C. Sainte-Beuve. Literary portraits. Critical Essays. Monuments of world aesthetic and critical thought The collection consists of literary portraits and critical essays. The publication is preceded by a creative biographical article by M. Treskunov “Saint-Beuve”. A man of outstanding intelligence and enormous knowledge, Sainte-Beuve could freely discuss the philosophical principles of Cousin and Georgois, the historical works of Ballanche and Guizot, and the teachings of Saint-Simon. Sainte-Beuve was always at the center of the intellectual movement of his era and was an influential publicist, whose opinion was listened to by very prominent writers. Reproduced in the original author's spelling of the 1970 edition (Khudozhestvennaya Literatura publishing house). Publisher: "YoYo Media" (1970) ISBN: 978-5-458-24222-6 In My-shop

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- “Literary Monuments” (LP, colloquially Litpamyatniki; 1948 present) Soviet, since 1992 Russian book series of academic fiction and non-fiction literature, classical poetry. Published since 1948 under the auspices of the USSR Academy of Sciences; ... Wikipedia

- (Sainte Beuve, Charles Augustin) (1804 1869), French literary critic, novelist and poet. Born December 23, 1804 in Boulogne-sur-Mer. Having completed his secondary education in Paris, he entered medical school, but never completed the course.… … Collier's Encyclopedia

Sainte Beuve Charles Augustin (12/23/1804, Boulogne-sur-Mer, ‒ 10/13/1869, Paris), French critic and writer. In the book “Historical and critical review of French poetry and theater of the 16th century.” (1828) affirmed romanticism as a literary... ...

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I. INTRODUCTION II. RUSSIAN ORAL POETRY A. Periodization of the history of oral poetry B. Development of ancient oral poetry 1. The most ancient origins of oral poetry. Oral poetic creativity of ancient Rus' from the 10th to the mid-16th centuries. 2.Oral poetry from the middle of the 16th century to the end... ... Literary encyclopedia

SAINT-BEUVE, CHARLES AUGUSTIN(Sainte-Beuve, Charles Augustin) (1804–1869), French literary critic, novelist and poet. Born December 23, 1804 in Boulogne-sur-Mer. After completing his secondary education in Paris, he entered medical school, but never completed the course. Laudatory article about Odes and ballads V. Hugo brought Sainte-Beuve closer to the leader of the romantics; their close friendship and literary collaboration continued until 1834. At this time, the name of Sainte-Beuve was inseparable from the romantic movement. In progress Historical and critical overview of French poetry and theater of the 16th century. (Tableau de la poésie et du théâtre français au XVIe siècle, 1828), one of the first scientific studies of this period, Sainte-Beuve declared P. Ronsard and other poets of the Pleiades as heralds of romanticism. At the same time, inspired by Hugo, Sainte-Beuve wanted to become famous for his own literary work, publishing several collections of mediocre and boring poems, as well as a novel Voluptuousness (Volupté, 1834), in which he depicted the story of his unhappy love for his wife Hugo.

In 1837 Sainte-Beuve was invited to lecture in Lausanne (Switzerland), where he began his monumental History of Port-Royal (Histoire de Port-Royal, 1840–1860) is the most authoritative work on Jansenism. In 1844 he was elected to the French Academy. Having received the department of literature at the University of Liege (Belgium), he gave a course of lectures on Chateaubriand. During these years, Sainte-Beuve strengthened his authority as a critic. His articles analyzing the work of writers - modern and past centuries, or devoted to the most significant studies about them, were published in books Literary-critical portraits (Critiques et portraits littéraires, 1832–1836), Literary portraits (Portraits littéraires, 1862–1864) and Modern portraits (Portraits contemporary, 1869–1871). Sainte-Beuve's most famous literary criticism articles were included in collections Conversations on Mondays (Causeries du lundi, 1849–1861) and New Mondays (Nouveaux Lundis, 1861–1866).

Sainte-Beuve was the founder of modern literary criticism, which, based on an in-depth historical approach, transformed from an art into a science, with its own set of rules and requirements. For Sainte-Beuve, a literary work is inseparable from its creator, so his method is based on a scrupulous study of the author's biography - including genealogy, immediate family circle, religion, education, appearance, love affairs, financial situation and character weaknesses. Sainte-Beuve discovered similarities among writers from different, sometimes very distant eras. The development of the method was facilitated by the rare personal qualities of Sainte-Beuve: an exceptional sense of responsibility in establishing dates, names and titles, boundless curiosity, wisdom and insight.

French literary critic, a notable figure of literary romanticism, the creator of his own method, which was later called “biographical” - Charles Augustin de Sainte-Beuve was born on December 23, 1804 in Boulogne-sur-Mer.

After completing his secondary education in Paris, he entered medical school, but did not complete the course. Having begun his literary activity during the Restoration and expanded it widely during the July Monarchy and the Second Empire, Sainte-Beuve from the first steps joined the group of French romantics. Having appeared for the first time (1824) in the Globe magazine, which promoted romanticism, with articles about Victor Hugo, Sainte-Beuve quickly became close to Hugo’s circle and became a sworn critic of this group. A laudatory article about V. Hugo’s work “Odes and Ballads” brought Sainte-Beuve closer to the leader of the romantics, their close friendship and literary cooperation continued until 1834.

