Literary trends and French writers of the 19th century. Famous French writers Literature of France in the 19th century briefly

1. Literary trends and French writers of the 19th century 
2. Romanticism Romanticism (fr. romantisme) is a phenomenon of European culture in the 18th-19th centuries, which is a reaction to the Enlightenment and the scientific and technological progress stimulated by it; ideological and artistic direction in European culture of the late 18th century - the first half of the 19th century. It is characterized by the assertion of the inherent value of the spiritual and creative life of the individual, the image of strong (often rebellious) passions and characters, spiritualized and healing nature. It spread to various spheres of human activity. In the 18th century, everything that was strange, fantastic, picturesque, and existing in books, and not in reality, was called romantic. At the beginning of the 19th century, romanticism became the designation of a new direction opposite to classicism and the Enlightenment. 
3. François-René, vicomte de Chateaubriand Francois Rene de Chateaubriand (September 4, 1768, Saint-Malo - July 4, 1848, Paris) - French writer and diplomat, one of the founders of romanticism in French literature. Major works: "Atalla, or Love of two savages in the desert" (1801), the story "Rene, or Consequences of passions" (1802) and the treatise "The Genius of Christianity" (1802).
4. Anne-Louise Germaine baronne de Staël-Holstein Anna-Louise Germaine de Staël (Baroness de Staël-Holstein; known simply as Madame de Staël (fr. Madame de Staël, 1766-1817) is a famous French writer, daughter of a prominent statesman Jacques Necker Major Works: Stal J. Corinne, or Italy, M., 1969 Stal J. On Literature Considered in Connection with Social Institutions, M., 1989
5. Alphonse Marie Louis de Prat de Lamartine Alphonse de Lamartine (October 21, 1790, Macon - February 28, 1869, Paris) - French writer and politician. Human talents can slumber in ignorance until fate forces their owner to act. Main works: Collections of poems: "Méditations", which had an immediate huge success; it was followed by Nouvelles Méditations (1823), Harmonies (1835), Jocelyn (1835), Chute d'un Ange (1838), Recueillements poétiques (1839).
6. Victor Marie Hugo Victor Marie Hugo February 26, 1802, Besancon - May 22, 1885, Paris) - French writer (poet, prose writer and playwright), head and theorist of French romanticism. Member of the French Academy (1841). Poet, playwright, publicist, essayist Main works: The last day of the condemned to death (Le Dernier jour d'un condamné, 1829). Notre Dame Cathedral (Notre-Dame de Paris, 1831). The Outcasts (Les Misérables, 1862). Toilers of the sea (Les Travailleurs de la Mer, 1866). The Man Who Laughs (L'Homme qui rit, 1869).
7. Alfred Victor de Vigny Alfred Victor de Vigny ́ ́ (March 27, 1797, Loches, Indre-et-Loire department - September 17, 1863, Paris) - Count, French writer. The largest representative of French aristocratic, conservative romanticism. Poet, translator of Shakespeare into French Main works: The Count of Saint-Mars, or the conspiracy under Louis XIII, 1829 Stello or Blue demons. Tales told to a sick man by a black doctor, 1835 Death of a wolf, 1886
8. Prosper Mérimée Prosper Merimee (September 28, 1803, Paris - September 23, 1870, Cannes) - French writer, member of the French Academy. Main works: Drama "Cromwell" Historical novel "Chronique du temps de Charles IX" (Chronique du temps de Charles IX) Novella "Matteo Falcone" (Mateo Falcone). The story "Etruscan vase" (Le Vase Etrusque) Novel "Carmen"
9. George Sand, real name Amandine Aurore Lucile Dupin George Sand (Amandine Aurora Lucile Dupin; 1804-1876) - French writer. Main works: Indiana (Indiana, 1832) Consuelo (Consuelo, 1843) Countess Rudolstadt (La Comtesse de Rudolstadt, 1843)
10. Marie-Henri Beyle, alias Stendhal; Stendhal (real name and last name Marie-Henri Beyle; January 23, 1783, Grenoble - March 23, 1842, Paris) was a French writer, one of the founders of the French realistic novel of the 19th century. Main works: “Red and Black” (“Le Rouge et le Noir”; 2 vol., 1830 “Parma Convent” (“La Chartreuse de Parme”; 2 vol. 1839-1846)
11. Critical realism   Critical realism is an artistic method ́ ́ and a literary trend that developed in the 19th century. Its main feature is the depiction of the human character in organic connection with social circumstances, along with a deep social analysis of the inner world of a person.

Nineteenth century.

Nineteenth century. At the turn of the 18-19 centuries. unprecedented changes are taking place in European culture, characterizing the onset of the "epoch of modernity" (as opposed to the "classical" era). The ideology of cultural relativism is being formed, embodied in romanticism. Geographical relativity, "exoticism", attraction to foreign cultures appears already at an early stage in the development of the movement. Later, "non-classical" civilizations of the past began to attract romantics: the generation of 1830 - the Middle Ages, T. Gauthier - the baroque of the 17th century. Romantics turn to folklore folk culture, recognizing the fact that thinking and creativity are not the same even within the same modern nation. Thus, along with “mass culture” (the genres of the feuilleton novel, cartoons, melodrama), the idea of social relativity arises. All these ideas are somehow reflected in the treatises of A.L.Zh.de Stael (1766–1817) (On Literature Considered in Connection with Social Institutions, 1800; On Germany, 1813). In her novels (Delfina, 1802; Corinne, or Italy, 1807), romantic ideas are combined with enlightenment and sentimentalist ones - such neighborhood and opposition within it is very typical of French literature, the development of which takes place in constant clashes of polar literary and ideological currents. In Corinne, Madame de Stael prefaces the theme of the incompatibility of the artist and society, one of the central themes of romantic literature. Another important image - the "son of the century" - was one of the first to be created by F.R. de Chateaubriand (1768–1848) (Rene, 1802). The image of a disillusioned contemporary, a melancholic youth prone to the "disease of the century", became extremely popular in French literature (Oberman (1804) E.P. Senancourt, 1770-1846; Adolf (publ. 1815) B. Constant, 1767-1830).

The first theoretical texts of the Romantics appeared in their periodicals, which were published in small editions (Le Conservatter Literer, 1819–1821; La Muse Francaise, 1823–1824; Le Lettre Champenoise, 1817–1825; Les Anales de la Literature e des art", 1820-1829). The polemical essays of Stendhal (1783-1842), included in the book by Racine and Shakespeare (1823-1825), are directed against the epigones of classicism, defend the principles of the "romantic", i.e. contemporary art. However, the authority of the classicist tradition was finally shaken only by the end of the 1820s. V. Hugo (1802–1885) summed up the views of romantic writers that had developed by that time in the preface to the drama Cromwell (1827), which became the manifesto of French romanticism. In it, the author theoretically substantiated the local color, grotesque and contrast in order to contrast “good” and “evil” in relief, and also declared war on classicism and all court aristocratic art. French romanticism took on its final form late: it became a national phenomenon only in the 1820s, and only from the end of them and during the 30s did masterpieces of the so-called high romanticism appear.

