Problems in the work Doctor Zhivago EGE. Problems of novel B

Boris Leonidovich Pasternak (1890-1960) - Russian poet, writer, one of the greatest Russian poets of the 20th century, Nobel Prize laureate in literature (1958).

In the novel " Doctor Zhivago" (1945-1955, published 1988) Boris Pasternak conveys his worldview, his vision of the events that shook our country at the beginning of the 20th century. It is known that Pasternak’s attitude towards the revolution was contradictory. Upgrade ideas public life he accepted, but the writer could not help but see how they turned into their opposite.

Likewise, the main character of the work, Yuri Zhivago, does not find an answer to the question of how he should live further: what to accept and what not to accept in his new life. In describing the spiritual life of his hero, Boris Pasternak expressed the doubts and intense internal struggle of his generation.

In the novel "Doctor Zhivago" Pasternak revives the idea of ​​the intrinsic value of the human personality. The personal predominates in the narrative.

The genre of this novel, which can be conditionally defined as prose of lyrical self-expression, is subject to all artistic media.

There are, as it were, two plans in the novel:

1.external, telling the story of life Doctor Zhivago,

2. and internal, reflecting the spiritual life of the hero. It is more important for the author to convey not the events of Yuri Zhivago’s life, but his spiritual experience.

Therefore, the main semantic load in the novel is transferred from the events and dialogues of the characters to their monologues.

The novel reflects the life story a relatively small circle of people, several families, connected by relationships of kinship, love, and personal intimacy. Their destinies are directly related to the historical events of our country. The relationships of Yuri Zhivago with his wife Tonya and Lara are of great importance in the novel. Sincere love for his wife, the mother of his children, the keeper of the home, is a natural beginning in Yuri Zhivago. And love for Lara merges with love for life itself, with the happiness of existence. The image of Lara is one of the facets that reflects the attitude of the writer himself to the world.

Main question, around which the narrative about the external and internal lives of the heroes moves, is their attitude to the revolution, the influence of turning points in the country's history on their destinies.

Yuri Zhivago was not an opponent of the revolution. He understood that history has its own course and cannot be disrupted. But Yuri Zhivago could not help but see the terrible consequences of such a turn in history: “The doctor remembered the recently past autumn, the execution of the rebels, the infanticide and femicide of Palykh, the bloody slaughter and slaughter of people, which had no end in sight.

The fanaticism of the whites and reds competed in cruelty, alternately increasing one in response to the other, as if they were multiplied. The blood made me sick, it came to my throat and rushed to my head, my eyes swam with it." Yuri Zhivago did not take the revolution with hostility, but did not accept it either. He was somewhere between “for” and “against.”

Hero strives away from the fight and ultimately leaves the ranks of the combatants. The author does not condemn him. He regards this act as an attempt to evaluate and see the events of the revolution and civil war from a universal human point of view.

The fate of Doctor Zhivago and his loved ones is the story of people whose lives were thrown out of balance and destroyed by the elements of revolution. The Zhivago and Gromeko families leave their settled Moscow home for the Urals to seek refuge “on earth.” Yuri is captured by the Red partisans, and he is forced against his will to participate in the armed struggle. His relatives were expelled from Russia by the new government. Lara becomes completely dependent on successive authorities, and at the end of the story she goes missing. Apparently, she was arrested on the street or died “under some nameless number in one of the countless general or women’s concentration camps in the north.”

Yuri Zhivago himself is gradually losing his vitality. And life around him becomes poorer, rougher and tougher. The scene of the death of Yuri Zhivago, although outwardly not standing out in any way from the general course of the narrative, nevertheless carries an important meaning. The hero is riding a tram and has a heart attack. He is eager for fresh air, but “Yuri Andreevich was unlucky. He ended up in a faulty carriage, which was constantly beset by misfortunes...” Zhivago dies at the tram wheels. The life of this man, suffocating in the stuffiness of the confined space of a country shocked by the revolution, ends...

Pasternak tells us that everything that happened in Russia in those years was violence against life and contradicted its natural course. In one of the first chapters of the novel, Pasternak writes: “... having woken up, we will no longer regain our lost memory. We will forget part of the past and will not look for an explanation for the unprecedented. The established order will surround us with the familiarity of a forest on the horizon or clouds above our heads. will surround us from everywhere. There will be nothing else." These deeply prophetic words, it seems to me, speak perfectly about the consequences of those distant years. Refusal from the past turns into a rejection of the eternal, of moral values. And this should not be allowed.

Direct work on the book (winter 1945 - 1946) began in an atmosphere of quickly dissipated public hopes and literary timelessness. The death of his father, the arrest of his beloved woman, the death of Stalin, a heart attack, the return of Soviet convicts, news of the death of those who had been executed long ago - all this fit into a decade of work on the novel.

In February 1946, the first public reading of Shakespeare's Hamlet in Pasternak's translation took place at Moscow State University. The first edition of the poem “Hamlet”, which opens the book of poems by Yuri Zhivago, dates back to February of the same year.

In June 1946, Pasternak reads the first chapter of the novel “Boys and Girls” (one of the draft titles of “Doctor Zhivago”). The second chapter is ready in August - “A Girl from Another Circle”. On September 9, an article appears in the Pravda newspaper, which cites the indicting resolution of the USSR Writers' Union, where Pasternak is branded "an author without ideas, far from Soviet reality." In light of these unpleasant events, B. Pasternak’s public reading of the first chapters of the novel, which took place on the same September day, is perceived by many as a daring, senseless challenge to the authorities.

Work on the novel is slowed down due to the reworking of the second chapter. Pasternak strives to create a spin-off version of Doctor Zhivago, where the revolutionary spirit of the era comes first.

The end of winter - spring of 1947 was marked by work on the third chapter ("Christmas tree at the Sventitskys"). During this period, persecution resumes, having subsided in the winter. Perhaps the reason for this was the news about Pasternak’s nomination for the Nobel Prize.

Only a year later, in the spring of 1948, after lengthy studies of translations, Pasternak managed to finish the fourth chapter (“Years in Between,” the title of the first edition) about the First World War.

During April - May, he reworks the chapter “The Christmas tree at the Sventitskys” and finally rewrites the chapter “Overdue Inevitabilities” (formerly “Years in Between”). At the same time, the final title “Doctor Zhivago” was approved with the subtitle “Pictures of Half a Century of Use,” discarded by the author in 1955.

In August - October 1950, Pasternak completed chapters 5 and 6 of the second book. And again, forced translation work suspended the writing of the novel. In May 1952, he completed chapter 7 of the novel, which now (at periodic readings of chapters to friends) is increasingly criticized rather than admired.

On the 10th of October, the 10th chapter of the novel was reprinted, and on October 20, Boris Pasternak was admitted to the Botkin hospital with a massive heart attack, where he remained until January 6, 1953.

In the summer, while in the Bolshevo sanatorium, Pasternak writes eleven more poems in “Yurina’s Notebook,” two of which he will delete later. The final order of the "notebook" cycle will be established only in the fall of 1955.

Finally, on October 10, 1955, the novel reaches its final point, whose difficult story has not yet ended.

The manuscript of the novel is transferred by the author to the magazine "New World", which was clearly in no hurry to publish. In May 1956, the Italian communist journalist Sergio D'Angelo came to his dacha in Peredelkino, to whom Pasternak handed over one of the uncorrected versions of the manuscript. The writer agrees to the publication of this version of the novel in Italian, warning only that its release does not get ahead of the Russian version. However, the Soviet magazine was in no hurry to publish, while the Italian publisher G. Feltrinelli published the novel. Then the foreign procession of Doctor Zhivago began (Italy, England, Sweden, France and Germany). In January 1959, the “second "Russian edition of the novel from a copy given by Feltrinelli. A revised version of the novel in Russian was published in 1978 after Pasternak's death, while Russian readers lost it for more than thirty years.

In 1958, Pasternak was awarded the Nobel Prize for the novel Doctor Zhivago. He voluntarily renounces it because this solemn personal moment is given a purely political character.

In "Doctor Zhivago" the author does not hide, but reveals: he writes about the mysteries of life and death, about man, history, Christianity, art, Jewry and so on with the utmost directness, open text (although this text is fiction). His attitude to the revolution is also not a mystery or a secret.

In the novel "Doctor Zhivago" Boris Pasternak conveys his worldview, his vision of the events that shook our country at the beginning of the 20th century. It is known that Pasternak’s attitude towards the revolution was contradictory. He accepted the ideas of updating social life, but the writer could not help but see how they turned into their opposite. Likewise, the main character of the work, Yuri Zhivago, does not find an answer to the question of how he should live further: what to accept and what not to accept in his new life. In describing the spiritual life of his hero, Boris Pasternak expressed the doubts and intense internal struggle of his generation.

In the novel "Doctor Zhivago" Pasternak revives the idea of ​​the intrinsic value of the human personality. The personal dominates the narrative. There are, as it were, two planes in the novel: an external one, telling about the life story of Doctor Zhivago, and an internal one, reflecting the spiritual life of the hero. It is more important for the author to convey not the events of Yuri Zhivago’s life, but his spiritual experience. Therefore, the main semantic load in the novel is transferred from the events and dialogues of the characters to their monologues.

The novel reflects the life story of a relatively small circle of people, several families connected by relationships of kinship, love, and personal intimacy. Their destinies are directly related to the historical events of our country. The relationships of Yuri Zhivago with his wife Tonya and Lara are of great importance in the novel. Sincere love for his wife, the mother of his children, the keeper of the home, is a natural beginning in Yuri Zhivago. And love for Lara merges with love for life itself, with the happiness of existence.

The main question around which the narrative about the external and internal life of the heroes moves is their attitude to the revolution, the influence of turning points in the country's history on their destinies. Yuri Zhivago was not an opponent of the revolution. He understood that history has its own course and cannot be disrupted. Yuri Zhivago did not take the revolution with hostility, but did not accept it either. It was somewhere between pro and con.

The hero strives away from the fight and ultimately leaves the ranks of the combatants. The author does not condemn him. He regards this act as an attempt to evaluate and see the events of the revolution and civil war from a universal human point of view.

The fate of Doctor Zhivago and his loved ones is the story of people whose lives were thrown out of balance and destroyed by the elements of revolution. Yuri Zhivago himself is gradually losing his vitality. And life around him becomes poorer, rougher and tougher. The scene of the death of Yuri Zhivago, although outwardly not standing out in any way from the general course of the narrative, nevertheless carries an important meaning. The hero is riding a tram and has a heart attack. The life of this man, suffocating in the stuffiness of the confined space of a country shocked by the revolution, ends...

Pasternak tells us that everything that happened in Russia in those years was violence against life and contradicted its natural course. Refusal from the past turns into a rejection of the eternal, of moral values. And this should not be allowed.

Yuri Zhivago's testimony about his time and himself are the poems that were found in his papers after his death. In the novel they are highlighted in a separate part. What we have before us is not just a small collection of poems, but a whole book with its own strictly thought-out composition. It opens with a poem about Hamlet, which in world culture has become an image symbolizing reflection on the character of one’s own era.

This poetic book ends with a poem called “The Garden of Gethsemane.” It contains the words of Christ addressed to the Apostle Peter, who defended Jesus with the sword from those who came to seize him and put him to a painful death. He says that “a dispute cannot be decided with iron,” and so Jesus commands Peter: “Put your sword in its place, man.” What we have before us, in essence, is Yuri Zhivago’s assessment of the events that are taking place in his country and throughout the world. This is a denial to “hardware” and weapons of the opportunity to resolve a historical dispute and establish the truth. And in the same poem there is a motive of voluntary self-sacrifice in the name of atonement for human suffering and a motive of the future Resurrection. Thus, the book of poems opens with the theme of upcoming suffering and the consciousness of its inevitability, and ends with the theme of its voluntary acceptance and atoning sacrifice. The central image of the book (and the book of poems by Yuri Zhivago, and Pasternak’s book about Yuri Zhivago) becomes the image of a burning candle from the poem “Winter Night”, the candle with which Yuri Zhivago began as a poet.

with high heat and strong cooling. Then she becomes strong and is not afraid of anything. So

This is the poet's prose, rich in images and philosophical motives.

The central problem is the fate of the intelligentsia in the 20th century.

The novel is written about a man who managed to preserve his personality in the conditions of revolution, World War I, civil war, and then in the era of depersonalization. Those. P. asserted the self-worth of man.

At the time of publication of the novel, the problem of the author's interpretation of the events of the revolution and war seemed most acute. The main character sees this as a tragedy for Russia.

The epic structure of the novel is complicated by the lyrical principle (subjectivity).

One of the themes is love (an element that invades a person’s life).

In art-phil. the concepts of the novel nature, history, and the universe are combined. The merging of the human soul and nature, the unity of heaven, earth and man, and this is the ultimate goal of history.

Death is not perceived as an impassable border between the living and the dead. Related to the theme of immortality is the problem of the purpose of art. Art reflects on death and continuously creates life.

At the center of the novel is the story of Yuri Zhivago (alive). His drama is that he lives in an era when life is not valued. Zhivago dies at the end of August 1929 because he cannot breathe.

Tonya, Lara, Pavel, Yuri - their destinies intersect, there are many accidents and coincidences.

Pasternak wrote: “I was lucky enough to speak out completely...”

An essential feature of the poetics of the novel are the poems by Yu. Zhivago, which are related to the plot of the novel. Not all of them were written specifically for the region. “Hamlet” correlates with the appearance of the main character - the right to internal freedom from a cruel era. "August" - drama of Lara and Yuri. Several autobiographical ones - “Autumn” and “Date” - are dedicated to Olga Ivinskaya.

