Poplavsky Apollo Uzobraz textology version. The image of Teresa in the novel “Apollo Ubrazov” b
Oiseau enferme dans son vol, il n"a jamais connu la terre, il n"a jamais eu d"ombre.
Paul Eluard1 It rained non-stop. It moved away, then again approached the ground, it bubbled, it rustled gently; It either fell slowly like snow, or quickly flew by in light gray waves, crowding on the shiny asphalt. He also walked on the roofs and on the eaves, and on the hollows of the roofs, he flew into the slightest jagged walls and for a long time flew to the bottom of closed courtyards, the existence of which many of the inhabitants of the house did not know. He walked as a man walks in the snow, majestically and monotonously. He either sank like a writer out of fashion, or flew high, high above the world, like those irrevocable years when there are still no witnesses in a person’s life.
Under the awnings of the shops a kind of closeness of wet people was created. They looked at each other almost friendly, but the rain treacherously died down, and they parted.
It also rained in the public gardens and over the suburbs, and where the suburbs ended and the real field began, although it was somewhere incredibly far away, where, no matter how hard you tried, you would never reach.
It seemed that he was walking over the whole world, that he was connecting all the streets and all passers-by with his gray, salty fabric.
1 Like a bird closed in its flight, he never touched the ground, did not cast his shadow on it.
Paul Eluard (French).
The horses were covered with darkened robes, and, just like in ancient Rome, beggars walked with their heads covered in sacks.
On small streets, streams washed away bus tickets and tangerine peels.
But it also rained on the flags of the palaces and on the Eiffel Tower.
It seemed as if the rough beauty of the universe was dissolving and melting in it, as if in time.
The periods of its increase were evenly repeated, it lasted and remained, and seemed to be its very fabric.
But if you look for a very long time and motionless at the wallpaper in your room or at the neighboring bluish wall on the other side of the yard, you suddenly realize that at some elusive moment twilight is mixed with the rain, and the world, blurred by the rain, sinks in with double speed and disappears into them.
Everything changes in the room on the high floor, the pale yellow sunset lighting suddenly goes out, and it becomes almost completely dark in it.
But once again the edge of the sky is cleared of clouds, and a new white twilight illuminates the room.
Meanwhile, the clock ticks and the employees return from their offices, the lanterns come on far below, and their reflection appears ghostly on the ceiling.
Huge cities continue to suck in and exhale human dust. Countless meetings of glances take place, and always one of them tries to win or gives up, looks down, slides past. No one dares to approach anyone, and thousands of dreams go in different directions.
Meanwhile, the seasons change and spring blooms on the rooftops. High, high above the street, it warms the pink squares of pipes and delicate gray metal surfaces, which are so good to cling to in complete solitude and close your eyes, or, perched, to read books forbidden by your parents.
High above the world in the darkness of the night, snow falls on the roofs. At first it is barely visible, it accumulates, it is evenly and monotonously present. It gets dark and melts. He will disappear, never to be seen by man.
Then, almost level with the snow, summer suddenly arrives without transition.
Huge and azure, it opens majestically and hangs over the flags of public buildings, over the fleshy greenery of the boulevards and over the dust and touching tastelessness of country dachas.
But in between there are still some strange days, transparent and unclear, full of clouds and voices; they somehow shine in a special way and fade for a long, long time on the pinkish plaster of small, distant houses. And the trams have a special, drawn-out ringing sound, and the acacia trees smell of a heavy, sweet, corpse-like odor.
How huge summer is in empty cities, where everything is half-closed and people move slowly, as if in water. How beautiful and empty the skies above them are, like the skies of the rocky mountains, breathing dust and hopelessness.
Dripping with sweat, head down, almost unconscious, I went down the huge river of the Parisian summer.
I unloaded carriages, watched the rushing gears of machines, and hysterically dropped hundreds and hundreds of dirty restaurant plates into boiling water. On Sundays I slept on the parapet of the fortification in a cheap new suit and indecent yellow shoes. After that, I simply slept on benches and during the day, when my friends went to work, on their rumpled hotel beds in the depths of gray and hot tuberculosis rooms.
I carefully shaved and combed my hair, like all beggars. I read in libraries science books in cheap editions with idiotic underlining and comments in the margins.
I wrote poems and read them to my roommates, who drank cheap wine as green as gaslight and sang in false voices, but with undisguised pain, Russian songs, the words of which they hardly remembered. After that, they told jokes and laughed in a cigarette mist.
I recently arrived and just left my family. I was stooped, and my whole appearance bore an expression of some kind of transcendental humiliation, which I could not shake off, like a skin disease.
I wandered around the city and among my friends. Immediately repenting of my arrival, but remaining, I, with humiliating politeness, maintained endless, listless and boring foreign conversations, interrupted by sighs and drinking tea from poorly washed dishes.
- Why have they all stopped brushing their teeth and walking upright, these people with yellowed faces? - Apollo Bezobrazov laughed at the emigrants.
Dragging my feet, I left my family; Dragging my thoughts, I left God, dignity and freedom; dragging my days, I lived to be 24 years old.
In those years, my dress wrinkled and sagged on its own, and ash and tobacco crumbs covered it. I rarely washed and liked to sleep without undressing. I lived in the twilight. At dusk I woke up on someone else's rumpled bed. He drank water from a glass that smelled of soap and looked at the street for a long time, inhaling on the butt of a cigarette thrown by the owner.
Then I got dressed, looking long and sadly at the soles of my boots, turning my collar inside out, and carefully combing my parting - a special coquetry of beggars trying to show with these and other pitiful gestures that nothing had happened.
Then, stealthily, I went out into the street at that extraordinary hour, when the huge summer dawn was still burning without being burned out, and the lanterns, already in yellow rows, like some kind of huge procession, were seeing off the dying day.
But what, in fact, happened in metaphysical terms because a million people were deprived of several Viennese sofas of dubious style and paintings of the Dutch school by little-known authors, undoubtedly fake, as well as feather beds and pies, which uncontrollably lead to a heavy afternoon sleep similar to death , from which a person rises completely disgraced? “Aren’t they lovely,” said Apollo Bezobrazov, “and all these wrinkled and faded emigrant hats, which, like dirty gray and half-dead felt butterflies, sit on poorly combed and balding heads. And the timid pink holes that appear and disappear at the edge of a worn-out shoe (Achilles’ heel), and the absence of gloves, and the delicate grease of the ties.”