French romanticism is distinguished by the “this-worldliness” of the artistic world. Fantasy appears only from the 1820s in the stories of C. Nodier (1780-1844) and later in Gauthier (1811-1872) (Mummy's Leg, 1840; Arria Marcella, 1852). The mythological line associated with religious symbols develops more organically: Châteaubriand's apology for Christianity (The Genius of Christianity, 1802), religion in Lamartine's poetry. However, most often prose works begin with "confessions", self-portraits of a historical, but also a modern personality, whose name is placed in the title until the 1830s (Indiana (1832), Valentine (1832), Lelia (1833), Jacques (1834) J. Sand, 1804–1876, etc.). Interest in a brilliant, rebellious personality (for example, an artist) appears only from the 1920s, in the era of high romanticism. And yet, heroes like Sbogar (Jean Sbogar (1818)) Nodier or Moses in Vigny's lyrics look more like an exception. Poetic natures often appear as foreigners - from the Painter from Salzburg (1803) Nodier to Chatterton (1835) Vigny and the heroes of J. Sand. The theme of the relationship of the poet and art with society became more acute only in the 30s. On the contrary, everyday realities are willingly included by them in a tragically serious work - perhaps because classical aesthetics did not accept such a mixture. Already in the 1820s, “physiology”, moral descriptive essays, which strove for a daguerreotype reproduction of everyday life, were spreading (Physiology of Taste (1826) by B. Savarin; essays by Ch. Philipon). Balzac, Dumas, J. Janin took part in the multi-volume edition of The French in their own image (1840–1842).

FROM new era the history of France and French romanticism - the Restoration (1814-1830) - is associated with the evolution of such writers as A. de Lamartine (1790-1869), A. de Vigny (1797-1863), V. Hugo. The beginning of the 1820s was marked by the flourishing of lyrical genres. The poetic works of Lamartine, Vigny (Poems, 1822; Death of the Wolf, 1843) tell the story contemporary authors romantic hearts. In the lyrics of Lamartine, the star of the 1820s, one can feel the influence of the poetics of the previous century (collection Poetic Reflections, 1820; New Reflections, 1823; Poetic and Religious Consonances, 1830). Hugo manifests himself as a master of the sound of verse (collection of Odes and various poems, 1822). His later poetic experiments (the epic cycle Legend of the Ages, 1859-1883; The Terrible Year, 1872) were the result of the development of romantic poetry. In 1823 Hugo tries himself in prose (the historical novel Guy the Icelander).

The French historical novel of the 1820s took shape under the influence of W. Scott. However, the English novelist, in order to preserve the plausibility, created a double intrigue that could not take root in France. Writers solved this problem in different ways: combining the historical and the romantic in one hero, politics and lover (Saint-Mar (1826) by A. de Vigny); taking as the basis of the plot a little-known historical event (Chuans (1829) O. de Balzac, 1799-1850; Chronicle of the times of Charles IX (1829) P. Merimee); refusing to recreate historical events, using only the color of the era (Notre Dame Cathedral (1831) by V. Hugo). After 1829, interest in the historical novel falls, he returned only with the novels of A. Dumas père (The Three Musketeers, 1844; Twenty Years Later, 1845; Queen Margot, 1845, etc.); for a while, modernity becomes a popular subject of depiction; the story takes on a larger epic form.

With the publication of J. Janin's novel The Dead Ass and the Guillotine Woman in 1829, a short "frantic" period began in French romanticism. Stories full of murders and unnatural passions were published in the magazines La Revue de Paris (1829-1845, 1851-1858) and Revue de de Monde (since 1829). An example of such a story was the book by P. Borel (1809-1859), who called himself a lycanthrope (wolfman), - Champaver. Immoral Tales (1833). Marion Delorme (1831) and Lucretia Borgia (1831) Hugo, Anthony (1831), Richard Darlington and others. otherwise they come into contact with "violent" literature. J. de Nerval (1808-1855), who hanged himself while working on the editorial of the short story Aurelia (1855), which analyzes the creator's madness, is sometimes referred to as "violent romantics". Outrages and phantasmagoria make the verse Songs of Maldoror (1868-1869) Lautreamont related to the prose of the "violent romantics". In one of the collective collections of "violent romantics" (Brown Tales of the Upturned Head, 1832), the young Balzac took part, who was fond of "black" themes back in the 1820s (The Heiress of Birag, 1822; Clotilde of Lusignan, 1822; Pirate Argou, 1825, etc. .)

The romanticism of P. Merime (1803-1870) is distinguished by self-irony and a penchant for mystification (Theatre of Clara Gazul, 1825; Guzla, 1827). In the short stories of the 1830s and 1840s, he pays tribute to both fantastic (the short stories Venus of Illa; Lokis) and exotic (Mateo Falcone; Tamango; Carmen) subjects. Under the pen of E. Xu (1804-1857) (Parisian secrets, 1842-1843; Eternal Jew, vol. 1-10: 1844-1845; Secrets of the people, 1849-1857) and, later, J. Verna (1828-1905) (Children of Captain Grant, 1867-1868; 20,000 Leagues Under the Sea, 1869-1870; Mysterious Island, 1875, etc.) adventure literature is being formed. With the work of Xu (who created a "novel for the people") and A. Dumas, the concept of "novel-feuilleton" (a novel "with a continuation", published in periodicals) is associated.

In the theatrical life, the struggle of the new direction with traditional art was the most intense. In the preface to the play Ruy Blas (1838), Hugo asserted an intermediate genre - drama - distinguishing between comedy and tragedy according to the subject of the image. Even earlier, at the premiere of the drama by Hugo Ernani (February 1830), a real battle took place between the audience for the approval of romantic dramaturgy on the stage. Supporters of Hugo fought for a mixture of styles - the sublime and the grotesque. The lyrical comedies of A. de Musset (1810–1857), the author of popular poems, are the opposite of Hugo's plays. Their author is apolitical, the plot of his plays tells about the "disease of the century", reflection and skepticism, deadly for the hero (Venice Night, 1830; Andrea del Sarto, 1833; No Joking With Love, 1834). An exception is the tragedy of Lorenzaccio (1834), where the problem of socially active action is posed. The story of a "devastated man" and at the same time of an entire generation is told in Musset's novel Confessions of a Son of the Century (1835). Musset was a member of the Senancle circle (1827–1830), an association of romantics created by Hugo and C.O. Sainte-Beuve (1804–1869). Known at first as a poet and prose writer (The Life, Poems and Thoughts of Joseph Delorme, 1829), the latter became the most influential literary critic of the 19th century. Sainte-Beuve was the first to express the idea of a direct connection between the work and the writer's life, its historical time.