1. Tyutchev's poetry. Fyodor Ivanovich Tyutchev (1803–1873). Genus. in the Ovstug estate, Oryol province. in an old noble family. Tyutchev, who showed himself early. ability to learn, received a good home education. At the age of 12, the poet, under the guidance of his mentor Amfitheatrov, translated Horace and wrote odes in imitation of him. For the ode “For the New Year 1816” in 1818 he was awarded the title of employee of the Society of Russian Amateurs. words. In 1819, T. entered the verbal department of Moscow. un-ta. There he became close to M. Pogodin, S. Shevyrev, V. Odoevsky. His Slavophile are being formed. views. After university, he received a place in the College of Foreign Affairs. affairs in St. Petersburg, then appointed supernumerary official of the Russian Federation. diploma mission in Munich. There T. found himself at the center of a cult. life of Europe. Studied Romanticism. poetry and German. Philosopher Translated poetry by G. Heine (the first of the Russian poets), F. Schiller, I. Goethe and other Germans. poets. Own Tyutchev published poetry in Russia. the magazine “Galatea” and the almanac “Northern Lyre”. In the 20–30s. Such masterpieces of Tyutchev’s philosophical lyrics were written as “Silentium!” (1830), “Not what you think, nature...” (1836), “What are you howling about, night wind?..” (1830), etc. In poems about nature, the chapters are obvious. Tyutchev’s features: the singular image of nature and thoughts about it, the philosophical and symbolic meaning of the landscape, the humanization, spirituality of nature. In 1936, it was published in Sovremennik under the signature of F.T. selection of 24 Tyutchev's poem "Poems sent from Germany." This publication brought him fame. T. responded to the death of Pushkin with the lines: “Russia’s heart will not forget you, like its first love” (“January 29, 1837”). In 1826, Tyutchev married E. Peterson, then had an affair with A. Lerchenfeld (several poems are dedicated to her, including the romance “I met you - and all the past...” (1870). Romance with E. Dernberg turned out to be so scandalous that Tyutchev was transferred from Munich to Turin. T. had a hard time with the death of his wife (1838), but soon married again - to Dernberg. For this he was dismissed from the diplomatic service and deprived of the title of chamberlain. Then T. remained in Germany, returned to Russia in 1844. Since 1843, he published articles on the pan-Slavist direction “Russia and Germany”, “Russia and the Revolution”, “The Papacy and the Roman Question”, worked on the book “Russia and the West”. . union led by Russia. The confrontation between Russia and the Revolution will determine the fate of mankind. The Russian kingdom should extend “from the Nile to the Neva, from the Elbe to China." Tyutchev’s political views aroused the approval of Nicholas I. In 1858, he was appointed chairman of the Foreign Foreign Committee censorship.The rise of T.'s poetic creativity also dates back to this time. In 1850, Sovremennik reproduced a selection of T.'s poems, once published by Pushkin, and published an article by N. Nekrasov, in which he ranked these poems among the brilliant phenomena of Russian poetry, put Tyutchev on a par with Pushkin and Lermontov. In 1854, 92 poems by Tyu were published in the appendix to Sovremennik, and then, on the initiative of I. Turgenev, his first poetic poem was published. Sat. Tyutchev's poetry is philosophical lyrics. This feature of his lyrics was fully reflected in the poems “Vision” (1829), “As the ocean embraces the globe...” (1830), “Day and Night” (1839), etc. After the neighing in the Crimean War, he calls for spiritual unity of the Slavs. He writes a poem about the essence of Russia: “Russia cannot be understood with the mind...” (1866). However, he led a European lifestyle, did not like village life, and did not attach much importance to Orthodox rituals. In 1850, being a married man and the father of a family, he fell in love with 24-year-old E. Denisyeva. The open relationship between them, during which Tyutchev did not leave his family, lasted 14 years, they had three children. The public perceived this as a scandal, Denisyeva’s father disowned her, and she was no longer accepted in the world. All this led Denisyeva to a severe nervous breakdown, and in 1864 she died of tuberculosis. The shock of the death of his beloved woman led Tyutchev to the creation of the “Denisyev cycle” - the pinnacle of his love lyrics. It included the poems “Oh, how murderously we love...” (1851), “I knew the eyes - oh, these eyes!..” (1852), “Last love” (1851-1854), “There are in my suffering stagnation...” (1865), “On the eve of the anniversary of August 4, 1865.” (1865), etc. Love, glorified in these verses as the highest thing that is given to man by God, as “both bliss and hopelessness,” became for the poet a symbol of human life in general - torment and delight, hope and despair, the fragility of the only thing that available to man - earthly happiness. In the “Denisyev cycle” love appears as a “fatal fusion and fatal duel” of two hearts. After the death of Deniseva Ty. went to visit his family abroad. He spent a year in Geneva and Nice, and upon his return (1865) he had to endure the death of two children from Deniseva, then his mother. These tragedies were followed by the deaths of another son, only brother, and daughter. The horror of approaching death was expressed in the poem “Brother, who has accompanied me for so many years...” (1870). Premonition of the “fatal turn”. Tyutchev died in Tsarskoe Selo on July 15 (27), 1873. 2. General trends in the development of Russian literature in the late 19th and early 20th centuries. Traditionally, the “turn of the century” covers the last decade of the 19th century. and the period before the revolution of 1917. But the 1890s. - this is the 19th century, the time of Tolstoy and Chekhov in prose, Fet, Maykov and Polonsky in poetry. There is no strict boundary here. Authors of the 19th century and authors of the twentieth century. - people of the same circle, they know each other, meet in literature. circles and editorial offices of magazines. At the turn of the century, the name “Ser.” was established. century." During this period the beginning. great Russian poetry of the entire 20th century. But calling the poets of that time “silver poets.” century" is not necessary, because such a narrow time frame does not contain all the greatness of their talents, all creative path . In addition, there was little “silver” in this century: black and red colors (night and bloody lightning) are more suitable to describe the era. S.v. - a turning point era, writers felt isolated from a huge and incomprehensible peasant country, which could sweep away culture at one moment. Literary and social life 1890 – 1917 The turn of the century is characterized by a wealth of schools, for example, the search for new concepts and content. In the 1890s. originated, and in the 1900s new trends already dominated. Marxists. The magazines “New Word”, “Beginning”, “Life”, etc. They publish “legal Marxists” (P.B. Struve, M.I. Tugan-Baranovsky, as well as young philosophers who soon abandoned Marxism - S.N. Bulgakov, N.A. Berdyaev), sometimes - rev. Marxists (Plekhanov, Lenin, Zasulich, etc.) The magazine “Life” promotes sociological or the class-class approach to literature. The leading critic of “Life” Solovyov-Andreevich considers the question of the “active personality” to be decisive in literature. For him, writers No. 1 are Chekhov and Gorky. In “Life” Chekhov, Gorky, Veresaev are published. Sociol. preacher approach. also the magazine “World of God”. Ideologist - publicist Angel Bogdanovich, adherent. aesthetics of the 60s and critical realism. In “The World of God” - Kuprin, Mamin-Sibiryak, and at the same time - Merezhkovsky. Realists. In the 1890s. A realist writing circle “Sreda” appears in Moscow. direction Founder: writer Nick. Teleshov, in whose apartment writers’ meetings were held. Fast. participants: Gorky, Bunin, Veresaev, Chirikov, Garin-Mikhailovsky, Leonid Andreev, etc. Chekhov and Korolenko attended the “Wednesdays”, artists and artists came: F.I. Shalyapin, O.L. Knipper, M.F. Andreeva, A.M. Vasnetsov and others. 1898 - foundation of the Moscow Art Theater. The theater was located in the building of the Hermitage Theater in Karetny Ryad. 1st performance – “Tsar Fyodor Ioannovich” by A.K. Tolstoy with Moskvin in the title role, but the truly significant event was the stan. Chekhov's "The Seagull", premiered on December 17, 1898. In the 1900s. group realists around the publishing house "Knowledge". The publishing house was founded in 1898 by literacy workers, the managing director was Pyatnitsky, Gorky dedicated “At the Lower Depths” to him. Gorky himself joined the partnership in 1900 and became its ideological inspirer. In 1912, writers V.V. Veresaev, I.A. Bunin, B.K. Zaitsev, I.S. Shmelev and others organized the “Book Publishing House of Writers in Moscow.” Leading role: Vikenty Veresaev. Ideologist. the platform is “negative: nothing anti-life, nothing anti-society, nothing anti-art; b-bah for the clarity and simplicity of the language.” Thanks to this publishing house, Yves’s work became known to the general public. Serg. Shmeleva. “Knowledge” by the beginning of the 1910s. has lost its former meaning. Gorky was living in Capri at that time. But having returned to his homeland in 1915, he organized the publishing house “Parus”, which continued the traditions of “Znanie”, and began publishing literary societies. magazine "Chronicle", in which collaborators. writers of different generations: I.A. Bunin, M.M. Prishvin, K.A. Trenev, I.E. Volnov, - and scientists from all branches of science: K.A. Timiryazev, M.N. Pokrovsky and others. By the beginning of the 1900s. - priority of prose over poetry, but in the beginning. centuries the situation begins to change. Sym-zm. Expressionist modernist. direction in the 1890s magazine "Northern Herald". Basic the task is “b-ba for idealism.” Don't fight for social and political issues. reconstruction of society, but for a “spiritual revolution”. Around "Northern" Vestnik" grouping: Nick. Minsky, Merezhkovsky, Gippius, Sologub, Balmont, Mirra Lokhvitskaya, Ldov and others. In “North. Vestnik" - individual articles by Tolstoy, "Malva" by Gorky. New original direction was not united. Vladimir Solovyov about the decadents: “The immanent mandrakes // rustled in the reeds, // and the rough-decadent ones // verses in withering ears.” In 1895, the leading author was the 22-year-old poet V. Bryusov, who first attracted the attention of the publishing houses of the Russian Symbolists. Much of it sounded parody in itself. A special scand. A one-line poem became famous: “Oh, close your pale feet!” In the 1890s. Decadence was considered a marginal phenomenon. But by the 1900s the situation had changed. Finance platform - educational activities. merchants and philanthropists - Mamontov, Morozov, Polyakov and others. Through the efforts of Bryusov, the Scorpion publishing house was created in Moscow in 1899. Several poetic poems were released. almanacs from guns. called “Northern Flowers” ​​(the latter was called “Northern Assyrian Flowers”). Started publishing monthly. the magazine “Scales”, in which Bryusov attracted young poets (Andrei Bely, Max Voloshin), Bunin. Moscow “Lit-Hood. circle”, 1899 – 19. Since 1908, it was headed by Bryusov. St. Petersburg has its own leaders. Merky entered literature as a populist poet. direction, but soon turned to spiritual quests universally. scope. His poetic The collection “Symbols” (1892) by its very name indicated a relationship with the poetry of French. symbol-zma, and for many beginners Russian. poets became a programmatic lecture like his lecture “On the causes of decline and new trends in modern Russian literature.” This lecture was perceived as a manifesto of a new lit. movements. Mer-ky designation. 3 components of the new art: mystical. content, symbols and “expanded art. Impressive." He was not a success as a poet, and over the course of his 10th anniversary he created 3 major works. -philosopher novel, ed. the general title “Christ and Antichrist”: “Death of the Gods (Julian the Apostate)”, “Resurrected Gods (Leonardo da Vinci)”, “Antichrist (Peter and Alexei)”. Zin. Nick. Gippius - poet, prose writer, critic (“Zinaida the Beautiful,” as her friends called her), possessed. unfeminine mind, inexhaustible. polemical fuse, and a penchant for all sorts of shocking things. The lines of her early poems: “But I love myself like God, // Love will save my soul...” were repeated with bewilderment and disapproval. On the initiative of the Merezhkovskys in 1901 - 1903. were organized Religious-philosophical gathering where creative people were represented. int-tions, discussed with the representatives. Ts-vi => journal " New way "(later "Questions of Life"). “Heralds of a new religion. consciousness" expected the coming of the era of the Third Testament, the era of the Holy Spirit, asserted the need for "Christian socialism", accused Orthodoxy of the absence of socialism. ideals. From view All this was heresy. S.v. was a syncretic phenomenon. Phenomena parallel to literary ones were also observed in other types of art, which also correlated with general political. tech-mi. Young Symbolists. In the early 1900s. - younger characters Blok and Bely. Vyach. Ivanov was closer in age to the elders, but only in 1905 did he return to Russia from Rome. "Tower" Vyach. Ivanov (“Vyacheslav the Magnificent”, as he was called) – lit. salon, visited by writers of different directions, mainly. modernist (“Ivanovo environments”). 2nd after “Scorpio” symbol. The publishing house was "Grif", a publishing house that existed in Moscow in 1903 - 1914. Founded and ch. ed. – writer Sergei Krechetov. In 1906 – 1909 Symbol was published in Moscow. magazine "Golden Fleece". Published on behalf of the merchant N.P. Ryabushinsky. If “Scales” was an expression of the position of the older symbols, declaring comprehensive aestheticism and individualism, then “The Golden Fleece” reflected the views of those who saw religious-mystical art in art. action – i.e. juniors The idol of the younger ones was Vl. Soloviev. In 1909, the Musaget publishing house was organized in Moscow. Its founders were A. Bely and Emilius Medtner - muses. critic, philosopher and writer. As symbols develop, they become closer to realism. In 1906, the publishing house "Rosehovnik" was founded. In 1907 – 1916 it published a number of almanacs (26 in total), in which the works of symbolist writers and presenters were equally represented. realism (L. Andreev and Sologub). A new style of prose was formed, which was undoubtedly influenced by poetry (B. Zaitsev and A. Remizov). 1910s In the era after the 1st Russian. revol. the ratio of poetry and prose is changing. Lear, poetry, more mobile and spontaneous than prose, responds more quickly to the anxious mood of the era and itself quickly finds a response. In parallel with poetry, he developed. lit. criticism. The first theorists were the symbolists. Bryusov, Balmont, A. Bely, I. Annensky and others created theoretical researched and substantiated symbolism, wrote studies on the theory of Russian verse. Gradually, the ideal of the poet-prophet was replaced by the image of the poet-master. By the beginning of the 1910s. new the generation that grew up in an atmosphere of great expectations and significant change was even more radical than the Symbols. The language of new poetry was already familiar to them. In the early 1910s. identify the leaders of new technologies. Acmeism (from the Greek akme - “peak”) became a moderate reaction to the symbol; futurism became a more radical reaction. Acmeists. Gumilev, Gorodetsky, Mandelstam, Akhmatova, Adamovich. Grew out of the “Workshop of Poets”. Journal "Hyperborea", ed. - poet-translator Mikh. Lozinsky. Acmeists also actively collaborated in literary art. magazine "Apollo", which in 1909 - 1917 published in St. Petersburg by art historian and essayist Makovsky. Futurists: “Only we are the face of our Time,” said the manifesto signed by David Burliuk, Alexei Kruchenykh, Vladimir Mayakovsky and Velimir Khlebnikov. – The horn of time blows for us in the art of words. The past is tight. The Academy and Pushkin are more incomprehensible than hieroglyphs. Abandon Pushkin, Dostoevsky, Tolstoy, etc. and so on. from the ship of modern times. The “purple hands” and “pale legs” that once shocked the public seemed like an innocent prank in front of the example of poetry that A. Kruchenykh offered: “Dyr, bul, schyl, //ubeschur //ekum //you so bu //r lez” . This direction was called Cubo-Futurism. Organizer - David Burliuk. Egofuturism, not so much known as poetic. school, which gave one outstanding representative - Igor Severyanin (real name Igor Vas. Lotarev). Severyanin was united with the Cubo-Futurists by his penchant for word-creation, but unlike them, he was not so much a rebel as a singer of modern times. civilization: “An elegant stroller in an electric beating, // Elastically rustling along the highway sand, // There are two virgin ladies in it, in fast-paced ecstasy, // In the scarlet oncoming aspiration, these are bees towards a petal...” In addition to cubo-futurists and ego-futurists of creatures. and other futuristic groups united around the publishing houses they created, “Mezzanine of Poetry” (Konstantin Bolshakov, Rurik Ivnev, Boris Lavrenev, Vadim Shershenevich, etc.) and “Centrifuge” (Sergei Bobrov, Boris Pasternak, Nikolai Aseev, etc.). These groups were less radical. Singles. From the poets of the 90s - n. 1900s did not adhere to any of the movements K. Fofanov, Mirra Lokhvitskaya, Bunin the poet, Annensky. In the 10s. Voloshin and Kuzmin maintained independence from the Symbolists; Vladislav Khodasevich collaborated with the Symbolists, but did not completely join them; he was close to the Acmeists, but Georgy Ivanov was not an Acmeist; Marina Tsvetaeva was a completely independent figure. In the 1910s poets who, after the revolution, were classified as “peasant” or “new peasant” poets began their journey: Nikolai Klyuev, Sergei Klychkov, Sergei Yesenin. Satire. In the 1910s The magazine Satyricon, founded in 1908, was very popular. from the previous weekly “Dragonfly”, ed. - Averchenko. + Teffi, Sasha Cherny (Alexander Mikh. Glikberg), Pyotr Petrovich Potemkin and others. In 1913, some of the employees separated themselves and began publishing the magazine “New Satyricon” (Mayakovsky). The works of the satiricists were not entertainment, momentary mass, but real good literature, the highest point of cult. heyday of the beginning XX century was 1913. In 1914 the 1st world began. war, followed by two revolutions of 1917 - and although a cult. life did not stand still, the scope of undertakings began to be gradually restrained by a lack of funds, and then by the ideological dictates of the new government. 3.Intertextual connections. Techniques for verbal expression of intertextual connections. Intertextual connections are (1) contained in a particular text (2) expressed using certain specific techniques (3) references to another (other) specific text. => Intertextual connections are not abstract, but quite definite, having. material the embodiment of the sacredness of the text, which it may or may not possess. therefore m.s. and are not listed among the mandatory features of the text. M.s. exist as long as there are creatures. texts (m.s. found in the Bible - between the Old and New Testaments, m.s. - a practically constant feature in ancient Russian literature: cf. “The Lay of the Regiment” and “Zadonshchinu”, etc.) . M.s. characteristic of both thin and non-thin. literature. In business document often contains references to other documents in scientific research. quotations, etc. are common. There is no clear distinction between techniques and types of m.s. yet. (types of m.s. - i.e. types of works according to the characteristics of the manifestation of m.s. in them). Techniques of intertextual connections. Known for a long time, but as m.s. techniques. began to be comprehended and generalized and compared. recently. 1. Quote (from Latin - to call). The most common. and universal. reception of m.s. In the narrow sense, a quote is verbatim. excerpt from smb. text. But you can understand the quote in a broader way. sense - as any method of reference contained in the text to another text. That. All M.S. techniques can be considered cit-mi. Quotes in the narrow sense are constant. attribute scientific liters, they are enclosed in quotation marks and provided with links. Often c. in thin produced, but usually not provided with links to the source. Assume a certain reader. erudition, familiarity with sources - original. moment of using quotes in art. production Therefore, they are often used without quotation marks. When c. are not put in quotation marks, they can be designated. in other ways: in notes, in italics. The text is not always given verbatim. The smaller the correspondence with c. to the original, the closer it gets to the c. in a broad sense, to other methods of m.s. Stands out as a special type of quote - autoquote, i.e. ts., taken by the author from his own. production 2.Epigraph (from Greek - inscription) preceding. scientific, journalistic, artistic production Distribution in thin literature. M.b. small whole works, proverbs, sayings, but more often - a quote endowed with a special role. Placed after the title before the beginning of the work or its part (chapter, section), this c. is intended to indicate its fundamental nature. content, special development of the plot, main characters. characters, etc. When analyzing e. Usually the main attention is paid to their semantic and compositional characteristics. connection with subsequent text. We should not forget that an e-quote not only precedes a production, but also a connection. it with the work from which it is taken, which allows us to better understand the author’s intent. 3. Quote titles - as if combined. the role of the title and epigraph (“The Lonely Sail Whitens” by Kataev, “The Golden Cloud Spent the Night” by Pristavkin). 4. Allusion (from Lat. - hint) and reminiscence (from Late Lat. - memory). All. – correlate what is happening. actually with smb. stable concept or expression literary, historical, mythological. order (“I wash my hands”). A. – this is a hint after the mention of the well-known. real fact, history events, lit. production or smb. an episode from it, etc. (eg: “the glory of Herostratus”). Rem-tion is interpreted 1) as an echo in lit. or music. a work of another work, which may be the result of involuntary borrowing; 2) how conscious. reception - use of something. words, phrases, sentences in the hope that it will evoke memories of this or that story. fact, myth, lit. work. We will talk about r. only in the second meaning. A. and R. may also take place outside the framework of MS. (If we're talking about about historical event, etc.). But when MS is expressed with their help, the differences between them turn out to be not very clear: a hint of something and an impulse to remember something are perceived as quite similar phenomena. Creatures tendency to combine these concepts: more often in special. Literally the term “allusion” was used. 5.Repetitive images. Writers’ appeals to images created by other authors (Pushkin’s appeal to the image of Childe Harold in Onegin, etc.). 6. Hero reading circle. This technique is significant in creating images of heroes (Onegin, Bazarov, etc.) 7. “Text within the text.” In production can be used entire text (letter, document, etc.). One of the first to do this was Pushkin, who included in Dubrovsky the full text of the original court decision in the case between Lieutenant Colonel. F. Kryukov and Lieutenant Muratov. The names have been changed, no alterations have been made to the text, but it will be perceived as natural. composition section of the novel. 8. Centon is a poetic work consisting entirely of quotes. A quotation is the same thing, but in prose.

Ilet 7 1. Karamzin's prose and Russian sentimentalism At the end of the 18th century, Russian nobles experienced two major historical events - the peasant uprising led by Pugachev and the French bourgeois revolution. Political oppression from above and physical destruction from below - these were the realities facing the Russian nobles. Under these conditions, the former values ​​of the enlightened nobility underwent profound changes. Karamzin and his supporters argued that the path to people's happiness and the common good is in the education of feelings. Love and tenderness, as if flowing from person to person, turn into kindness and mercy. “Tears shed by readers,” wrote Karamzin, “always flow from love for good and nourish it.” On this basis, the literature of sentimentalism arose, for which the main thing is the inner world of man with its simple and simple joys close friendly society or nature. In this case, a very close connection is established between sensitivity and morality. The conflicts between ordinary people, “sensitive” heroes and the prevailing morality in society are quite acute. They can end in the death or misfortune of the hero. The popularity of "Poor Lisa" has not waned for several decades. It is still read with keen interest. The story is written in the first person, which implies the author himself. Before us is a story-memory. The hero-author first reports in detail about himself, about his favorite places in Moscow that attract him and which he willingly visits. This mood includes both romance ("a magnificent picture, especially when the sun shines on it; when its evening rays glow on countless golden domes, on countless crosses ascending to the sky!"), and pastoralism ("Lush, densely green, flowering meadows spread below "), and gloomy forebodings inspired by the monastery cemetery and giving rise to thoughts about the mortal fate of man. The sad story of Lisa is told through the lips of the author-hero. Remembering Liza’s family and patriarchal life, Karamzin introduces the famous formula “even peasant women know how to love!”, which sheds new light on the problem of social inequality. Rudeness and bad manners of souls are not always the lot of the poor. Karamzin describes with completeness and detail the change in Liza’s moods from the first signs of flaring love to deep despair and hopeless suffering that led to suicide. Lisa had not read any novels, and she had never experienced this feeling before, even in her imagination. Therefore, it opened stronger and more joyfully in the girl’s heart when she met Erast. With what extraordinary sublime feeling the author describes the first meeting of the young people, when Lisa treats Erast with fresh milk. “The stranger drank - and the nectar from Hebe’s hands could not have seemed tastier to him.” Lisa falls in love, but with love comes fear, she is afraid that thunder will kill her like a criminal, for “the fulfillment of all desires is the most dangerous temptation of love.” Karamzin deliberately equated Erast and Liza in a universal human sense - they are both natures capable of rich emotional experiences. At the same time, Karamzin did not deprive the heroes of their individuality. Lisa is a child of nature and patriarchal upbringing. She is pure, naive, selfless and therefore less protected from external environment and her vices. Her soul is open to natural impulses of feelings and is ready to indulge in them without thinking. The chain of events leads to the fact that Erast, having lost at cards, must marry a rich widow, and Lisa, abandoned and deceived, throws herself into the pond. Karamzin's merit was that in his story there is no villain, but an ordinary “guy” belonging to a secular circle. Karamzin was the first to see this type of young nobleman, to some extent the predecessor of Eugene Onegin. “Erast was a rather rich nobleman, with a fair mind and a kind heart, kind by nature, but weak and flighty. He led an absent-minded life, thought only about his own pleasure, looked for it in social amusements, but often did not find it: he was bored and complained about fate my". Erast’s naturally kind heart makes him and Lisa in common, but unlike her, he received a bookish, artificial upbringing, his dreams are lifeless, and his character is spoiled and unstable. Without removing the guilt from Erast, the writer sympathizes with him. The hero’s vices are rooted not in his soul, but in the mores of society, Karamzin believes. Social and wealth inequality separates and destroys good people and becomes an obstacle to their happiness. Therefore, the story ends with a pacifying chord. “Poor Liza” caused a whole wave of imitations: “Poor Masha” by Izmailov, “Alexander and Yulia” by Lvov, “Seduced Henrietta” by Svechinsky. In the 1810s there were signs of a crisis of sentimentalism. False sensitivity, pompous and pompous language increased the readers' dissatisfaction with the sentimental story. However, it must be said that stylistic cliches and florid style are characteristic of all writers of this direction. But the life of the genre is not over. The depth of the travel content was now determined by the entire spiritual world of the author. The best works of Russian writers in the travel genre - "Letters of a Russian Officer" by F. Glinka, travel journalism by V. Kuchelbecker, "Travel to Arzrum" by A. Pushkin, "Frigate Pallada" by I. Goncharov - meet new reader expectations, since they present personality of the traveler-interlocutor. KARAMZIN Nikolai Mikhailovich. “Letters from Russian. traveler”, “Poor Liza” (published, which brought K. fame 1792, part 6, book 3; departmental ed. - M., 1796). and other stories by K., publ. in "Mosk. magazine”, opened a new page in the history of Russian. prose. K. turned to non-canonized, peripheral genres: travel, “half-fair story,” lyric. passage in prose and to a hero endowed with emphatically mundane features. But it was precisely this seemingly unpretentious prose that posed the most important questions of our time: the relationship between the West and the East (a collection of supposedly authentic letters in the PRP - a kind of new “tilemahida” of Europe. civilization), the fate of Russian. culture, the nature of human feeling and the moral equality of people. Literature, thanks to Karamzin, prose, came closer to life, but life at the same time became aestheticized; the sign of “literature” was not the sublimity of the style, but its grace, just as the value of a person began to be determined not by social weight, power or wealth, but by spiritual subtlety. K.'s position was contradictory. On the one hand, he sought to create a person of a new culture - civilized, sophisticated, “sensitive”, with a subtle soul and mind, inheriting all the best from the stock of world culture. This was supposed to be a private, “private” person, not connected with either the state or politics, his normal environment was a small circle of close friends, people. state - loneliness. Such an ideal should have been perceived as the opposite of society and activity (K. himself, meanwhile, had been a society worker all his life). Dr. side of his position implied the desire to raise the ordinary reader to the level of modern people. culture. K. dreamed of a literate peasant, of a secular lady who spoke Russian and read Russian. books about internal culture and human dignity as a common destiny. Not tor-; gestures odes and not didactic. teachings, but a novel and a story, a short lyric. verse and romance, penetrating all layers of society, will ennoble the minds and feelings of people. From K.’s position it was possible to derive both the ideal of literature “for the few” and the program for the widest popularization. Therefore, he actively and skillfully fights to increase the circulation of his magazines, while simultaneously creating texts printed in quantities of no more than 10 copies, or manuscripts. albums for the selected circle. The vocation of a journalist, publisher, and educator had fundamental meaning for K., and it was a loss in the end. 1792 magazines the tribune had a tragic effect on the mood, health and creativity of the writer (the following year he did not publish a single line). K. spent the last 10 years in St. Petersburg (he left Moscow forever on May 18, 1816). It turned out to be difficult to achieve an audience with the tsar; for this it was necessary to first go to bow to Arakcheev, but K. could not bring himself to do this. The king, according to K., “strangled him on roses” - the historian was received and caressed in royal family, but Alexander did not give an audience. The matter of printing “History...” (without censorship) was settled.