Anton Kulikov is a free verse poet, translator and researcher of the work of Boris Poplavsky. It was Anton who introduced me to the works of this wonderful poet several years ago, for which I am eternally grateful to him. I am pleased to publish on my blog one of Anton’s works, dedicated to Poplavsky’s novel “Apollo Bezobrazov”. This material has not been published anywhere before.
Anton Kulikov: Features of the structure of the novel by B.Yu. Poplavsky "Apollo Bezobrazov"
In the epigraph to Henry Miller's novel Tropic of Cancer, Ralph Emerson suggests that a special kind of autobiography will in the future replace the traditional type of novel. Implicitly, this idea turned out to be prophetic regarding the postmodern novel. Mythologizing autobiography as important element creation prose work, turned out to be inseparable from the work of many innovative writers, from V. Nabokov to Ven. Erofeev. The principle of autobiography was widely used by the beatniks (A. Ginsberg, J. Kerouac, W. Burroughs, R. Brautigan).
The novel “Apollo Bezobrazov”, written by the famous Russian emigrant writer B.Yu. Poplavsky, is deeply autobiographical. Written at the very end of the twenties of the twentieth century, it is a borderline work located on
the intersection of different cultures and artistic concepts. In addition to the principle of autobiography, the author uses the principle of fragmentation. Fragmentation of the work, as a central element of the poetics of the romantics, later passed into symbolism and surrealism. Poplavsky, whose favorite authors were both Lautreamont, idolized by the surrealists, and the herald of the Art Nouveau era, Rimbaud, could not escape their influence. Poplavsky’s contemporary V. Wedle, in a review of the publication of the first chapters of the novel “Apollo Bezobrazov” in the magazine “Numbers,” wrote: “The new chapters of the science fiction novel “Apollo Bezobrazov” are partly inspired by “Arthur Gordon Pym” by Edgar Poe, but this does not mean that they are imitative , and Poplavsky’s main teacher remains not Poe, but Rimbaud.” Indeed, the first chapter of the novel is reminiscent of Arthur Rimbaud’s prose poems from “Illuminations” or “One Summer in Hell.” The narrative unfolds according to the principle of cinema - frame follows frame, evoking hallucinogenically vivid and vivid images.
The influence of surrealism on B. Poplavsky’s prose is also obvious. The leader of the movement, Andre Breton, with whom Poplavsky was personally acquainted, stated: “Imagination is something that tends to become reality.” It is precisely this kind of imagination that is Poplavsky’s demiurgic ideal, which he follows throughout his life. Painful states leading to insights and dreamlike revelations professed by the surrealists are characteristic of both Poplavsky’s life and his work. The novel's characters often arrive in a state of sleep, daydream, or illness. “Then I fell asleep and had dreams. We all generally slept a lot, and often the house was immersed in sleep until sunset.” What happens to them in a dream is more important than reality. Dream and reality change places. Dreams and memories intertwine, giving rise to a painful, and at the same time, attractive image of divine truth. “I’m falling into some golden wells full of clouds, and for a long time, maybe millions of years, I’m flying in them, lower and lower, to other worlds, to other times...” Such a “mediumistic recording of a romantic visionary,” as Y. Ivasko aptly noted, is very consonant with the poetic quest of the surrealists. And it’s not about automatic writing, although Poplavsky himself was preparing for publication a book of poems, “Automatic Poems,” which was published many years after his death. It's a matter of understanding verbal creativity, as a supra-life, sacred act leading to the emancipation and liberation of the human essence, in faith in magical ability words transform the world.
Analyzing the structure of the novel “Apollo Bezobrazov”, it is difficult to get rid of the reader’s impression that the narrative “eludes”, the plot is ephemeral, and there is no intrigue at all. Some of the writer's contemporaries blamed him for technical shortcomings and stylistic mistakes. But what might have been perceived as a flaw in 1930 later became part of the concepts of both the “new” and the postmodern novel. The author does not set out to depict the spiritual world of the heroes through their actions and psychologically accurately depict their portraits. The image of the hero-narrator is rather collective; he personifies the humiliated life in exile creative personality. It is no coincidence that throughout the novel the hero constantly identifies himself with others; he seems to be deprived of his own existence, dissolving in collective existence, in pity, in compassion, in admiration: “My soul was looking for someone’s presence that would finally free me from shame, from hope, from fear, and the soul found him.” Thus, the heroes of the novel can be considered as the spiritual hypostases of the author, and the novel itself can be considered a metaphorical canvas of his spiritual quest and evolution. At the beginning of the first chapter, the main character appears as a pure contemplator surrounding life like a shadow of himself. This was obviously influenced by the reality of the shameful existence of an emigrant, which was directly familiar to the author. At the metaphorical level - a story about
isolation of the inner world, which has not found its dialectical balance, the necessary antipode. This antipode appears with the appearance of Apollo Bezobrazov, who in the first edition of the novel was not accidentally called the devil. Here the aesthetic and philosophical views of Poplavsky, who views art as a spiritual document, found their expression. The content of this document is a painful and long search for God. Having met many philosophical systems Having experienced an immersion in Christian and Buddhist metaphysics, Poplavsky remained a religious eclectic of theosophical persuasion. At the narrative level, the meeting of the hero-narrator with Apollo Bezobrazov is the plot, as well as the nuclear center of the first storyline, which is represented by the “Parisian” chapters of the novel, and which merges with the second. From the point of view of composition, this technique is very traditional, but in Poplavsky it is not essential for the work, does not perform an architectonic function, but is conventionally decorative, even parodic. In general, the element of parody is obvious, which conceptually places the novel within the framework of postmodernist discourse. For example, chapters five and six, representing the second storyline, are a parody of the novel of education by J.-J. Rousseau. The composition of the novel is outwardly devoid of intrigue, which is carried out on a symbolic level, as a struggle between mental states and types of worldview. The novel mixes genres such as prose poem, diary entries and theological treatise. The combination of literary genres in the text of the novel (drama and epic), characteristic of “Ulysses” by J. Joyce, is used by Poplavsky in “Apollo Bezobrazov”. The culmination of the novel can be considered the episode in which Bezobrazov, a soulless stoic and sophist, pushes the former priest Robert, who has lost faith in the truth of the Christian revelation, off a cliff. Before his death, Robert calls Bezobrazov the devil. This episode, in turn, is undoubtedly full of reminiscences from the works of F. Nietzsche.