French novel trans. floor. 19th century was heavily influenced by the drama. Theatrical techniques were used by a variety of writers - from Balzac to P.Sh.de Kock (1793-1871), the author of frivolous comic novels. In the 1830s, two types of novel composition dominated: dramatic and chronicle. Balzac focused on the first, because in it the emphasis is transferred from the main event, the catastrophe, to the process that prepares it. Building on achievements modern science, Balzac in the Preface (1842) to the Human Comedy (1829-1848) describes society as a complex, historically developed organism. The writer must become a historian, chronicler, analyst of human passions and characters, connoisseur of the customs of various classes in order to create a diverse human typology. In a review of the Parma Monastery (1839) by Stendhal, in a Study of Mr. Beil (1838), the writer expressed his judgments about the importance of psychological analysis in art. These reflections are considered to be manifestos of "realism", a post-romantic trend in literature, originating in the prose of Balzac (Shagreen leather, 1830-1831; Father Goriot, 1834-1835, etc., later combined into the Human Comedy) and Stendhal (Red and Black, 1831; Parma Convent, 1839). For them, the hero, most often a contemporary, can and should be described in the social and historical "environment" of his existence. The characters are given by these writers in a concrete political and social background. Any phenomenon of reality can become the subject of art, but only on condition that it is known in its general laws, which presuppose social and biological determinism. A narrower concept of the method is contained in the manifestos of the 1850s–1860s of Chanfleury (1821–1889) (a collection of theoretical works and articles Realism, 1857) and his follower L.E. Duranty (1833–1880) (a series of articles in the journal Realism, 1856 –1857), who refused to typify, gravitating toward factual copying of what they saw. The use of improperly direct speech in the narration of G. Flaubert (1821-1880) excludes from it the explicit point of view of the author (Madame Bovary, 1857). One of the key factors of Flaubert's storytelling is theatricality, entertainment. Flaubert does not endow the heroine with a "dominant passion" (unlike Stendhal, Balzac, J. Sand), so the hero's reaction to the impact of the satirically depicted environment is less predetermined, more unexpected.

The birth of naturalism in French literature is connected with the literary-critical activity of the Goncourt brothers and E. Zola. The Goncourt brothers, Edmond (1822-1896) and Jules (1830-1870), proclaimed (preface to the novel by Germinie Lacerte, 1865) a "new realism" based on sketches from "nature", strict observation and fixation of objective facts. A new type of "scientific" novel was created, in their opinion, by Balzac, who claimed that he was a historian, not a novelist. The study of history is necessary for them to create psychological credibility, "an impression of the truth about a person", which in any historical era remains contemporary to the reader. Having become acquainted with Chanfleury's theory, the critical articles of I. Taine (1828-1893) (History of English Literature, 1863) and the novels of his contemporaries (especially Flaubert), E. Zola (1840-1902) formulates the principles of naturalism and the "scientific novel" (foreword to Teresa Raquin, second edition of the novel, 1867; collection Experimental Novel, 1880). Naturalism must depict drama modern life, using a "physiological" description of temperament, made dependent on the environment and circumstances; the language of prose should be distinguished by sincerity, clarity and naturalness. The theory of social and biological (heredity) conditioning of character is illustrated by a series of novels by Rougon-Macquart (1871–1893) by Zola. To the beginning In the 1880s, naturalism becomes the main creative principle of the post-Flobert generation of writers, as well as young authors who united around Zola (J.C. Huysmans, 1848–1907; A. Daudet, 1840–1897; G. de Maupassant, 1850–1893, etc. ) Under his patronage, the latter published collections of short stories Medan Evenings (1880). G. de Maupassant in the preface to the novel Pierre and Jean (1887-1888) wrote that the reality depicted should not be more exciting and amazing than the reality of life. In Maupassant's short stories, unsurpassed in technique, the author oscillates between melancholy and sarcasm, refusing to evaluate the events that are taking place.

The poets of the pre-symbolist era strove for a holistic perception of the universe. In the lyrics of J. de Nerval, his animation and unity are felt (it is with them that the poet is intoxicated, and not with his own experiences, like romantics - Golden Poems, 1845), there is a symbolic ambiguity of images. Flowers of Evil (1857) by C. Baudelaire (1821–1867) chart the path of the romantic poet to symbolism. Beauty and perfection appear in his poems regardless of the ethical content of the subject. The poet becomes only an intermediary mediator between nature and people. The collection of T. Gauthier Enamels and Cameos (1852) paved the way for the literary group of the Parnassians. All R. In the 1850s, Ch.R.M. Lecomte de Lisle (1818–1894) tried to accurately, dispassionately, unlike the romantics who fanned passions, to recreate ancient history, "to hear the voices of former civilizations." From the naturalistic currents of post-romanticism, his position is distinguished by the preaching of the poet's equanimity, the desire to achieve the highest expression of his "I". Art cannot have a practical purpose. The task of the poet, if there is one, de Lisle believes in creating the Beautiful with the help of complex combinations of poetic lines, colors and sounds, with the help of feelings, reflections, science and fantasy (preface to Antique Poems, 1852). Lecomte de Lisle embodied perfect image parnassian (Barbarian Poems, 1862; Tragic Poems, 1884). About 40 poets published their poems in the collection New Poems (1866), including Leconte de Lisle, C. Baudelaire, S. Mallarmé (1842–1898), T. Gauthier, J. .de Banville (1823-1891), young P.Verlaine (1844-1896) and F.E.Zh. Koppe (1842–1908). T. de Banville argued that the art and skill of the image are one and the same (A short treatise on French poetry, 1872). The Parnassians existed as a relatively monolithic group until the appearance of the Vile Uncles and the Zutists (from the French “Zut!” - “Damn it!”), which were represented by C. Cros (1842–1888) and T. Corbier (1845–1875 ). Both groups sought to outrage and irritate readers while simultaneously creating new poetic forms. To con. In the 1880s, the aesthetics of Parnassus were significantly outdated, giving way to new trends.

P. Verlaine's poems Poetic Art (1874) and A. Rimbaud's collection of Illuminations (1872–1873, especially the sonnet Vowels, 1872) were proclaimed by the symbolists as their manifesto. Both poets were influenced by Baudelaire, but it was embodied in different ways. Verlaine, an impressionist poet par excellence, strove for a "skillful simplification" (G.K. Kosikov) of poetic language. Between the "soul" and "nature" in his landscape lyrics (collection Romances without words, 1874), a relationship is established not of parallelism, but of identity. Verlaine introduced jargon, vernacular, provincialisms, folklore archaisms and even linguistic irregularities into his poems. It was he who anticipated the symbolist free verse, which was discovered by A. Rimbaud. He urged to give free rein to the unrestrained play of the imagination, tried to achieve the state of "clairvoyance" by "disturbing all his senses." It was he who substantiated the possibility of "dark", suggestive poetry, anticipating the work of S. Mallarme.