1.Lermontov's lyrics Mikhail Yurievich Lermontov, Russian poet. The unknown chosen one. The marriage of Lermontov's parents - the wealthy heiress M. M. Arsenyeva (1795-1817) and the army captain Yu. P. Lermontov (1773-1831) - was unsuccessful. The early death of his mother and the quarrel between his father and his grandmother, E. A. Arsenyeva, had a heavy impact on the formation of the poet’s personality. Lermontov was raised by his grandmother on the Tarkhany estate in the Penza province; received an excellent home education (foreign languages, drawing, music). The romantic cult of the father and the corresponding interpretation of family conflict were reflected later in the dramas "Menschen und Leidenschaften" ("People and Passions", 1830), "Strange Man" (1831). Significant for the formation of Lermontov are the legends about the legendary founder of his family - the Scottish poet Thomas Lermont. Strong childhood experiences include trips to the Caucasus (1820, 1825). Since 1827 Lermontov has lived in Moscow. He studied at the Moscow University Noble Boarding School (September 1828 - March 1830), later at Moscow University (September 1830 - June 1832) in the moral and political department, then in the verbal department. Lermontov's early poetic experiments testify to an enthusiastic and unsystematic reading of pre-romantic and romantic literature: along with J. G. Byron and A. S. Pushkin, F. Schiller, V. Hugo, K. N. Batyushkov, and the philosophical lyrics of the wise men were important to him; the poems contain a lot of borrowed lines (fragments) from the works of a variety of authors - from M.V. Lomonosov to contemporary poets. Not thinking of himself as a professional writer and not striving to be published, Lermontov keeps a secret lyrical diary, where alien, sometimes contrasting formulas serve as an expression of the hidden truth about a great and misunderstood soul. The hobbies of E. A. Sushkova, N. F. Ivanova, V. A. Lopukhina, experienced in 1830-1832, become material for the corresponding lyrical and confessional cycles, where an eternal, tragic conflict is hidden behind specific circumstances. At the same time, work is underway on romantic poems - from the openly imitative "Circassians" (1828) to the completely professional "Ishmael Bey" and "Litvinka" (both 1832), testifying to Lermontov's assimilation of the genre (Byron-Pushkin) canon (the exclusivity of the main character, " top" composition, "understatement" of the plot, exotic or historical flavor). By the beginning of the 1830s. the “main” heroes of Lermontov’s poetic system were found, correlated with two different life and creative strategies, with two interpretations of one’s own personality: a fallen spirit who consciously cursed the world and chose evil (the first edition of the poem “Demon”, 1829), and an innocent, pure-hearted sufferer , dreaming of freedom and natural harmony (the poem “Confession”, 1831, which was the prototype of the poem “Mtsyri”). The contrast of these interpretations does not exclude internal kinship, which ensures the intense antithetical nature of the characters of all Lermontov’s main characters and the complexity of the author’s assessment. Time of Troubles. Leaving the university for reasons that are not entirely clear, Lermontov moved to St. Petersburg in 1832 and entered the School of Guards Ensigns and Cavalry Junkers; issued as a cornet of the Life Guards Hussar Regiment in 1834. The place of high poetry is occupied by unprintable poetry ("Junker Poems"), the place of the tragic chosen one is a cynical breter, a reduced double of the "demon". At the same time, work is underway on the novel “Vadim” (not finished), where ultra-romantic motifs and stylistic moves (kinship of “angel” and “demon”, “poetry of ugliness”, linguistic expression) accompany a careful depiction of the historical background (Pugachev’s rebellion). The "demonic" line continues in the unfinished novel from modern life "Princess Ligovskaya" (1836) and the drama "Masquerade". Lermontov attached special importance to the latter: he submitted it to the censor three times and remade it twice. Poet of the generation By the beginning of 1837, Lermontov had no literary status: numerous poems (among them, later recognized as masterpieces, "Angel", 1831; "Sail", 1831; "Mermaid", 1832; "The Dying Gladiator", 1836; the poem "Boyar Orsha" " non-meeting" with Pushkin). Fame came to Lermontov overnight - with the poem "The Death of a Poet" (1937), a response to Pushkin's last duel. The text is widely distributed in copies and is highly appreciated both in Pushkin’s circle and among the public, who heard their own pain and indignation in these verses. The final lines of the poem with sharp attacks against the highest aristocracy aroused the wrath of Nicholas I. On February 18, Lermontov was arrested and soon transferred as an ensign to the Nizhny Novgorod Dragoon Regiment in the Caucasus. The exile lasted until October 1837: Lermontov traveled to the Caucasus, visited Tiflis, was treated at the waters (here he met the exiled Decembrists, including the poet A. I. Odoevsky, as well as V. G. Belinsky); studied oriental folklore (recording of the fairy tale "Ashik-Kerib"). The publication of the poem "Borodino" in 1837 strengthened the poet's fame. From April 1838 to April 1840, Lermontov served in the Life Guards Hussar Regiment, confidently conquering the “big world” and the world of literature. Connections are established with the Pushkin circle - the Karamzin family, P. A. Vyazemsky, V. A. Zhukovsky (thanks to the latter’s mediation, the poem “Tambov Treasurer” was published in Sovremennik in 1838) and A. A. Kraevsky (publication of “Songs about Tsar Ivan” Vasilyevich..." in the Literary Additions to the "Russian Invalid", edited by Kraevsky, 1838; systematic collaboration with the journal "Domestic Notes" headed by Kraevsky in 1839). families" (Frederike, Golitsyn, Paskevich, S. Dolgoruky, Shuvalov, Vasilchikov; when Lermontov was exiled for the second time, all sixteen rushed after him;). Lermontov's mature lyrics are dominated by the theme of his contemporary society - weak-willed, reflective, incapable of action , passion, creativity. Without separating himself from the sick generation ("Duma", 1838), expressing doubts about the possibility of the existence of poetry here and now ("Poet", 1838; "Don't Trust Yourself", 1839; "Journalist, Reader and Writer", 1840), skeptical appreciating life as such (“Both boring and sad...”, 1840), Lermontov seeks harmony in the epic past (“Borodino”, “Song about Tsar Ivan Vasilyevich...”, where the demonic oprichnik hero is defeated by the guardian moral principles), in folk culture (“Cossack Lullaby Song”, 1838), in the feelings of a child (“How often surrounded by a motley crowd...”, 1840) or a person who has retained a child’s worldview (“In Memory of A.I. O<доевского>", 1839; "M. A. Shcherbatova", 1840). Fight against God ("Gratitude", 1840), motives of the impossibility of love and destructive beauty ("Three Palms", 1839; "Cliff", "Tamara", "Leaf", "Sea Princess", all 1841 ) are adjacent to the search for spiritual peace, associated either with a de-ideologized national tradition ("Motherland", "Dispute", both 1841), or with a mystical exit beyond the limits of earthly doom ("I go out alone on the road...", 1841). the tense oscillation between the poles of world denial and love of existence, between the earthly and the heavenly, curse and blessing is inherent in Lermontov’s pinnacle poems - the latest edition of “The Demon” and “Mtsyri" (both 1839). In 1838-1840 the novel “A Hero of Our Time” was written: The multi-genre short stories that originally comprised it were published in Otechestvennye zapiski" and, perhaps, did not intend to be cyclized. The novel closely examines the phenomenon modern man; The antinomies inherent in Lermontov's poetic world are carefully analyzed. The appearance of a separate edition of the novel (April 1840) and the only lifetime collection “Poems of M. Lermontov” (October 1840; included “Mtsyri”, “Song about Tsar Ivan Vasilyevich...”, 26 poems) became the key literary events of the era and caused critical controversy , in which a special place belongs to Belinsky’s articles. Unexpected ending. Lermontov's duel with the son of the French ambassador E. de Barant (February 1840) led to his arrest and transfer to the Tengin infantry regiment. Through Moscow (meetings with Slavophiles and N.V. Gogol at his birthday dinner), the poet departs for the Caucasus, where he takes part in hostilities (the battle on the Valerik River, described in the poem “I am writing to you by chance, really...” ), for which he is nominated for awards (crossed out from the lists by Emperor Nicholas I). In January 1841 he departed for St. Petersburg, where, having overstayed his two-month leave, he stayed until April 14, moving in literary and secular circles. Lermontov is considering plans for retirement and further literary activity (the plan for a historical novel is known; there is information about his intention to start publishing a magazine); in St. Petersburg and after leaving it, brilliant poems are written one after another (including those mentioned above). Returning to the Caucasus, Lermontov stayed in Pyatigorsk for treatment in mineral waters. An accidental quarrel with a fellow student at the cadet school N. S. Martynov leads to an “eternally sad duel” (V. V. Rozanov) and the death of the poet.

B. 10/2 Literary Russian. emigrant 20s–80s. Centers: Paris, Berlin (cheap life, here Gorky made the magazine “Conversation” for the USSR, but it was banned), Prague, Sofia, Belgrade, Warsaw, Harbin, Shanghai. First wave. Daily. newspapers: “Last. news" (1920-1940, Milyukov), "Renaissance" (1920-1940, Struve), in the USA - "New. rus. word" (since 1910). Up to 24 no division - I between owls. and Russian lit-roy. Magazine "New" rus. book" (Berlin, 1921–23, Yashchenko) – apolitical. position. 1921 – gathering “Change of Milestones” (Prague, 1921, Ustryalov, Klyuchnikov), repentant emigrants, the slogan “To Canossa!”, reconciliation with the Soviets. power. Gas. “On the Eve” (22-24), bridge between Sov. Ross. and emigrants, collaborated with Al. Tolstoy. Collection “Exodus to the East” (Sofia, 21, Vernadsky, S. Bulgakov, Florensky), the revolution is a natural disaster, the future is in the church. Magazine “Sovr. notes" (20-40, M. Vishnyak). Magazine "Russian" thought" (21-24, Struve). Left wing - “The Will of Russia” (Prague, 22-32, M. Slonim), support for young literature. K.20s-n.30s – society “ Green lamp "(Gippius, Merezhkovsky). Journal “Numbers” (30-34), publ. "A Romance with Cocaine" 30s: 1) Young Russians (communism + royalism); 2) National boys (nationalists); 3) Post-revolutionary movement (Berdyaev, “Approvals” magazine, “Path” magazine), sympathy for fascism; 4) magazine “New City” (31-39, F. Stepun, G. Fedotov), ​​Christian socialism. Pre-war time: “defencists” (defense of Russia, despite the conflict with the Bolsheviks) and “defeatists”. Second wave. Emigration during the war or after. Gleb Glinka, Ivan Elagin, Vladimir Markov. Older generation. Ivan Bunin. Ivan Shmelev (1873-1950) - “The Inexhaustible Chalice” (1919, about a serf artist who fell in love with his mistress, miraculous power emanates from his icon), “Sun of the Dead” (1923, about the cruelty of the Bolsheviks in Crimea), “The Summer of the Lord” ( 1933, on behalf of a boy from a Moscow Old Believer family), “Bogomolye” (1935). Boris Zaitsev (1881-1972) - “Alexey the Man of God” (1925, 2 books about pilgrimages to holy places), “The Golden Pattern” (23-25, a novel based on Mary Magdalene, an emigrant ends up in Italy, where everything reminds her of Russia), “House in Passy” (35, impressionistic novel, there is neither a narrator nor a main character, the life of emigrants is shown), “Gleb’s Journey” (37-53, tetralogy (“Dawn”, “Silence”, “ Youth,” Tree of Life”), describing the hero’s youth before the revolution and life in exile). Teffi – collection. “All about love” (46, the life of eccentric emigrants who are unlucky in love). Arkady Averchenko - “A Dozen Knives in the Back of the Revolution” (1921, collection). Mark Aldanov – historiosophical works: “Saint Helena, the Little Island” (21, story), “The Ninth of Thermidor” (23, novel), “Tenth Symphony” (31, philosophical fairy tale), “The Key” (28 -29) and “Escape” (30-31) - about Russian. revolution. Mikhail Osorgin - “Sivtsev the Enemy” (about the revolution, 28g). Marina Tsvetaeva – leaving. to Efron in 22 in Prague, ed. collection “Craft” (23, Berlin), “After Russia” (28, Paris). The emigration is hostile towards her because of Efron and Mayakovsky’s praises. “Poems to my son” - 32g. “The Tsar Maiden” - 22, “Swan Camp” - publ. in Munich in '57. Vl. Nabokov - Russians - “Mashenka” (26), “King, Queen, Jack” (1928), “Luzhin’s Defense” (30), “The Spy” (30), “Feat” (32), “Camera Obscura” ( 32d), “Despair” (36), “Invitation to Execution” (38), “The Gift” (37-38), “Other Shores” (51d). English – “Lolita”, “Pnin”, “The True Life of Sebastian Knight”, “Ada”, “Pale Fire”. Young prose writers. Nina Berberova - “The Lackey and the Wench” (49, short story), “Accompanist” (49). Roman Gul - “Ice March” (23g, about civil. war), “Those who are scattered” (23d), “I carried away Russia. Apology for emigration" (81-89, memoirs about emigration), memoirs "My italics". Gaito Gazdanov – “Evening at Claire’s” (30). POETS. The old ones are Balmont, Gippius, Tsvetaeva, Vyach. Ivanov. Khodasevich - collection of “European Night” (27), then became a critic. George. Adamovich - “Unity” (collection, 1967). George. Ivanov - “The Upper Room” (1914), “Monument of Glory” (1915), “Heather” (1916), “Gardens” (17), emigrated in 23. to Berlin, then to France. The novel "The Third Rome" (not finished), memoir prose - "Chinese Shadows", "St. Petersburg Winters", late lyrics - "The Decay of the Atom" (1938), "Portrait without a Resemblance" (1950), "Posthumous Diary" (1958) Nikolai Otsupa - "Diary in verse" (50 years), interest in large forms. Published "Numbers". Vladimir Pozner - "Poems for Occasion" (28 years). Directions of poetry: 1) "Crossroads", supporters of Khodasevich, strict form 2) supporters of Adamovich, “simplicity and humanity.” 3) “Formists” (group “Kochevye”, led by Mark Slonim), followers of Tsvetaeva and Pasternak, experiments with form. Boris Poplavsky - surrealist, died of a heroin overdose. Yuri Terapiano - "Poems about the border." Irina Odoevtseva - memoirs "On the Banks of the Seine", "On the Banks of the Neva". Third wave. Names. The third wave of emigration differed significantly from the first two in that its representatives were born during the years of Soviet power. Basically During the “thaw”, those who formed the backbone of the third wave of emigration began to write.By the mid-60s, it became obvious that there would be no fundamental changes in politics and the life of the people. Khrushchev's meeting with writers and artists in 1963 marked the beginning of the curtailment of freedom in the country, including the relative freedom of creativity that existed during the Thaw. The next 20 years are hard. Some managed to break through the censorship, but for most artists who wanted to create freely, this was impossible. However, some writers could transfer their works abroad, where they were published in different magazines or even as separate books and returned to the USSR (tamizdat, Ardis). Publishing house "Ardis". Propfer in Michigan published Nabokov in this publishing house. This is a publishing house of the third wave of emigration. (S. Sokolov. School for fools. Rosewood). The New Journal published poems by Pasternak, chapters of his novel, Shalamov’s Kolyma Stories, Solzhenitsyn’s stories, poems by Akhmadulina, Brodsky were published there. The persecution of Solzhenitsyn began (after 1966 and until the 1980s it was not published in the USSR) and V. Nekrasova. I. Brodsky was arrested and exiled to forced labor. The result is the forced emigration of many of the most persecuted writers. One of the forms of such emigration was the deprivation of citizenship of writers who left the country, for example, to give lectures. I. Brodsky, G. Vladimov, V. Voinovich, A. Galich, S. Dovlatov, Yu. Kublanovsky, S. Sokolov, A. Solzhenitsyn and many others found themselves abroad. etc. They were brought closer to the emigrants of the first waves by their complete rejection of Soviet power. History from Agenosov's textbook; “The Sinyavskys invited the first wave of emigrants to listen to Vysotsky. They politely listened to the tape and said that Chaliapin sang better, because... I didn’t wheeze or scream, and the language in the song is kind of clumsy and illiterate.” "On different languages" - speech at the Geneva symposium "One or two Russian literatures?" Sinyavsky's publisher. The old Russian emigration preserved the “reserve of the Russian language”, wonderful Russian speech (B. Zaitsev and Yu. Kazakov). But during this time, strong linguistic changes occurred in the metropolis. The strength and weakness of the writers of the 3rd wave is that they brought the language of Soviet society to emigration. Attention to the avant-garde and post-avant-garde was a feature of the third wave of emigration. “Grani” provides its pages to experimenters: G. Aigi, A. Voznesensky, Yu. Dombrovsky. From those published in the 60-70s. Only Solzhenitsyn and Tendryakov belong to the realistic direction. “Airways” (New York): A poem without a hero by Akhmatova, Mandelstam, Babel, Tsvetaeva. Completely postmodernist magazine “Echo” (Paris): S. Dovlatov, E. Limonov, Y. Mamleev. It is easier to establish a connection between third wave writers and Soviet or foreign authors than with Russian artists abroad. S. Dovlatov. (1941-1990). He emigrated to the USA in 1978. His creativity is on the verge of realistic and avant-garde prose. "Suitcase". Sasha Sokolov (b. 1942). In 1965 he became a member of the society of young poets SMOG (Courage. Thought. Image. Depth. / The youngest society of geniuses). After the dispersal of society, he lived on the Volga, collaborated with Literary Russia (1969-1972), and served as a huntsman in the Tver region. When he realized that his works could not be published, he emigrated to Vienna, married an Austrian girl, and abandoned her there. Since 1976 he has lived in the USA and Canada. "School for fools." The novel was written in Moscow and published in 1976. Nabokov approved, as well as Brodsky and Berberov. The boundaries between the normal and abnormal worlds have been destroyed. The hero of the novel, a normal boy in an abnormal world, flees from reality into his own created world. This inner world of the hero is more real and more valuable than true reality. The world takes revenge on an extraordinary person by placing him in a school for mentally retarded children. Dedicated to “the feeble-minded boy Vita Plyaskin, my friend and neighbor.” His other works: “Between a Dog and a Wolf.”