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480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Dissertation - 480 RUR, delivery 10 minutes, around the clock, seven days a week and holidays
Razinkova Irina Egorovna. The poetics of the novel by B.Yu. Poplavsky "Apollo Bezobrazov" in the context of the prose of Russian emigration at the turn of the 1920s - 1930s: dissertation... candidate philological sciences: 10.01.01 / Razinkova Irina Egorovna; [Place of protection: Voronezh. state University].- Voronezh, 2009.- 174 p.: ill. RSL OD, 61 09-10/803
Introduction
Chapter 1. The spiritual atmosphere of emigrant literature of the late 1920s-1930s 16
1.1 Understanding of the “emigration situation” by writers of the “younger generation” 16
1.2 Artistic reality as the territory of “emigrant” meanings (Nabokov and the writers of the “Parisian note”) 42
Chapter 2. Boris Poplavsky's novel “Apollo Bezobrazov”: between symbolism and postmodernism 60
2. 1 The structure of the novel “Apollo Bezobrazov”: the opposition of “reality” and “realities”. Autocommunicative principle of text construction 60
2. 2 Elements of the Gothic topos in the poetics of the novel 75
2. 3 Deformations of the “heritage” of Russian symbolism. The categories of “earth” and “sky” as structure-forming ones in the composition of the novel 89
Chapter 3. The poetics of the “unreal” in the novel “Apollo Bezobrazov” 101
3.1 Irrealization of the chronotope of Paris 101
3.2 “Emptiness” as the center of the character system in the novel. The hero's consciousness is a space for aesthetic play 111
3.3 The leitmotifs of “water” and “dust” are parts of the structure of “interworldliness” in the novel 124
Conclusion 142
List of used literature 145
Introduction to the work
In modern literary criticism, starting from the 1990s, the period of the first wave of Russian emigration of the 20th century has been studied in detail in relation to the “older” generation of writers. In comparison, the work of “young” authors who emigrated while still teenagers and whose worldview was formed abroad is generally less studied. The only exceptions are, perhaps, the works of the currently recognized master V. Nabokov; research interest in them is only growing every year.
IN last years The degree of study of the works of writers of the “younger generation” of the first wave of emigration has increased. The study of texts has become relevant in the light of the problem of the “emigration situation” itself, that is, the “threshold”, “transition”, “border”. Therefore, it should be noted that the work of Boris Yulianovich Poplavsky, one of the most talented representatives of the “literary youth”, the leading poet of the “Parisian note”, is being actively studied in today’s Russian and foreign literary studies.
In general, in the culture of the turn of the 20th - 21st centuries. the relevance of analyzing situations of transition as such has intensified. In modern humanities, there is a need to understand and identify similar phenomena in past history and their impact on artistic processes, including literary creativity. Works on the study of “transition” as a problem of history, psychology, philosophy, art, culture, devoted to the study of transitional mentality in the literary process, are collected, for example, in the collection “Art in a situation of changing cycles: Interdisciplinary aspects of the study of artistic culture in transitional processes” (Art in situation, 2002). N. A. Yastrebova, S. T. Vaiman, A. A. Pelipenko, N. A. Khrenov, O. A. Krivtsun and other authors express their points of view on both the problem
artistic transition, and on the trends of artistic consciousness of the 20th century.
When characterizing transition, the authors of the articles highlight the following features of this multi-valued phenomenon: transition as a change in pictures of the world and, accordingly, changes in the perception of space and time; activation of myth and archetype in transitional situations; cult of creativity in transitional eras; discovery of the logic of “eternal return”; eschatological experience of history; activation of a marginal type personality; collective identity crisis.
The works of N. A. Khrenov, K. V. Sokolov, E. V. Sayko, I. G. Yakovenko analyze the methodological aspects of the study of culture in a situation of transition. The concept of transition is interpreted by scientists as multi-valued and considered in cultural, sociological, and historical aspects.
A. E. Makhov, N. A. Yastrebova, V. S. Turchin, S. S. Vaneyan, M. N. Boyko, O. A. Krivtsun, A. T. Tevosyan explore the transition as a subject for understanding the theory and history of art . Articles by I. V. Kondakov, S. T. Vaiman, A. P. Davydov, V. S. Zhidkov, A. A. Pelipenko and others are devoted to the specifics of transition in Russian culture.
I. P. Smirnov’s monograph “Artistic meaning and the evolution of poetic systems” (Moscow, 1977) is also devoted to the problems of transition in art, in which the author builds a semiotic concept of the change of literary systems.
In the context of the relevance of the problem of transition, in our work the phenomenon of the first Russian emigration is considered as a factor that determines the artistic thinking of the “borderland” and influences the poetics of the text. Of particular importance for the study is the monograph by E. V. Tikhomirova “Prose of Russian Abroad and Russia in the Postmodern Situation” (Moscow, 2000). The literary critic discusses the specifics of the conditions of creativity in emigration at the level of poetics, believes
“Emigration” is a quality not only of fate, but also of texts, and also reveals in many authors a “chronotope” of “otherworldliness”.
Prose of the younger generation of emigrant writers of the first wave, and
specifically B. Poplavsky, seems to us the most interesting from the point of view
from the point of view of identifying the features of artistic thinking in conditions
"transition", "border". Being in l/el^-space
(extraterritoriality), on the border of “one’s own” and “alien” literary traditions, has become a feature of emigrant discourse and the structure of texts.
The context we have chosen - the prose of literary youth of the first wave of emigration - is represented by the works of V. Nabokov-Sirin, G. Gazdanov, Y. Felzen, G. Evangulov, S. Sharshun, E. Bakunina, M. Ageev, V. Varshavsky, V. Yanovsky , N. Berberova. In modern literary criticism, the term “unnoticed generation” has spread in relation to the writers we are interested in, in connection with the title of V. Varshavsky’s book “The Unnoticed Generation”, published in New York in 1956. In the memoir-research genre, the author tries to recreate the collective image of the generation to which he counts himself.
The time of the “unnoticed generation” in literary studies is usually limited from the mid-1920s to the early 1940s, and the place where young authors made their mark most clearly is considered to be Paris, although the literary communities of Berlin, Harbin, and Prague also participated in cultural life Russian abroad. At the same time, researchers, when comprehending the phenomenon of “unnoticed”, often narrow the circle of writers analyzed to the authors of the magazine “Numbers” and representatives of the “Parisian note”. It was in the poetics of the works of these young emigrants that the “transitional” artistic consciousness that is of interest for our dissertation work was embodied. It should be noted that researchers also classify the works of V. Nabokov and G. Gazdanov of the 1920s - 1930s as literary heritage younger generation.