The history of symbolism as a formalized poetic trend begins in 1880, when S. Mallarme opened a literary salon at his home, where young poets gathered - R. Gil (1862–1925), G. Kahn (1859–1936), A.F.Zh. de Regnier (1864–1936), Francis Vielet-Griffin (1864–1937) and others. .Vigne, T. de Vizeva, E. Dujardin). In the article Literary Manifesto. Symbolism (1886), the program document of the movement, J. Moreas (1856-1910) writes that symbolist poetry tries to "dress the Idea in a tangible formula." At the same time, the first poetry collections focused on symbolist poetics were published: Cantilenas (1886) by J. Moreas; Calm and Landscapes (1886, 1887) A. de Renier and others. In the end. Symbolism rises in the 1880s (Joys (1889) by F. Viele-Griffen; Poems in the ancient and chivalrous spirit (1890) by A. de Regnier). After 1891 symbolism comes into vogue, it blurs the boundaries of the community. The esotericism and mysticism of some poets (The Great Initiates (1889) by E. Schure) evoke a reaction from others. (French ballads (1896) P. Faure, 1872-1960; Clarity of life (1897) Vielle-Griffin; From morning Blagovest to evening (1898) F. Jamm, 1868-1938), striving for spontaneity and sincerity in poetry. In the stylizations of P. Louis, aestheticism makes itself felt (Astarte, 1893; Songs of Bilitis, 1894); R. de Gourmont (1858-1915) plays an individualist and immoralist (Hieroglyphs, 1894; Bad Prayers, 1900). At the turn of the 19th-20th centuries. the symbolist movement breaks up into separate one-day schools (“naturism”, “synthetism”, “paroxysm”, “esotericism”, “humanism”, etc.). A separate phenomenon in the dramaturgy of the con. 19th century became a romantic play by E. Rostand (1868-1918) Cyrano de Bergerac (1897).

Symbolism, as a worldview that first manifested itself in lyrics, quickly penetrated into dramaturgy. Here he is, as in the literature of con. 19th century in general, he opposed naturalism and a positivist worldview. The Belgian playwright M. Maeterlinck was the most demanded director, his plays transformed the theatrical repertoire of the 1890s (The Blind, 1890; Pelléas and Melisande, 1893; There, Inside, 1895). The traditions of symbolism were partly continued in the magazine "La Falange" (1906-1914) and "Ver e prose" (1905-1914) and largely determined the prose experiments of the beginning. 20th century, influenced the formal search for poets of modernist trends. Their influence on the work of P. Valery and P. Claudel is obvious.

XIX century - "golden", classical. One century, but not a single artistic direction: romanticism and realism. Started with the French Revolution. It ended with the Paris Commune in 1871 (its heroism and tragedy are already the heroism and tragedy of the 20th century). Realism is formed in 30-40 years. By this time, society had already consigned to oblivion the heroic era of Jacobinism, the bloody epic of the Napoleonic wars. The carmagnole was replaced by the cancan, the Phrygian cap - the merchant's bowler hat, the uniform embroidered with galloons - the solid frock coat of the new conqueror of the world - the knight of debit and credit. Open rejection of reality is the pathos of the literature of the 19th century.

Synthesis of romantic and realistic tendencies in French culture. A special attitude to the "art of the style" as a French national tradition "Only what is well written reaches posterity" (Buffon, 1707-1788) The novel form is a prosaically organized society (Hegel) The two main styles of French literature: Balzac's Stendhal

Honore de Balzac (1799 -1850) One of the greatest writers. “A great novelist who writes badly” (P. Lato) “Doctor of Social Sciences” (Balzac). Very different - a monarchist, a legitimist and an artist. The same age as Pushkin (Karolina Sabanskaya - beloved of A. S. Pushik - a brilliant world-class adventurer - the sister of Evelina Ganskaya, whom Balzac married 3 months before his death. Wedding in 1850 in the city of Berdichev, in the church of St. Barbara. In 1847 -1850 lived in the possessions of his beloved in Verkhovna - a village in the Ruzhinsky district of the Zhytomyr region in Ukraine) Becomes a writer at the age of 30 (the novel "Shuany"). Louis_August Bisson. Portrait of Honore de Balzac, 1842 Formulates the idea of devoting his whole life to one grandiose work. It's going to cover EVERYTHING. Balzac's realism is not active towards life, he does not teach life, he analyzes life, studies it. Balzac says he is writing the history of the human heart. This story is socially and biologically beautiful for him.

Balzac - “a force of nature ... a force of nature, not reflective. . . this is an unconscious genius ... an artist, not a thinker (Boris Grigorievich Reizov). He accepted the main idea of the Romantics - historicism. He saw in human history not only the diversity of epochs, but also the general unity of mankind. In his novels, not only life and environment, but also the rise of characters above history. Money is the religion of the new age. The conflict of the century is man against necessity. Necessity appears in the form of a housewife, a rent, a laundress, a lack of money. . But money is not the main thing. The hero rather fights with money than becomes their servant. “Only base deeds can be explained by profit” (Balzac) The hero is fascinated by the idea: noble / crazy, mania, ambition, creative ardor. Novels are troops that he throws into battle at the right moment. Creativity is a struggle with plots, ideas, technical difficulties.

The human comedy I. Etudes on manners 1) Scenes from a private life Foreword by Gobsek Father Goriot 2) Scenes provincial life Eugenia Grande Museum of Antiquities Lost Illusions 3) Scenes of Parisian life Brilliance and poverty of courtesans 4) Scenes political life 5) Scenes of the military life of Chouan, or Brittany in 1799 6) Scenes of rural life Country doctor Country priest II. Philosophical Studies III. Analytical studies (I name only some novels that are desirable to read)

"Human Comedy" 97 novels There is no sequence, chronological unity. Conditional center - "Father Goriot" (1834) Balzac style: - imitation of the classifications of animals in the works of naturalists - "scientific" design - the grandiose nature of generalizations - the realistic principle of typing (a typical hero in typical circumstances; compare - the romantic principle of typing: an exceptional hero in exceptional circumstances) - genre and thematic classification systems - "cross-cutting" characters - "total determinism" - class as unity - any space as an atmosphere - first the world of things - then a person who corresponds to this world - the struggle for "alien" consciousness ("author's aggression") "There is something more interesting than the Egyptian pyramids - a large Parisian house" (Jules Janin, 1804 -1874)

STENDAL (Henri Marie Bayle) 1783 -1842 an outstanding French writer (Stendal is the German city where Winckelmann came from, who "discovered" the artistic treasures of Italy for the European reading public). Difficult and long creative biography - 30 years of apprenticeship. A participant in Napoleon's Italian campaign, a military quartermaster, saw the battle of Borodino, the fire of Moscow. After the fall of Napoleon, he left for Italy, he was familiar with the leaders of the Carbonari, with Byron. 1830 - French consul in Italy. The story of a man raised on the cult of Napoleon and found himself at a crossroads in the post-revolutionary period Feels like a provincial (poor knowledge of spelling, poor handwriting, negligence and inattention to detail) Stendhal was buried in Paris at the Montmartre cemetery