1. Dostoevsky’s novel “Crime and Punishment.” Raskolnikov's double 1. Roman F.M. Dostoevsky "Crime and Punishment". Raskolnikov's doubles. “Crime. and punishment." (1865-1866), publ. in "Rus. "Bulletin" Katkov; in the center is the ideologist. murder, psychol. crime report. History of creation. I was thinking about a story. Genetich. connection with unfulfilled concept "Drunk", given. features to the image of Marmeladov. 1st var-you are planning. in the form of confession, diary, but later. editor - from the 3rd person. In PiN, a large multi-character novel, the self-awareness of the chapter unfolds. hero in relation to the sovereign. consciousness and ethics. position other characters (this is the principle of constructing a polymorphic novel with several ideological heroes). Social the motives were deepened in him. Philosopher sound, inseparable from morals. dramas by R., the “theoretician murderer,” the modern Napoleon, who, according to the writer, “ends up being forced to denounce himself... so that, although he may die in hard labor, he will join the people again...”. The collapse of Raskolnikov’s individualistic idea, his attempts to become the “lord of fate”, to rise above the “trembling creature” and at the same time make humanity happy, to save the disadvantaged - Dostoevsky’s philosophical response to the revolutionary sentiments of the 1860s. Having made the “murderer and the harlot” the main characters of the novel and brought Raskolnikov’s inner drama to the streets of St. Petersburg, Dostoevsky placed everyday life in an environment of symbolic coincidences, heartbreaking confessions and painful dreams, intense philosophical debates and duels, turning St. Petersburg, drawn with topographical precision, into a symbolic image of a ghostly city . The abundance of characters, the system of double heroes, the wide coverage of events, the alternation of grotesque scenes with tragic ones, the paradoxically pointed formulation of moral problems, the absorption of the heroes by the idea, the abundance of “voices” (different points of view, held together by the unity of the author’s position) - all these features of the novel have become the main features poetics of a mature writer. The image of Raskolnikov. Proudly self-confident. hero-ideologist Ven. stalk. with the truth of life in the face of defenselessness. sacrificial Sony; on the first exit plan metaphysical problems of happiness, deserved. only suffering. Spanish numerous source document character (presence of Gerasim Chistov, Lacenaire trial, crime chronicle), appearance and psyche. the structure of Raskolnikov's personality is connected. with peace. literary swarm (image-idea of ​​Mohammed, Napoleon, God-fighting Job, bair. rebels, Faust, Hamlet, Hermann, Godunov, Salieri, Demon, Pech...), life. mat-l - observing the psyche of criminals, drunkards, officials; the city is almost photographic. "PiN" opened. period of mature TV Dost., in the facts of everyday life the mysticism of existence. In a conversation with Marmeladov, Sonya’s action was disturbing. to the height of feat, the entrance to the world of the region. Holy Scripture: goal achieved. only at personal cost. victims, but R. misinterpreted. this sacrifice as the last. a blatant argument in favor of the theory; Ch. conflict - confrontation between Christ. and an atheist. worldview, logic of mind and heart. Antithesis of ideologists: Rask. – intellectual thinker, smart, eloquent, writer, proud, angry; Sonya is a mystic, barely literate, tongue-tied, a cheat. Ev-lie, humble, kind. The intellect is astray. in the darkness of unbelief; honest thought based initially false. a system of principles, dividing people into “categories” (man-gods, chosen ones and trembling creatures; modernity is on the threshold of the final renunciation of faith in God); the world is saved by Sonya, who chose self-denial and repentance; soil farming - organic worldview, growth. from “brotherly nature” Russian. person (referring to Sonya in prison). R.'s image is purely ideological, descriptive, equally concrete social and archetypal; the name is symbolic - a split in personality (theory - life, murder - love), torments. self-reflection, obsession with an idea, betrayal of roots (pledge of hours). R. is not aware. the dead end of a theory that rejects morality. the law, although noble, generous, and responsive, rejects compassion, choosing rebellion. Doubles. The image of Raskolnikov is central. All the other characters are somehow closed on him, forming a kind of “sun”: Raskolnikov is in the center, the rest are rays :). The images in “PiN” can be divided into groups, of which three are the most significant: R.’s antagonists (Sonya, Dunya, Razumikhin), “partial doubles” (Marmeladov, Porfiry Petrovich) and “doubles - crooked mirrors”, reflecting and distorting the image of R. Traditionally, they are considered Luzhin (the theory of rational egoism, a parody of Chernyshevsky, utopian socialists), Lebezyatnikov (communist hostel), Svidrigailov (cynicism of murder, eternity - a bathhouse with spiders), who - each in their own way - distort and mimic. diff. aspects of Raskolnikov's theory, discrediting it in practice. The “collateral double” is an officer in a tavern who says to his friend in the tavern: “I would kill and rob that damned old woman.” However, the antagonists also reflect the image of Raskolnikov in their own way. Svidrigailov – most. significant of R’s crooked-mirror doubles. The combination of the ability to kill and violence (poisoned his wife, once abused a girl, persecutes Dunya) with the remnants of internal. nobility (placed Marmeladov’s orphaned children in an orphanage on the eve of his own. suicide, let Dunya go when she said that she would never love him). Moreover, some detailed biogr. Svidr. - was in debtor's prison (R. in debt dependence on the old woman). Svidr knows from somewhere. about what R. committed. crime (hints at murder after the death of Katerina Ivanovna Marmeladova). In short, the closest one. double. Marmeladova and Porfiria Petr. can be considered doubles, because reflected separately in their images. features of the image of R. Marmeladov: gentleness, attachment to the family and a sense of guilt before the family, R.’s possible fate (before the murder) is Marmeladov’s (IMHO). Porfiry: like a matured R., who invented his theory, endured it and found the strength to abandon it. There is a suspicion that PP experienced something similar in his youth. Antagonists are also positive doubles, reflections. the best that has been preserved in R.’s soul. We talk about the religiosity and meekness of Sonechka Marmeladova, morals. Dunya's stability, high morals. quality of Razumikhin. Eat them all. one thing is the ability to sacrifice oneself for the sake of one’s neighbor (Sonya becomes a prostitute for the sake of the family, then for R. to Siberia, Dunya sacrifices a quiet life, the opportunity to get a good job for the sake of honor; Razumikhin, having married Duna, is also going to go to Siberia with her to R., R. himself says that Razumikhin “will go to crucifixion”). Their sacrifice is a reflection of the ability of repentance in R. (again IMHO). 2. Bunin’s creative path Bunin was born in 1870 in Voronezh. Bunin spent his childhood on the Butyrki farm near Yelets. From his family were: Vasily Zhukovsky, indirectly the Kireyevsky brothers. Bunin received his education at home. At the end of 1870 he began to publish his poems. In 1891, the first collection of his poems was published in Orel. Weak collection. His first story, sent to the magazine “Russian Wealth”, delighted the publisher Mikhailovsky. For the poetry collection "Falling Leaves" in 1900, Bunin received the Pushkin Prize, and in 1909 he became an honorary member of the Academy. Having gained fame and money, Bunin began to travel: Turkey, Asia Minor, Greece, Egypt, Syria, Palestine, Algeria, Tunisia, Ceylon. Was married twice. First wife: Anna Tsakni. The second wife was Vera Nikolaevna Muromtseva. Bunin's literary predecessors were Chekhov, Tolstoy, Turgenev and Goncharov. It is this relationship with Turgenev and Goncharov that gives Bunin that classic look that distinguishes him from his contemporaries. Bunin grew up under the influence of the ideas and personality of Leo Tolstoy. The form and style of Bunin's prose were equally alien to Tolstoy's riot of colors and the imagery of decadence. His artistic system was not intended to destroy tradition or develop it. He was called to complete it. Bunin's main translation work was Longfellow's The Song of Hiawatha (1896). A consistent realist and opponent of modernism, Bunin did not accept the October Revolution. His attitude towards this revolution is clearly expressed in his "Damned Days". This is sort of a story, stylized as a diary, which Bunin actually kept in Moscow captured by the Bolsheviks, until he left it on May 21, 1918, thanks to the assistance of the Commissioner for Foreign Affairs under the Moscow Soviet, V. Fritsche, and Gorky’s wife. Then he sailed in Odessa until he sailed from it to Constantinople on January 26, 1920. Bunin had an extraordinary gift of imagination coupled with the plasticity of writing. Sense of rhythm. As far as I know, Bunin did not have any sudden changes or metamorphoses in his writing style. He was an artist of several themes, but mainly focused on primary themes: death-love, space and nature, time outside of historicism. He witnessed many social catastrophes, like all his contemporaries, but in his work, it seems, he remained outside of these catastrophes (the famous example of “Dark Alleys” during the Second World War. Stages of Bunin the prose writer. 1) Works before 1908: ethnographic-populist, but psychologically little in-depth. Until 1910, Bunin was considered mainly a poet and a tertiary prose writer. Bunin's early stories contain a lot of pathos and romantic descriptions. But they also gravitate towards a dryish-cold contour pattern. The starting point for Bunin’s early prose can be considered his “Antonov Apples” (1900). Bunin wrote about himself: “I was born a poet, like Turgenev. For me, the main thing in a story is to find the sound!” A typical example is the lyrical story “Antonov Apples” (1900). It was conceived back in 1891, but written and published only in 1900 in the magazine “Life”. This kind of lyrical stories by Bunin really went back to the tradition of Turgenev, but also of Chekhov (“The Steppe”) and Goncharov (“Oblomov’s Dream”; one of Bunin’s lyrical stories is even called “The Dream of Oblomov’s Grandson”). True, Bunin strengthened the lyrical element and weakened the narrative one. A first-person narrative about childhood and adolescence in his native county. Attractive aspects of landowner life: contentment, abundance, naturalness, descriptions of durable huts, gardens, home comfort, hunting. On the one hand, this is a kind of apology for the past, juxtaposed with the prosaic present, where the smell of Antonov apples has faded. On the other hand, this is an epitaph of a bygone life, akin to Turgenev’s pages about the desolation of noble nests. Antonov apples, the smells and shapes of which constantly evoke associations with the aroma of life itself. This is something “beautiful in itself,” and Bunin himself said this in an early preface to his story. Apples are complete volumes, round, like the forms of the most harmonious life. The old life is fragmented, and this is reflected in the very composition of the story, the muted plot of which is made up of a number of “fragmented” pictures of reality. The whole story as a whole represents the development of two musical parts - leading (elegiac) and accompanying (enlightened and major). The story is distinguished by lyrical emotion in vocabulary, rhythm, and syntax. In a number of moments it is very close to Bunin’s poem “Falling Leaves”. 2) Works of 1909-1917: the socially meaningful life of the village and nobles. Here we talk about “Village” (new peasantry) and “Sukhodol” (old nobility). In 1909, Bunin was elected honorary academician. It was at this time that a turning point was planned in Bunin’s work. In 1910 he wrote the story “The Village”. Bunin in a new light. This is one of the harshest, darkest and most bitter books in Russian literature. This is a story about the new peasantry, about the poverty and barbarity of Russian life. A gloomy, “thicket” thing, unexpected for the sophisticated Bunin. Many perceived this story as slander against the Russian people. The thing is written too thickly, extreme condensation of colors. What tasks did Bunin set for himself? Presumably: to reflect the originality of the national Russian character, the path of Russian life, the task of realistically reflecting reality. Special genre of the work: chronicle story. The plot of the work is devoid of intrigue and unexpected turns. The narrative hardly develops over time, it is static, almost like a painting. Everything in “The Village” is immersed in the elements of slowly flowing life, an established, ossified way of life. But each of the three compositional parts of the story reveals more and more new aspects of village reality. In the center are two Krasov brothers, Tikhon and Kuzma. Tikhon is a successful shopkeeper, Kuzma is a loser and a “truth-seeker.” The first part is written from Tikhon’s point of view, the second from Kuzma’s point of view. Both brothers at the end come to the conclusion that their lives were in vain. Destruction of the existing way of life. The village is dying quickly and steadily. The ferment of the peasants and their rebellion are not able to stop the dying of Durnovka and even speed up this process. According to Dm. Mirsky, this story is still too long and uncollected. The characters talk and think too much, like in Gorky. But in his next work, Bunin overcame this shortcoming. “Sukhodol” (1912, “Bulletin of Europe”). Bunin began working on this story in the summer of 1911, while living in a village, and finished it in Capri. This time the task was somewhat different: his attention was focused on the history of the Russian noble family of the Khrushchevs. The story of the fall of this family, the gradual death of the family; The features of the national character are also shown here, but already of the nobility. Bunin turned to the family chronicle of the Bunin family, finding real life prototypes for his characters. In Russia, in general, retrospective analysis and perspective are very strong. The very name of the story and the village is noteworthy - Sukhodol, a name that speaks of the depletion and drying up of what was once flourishing and full-blooded. The story is short, concise, but at the same time it is spacious and elastic, has the “density” and strength of poetry, without even for a minute losing its calm and even language realistic prose. The themes in both stories are the same: poverty, lack of “roots,” emptiness and savagery of Russian life. The same theme is repeated in a number of Bunin's stories between 1908 and 1914. The owners of the estate appear before the reader in double lighting. On the one hand, the gentlemen have long been characterized by such patriarchal democracy, they could kiss their servants on the lips, eat with them, adored the sounds of the balalaika and folk song . On the other hand, they showed cruelty and tyranny, knew how to hate fiercely, and sat down at the table with the arapniks. Arkady Petrovich, for example, intended to flog the hundred-year-old Nazarushka for simply picking up a radish from his garden. Bunin wrote in an early edition of Sukhodol: “They were not capable of reasonable love, nor reasonable hatred, nor reasonable affection, nor healthy family life, nor work, nor community life.” The Sukhodol residents suffer with each other, but they also love each other passionately. Bunin explains the reason for such a strong attachment to Sukhodol, to this remote place, by the peculiarity of the Sukhodol soul, over which memories, the charm of the steppe expanses and ancient nepotism have enormous power. Blood and secret ties illegally linking gentlemen and servants. In Sukhodol, in essence, everyone is relative. “The blood of the Khrushchevs has been mixed with the blood of the servants and the village since time immemorial.” And in the characters of the Sukhodol residents, temperament reaching the point of frenzy and easygoingness, extreme cruelty and gentleness, sentimentality, and dreaminess are intertwined. Life also had an impact on people's state of mind. Even the Sukhodolsky house was gloomy and scary: dark log walls, dark floors and ceilings, dark heavy doors, black icons that were terribly illuminated by flashes and reflections of lightning on stormy stormy nights. “It was scary in the house at night. And during the day it’s sleepy, empty and boring.” The Sukhodol people are weak, their clan quickly became impoverished, degenerated and began to disappear from the face of the earth. Russian laziness. “What an old Russian disease this is, this languor, this boredom, this spoilage - the eternal hope that some frog will come with a magic ring and do everything for you.” The children and grandchildren of the Sukhodol residents no longer saw life itself, but only legends about it. The connection with the region from which they came has weakened. The treasured grandfather’s icon of St. Mercury, as a symbol of Sukhodol: “And it was terrible to look at the Suzdal image of a headless man, holding in one hand a deathly bluish head in a helmet, and in the other the icon of the Guide - at this, as they said, the treasured image of the grandfather, survived several terrible fires, was split in flames, thickly bound in silver and kept on the reverse side of its pedigree of the Khrushchevs, written under the titles.” Compositional structure: the central part of “Sukhodol” is enclosed in the story of the old nanny Natalya. And in general, her fate is at the center of the story. But the author did not resort to direct narration throughout; perhaps he did not want to bore the reader, and turned to this technique: the story is told first from Natalya’s point of view, sometimes from the author’s point of view. These two narrative layers alternate and transform into one another. Natalya served the owners of Sukhodol all her life. She fell in love with her master Pyotr Petrovich, and this love was the most wonderful event in her life. Love revealed to her the secret of her own beauty, and Natalya stole her master's silver mirror. She was sent to the threshing floor so that in the wind and in the field her beauty would fade. “The scarlet flower that bloomed in fairy gardens was her love. But to the steppe, to the wilderness, even more reserved than the wilderness of Sukhodol, she took her love, so that there, in silence and solitude, she could overcome her first, sweet and burning torments, and then bury her for a long time, forever, right up to the gravestone. the depths of your Sukhodolsk soul." Bunin calls Natalya’s soul “beautiful and pitiful.” The inhabitants of Sukhodol were its passionate followers. Natalya “took a break from Sukhodol for eight years, from what he made her suffer,” but returned there at the first opportunity. Natalya has no grudge against the young lady, who mocks her: she either speaks as if she were an equal, or attacks her for the slightest offense, “cruelly and with pleasure,” tearing out her hair. But Natalya is not angry, ready to share the young lady’s unfortunate fate. Having fallen in love with her brother’s friend, she was “moved” and doomed herself to be the bride of Jesus the Sweetest. She lived, moving from dull indifference to bouts of frenzied irritability. “God himself celebrated them with the young lady. Apparently it was written in her family to die with her.” The young lady lived in poverty, in a poor peasant hut, but did not even allow the thought of life in another place, although “Sukhodol deprived her of happiness, reason, and human appearance.” Both are religious, but their religiosity is different. The young lady has a somewhat hysterical character. And Natalya’s faith in God brings obedience and humility before fate: “God has a lot of everything.” From passing praying mantises she learned patience and hope, and resigned acceptance of all trials. After what she has been through, she willingly takes on the role of blueberry, a humble and simple servant of everyone. Other stories before the revolution: “Zakhar Vorobyov” (1912, collection of the “Znanie” comrade). “John the Rydalec” (1913, “Bulletin of Europe”). "The Cup of Life" (1915). 3) Works of 1916-1921: about love. “The Grammar of Love”, “Easy Breathing” (1916, “Russian Word”). "Mr. from San Francisco" (1916). This story comes partly from Tolstoy's The Death of Ivan Ilyich and Chekhov's A Boring Story. Bunin makes new trips to Europe and the East; the outbreak of the First World War exacerbated Bunin’s rejection of the inhumanity of the bourgeois world and civilization as such. Civilization is vanity, the only reality is the presence of death. The creative impetus for creating this story was given by the news of the death of a millionaire who came to Capri and stayed at a local hotel. That’s why the story was originally called “Death on Capri.” In addition, Bunin pointed to T. Mann’s short story “Death in Venice” as the literary source of his story. Bunin focuses on the figure of a nameless millionaire, 58 years old, sailing from America on vacation to blessed Italy. He has devoted his entire life to the unbridled accumulation of wealth, and only now, having become decrepit, dry and unhealthy, does he decide to start living. Until he suspects that the entire vain and meaningless time of his existence, which he has taken beyond the brackets of life, must suddenly end, end in nothing, so that life itself will be given to him to know. Bunin emphasizes the deadness of the hero himself and those around him. Emphasized lack of spirituality: tourists are busy only with eating, drinking cognacs and liqueurs, sleeping and eating again. The telling name of the ship “Atlantis” and an important epigraph of the story in one of the editions: “Woe to you, Babylon, strong city!” Bunin builds his hero’s route in such a way that it takes place on Christian holidays, against the backdrop of the Sacred History of the Gospel and the holy places of Christians. On this route, the hero's life seems especially meaningless. On Capri (he even died on the island where Emperor Tiberius lived 2 thousand years ago, during whose reign Christ was crucified), a gentleman from San Francisco unexpectedly dies. The story of placing his body first in the dirtiest and most run-down hotel room, and then in a soda box. “They hurriedly carried him in and laid him on the bed in room forty-three, the smallest, the worst, the dampest and coldest. The gentleman from San Francisco was lying on a cheap iron bed under coarse woolen blankets...” This moment in Bunin’s story reminded me of “A Boring Story,” which Bunin considered one of Chekhov’s best works. “Why am I, a famous man, a Privy Councilor, sitting in this small room, on this bed with a strange, gray blanket? I am famous, my name is pronounced with reverence, my portrait was in both Niva and World Illustration, I even read my biography in a German magazine - so what of this? I am sitting alone in a strange city, on a strange bed, rubbing my sore cheek with my palm. I am a hero of whom my homeland is proud, but all this will not stop me from dying on someone else’s bed in melancholy and complete loneliness.” And Katya, who, in response to the timid words of the professor: “I’ll be gone soon, Katya...” (almost for the first time he started talking about himself!) repeats like a habit: “What should I do?!” (I don’t hear anything, solve my problems first!) - vaguely reminiscent of tourists who, after the death of the gentleman from San Francisco, hastily and silently finished their lunch with offended faces. The death of the hero offended them, caused them trouble, canceled the desired tarantella - nothing but losses, in a word. Both Chekhov and Bunin have, in general, the same idea, a long-known truth: “The same fate for the wise and the foolish,” says Chekhov. “The same fate for the rich and the poor,” says Bunin. He shows the futility and meaninglessness of accumulations, lusts, and self-delusions with which the hero previously existed. The death of Bunin's hero seems to cut the narrative into two parts. The attitude of those around him towards the deceased and his wife changes dramatically. The hotel owner and the bellhop become indifferently callous. The hero does not receive forgiveness from the author and the hero in his tarred coffin follows back on the same steamship Atlantis, behind which the ocean still roars angrily. Once upon a time, Pushkin, in a poem from the period of southern exile, glorified the free sea and depicted two deaths at sea, addressing the rock, the tomb of glory, speaking about goodness and the tyrant. Essentially, Bunin proposed a similar metaphor. He painted two deaths: the millionaire and the tyrant Tiberius. Bunin paints the sea as a menacing, ferocious and disastrous element. The death of the hero of the story turns out to be unmourned by people. And the rock on the island, the emperor’s refuge, this time becomes not a tomb of glory, but an object of tourism. Such a rethinking was born, of course, of a new era and a different author’s intention - to convey the disastrous and catastrophic nature of a world that finds itself on the edge of an abyss. "Chang's Dreams" (1919, “Almanac, Odessa”). The story was written in 1916. The beginning of the story: “Does it matter who we talk about? Everyone who lives on earth deserves it,” refers to the chain of births and deaths in which every living being is important. This story constantly alternates between the present and memories. Therefore, the composition of the story is dual: in parallel, the present world, in which there is no happiness, and happy memories of the past are given. And it is Chang (his dreams) that is the thread that connects reality with the past. The plot is this: during the voyage, the captain of one of the Russian ships bought a red puppy with smart black eyes from an old, sour-eyed Chinese man. During the long journey, Chang becomes the only listener of the owner. The captain talks about what a happy person he is, that he has an apartment in Odessa, a wife, and a beloved daughter. Then everything in his life collapses, because... he understands that his wife, whom he strives for with all his soul, does not love him. Without a dream, without hope for the future, without love, the captain soon turns into a bitter drunkard and, in the end, dies. What seems important are the changes that occur with the captain throughout his life, and how his idea of ​​happiness changes over time is also important. At first, while he was walking on the ship, he said: “But how magnificent life is, my God, how magnificent!” Then the captain loved and was all in this love. He said: “Once upon a time there were two truths in the world, constantly replacing each other. The first is that life is unspeakably beautiful, and the second is that life is conceivable only for crazy people.” After the loss of love, disappointment, the captain has only one truth left - the last. Life seems to him like a boring winter day in a dirty tavern. And people: “They have neither God, nor conscience, nor a reasonable purpose for existence, nor love, nor friendship, nor honesty - not even simple pity.” Internal changes also affect the appearance of the captain. At the beginning of the story we see him “shaven, fragrant with the freshness of cologne, with a raised German-style mustache, with a shining gaze of keen light eyes, in everything tight and snow-white.” And at the end he appears as a dirty drunkard living in an attic. As a comparison, Bunin also cites the attic of the captain’s friend, an artist who has just discovered the truth of life. The captain has dirt, cold, scanty, ugly furniture. The artist has cleanliness, warmth, comfort, antique furniture. This is a juxtaposition of two truths. Awareness of this or that truth affects the external and internal life of a person. Chang is the only one in the story who has a name. It is important. Both the captain and his artist friend are nameless. And the woman is even more vaguely defined; it is said about her: “wonderful in her marble beauty.” And Bunin endows Chang with the feeling of “a beginningless and endless world that is inaccessible to Death,” i.e. a sense of authenticity - an inexpressible third truth. The presence of this third truth decides philosophical problem story: what is the meaning of life? Is happiness possible? In the person of Chang there is a synthesis of love, loyalty and devotion. 4) Emigration. Bunin left Russia in February 1920 on the ship Ksenia, evacuating Odessa before its second occupation by the Bolsheviks, under whom he had to live in 1919. Political beliefs: as far as I understand, the Socialist Revolutionaries, the Cadets, and the Bolsheviks were equally antipathetic to him. He emigrated to Paris and settled there. Later, he chose the town of Grasse as his more or less permanent residence, and only visited Paris. True, the last years of his life he lived in Paris again. All the time in exile he remained an irreconcilable anti-Bolshevik. True, after the end of World War II in the late 40s. Bunin became close to Soviet representatives in France, discussed the possibility of publishing his works in the USSR, but in the end refused to return. In the first years of emigration, Bunin wrote little. Gippius also mentioned this in her article “Flight to Europe” (Bunin’s writer’s honesty and writer’s chastity: he could not write immediately after the disaster in Russia). But he took part in the social and political life of the Abroad, collaborating in newspapers (“Common Cause”, “Latest News”, “Rul”). Until 1924, Bunin's books were reprints of pre-revolutionary things. Only a few stories that appeared in periodicals were new. By 1924, Bunin had already written several stories and a number of poems. Together with several earlier ones, they were included in Bunin’s first foreign collection, “The Rose of Jericho” (Berlin, 1924). Many of these stories had nothing to do with the revolution. For example, the theme of the story “Transfiguration” (1924). A story about an ordinary man, transformed by the death of his mother, who suddenly touches the mystery of death while reading the Psalter over this simple, wretched old woman. In all these stories, the revolutionary theme is touched upon carefully and with chaste restraint, which greatly distinguishes them from the sketches of revolutionary unrest in “Cursed Days” (1926), imbued with passionate hatred of the revolution and the new system. " Damned days "an example of the diary genre. Bunin had an unequivocally negative attitude towards the revolution. When, already in exile, he learned about the Kronstadt rebellion from emigrant newspapers, which inflated this event into a real sensation: “The Bolsheviks only had Moscow and St. Petersburg!” - he reacted to this very calmly. He wrote in his diary: “March 13. Everyone is already quite sure: the beginning of the end. I doubted... Today I woke up feeling especially sober about Kronstadt. What really happened so far? The sons of bitches are dividing up a bear that hasn’t been killed yet.” Savinkov's movement. It would seem that the emigrant could be satisfied with any measures and measures directed against the Bolsheviks. But Bunin writes about Savinkov: “Rude boasting. This will bring nothing but meaningless blood.” Excerpts. *How angrily and reluctantly the doorman opened the door for us! Everyone has a fierce aversion to all work. *The Bolsheviks are still amazed that they managed to seize power and that they are still holding on. - After the coup, Lunacharsky ran around for two weeks with his eyes wide open: no, just think, we only wanted to make a demonstration and suddenly such an unexpected success! *I worked all my life, somehow managed to buy a piece of land with real pennies, build a house (after getting into debt) - and now it turns out that the house is “people’s”, that they will live there with your family, with your whole life, some kind of people. then "workers". You can hang yourself from rage! *All the rudeness of modern culture and its “social pathos” is embodied in the truck. *The people themselves said to themselves: “from us, like from wood, there is both a club and an icon,” depending on the circumstances, on who processes this wood: Sergius of Radonezh or Emelka Pugachev. *What an old Russian disease this is, this languor, this boredom, this spoiledness - the eternal hope that some frog will come with a magic ring and do everything for you: you just have to go out onto the porch and throw the ring from hand to hand! This is a kind of nervous illness, and not at all the famous “requests” that supposedly originate from our “depths”. *And I’m just trying to be horrified, but I really can’t, real sensitivity is still lacking. This is the whole hellish secret of the Bolsheviks - to kill receptivity. *Men: - Now the people are like cattle without a shepherd, they will screw up everything and destroy themselves. *In our thousand-year-old and huge house, a great death happened, and the house was now dissolved, wide open and filled with a countless idle crowd, for which there was no longer anything sacred or forbidden in any of its chambers. Bunin's stories on topics related to the revolution. - “Comrade Watchman”, “Red General” and “Unurgent Spring”. “Unurgent Spring” is completely different in composition and tone. Written in the first person, about himself, it is much more lyrical. Its title and leitmotif are taken from a poem by Baratynsky, and its theme is nostalgic experiences and thoughts caused by a visit to a beautiful abandoned estate in the first years of the revolution. The old Bunin theme of “noble impoverishment”, the theme of “Sukhodol”. The main stages of Bunin’s work after 1924 are “Mitya’s Love” (1925), collections of stories “Sunstroke” (1927) and “God’s Tree” (1931), “The Life of Arsenyev” (1930) and “Lika” (1939). Before the war, The Liberation of Tolstoy (1937) was also published - a book of personal memories of Tolstoy and reflections on him. After the war, two more new books by Bunin were published: “Dark Alleys” (1946), which included stories written between 1938 and 1945, and his own “Memoirs” (1950), some of which had been published before. The Swedish Academy awarded Bunin the Nobel Prize in 1933. Bunin was the first Russian to receive this honor. “For the truthful and artistic talent with which the typical Russian character was recreated in artistic prose.” Most of the Nobel Prize went to help needy émigré writers. In foreign literary circles, especially English and American, this award caused some bewilderment. “Bunin? Why Bunin? Why not Gorky, or at least not Merezhkovsky? Bunin died in Paris on November 8, 1953, having managed to draw up his “Literary Testament”. He was buried in the cemetery in Sainte-Genevieve-des-Bois. Before his death, he was working on a book about Chekhov, whom he knew personally. This book remained unfinished. What was written by Bunin, and some materials collected by him, was published by the Chekhov Publishing House at the end of 1955. Criticism about Bunin's work. After 1924, Bunin's creativity reached an unprecedented peak. Almost unanimously, Bunin's contemporary critics noted that it was in exile that Bunin created his best works. He will also note that almost all of these things are on Russian themes, about Russia. Mark Aldanov, when he wrote in 1939 about “Faces,” the second part of “The Life of Arsenyev”: “This is a rare case, if not unprecedented. It seems that every writer over the years reaches the limit allotted to him by nature. Bunin writes better and better. The most beautiful of the works he wrote in Russia are in many ways inferior to those he created abroad. In general, much of what was written about Bunin, especially after his death, was in the nature of more or less official doxologies. There was a chill in the attitude of some young writers towards Bunin, who felt his hostility towards modern Russian poetry. A negative attitude towards Bunin was felt in those circles of foreign literature and criticism that tended to focus on Soviet literature (for example, in “The Will of Russia”, in “Versts”, in the French book about modern Russian literature by the young poet Vladimir Posner, who changed milestones). In these circles they talked about the “coldness” and “appearance” of Bunin’s work. For example, Alexei Eisner’s article about Bunin’s 1929 book of poems (see below). And yet Bunin's recognition in emigration was more or less unanimous, if not unanimously enthusiastic. “I think the time will come when, assessed impartially from a historical perspective, Bunin will take a place not on an equal footing with Chekhov, but above him.” (This opinion was expressed by G.V. Adamovich; a controversial opinion - with all my love for Bunin.) Bicilli in some respects put Bunin above Tolstoy. Saying that all of Bunin’s works are “essentially variations on one, Tolstoy’s, I would say, theme - life and death,” this critic added: “Bunin is more demanding and, therefore, metaphysically, more truthful than Tolstoy.” Adamovich seemed to reproach Bunin for the fact that the “arrow of Christianity” that “pierced” Tolstoy passed him by, despite all his closeness to Tolstoy, and that he “simply loves the world in which he was born and lived.” “Mitya’s Love” (1925), which can only be compared among pre-revolutionary works by “Sukhodol” (the best of Bunin’s early works), is especially remarkable for its tense interweaving of these two themes (death and love). “Mitya’s Love,” which can only be compared among pre-revolutionary works by “Sukhodol” (the best of Bunin’s early works), is especially remarkable for its tense interweaving of these two themes. “The Life of Arsenyev” (1930). Not a fictional autobiography, but there are elements of autobiography. "Lika". The prototype in life is Varya Pashchenko. A journey to the origins of your soul. This is stylistic perfection. Vladimir Veidle, who, considering Bunin’s highest achievement “The Life of Arsenyev,” said that the theme of this book “is not life, but the contemplation of life. This is a tragic praise to all that exists. Singing and weeping praise." “The Life of Arsenyev” - they call it the only novel, which was written by Bunin. But still, this is not a novel. Stepun called "The Life of Arsenyev" "partly a philosophical poem, and partly a symphonic picture (of Russia)." (At the level of reason, I agree - a very accurate definition of this thing). “Dark Alleys” (collection of stories 1943 (11), 1946 (38)). Metaphor: dark alleys human soul. In this book, unfortunately, some critics saw not only a manifestation of the decline of Bunin’s talent, but also some kind of senile eroticism, almost pornography. "Clean Monday" "Natalie". The decor is typical noble nest . The hero of the story, student Vitaly Meshchersky, rushes between his cousin Sonya, a light flirtation with whom develops into a passionate mutual physical attraction, and her high school friend Natalie, who attracts the young man with her sublime, spiritualized beauty. Earthly love and heavenly love. Meshchersky does not choose; he tries for a long time to combine his passion for Sonya with his adoration for Natalie. Bunin depicts each of these feelings without any moral assessments, reveals each feeling as natural and beautiful. But refusal to choose still threatens to break the relationship, which, in the end, happens. Bunin is deeply convinced of the tragedy of love and the short-term nature of happiness. That is why the disclosure of feelings is accompanied by the transfer of anxiety and doom, and people constantly feel on the edge of the abyss. 3. The aesthetic function of language and the language of fiction (artistic style). Question about poetic language Let us clarify the understanding of the term aesthetics. Aesthetics (relating to sensory perception) is the science of beauty in society and nature in its concrete sensory forms and its role in human life. Aesthetic – associated with the creation, reproduction and perception of beauty in art and life. The aesthetic function of language manifests itself as soon as the speaker begins to pay attention to the external form of his speech and somehow evaluate the possibilities of verbal expression. The comments can be varied: so to speak, as they say. The manifestation of the aesthetic function can be expressed in the perfection of linguistic form, in the harmony of content and form, in clarity, clarity, laconism, grace, simplicity, harmony, etc. You can see the imagery as thin. text, precisely because language acts as the material from which the image is built. But it is hardly legitimate to identify the artistry of a text with the aesthetic function of language. The aesthetic function of language is aimed not only at conveying content, but also at itself, at its own perfection, which allows one to perceive beauty in the language itself. This is its function. Question about poetic language. Some scientists identify poetic language, which seems to them to be even broader in composition than language. thin liters. The term poetic language reflects the long-standing division of literary works into prose and poetry. Since poetry meant art. literature, then it is not necessary to distinguish between languages. thin literati and poet. language. But it is worth saying something special about it - in connection with the teaching at the beginning of the 20th century: OPOYAZ (society for the study of poetic language). Contrast between poetic and practical language. Scientists talked about the separation of poetic language from practical language. Potebnya taught about the poetry of language and poetic. language as a special form of thinking and expression. Poetic speech is recognized as specific, independent, free from the laws of practical language. Vinogradov denied the existence of a special system of poetic language. Gorshkov: poetic language does not exist as some kind of abstraction, separate from artistic (poetic) works of literature. There is a poetic work of literature - there is also poetic language.

