Famous French writers of the 19th century list. French literature

Reached its greatest prosperity in the 19th century. French literature. Its golden age began with the works of the great romantics - Chateaubriand and de Maistre. The poet, playwright and writer continued the romantic tradition Victor Hugo. He gained particular fame as a novelist and political publicist. Already his first novel, “Notre Dame Cathedral” (1831), attracted the attention of a wide public with its picturesque picture of medieval Paris. In the novel "Les Miserables"(1862) the writer raised the most pressing social problems of his time. Hugo's last novel, Ninety-Third (1874), was dedicated to the history of the Great French Revolution.

The novel is considered one of the most vital works of French literature. Stendhal"Red and black. Chronicle of the 19th 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 is also P. Merimee, who wrote such a masterpiece of psychological analysis as the short story “Carmen” (1845). Musical works and films have been based on this plot to this 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 Lion Queen Margot” and many others still attract the interest of readers.

By the middle of the 19th century. realism practically replaced romanticism from literature. From the very beginning, French critical realism 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 during 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 in human life.” Like no other writer of that time, Balzac realized 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 incomparable “in their breadth, color and grace,” in which he criticized the morals of the Second Empire. His novel Madame Bovary. Provincial Morals" (1857) is recognized as a masterpiece of world literature. The novel “Education of Feelings” (1869) became an even more significant literary work in terms of the depth of thought and the diversity of everyday types depicted in it. Flaubert's work opened a new stage in the development of realism.

In the works of the brothers AND. 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 forms it may appear. According to the will of E. Goncourt, the Goncourt Prize was established, which still remains one of the most honorable literary awards in France.

"Naturalistic method" used Emile Zola, whose creativity marks the onset of the next stage in the development of French realism. Rejection of the regime of Napoleon III inspired him to create the epic cycle “Rougon-Macquart. Biological and social history of one family in the era of the Second Empire" (1871-1893), which united twenty novels. Zola demonstrated a “rare sense of the dynamics of history” and reliably conveyed the historical movement of the era he described, 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 personal and social life of a person, just as a physicist and a chemist experiment on inanimate objects, like a physiologist experiments on living people."

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

The realistic analysis of reality was accompanied by an increase in pessimistic sentiments, which gave rise to such a phenomenon of artistic life as decadence(“decline”) Its onset 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 the common feeling among many figures of European culture of the approach of some kind of historical catastrophe, which was supposed to destroy the petty-bourgeois civilization, which had proven 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 birth to a new literary genre - the science fiction novel. The most prominent representative of this genre is the French writer J. Verne, author of more than 65 science fiction 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”, “The Mysterious Island”, “The Fifteen-Year-Old Captain” won enormous popularity.

Famous French writers have made an invaluable contribution to world literature. From the existentialism of Jean-Paul Sartre to Flaubert's commentary on society, France is well known for producing examples of literary geniuses. Thanks to the many famous sayings that quote literary masters from France, there is a good chance that you are very familiar with, or at least heard of, works of French literature.

Over the centuries, many great literary works have appeared in France. While this list is hardly comprehensive, it contains some of the greatest literary masters who ever lived. Most likely you have read or at least heard about these famous French writers.

Honore de Balzac, 1799-1850

Balzac is a French writer and playwright. One of his most famous works, The Human Comedy, was his first real taste of success in the literary world. In fact, his personal life became more about trying something and failing than actual success. He is considered by many literary critics to be one of the "founding fathers" of realism because The Human Comedy was a commentary on all aspects of life. This is a collection of all the works he wrote under his own name. Father Goriot is often cited in French literature courses as a classic example of realism. A story of King Lear set in 1820s Paris, Père Goriot is Balzac's reflection of a money-loving society.

Samuel Beckett, 1906-1989

Samuel Beckett is actually Irish, but he wrote mostly in French because he lived in Paris, moving there in 1937. He is considered the last great modernist and some argue that he is the first postmodernist. Particularly prominent in his personal life was his involvement in the French Resistance during World War II, when he was under German occupation. Although Beckett published widely, he was most renowned for his theater of the absurd, depicted in the play En attendant Godot (Waiting for Godot).

Cyrano de Bergerac, 1619-1655

Cyrano de Bergerac is best known for the play that Rostand wrote about him called Cyrano de Bergerac. The play has been staged and made into films many times. The plot is well known: Cyrano loves Roxane, but stops courting her in order to read his poems to her on behalf of his not so eloquent friend. Rostand most likely embellishes the real characteristics of de Bergerac's life, although he really was a phenomenal swordsman and a delightful poet.

It can be said that his poetry is more famous than Rostand's play. According to descriptions, he had an extremely large nose of which he was very proud.

Albert Camus, 1913-1960

Albert Camus is an Algerian-born author who received the Nobel Prize for Literature in 1957. He was the first African to achieve this and the second youngest writer in literary history. Despite being associated with existentialism, Camus rejects any labels. His two most famous novels are absurd: L "Étranger (The Stranger) and Le Mythe de Sisyphe (The Myth of Sisyphus). He was perhaps best known as a philosopher and his works are a reflection of the life of that time. In fact, he wanted to become footballer, but contracted tuberculosis at the age of 17 and was bedridden for a long period of time.

Victor Hugo, 1802-1885

Victor Hugo would call himself primarily a humanist who used literature to describe the conditions of human life and the injustices of society. Both of these themes are easily seen in two of his most famous works: Les misèrables (Les Miserables), and Notre-Dame de Paris (Notre Dame Cathedral is also known by its popular title, The Hunchback of Notre Dame).