Style and maturity is a habit that arises by itself. The task of all life is to be like yourself in your best moments “We distort the tenderest feelings when we try to talk about them” (Stendhal) The idea of sincerity in literature includes not only confession, but also silence “The novel is a mirror walking along the road” (Stendhal) Stendhal's style: - "analytical romanticism" - the ruthlessness of psychological analysis - the "eternal youth" of heroes - the inviolability of the "purity" of heroes - the desire for fame is one of the most powerful incentives for behavior - positive qualities modern man- developed intellect and sensitivity - violent natures - "baileism" "Egotism" - Stendhal's favorite word, by which he defines his style Stendhal - "conscious confusion" (E. Zola) The novels "Red and Black" 1830 "Parma Convent" 1846

Gustave Flaubert (1821-1880) an outstanding French writer, one of the greatest European writers of the 19th century. Theory " exact word» . He studied at the Faculty of Law in Paris, led a bohemian life. In 1844 he settled on the banks of the Seine, not far from Rouen. Leads a secluded life, tends to self-isolation. He returned to Paris in 1848 to take part in the Revolution. From 1848 to 1852 travels a lot (Egypt, Jerusalem, Constantinople, Italy). Met with I. S. Turgenev. Novels: Madame Bovary (1856). Flaubert and the editor of the Revue de Paris were sued for "insulting morals". "Salambo" (1862). To create it, he visited the East and North Africa. Historical novel about the uprising in Carthage in the 3rd century. BC e. "Education of the Senses" (1869). About the European events of 1848. The novel describes Flaubert's first love (“silent passion” for Eliza Schlesinger, which he carried through his whole life) "(G. Flaubert) -" dying "of the author; - "bovarism". A. Mukha. Salambo

Emile Zola (1840 -1902) - an outstanding French writer, theorist of naturalism Twenty-volume series "Rougon. Makkara" - the grandiose "Natural and social history of a family in the era of the Second Empire" . The desire to raise literary "production" to the level of scientific knowledge of its time. E. Zola's style: - "biological" and "social" - the grandiosity of details - the poetics of mass scenes - the magic of small things - the synaestheticism of E. Manet's images. Portrait of E. Zola. Gravestone (cenotaph) at the site of Zola's original grave in the Montmartre cemetery, moved in 1908 to the Pantheon

Charles Baudelaire (1821 -1867) French poet and critic, classic of French and world literature, the last European romantic, "a man who feels like an abyss" (J.P. Sart) "the king of poets, a real God" (A. Rimbaud). His father was an artist, from early childhood he instilled in his son a love of art, but when Baudelaire was 6 years old, his father died and his mother got married. As punishment for disobedience - a trip to India so that he "gets rid of the bad influence" of the bohemian circle of the Latin Quarter, but Baudelaire returned back. Participated in the barricade battles in February, collaborated in the republican press, fought on the barricades in June 1848. He visited the "Hashish Club" and described the effects of hashish on the human body, which for many years became the standard for all who wrote about psychotropic products from hemp. He considered Edgar Allan Poe his "spiritual brother" and translated his works. Baudelaire is buried in the Montparnasse cemetery in the same grave with his mother and stepfather. Later, a cenotaph was installed on the transversal avenue of the cemetery: a full-length figure of the poet wrapped in a shroud was placed on a simple slab right on the ground, and a huge stele rises from the side of the head, on top of which is erected. . . Satan. Poetics: -dandyism -bohemianism. - aestheticization of evil. the luxury of decay and death. Collections of Poems: Flowers of Evil Parisian Spleen

S. BAUDLER. Carrion (Translated by Wilhelm Veniaminovich Levik, 1907 -1982) Do you remember what we saw in the summer? My angel, do you remember That horse dead under the bright white light Among the reddening grass? Half-decayed, she, spreading her legs, Like a girl in the square, Shamelessly, belly up, lay by the road, Fetid exuding pus. And the sun burned this rot from the sky, To burn the remains to ashes, So that the great Nature, merged into one, would accept the Disunited. And pieces of the skeleton were already snarling into the sky, Large like flowers. From the stench in the meadow, in the fragrant heat of summer, You almost became ill. Hurrying to the feast, buzzing clouds of flies hovered Over the vile pile, And the worms crawled and swarmed in the belly, Like thick black mucus. All this moved, heaved and shone, As if, suddenly revived, The monstrous body grew and multiplied, The breath of the vague is full. And this world streamed mysterious sounds, Like the wind, like a running shaft, As if a sower, raising his hands smoothly, Waved the grain over the cornfield. That unsteady chaos was, devoid of forms and lines, Like the first sketch, like a spot, Where the artist's gaze sees the camp of the goddess, Ready to lie down on the canvas. From behind a bush on us, thin, all in a scab, The bitch mowed down her evil pupil, And waited for a moment to grab from the bone And gobble up a tasty piece. But remember: you, exuding infection, You will lie rotten as a corpse, You, the sun of my eyes, my living star, You, the radiant seraphim. And you, beauty, and decay will touch you, And you will rot to the bone, Dressed in flowers for mournful prayers, Prey of coffin guests. Tell the worms, when they begin, kissing, to devour you in the damp darkness, What perishable beauty - I will forever save Both the form and the immortal system.

Photo 1855 Prosper Mérimée (1803 -1870) French writer, translator, one of the first masters of the short story in France, chief inspector of historical monuments, member of the French Academy, senator of the Second Empire, popularizer and translator of Russian literature. Mystifications: -several dramatic plays under the title "Theater of Clara Gasul" (allegedly the author is an unknown Spanish actress of the itinerant theater; - "Gusli" (Guzla), a collection of folk (supposedly) songs. Poetics: - "museum of human passions" -dramatic passions - in a dry and restrained language - as a rule, the narrator is a rational observer-foreigner - the emotions of primitive peoples are opposed to the anemia of civilized Europe (“Energy, even in bad passions, always amazes us and some kind of involuntary admiration”) Novels by Carmen Mateo Falcone Lokis Etruscan vase Letters to a stranger (but preferably all...)