Analysis of the prose of the younger generation at the turn of the 1920s - 1930s, in our opinion, is the most productive for describing the poetics of emigrant texts and the influence of the border “emigration situation” on it, since at that time the most significant (in the sense of poetic structure) works.
The dissertation research analyzes some features of the poetics of emigrant texts and their embodiment in B. Poplavsky’s novel “Apollo Bezobrazov.” The transitional nature of the prose of the Russian emigration at the turn of the 1920s - 1930s is studied in the work using the example of the poetics of the “unreal” in the novel of one of the brightest writers of the young generation.
The novel “Apollo Bezobrazov” was created in the period 1926 - 1932. Individual chapters were published in the Parisian magazine “Numbers” (No. 2-3, 1930; No. 5, 1931; No. 10, 1934) and in the publication “Meetings,” but the entire text of the novel was not published during the writer’s lifetime.
Critical reviews of the novel were actively expressed by the writer’s contemporaries. Let us note that among the emigrants Poplavsky was famous primarily as a poet. However, G. Adamovich suggested that Poplavsky was destined to express himself more fully in prose, and not in poetry. V. Veidle called the novel “fantastic” and identified allusions to the works of E. Poe and A. Rimbaud. D. Merezhkovsky, after the publication in No. 5 of “Numbers” of the last, 28th chapter of “Apollo Bezobrazov,” angrily declared that he had given a chapter from his new work “Jesus the Unknown” to this issue of the magazine, where it “appeared in the vicinity of dirty blasphemies decadent novel by Poplavsky" (Poplavsky, 2000, p. 432).
Basically, Poplavsky’s work and personality were appreciated by his contemporaries after his death. Works by G. Gazdanov, N. Berdyaev, V. Khodasevich, G. Struve, G. Ivanov, Yu. Ivaska, V. Varshavsky. Y. Terapiano, A. Bakhrakh, N. Berberova, I. Odoevtseva, A. Sedykh, N. Tatishchev and others are collected in the book “Boris
Poplavsky in the assessments and memories of his contemporaries.” These predominantly memoir essays do not contain a deep analysis of the writer’s prose, but they record biographical features and provide a lot for understanding Poplavsky’s personality.
Already classic studies of the Russian emigration of the first wave were the books by G. Struve “Russian Literature in Exile” (M. - Paris, 1996), M. Raev “Russia Abroad: The History of the Culture of Russian Emigration 1919 - 1939” (M., 1994), D. Glada “Conversations in Exile. Russian Literary Abroad" (M., 1991), O. Mikhailova "Literature of the Russian Abroad" (M., 1995), A. Sokolov "The Fates of the Russian Literary Emigration of the 1920s" (M., 1991), a collection of articles edited N. Poltoratsky “Russian Literature in Emigration” (Pittsburgh, 1972).
IN last decade reviews and collections of articles about Russian emigration appeared: V. Agenosov “Literature of the Russian Abroad (1918 - 1996)” (Moscow, 1998), O. Demidova “Metamorphoses in Exile: Literary Life of the Russian Abroad” (St. Petersburg, 2003), T Buslakova “Literature of the Russian Abroad. Course of lectures" (Moscow, 2003), E. Menegaldo "Russians in Paris. 1919 - 1939" (Moscow, 2007), B. Nosik "Russian secrets of Paris" (St. Petersburg, 2000), A. Martynov "Literary philosophical problems Russian emigration (collection of articles)" (Moscow, 2005), collections "Russian Abroad - a spiritual and cultural phenomenon. Materials of the International Scientific Conference" (M. 3 2003), "Russian culture of the 20th century at home and in exile: Names. Problems. Facts”, “Russian Abroad: An Invitation to Dialogue” (Kaliningrad, 2004), a collection of scientific works compiled by L. A. Smirnova “Essays on the Literature of Russian Abroad” (M., 2000), tutorial in two parts “Literature of Russian Abroad (the “first wave” of emigration: 1920 - 1940)” edited by A. I. Smirnova. (Volgograd, 2004), the three-volume “Literary Encyclopedia of Russian Abroad” (M., 2002) and other works. A. Azov’s monograph “The Problem of Theoretical Modeling” was not written in line with traditional studies of the first Russian emigration
self-awareness of an artist in exile: Russian emigration of the “first wave”” (Azov, 1996). The author examines the experience of emigration on the basis of a theoretical model of interpretation of the act of creation in Jewish religious hermeneutics and the mystical teachings of Lurianic Kabbalah.
The work of the “younger” generation of emigrant writers, including Boris Poplavsky, is examined in these books mainly in overview. Over the past five years, more conceptual studies of the first wave of Russian emigration have appeared. For example, the dissertation works of N. Letaeva “Young emigrant literature of the 1930s: prose on the pages of the magazine “Numbers”” (M., 2003), A. Kokhanova “The moral experience of the Russian emigration of the first wave: the aspect of freedom” (St. Petersburg, 2003 ). In the work of M. Nemtsev “Style techniques of cinema in the literature of the Russian diaspora of the first wave” (M., 2004), the researcher examines emigrant texts from the point of view of the evolution of a realistic view of the world, the development of the aesthetics of modernism and analyzes the stylistic techniques that artists actively borrow from related arts . T. Marchenko in his doctoral dissertation “Prose of the Russian Abroad of the 1920-1940s. in European critical understanding: the Nobel aspect" (M., 2008) formulates the "compensatory principle", according to which the literature of the 20th century was able to express in its emigrant formation those moral and artistic quests that were impossible in Soviet literature.
For our work great importance has a monograph by I. Kaspe “The Art of Absence: The Unnoticed Generation of Russian Literature” (M., 2005). I. Kaspe analyzes how the “undetected” model was created in emigration, identifies creative attitudes, popular behavioral strategies, value preferences, and methods of self-presentation of the “younger” generation of writers of the first wave of emigration. Dominant literary movement among literary youth was
9 “Parisian note”, with which the entire young generation of authors can be identified.
Foreign researchers began studying the works and biography of Boris Poplavsky in the 80s of the 20th century. In the introduction to the first volume of the writer’s collected poems (1980), published in Berkeley, S. Karlinsky and A. Olcott placed their articles (S. Karlinsky “The Alien Comet”, A. Olcott “Poplavskij’s Life”), in which they noted influence of the aesthetics of surrealism on Poplavsky's work. In 1981, E. Menegaldo defended her doctoral dissertation in Paris, the materials of which were partially published in Literary Review (No. 2, 1996) and other magazines, and in 2007 the researcher’s book “Poetic The Universe of Boris Poplavsky" (St. Petersburg, 2007). E. Menegaldo examines the poems of the collections "Flags" and "Snow Hour", using the approach to the text proposed French philosopher G. Bachelard, which allowed her to identify a network of associations related to the four natural elements. The researcher also notes the influence of the tradition of symbolism on Poplavsky’s poems.