Alexandre Dumas, father 1802-1870

Alexandre Dumas is considered the most widely read author in French history. He is known for his historical novels, which describe the dangerous adventures of heroes. Dumas was a prolific writer and many of his stories are still retold today:
Three Musketeers
Count of Montecristo
The Man in the Iron Mask

1821-1880

His first published novel, Madame Bovary, became perhaps his most famous work. It was originally published as a series of novellas, and the French authorities filed a lawsuit against Flaubert for immorality.

Jules Verne, 1828-1905

Jules Verne is especially famous because he was one of the first authors to write science fiction. Many literary critics even consider him one of the founding fathers of the genre. He wrote many novels, here are some of the most famous:
Twenty thousand leagues under the sea
Journey to the Center of the Earth
Around the world in 80 Days

Other French writers

Moliere
Emile Zola
Stendhal
George Sand
Musset
Marcel Proust
Rostand
Jean-Paul Sartre
Madame de Scudery
Stendhal
Sully-Prudhomme
Anatole France
Simone de Beauvoir
Charles Baudelaire
Voltaire

In France, literature was, and continues to be, the driving force of philosophy. Paris is fertile ground for the newest ideas, philosophies and movements the world has ever seen.

Famous French writers

Famous French writers have made invaluable contributions to the world
literature. From the existentialism of Jean-Paul Sartre to commentaries on
Flaubert Society, France is well known for the phenomenon of world examples
literary geniuses. Thanks to the many famous sayings that
quote masters of literature from France, there is a high probability
that you are very familiar with, or at least have heard, about
works of French literature.

Over the centuries, many great works of literature have appeared
in France. While this list is hardly comprehensive, it does contain some
one of the greatest literary masters who ever lived. Quicker
everything you have read or at least heard about these famous French
writers.

Honore de Balzac, 1799-1850

Balzac is a French writer and playwright. One of his most famous
works "The Human Comedy" became his first real taste of success in
literary world. In fact, his personal life became more of an attempt
trying something and failing rather than actually succeeding. He, according to
according to many literary critics, is considered one of
"founding fathers" of realism, because the "Human Comedy" was
commentary on all aspects of life. This is a collection of all the works that he
wrote under his own name. Father Goriot is often cited in courses
French literature as a classic example of realism. History of the King
Lear, taking place in the 1820s in Paris, the book "Père Goriot" is
Balzac's reflection of a money-loving society.

Samuel Beckett, 1906-1989

Samuel Beckett is actually Irish, but he mostly wrote
in French, because he lived in Paris, moving there in 1937. He
considered the last great modernist and some argue that he is
the first postmodernist. Particularly outstanding in his personal life was
participation in the French Resistance during World War II,
when it was under German occupation. Although Beckett published a lot,
he most of all for his theater of the absurd, depicted in the play En attendant
Godot (Waiting for Godot).

Cyrano de Bergerac, 1619-1655

Cyrano de Bergerac is best known for the play that was
written about him by Rostand under the title "Cyrano de Bergerac". play
It has been staged and made into films many times. The plot is familiar: Cyrano
loves Roxana, but stops courting her so as not to
such an eloquent friend to read his poems to her. Rostand most likely
embellishes the real characteristics of de Bergerac's life, although he
he truly was a phenomenal swordsman and a delightful poet.
It can be said that his poetry is more famous than Rostand's play. By
He is described as having an extremely large nose, of which he was very proud.

Albert Camus, 1913-1960

Albert Camus is an author of Algerian origin who received
Nobel Prize for Literature in 1957. He was the first African
who achieved this, and the second youngest writer in history
literature. Despite the fact that he is associated with existentialism, Camus
rejects any labels. His two most famous novels are absurd:
L "Étranger (The Stranger) and Le Mythe de Sisyphe (The Myth of Sisyphus). He was,
perhaps best known as a philosopher and his works - mapping
life of that time. In fact, he wanted to become a football player, but
contracted tuberculosis at the age of 17 and was bedridden in
over a long period of time.

Victor Hugo, 1802-1885

Victor Hugo would call himself first and foremost a humanist who used
literature to describe the conditions of human life and injustice
society. Both of these themes can be easily seen in two of his most famous
works: Les misèrables (Les Miserables), and Notre-Dame de Paris (The Cathedral
Notre Dame is also known by its popular name - The Hunchback of
Notre Dame).

Alexandre Dumas, father 1802-1870

Alexandre Dumas is considered the most widely read author in French history.
He is known for his historical novels that depict dangerous
adventures of heroes. Dumas was prolific in writing and many of his
The stories are still retold today:
Three Musketeers
Count of Montecristo
The Man in the Iron Mask
The Nutcracker (made famous through Tchaikovsky's ballet version)

Gustave Flaubert 1821-1880

His first published novel, Madame Bovary, became perhaps the most
famous for his work. It was originally published as a series
novel, and the French authorities filed a lawsuit against Flaubert for
immorality.

Jules Verne 1828-1905

Jules Verne is especially famous because he was one of the first authors
who wrote science fiction. Many literary critics even consider
him one of the founding fathers of the genre. He wrote many novels, here
some of the most famous:
Twenty thousand leagues under the sea
Journey to the Center of the Earth
Around the world in 80 Days

Other French writers

There are many other great French writers:

Moliere
Emile Zola
Stendhal
George Sand
Musset
Marcel Proust
Rostand
Jean-Paul Sartre
Madame de Scudery
Stendhal
Sully-Prudhomme
Anatole France
Simone de Beauvoir
Charles Baudelaire
Voltaire

In France, literature was, and continues to be, the driving force of philosophy.
Paris is fertile ground for new ideas, philosophies and movements that
ever seen the world.