Romain Rolland (1866 -1944) - French writer, public figure, musicologist, foreign honorary member of the USSR Academy of Sciences (1932), laureate Nobel Prize in Literature (1915) "For the high idealism of literary works, for sympathy and love for truth" Active member of European pacifist organizations. Corresponded with L. N. Tolstoy, welcomed February revolution, approved of the October Revolution in Russia in 1917. Communicated with Maxim Gorky, came to Moscow at the invitation, met with Stalin (1935). Books about great figures: The Life of Beethoven (1903) The Life of Michelangelo (1907) The Life of Tolstoy (1911). The novels "Jean-Christophe" (1904 -1912) "Cola Breugnon" (1914 -1918) "The Enchanted Soul" (1923)

SYMBOLISM is one of the largest cultural phenomena of the late 19th and early 20th centuries. Symbolism was formed in Western European culture in the 60s-70s of the 19th century. France: Rimbaud, Verlaine Belgium: Maeterlinck Austria: Rilke England: Wilde Norway: Ibsen. A conscious renunciation of concrete historicism, of modernity. "Recoding" of ideas, images, plots into universal "mythologems". The tendency of symbolism to build on the culture of the past, and not feel like a successor to it. The significance for the aesthetic system of symbolism of what it opposes in the past culture: naturalism (France), everyday writing (England), realistic lifelikeness (Russia). French symbolism: -appeal to the intellectual and philosophical discourse of the world; -interpretation of any phenomenon as eternal: in the spirit of "emblematics", "keys of secrets", "verbal magic" -poeticization of the inner world -personality and the cult of "I"

POETRY Paul Verlaine (1844 -1896) French poet, one of the founders of literary impressionism and symbolism. - lyrical "self-crucifixion" "sliding unobtrusiveness" of writing (S. I. Velikovsky); - sad thoughtfulness and languid gloom of style - blurring the line between the unsteady, as if flowing, outer world and inner experience. Damned poets ”(1883) - the title of a series of articles dedicated to his outcast and unrecognized friends Tristan Corbière, Arthur Rimbaud and Stefan Mallarmé. LONGING Nothing in you amuses me, Nature: Neither the fields of grain, nor the echo of the golden Shepherd's horns, nor the dawn at times, nor the beauty of a sad sunset. Art is funny to me, and the Man, and the ode, And the song, and the temple, and the century-old towers A proud aspiration to the empty vault of heaven. What is good and evil to me, and slavery, and freedom! I do not believe in God, I am not deceived again by Science, but by ancient irony. Love, For a long time I have been running it in silent contempt.

Jean Ipoustegui. Commissioned by President Francois Mitterrand, the sculptural composition is "Traveler in Shoes Soared Up". Installed in 1985 in front of the old building of the National Library of France in Paris. The name paraphrases the nickname that Paul Verlaine gave to Arthur Rimbaud - "Traveler in shoes lined by the wind". Arthur Rimbaud (1854 -1891) - the great French poet A poet who held together two centuries of poetry. Participates in the uprising of the Paris Commune. Travels a lot around the world. In Africa (mainly in Egypt and Ethiopia), in Yemen, he is engaged in the trade of coffee, spices, skins, weapons and people. In February 1891 he returned to France, where his leg was amputated due to a cancerous tumor. Buried in Charleville. Poetics: poetics of destruction; lyrical intensity; . "frightening" fragmentary metaphor; pushing the beautiful to the periphery of the creative system, the dominant of the ugly; courage and ruthlessness of the paintings of "rough life" Agnieszka Holland's film "Total Eclipse" (1995), based on the play of the same name by Christopher Hampton (1967), Rimbaud Leonardo DiCaprio.

Vowels A - black, white - E, I - red, U green, O - blue. . . Vowels, your dates of birth I will also open. . . A - a black and shaggy Corset of buzzing flies over a fetid pile. E - the whiteness of the tents and in flakes of snow wool Top, the trembling of the flower, the sparkling of the crown; And - purple, spitting blood, laughter, illuminated with anger Or drunk with repentance at the hour of reckoning. U - the cycle, the sea surf with its green juice, The world of pastures, the world of wrinkles, which on a high forehead Alchemy imprinted in the silence of the nights. Oh - the primordial Horn, piercing and strange. Silence, where the worlds, and angels, and countries are Omega, a blue ray and the light of Her Eyes. Foreboding Deaf paths, among the thick grass, I'll go wandering on blue evenings; The wind will touch the uncovered head, And I will feel the freshness under my feet. Infinite love will fill my chest. But I will be silent and forget all the words. I, like a gypsy, will leave - farther, farther on the road! And as if with a woman, I will be happy with Nature.

Stéphane Mallarmé (1842 -1898) - French poet, was in the Parnassus group (a group of French poets who united around Theophile Gauthier and contrasted their work with the poetry and poetics of outdated, from their point of view, romanticism) head of the symbolist school. Referred by Paul Verlaine to the number of "damned poets". Poetics: the task is “to draw not a thing, but the effect it produces” and write poems that will consist “not of words, but of intentions” (S. Mallarme); musicality and mystery; "prophetic" nature of experiments

Stream of Consciousness Literature The term belongs to the American philosopher William James: “Consciousness is a stream, a river in which thoughts, sensations, memories, sudden associations constantly interrupt each other and are bizarrely, illogically intertwined (“Foundations of Psychology”, 1890). Stream of Consciousness creates the impression that the reader is "eavesdropping" on their experience in the minds of the characters. Marcel Proust (1871 -1922) - the great French writer, short story writer and critic, the "father" of European modernism. In Search of Lost Time is a novel in seven parts, one of the most significant works of world literature of the 20th century. 1913 Towards Svan 1919 In the shadow of the girls in bloom 1920 -1921 At the Guermantes 1921 -1922 Sodom and Gomorrah 1923 Captive 1927 Fugitive 1927 Time regained : 1st place Outsider» A. Camus 2nd place «In Search of Lost Time» Poetics: a novel as a «cinematograph of memories» (AV Lunacharsky).

French surrealism is a trend in art that was formed by the early 1920s in France. The birth of the term: in 1917, Guillaume Apollinaire first used the term "surrealism" in the manifesto "The New Spirit", written for the ballet "Parade" (a joint work of composer Eric Satie, artist Pablo Picasso, screenwriter Jean Cocteau, and choreographer Leonid Myasin) Ideologist of surrealism - writer and poet Andre Breton (1896 -1966). Manifesto of Henri Breton (1924) The basic concept of "surreality" is the combination of dream and reality. the principle of "pure psychic automatism" "disinterested play of thought" . Poetics: The use of allusions paradoxical combinations of pathos of total protest "love - beauty - rebellion" "poetic and therapeutic method" - the principle of collage - "new mythology" - the concept of "black humor" game beginning. The genre of the manifesto is characteristic of avant-garde culture. phenomenon

Guillaume Apollinaire (Polish Wilhelm Albert Vladimir Alexander - French poet, one of the founders of French poetry of the 20th century, creator of the term "surrealism" . Poetics: - the influence of F. Villon; - the combination of the urban theme with intimate lyrical motifs; - aphorism of poetic statements; - tension rhythm; -associativity of thinking; -lack of punctuation; -rapprochement of poetry and graphics. Apollinaris Vonzh-Kostrovitsky; 1880 -1918) Henri Rousseau "The Muse Inspiring the Poet" (1909) in a caricature spirit depicts G. Apollinaire and his beloved M. Laurencin

Paul Eluard (1895-1952) is one of the most significant French poets of the 20th century. , one of the leaders of the group of French surrealists. S. Dali “Portrait of Paul Eluard”: “I felt that I was entrusted with the duty to capture the face of the poet, from whose Olympus I stole one of the muses” (the words of S. Dali due to the fact that Eluard’s wife Gala went to Dali). Poetics: suggestiveness of poetic language; an abundance of repetitions; a wide range of feelings, ideas, images. Heart on a tree, if you want - pick it from a branch, Smile and laughter, laughter and immense tenderness. Defeated, you are the winner, clear-faced and pure, like an angel, Together with the trees you rush into the sky. The beauty cries in the distance, she would like to fight, But, sprawled near the hill, she is unable to rise, And whatever the sky above her is transparent, gloomy, Seeing her, it is impossible not to fall in love with her. Days, like fingers, lazily bent phalanxes, Flowers wither, ears of corn are separated from the rains. Frost awaits the red-hot body of July. Look through the eyes of the dead. Paint white porcelain. Music, naked white hands. The winds merge with the birds - the sky will change soon.