In 1990, in the book “Russian Emigre Literature in the Twentieth Century Studies and Texts: Russian poetry and criticism in Paris from 1920 to 1940” (Leuxenhoff Publishing), A. Gibson also analyzes exclusively the writer’s poetry (article “Poplavskij’s Poetry”).
In 1991, American Slavists V. Kreid and I. Savelyev prepared for publication the novel “Apollo Bezobrazov” for the Moscow magazine “Yunost”. However, the chapter about the ball of Russian emigrants was not included in this publication. The novel ended with “The Diary of Apollo Bezobrazov,” which Poplavsky did not include in the latest edition of the work.
In 1993, Louis Allen published two novels by the writer, Apollo Bezobrazov and Home from Heaven. In the introductory article “Home from Heaven. About the fate and prose of Boris Poplavsky,” Allen called the works “intellectual prose.”
In Russia, A. Bogoslovsky is considered the first researcher of Poplavsky’s work. In the article “Seeker of Spiritual Freedom” (“New World”, 1993, No. 9), he notes that in “Apollo Bezobrazov” the title character and the author-narrator are, in fact, doubles. This feature, according to the literary critic, conveys Poplavsky’s internal struggle “in search of spiritual liberation.”
In 1992, A. Bogoslovsky published the novel “Apollo Bezobrazov” in the New Journal (No. 187, 188, 189, New York). A literary scholar prepared the work for publication using photocopies. latest edition novel, which he received from Natalia Stolyarova, who knew Poplavsky closely in 1931 - 1934, shortly before her death in 1984. In the New Journal, discrepancies are noted both with the Moscow publication of 1991 and with the edition prepared by L. Allen . Our research is based on the text of the novel, prepared for publication by A. Bogoslovsky and E. Menegaldo and published in 2000 in the second volume of the three-volume collected works of the writer.
A. Bogoslovsky and E. Menegaldo in 1996 prepared for publication and accompanied by literary and biographical comments a book about Poplavsky “Unpublished: Diaries, articles, poems, letters” (M., 1996).
The study of Poplavsky’s work in today’s literary criticism is characterized by the following features. Like the writer’s contemporaries, who noted the influence on the poems and novels of the writer A. Blok, A. Rimbaud, E. Poe, C. Baudelaire and other authors, literary scholars today just as often use materials from Poplavsky’s work in comparative works with other authors.
Studies in which the writer’s works, including the novel “Apollo Bezobrazov” of interest to us, are analyzed in the light of the influence of foreign (French) traditions, include the articles by O. Brunner “The Surreal Paris of Boris Poplavsky. “Apollo Bezobrazov” and “The Parisian Peasant” by Louis Aragon” (Brunner, 2005), T. Buslakova
11 “Russian and French landmarks in the historical and literary concept of B. Yu. Poplavsky” (Buslakova, 2002), V. Khazan “On some subtexts of French literature in the works of emigrant writers (B. Poplavsky and A. Jarry)” (Khazan, 2005) , John M. Kopper “The “Sun's Way” of Poplavskii and Ibsen” (Kopper, 2001) and others. A modern researcher of the first Russian emigration, scientist at the University of Toronto L. Livak in his book “How it Was Done in Paris” , the article “The Surrealist Compromise of Boris Poplavsky” (New-York, 2003) examines Poplavsky’s work, mainly from the point of view of the influence of surrealist aesthetics.
Many works by scientists are devoted to a comparative analysis of Poplavsky’s works with the prose of Russian authors. M. Galkina’s research “Techniques of Dostoevsky’s poetics in the fiction of Boris Poplavsky” refers to the influence of classics of Russian literature on the writer’s work, where the connection between the images of Bezobrazov and Stavrogin is analyzed; N. Osipova “Gogol in the semiotic field of poetry of Russian emigration” and others.
The connection between Poplavsky’s work and the traditions of the Silver Age is revealed by V. Toporov. Exploring the “psychophysiological” component of Mandelstam’s poetry, he points out that this structure is also found in the poems of B. Poplavsky (Toporov, 1995). S. Roman’s dissertation “Ways of embodying religious and philosophical experiences in the poetry of Andrei Bely and B. Yu. Poplavsky” (Orekhovo-Zuevo, 2007) compares the works of two authors from the point of view of the development of symbolism in them female images, the image of the “soul of the universe”, the evolution of the symbol Eternal Femininity, resolving the conflict between “earthly” and “heavenly”. An interesting work is O. Latyshko’s “Novel in a Frock Coat” by Boris Poplavsky (Latyshko, 2002), in which “Apollo Bezobrazov” is classified as a type of symbolist novel. The author of the article discovers direct parallels in the construction of the texts of Poplavsky and Bryusov " Fire Angel" In N. Prokhorova’s dissertation research “The concept of “life creativity” in
12 B. Yu. Poplavsky’s artistic picture of the world” (Saransk, 2007) reveals the connection between the symbolist life-creative concept and the writer’s creativity.
From the point of view of the connection between creativity and the philosophy of existentialism, the referent in relation to Poplavsky is the name of his contemporary G. Gazdanov. A comparison of the authors’ works is devoted to the dissertation research of V. Zherdeva “Existential motives in the works of writers of the “Unnoticed Generation” of Russian emigration: B. Poplavsky, G. Gazdanov” (Zherdeva, 1999), the work of S. Semenova “Existential consciousness in the prose of Russian emigration” (Semenova S, 2000). In some works, Poplavsky’s work is associated with his other contemporaries. For example, N. Sirotkin discovers parallels with the style of V. Mayakovsky. Poetic variations of Christian motifs in the lyrics of V. Nabokov and B. Poplavsky are analyzed by A. Vakhovskaya (Vakhovskaya, 1999). Stylistic intersections in the prose of both authors are also explored by A. Ledenev in the article “Metaphor “life as a dream” in the novels of B. Poplavsky and V. Nabokov” (Ledenev, 2002). The similarity of the style of B. Poplavsky and K. Vaginov is noted by T. Buslakova (Buslakova, Ї999). Among modern authors, the work of Poplavsky, according to N.V. Barkovskaya, can be comparable to the poetry of Boris Ryzhiy.