France in the 19th century was a kind of standard for the socio-political development of Europe. All processes characteristic of this stage took on particularly dramatic and extremely contradictory forms in France. The richest colonial power, which had high industrial and commercial potential, was suffocating from internal contradictions. The glaring facts of fantastic wealth and depressing poverty shocked the imagination and became the leading theme of the greatest writers of this period, A. France, Emile Zola, Guy de Maupassant, Romain Rolland, Alphonse Daudet and many others. In the works of these writers, stereotypically stable metaphors and images appear, taken from the living world and used to denote the essence of the “new” gentlemen and “heroes” of France. “We are disgusting barbarians living the life of animals,” Maupassant wrote bitterly. It is extremely significant that even Maupassant, a man extremely far from active politics, comes to the idea of ​​revolution. Naturally, the atmosphere of spiritual confusion gave rise to an endless number of literary movements and trends in France. There were also clearly bourgeois among them, who openly came to the defense of a completely prosperous bourgeois, but these were still an undoubted minority. Even writers who were close in certain ways to decadence - symbolists, cubists, impressionists and others - for the most part proceeded from a dislike for the bourgeois world, but they all sought a way out of the framework of bourgeois existence, sought to capture the novelty of fast-moving events, to get closer to the knowledge of incredibly expanded ideas about person.
The realism of this period also underwent enormous changes, not so much externally as internally. In their conquests of this period, realist writers relied on the vast experience of classical realism of the 19th century, but could no longer ignore the new horizons of human life and society, new discoveries of science and philosophy, new searches for contemporary trends and directions. Rejecting the moral indifference of naturalists who tried to turn the writer into a recorder of facts, into an emotionless “objective” photographer, devoid of imagination, ideal, or dream, the realists of the end of the century take into their arsenal scientific conscientiousness, a deep study of the subject of the image. The genre of popular science literature they created plays a huge role in the development of literature of this time. Not accepting the extremes of other trends, realists did not remain indifferent to the discoveries of symbolist writers, impressionists and others. The deep internal restructuring of realism was associated with experimentation, bold testing of new means, but still retained the character of typification. The main achievements of mid-century realism - psychologism, social analysis - are being qualitatively deepened; the sphere of realistic representation is expanding; genres are rising to new artistic heights.

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Maupassant (1850-1993), like his teacher Flaubert, was a stern realist who never betrayed his views. He passionately, painfully hated the bourgeois world and everything connected with it. If the hero of his book, a representative of another class, sacrificed at least something, joining the bourgeoisie, Maupassant did not spare him - and here all means were good for the writer. He painfully searched for the antithesis of this world - and found it in the democratic strata of society, in the French people.
works: short stories - “Pumpkin”, “Old Woman Sauvage”, “Madwoman”, “Prisoners”, “The Chair Weaver”, “Papa Simone”.

Alphonse Daudet
Daudet (1840-1897) is a somewhat unexpected phenomenon against the backdrop of the literature of this period and at the same time a phenomenon closely related to the development of the creativity of fellow writers who were outwardly distant from him - like Maupassant, Roland, France. A gentle and kind man, Daudet was stubborn in many matters. He followed his own path, managing not to fall ill with any of the newfangled literary diseases of the end of the century, and only in the last years of his life - a life filled with eternal labor and need - did he pay tribute to fashionable naturalism.
works: novel "Tartarin of Tarascon", several short stories.

Romain Rolland
The work of Romain Rolland (1866-1944) occupies a very special place in this period of history. If Maupassant, Daudet and many other great writers, each in their own way, painfully searched for positive principles in a poorly structured world, then for Rolland the meaning of being and creativity initially lay in faith in the beautiful, the good, the bright, which never left the world - his you just need to be able to see, feel and convey to people.
works: novel "Jean Christoff", story "Pierre and Luce".

Gustave Flaubert
His work indirectly reflected the contradictions of the French Revolution of the mid-nineteenth century. The desire for truth and hatred of the bourgeoisie were combined in him with social pessimism and lack of faith in the people. This inconsistency and duality can be found in the philosophical searches and political views of the writer, in his attitude towards art.
works: novels - "Madame Bovary", "Salammbo", "Education of Sentiments", "Bouvard and Pécuchet" (not finished), stories - "The Legend of Julian the Stranger", "A Simple Soul", "Herodias", also created several plays and extravaganza.

Stendhal
The work of this writer opens the period of classical realism. It was Stendhal who took the lead in substantiating the main principles and program for the formation of realism, theoretically stated in the first half of the 19th century, when romanticism still reigned, and soon brilliantly embodied in the artistic masterpieces of the outstanding novelist of that time.
works: novels - "The Parma Monastery", "Armance", "Lucien Leuven", stories - "Vittoria Accoramboni", "Duchess di Palliano", "Cenci", "Abbess of Castro".

Nineteenth century.