Existentialism is one of the most viable philosophies. The origins of existentialism - the philosophy of S. Kierkegaard The proclamation of the absolute uniqueness of human existence; The idea of the inapplicability of the scientific method in self-knowledge. The categorical apparatus of existentialism: life, death, fear, pain, love, “choice”, “otherworldly being”, “existence in the world”, “abandonment”.

Jean-Paul Sartre (1905 -1980) - one of the most significant Antanas Sutkus (Lithuania). Sartre representatives of the culture of the 20th century. , "ruler of thoughts", winner of the Nobel Prize in Literature in 1964 (refused) member of the World Peace Council (1953). In 1945, he refused the Order of the Legion of Honor. Participant and symbol of the revolution in France in 1968 (rebellious students, having captured the Sorbonne, let only one Sartre inside). Charles de Gaulle: “Voltaires are not imprisoned in France” 50 thousand people walked behind the coffin Poetics: deepening the introspection of heroes; "disappearance" of the narrator; "the theater of situations". Nausea 1938 Words 1964 Albert Camus (1913 -1960) is a literary idol of the European intelligentsia, one of the most charming figures in the culture of the 20th century. Winner of the 1957 Nobel Prize in Literature, "the conscience of the West". Poetics: ideas of the absurdity of the world; appeal to the work of F. M. Dostoevsky; the parable nature of creativity; "hypnotism" "An essay on the absurd". Plague 1947 The Outsider 1942 The Myth of Sisyphus 1942 The Rebellious Man 1951

It reached its peak in the 19th century. French literature. Its golden age began already with the works of the great romantics - Chateaubriand and de Maistre. The romantic tradition was continued by poet, playwright and writer Victor Hugo. He gained particular fame as a novelist and political publicist. Already his first novel, Notre Dame Cathedral (1831), attracted the attention of the general public with a picturesque picture of medieval Paris. In the novel "Les Misérables"(1862) the writer raised the most acute social problems of his time. Hugo's last novel, Year 93 (1874), was devoted to the history of the Great French Revolution.

One of the most vital works of French literature is the novel Stendhal"Red and black. Chronicle of the XIX century ”(1831), which shows the society of the Restoration period. Stendhal laid the foundations of the psychological trend in realism. Among the founders of the French novel are also P. Mérimée, who wrote such a masterpiece of psychological analysis as the short story "Carmen" (1845). Musical works and films have been staged on this plot up to the present day. A. Dumas, the author of fascinating historical adventure novels, had an extraordinary imagination. His novels The Three Musketeers, The Count of Monte Cristo, The Queen Margot and many others still attract the interest of readers.

TO mid-nineteenth in. realism almost ousted romanticism from literature. French critical realism from the very beginning combined the acuteness of the formulation of social problems and the breadth of historical coverage.

The transition to realism represented Honore de Balzac, whose style combined romantic imagery and vivid picturesqueness with sober analysis. Balzac is the author of the monumental "Human Comedy", which is an artistic study of French society in the period of the Restoration and the July Monarchy. Under this general title, he published in 1829-1848. about 90 works, in which he tried to reflect "the entire social reality, without bypassing a single situation of human life." Like no other writer of that time, Balzac was aware of the dependence of the individual on society and history; he was among the first to oppose the omnipotence of money.

Gustave Flaubert managed to create works that are incomparable "in their breadth, brilliance and elegance", in which he criticized the manners of the Second Empire. His novel Madame Bovary. Provincial Mores (1857) is recognized as a masterpiece of world literature. The novel "Education of the Senses" (1869), in terms of the depth of thought and the variety of everyday types derived in it, became an even more significant literary work. Creativity Flaubert opened a new stage in the development of realism.

In the works of the brothers J. And E. Goncourt realism took the extreme form of naturalism. In 1865, they put forward the principle of "documentary accurate reproduction of life," in whatever form it may manifest itself. According to the will of E. Goncourt, the Goncourt Prize was established, which still remains one of the most honorable literary awards in France.

The "naturalistic method" used Emile Zola, whose work marks the onset of the next stage in the development of French realism. The rejection of the regime of Napoleon III inspired him to create the epic cycle Rougon-Macquart. The biological and social history of one family in the era of the Second Empire ”(1871-1893), which combined twenty novels. Zola demonstrated "a rare sense of the dynamics of history" and faithfully conveyed the historical movement of the era he describes, which he called the era of "madness and shame."

In the collection The Experimental Novel (1880), Zola outlined the "theory of the scientific novel", arguing: we "must experiment on the characters, passions, facts of a person's personal and social life, just as a physicist and chemist experiment on inanimate objects, like a physiologist experiments on living people.

The influence of naturalism also affected the work Guy de Mau-passant, who, in an effort to reveal the whole “merciless truth of life,” became the greatest master of the psychological novel. Maupassant's short stories paint a broad panorama of the life and customs of the Third Republic. material from the site

A realistic analysis of reality was accompanied by an increase in pessimistic moods, which gave rise to such a phenomenon of artistic life as decadence("fall"). Its offensive was announced in 1886 by the manifesto of the "damned poets" - the symbolists, who proclaimed: "We are the poets of decline, decline, death." French decadence reflected a common feeling for many figures of European culture that some kind of historical catastrophe was approaching, which was supposed to destroy the petty-bourgeois civilization, which proved its imperfection and inability to solve the most important social problems.

The rapid development of science and technology gave rise to illusions about their omnipotence and gave rise to a new literary genre - a science fiction novel. The most prominent representative of this genre is the French writer J. Verne, author of more than 65 fantastic works, as well as works on the history of geographical discoveries. His books “Journey to the Center of the Earth”, “Children of Captain Grant”, “Around the World in 80 Days”, “Mysterious Island”, “Fifteen-year-old Captain” won huge popularity.

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FEATURES OF THE STYLE OF THE FRENCH WRITERS OF THE XIX CENTURY

Ilyina L.E. to. ped. n.,

annotation

The article discusses the features of the style of French writers of the 19th century, it is indicated that in the 19th century a number of socio-economic transformations took place, the attitude towards the novel as a literary genre changed.

