. History provides a foundation for art. Art acquires depth, based on historical tradition. Culture is a system of prohibitions.

About "Boris Godunov" Pushkin wrote: "The study of Shakespeare, Karamzin and our old chronicles gave me the idea to clothe in dramatic forms one of the most dramatic epochs of modern history." There is no fictitious plot or characters in the play, they are borrowed from the History of the Russian State.
Karamzin, writes about the famine at the beginning of the reign of B. Godunov: “Disaster began, and the cry of the hungry alarmed the king ... Boris ordered the royal granaries to be opened.”

Pushkin in his tragedy also solves the problem of ends and means in history.

Between the "History of the Russian State" and "Boris Godunov" a historical era lay, and this affected the interpretation of events. Karamzin wrote under the impression of the Patriotic War, and Pushkin on the eve of the December uprising.

“The history of the Russian state helped Pushkin to establish himself in two guises - a historian and a historical novelist - to process the same material in different ways.

When Karamzin worked on "History" he studied Russian folklore, collected historical songs, arranged in chronological order. But it didn't materialize. He singled out most of all in the historical literature "The Tale of Igor's Campaign".

The culture of Russia in the 19th century is, as it were, an example of the rise of peak achievements. Since the beginning of the 19th century, a high patriotic upsurge has been observed in Russian society. It intensified even more in 1812, deeply contributed to the national community, the development of citizenship. Art interacted with public consciousness, forming it into a national one. The development of realistic tendencies in their national cultural traits intensified. A cultural event was the appearance of the "History of the Russian State" by N. M. Karamzin. Karamzin was the first who, at the turn of the 18th-19th centuries, intuitively felt that the main thing in the Russian culture of the coming 19th century was the growing problems of national self-identity. Pushkin followed Karamzin, solving the problem of the correlation of national culture with ancient cultures, after which P. Ya. Chaadaev’s “Philosophical Letter” appears - the philosophy of Russian history, which stimulated a discussion between Slavophiles and Westerners.
Classical literature of the 19th century was more than literature, it is a synthetic phenomenon of culture, which turned out to be a universal form of social self-consciousness. Karamzin noted that the Russian people, despite the humiliation and slavery, felt their cultural superiority in relation to the nomadic people. The first half of the 19th century is the time of the formation of domestic historical science. Karamzin believed that the history of mankind
- this is the story of the struggle of reason with delusion, enlightenment - with ignorance.

He assigned a decisive role in history to great people.

Professional historians were not satisfied with Karamzin's work "History of the Russian State". There were many new sources on the history of Russia. IN
In 1851, the first volume of The History of Russia from Ancient Times was published, written by
S. M. Solovyov.

Comparing the historical development of Russia and other European countries, Solovyov found much in common in their destinies. The style of presentation of Solovyov's "History" is rather dry, it is inferior to "History" by Karamzin.

In fiction at the beginning of the 19th century, according to Belinsky,
"Karamzin" period.

The War of 1812 aroused interest in Russian history. "History of the state
Russian" Karamzin, built on chronicle material. Pushkin saw in this work a reflection of the spirit of chronicle. Pushkin attached great importance to chronicle materials. And this was reflected in Boris Godunov. In his work on the tragedy, Pushkin went through the study of Karamzin, Shakespeare and the "chronicles".

The 1930s and 1940s did not bring anything new to Russian historiography. These are the years of development of philosophical thinking. Historical science froze on Karamzin. By the end of the 1940s, everything was changing, a new historiography of Solovyov S.
M. In 1851, the 1st volume of “The History of Russia from Ancient Times” was published. towards the middle
In the 1950s, Russia entered a new era of storms and upheavals. The Crimean War revealed the disintegration of classes and material backwardness. "War and Peace" is a huge amount of historical books and materials, it turned out to be a decisive and violent uprising against historical science. "War and Peace" is a book that grew out of "pedagogical" experience. Tolstoy when reading
“The History of Russia from Ancient Times” by S. M. Solovyov, he argued with him.
According to Solovyov, the government was ugly: “But how did a series of ugliness produce a great, unified state? This already proves that it was not the government that produced history.” The conclusion from this is that we do not need a story
- science, and history - art: "History - art, like art, goes deep and its subject is a description of the life of all Europe."