Nineteenth century. At the turn of the 18th–19th centuries. unprecedented changes are taking place in European culture, characterizing the onset of the “era of modernity” (as opposed to the “classical” era). The ideology of cultural relativism, embodied in romanticism, is being formed. Geographical relativity, “exoticism,” and attraction to foreign cultures appear already at an early stage of the movement’s development. Later, romantics began to be attracted to the “non-classical” civilizations of the past: the generation of 1830 - the Middle Ages, T. Gautier - the baroque 17th century. Romantics turn to folklore and folk culture, recognizing the fact that thinking and creativity are not the same even within the same modern nation. Thus, together with “mass culture” (the genres of the feuilleton novel, caricature, melodrama), the idea of ​​social relativity arises. All these ideas are reflected in one way or another in the treatises of A.L.J.de Stael (1766–1817) (On literature examined in connection with social institutions, 1800; On Germany, 1813). In her novels (Delphine, 1802; Corinna, or Italy, 1807), romantic ideas are combined with educational and sentimentalist ones - such juxtaposition and opposition within it is very characteristic of French literature, the development of which occurs in constant clashes of polar literary and ideological currents. In Corinne, Madame de Staël introduces 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) (René, 1802). The image of a disappointed contemporary, a melancholic youth, subject to the “disease of the century”, became extremely popular in French literature (Obermann (1804) by E.P. Senancourt, 1770–1846; Adolphe (published 1815) by B. Constant, 1767–1830).

The first theoretical texts of the romantics appeared in their periodicals, published in small editions (“Le conservataire literaire,” 1819–1821; “La Muse Française,” 1823–1824; “Le Lettre champenoise,” 1817–1825; “Les anal de la literaires e”) des arts", 1820–1829). The polemical essays of Stendhal (1783–1842), included in the book Racine and Shakespeare (1823–1825), are directed against the epigones of classicism and defend the principles of the “romantic,” i.e. contemporary art. However, the authority of the classicist tradition was finally shaken only towards the end of the 1820s. The ideas of romantic writers that had developed by that time were summarized by V. Hugo (1802–1885) in the preface to the drama Cromwell (1827), which became the manifesto of French romanticism. In it, the author theoretically substantiated local color, grotesque and contrast in order to contrast “good” and “evil” in relief, and also declared war on classicism and all courtly aristocratic art. French romanticism acquired complete forms late: it became a national phenomenon only in the 1820s, and only from the end of them and during the 30s masterpieces of the so-called high romanticism appeared.

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 Gautier (1811–1872) (The Mummy's Leg, 1840; Arria Marcellus, 1852). A mythological line associated with religious symbolism develops more organically: Chateaubriand’s apology for Christianity (The Genius of Christianity, 1802), religion in Lamartine’s poetry. However, most often prose works begin with “confession”, self-portraits of a historical but also a modern personality, whose name was included in the title until the 1830s (Indiana (1832), Valentina (1832), Lelia (1833), Jacques (1834) J. Sand, 1804–1876, etc.). Interest in a brilliant, rebellious personality (for example, an artist) appears only in the 20s, during the era of high romanticism. And yet heroes like Sbogar (Jean Sbogar (1818)) Nodier or Moses in Vigny’s lyrics seem rather an exception. Poetic natures often appear as foreigners - from the Painter from Salzburg (1803) by Nodier to Chatterton (1835) by Vigny and the heroes of J. Sand. The topic of the relationship between the poet and art with society became more acute only in the 30s. Everyday realities, on the contrary, are readily included by them in a tragically serious work - perhaps because such a mixture was not accepted by classical aesthetics. Already in the 1820s, “physiologies”, morally descriptive essays that aimed at a daguerreotypical reproduction of everyday life, were spreading (Physiology of Taste (1826) by B. Savarin; essays by C. Philipon). Balzac, Dumas, and J. Janin took part in the multi-volume edition of The French in Their Own Image (1840–1842).

The evolution of such writers as A. de Lamartine (1790–1869), A. de Vigny (1797–1863), V. Hugo is connected with the new era of the history of France and French romanticism – the Restoration (1814–1830). The beginning of the 1820s was marked by the flourishing of lyrical genres. The poetic works of Lamartine and Vigny (Poems, 1822; Death of the Wolf, 1843) tell the story of contemporary 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 shows 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) became the result of the development of romantic poetry. In 1823, Hugo tried his hand at prose (the historical novel Guy the Icelander).

The French historical novel of the 1820s developed under the influence of W. Scott. However, to maintain plausibility, the English novelist 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, politician and lover (Saint-Mars (1826) by A. de Vigny); taking as the basis of the plot a little-known historical event (Chouans (1829) by O. de Balzac, 1799–1850; Chronicle of the Times of Charles IX (1829) by P. Merimee); refusing to recreate historical events, using only the coloring of the era (Notre Dame Cathedral (1831) by V. Hugo). After 1829, interest in the historical novel declined; he returned only with the novels of A. Dumas the Father (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 Donkey and the Guillotined Woman in 1829, a short “furious” 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 des deux mondes (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 Lucrezia Borgia (1831) Hugo, Anthony (1831), Richard Darlington and other dramas by A. Dumas the Father (1802–1870), novels and stories by Balzac, J. Sand, Merimee, chronicles of Stendhal or otherwise they come into contact with “violent” literature. J. de Nerval (1808–1855) is sometimes considered a “fierce romantic”, who hanged himself while editing the novella Aurelia (1855), which analyzed the madness of the creator. The excesses and phantasmagoria make the poetic Songs of Maldoror (1868–1869) by Lautréamont similar to the prose of the “frantic romantics.” One of the collective collections of “fierce romantics” (Brown stories of an overturned head, 1832) took part in the young Balzac, who back in the 1820s was fond of “black” themes (The Heiress of Biraga, 1822; Clotilde of Lusignan, 1822; The Pirate of Argow, 1825, etc. .)