The creative path of Alexander Blok Origin. Great-grandfather Johann Friedrich Block came from Germany. The poet’s father, Alexander Lvovich Blok, is a professor of civil law at the University of Warsaw, the author of the scientific books “State Power in European Society” and “Political Literature in Russia and About Russia.” Mother, Alexandra Andreevna, the daughter of a botanist, professor and rector of St. Petersburg University Andrei Nikolaevich Beketov, was associated with literature: she wrote poems for children, translated them into verse and prose. Due to the gap between his parents, A. Blok grew up away from his father, in the circle of the Beketovs. Blok’s mother later married a second time (her husband was an officer of the Life Guards Grenadier Regiment, Franz Feliksovich Kublitsky-Piottukh). A.A. Blok was born on November 16 (28), 1880 in St. Petersburg, in his grandfather’s apartment in the university building. Almost his entire life was spent in St. Petersburg. He began studying at the gymnasium in 1891; it later evoked terrible memories in him. Blok’s home was the small estate of his botanist grandfather Shakhmatovo, where he spent almost every summer, sometimes even from early spring to late autumn. Nearby was Boblovo, the estate of my grandfather’s friend, the famous chemist Dmitry Ivanovich Mendeleev. There Blok met his daughter Lyuba. Between Shakhmatov and Boblov is the village of Tarakanovo, where Blok married Lyubov Dmitrievna. Blok’s image of Russia comes from here. Shakhmatovo in childhood is an escape from the unnatural and dead life of the capital. In 1898, Blok entered the university and studied there for quite a long time, because he transferred from the Faculty of Law to the Faculty of Philology. He received his diploma only in 1906. The beginning of a creative journey. He began writing poetry very early. At first, his poems were not published, only in 1903 several poems were published in Merezhkovsky’s magazine “New Way”. In 1904, they were published as a separate book entitled “Poems about a Beautiful Lady.” A. Blok and Lyubov Mendeleeva met as adults in the summer of 1898, when Blok went to Boblovo on horseback. He was 17, she was 16. In their early relationship there was a lot of theater: they acted in home performances, both dreamed of the stage. L.D. Over time she became a professional actress. To L.D. Blok’s poems included in the cycle “Ante Lucem” (Before the Light, Before the Dawn) were converted. L.D. she understood that Blok saw in her something more than she was, and this frightened her. With a revolver in his pocket, Blok made a decisive explanation (he was thinking about suicide). L.D. accepted his love. First volume: "Ante Lucem" (1898-1900). “Poems about a Beautiful Lady” (1901-1902). "Crossroads" (1902-1904). From Chukovsky’s article: “The first book of poems. Words: someone. Someone, but who is unknown. The subject was left to our creativity. We, the readers, had to recreate it ourselves. The word is foggy. He always portrayed himself as immersed in fog, and all things around him as foggy. In general, in his early poems there are no distinct forms, but scraps of visions, fragments of events, haze and fragmentation of images, like visions of a vague dream. Poetry of sleepy consciousness. Blok was the only master of vague, indistinct speech. No one but him could be so incomprehensible. He was excellent at omissions. Only in such confused and vague language could he narrate the mystery that had been his only topic for many years. This language seems to be made for secrets. Everything was chaotic in these drowsy verses, as if the world had not yet been completed by creation. But from the very beginning, two images are clearly and sharply visible in them: light and darkness. Everything that is fiery and fiery in nature was associated for him with Her image, and everything that was not She was darkness. There was one endless song about Her. He lived only in the memory of former worlds, of past eternity, of his pre-worldly existence. He treated people not only with hostility, but with coldness. If at times he was attacked by unbelief, he went to the “high cathedral” and prayed. He called this “seeking protection from Christ.” But still, Blok’s Christianity was almost without Christ. She shone in all her glory. The deity, as the masculine principle, was not a deity for him. It is remarkable that he never felt Her too close to him - but on the contrary, it invariably seemed to him that she was unfavorable and stern. He wanted to love her with a shy, timid, almost hopeless love. “I'm waiting” was felt in every line. Waiting became his habit for many years. He sang about this for six years, from 1898 to 1904, and devoted 687 poems to this topic. Blok’s entire first book is prosperous, idyllic and peaceful. But still it flashed: it turns out that the boy lighting the candles felt both the seraphim and the devil within himself, and was often afraid of the “two-faced” nature of his soul. Then, after a few years, this two-facedness of the soul will become his main and almost only theme: the combination of faith with unbelief, hosanna with blasphemy.” Blok said that his poems can be truly understood and appreciated only by those who sympathize with his mysticism. This statement is especially true when it comes to his first book. These poems can be interpreted: by Blok’s own article “On the current state of Russian symbolism” (1910) and by A. Bely in “Memories of Blok. Poems about a Beautiful Lady" is a mystical love story with that Person whom Blok identified with Sophia, Divine wisdom, the female hypostasis of God. Blok's friends and himself always insisted that these Poems were the most important part of his writings. The main feature of this poetry is complete freedom from everything sensual and concrete. This is a vagueness of words that acts simply like verbal music on the unprepared reader. This poetry meets Verlaine's rule: music comes first. At first, only a few appreciated Blok’s poetry. Critics either ignored her or treated her with ridicule and indignation, which was the lot of all symbolists. They started reading Blok later. But literary circles accepted him immediately: Bryusov and Merezhkovsky warmly received him. Andrei Bely and Sergei Solovyov (son of M.S. Solovyov) saw in his poetry a message close to their own spiritual mood, and Blok became a prophet and seer for them. Bely describes in his Memoirs the tense atmosphere of mystical expectation in which Bloki, he and S. Solovyov lived in 1903-1904. Blok welcomed the revolution of 1905. Once he even carried a red flag, which horrified his family. The defeat of the first Russian revolution, which occurred in 1906-1907, intensified his pessimism, and he was overcome by feelings of hopelessness. His poetry became an expression of the “fatal emptiness” familiar to many people of his generation. The second volume of his poems. "Bubbles of the Earth" (1904-1905). "Miscellaneous Poems" (1904-1905). "City" (1904-1908). "Snow Mask" (1907). "Faina" (1906-1908). From Chukovsky’s article: “The bloc unexpectedly destroyed all the framework and showed us a new face. This new face was imprinted in its second volume and in three dramatic plays: “The Showcase,” “The King in the Square” and “The Stranger.” Different atmosphere, different smell. Not with incense, but with fusel. The word tavern began to be repeated as often as the word temple had once been. His entire second volume is drunken, muddy - not the heights of the mountains, but the lowlands. It’s not for nothing that there are so many poems about the swamp in this volume. He is completely in the quagmire, in the March muddy water. And many ominous dreams appeared in this new book: chaos, convulsions, writhing, stench, curse. Drowsy-chaotic style. The city is always St. Petersburg. It is remarkable that there is no Moscow in his poems: the Kremlin is mentioned only twice and then in passing. Blok is the least Muscovite of all Russian poets. The second book is almost entirely in St. Petersburg. Blok saw people. "Factory". People appeared to him first of all as backs weighed down with a burden. Bent backs were his discovery. Before, at his summit, he did not even know about bent backs. This was the first thing he learned about people: they hurt. Little by little he developed a feeling of hatred for the world beyond the stars, some kind of evil thirst to laugh at it, to discredit it, to accuse it. At the beginning of 1906, Blok began to demonstratively mock his shrines. Everyone was especially amazed by his theatrical plays written in the same year: Balaganchik and Stranger. Everyone saw in them a betrayal of the past. Bely was so outraged that he anathematized the poet. In the Balaganchik, Blok spared neither himself, nor his “Beautiful Lady,” nor his fellow mystics. He portrayed the mystics as idiots who sit at the table and whisper the same things that he himself had recently whispered, about rustles, sighs, depths, peaks and the imminent arrival of the Virgin. So Blok mocked Blok. In 1904, the word “harlot” appears in his poems for the first time and has not left the pages since then. But with all his desire to become dirty, worldly things did not stick to him. Blasphemy manifested itself only in consciousness, and unconsciously, in the lyrics, he still remained a religious poet of the Other. Here is that amazing duality in which was the main charm of Blok’s lyrics: pathos, corroded by irony; irony overcome by lyricism. Everything was double in his soul, and these combinations of faith and unbelief were bizarre.” “The Stranger” (poem 1906) replaces the Beautiful Lady. “The Stranger” is one of the central poems of the second volume of the collection of poems prepared by Blok. The poem was written in 1906 with a characteristic combination of realistic irony and romantic lyricism. It begins with a grotesque and ironic description of a summer cottage near St. Petersburg. The poem amazed contemporaries, first of all, with its hypnotic melody: vowel harmony, emotional and musical coloring. “She” appears here too, but her features are double. In the features of a fallen woman, the poet discerns the eternal feminine principle. The world around the Stranger is not a temple, but a tavern. The image is double: either this is a real stranger, or a phantom. The stranger is also an intangible, but passionate, ever-present vision with which Blok is obsessed throughout the entire second volume (1904-1908). Blok has a powerless desire to return to the Shining Presence from which he was excluded - the plot of his lyrical dramas: “ Showcase" and "Strangers". “Showroom” (1907) - harlequinade (expression by D. S-M.). It was staged in 1907 and ran for quite a long time. He made an unforgettable impression on those who saw him. It contains a lot of Blok’s best lyrics, but essentially it is a satire, a parody, and a darkly blasphemous one at that. This is a parody of Blok’s own mysticism and a satire of his own hopes and expectations. His friends - Bely and Solovyov - perceived the "Balaganchik" not only as an insult to themselves, but also as an insult to their common faith in Sophia - the Divine Wisdom. This entailed the separation of his Moscow friends from the bloc. Sometimes you may not be able to discern the terrible pessimism of “Balaganchik” behind its lyrical charm. But in essence, this is one of the darkest plays not only by Blok, but in poetry in general. "The Stranger" is a dreamy, romantic visionary drama that develops the plot of the poem of the same title. It has less lyrical charm than in “The Showcase,” but it showed Blok’s ironic and grotesque realism, which only enhances the mystical romanticism of the main theme. From then on, the tavern often appears in Blok’s poetry. It is filled with wine, women and gypsy songs - and all this against the backdrop of passionate despair and hopeless longing for the forever lost vision of the “Beautiful Lady”. Passionate and hopeless disappointment is now the atmosphere of Blok’s poetry. From this atmosphere he is sometimes torn out by a whirlwind of earthly passion: the cycle “Snow Mask” (first days of 1907) Third volume. " Scary world"(1909-1916). "Retribution" (1908-1913). "Iambas" (1907-1914). "Italian Poems" (1909). "Harps and Violins" (1908-1916). "The Nightingale Garden" (1915). "Motherland" (1907-1916). Blok's genius, writes D.S.-M., reaches maturity by 1908. Poems written over the next eight years were included in the third volume, which, together with the poem “The Twelve,” is the largest that has been created by the Russian poet over the past 80 years. From Chukovsky’s article: “All incomprehensibility disappeared, the words became mathematically precise. A poet for a few began to gradually turn into a poet for all. This happened around 1908 or 1909, when he finally approached the local world and became the great poet that we know him from the third volume - because only in the third volume did he great poet . The dominance of vowels, which overly moisten the verse, has almost ceased. Severe and sober sounds appeared in the verse. In this third volume, he had a new, previously unknown, old man’s feeling that everything was behind him, everything had passed, that he was no longer living, but surviving. There was an angel, but it is not, and will not be. And the present is night. An entire section in his book is called “Scary World.” And there was no such phenomenon in the world that he would not call terrible. “Dances of Death”, “Night as Night”, “Night, Street, Lantern, Pharmacy”. Here Blok is full of disastrous forebodings. The most terrible thing that awaits a person is an understanding of the meaninglessness of life, death, and the universe. One of Blok’s most perfect poems of 1912, “Night, Street, Lantern, Pharmacy,” is about this. The idea of ​​eternal return and the meaninglessness of existence. The hopelessness is reinforced by the circular composition: a person is doomed to remain in an eternal prison from which there is no way out. Behind the captivity of life is the captivity of death, behind the captivity of death is the captivity of life. And everything in the world rotates, returns, everything is in a hopeless closed circle, just as these eight lines are closed in a semantic and symbolic circle, where the picture turns into a dead reflection, and the reflection that comes to life in the “ice ripples” turns into a dead picture. This time from 1908 to 1915 was the darkest period of his life. The Beautiful Lady has left. And without her there is emptiness. “You have gone away, and I am in the desert,” has been his constant feeling since then. Blok of the third volume is in every word Dostoevsky’s hero: a former contemplator of the Other, who suddenly lost this Other and with horror felt himself in the host of nihilists, for whom all that was left was a noose - Blok, like Dostoevsky, demanded from everyone and from himself religious justification for life and did not allow himself to remain without God for a single moment. Instead of religious ecstasy, Blok has a frenzy. It’s good that there is a frenzy, a stuporous, drunken passion, yet it still lifts you into the unearthly. Getting away from the ground is the main thing, but how, does it matter? In his poems, Blok, in Lermontov’s style, renounces God, and in another poem he says that people who seek God find only the devil. So without God and without people, without heaven and without earth, he was left alone in the void - only with fear and laughter. It seemed that there were no resurrections from this coffin. The loss of the Beautiful Lady was the loss of everything for him. But a ray of hope appeared, which Blok discovered for himself, perhaps a replacement for the Beautiful Lady. This is love for Russia. He felt that she alone deserved the cheerful despair of death that gripped him. As long as he did not feel his Russian ruin, he was a little bit of a foreigner in our literature. Now, having felt this cheerful despair of death, he became a national poet. He loved his death and created a cult out of his death. This delight of death was almost always associated with the feeling of the wind. For him, Russia is the wind, the wind of tramps and homeless people. The tramp knows that he is dying, he is both scared and happy, this wind is akin to him. “On the Kulikovo Field” (1908). This cycle occupies one of the central places in the “Motherland” section of the third volume of lyrics. Not the Motherland, but Rus' the Wife. It has the same eternally feminine principle as in the early poems. The third poem of the cycle depicts the warrior’s feelings on the night before the battle. The soul of Russia descends into the soul of the poet-warrior and draws closer to the image of the Mother of God, whom the people considered the intercessor of Rus'. Back in the 1905 poem “A Girl Sang in the Church Choir,” in which contemporaries guessed the poet’s response to the Battle of Tsushima and the death of the Russian squadron, a prayer was made for those who “will not come back.” In the five poems of the cycle “On the Kulikovo Field,” the poet’s pain for the fate of the Motherland becomes clear. This is a cycle not only about the great historical past, but also about future trials. The first poem carries a sense of foreboding, and the last poem returns to the same. This is a premonition of the coming catastrophes of 1914 and 1917. Blok's Rus' is a robber, Tatar Rus', a Rus' without restraint, drunkenness, blasphemy, despair. But with an admixture of special, musical, aching, dejected sadness. He had no pity for Russia. He needed to love her precisely - poor, humiliated, wild, chaotic, unhappy, disastrous, because that’s how he felt himself. In essence, he praised Russia because others would curse it. His last - third - volume, where there is so much near-death horror, was at the same time for him, as for an artist, a resurrection. Before, the world was just a sleepy haze for him. It flowed, swirled, and what was unknown, but just now the surroundings became clearer, and he became an attentive painter of the earthly. The poems of the third volume are marked by a love for precise and strong words, tightly fitting every thing. Previously, for such Pushkin words, he did not have enough love and attention to the concrete world. "Nightingale Garden". The poem was started by Blok in January 1914, and completed in the fall of 1915. In style, it is more classical and stricter than most of his lyric poems. The plot of the poem makes us recall legends in which an earthly hero finds himself in the world of celestials. A man who has known a real difficult life finds himself in an enchanted place, in a garden, where nightingales, roses and love await him. Earthly anxieties do not reach here, life in a magical garden knows no worries and sorrows, it seems that time itself has stopped here. And yet something is tormenting the hero; the distant cry of a donkey reaches him. He remembers his former life and leaves the garden. But the past is already gone forever, the place of the hero is taken by someone else. Similarities between Blok’s poem and A. Fet’s poem “The Key”. The 19th century led poets away from ordinary human happiness, but left hope: “There is no happiness in the world, / But there is peace and will...” (A.P.) Beginning of the 20th century. took away the poets' hope for peace. By the beginning of the 1920s, i.e. By the end of his life, Blok will feel that a person no longer has a will. And in verse " Pushkin House ” will talk about “secret freedom” - the poet’s last refuge. About Blok's melody. Blok was not a man of great intelligence or great moral strength. He was not, in essence, a great master. His art is mostly passive and involuntary. What makes him great is the presence of an overwhelming poetic spirit. He himself described his creative process in the poem “The Artist” (1913) as a completely passive state, very close to mystical ecstasy. Ecstasy is preceded by a state of melancholy boredom and prostration: then comes an inexplicable bliss from the wind blowing from other spheres, to which the poet surrenders limply and obediently. But ecstasy is hindered by the creative mind, which forcibly imprisons the “light, kind, free bird” in the shackles of the form. And when the work is ready, then for the poet it is dead, and he again falls into his previous state of devastated boredom. The secret of Blok's melody will forever remain a mystery. We can, for example, point out that he, especially in the second volume, had an excessive tendency towards alliteration and assonance. Even in his third volume, when his work became stricter and more restrained, he often indulged in this inertia of sounds. He generally had no control over his talent and too weak-willedly indulged in sound thinking, submitting to the inertia of sounds that was stronger than himself. Surrendering to the wave is the exact expression of his sonic passivism. Sound passivism: a person is unable to cope with those musical waves that carry him like a blade of grass. Blok’s charm was in his weak-willed non-resistance to sounds, in his feminine submission to them. Blok was not so much a master as a master of sounds, not a priest of his art, but a victim, especially in his second book, where the despotic dominance of music reached extraordinary proportions. It is significant that in his poems he most clearly felt vowels, and not consonants. No other poet has had such a heightened sense of vowels. That melodious flow of vowels. This is the moisture that gives his poems fluidity. His predilection for long, continuous letters is remarkable. These a, running through his entire verse, absorbed all other elements of the verse. There is no effort or bias here. The verse flows by itself, as if independently of the will of the poet, according to repeatedly repeated vowels. It seems that even if Blok wanted to, he could not create a non-singing line. Sometimes Blok's verse happened to flow through a whole series of o, y, e. But this was not simple sweetness. Every sound was heartfelt. This passivity of sound thinking served him considerable service in his later poem “The Twelve,” which contains magnificent sound parodies of ancient romances, ditties and folk songs. In general, he assimilated alien things, like a woman: not only alien sounds, but also someone else’s emotional tone, someone else’s manner, someone else’s words. About Blok's style. At first it was a metaphorical style. All the images were pure metaphors. The language of the second volume was the most decadent language ever written in Russia. Vagueness of sleepy consciousness. Many of the poems seemed to be written while asleep, the colors had not yet separated from the sounds, the concrete from the abstract. Blok is one of the most daring syncretists in Russia, especially in those poems that were included in his second volume. There is a riot of syncretic images there. There are blue riddles, and white words, and blue wind, and sonorous silence, and gray hints, and thoughtful bolts, and plaintive hands. Drowsy style. This also includes such images of him as: the eyes bloomed, she bloomed, the silence bloomed. Then, little by little, his style becomes clearer, and already at the end of the second volume classically clear plays appear. Blok’s attitude towards the First World War was expressed, like many others, in passive pacifism. When his turn came to go to the front, he used all resources available to him to avoid mobilization, and he managed to replace military service with service in an engineering and construction squad that built fortifications in the rear. As soon as rumors about the fall of the monarchy reached him, he returned to Petrograd without permission. That year, Blok came under the influence of the left Socialist Revolutionaries and their representative Ivanov-Razumnik, who developed a kind of mystical revolutionary messianism, with an emphasis on the revolutionary mission of Russia. The Left Social Revolutionaries united with the Bolsheviks and took an active part in the overthrow of the Provisional Government. So Blok found himself on the side of the Bolsheviks along with his friend Bely, but against most of his former friends, including the Merezhkovskys. Block critic. The focus of Blok's attention as a critic was on the problems of contemporary social and literary life: the formation of new art, identifying its connections with reality and classical traditions, problems of the people and the intelligentsia and revolution. Most of his lit-crit works were created as speeches, speeches, or reports. In 1900 he shared many of the general principles and aspirations of the new art, highly valued V. Solovyov, Vyach. Ivanov and V. Bryusov. Blok contrasted decadence as a fashion for the modern style and decadence with true poetry, to which he attributed, for example, the poems of Bryusov. Like most symbolists, Blok saw the origins of new poetry in the works of Lermontov, Baratynsky, Tyutchev, but he placed Apollo Grigoriev especially highly. I believed that this was a poet divinely inspired, a bearer of the Russian organic idea. “The Sun over Russia” (1908) – an article dedicated to the work of Leo Tolstoy. One of the important issues that worried Blok was the question of the tragic separation of the intelligentsia, primarily the creative one, from the people, from the problems of public life (“Literary results of 1907”, “Evenings of the Arts” (1908)). Blok emphasized that there was more talk about literature than there were literary works themselves. "On Realists" (1907). Article about M. Gorky. In Gorky, Blok saw a truly Russian writer, an exponent of the concept of “Rus”. Blok sensitively understood the change in the direction of Gorky’s talent - he spoke about Gorky’s decline, starting with the novel “Mother”. Blok was closer to Gorky, the author of Confession. "The People and the Intelligentsia" (1908). In this article, Blok consistently contrasted Gorky and the Social Democrats. It was Gorky that Blok considered the last significant phenomenon on the line connecting the people with the intelligentsia. On the problems of theater and theatrical art. According to Blok, dramatic art is the highest form of creativity. In his lecture “On the Theater” (1908), Blok critically evaluates contemporary theater. Program speech “On the current state of Russian symbolism” (1910). Blok noted that symbolism as a direction in poetry has already passed part of the way (the rebellion of the purple worlds is subsiding). Blok also wrote about the connection and close relationship between the artist and his homeland. He sees his homeland as a living organism, and considers poets to be the subtlest and most important organs of its senses. Blok's articles. 1. “Intellectuals and revolution.” Published in the newspaper “Znamya Truda” on February 1, 1918. Blok’s article was written not in defense of the coup parties, but in defense of the principle of “the people at the top,” a mystical, sublime image of the people. His potential opponents are mystics from the intelligentsia - Berdyaev, Bulgakov, Merezhkovsky. In 1908, Struve refused to publish Blok’s article “The People and the Intelligentsia” in the journal “Russian Thought”. The article “Intellectuals and Revolution” is a continuation of the dialogue, a new call to open the heart. Storm of indignation among the intelligentsia. Only S. Bulgakov thanked Blok for protecting the people’s soul. “Russia is a storm. Europe has gone crazy: the flower of humanity, the flower of the intelligentsia, has been sitting in the swamp for years (war). We loved these roars and ringing sounds in the orchestra. But if we really loved them, and did not tickle our nerves in a fashionable hall, we must listen and love these sounds now, and understand that they are all about the same thing. The artist’s job is to see what is intended, to listen to the music that thunders through the wind-torn air. And the plan is to redo everything. Arrange it so that everything becomes new. So that our deceitful life becomes a pure life. This is called a revolution. Woe to those. Who thinks to find in the revolution only the fulfillment of their dreams. A revolution, like a thunderstorm, always brings something new and unexpected. She cruelly deceives many. She easily cripples a worthy person in her whirlpool. She often brings the unworthy to land unharmed. But these are her particulars. The buzz is still always about the great. It is worth living only in such a way as to believe not in what is not in the world, but in what should be in the world, even if it is not now and will not be for a long time. About cathedrals, manorial estates, hundred-year-old parks - horror. What were you thinking? That the revolution is an idyll? That creativity does not destroy anything in its path? I am addressing the intelligentsia. She was enlightened by science and art. Its values ​​are immaterial. We are homeless, familyless, disorderly, poor - what do we have to lose? With all your body, with all your heart, with all your mind – listen to the revolution. 2. “On the appointment of a poet.” What is a poet? He writes in poetry, brings words and sounds into harmony, because he is the son of harmony, a poet. What is harmony? This is the consent of world forces, the order of world life. Space as opposed to chaos. Chaos is the primeval anarchy. Space is an organized harmony, culture. The element contains within itself the seeds of culture. The poet is the son of harmony. He is given some role in world culture. Three tasks are entrusted to him: 1) to free sounds from the beginningless element; 2) bring these sounds into harmony, give them form; 3) bring this harmony into the outside world. “The poet’s words are already his deeds.” Throw away the worries of the vain world to discover the depth. Creating harmony is an area of ​​mastery. Mastery requires inspiration. When the poet brings harmony to the world, the famous clash between the poet and the mob occurs. The mob demands from the poet service the same thing that she serves: service to the outside world; she demands “benefit” from him; demands that the poet enlighten the hearts of his fellow men. But the class of the mob is progressing very slowly. And the poet’s job is not at all to reach out to all the idiots. Rather, its harmony is produced by selection between them. The revolution of 1917, with all its anarchy, was nevertheless greeted positively by him. So Blok’s Bolshevism was not an accident. From Chukovsky’s article about Blok: “What did he want from the revolution? Above all, he wanted her to transform people. So that people become people. “Piles of human slag,” he says about people. Most people for him are rabble, which only tired him with their vulgarity. It was they who were to be transformed by the catastrophe. Blok was firmly convinced that, having survived the catastrophe, all humanoids would become human. In the fire of revolution, the mob will be transformed into the people. The world is beautiful, but it is polluted by human slag. Once he burns out, the beauty of the world will be revealed to everyone. He justified his home, his personal life, and the entire civilization of the world by death. Even Blok’s revolutionary feelings were old noble: the division of humanity into two unequal parts - the rabble and the non-rabble - is a feature of feudal thinking.” The revolution was for him an expression of everything that he identified with the soul of Russia - the soul of Vyuga. This concept found expression in his poem “The Twelve.” "Twelve". Blok's musical genius reaches its peak here. From the point of view of rhythmic construction, this is a miracle. The musical effect is built on dissonances. The poem develops in broad strokes, transitions from one rhythm to another and the melting of dissonances into the highest harmony. On January 8, 1918, a note about work on the poem appears in Blok’s notes. Above all the events and horrors, Blok hears music and tries to write. “The Twelve” belongs to an extremely short and bright era of Russian history: the last months of 1917 and January 1918. In a certain sense, the most important themes, images, symbols of Blok’s entire legacy converged and intertwined in “The Twelve”: the elements, snow, wind, path, world fire in blood. From Chukovsky’s article: “In the poem, Blok made Russia even more fallen. There is such faith in one’s people that a person sees dazzling beauty even through chaos. It is strange that no one has yet perceived “The Twelve” as a national poem about Russia, as the natural completion of that cycle of patriotic “Poems about Russia.” Before thinking about these poems or arguing about them, you just need to listen to them - listen to their intonation, comprehend their rhythmic, sound basis, which is most important for Blok, because his rhythms are stronger than himself and say more than he would like say - often against his will. Russian song, Russian old romance, Russian soldier's ditty. Take away their national coloring from these verses, and there will be nothing left of them, because this is not coloring, but the essence. The love of Petka and Katka is that same disastrous daring, that drunken revelry, that rapturous rapture of death, in which for Blok the very essence of Russia. Here – even in the sounds – there is a Russian frenzy and uncontrollability. It’s not for nothing that Blok’s favorite desperate wind blows through this poem. What could he sing if not his own revolution? Russia itself was already a revolution for him. And he accepted our current revolution only insofar as it embodied the Russian people's rebellious soul, the same one that was sung, for example, by Dostoevsky. The remaining elements of the revolution remained completely alien to him. He only believed in it because it seemed to him that Russia was in this revolution, as if this revolution was a people’s revolution. For him, as for Dostoevsky, main question Is the Russian revolution with God or against God? No one even thought that to understand this poem you need to know Blok’s previous works, with which it is organically connected. Here, not a new, but an old Block, and that topic 12 is its long-standing, familiar topic. Even the blasphemy of the “Twelve”, these constant cries: “Eh, eh, without a cross!; “Let’s fire a bullet into Holy Rus'!” Blok’s long-standing occupation since the times of the Balaganchik. His inveterate Petka, the knifeman, grieves for Katya, whom he shot, and repeats: O Lord, rest the soul of your servant. In the very passion of renouncing God, in the very thought that God is not for them, there is a burning religious memory of God, which - according to Blok - is characteristic even of Russian atheists, because only a Russian, having renounced God, feels damned. Dostoevsky taught Blok this. Blok wants to love the revolution even in spite of its heroes and righteous people, to accept it entirely even in its chaos, because this revolution is Russian. That’s why he and Blok are to transform the darkest into the holy. He transformed Russia without embellishing it. They may be thugs, but Christ is with them too. For Blok, this is not a phrase, but something experienced and felt, because it is expressed not only in words, but also in rhythms. Only those who are deaf to its rhythms can say that the transformation of these hooligans into apostles and the appearance of Jesus Christ at their head is an unjustified, random effect, not organically connected with the poem. Those who listened to the music of this poem know that such a transformation of the base into the sacred does not occur on the last page, but from the very beginning, from the very first sound, because this poem, with all its vulgar vocabulary and plot, in its music solemn and majestic. Everything rude is drowned in her pathos; behind all her vile words we feel the wide and bright distances. Sensitive people felt from the first page that this was a hymn about God. But, of course, Blok would not be Blok if in this poem there was not also felt a second meaning opposite to the first. He always loved without hating, and believed without believing. Often he himself did not understand what was written in his mouth, anathema or hosanna. He listened carefully to other people's interpretations of this poem, as if expecting that there would be someone who would explain to him what it meant. It was impossible to give it any single explanation, since it was written by a double person, with a dual perception of the world. Her lyrics combine two feelings. His 12 will be understood only by those who can accommodate his double sense of revolution. The poem contains the highest flowering of his creativity, which - from beginning to end - was, as it were, a preparation for this poem. When he was insulted by the evil civilization of Europe, he invariably yearned for the “Twelve.” They would rather come and save! This is a poem of great happiness, of hope fulfilled: the long-awaited ones have arrived. They may be freaks and convicts, but they will light the fire that Blok has been yearning for for so many years. Blok’s amazing technique is amazing precisely because it is invisible. We read and say: “There a man burned,” but whether he burned masterfully or not, we forget to even think about it. “There a man burned down” - this is Blok’s theme. For the reader, these are not just works of art, but a diary about a truly experienced experience. Blok himself in his autobiography calls them his diary. Blok, despite all his gloomy themes, was always a poet of joy. In the depths of the depths, his poetry is precisely joy - about life, about the world, about God. More about the figure of Christ in the finale from Blok’s diary: “Those who fear the Twelve are right.” But I just stated a fact: if you look closely at the pillars of the snowstorm along this path, you will see Jesus Christ. That Christ goes before them is certain. The point is not whether they are worthy of Him, but the scary thing is that He is with them again, and there is no other one yet. Do you need another? I’m somehow exhausted...” S. Bulgakov suggested that in a snowstorm, the Antichrist appeared to Blok under the guise of Christ. Voloshin assumed that it was not Christ who was leading the Red Guards, but that they were escorting Him. A number of contemporaries accepted these lines as direct and unforgivable blasphemy. Someone wrote that the Christ in the poem is not the Jesus of the Gospels, but an Old Believer, sectarian, burning Jesus, associated with the dream of social retribution. On March 3, 1918, Blok's poem was published in the newspaper Znamya Truda. A separate edition of the poem was published that same year. Blok’s own attitude towards the poem changed. In 1920: “I do not renounce what I wrote, because it was written in accordance with the elements. And those who see political poems in “The Twelve” are either very blind to art, or are sitting up to their ears in political mud, or are possessed by great malice.” "Scythians". This is a tense rhetorical invective against Western peoples who do not want to conclude the peace proposed by the Bolsheviks. It's well written, eloquent, but lower in quality than The Twelve. The poem was written on January 30, 1918, published on February 20, 1918. Together with the poem “The Twelve” and the article “Intellectuals and Revolution” it forms the so-called. January trilogy 1918. The uncertain situation at the negotiations in Brest-Litovsk, the enthusiastic apocalyptic premonitions at this time merge in Scythians with Blok’s long-standing thoughts about Russia and Europe, about the messianic destiny of Russia. Ivanov-Razumnik emphasized that the poem is not about geographical Russia, but about people's soul Russia. Tragedy "Rose and Cross". There was a knight Bertrand, and he loved the void and served the void, and gave his life to it, and in Blok this knight of the void is the only truly human image. He is happy with his sacrifice to the Void. He conquers the world's nonsense with his aimless suffering. We must go without a goal and die without a goal, because our only justification is death. That’s what Blok said: you won’t get anywhere, but go; you will be lost, but go. Stubborn idealism, idealism in spite of everything. In essence, Bloch has always been Bertrand, but he realized it only now; even if there is no one to love, we will love, no matter who and for what! There is no one to believe in, but you cannot not believe. There is nowhere to go, but we will go. Let us sacrifice ourselves for the sake of anything, because only through sacrifices is life sanctified. Three post-revolutionary years. Blok worked on all sorts of cultural and translation endeavors, led by Gorky and Lunacharsky. After the poem “The Twelve,” his revolutionary enthusiasm subsided and was replaced by passive despondency. About Blok and his death Chukovsky: “All of Blok’s lyrics since 1905 are homelessness and the wind. He knew how to portray homelessness masterfully. When the revolution came, Blok greeted it with some kind of religious joy, as a holiday of the spiritual transformation of Russia. In the revolution he loved only ecstasy, he only disliked in the revolution what he did not consider a revolution: everything philistine, hoarding, cautious, servile, compliant. He was disappointed not in the revolution, but in people: no revolution could change them. Even during the revolution, the poet found himself homeless, not attached to any nest; he could not forgive the revolution until the end of his days, because it was not like the one he had dreamed of for so many years. But she didn’t promise him that she would be similar. Blok fell ill only in March 1921, but began to die much earlier, back in 1918, immediately after writing “The Twelve” and “Scythians.” No matter what he did, no matter where he went, he always felt dead. Even his gait became funereal. Then something happened to him that, in essence, was equivalent to death. He became numb and deaf. That amazing hearing and that seraphic voice that he alone possessed left him forever. Everything suddenly became silent for him, as if in the grave. He said that after writing “The Twelve,” he heard an incessant noise or hum for several days in a row, but then that too fell silent. He suddenly felt the noisiest, loudest and loudest era as soundlessness. His creativity stopped. When I asked him why he didn’t write poetry, he always answered the same thing: “All sounds stopped. Don’t you hear that there are no sounds?” It would be blasphemous and deceitful to remember sounds with the mind in a soundless space. This music has now stopped. “And the poet dies because he can’t breathe.” It was all the more frightening because before it died down, it was completely filled with music. He wrote the entire poem “The Twelve” in 2 days. It was as easy for him to create as it was to breathe. The end of his work was his death. Having written “The Twelve,” all these three and a half years he tried to understand for himself what he had written. He always spoke about his poems as if some extraneous will was reflected in them. “I don’t like the end of Twelve either.” I wish this ending had been different. When I finished, I myself was surprised: why Christ? But the more I looked, the more clearly I saw Christ. And then I wrote down to myself: unfortunately, Christ.” Blok’s recognition seemed priceless to me: the poet had no control over his talent to such an extent that he himself was surprised at what he wrote, struggled with what he wrote, regretted what he wrote, but felt that what he wrote he had a higher truth, independent of his desires, and respected this truth more than his personal tastes and beliefs.” Blok died on August 7, 1921. Erich Hollerbach: “Blok died because he wanted to die.” V. Khodasevich said approximately the same thing: “He died because he was completely ill, because he could no longer live. He died of death." 3. Composition of a verbal work and its various aspects. Composition as a “system of dynamic deployment of verbal series” (Vinogradov) Linguistic composition of the text and related concepts: architectonics, plot, plot Composition - in Latin - composition, composition, connection. Composition in general terms refers to the construction, relative position and relationship of the parts of any work: verbal, musical, pictorial. But we are interested in the verbal. The concepts of architectonics, plot, and plot correlate with the concept of composition in literature. The relationship between them is not defined with sufficient clarity, sometimes even composition is confused with architectonics, composition and plot are not distinguished, etc. Therefore, understanding these three related concepts is important. Architectonics (gr. construction art) - the external form of the structure of a work of literature, the arrangement of its parts: prologue, epilogue, chapter, part, volume, etc. in a poem it is a stanza and solid forms (sonnet, ballad). Architectonics is considered in terms of the unity of the external form of the arrangement of parts of the text with the disclosure of its content. Fabula (history, story) is a set of events depicted in a work, and Plot is a sequential development of events as they are set out in the work. The composition of a verbal work is understood in different ways. 1) “School” interpretation of the composition – the development of the plot, in which the following generalized parts are distinguished: exposition – plot – development of action – climax – denouement.” This arrangement of parts is not necessary. Lots of digressions. 2) Another interpretation of composition, more related to the peculiarities of verbal creativity: “motivated arrangement of “segments” of text. Each “segment” as part of a verbal whole is characterized either by one or another form of verbal expression sustained throughout its entire length (narration, description, reasoning, dialogue), or by the point of view of the author, narrator, character from which the presentation is conducted.” On cases of complex relationships between architectonics and plot. “First of all, it refers to the arrangement of parts in a work in relation to the sequence of events in the time covered by the narrative.” Among the possible types of time shifts are “heroes’ stories.” 3) The third definition of composition was put forward by V.V. Vinogradov, proposing an understanding of the composition of a literary text “as a system of dynamic deployment of verbal series in a complex verbal and artistic unity.” He defines the components of the composition of a verbal work as verbal series. Not only words, but also phrases, tropes, figures, and syntactic models can act as terms. Vinogradov did not propose a definition of the verbal series. Therefore, Gorshkov offers his own properties of the verbal series. 1) Since the verbal series acts as a component of the composition, it is a category of text. There is no verbal sequence outside the text. 2) The definition of “verbal” appears in a broad sense (linguistic) and implies a number of not only lexical, but also phonetic, morphological, word-formation, syntactic, etc. So a verbal series is a sequence of linguistic units of different tiers (and not just the tier of vocabulary). 3) The third property is not necessarily a continuous sequence of linguistic units that form a verbal series. 4) Verbal series can be distinguished according to various characteristics, the main ones being correlation with a certain area of ​​linguistic use (archaisms, neologisms, jargon, professionalisms, dialectisms) and with a certain method of constructing a text. They can be united by connection with any aspect of text construction: emotional-expressive or subject-logical.