The dissertation research of O. Latyshko “Model of the world in the novel by B. Yu. Poplavsky “Apollo Bezobrazov”” (M., 1998), N. Andreeva (specializing in philosophy) “Culture features of the 20th century in Boris’s novel” are devoted to the analysis of Poplavsky’s novels themselves. Poplavsky "Apollo Bezobrazov" (Moscow, 2000), works by E. Menegaldo "The Prose of Boris Poplavsky, or "a Romance with Painting" (Menegaldo, 2005), I. Kaspe "Orientation on rough terrain: the strange prose of Boris Poplavsky" ( Kaspe, 2001), articles by N. Gryakalova “Travesty and Tragedy: Literary Ghosts of Boris Poplavsky” (Gryakalova, 2008), “Transformation of Symbolist Eros: the path “home from heaven”” (experience
13 reading the novel by B. Poplavsky)" (1997), as well as research by M. Galkina, N. Barkovskaya, S. Semenova, M. Shakirova and others.
Scientific novelty The work is that from a new angle in B. Poplavsky’s novel “Apollo Bezobrazov” the deformation of the worldview of Russian symbolism is traced (replacement of “two worlds” with “interworlds”). For the first time, B. Poplavsky’s prose is considered as an intermediate “link” between symbolism and the just emerging artistic thinking of postmodernism. The scientific novelty also lies in the fact that for the first time a comparative study of the prose of B. Poplavsky and V. Nabokov was carried out from the point of view of the poetics of the “unreal”.
Work structure: the dissertation consists of an introduction, 3 chapters, a conclusion and a bibliography, which includes 313 titles.
Research material: B. Poplavsky’s novel “Apollo Bezobrazov”, drafts, diaries, articles, letters of the writer included in the book “Unpublished: Diaries, Articles, Poems, Letters” (M., 19966), as well as memoirs and critical works of emigrant contemporaries. In order to outline the main features and methods of creating artistic reality by the younger generation of emigration, the analysis involves the works of V. Nabokov - the novel “Feat” and the story “The Return of Chorba”.
Object research is the phenomenon of “transitivity” in the prose of the younger generation of the first wave of Russian emigration at the turn of the 1920s - 1930s.
Subject research became the poetics of the “unreal” in B. Poplavsky’s novel “Apollo Bezobrazov”.
Target work - to explore the poetics of B. Poplavsky's novel "Apollo Bezobrazov" from the point of view of identifying transitional features characteristic of the artistic quest for prose of the "young" generation of writers of the first wave of Russian emigration at the turn of the 1920s - 1930s.
Tasks, solved in the dissertation work to achieve the goal:
to reveal the originality of the artistic understanding of the “emigration situation” by writers of the “young” generation of Russian emigration of the first wave;
determine the features of the poetics of the “surreal” presented in the novel “Apollo Bezobrazov” and trace how the features of the “surreal” penetrate all structural levels of the work;
reveal the “transitional nature” of B. Poplavsky’s novel “Apollo Bezobrazov” from modernism to postmodernism;
analyze the novel by B. Poplavsky from the point of view of the influence of the poetics of the symbolist novel, surrealism, and elements of the Gothic chronotope on the structure of the text;
5) outline the main features and methods of creating emigrant
texts of the 1920s - 1930s using the example of a comparison of the prose of two bright,
figures of the generation - Boris Poplavsky and Vladimir Nabokov.
Provisions submitted for defense:
The “situation of emigration,” characterized by the artist’s presence in an extraterritorial cultural and ontological “li*&f space,” influenced the poetics of the texts of young emigrant writers of the first wave.
The autocommunicative model of text construction in the structure of B. Poplavsky’s novel “Apollo Bezobrazov” is connected both with the direction of the emigrant discourse of the 1920s - 1930s in general (interest in the problem of self-identification, the dominance of the motive of alienation, being in “interspace”, etc.), so with aesthetic views Boris Poplavsky, the features of his personality.
3. Roman B. Poplavsky - transitional art system,
as open as possible to possible interpretations: from symbolist,
post-symbolist and surrealist aesthetics to postmodernism.
4. In the novel by B. Poplavsky, features of the artistic mythologization of space and time (the chronotope of the “unreal”), the creation of the territory of “interworldliness”, elements of the “poetics of wandering” of the heroes and the “Gothic topos”, the presence of leitmotifs of “water” and “dust” are revealed. The categories of “earth” and “sky” are structure-forming in the novel. All these artistic units form a common poetics of the “unreal”, characteristic of all levels of this work by Poplavsky.
Methodology and research methods.
The dissertation research uses the principles
structural, semiotic, biographical, comparative
historical methods.
The theoretical basis of our research is the work of literary scholars Yu. M. Lotman, M. M. Bakhtin, V. N. Toporov, B. A. Uspensky, L. G. Andreev, Yu. V. Mann, N. V. Barkovskaya, G. , V. Zalomkina, M. N. Lipovetsky, N. F. Shveibelman, S. P. Ilyev, S. T. Vayman, I. P. Smirnov, culturologists N. A. Khrenova, K. B. Sokolov, V. S. Zhidkova, I.G. Yakovenko^ anthropologist V. Turner.
Practical significance.
The method of studying B. Poplavsky’s novel “Apollo Bezobrazov” from the point of view of creating a special poetics of the “surreal” in it will make it possible to similarly study other texts of emigrant writers, which will expand and deepen literary knowledge about the heritage of the Russian emigration of the first wave. The dissertation research can be used in the practice of university study of Russian literature abroad: "in preparing and delivering a lecture course on the history of Russian literature of the 20th century, in conducting seminars on the problems of literature of the Russian abroad of the first wave, in developing a special course on the works of emigrant writers of this period.
Understanding the “emigration situation” by writers of the “younger generation”
The revolution of 1917 split Russian literature into “here” and “there”. However, the question “one or two literatures?” in connection with the work of emigrant writers, today it has been decided in literary criticism in favor of unity rather than disunity of Russian culture.
Dispersion took over all continents, but in the formation and development of Russian literature abroad and culture in general, several centers played a particularly important role: Paris, Berlin, Prague, Belgrade, Warsaw, Sofia, Constantinople and “Russian China” - the cities of Harbin and Shanghai. The first two European capitals turned out to be the most important for Russian culture. In this chapter we will analyze the literary process in the French capital and, partly, in the German capital.
