By ΠΠ°ΡΠ°ΠΌΠ·ΠΈΠ½ ΠΠΈΠΊΠΎΠ»Π°ΠΉ ΠΠΈΡ Π°ΠΉΠ»ΠΎΠ²ΠΈΡ
ΠΠΈΠΊΠΎΠ»Π°ΠΉ ΠΠΈΡ Π°ΠΉΠ»ΠΎΠ²ΠΈΡ ΠΠ°ΡΠ°ΠΌΠ·ΠΈΠ½
ΠΠΈΠΊΠΎΠ»Π°ΠΉ ΠΠ°ΡΠ°ΠΌΠ·ΠΈΠ½, Π²ΡΠ΄Π°ΡΡΠΈΠΉΡΡ ΡΡΡΡΠΊΠΈΠΉ ΠΏΠΈΡΠ°ΡΠ΅Π»Ρ ΡΠΏΠΎΡ ΠΈ ΡΠ΅Π½ΡΠΈΠΌΠ΅Π½ΡΠ°Π»ΠΈΠ·ΠΌΠ°, ΠΈΠ·Π²Π΅ΡΡΠ΅Π½ ΡΠΎΠ·Π΄Π°Π½ΠΈΠ΅ΠΌ Π³Π»ΡΠ±ΠΎΠΊΠΎ ΡΡΠ²ΡΡΠ²Π΅Π½Π½ΡΡ ΠΈ ΡΠΎΡΡΡΠ°Π΄Π°ΡΠ΅Π»ΡΠ½ΡΡ Π³Π΅ΡΠΎΠ΅Π², Π»ΠΈΡΠ΅Π½Π½ΡΡ ΠΌΠΎΡΠ°Π»ΠΈΠ·Π°ΡΠΎΡΡΡΠ²Π°. ΠΠ³ΠΎ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ, ΡΠ°ΠΊΠΈΠ΅ ΠΊΠ°ΠΊ Β«ΠΠ΅Π΄Π½Π°Ρ ΠΠΈΠ·Π°Β» ΠΈ Β«ΠΠ°ΡΠ°Π»ΡΡ, Π±ΠΎΡΡΡΠΊΠ°Ρ Π΄ΠΎΡΡΒ», ΠΈΡΡΠ»Π΅Π΄ΡΡΡ ΡΠ΅ΠΌΡ ΡΡΠ°Π³ΠΈΡΠ΅ΡΠΊΠΎΠΉ Π²Π»ΡΠ±Π»Π΅Π½Π½ΠΎΡΡΠΈ ΠΈ ΡΠΈΡΡΠΎΠΉ Π²Π·Π°ΠΈΠΌΠ½ΠΎΠΉ Π»ΡΠ±Π²ΠΈ. Π ΡΠ΅Π½ΡΡΠ΅ ΡΡΠΆΠ΅ΡΠΎΠ² ΠΠ°ΡΠ°ΠΌΠ·ΠΈΠ½Π° Π²ΡΠ΅Π³Π΄Π° Π½Π°Ρ ΠΎΠ΄ΡΡΡΡ Π»ΡΠ΄ΠΈ, ΠΈΡ Π²Π½ΡΡΡΠ΅Π½Π½ΠΈΠ΅ ΠΏΠ΅ΡΠ΅ΠΆΠΈΠ²Π°Π½ΠΈΡ ΠΈ ΡΠ»ΠΎΠΆΠ½ΡΠ΅ ΠΆΠΈΠ·Π½Π΅Π½Π½ΡΠ΅ ΡΠ΅ΡΠ΅Π½ΠΈΡ. ΠΠ³ΠΎ Β«ΠΠΎΡ ΠΈΡΠΏΠΎΠ²Π΅Π΄ΡΒ» ΠΎΡΠ»ΠΈΡΠ°Π΅ΡΡΡ ΠΎΡΠΊΡΠΎΠ²Π΅Π½Π½ΠΎΡΡΡΡ, ΡΡΠΈΠ»ΠΈΠ·ΠΎΠ²Π°Π½Π½ΠΎΠΉ ΠΏΠΎΠ΄ Π ΡΡΡΠΎ.
Nikolai Mikhailovich Karamzin
Nikolai Karamzin, a prominent Russian writer of the sentimentalist era, is known for creating deeply sensitive and compassionate characters, free from moralizing. His works, such as "Poor Liza" and "Natalya, the Boyar's Daughter," explore themes of tragic infatuation and pure mutual love. At the heart of Karamzin's narratives are always people, their inner experiences, and complex life choices. His "My Confession" stands out for its frankness, stylized after Rousseau.