In the fall of 1946, Boris Pasternak informed one of his regular addressees: “I have already told you that I have begun to write a big novel in prose. Actually, this is my first real job. In it I want to give a historical image of Russia over the last forty years, and at the same time, with all sides of my plot, heavy, sad and detailed, like, ideally, Dickens or Dostoevsky. This thing will be an expression of my views on art, on the Gospel, on the life of man in history and much more.”

In his novel, Pasternak opens the revolution from a new, very important side, from the position of individual rights, the rights of every person. The revolution is not a vision of the struggle from the camp of the reds or from the camp of the whites, but it is a narrative through the eyes of a person who does not want to interfere in a fratricidal war. The writer is alien to cruelty, he wants to live with his family, love and be loved, treat people, write poetry:

If possible, Abba Father,

Carry this cup past.

This is what the main character of the novel, Yuri Andreevich Zhivago, wrote in one of his poems, expressing his attitude towards the revolution and war. The novel itself is named after him.

Yuri Zhivago initially perceives the revolution as the realization of the organics of life - “a breath held too long”, as “freedom by accident, by misunderstanding”, promising transformation. But he was one of the first to experience disappointment in October, primarily because he saw speculativeness and a terrible danger to the very essence of life in the idea of ​​​​remaking the world proclaimed by the Bolsheviks: “Remaking life! This is how people can reason, although they may have seen the world, but have never recognized life, have not felt its spirit, its soul. For them, existence is a lump of rough material, not refined by their touch, that needs their processing. But life is never a material, a substance. She herself, if you want to know, is a constantly renewing, eternally reworking principle. You can't gain anything by violence. One must attract goodness with goodness; Man is born to live, not to prepare for life.”

Yuri Andreevich is an intellectual, the son of a bankrupt millionaire who committed suicide. His mother died early. The hero was raised by his uncle, who was a “free man, devoid of warnings against anything unusual... He had a noble sense of equality with all living things.” Having graduated from the university with flying colors, Yuri marries his beloved girl, Tonya, the daughter of a professor and the granddaughter of an active manufacturer. Then his favorite job - he becomes an excellent doctor. While still at university, the hero developed a love for poetry and philosophy. His son is born. Everything seems fine. But war inevitably breaks out. Yuri goes to the front as a doctor.

First World War- the threshold and source of even more bloody, terrible, turning-point events. The heroine of the novel, Larisa, believes that the war “was the fault of everything, of all the subsequent misfortunes that befell our generation for a longer time.” The author confirms this idea with the fate of many heroes.

Yuri Andreevich lived only a few years after the civil war, because he could not adapt to the new conditions, which suited his former janitor perfectly, for example. He cannot serve because what is required of him is not his thoughts and initiative, but only “a verbal side dish to the exaltation of the revolution and the power of those holding it.”

Reflections and arguments about the revolution in the novel prove that this is not a “holiday of the oppressed,” but a difficult and bloody period in the history of our country. It was probably inevitable; the country was given no other choice. Many intellectuals enthusiastically perceived it as a way out of the world of lies and parasitism, debauchery and hypocrisy. Zhivago’s father-in-law tells him: “Do you remember the night when you brought a piece of paper with the first declarations... it was unheard of unconditionally. This straightforwardness was captivating. But such things live in their original purity only in the heads of the creators and only on the first day of proclamation. The jesuitism of politics turns them inside out the very next day. This philosophy is alien to me, this power is against us. I was not asked for consent to this withdrawal.”

