სენტიმენტალიზმი დრამატურგიაში

Abstract

It is known from history that, in the second half of the 18^th century, in England, a new direction was formed - sentimentalism, which opposed classicism and developed an aesthetic program where feelings, not reason, were given a decisive role. French - Sentimentalisme and English - Sentimentalism - represent the etymological basis of the origin of the word itself, although the title of the direction is taken from Laurence Sterne's novel “Sentimental Journey”. Sentimentalists created a cult of feeling and imagination, and opposed all this to the rationalist foundations of Enlightenment classicism, in which the mental origin completely delimited the essence of the work of art.

Where and how did sentimentalism begin to form? in England, but at the initial stage it was so connected with the general current of enlightened classicism that new signs could be noticed only in the form of trends. First, Joseph Thomson in his poem “Seasons of the Year” introduces the theme of a rural idyll, which may remind us of a peculiar remnant of baroque literature and drama - even pastoral drama. Later, Edward Jung writes in his "Red Book" "Night Thoughts", where the poet, against the background of the cemetery, depicts his melancholy mood and longing for death. Part of this poem laid the foundation for the so-called "Cemetery Lyric", a traditional English pastoral, in which the contrast between rural idyll and city life remains (as well as for the Italian Baroque of the second half of the 16th century) a characteristic main theme.

Criticism of society in these works also includes the motif of idealizing the patriarchal order, although concrete details and nuances testify that we are not dealing with a traditional pastoral but with a completely new sentimental village idyll. The cult of feeling led art to a more adequate opening of the inner world of man; Before the creation of an individual face, which meant a deepening of psychological analysis: the sentimentalists were characterized by such a relationship with nature, in which even the landscape became a guide to personal feelings. From here, there is a different view of the word imbued with emotions, which already represents a peculiar norm and opens completely new perspectives for the development of art.