"War and Peace" has features of thinking and style, composition, which are found in "The Tale of Bygone Years". The Tale of Bygone Years combines two traditions: folk epic and hagiographic. This is also the case in War and Peace.

"War and Peace" is one of the "modifications" created by the era of "great changes". The chronicle style served as the basis for satire on both historical science and the political system.

The historical epoch is a force field of contradictions and a space of human choice, that its very essence as a historical epoch consists in a mobile openness to the future; body is a substance equal to itself.
Worldly wisdom, or common sense, knowledge of people, without which it is impossible that art of understanding what is said and written, which is philology.

The content of humanitarian thought is truly revealed only in the light of life experience - human experience. The objective existence of the semantic aspects of the literary word takes place only within the dialogue and cannot be extracted from the situation of the dialogue. The truth lies in a different plane.
The ancient author and the ancient text, communication with them is an understanding “above the barriers” of misunderstanding, which presupposes these barriers. The past era is the era of the life of mankind, our life, and not someone else's. Being an adult means experiencing childhood and adolescence.

Karamzin is the most prominent figure of his era, a language reformer, one of the fathers of Russian sentimentalism, a historian, publicist, author of poetry and prose, on which a generation was brought up. All this is enough to study, respect, recognize; but not enough to fall in love in literature, in themselves, and not in the world of great-grandfathers. It seems that two features of Karamzin's biography and work make him one of our interlocutors.

Historian-artist. They laughed at this already in the 1820s, they tried to get away from it in the scientific direction, but it seems that this is what is lacking a century and a half later. Indeed, Karamzin, the historian, proposed simultaneously two ways of knowing the past; one is scientific, objective, new facts, concepts, patterns; the other is artistic, subjective. So, the image of a historian-artist belongs not only to the past, the coincidence of Karamzin's position and some of the latest concepts about the essence of historical knowledge - does this speak for itself? Such, we believe, is the first feature of the "topicality" of Karamzin's works.

And, secondly, let us once again note that remarkable contribution to Russian culture, which is called the personality of Karamzin. Karamzin is a highly moral, attractive person who influenced many by direct example and friendship; but to a much greater number - by the presence of this personality in poems, stories, articles, and especially in History. After all, Karamzin was one of the most internally free people of his era, and among his friends and buddies there are many wonderful, best people. He wrote what he thought, drew historical characters on the basis of huge, new material; managed to discover ancient Russia, "Karamzin is our first historian and last chronicler."

List of used literature

1. Averentsev S. S. Our interlocutor is an ancient author.

2. Aikhenwald Yu. I. Silhouettes of Russian writers. - M.: Respublika, 1994.

- 591 p.: ill. - (Past and present).

3. Gulyga A. V. The Art of History - M.: Sovremennik, 1980. - 288 p.

4. Karamzin N. M. History of the Russian state in 12 volumes. T. II-

III / Ed. A. N. Sakharova. – M.: Nauka, 1991. – 832 p.

5. Karamzin N. M. On the history of the Russian state / comp. A.I.

Schmidt. - M.: Enlightenment, 1990. - 384 p.

6. Karamzin N. M. Traditions of the ages / Comp., entry. Art. G. P. Makogonenko;

G. P. Makogonenko and M. V. Ivanova; - Lee. V. V. Lukashova. – M.:

Pravda, 1988. - 768 p.

7. Culturology: a textbook for students of higher educational institutions - Rostov n / D: Phoenix Publishing House, 1999. - 608 p.

8. Lotman Yu. M. Karamzin: The Creation of Karamzin. Art. and research., 1957-

1990. Notes rev. - St. Petersburg: Art - St. Petersburg, 1997 - 830 p.: ill.: portr.

9. Eikhenbaum B. M. About prose: Sat. Art. - L .: Fiction,

1969. - 503 p.
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Lotman Yu. M. Karamzin. - St. Petersburg, Art. - St. Petersburg, 1997. - p. 56.
Solovyov S. M. Selected works. Notes. - M., 1983. - p. 231.
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