Within the literary emigration there were their own groups and formations that developed various aesthetic concepts. However, despite the diversity of literary and artistic life, researchers quite clearly divide the generation of the first wave of Russian emigration into “older” and “younger”. For our work, the younger generation is of interest, a prominent representative of which was Boris Poplavsky.
“Senior” emigrants (I. Bunin, M. Tsvetaeva, V. Khodasevich, B. Zaitsev, D. Merezhkovsky, A. Remizov, G. Ivanov, etc.) left their homeland at a more or less mature age, many already recognized writers - in their work, the most poignant themes are the lost Russian culture and way of life, nostalgia, and search for “ eternal Russia» within foreign space. The “young” generation (B. Poplavsky, V. Sirin, G. Gazdanov, V. Varshavsky, S. Sharshun, Y. Felzen, E. Bakunina, M. Ageev, etc.) found themselves in even more difficult spiritual conditions. Not having had time to absorb the traditions and culture of their homeland and finding themselves in foreign countries that did not greet them friendly, the “children of emigration” found themselves in a cultural interspace. This is the position “between” the lost homeland, which did not even exist on the map in the form in which they remembered it (the USSR instead of the Russian Empire), and the new foreign reality. This status was perceived as ontologically significant and was interpreted by many (G. Gazdanov, Yu. Felzen, etc.) in an existential sense.
The spiritual atmosphere in the emigration of the late 1920s - 1930s determined the nature of the texts of the “younger” writers of the first wave. Before moving on to the analysis of the spatio-temporal organization and genre-style features of the novel “Apollo Bezobrazov” by Boris Poplavsky, it is necessary to turn to the literary environment in which the author lived and worked, and also to identify the main “general cultural” ideas that worried young Russian emigrants in Paris and manifested in their concept of literary creativity.
As you know, Poplavsky was a regular at Montparnasse cafes, where at night the most important issues of culture, literature, and religion were hotly discussed. The conversations revolved around modern discoveries, the latest research in the field of philosophy, theology, painting, art in general and, of course, literary creativity. “Stream of consciousness”, “automatic writing”, “human document” - these and other modernist techniques were actively mastered foreign writers 1910s - 1920s. M. Proust, D. Joyce, A. Rimbaud, E. Poe, Lautreamont, C. Baudelaire were Poplavsky’s favorite writers. He borrowed writing techniques from them.
Researcher M. Raev in the famous work “Russia Abroad. History of the culture of Russian emigration 1919 - 1939" writes: "The younger generation of emigrant writers turned out to be more receptive to new trends that emerged in both Soviet and Western literatures... they discovered big interest to such manifestations of the human psyche that cannot be explained from strictly materialistic, naturalistic and rationalistic positions. They were influenced by Proust and Kafka and felt, perhaps even more strongly than their older generation, the impact of the spiritual quest of the avant-garde and modernists of the 10s - 20s. Young prose writers whose debut took place in emigration, for example, Sirin (V. Nabokov), Yu. Felzen, B. Poplavsky, V. Yanovsky more or less adhered to this orientation” (Raev, 1994, pp. 145-146).
The experience of Russian symbolism is also important for Poplavsky - the idea of life creativity, understanding the process of creativity as theurgy, the opposition of Dionysian and Apollonian principles in the world, the opposition of “heaven” and “earth”.
Without knowing what ideas of the beginning of the century were most in demand by the minds of literary youth in emigration, including B. Poplavsky as its bright representative, it is impossible to penetrate creative laboratory writer, and specifically - into the structure of the novel “Apollo Bezobrazov”.
According to the general recognition of Poplavsky's contemporaries, he was the leading poet of such a literary phenomenon as the “Parisian note” of the Russian emigration. It was Poplavsky who described a group of young writers in this way (in the article “On the mystical atmosphere of young literature in emigration,” published in 1930 in the magazine “Numbers” No. 2-3), mainly the authors of the emigrant magazine “Numbers,” published in Paris. In the works of these writers there were similar sentiments of tragedy, separation from national roots, understood as an ontological catastrophe, motives of alienation, being thrown out of life in Russia and rejection in a foreign land, and other themes that we will further characterize in more detail.
Regarding the definition of the “Parisian note,” modern researchers of the Russian diaspora have formed the opinion that this literary phenomenon undoubtedly existed and united a group of writers with a similar artistic worldview. But recognizing the concept of “Parisian note,” according to researcher S. A. Shvabrin, “as well-established and generally recognized is problematic. For example, G. Struve refused to identify such a trend in foreign literature in general, every time resorting to synonyms such as “Parisian circle”, “young Parisian poets”” (Shvabrin, 1999, p. 36).
It is no coincidence that this emigrant “circle” was formed from the authors of the Parisian magazine “Numbers”. The most significant publications of the first wave of emigration were the newspapers “Last News”, “Vozrozhdenie”, “Obshcheye Delo”, “Days”, “Russia”, “Russia and Slavism”, “Novoye Vremya”, as well as the magazines “Modern Notes”, “ The Coming Russia", "Russian Thought". Many of them published on their pages the works of young emigrant writers, but most of them focused on the work of older generation writers.
Artistic reality as the territory of “emigrant” meanings (Nabokov and the writers of the “Parisian note”)
In order to outline the main features and methods of creating artistic reality by the younger generation of emigration, we consider it more productive to use not the entire layer of texts. Our observations in this chapter are based on a comparison of two prominent figures of the “young generation” - Boris Poplavsky and Vladimir Nabokov. A comparison of two different literary strategies, in our opinion, will make it possible to more accurately determine the generational features of emigrant texts of the 1920s - 1930s.
Nabokov's attitude towards the writers of the “Parisian note” was sharply critical. In turn, the Montparnasse team reciprocated. In reviews of the work of today's great classic, G. Adamovich, G. Ivanov, K. Mochulsky denied the artist's skill and considered his works to be an imitation of German and French models. The cult of simplicity of language, mystical understanding of many processes of life, apocalyptic motives, passion for religious and philosophical issues, which was reflected in the closeness of most writers of the “Parisian note” to the “Green Lamp” by Z. N. Gippius and D. S. Merezhkovsky, were alien to Nabokov. Having always stood, as it were, separately from all émigré literary associations, Nabokov was disgusted by the spirit of collectivism of Montparnasse literature. “The common path, whatever it may be, is bad in the sense of art precisely because it is common,” - this is how Nabokov expressed his point of view on the quest of “young” Parisian literature (Shvabrin, 1999, p. 38).