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

In theatrical life, the struggle between the new movement and traditional art was the most intense. In the preface to the play by Ruy Blas (1838), Hugo argued for an intermediate genre - drama - distinguishing between comedy and tragedy based on the subject of the image. Even earlier, at the premiere of Hugo Ernani's drama (February 1830), a real battle took place between the audience for the establishment of romantic drama on the stage. Hugo's supporters 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 the plays of Hugo. Their author is apolitical, the plot of his plays tells about the “disease of the century,” reflection and skepticism, which are deadly for the hero (Venice Night, 1830; Andrea del Sarto, 1833; One does not joke 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 Confession of a Son of the Century (1835). Musset was a member of the Senankle circle (1827–1830), an association of romantics created by Hugo and S. O. Sainte-Beuve (1804–1869). Known initially as a poet and prose writer (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 strongly influenced by drama. Theatrical techniques were used by a variety of writers - from Balzac to P.S. 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 disaster, to the process that prepares it. Based on the achievements of modern science, Balzac in the Preface (1842) to the Human Comedy (1829–1848) describes society as a complex, historically formed organism. The writer must become a historian, chronicler, analyst of human passions and characters, an expert in the customs of various classes in order to create a diverse human typology. In a review of the Parma Monastery (1839) by Stendhal, in the Study of Mr. Bayle (1838), the writer expressed judgment about the importance of psychological analysis in art. These reflections are generally considered to be manifestos of “realism,” a post-romantic movement in literature, originating in the prose of Balzac (Shagreen Skin, 1830–1831; Father Goriot, 1834–1835, etc., later combined into The Human Comedy) and Stendhal (Red and Black, 1831; Parma monastery, 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 specific political and social background. Any phenomenon of reality can become an object of art, but only on the condition that it is understood in its general laws, which presuppose social and biological determinism. A narrower concept of the method is contained in the manifestos of the 1850–1860s by 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 magazine “Realism”, 1856 –1857), who refused typification, gravitating towards factual copying of what they saw. The use of improperly direct speech in the narrative of G. Flaubert (1821–1880) excludes from it the explicit point of view of the author (Madame Bovary, 1857). One of the key factors in Flaubert’s storytelling is theatricality and entertainment. Flaubert does not endow the heroine with a “dominant passion” (unlike Stendhal, Balzac, J. Sand), therefore the hero’s reaction to the influence of a satirically depicted environment is less predetermined, more unexpected.

The emergence of naturalism in French literature is associated 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 life, strict observation and recording of objective facts. In their opinion, a new type of “scientific” novel was created by Balzac, who claimed that he was a historian, not a novelist. The study of history is necessary for them to create psychological verisimilitude, “the impression of the truth about a person,” who in any historical era remains a contemporary of the reader. Having become acquainted with the theory of Chanfleury, 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) formulated the principles of naturalism and the “scientific novel” (preface to the second edition of the novel Therese Raquin, 1867; collection Experimental Novel, 1880). Naturalism must depict the drama of modern life, using a “physiological” description of temperament, made dependent on environment and circumstances; the prose language should be distinguished by sincerity, clarity and naturalness. The theory of social and biological (heredity) character determination is illustrated by a series of novels by Rougon-Macquart (1871–1893) by Zola. To the beginning In the 1880s, naturalism became the main creative principle of writers of the post-Flaubert generation, as well as young authors 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 et Jean (1887–1888), wrote that the reality depicted should not be more exciting and surprising 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 taking place.

Poets of the pre-symbolist era strove for a holistic perception of the universe. In the lyrics of J. de Nerval one can feel his animation and unity (it is with these that the poet is intoxicated, and not with his own, like the romantics, experiences - Golden Poems, 1845), a symbolic ambiguity of images arises. Flowers of Evil (1857) by Charles Baudelaire (1821–1867) outlines 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. T. Gautier's collection of Enamels and Cameos (1852) paved the way for the literary group of the “Parnassians”. All R. In the 1850s, S. R. M. Leconte de Lisle (1818–1894) tried to accurately, dispassionately, in contrast to the romanticists who whipped up the passions, to recreate ancient history, “to hear the voices of previous civilizations.” What distinguishes his position from the naturalistic movements of post-romanticism is his preaching of the poet’s equanimity and 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 Ancient poems, 1852). Lecomte de Lisle embodied the ideal image of the 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. Gautier, J.M. Heredia (1842–1905), T. .de Banville (1823–1891), young P.Verlaine (1844–1896) and F.E.J. Coppe (1842–1908). T. de Banville argued that the art and skill of depiction are one and the same (Small treatise on French poetry, 1872). The Parnassians existed as a relatively monolithic group until the emergence of the groups “Nasty Uncles” and the Zutists (from the French “Zut!” - “Damn it!”), represented by C. Cros (1842–1888) and T. Corbières (1845–1875 ). Both groups sought to outrage and irritate readers while simultaneously creating new poetic forms. K con. In the 1880s, the aesthetics of Parnassus became significantly outdated, giving way to new trends.

The poems of P. Verlaine Poetic Art (1874) and the collection of A. Rimbaud Illumination (1872–1873, especially the sonnet Vowels, 1872) were proclaimed by the Symbolists as their manifesto. Both poets were influenced by Baudelaire, but they manifested it differently. 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 of Romances without Words, 1874), a relationship is established not of parallelism, but of identity. Verlaine introduced jargon, vernaculars, provincialisms, folk archaisms, and even linguistic irregularities into his poems. It was he who preceded the symbolist free verse, which was discovered by A. Rimbaud. He called for free rein to the unrestrained play of the imagination, and tried to achieve a state of “clairvoyance” by “disordering all one’s senses.” It was he who substantiated the possibility of “dark”, suggestive poetry, anticipating the work of S. Mallarmé.