Sainte-Beuve's first major work, “Historical Critical Picture of French Poetry and French Theater of the 16th Century” (1828), is devoted to the historical justification and justification of romanticism as the completion of the true traditions of French literature.

At the same time, Sainte-Beuve wanted to become famous for his own literary work, having published several collections of mediocre and boring poems, as well as the novel “Voluptuousness” (1834), in which he depicted the story of his unhappy love for his wife Hugo.

During the period of friendship with the circle of romantics, Sainte-Beuve's artistic works did not have significant success, and from 1837 he devoted himself exclusively to historical, literary and critical work. In 1837 Sainte-Beuve was invited to lecture in Lausanne (Switzerland), where he began his monumental History of Port-Royal (1840-1860), the most authoritative work on Jansenism.

In 1844 he was elected to the French Academy. Having received the department of literature at the University of Liege (Belgium), he gave a course of lectures on Chateaubriand.

Sainte-Beuve's toss-ups have forced literary historians to puzzle over the reasons for such extraordinary variability and to emphasize the extreme complexity of Sainte-Beuve's individuality. He is not interested in the general, but in the specific. Disclosure of creative individuality in all its originality. Sainte-Beuve's sharp mind often leads him to correct guesses; his keen eye knows how to observe and grasp.

Sainte-Beuve was the founder of modern literary criticism, which, based on an in-depth historical approach, transformed from an art into a science, with its own set of rules and requirements.

The Sainte-Beuve method is based on a scrupulous study of the author's biography, including genealogy, immediate family circle, religion, education, appearance, love affairs, financial situation and character weaknesses. The development of the method was facilitated by the rare personal qualities of Sainte-Beuve: an exceptional sense of responsibility in establishing dates, names and titles, boundless curiosity, wisdom and insight.

Charles Augustin de Sainte-Beuve (French: Charles Augustin de Sainte-Beuve) is a French literary scholar and literary critic, a notable figure of literary romanticism, the creator of his own method, which was later called “biographical”. He also published poetry and prose.

Born in Boulogne-sur-Mer in the family of a tax inspector. In 1818 he moved to Paris and studied at the Bourbon College, where he studied philology and philosophy. After graduating from college in 1824, Sainte-Beuve began collaborating with the newspaper "Globe" (Globe).

Sainte-Beuve began as a poet. In 1829, his book “The Life, Poems and Thoughts of Joseph Delorme” was published, built as a spiritual biography of a talented young poet. The first part is a mystified biographical account of the life of the fictional character Joseph Delorme, allegedly recreated on the basis of his posthumous notes. The second part is the hero's poems. The third is prose fragments of a literary-critical nature. Soon Sainte-Beuve realizes that the size of his poetic talent cannot be compared with the talent of Lamartine or Hugo. The poetry collection “Consolation”, published by him in 1830, was not successful. The writer is experiencing an acute moral and creative crisis. biographical literary criticism personality writer

He focuses on journalistic activities and is increasingly active in journalism and literary criticism. The formation of Sainte-Beuve's political views was significantly influenced by the teachings of Saint-Simon and the Christian socialism of the Abbot de Lamennais. Sainte-Beuve did not accept Louis Philippe's regime. In articles published in the republican newspapers Nacional and Tan, he criticized the corruption and incompetence of the new government.

Sainte-Beuve is looking for ways to renew literary criticism. The result of these searches and a kind of compensation for failures in the poetic field was the genre of literary portrait, the founder of which was Sainte-Beuve. The first literary portraits - “Pierre Corneille”, “La Fontaine”, “Madame de Sevigne”, “Jean-Baptiste Rousseau”, etc. - were published in periodicals in the late 20s of the 19th century.

His breadth of outlook, keen observation, mastery of psychological analysis, and subtlety of literary taste allowed Sainte-Beuve to very soon become one of the most authoritative literary critics. Articles and reviews of Sainte-Beuve were published by the most authoritative Parisian newspapers and magazines, such as the Journal de Debas and the Revue des des Mondes. In 1844, Sainte-Beuve was elected to the French Academy.

A special stage in Sainte-Beuve's literary, critical and journalistic activity began in 1849 and lasted almost twenty years. Publisher L.D. Veron invited Sainte-Beuve to write short articles, essays and sketches for the Parisian newspaper Constitutionel, which were to appear on the pages of the newspaper on Mondays. These publications subsequently formed the multi-volume series “Conversations on Mondays” (1851–1862) and “New Mondays” (1863–1870), in which Sainte-Beuve’s brilliant erudition, the breadth of his literary interests, and the ability to recreate the atmosphere of past eras were revealed.

From the late 1850s, Sainte-Beuve published his literary criticism and essays in Le Moniteur and Le Tan. At the final stage of his life and career, Sainte-Beuve found himself in opposition to Napoleon III. In 1868, he opposed the decision of the authorities of the Second Empire to grant the church the right to manage higher educational institutions in France. In 1869, speaking in parliament, he demanded freedom of speech for writers.