Every government should strive to make people happy. Even for the sake of the highest ideas, one cannot sacrifice human lives, joys, and the rights that a person is endowed with from birth.

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CHAPTER1 . IDEA-THEMATICCONTENTNOVEL “DOCTOR ZHIVAGO” BY BORIS PASTERNAK

1 . 1 The meaning of the title of the novel "Doctor Zhivago"

The history of the creation of the novel shows that its title was carefully thought out by the author. “Doctor Zhivago” sums up the Russian novel of the 19th century with its fading poetry of “noble nests” and estates, the beauty of rural nature, the purity and sacrifice of heroines, painful reflection and tragic fate heroes. The main character - Yuri Andreevich Zhivago - closes the series of heroes of Lermontov, Turgenev, Tolstoy and Dostoevsky. In the context of Russian classical literature, Pasternak’s novel “Doctor Zhivago” was studied by such scientists as I.V. Kondakov, G.M. Lesnaya, I.N. Sukhikh and others.

Parsnips don't just follow long tradition Russian classical literature of the 19th century, in which the name of the main character is often included in the title of the work, but also indicates his profession - doctor. For the general concept of the work, this clarification is very significant, since the hero, involved in the maelstrom of terrible historical events, retains his view of the world, history, man, determined by his humanistic position as a doctor. This is reflected in a number of plot collisions (Zhivago, as a doctor, visited the fronts of the First World War, then in a partisan detachment during the Civil War), he helps Lara’s mother and thanks to this he meets a girl, whose love he will carry throughout his life. But the most important thing is that the doctor’s duty is to help all those who suffer, regardless of which camp a particular person belongs to. Therefore, the definition of “doctor” takes on a deeper meaning associated with the Christian concept of mercy. In the terrible trials of world wars, revolutions, civil strife, which split not only the country, but also the person himself, the hero preserves what constitutes the basis of a person’s healthy moral nature, and helps others in this. He is, as it were, called upon to be a healer of human souls, and it is no coincidence that as the plot of the novel progresses, Christian motives intensify and are completed in the last poetic part.

Contrary to the traditions of the Russian novel, the author is more busy searching for meaning in the game of chance than constructing a logically completed series of events. The methods of characterization in the novel are correlated with the idea of ​​resolving the problem of the irony of history, when in the process of conquering freedom it turns out to be impossible for a person to exist internally free and at the same time not separated from the whole and the universal.

The character of the main character is not without logic natural development, and it reveals the pattern of personality formation in contact with the circumstances of real life. In accordance with this artistic concept, the novel creates the image of Yuri Zhivago, a doctor and poet who embodied Pasternak’s idea of ​​freedom and personalism. Yuri has a spiritual ideal, he is disgusted by everyday games, packs and clans - freedom and secret independence, a sense of the highest ideal are dear to him.

“Doctor Zhivago” is a spiritual biography of a man who found himself at a rift in time. Although the novel reflects the most important periods in the history of the country, it is not built according to the laws of an epic work. The main thing in the novel is not the story of life events, but the story of the spirit.

The 20th century created the type of strong hero as an active personality. B. Pasternak proceeds from a religious and philosophical understanding of strength as a moral, spiritual feeling. From this point of view, Christ is the embodiment of a new moral ideal, a turn in history. According to Pasternak, life is understood as spiritualized and spiritualizing matter, in perpetual motion. Death is seen as a temporary stage on a person’s path from life to immortality. The symbols of a candle, garden, cross, and bowl serve as a means of representing the concepts of “life” and “death”; in the text they manifest individual author’s associations that arise on the basis of traditional ones. [Chumak, 2004, p. 12].

The idea of ​​life in the novel is manifested in its very title, in the profession and surname of the hero. The surname Zhivago introduces the action of the novel into the circle of Christian concepts and meanings. In this regard, Yuri Zhivago has the strength of spirit that allows him not to succumb to the temptation of simple, unambiguous decisions, to accept the world in all its complexity and diversity, denying what brings spiritual death. parsnip zhigago novel personality genre

The book of poems “My Sister is Life” sounded like a poetic manifesto of the poet’s blood relationship with life. It is significant that the Siberian surname of the hero is a form of the genitive and accusative case of the Church Slavonic adjective “zhivoy” (alive). In Orthodox liturgical texts and the Bible (in the Gospel of Luke), this word in relation to Christ is written with a capital letter: “Why are you looking for the living among the dead?” [Bible..., 2004, p. 238] ? The angel addresses the women who came to the tomb of Christ, i.e. the doctor's name graphically coincides with one of the names of Christ, and thereby emphasizes the connection between the hero of the novel and his gospel prototype. According to the writer V. Shalamov, B. Pasternak explained the choice of a surname for his hero: “The surname of my hero? This is a complicated story. Even as a child, I was amazed and excited by the lines from the prayer of the Orthodox Church: “You are truly Christ, the son of the living God.” I repeated this line and childishly put a comma after the word “God.” The result was the mysterious name of Christ “Zhivago”. But I was not thinking about the living God, but about his new name, accessible only to me, “Zhivago.” It took my whole life to make this childhood feeling a reality - to name it after the hero of my novel.” [Borisov, Pasternak, 1998, p. 205].

O. Ivinskaya testifies that the very name “Zhivago” arose from Pasternak when he accidentally on the street “came across a round cast-iron tile with the “autograph” of the manufacturer - “Zhivago”... and decided that let him be like this, unknown, not released either from a merchant, or from a semi-intelligentsia environment; this man will be his literary hero.” [Ivinskaya, 1992, p. 142].

The real person who was the prototype of Doctor Zhivago was probably the doctor Dmitry Dmitrievich Avdeev, the son of a merchant of the second guild, whom Pasternak met during the evacuation to Chistopol, where the writer lived from October 1941 to June 1943. It was in the doctor’s apartment that writers held creative evenings (by the way, it was called “a branch of the Moscow Writers Club”). And when Pasternak was looking for a title for his most significant work in 1947, he remembered his Chistopol acquaintance, Doctor Avdeev, and the novel was called “Doctor Zhivago.”

While writing the novel, Pasternak changed its title more than once. The novel could be called “Boys and Girls”, “The Candle Was Burning”, “The Experience of Russian Faust”, “There is No Death”. Initially, the novel contained fragments with crossed out titles - “When the Boys Grew Up” and “Notes of Zhivult”. The semantic identity of the surnames Zhivult and Zhivago is obvious and in itself indicates their undoubted emblematic nature, and not an accidental origin. In the fragment entitled “The Death of Reliquimini”, a variant of his name is found - Purvit (from the distorted French pour vie - for the sake of life), which, together with two others - Zhivoult and Zhivago - forms a triad of names-emblems identical in meaning. The triple form of this essentially single name contains the central intuition of all Pasternak’s work - the intuition of the immortality of life.

“Notes of Patricius Zhivult” - Pasternak’s “general” prose of the 30s - was undoubtedly the most important link connecting all previous attempts at a “great novel” with the concept of “Doctor Zhivago”. A whole series of motifs, provisions, names and toponyms in the part that has come down to us (“The Beginning of Prose of the Year 36”) indicate this with complete clarity. Istomina’s appearance in the “novel about Patrick” anticipates some of the features of the future Lara Antipova. In the image of Patricius, on whose behalf the story is told, autobiographical features are easily recognizable, on the one hand, and signs that bring him closer to Yuri Zhivago, on the other.

The image of “a man in captivity, in a cage” explains the origin of another “talking” surname in the novel “Doctor Zhivago” - Guichard (from the French guichet - prison window) and, in combination with the Russian meaning of the name Larisa (seagull), makes clear the abundance of “ bird" associations in the descriptions of the heroine of the novel. Symbolism of the name Larisa Fedorovna Guichard: Larisa - “Seagull” (association with Chekhov’s seagull), Fedor - “God’s gift”, Guichard - “lattice” (French). The name supports the metaphor “Lara - Russia”: Russia, spiritualized, humiliated, dying behind bars.

Thus, the very name of Zhivago contains life and literally repeats the Old Slavonic definition of “God of the Living.” Zhivago is a doctor, guardian of life, protector of it. In this regard, we can say that the hero’s life becomes a life, or rather being, overshadowed by the sign of eternity.

It is no coincidence that the hero's surname is included in the title of the novel. She is certainly speaking, associated with the Christian concept: “The Spirit of the Living God.” Already in the title of the work, the deep Christian foundations of the author's concept are defined, the main ideological and philosophical axis of the novel is the opposition of life and death. Indeed, much points to the messianic role of his central character, who went through suffering and trials, became a kind of atoning victim of a formidable historical “surgery”, but gained immortality in his creativity and in the grateful memory of people.

1 .2 Subjectpersonalities and history inB. Pasternak's novel “Doctor ZhIvago"

One of the main emphasis is made by the author in solving the problem of the relationship between personality and history, character and circumstances. With a common common theme - the intelligentsia and the revolution, as well as its embodiment - showing the fate of a person changing under the influence revolutionary events, a whirlpool of history that confronted an individual with the problem of choice, Doctor Zhivago is distinguished by a sharp dissimilarity of emphasis. Pasternak goes against the traditional interest of literature in the formation of the character of a new person in the conditions of the revolution and under its influence.

For Zhivago, Russia is nature, the world around us, and the history of Russia. Yuri witnessed such historical events as: the Russo-Japanese War, the unrest of 1905, the First World War, the revolution of 1917, the Civil War, the Red Terror, the first five-year plans, the Great Patriotic War. Almost all the heroes of Pasternak’s novel are also involved in their own way in the turbulent life of the century and take his life for their own. Everyone decides his own destiny, correlating with the demands of the time: war, revolution, famine and so on. Yuri Zhivago lives in his own space, in his own dimension, where the main ones are not everyday values, but the laws of culture. Roman B.L. Pasternak's Doctor Zhivago is based on fundamental archetypes recreated by the author in the images of the novel, which raises it to the level of the general cultural heritage of mankind and places it among the pinnacle achievements of Russian and world literature. [Avasapyants, 2013, p. 20].

The author talks about the fate of Yuri Zhivago in its historical context. The opposition of Rome, with its division into leaders and peoples, with its false gods, to the gospel recognition of the divine meaning of the individual human personality is translated into the author's plan, where the individual, Yuri Zhivago, is contrasted with the new society of leaders and slaves. For the revolution did not become a process of liberation of peoples, contrary to Vedenyapin’s dream. Instead of a utopian brotherhood of free individuals, slowly rising from the chaos of war new Rome, a new barbaric division into rulers and the crowd. Doctor Zhivago confronts the new idols. [Kadiyalieva, Kadiyalieva, URL: http://www.rusnauka.com/8_NMIW_ 2012/ Philologia/8_104376.doc.htm].

In the literary process of the post-revolutionary years, B. Pasternak belonged to the camp of writers who objectively depicted both the positive and negative sides of the revolution. Yuri Zhivago does not find an answer to the question: what to accept and what not to accept in his new life. In describing the spiritual life of his hero, Pasternak expressed the doubts of his generation.

The main question around which the narrative about the external and internal lives of the heroes moves is their attitude to the revolution, the influence of turning points in the country's history on their destinies. It is known that Pasternak’s attitude towards the revolution was contradictory.

Yuri Andreevich’s initial attitude to the revolution was as follows: 1) in the revolution he sees something “evangelical” [Pasternak, 2010, p. 88]; 2) revolution is freedom. “Just think what time it is now! The roof was torn off from all over Russia, and we and all the people found ourselves under open air. And there is no one to spy on us. Freedom! Real, not in words and in demands, but fallen from the sky beyond expectations. Freedom by accident, by misunderstanding.” [Pasternak, 2010, p. 88]; 3) in the revolution, Doctor Zhivago saw the course of history taking place and rejoices at this work of art: “The revolution broke out against the will, like a sigh held in for too long. Everyone came to life, was reborn, everyone had transformations, revolutions. We can say: two revolutions happened to everyone, one of their own, personal, and the other general” [Pasternak, 2010, p. 89]; 4) “What a magnificent surgery!” [Pasternak, 2010, p. 116]. Zhivago reacts unmistakably only to the true, the eternal.

But over time, Zhivago’s attitude towards the revolution changes: 1) “remaking life” [Pasternak, 2010, p. 197] - opposition to all living things; 2) “...Each installation of this power goes through several stages. At the beginning it is the triumph of reason, the critical spirit, the fight against prejudice. Then comes the second period. The dark forces of the “adjacent”, feigned sympathizers gain an advantage. Suspicion, denunciations, intrigue, hatred are growing... we are at the beginning of the second phase" [Pasternak, 2010, p. 236]; 3) fratricidal war (the case of Seryozha Rantsevich): “A crowd surrounded a bloody human stump lying on the ground” [Pasternak, 2010, p. 214]; 4) the story of Palykh: “He was clearly insane, his existence irrevocably ended” [Pasternak, 2010, p. 215]; revolution cripples people, depriving them of their humanity; 5) “...Man is a wolf to man. When a traveler saw a traveler, he turned aside, and the one he met killed the one he met so as not to be killed. Human laws of civilization have ended. Animals were in power" [Pasternak, 2010, p. 219]; 6) “The brutality of the warring parties had reached its limit by this time. The prisoners were not brought alive to their destination; the enemy’s wounded were pinned on the field” [Pasternak, 2010, p. 196]; 7) violence: “Commissars with unlimited powers, people of iron will, armed with intimidation measures and revolvers began to be appointed in all places” [Pasternak, 2010, p. 116]; 8) a revolution in life, when everything collapses. Lara: “What is happening now with life in general... Everything derivative, established, everything related to everyday life, the human nest and order, all this went to dust along with the revolution of the entire society and its reconstruction. Everything household has been overturned and destroyed” [Pasternak, 2010, p. 233].

Zhivago feels the history as a given. Trying not to participate in the remaking of the world, Zhivago is nevertheless not an outside observer. His position could be compared with the position of M. Voloshin, who wrote: And I alone stand between them // In roaring flames and smoke. // And with all my strength // I pray for those and for others [Voloshin, 1989, p. 178].

In the novel Doctor Zhivago, Pasternak revives the idea of ​​the intrinsic value of the human personality. The personal dominates the narrative. All artistic means are subordinated to the genre of this novel, which can be conventionally defined as prose of lyrical self-expression. There are, as it were, two planes in the novel: an external one, telling about the life story of Doctor Zhivago, and an internal one, reflecting the spiritual life of the hero. It is more important for the author to convey not the events of Yuri Zhivago’s life, but his spiritual experience. Therefore, the main semantic load in the novel is transferred from the events and dialogues of the characters to their monologues. The novel reflects the life story of a relatively small circle of people, several families connected by relationships of kinship, love, and personal intimacy.

The fate of Doctor Zhivago and his loved ones is the story of people whose lives were thrown out of balance and destroyed by the elements of revolution. Pasternak says that everything that happened in Russia in those years was violence against life and contradicted its natural course. Refusal from the past turns into a rejection of the eternal, of moral values.

Thus, the idea of ​​life is opposed to the idea of ​​the inanimate, dead, unnatural, artificial, therefore Yuri Zhivago evades the violence of history. In his opinion, the events of the revolution cannot be avoided, they can be interfered with, but they cannot be changed. The novelty of Pasternak’s solution is due to the fact that he rejects the traditional tragic resolution conflict due to the hero’s inability to ideologically correspond to the grandeur of events. The concept of his novel reveals the flawed nature of the revolutionary process itself, the neglect in its course of both the centuries-old ideas about true humanity and the capabilities of the individual human personality in its independent revolutionary degeneration.

1 . 3 Christian theme in the novel "Doctor Zhivago"

Despite the variety of research positions, one of the aspects in the study of Doctor Zhivago remained on its periphery. This is the powerful influence of the Christian tradition of Russian literature (Dostoevsky), as well as Gospel and liturgical texts on Pasternak as a decisive factor in the creation of the novel “Doctor Zhivago”. [Ptitsyn, 2000, p. 8]. J. Börtnes, T.G. devoted their works to identifying the religious and philosophical roots in Doctor Zhivago. Prokhorova, I.A. Ptytsin et al.

The novel contains a huge amount of information, including many subjects, phenomena, eras and figures in the overall cultural and historical work. The text of Doctor Zhivago comes from many sources. Pasternak’s “inscription” of various pretexts into the images of these characters actualizes the plots and details of the latter in projection onto the modernity depicted by the writer and allows him to give hidden assessments of it.

The world of history and a person’s entry into it is determined for Pasternak by the dimensions that he outlined in a Christian vein: “free personality,” “love for one’s neighbor,” and “the idea of ​​life as a sacrifice.” The highest sphere where this understanding of the world of history is embodied is, according to the writer, art. Pasternak saw such art as realistic and corresponding not only to the truth of history, but also to the truth of nature. [Kutsaenko, 2011, p. 3].

The main thing in the novel? this is the discovery of internal connections between people and events, which leads to an understanding of history as a natural and consistent process. It is in revealing this inner content of the novel that Christian motives play the most important role.

There is also a lot of debate about Yuri Zhivago’s Christianity, and the main complaint against Pasternak here is the identification of the hero with Christ. Pasternak just set himself the task of proving that a very good person is precisely the most honest follower of Christ in the world, because... sacrifice and generosity, submission to fate, non-participation in murders and robberies are quite enough to consider oneself a Christian.” [Bykov, 2007, p. 722].

The hero, capable of voluntarily dooming himself to suffering, entered Pasternak's work early. Yuri Zhivago symbolized the figure of Christ. For Pasternak, the following Christian idea is very important: he who obeys the calls of Christ, makes an effort on himself, diligently transforms his entire life. [Ptitsyn, 2000, p. 12].

In light of the problems of B. Pasternak’s novel “Doctor Zhivago,” the parallelism between the image of Yuri Zhivago and the image of Jesus Christ in the novel becomes fundamentally important. However, there is reason to talk not just about the parallelism of images, but about the parallelism of the entire story of Yuri Zhivago, the entire plot of his fate with biblical history about the life, works, death and resurrection of Jesus Christ. This parallelism forms the key structure of Pasternak's novel. This parallelism is formed in the phases of the plot action, and in the system of characters, and in stylistic “consonances”, and finally, a whole range of special signals is oriented towards it.

The heroes of the entire work live by the idea of ​​life as a victim. For Pasternak, the theme of the compassionate identity of the soul of one person to another, the idea of ​​​​the inevitability of giving all of oneself for people, is important. Only in the context of eternity does the life of man and all humanity gain meaning for the writer. All the events of the novel, all the characters are continually projected onto the New Testament tradition, intertwined with the eternal, be it the obvious parallelism of the life of Doctor Zhivago with the way of the cross, the fate of Lara with the fate of Magdalene, Komarovsky -

with the devil. “The mystery of life, the mystery of death” - the thought of the author of Doctor Zhivago struggles with this mystery. And Pasternak solves the “mystery of death” through life in history-eternity and in creativity.

Pasternak is concerned with the theme of the spiritual resurrection of the individual. The first lines of the book (the funeral of Yura's mother, the blizzard night after the burial, the child's experiences) are the semantic beginning of this theme. Later, Yuri Andreevich imagines that he is writing the poem “Confusion” about those days that passed between the death of Christ and his resurrection, about that space and time when there was a struggle between the resurrection potency of life and the “black earthly storm.” [Pasternak, 2010, p. 123]. The main character of the novel understands resurrection this way: “...You are afraid whether you will be resurrected, but you were already resurrected when you were born, and you didn’t notice it” [Pasternak, 2010, p. 45].

In the novel “Doctor Zhivago,” both the moral aspects of the gospel teaching and others related to the main idea brought by Christ to humanity were embodied. Doctor Zhivago believes that man in other people is the soul of man, his immortality: “You were in others, and you will remain in others. And what difference does it make to you that later it will be called memory. It will be you, who has become part of the future.” [Pasternak, 2010, p. 45].

“There will be no death” - this is one of the author’s options for the title of the future novel. According to Pasternak, a person should carry within himself the idea of ​​immortality. He cannot live without this. Zhivago believes that immortality will be achieved by a person if he becomes “free from himself” - he accepts the pain of time, accepts all the suffering of humanity as his own. And it is significant that the main character is not only a doctor, but also a poet. The collection of his poems is the result, the summation of his life. This is Yuri Zhivago's life after death. This is the immortality of the human spirit.

The ending of the novel is conceptually important. It contains two epilogues: the first is the result of the hero’s earthly life, and the second is the result of his creativity and miracles. A deliberately reduced image of the death of Yuri Zhivago is replaced by the apotheosis of the hero - the publication, many years later, of his book poems. This is a direct plot materialization of the idea of ​​immortality. In his poems, which captured the miracle of life, expressing his attitude and understanding of the world, Yuri overcame the power of death. He preserved his soul, and it again entered into communication with people.

Human immortality for Yuri Zhivago? it is life in the minds of others. Yuri speaks the words of Christ about the resurrection as a constant renewal of the same eternal life. The Mystery of the Incarnation? the main Christian motif in the novel Doctor Zhivago. It sounds in the reasoning of Uncle Yuri, the heretic Vedenyapin, already in the first book. [Pasternak, 2010, p. 2]. Truth is known through everyday life, and the human image of Christ is the cornerstone of Vedenyapin’s historiosophy, which, according to him, is built on the idea that “man lives not in nature, but in history, and that in the current understanding it is founded by Christ, that the Gospel there is its justification" [Pasternak, 2010, p. 13]. Vedenyapin's view of history and human personality is opposed to antiquity, which did not have such an understanding of history. In ancient times, the human person had no value, and rulers likened themselves to gods, turning people into slaves.

The quotation plan with the theme of Christ appears again at the end of the second book, in the thirteenth and seventeenth parts. The topic has undergone some changes. By this time, Yuri Zhivago had already been to the front, experienced the defeat of the Russians in the First World War, the civil war and the complete collapse of Russian society. One day he accidentally hears Simushka Tuntseva analyzing liturgical texts, interpreting them in accordance with Vedenyapin’s ideas.

The views of Vedenyapin's historiosophy strikingly coincide with the views of Yuri Zhivago, which are reflected in his poetry, in which the theme of Christ is repeated, and again in a new interpretation. Like Vedenyapin, Simushka is clearly influenced by Hegel in assessing the meaning of Christianity for modern man, who no longer wants to be either a ruler or a slave, in contrast to the pre-Christian social order with its absolute division into leaders and peoples, into Caesar and the faceless mass of slaves. "Separate human life became God’s story, filled the space of the universe with its content” [Pasternak, 2010, p. 239].

Pasternak forces Simushka to express the idea that underlies the Orthodox theory of salvation and the teaching of the Orthodox Church about the transformation of man into God. According to this teaching, a person must strive to repeat the life of Christ, to become like him, to work to return sinful nature to a state of paradisiacal pristineness, to return Divine meaning to it.