The history of symbolism as a formalized poetic movement begins in 1880, when S. Mallarmé 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 Viele-Griffin (1864–1937), etc. In 1886, the programmatic action for the symbolists was the publication of eight Sonnets to Wagner (Verlaine, Mallarmé, Guille, S.F. Merrill, C. Maurice, Sh .Vigne, T.de Viseva, 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: Cantilena (1886) by J. Moreas; Calm and Landscapes (1886, 1887) A. de Regnier et al. In con. The 1880s saw the rise of symbolism (Joys (1889) by F. Viele-Griffen; Poems in the ancient and chivalrous spirit (1890) by A. de Regnier). After 1891, symbolism came into fashion, blurring the boundaries of the community. The esotericism and mysticism of some poets (The Great Initiates (1889) by E. Schure) provokes a reaction from others. (French ballads (1896) by P. Faure, 1872–1960; Clarity of Life (1897) by Vielle-Griffin; From the morning Good News to the evening (1898) by F. Jamma, 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 the individualist and immoralist (Hieroglyphs, 1894; Bad Prayers, 1900). At the turn of the 19th–20th centuries. the symbolist movement breaks up into separate fly-by-night schools (“naturism”, “synthetism”, “paroxysm”, “esotericism”, “humanism”, etc.). A separate phenomenon in the dramaturgy of con. 19th century became the romantic play by E. Rostand (1868–1918) Cyrano de Bergerac (1897).

Symbolism, as a worldview that first manifested itself in lyrics, quickly penetrated into drama. Here he is, as in the literature of con. 19th century in general, opposed naturalism and the positivist worldview. The most in demand by directors was the Belgian playwright M. Maeterlinck, his plays transformed the theatrical repertoire of the 1890s (The Blind, 1890; Pelleas 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 searches of poets of modernist movements. Their influence on the work of P. Valery and P. Claudel is obvious.

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

Synthesis of romantic and realistic trends in French culture. Special attitude to the “art of 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) Two main styles of French literature: Balzac’s Stendhal’s

Honore de Balzac (1799 -1850) One of the greatest writers. “A great novelist who writes poorly” (P. Lato) “Doctor of Social Sciences” (Balzac). Very different - a monarchist, a legitimist and an artist. The same age as Pushkin (Karolina Sabanskaya is the beloved of A. S. Pushik - a brilliant adventurer of global scale - 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 on the estate of his beloved in Verkhovna - a village in the Ruzhinsky district of the Zhitomir region in Ukraine) Became a writer at the age of 30 (the novel “Shuany”). Louis_Augustus Bisson. Portrait of Honoré de Balzac, 1842 Formulates the idea of ​​devoting one's entire life to one grandiose work. He's going to cover EVERYTHING. Balzac's realism is not active in life, it does not teach life, it analyzes life, explores it. Balzac says he is writing the history of the human heart. This story is socially and biologically complex for him.

Balzac is “a force of nature... an elemental force that does not reflect. . . this is an unconscious genius... an artist, not a thinker (Boris Grigorievich Reizov). He adopted the main idea of ​​the romantics - historicism. He saw in human history not only the diversity of eras, but also the general unity of humanity. His novels contain not only everyday life and environment, but also the elevation of characters above history. Money is the religion of new times. The conflict of the century is man versus necessity. Necessity appears in the form of a housewife, rent, laundress, lack of money. . But money is not the main thing. The hero struggles with money rather than becoming its servant. “Only base actions can be explained by profit” (Balzac) The hero is captivated by an idea: noble/crazy, mania, ambition, creative ardor. Novels are the troops that he throws into battle at the right moment. Creativity is a struggle with plots, ideas, and technical difficulties.

The Human Comedy I. Sketches of Morals 1) Scenes of private life Preface by Gobsek Father Goriot 2) Scenes of provincial life Eugenia Grandet Museum of Antiquities Lost Illusions 3) Scenes of Parisian life The splendor and poverty of courtesans 4) Scenes of political life 5) Scenes of military life Chouans, 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 advisable to read)

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

STENDAHAL (Henri Marie Beyle) 1783 -1842 outstanding French writer (Stendhal is the German city where Winckelmann came from, who “discovered” the artistic treasures of Italy for the European reading public). A 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 went to Italy, is 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 who found himself at a crossroads in the post-revolutionary period. Feels like a provincial (poor spelling, poor handwriting, negligence and inattention to detail) Stendhal was buried in Paris at the Montmartre cemetery

Style and maturity are 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 “A novel is a mirror walking along the road” (Stendhal) Stendhal's style: - “analytical romanticism” - the mercilessness of psychological analysis - the “eternal youth” of the heroes - the inviolability of the “purity” of the heroes - the desire for fame - one of the most powerful incentives for behavior - the positive qualities of a modern person - developed intelligence and sensitivity - frantic natures - “Bailism” “Egotism” is Stendhal’s favorite word, with which he defines his style Stendhal – “conscious confusion” (E. Zola) Novels “The Red and the Black” 1830 “The Abode of Parma” 1846

Gustave Flaubert (1821 -1880) an outstanding French writer, one of the largest European writers of the 19th century. The theory of the "exact word". He studied at the Faculty of Law in Paris and led a bohemian life. In 1844 he settled on the banks of the Seine, near Rouen. Leads a secluded lifestyle and strives for self-isolation. 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 magazine were prosecuted for “outrage of morality.” "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 Senses" (1869). About the European events of 1848. The novel describes Flaubert’s first love (“silent passion” for Eliza Schlesinger, which he carried throughout his life) Flaubert’s poetics: - the principle of impersonal representation (naturalism) - the theme of “education of feelings” - “writing in gray on gray "(G. Flaubert) - the “dying” of the author; - "Bovarism". A. Mucha. Salammbo