Keywords: French literature, realism, novel

The article discusses the characteristics of the style of the French writers of the 19th century, it states that in the 19th century, there were a number of socio-economic transformation, changed their attitude to the novel as a literary genre.

Key words: French literature, realism, romance

french literature novel world view

The 19th century was in many ways a turning point in the development of French literature. Firstly, the level of literacy of the population as a whole has increased, literary works have become available to the masses. Secondly, there were a number of socio-economic upheavals in the life of the country, which influenced the worldview of writers and the character literature XIX century as a whole.

The works of the 19th century are not instructive in nature, but appeal to the consciousness of a person, stimulate him to personal and spiritual growth.

After the events of the French Revolution, writers began to appeal to the masses, art became more democratic, the heroes and the brightest types came from the people, the works became more vital, but at the same time they glorified the high values \u200b\u200band spirituality that should be inherent in everyone.

The work of R. Chateaubriand had a great influence on French literature of the 19th century; who in his works gave equal importance to both the content and the form of the narrative, determining the further literary movement in its most diverse manifestations.

All these trends were widely introduced by the representatives of romanticism, headed by V. Hugo, he was the first to sing folk heroes (Quasimodo from Notre Dame Cathedral, the former convict Jean Valjean from Les Misérables, etc.). Hugo's innovation also lies in the fact that in order to more fully reveal the nature of the characters, he introduced colloquial expressions into the literary work as: “trotter sur sa mule” - “cowardly on a mule”; "nous battrons ton laquais" - "we will inflate your servant";

"la caduque figure" - "rumpled mug"; "jette-le-lui par la figure" - "throw him in the face"; "Tu m" as fait un passe-droit! - "You fooled me!";

"Au diable la chanoinerie!" - "To hell with the blacks!"; "Peste de la petite fille sotte et bouchée!" "Damn that fool!" Thanks to Hugo, literature ceased to be focused exclusively on the aristocracy.

In the 19th century, attitudes towards such a genre of literature as the novel changed. The historical novel becomes especially popular when the life and character of the hero are revealed against the background of the most important historical events. And if the characters and their history are often fictional, then the historical background is always reliable. The novel becomes more serious, it encourages reflection on the development of mankind, on the socio-political events that took place in French society.

The social novel served as the basis for the development of another literary trend - realism. Realist writers sought to show life as it is, not idealizing their heroes, but on the contrary, exposing their shortcomings in order to eradicate social vices. In some cases, representatives of French realism were even reproached with a somewhat biased attitude towards the common man and his weaknesses, urging them to rid their works of excessive gloominess.

In his works M.-A. Stendhal contrasted two human types: "French" and "Italian", the writer associated them with his own origin. Stendhal lacks the French elegance of his distinguished contemporaries.

Stendhal's style is less picturesque than that of Balzac or Hugo, but every detail serves the general idea. Stendhal owned a businesslike and precise vocabulary, distinctness of the syntactic structure, disclosure of contradictions within a phrase, in the thoughts of the characters, in the movement of the plot, and the accuracy of chiaroscuro.

P. Mérimée is one of the great French realists of the 19th century. He ridiculed the tendency of the Romantics to highlight the outstanding historical figures, to describe in detail their behavior, to speculate about the thoughtful sayings expressed by them at decisive historical moments. He believed that this leads to falsehood and a heap of conjectures. Mérimée in The Chronicle of the Times of Charles IX created a prose style somewhat similar to Pushkin's. Mérimée traces the conciseness of the narrative, the division of the phrase with subtle humor of comparisons: The value of Mérimée's style is not in spectacular comparisons or metaphors, but in the effective use of everyday vocabulary: “Les bouteilles, déja vigoureusement attaquées” - “bottles that have already undergone a powerful attack”, “si cette bouteille l "avait attrapé" - "if this bottle caught him."

Particular attention in the 19th century was paid to literary works designed for the youngest readers. At this time, wonderful adventure novels for children appeared, devoid of excessive didacticism, but in an interesting form telling about life in general, about unusual phenomena, distant countries, dangerous journeys, etc. They touched upon serious worldview issues, and often such works were of interest even to adults.

Such were the novels of J. Verne, some of the works of Victor Hugo.

J. Verne is a famous author of adventure books about travel, unknown islands, search for new lands and new technologies. The heroes of J. Verne are always on the road, they create high-speed vehicles, underwater and airships. Based on the search for scientific thought, he portrayed the desired as already existing. The writer used such fictional devices, for example, as the bet of Jacques Paganel and Major McNabbos in the novel Captain Grant's Children, when he needed to introduce digressions on a scientific or historical topic.

O. de Balzac explored human nature, the psychology of society, life and culture. Balzac's favorite theme is the fierce struggle of gifted people making their way into high society. A pure youth who has fallen into Big city and making a career at the cost of his moral death, this is Balzac's favorite image. Such is Rastignac ("Father Goriot"), such is Lucien Chardon ("Lost Illusions").

Balzac's realism introduces the reader to real life. Balzac captures and recreates the shades of speech of the people of his time, reproducing in their word usage their attitude and collective personality.

Intonation in Balzac's novel is of particular importance, he loves to depict light breaking through into the thick of darkness: this enhances the expressiveness of the world of things. Any scene in Balzac is filled with shades of intonation, gestures that contradict words, laid-back and artificial at the same time. Laughter from the next room is more meaningful than conversation. In the language of Balzac's heroes, in addition to their individual characteristics, there are constantly vivid, figuratively compared author's formulas - the laws of contemporary life.

Innovative moods also existed in poetry. A “new poetry” appeared, which preferred free verse to the usual Alexandrian one. was born new school- symbolist, characterized by complex storylines, multifaceted, somewhat veiled images. At the same time, the works of the Symbolists are completely inseparable from real life, and only seek to express it with the help of the subconscious.

Thus, a distinctive feature of French literature of the 19th century is its linguistic originality. The language of realist writers is close to the spoken language, uses dialectisms and jargon, and simplifies syntax. Speaking about the linguistic originality of a literary work, it should be noted that they are based on the normative and non-normative coloring of the language. Emotional and socio-genre coloring are independent components of the stylistic meaning of a word.

Used sources

1. Vipper Yu. B. Prosper Merime - novelist and short story writer // On Western European literatures of the 16th - first half of the 19th century. - M., 1990. - S. 262-284.

2. Kovaleva, T.V. French literature of the late 19th - early 20th century / T.V. Kovaleva et al. // History of foreign literature (second half of the 19th - early 20th century) Minsk: Zavigar, 1997. - 114 p.

3. Chicherin, A.V. Ideas and style: on the nature of the poetic word. - M: Soviet writer, 1968. - 299 p.

4. Pichois C. Histoire de la littérature française / C. Pichois. - Paris: Flammarion, 2000. - 250 p/

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Literary trends and French writers of the 19th century. Famous French writers Literature of France in the 19th century briefly

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