Abstrakt: | The book treats about not very popular today and almost completely unexamined drama
genre, being trady. It occurred in Russian literature equally often as comedy to which I already
devoted a separate study several years ago. It did not undergo, however, such radical changes
which, as a result, would give genre changes. However, at the end of the 18th c. one can observe in
it clear sentimental influences, later, in the 19th c., romantic ones.
I decided to examine representative and, for other reasons, important tragedies of the
1747—1825 period. 1747 is the date of the appearance o f the first classicistic tragedy Chorev by
Alexander Sumarokow and in 1825 Boris Godunov by Alexander Pushkin was finished — innovatory
masterpiece and cutting all the ties with the classicistic poetics. Between these dates I have drawn the
conventional border running through the 90s of the 18th c. when created by Sumarokov traditional
classicistic model o f bombastic and elevated tragedy with lofty subject matter, selected heroes and
elaborate language, loses its popularity. Already on the turn of the centuries one can observe the
growth of the importance of human feelings which will occupy more important place in the tragedy
now. In the foreground is now the deepened interest in the inner life of an individual, its experiences,
conflicts and dreams. Its clear exemple will become the dramas created by Vasil Narezhny, Fyodor
Glinka, mainly Vladislav Ozyerov in whose output the classicist pattern has seriously broken down.
The notion of the tragic nature, of an event has changed meaning now the inner conflicts of the
heroes and their disappointment with the surrounding reality.
Tragedy as work with specific artistic shape for centuries established by antiquity and then
French classicism, presents many difficulties in the choice of research method. I have carried out in
this work certain typology of Russian „high” drama, its ordering from the point of view of
problems, subject matter, seence of the tragic character o f the events, loftiness, attitudes of heroes
looking at these problems in purely literary aspect, taking into account the Western European
background.
The characteristic feature of the Russian tragedy was its historical framing. The authors,
however, loosely treated the threat o f native history, looking in them only for the patterns of
appropriate behaviour of monarchs and examples of the heroic attitude o f famous historical
characters. The leading topic was fighting against tyranny and the main thread: tragical in effect
conflict of personal feelings with civic duties. Popularity gained created by Sumarokov type of the
tyrannical tragedy the best examples of which are given by the output of such authors as: Nikolev,
Knyazhnin, later Dyerzhavin, Naryezhny, Glinka and Kuchelbecker. In the case of the latter the
problems of tyranny and freedom is shaped already under the influence o f the Dekabrisl
tendencies.
At the end of the 18th c. and at the very beginning of the 19th, in connection with Napoleon’s
conquests, getting ready for the war with Russia, „high” drama appears o f highly patriotic
characters based usually on the historical events of the levy in mass victory under Pozharski’s
command in 1612. In this type of tragedy the civic altitude of the hero and his devotion for the
benefit of his motherland comes to the front.
The large group of works are tragedies taking up antique and ancient themes. Here, in
turn, the dominating subject matter is connected with the spiritual world of the man, it is less
pathetic and, thus, more accessible to the receiver. The subject matter and problematic changes
occurred here under the influence of the Romantic aesthetics. The heroes are characterized by the
contemplative and meditative utterances on the sense of human existence, passing of life, loneliness, friendship and love. We still have to do with the selected characters and fight o f noble
ideas, however, the attitude towards these problem changes. The motivation of the acting o f heroes
is deepened, they become more natural and approachable. The tragedies of this type break with
schemalizalion, archaic language, even with the traditional structure of verse. Sometimes they
introduce the rhythimisized verse without rhyme (Naryezhny, Zhandr), more often usual rhymed
with different length o f verses (Glinka, Kuchelbecker). In principle, they do not violate the three
unities but considerably enrich the place of action through non-typical landscape and rich scenery
already marked in wide didaskalia (Dyerzhavin, Naryezhny, Glinka, Ozyerov).
Most strongly the acting of the Romantic tendencies appeared in the tragedies of Naryezhny,
Glinka, Ozyerov and Kuchelbecker. Pompous tirades which were in the past used by the
characters were now substituted by the utterances o f the elegiac and melancholic character, usually
outpoutings on one’s own experiences, disappointments and hopes. In connection with this the
mood of the tragedy, the lone of the conflict, the dynamics of dramatic fight changes, one does not
feel the tension in the course of events.
The specificity of the Russian version o f the classicist „high” drama consisted in its peculiar
connection with epoch and literary period, socio-political life of the country and in engagement
in its current problems. The greatest values has the tragedy of the first years of the 19th c, shaping
its visage under the predominant influence o f Romanticism,. Its artistic achievements and
Universalis! message are continued and improved Pushkin’s, Lermontov’s and Aiexy Tolstoy’s
dramaturgy. |