Emile Zola (1840 -1902) - an outstanding French writer, theorist of naturalism. Twenty-volume series “Rugon. Mackara" - the grandiose "Natural and social history of one 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 grandeur of details - the poetics of crowd scenes - the magic of little things - the synaestheticism of E. Manet’s images. Portrait of E. Zola. Gravestone (cenotaph) on the site of Zola's original grave in the Montmartre cemetery, moved in 1908 to the Pantheon Novels: Ladies' Happiness The Womb of Paris

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). The 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 a punishment for disobedience - a trip to India so that he could “get rid of the bad influence” of the bohemian circle of the Latin Quarter, but Baudelaire returned back. He took part in the barricade battles of 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 hemp products. He considered Edgar 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: on a simple slab, right on the ground, a full-length figure of the poet, wrapped in a shroud, is placed, and from the side of the head rises a huge stele, on top of which he is erected. . . Satan. Poetics: -dandyism -bohemianism. - aestheticization of evil. - the luxury of decay and death. Collections of poems: Flowers of Evil Parisian Spleen

CH. BODLER. Carrion (Translation by Wilhelm Veniaminovich Levik, 1907 -1982) Do you remember what we saw in the summer? My angel, do you remember that dead horse under the bright white light, Among the reddish grass? Half-decayed, she, with her legs spread, Like a street girl, Shamelessly, belly up, lay by the road, Smelling fetid pus. And the sun scorched this rot from the sky, To burn the remains to the ground, So that great Nature would accept what was merged into one as separated. And pieces of the skeleton were already grinning into the sky, like large flowers. The stench in the meadow, in the fragrant heat of summer, almost made you feel sick. Hurrying to the feast, a buzzing cloud of flies hovered over the vile pile, and worms crawled and swarmed in the belly, like black thick mucus. All this moved, heaved and shone, As if suddenly animated, The monstrous body grew and multiplied, Full of vague breath. And this world streamed mysterious sounds, like the wind, like a running shaft, as if a sower, raising his hands smoothly, was waving grain over the field. It was an unsteady chaos, devoid of forms and lines, Like the first sketch, like a spot, Where the artist’s gaze sees the figure of the goddess, Ready to lie on the canvas. From behind a bush, a thin bitch, covered in scabs, squinted at us with an evil pupil, and waited for a moment to snatch it from the bone and devour a tasty piece. But remember: you too, exuding infection, will lie down as a rotten corpse, You, the sun of my eyes, my living star, You, the radiant seraphim. And you, beauty, will be touched by decay, And you will rot to the bones, Dressed in flowers under mournful prayers, The prey of the grave guests. Tell the worms, when they begin to kiss you and devour you in the damp darkness, that I will forever preserve the perishable beauty of both the form and the immortal structure.

Photo 1855 Prosper Merimee (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. Hoaxes: -several dramatic plays entitled “Theater of Clara Gasul” (allegedly the author is an unknown Spanish actress of a traveling theater; - “Gusli” (Guzla), a collection of folk (allegedly) 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 contrasted with the anemia of civilized Europe (“Energy, even in bad passions, always causes us surprise and some kind of involuntary admiration”) Novellas 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), Nobel Prize laureate in literature (1915) “For the high idealism of literary works, for sympathy and love of truth” Active participant in European pacifist organizations. He corresponded with L.N. Tolstoy, welcomed the February Revolution, and approved of the October Revolution in Russia in 1917. He communicated with Maxim Gorky, came by invitation to Moscow, and met with Stalin (1935). Books about great figures: “The Life of Beethoven” (1903) “The Life of Michelangelo” (1907) “The Life of Tolstoy” (1911). Novels “Jean-Christophe” (1904 -1912) “Cola Brugnon” (1914 -1918) “The Enchanted Soul” (1923)

SYMBOLISM is one of the largest cultural phenomena of the late 19th and early 20th centuries. Symbolism is formed in Western European culture of the 60-70s of the 19th century. France: Rimbaud, Verlaine Belgium: Maeterlinck Austria: Rilke England: Wilde Norway: Ibsen. Conscious renunciation of specific historicism, of modernity. “Recoding” of ideas, images, plots into universal “mythologems”. The tendency of symbolism to build on the culture of the past, rather than feel like its successor. The significance for the aesthetic system of symbolism of what in the past culture it opposes: naturalism (France), life-writing (England), realistic life-likeness (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 - personal origin and cult of “I”

POETRY Paul Verlaine (1844 -1896) French poet, one of the founders of literary impressionism and symbolism. -lyrical “self-crucifixion”, “gliding unobtrusiveness” of writing (S. I. Velikovsky); - sad thoughtfulness and languid gloominess of style - blurring the line between the unsteady, seemingly flowing external world and internal experience. Damned Poets" (1883) is the title of a series of articles dedicated to his rejected and unrecognized friends Tristan Corbières, Arthur Rimbaud and Stéphane Mallarmé. MEANINGFUL Nothing about you makes me happy, Nature: Neither the grain fields, nor the echo of the golden Shepherd's horns, nor the morning dawn, nor the beauty of the sad sunset. Art is funny to me, and Man, and ode, And song, and temple, and age-old towers Proud aspiration into the empty vault of heaven. What is good and evil to me, and slavery and freedom! I don’t believe in God, I’m not deluded again by Science, but ancient irony. Love, I have long been running away from it in silent contempt.