Sainte-Beuve entered the history of French literature and journalism as the most authoritative literary critic, the creator of the “biographical method”, according to which, in order to understand the originality of the work of a particular artist, it is necessary to “see a person in the poet”, “resurrect the living appearance” of the writer, study him biography

One of the first critics of Sainte-Beuve’s “biographical method” was Marcel Proust, who wrote in his book “Against Sainte-Beuve”: “It seems that in all his life Sainte-Beuve never understood what the essence of literature is. He put it on the same level as conversation.”

Be that as it may, modern French literary critics highly appreciate Sainte-Beuve’s contribution, first of all, to the development of literary criticism, calling him a “poet in criticism” (P. Moreau), “portrait critic” (R. Fayol). Continuers of the tradition of the literary portrait genre in French literature of the 20th century were A. France, R. de Gourmont, A. Gide, J. Cocteau, A. Maurois.

Sainte-Beuve's critical method was often, and still is, called "biographical." Sainte-Beuve himself gave reason for such a definition, since he wrote more than once that he “has always been attracted to the study of letters, conversations, thoughts, various character traits, moral character - in a word, the biographies of great writers” (“Diderot”), and written in such a way that they allow one to “penetrate... into the soul” of the writer, make him live, “move, speak as it should really be,” connect his personality with “countless threads with reality” (“Corneille”) .

However, as Sainte-Beuve explains, the study of biography is for the critic only a means to help perceive and convey to the reader the historically unique features of the writer’s creative individuality.

Striving in his critical studies through the biography of the writer to lead the reader to an understanding of the uniqueness of his personality, Sainte-Beuve - and this is important to take into account for a correct historical assessment of his articles - unlike the representatives of the “biographical” method in bourgeois literary science, by no means considered the personality of the writer to be the final (or only) substance for explaining the phenomena of artistic creativity. Rather, on the contrary: the personality of the writer is considered by the critic as a focus in which the country and era are reflected, as the resultant of many heterogeneous - psychological, literary and social influences.

Therefore, the writer’s individuality never appears in his articles as some kind of indecomposable, primary substance, unconditioned in any way! But at the same time, it is the personality of the artist, his special spiritual make-up, the peculiarities of creative individuality, inseparable from the influence of history, from the social and cultural life of the era and conditioned by them, that in the eyes of Sainte-Beuve represents the main historical fact that is subject to in-depth study by the critic. This analysis allows us to understand and appreciate the special coloring, unique expression and beauty, aesthetic laws of literature and art of each era.

From this follows the special attention of Sainte-Beuve - criticism to the spiritual make-up of the creator of the works of art he analyzes, and the very genre of the critical “portrait” of the writer.

Quotes from S. Sainte-Beuve:

All knowledge comes from observation and experience.

If by the age of forty a person's room is not filled with children's voices, then it is filled with nightmares.

There is only one way to truly understand people: it is to live near them, to allow them to express themselves day after day and to imprint their image on us.

It is ourselves that we glorify in the guise of others.

True eloquence lies in essence, but not in words.

Growing old is boring, but it is the only known way to live long.

Happiness or unhappiness in old age is often nothing more than an extract of our past life.

I have always believed that if people stopped lying even for a minute and said out loud what they thought, society would not survive.

It often happens that after a woman has given away the key to her heart, she changes the lock the next day.

You should write as you speak, and not speak as you write.

Charles Sainte-Beuve became the founder of the genre in French literature - literary portrait . The phrase: “literary portrait” (“portrait litteraire”) was introduced by him in the title of one of his collections: Critiques et portraits litteraires.

If Honore Balzac“... collected “men, women and things” as signs of a certain social system, Sainte-Beuve tried to create a collection of "geniuses", creative "minds" as signs of a cultural-psychological system. Balzac considered the writer “the secretary of society.” Sainte-Beuve calls the critic “the secretary of the public”: “I dare to say,” he wrote, “that the critic is just the secretary of the public, but such a secretary who does not wait until they begin to dictate to him, but every morning guesses, anticipates and writes down the thoughts of everyone else.” .

The idea of ​​founding a “science of the human spirit,” dividing human minds into families, and creating a classification of talents was not fully realized by Sainte-Beuve.

But the very presence of such a generalizing idea, such a broad approach makes us look at literary portraits differently Sainte-Beuve, to see in them not just scattered essays about writers, written on occasion, at the order of a publisher, but to consider each of them as a part of an unfulfilled, but conceivable, expected whole. What does this approach allow us to understand in each individual portrait and in the uniqueness of the genre of literary portraiture, of which Sainte-Beuve became the founder? In light of the above, the genre of literary portraiture as a whole can be read as a way of implementing his concept in the creative practice of Sainte-Beuve "family of minds" (“herborisation des esprits”). For Sainte-Beuve, the literary portrait is intended to perform a function that is not limited to simple entertainment, but ultimately the works of this genre must become cells of the universal table of human minds.”

Trykov V.P., French literary portrait of the 19th century, M., “Flint”; "Science", 1999, p. 123.

I note that if, for example, Denny Diderot (and many others) sought to name the universal properties of geniuses, Charles Sainte-Beuve sought to give a description of each genius...