The main things for Yuri Zhivago in life are: noble culture and ideas of Christianity: Yuri Andreevich about uncle Nikolai Nikolaevich: “Like her (mother), he was a free person, devoid of prejudice against anything unusual. Like her, he had a noble sense of equality with all living things” [Pasternak, 2010, p. 12]; “This, firstly, is love for one’s neighbor, this highest type of living energy that overflows the human heart... the idea of ​​a free personality and the idea of ​​life as a sacrifice” [Pasternak, 2010, p. 13].

Thus, one of the interpretations of the legend of Christ, which is a constant element of culture, was included in the content of the novel about Yuri Zhivago - an eternal theme - Christian - was embodied in his personality and fate. B. Pasternak raised mortal man to the same level as Jesus Christ, proving the equivalence of the earthly life of a spiritualized man, his tragedy of the existence of that fate, which became for humanity a symbol of martyrdom and immortality. The parallelism between the fate of Yuri Zhivago, a Russian intellectual who lived in the first third of the 20th century, and the story of Jesus Christ became in the novel the most important way of discovering the moral essence of man’s struggle with his time, a form of enormous artistic generalization.

1 .4 The idea of ​​the purpose of art in the novel

Yuri Zhivago repeats the path of Christ not only in suffering. He participates in the divine nature of Christ and is his companion. The poet, with his gift of seeing the essence of things and existence, participates in the work of creating living reality. The idea of ​​the poet as a participant in the creative divine work is one of those thoughts that occupied Pasternak all his life and which he formulated in his early youth.

In the fourteenth poem of the cycle “August,” the idea of ​​the poet’s involvement in the creation of a miracle is most clearly expressed. The hero of the poem has a presentiment imminent death, says goodbye to work, and meanwhile the foliage is burning, illuminated by the light of the transformed Lord. The light of the Transfiguration of the Lord, captured in the word, remains to live forever thanks to the poet: “Farewell, azure of the Transfiguration // And the gold of the second Savior... // ... And the image of the world, revealed in the word, // And creativity, and miracles” [Pasternak, 2010, p. 310].

The construction of the image of Yuri Zhivago differs from that accepted in classical realism: his character is “given”. From the very beginning he has the ability to clothe his thought in poetic word, from an early age takes on the mission of a preacher, or rather, they expect and ask him to preach. But the messianic in Yuri Zhivago is inseparable from the earthly. Immersion in life, completely devoid of snobbery, this fusion with earthly flesh makes Yuri Andreevich receptive to the world, makes it possible to discern in the litter and trifles of everyday life glimpses of the beauty of earthly life, hidden from people. [Leiderman, Lipovetsky, 2003, p. 28].

According to Pasternak, poetic creativity is a work equal to God. The process of poetic creativity itself is depicted in the novel as a divine act, as a miracle, and the appearance of the poet is perceived as the “appearance of Christmas.” In their own creations, poets perpetuate life, overcome death, embodying everything that existed in words.

The novel does not end with the death of Doctor Zhivago. It ends with poetry - with the fact that it cannot die. Zhivago is not only a doctor, he is also a poet. Many pages of the novel are autobiographical, especially those devoted to poetic creativity. D.S. Likhachev says in his “Reflections on the novel by B.L. Pasternak’s “Doctor Zhivago”: “These poems were written from one person - the poems have one author and one common lyrical hero. Yu.A. Zhivago is Pasternak’s lyrical hero, who remains a lyricist even in prose.” [Likhachev, 1998, vol. 2, p. 7].

The writer, through the mouth of the lyrical hero Yuri Zhivago, speaks about the purpose of art: “It relentlessly reflects on death and relentlessly creates life through this” [Pasternak, 2010, p. 58]. For Zhivago, creativity is life. According to Zhivago, “art has never seemed like an object or aspect of form, but rather a mysterious and hidden part of content” [Pasternak, 2010, p. 165]. The author, being extremely sincere, shows the moment of inspiration when the pen cannot keep up with the thought: “...And he experienced the approach of what is called inspiration...” [Pasternak, 2010, p. 252]. The author also makes the reader a witness and participant in the most difficult work on the word: “But what tormented him even more was the anticipation of the evening and the desire to cry out this melancholy in such an expression that everyone would cry...” [Pasternak, 2010, p. 254].

Pasternak exposes Zhivago's creative process. Lyrical hero- the clearest expression of the poet. According to D.S. Likhachev, “there are no differences between the poetic imagery of the speeches and thoughts of the main character of the novel. Zhivago is the exponent of Pasternak’s innermost.” [Likhachev , 1998, vol. 2, p. 7]. Yu. Zhivago’s life credo is freedom from dogma, any parties, complete freedom from reason, life and creativity by inspiration, and not by coercion (Sima’s conversation with Lara about the Christian understanding of life): “She wanted to be with him at least for a little while.” with help to break free, into fresh air, from the abyss of suffering that entangled her, to experience, as it used to be, the happiness of liberation” [Pasternak, 2010, p. 288].

The motive of love is combined with the motive of poetic creativity in the novel. In Pasternak’s value system, love is equal to poetry, for it is also insight, also a miracle, also a creation. And at the same time, love becomes the main reward for the poet: Tonya - Lara - Marina - this is in a certain sense a single image - the image of a loving, devoted, grateful one. Life manifests itself most brightly and fully in love. Love is shown in everyday, ordinary expression. Love and beauty are depicted by the writer in a purely everyday manner, using everyday details and sketches. Here, for example, is an image of Lara’s appearance through the eyes of Yuri Andreevich. [Pasternak, 2010, p. 171]. Love for Yuri Zhivago is connected with the life of home, family, marriage (both with Tonya and Lara). Tonya personifies a family hearth, a family, a person’s native circle of life. With the advent of Lara, this circle of life expands; it includes reflections on the fate of Russia, the revolution, and nature.

All years tragic life Yuri was supported by creativity. “The Poems of Yuri Zhivago” constitute the most important part of the novel, performing a variety of functions in it, for example, conveying the hero’s inner world (the poem “Separation”).

Thus, the novel “Doctor Zhivago” is a novel about creativity. The idea of ​​the human personality as a place where time and eternity converge was the subject of intense thought by Pasternak both at the beginning and at the end of his creative career. The idea that to live means to realize the eternal in the temporal underlies the idea of ​​​​the purpose of the poet in the novel “Doctor Zhivago”: everything in the world is filled with meaning through the word of the poet and thus enters into human history.

To understand the reasons for Zhivago’s behavior in certain situations, you need to understand the meaning of nature for him and its place in the work.

The novel is based on traditional literary motifs of nature and the railway, i.e. life and death. These two motifs take on different guises throughout the book: living history and anti-spirituality. The motives are in dialectical contradiction. The antithesis of life in nature is the railroad, the rails, which are symbols of the inanimate, the dead.

Pasternak's heroes are revealed through communication with nature. Nature in the novel is an embodied miracle, a miracle of life: “The miracle came out. Water ran out from under the shifting snow cover and began to scream.” In the novel, nature is not only enlivened by the gift of a living spirit, but promises the presence of higher goals in the world. Nature is the sphere that absorbs the space of the novel. “Nature in Pasternak’s light,” as V.N. correctly wrote. Alfonsov, is one of the synonyms of life.” [Alfonsov, 1990, p. 319]. A. Akhmatova: “All his life nature was his only full-fledged muse, his secret interlocutor, his bride and lover, his wife and widow - she was to him what Russia was to Blok. He remained faithful to her to the end, and she royally rewarded him.” [Fokin, 2008, p. 341]. V. Shalamov in a letter to Pasternak: “Where the novel is truly remarkable and unique... is in the extraordinary subtlety of the depiction of nature and not just the depiction of nature, but that unity of the moral and physical world... the only ability... to grow together so that nature lives together and in tune with the spiritual movements of the heroes... Nature itself is part of the plot.” [Talk about the most important thing..., 1988, p. 5].

In its special quality, Pasternak’s “non-classical” psychologism manifests itself through the sphere of nature (landscape, system natural images vertical and horizontal space), which becomes unified in Doctor Zhivago - both material and spiritual, and spiritual, and symbolic authority, allowing the facts of the conscious and spiritual life of the subject to find their “manifestation”. [Di Xiaoxia, 2012, p.10].

In the semantics of the forest image, pagan and Christian traditions are closely intertwined; this image has several, often contradictory, functions. Tracing the dynamics of the development of the image of the forest in the mind of Yuri Zhivago, one can see that even in childhood the forest turns for him into a biblically ambiguous metaphor for the world. Nature is close to God, and man, by approaching nature, approaches God. It is in the forest that Yuri Zhivago finds peace of mind and relaxation. A clean, bright forest is like a temple in which thoughts are purified and the most sincere feelings, forgotten childhood sensations are resurrected. The forest is a healer not only of the soul, but also of the body. [Skoropadskaya, 2006, p. 18].

Even Christianity here is inevitably natural: either Jesus appears as “a man-shepherd in a flock of sheep at sunset,” or flowers escort Zhivago to another world, because “the plant kingdom is the closest neighbor to the kingdom of death. The mysteries of transformation and the mysteries of life are concentrated in the greenery of the earth" [Pasternak, 2010, p. 201].

Zhivago’s whole life is an instinctive desire to dissolve in nature, not to resist it, to return to childhood, where “the outside world surrounded Yura on all sides, tactile, impenetrable and undeniable, like a forest... This forest was made up of all the things in the world... With all his half-animal faith, Yura believed in the God of this forest, as in a forester” [Pasternak, 2010, p. 56].

The doctor is interested in everything around him, he is always in harmony with nature: “Everything wandered around, grew and sprang up on the magical yeast of existence. Admiration for life, like a quiet wind, went in a wide wave, without knowing where, across the ground and through the city, through walls and fences, through wood and the body, covering everything along the way with awe” [Pasternak, 2010, p. 284].

Nature lives and feels, just like humans: “The first harbingers of spring, a thaw. The air smells of pancakes and vodka, like at a butter salon... The sun squints sleepily, with oily eyes in the forest, sleepily, with needle eyelashes, the forest squints, the puddles glisten oilily at noon. Nature yawns, stretches, rolls over and falls asleep again.” [Pasternak, 2010, p. 85].

Having moved away from God, and thereby from nature, in his youth, Zhivago during the civil war, when “the laws of human civilization ended” and the pressure of reason weakened, returned to nature through his love for Lara. In the novel, the “naturalness” of love is constantly emphasized: “They loved because everything around them wanted it that way: the earth under them, the sky above their heads, clouds and trees.” [Pasternak, 2010, p. 288].

Nature is feminine in the novel: “Some kind of living intimacy developed between the birds and the tree. It was as if the mountain ash saw all this, was stubborn for a long time, and then gave in and, taking pity on the birds, gave in, unbuttoned and gave them her breast, like a mother to a baby.” [Pasternak, 2010, p. 205]. Lara appears in the form of either a swan or a rowan tree, it becomes clear that for Zhivago Lara is the embodiment of nature itself: “Since childhood, Yuri Andreevich loved the evening forest through the fire of dawn. At such moments, it was precisely that he let these pillars of light pass through himself... “Lara!” - closing his eyes, he half-whispered or mentally addressed his whole life, to all of God’s earth, to all the sun-lit space stretched out before him.” [Pasternak, 2010, p. 200].

The hero feels that Lara is a continuation of nature, feels that the desire for her is a desire for life. It is precisely because Lara personified all of nature for Zhivago that can explain his instinctive desire for her. He had to dissolve in it, as then in the forest, when he lay down on the lawn and “the variegation of sun spots, which had put him to sleep, covered his body stretched out on the ground with a checkered pattern and made him undetectable, indistinguishable in the kaleidoscope of rays and leaves, as if he had put on a hat invisible." [Pasternak, 2010, p. 201]. Dissolving in nature, a person has equal rights with animals: they are equal brothers even with an insect. [Pasternak, 2010, p. 201].

B. Pasternak focuses on individual elements of nature. He fragments the world, because for him it is valuable in every manifestation. Uncultivated, pristine nature is symbolized by the forest. The man in the forest is a guest. The forest is gaining human traits, this is a hospitable host who welcomes guests and generously gives them gifts. People should not live in the forest; nature opposes this. The fields are the opposite of the forest. Without a person they are orphaned. [Sokolova, 2005]..

Returning to the forest, to the beginning, when everyone was equal, is the only way out for Zhivago as a creative person, otherwise he will constantly feel the inferiority of his existence. He and Lara are a single whole, this is what nature requires, this is what his soul requires. The fields, “orphaned and damned without man,” evoke in Zhivago a feeling of feverish delirium: he sees how “the mocking smile of the devil snakes across them”; while in the forests, freed from man, they show off “like prisoners released” [Pasternak, 2010, p. 270], God dwells, and a state of enlightenment and recovery descends on man. Pasternak makes Zhivago feel not only the internal manifestations of nature, but also external ones, some of which become constant messengers of joy or misfortune.

Thus, the highest values ​​for Yuri Zhivago are nature, love, poetry - what forms the basis of the hero’s inner world, allows him to maintain inner freedom in the most difficult vicissitudes of time. The love of the heroes is necessary and natural, like life, like nature. Yuri Zhivago and Lara love because they are equally close in their understanding of life and nature. Nature in the concept of the novel is the embodiment of life, its all-encompassing beginning.

CHAPTER2 . ORIGINALITY OF THE POETICS OF BORIS'S NOVELPASTERNAK "DOCTOR ZHIVAGO"

2 .1 The problem of genrenovel "Doctor Zhivago"

Pasternak wanted to create a novel that would give feelings, dialogues and people in a dramatic embodiment, and would reflect the prose of the time. The difference of opinion was caused by the particularly ambiguous nature of the novel, where external simplicity style concealed content that was significant for the author, and specific plot situations contained a generalized meaning. The multiplicity of forms also predetermined the diversity of interpretations.

B.M. studied certain aspects of the novel and its poetics. Gasparov, I.L. Smirnov, I.M. Dubrovina, L.A. Kolobaeva, O.V. Sineva, N.A. Fateeva et al. Problem genre features the novel was studied with different points vision. Doctor Zhivago is not recognized as a complete epic work - a novel in the full sense of the word.

A. Popoff considers Doctor Zhivago a lyrical novel. Pasternak's prose is the poet's personal prose. The characters in the novel express the author's ideas and speak in his poetic voice. The lyrical content in the novel is concentrated in its last part - a book of poems by Yuri Zhivago. The novel “Doctor Zhivago” was discussed in criticism both from the standpoint of novel prose of the 19th century, and as a work created under the influence of the ideas of the symbolists. [Popoff, 2001, p. 319].

Poems of the hero of the novel - a lyrical diary in which human history interpreted in the light of the Christian ideal. A. Voznesensky sees in Doctor Zhivago “a novel of a special type - a poetic novel,” in which the lack of epic objectivity was more than compensated for by an intense lyrical beginning. He gives a figurative explanation: “The huge body of prose, like an overgrown lilac bush, bears terry clusters of poems crowning it. The purpose of the novel is the poems that grow from it in the finale.” [Voznesensky, 1990, p. 226].

O. Kling defined the novel as “late symbolist.” He believed that symbolism had a strong influence on Pasternak. The late symbolist novel does not mean a return to symbolic canons, but their enrichment at the plot level. The work absorbed “features of symbolist aesthetics.” [Kling, 1999, p. 20].

From the position of biographer and researcher of Pasternak’s work D. Bykov, the novel can be represented as a system of symbols that operate at the level of title, plot, composition and reveal another reality of the work’s existence. D. Bykov calls the “symbolic plan” of Pasternak’s novel obvious. [Bykov, 2007, p. 722].

Another researcher, I. Sukhikh, demonstrates the multidimensional structure of a character-symbol using the example of the protagonist, in whom he sees “an attempt to synthesize ... various aesthetic and historical ideologies,” as a result of which Yuri Zhivago can be perceived both as “an image of a poet and a symbol of a Russian intellectual ( physician-writer Chekhov), and the continuation of the literary tradition (ideological hero, extra person), and a figure of a certain historical era, a sign of a generation.” [Sukhikh, 2001, p. 78].

B.M. Gasparov called the novel “Doctor Zhivago” a post-realistic work, because its structural construction is associated with the nonlinearity and polyphony of a musical composition. The search for a musical theme in Pasternak should be directed not at the material, but at internal structure his works. From this point of view, Doctor Zhivago is of exceptional interest. It is in music that this phenomenon receives its most complete embodiment and becomes a universal formative device on which the entire composition is based. [Gasparov, 1994, p. 198].

But behind these plans lies another one - autobiographical, because Doctor Zhivago is a novel about the development of a poet. However, the figurative presentation of this path is not limited to the experience of Pasternak alone. The special role of the symbolist poet is evidenced by a fact from the creative history of the novel - Pasternak initially intended to call his work “Boys and Girls,” which is a reference to Blok’s poem “Willows.” [Lesnaya, 1996, p. 105].

Academician D.S. Likhachev believed that the novel “Doctor Zhivago” was an autobiographical novel. Pasternak writes not about himself, inventing his own destiny, but at the same time about himself, with the goal of revealing his inner life to the reader. The lyrical voice of the protagonist, his philosophy are inseparable from the voice and beliefs of Pasternak himself. The researcher classified this novel as a “kind of autobiography,” “biography of time.” He wrote about the novel Doctor Zhivago as “an autobiography in which amazingly there are no external facts that coincide with the author’s real life. And yet, the author (Pasternak) seems to be writing about himself for someone else. This is Pasternak’s spiritual autobiography, written by him with utmost frankness.” [Likhachev, 1988, p. 4] Other literary scholars also wrote about the autographic nature of the work. [Bondarchuk, 1999, p. 6].

Pasternak needed a “different” person to express himself. There are no pages in the novel where the author openly expresses his thoughts or calls for something. This is Pasternak's creative method. Continuing the traditions of Chekhov, he does not seek to assure the reader of the impeccability of his convictions. It only shows the world, but does not explain it. The reader himself must explain the world, thereby becoming, as it were, a co-author of the novel. In general, Pasternak accepts life and history as they are.

According to a number of researchers of Pasternak’s work, the novel “Doctor Zhivago” should be considered “prose of lyrical self-expression.” Finally, there is an opinion that Pasternak’s novel is “a parable full of metaphors and exaggerations. It is unreliable, just as life at a mystical historical turning point is unreliable.” [Bykov, 2006].

In the genre sense, the novel was read in different ways, depending on the reader’s attitude and his “genre expectations.” An alternative to socialist realism turned out to be new realism. New problems have brought to the forefront of realistic genre system a novel whose genre content is most adequate to the study of the relationship between personality and history. In “Doctor Zhivago” a novel was discovered that continued the traditions of realistic psychological prose of the 19th century, where, according to N. Ivanova, the main character “closes the ranks of the heroes of Lermontov, Turgenev, Tolstoy and Dostoevsky.” [Ivanova, 1988].

Pasternak himself called his method subjective biographical realism. The method of realism for Pasternak was a special degree of authorial precision in reproduction spiritual world. “My plan was to give prose that, in my understanding, was realistic...” [Pasternak, 1997, p. 621].

The novel presented a generalized portrait of the Russian XIX culture- beginning of the 20th century I.V. Kondakov, who studied the novel “Doctor Zhivago” in the context of Russian literature, emphasized that Pasternak did not join “any bright tradition of classical Russian prose, nor any great novelistic style of Russian literature.” [Kondakov, 1990, vol. 49]. Indeed, a novel that chronologically spans almost half a century: from 1903 to 1929, and with an epilogue - until the early 50s. - densely “populated” with many major and episodic characters. All characters are grouped in one way or another around the main character, described and evaluated through his eyes, and “subordinated” to his consciousness.

According to O.A. Grimova, the novel “Doctor Zhivago” should be considered as a genre polyform, the elements of which are genetically connected with the most significant stages in the development of literature (myth - folklore - literature). [Grimova, 2013, p. 7]. Various genre vectors interact in the novel. A visual representation of Pasternak’s novel as a genre polyform is contained in Appendix No. 3.

"Doctor Zhivago" combines the features of a philological meta-novel and a narrative organized by an emphasis on orality. HELL. Stepanov believes that the dominance of the orientation towards orality and the activation of primary speech genres are marked by crisis and transition periods in the history of literature. [Stepanov, 2005, p. 63]. This is precisely the transitional, summative character of Pasternak’s work, and this is precisely his era.

One of the features of genre dynamics that determines the appearance of Doctor Zhivago is the combination of opposite processes - the exaggeration of genre characteristics and its blurring. The author's desire for the effect of spontaneity, unintentionality, and involuntary text generation is noted. M. Shapir connects this effect with the “aesthetics of negligence,” which largely determines Pasternak’s idiostyle. [Shapir, 2004]. Echoing an impressive number of genre paradigms, Doctor Zhivago does not fit into any of them, and this probably indicates the formation of a new type within its framework artistic integrity, which is now defined as “total romance.” [Grimova, 2013, p. 41].

In the mid-90s. I.P. Smirnov put forward the hypothesis that Doctor Zhivago is a text that, like Dostoevsky’s The Brothers Karamazov, is “beyond the literary genre.” While talking about the fact that these texts are “not literature,” the scientist does not classify them as “some kind of discourse of historical time other than literature.” [Smirnov, 1996, p. 154]. It’s hard not to feel the “post-classical” nature of this text, which P.P. Smirnov defines it as belonging to a “secondary style,” that is, one of those that “identify actual reality with the semantic universe.” [Smirnov, 2000, p. 22].

In the space of other scientific interpretations, the novel turns into a fact of life creativity (the concept of the “novel-deed” by M. Aucouturier) or even religious creativity: the concepts of F. Kermode, M.F. Rowland and P. Rowland, A. Sinyavsky (“treatise”, “theology”), V. Gusev (“either a life or a biography”), G. Pomerants. Versions are put forward about the intermedial nature of the novel, about the presence of a musical code in it (B. Gasparov’s idea of ​​musical counterpoint as the basis of text composition; G. Gachev’s reading of DZh as an “opera novel”), pictorial and cinematic codes (I. Smirnov). [Grimova, 2013, p. eleven].

According to S.G. Burov, the genre dominants of the novel are not of a static nature, they are characterized by movement. [Burov, 2011, p. 54]. “Doctor Zhivago” gives the researcher solid grounds to see in it “the epilogue ... of the Russian classical novel as a single text of an already completed era of the flourishing of national culture,” a factor that reveals this unity in diversity. [Tamarchenko, 1991, p. 32].

Thus, although the novel is built on the principle of concatenation of episodes, and the fates of the heroes and the events of their lives are subordinated to the course of history, this work cannot be called either a historical novel or an epic. There are too many conventions, symbolic meetings, monologues, details and images.

“Doctor Zhivago” has a summary character: it summarizes the individual author’s experience, the experience of the era. He not only sums up the classic novel of the 18th - 19th centuries, but also paves the way for the modern novel. The most succinct summation of the unique combination of such poetic features as universality, paradox, multi-level dynamism is the definition of the essential nature of Doctor Zhivago as a “novel of secrets” (concepts of I. Kondakov, I. Smirnov).

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