Jean Ipoustegui. Commissioned by President Francois Mitterrand, the sculptural composition is “Traveler in Shoes Flying Up.” Installed in 1985 in front of the old building of the National Library of France in Paris. The title paraphrases the nickname that Paul Verlaine gave to Arthur Rimbaud - “The Traveler in Shoes Beaten by the Wind.” Arthur Rimbaud (1854 -1891) is a great French poet. The poet who consolidated two centuries of poetry. Participates in the uprising of the Paris Commune. Travels around the world a lot. In Africa (mainly in Egypt and Ethiopia), in Yemen he trades in coffee, spices, hides, 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; the courage and ruthlessness of the pictures of “rough everyday 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, the dates of your births I will reveal again. . . A - a black and shaggy Corset of buzzing flies over a fetid pile. E - the whiteness of the tents and in the flakes of snow wool The peak, the trembling of a flower, the sparkle of the crown; And - purple, blood of spit, laughter, illuminated with anger, Or intoxicated 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 that on the high brow is imprinted by alchemy in the silence of the nights. O - the primordial Horn, piercing and strange. Silence, where the worlds, and angels, and countries are Omega, the blue ray and the light of Her Eyes. Premonition: Along remote paths, among thick grass, I will go wandering in the blue evenings; The wind will touch my bare head, And I will feel the freshness under my feet. Endless love will fill my chest. But I will remain silent and forget all the words. I, like a gypsy, will leave - further and further on my way! And as if with a woman, with Nature I will be happy.

Stéphane Mallarmé (1842 -1898) - French poet, was in the Parnassus group (a group of French poets who united around Théophile Gautier and contrasted their work with the poetry and poetics of outdated, from their point of view, romanticism) and the head of the Symbolist school. Classified by Paul Verlaine as one of the “damned poets”. Poetics: the task of “drawing not a thing, but the effect it produces” and writing poems that will consist “not of words, but of intentions” (S. Mallarmé); musicality and mystery; "prophetic" nature of experiments

Literature of the “stream of consciousness” 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 intricately, illogically intertwined (“Foundations of Psychology”, 1890). “Stream of consciousness” creates the impression that the reader is, as it were, “eavesdropping” on his experience in the minds of the characters. Marcel Proust (1871 -1922) - 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 Swann 1919 Under the shadow of girls in bloom 1920 -1921 At the Guermantes 1921 -1922 Sodom and Gomorrah 1923 Captive 1927 Fugitive 1927 Time Regained In 1999, a survey was conducted to identify the 50 best works of the 20th century. : 1st place The Outsider” by A. Camus 2nd place “In Search of Lost Time” Poetics: the novel as a “cinema of memories” (A.V. Lunacharsky).

French surrealism is an art movement 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 Erik Satie, artist Pablo Picasso, screenwriter Jean Cocteau, and choreographer Leonide Massine) Ideologist of surrealism - writer and poet Andre Breton (1896 -1966). Manifesto of Henri Breton (1924) The main concept of “surreality” is the combination of dream and reality. the principle of “pure mental automatism”, “disinterested play of thought”. Poetics: The use of allusions, paradoxical combinations, the pathos of total protest “love - beauty - rebellion”, “poetic-therapeutic method” - the principle of collage - “new mythology” - the concept of “black humor”, the beginning of the game. The manifesto genre is characteristic of avant-garde culture. phenomenon

Guillaume Apollinaire (Pole Wilhelm Albert Vladimir Alexander - French poet, one of the founders of French poetry of the 20th century, creator of the term "surrealism". Poetics: -influence of F. Villon; -combination of an urban theme with intimate lyrical motifs; -aphoristic poetic statements; -tension rhythm; -associativity of thinking; -lack of punctuation; -convergence of poetry and graphics. Apollinaire Vonge-Kostrovitsky; 1880 -1918) Henri Rousseau “The Muse that Inspires the Poet” (1909) depicts G. Apollinaire and his beloved M. Laurencin in a caricatured manner.

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 responsibility of capturing the face of the poet, from whose Olympus I stole one of the muses” (words of S. Dali in connection with the fact that Eluard’s wife Gala went to Dali). Poetics: suggestiveness of poetic language; abundance of repetitions; a wide range of feelings, ideas, images. The heart is on the tree, if you want, pluck it from the branch, Smile and laughter, laughter and immeasurable tenderness. Defeated, you are the winner, clear-faced and pure, like an angel, Together with the trees you rush into the sky. The beauty is crying in the distance, she would like to fight, But, prostrate near the hill, she is unable to rise, And no matter what the sky above her is - transparent, gloomy, Having seen her, it is impossible not to fall in love with her. The days, like fingers, lazily bend the phalanges, The flowers fade, the ears are separated from the rains. Frost awaits the hot body of July. Look through the eyes of a dead man. Paint the whiteness of porcelain. Music, bare 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 are the philosophy of S. Kierkegaard. 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 existence” “existence in the world” “abandonment”.

Jean-Paul Sartre (1905 -1980) is one of the most significant Antanas Sutkus (Lithuania). Sartre representatives of culture of the 20th century. , “ruler of thoughts,” laureate of the 1964 Nobel Prize in Literature (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 (the rioting students, having captured the Sorbonne, allowed only Sartre inside). Charles de Gaulle: “in France, Voltaires are not imprisoned” 50 thousand people walked behind the coffin Poetics: deepening the introspection of the heroes; "disappearance" of the narrator; "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; an appeal to the works of F. M. Dostoevsky; parable nature of creativity; "hypnotism" "Essay on the Absurd". The Plague 1947 The Outsider 1942 The Myth of Sisyphus 1942 The Rebel Man 1951