S. A. Shvabrin in the article “The polemics of Vladimir Nabokov and the writers of the “Parisian note”” notes: “Nabokov’s prose bore the indelible mark of intense stylistic searches, revealing a desire to improve poetics and the visual means of verbal creativity. The conscious refusal of most of the writers of the “Parisian note” from formal splendor, the proclamation of the primacy of “human content” over any aesthetic experiments could not but arouse in Nabokov polemical enthusiasm, a desire to defend his own views on the nature and purpose of art. Vladimir Nabokov's dispute with the “Parisian note” was basically a classic example of literary polemics, each time exposing the dialectics itself literary process"(Shvabrin, 1999, p. 39).
However, the researcher does not consider the participants in this debate to be absolute antagonists and makes an assumption that is of interest for our research: “Nabokov’s intuition of the transcendental, revealed in the author’s image of “otherworldliness,” which marks the ideal hypostasis of being in his individual picture of the world, constitutes the main theme of the artist’s work, which can (and should!) be compared with the mystical searches of his contemporaries. Doesn’t there have a right to exist an assumption that would allow the researcher to proceed from the fact that the spiritual quest of the “young” Parisian literature and the “otherworldliness” of Nabokov, going back to common source- ideological guidelines of the art of the Russian Silver Age, differ in the choice of means, remaining faithful to the ideological dominant not subject to any devaluation?! (Shvabrin, 1999, p. 39).
In our opinion, this conclusion is undoubtedly correct. The appeal of both Nabokov and the “Parisians” to the “most important thing” in life was stylistically associated with a rethinking of the traditions of the Silver Age. General desire preserving the seemingly disintegrating principles of human existence, the inviolability of the very foundations of existence (“writing about the most important”) is realized in the works of both Nabokov and the most talented representative of the “Parisian school” Poplavsky. The commonality of the creative impulse is expressed in the prose of both writers in the special structure of the artistic world, namely in the poetics of the “unreal”. We will explore it in more detail later in connection with Poplavsky’s work. The study of V. Alexandrov “Nabokov and Otherworldliness” (Alexandrov, 1999) is devoted to the peculiarities of Nabokov’s “unreal” chronotope.
Thus, the prose of both writers is of interest for comparison from the point of view of identifying art worlds Nabokov and Poplavsky poetics of the “unreal”.
The constructions “hero”, “character”, “reader” are rethought in the literature of the early 20th century. Young emigrant authors, in their artistic searches, followed trends in the European novel - in their works they mastered the transformations that the understanding of personality undergoes. The interwar years are a period of experiments with the understanding of the character, the author, the “I” in a work, with narrative optics; it is the ideas about a person that are at the center of those literary events that will later be called the “crisis of traditional storytelling.” In the emigrant cultural community, all these themes are articulated. In reviews, overviews, essays, it is the “hero” that displaces the problems of “composition”, “plot”, “style”, “details” - all those “techniques” that emigrant writers are not interested in talking about. "Hero more interesting than a novel“- the title of Sergei Sharshun’s unpublished book quite accurately characterizes the situation.
The hero is so closed in his ways inner world, which sometimes does not even assume the presence of an “other” and cannot look at oneself through the eyes of another. In the novel “Home from Heaven,” the hero of Boris Poplavsky argues: “Who am I? Not "who", but "what. Where are my boundaries? They are not there, you know, in deep loneliness, on the other side of borrowed identities, a person remains not with himself, but with nothing, not even with everyone. ... Following the disappearance of a thousand women and a thousand spectators, you yourself disappear, two empty mirrors cannot distinguish themselves from each other... Where are you now?" (Poplavsky, 2000, p. 310). The problem of “I” and “other” is also relevant for Nabokov’s work (the novel “The Spy”, the story “The Horror”, etc.).
The “inner” hero exists only in the space of his own consciousness, and he draws sources of self-reflection from the author’s memory. Contemporary critics saw autobiographical narratives in the novels of the “numbers.” The boundary between author and hero is blurred.
The structure of the novel “Apollo Bezobrazov”: the opposition of “reality” and “realities”. Autocommunicative principle of text construction
As you know, Poplavsky became famous among emigrants primarily as a lyricist. Subsequently, the writer turned to epic kind literature to big genre- novel. In our opinion, the attraction not to small forms (short story, short story or novella), but to the novel is due both to Poplavsky’s worldview and to the historical and literary situation.
M. Bakhtin wrote that the novel is the only emerging and still “unready” genre. “The remaining genres are like genres, that is, as certain solid forms for casting artistic experience,” noted the literary critic (Bakhtin, 1975, p. 447). And only the novel does not have a “canon”. The novel comes into contact with the element of the unfinished present, which does not allow this genre to freeze. The object of his artistic depiction is “unready and fluid modernity.” The plasticity of the novel is also due to the fact that it is “an eternally searching genre, eternally exploring itself and revising all its established forms” (Bakhtin, 1975, p. 482).
The artistic understanding of existence as eternally becoming and changing is characteristic of all the work of Boris Poplavsky: In order to capture eternal change, art must be at the same time non-art, Poplavsky believed, whose creative reference point was the “human document.” “Should we strive to “enter” literature, shouldn’t we rather want to “get out” of literature?” asks the writer in “Notes on Poetry” (Poplavsky, 19966, p. 251). And he answers: “you need to write something outside of literature. This is achieved, not a work is created, but a poetic document - a feeling of a living, uncontrollable fabric of lyrical experience. There is not a static theme here, but dynamic state, ... and therefore the display transforms and changes, like the living fabric of time” (Poplavskii, 1996, p. 251).
What Poplavsky wrote about poetry is also true for his prose. Researchers note lyricism in both of the writer’s novels. For example, V. Volsky in his work “Between Nietzsche and Edgar Poe” (Volsky, 20036) calls Poplavsky’s novels a large prose poem, where a certain “discreteness between internal and external, subjective and objective” is assumed.
From the lyrics, the writer’s prose borrows an attitude towards subjectivity (the study of one’s own, “home” is more important than objective reality), associativity. Poplavsky rhythmizes prose and also introduces blank verse into novels. The chapter of “Apollon Bezobrazov” about the ball of Russian emigrants is especially poetic. One part of this chapter is dramatic episode, built on the rhythmic replicas of the participants (“Voices from Music”, “Vera”, “Apollo Bezobrazov”, “Sinners”). For example, Vera says: “Sounds are born in the world, the sun carries them into the abyss. Here, in the cloak of dust, the music of death lives. Who will wake them up, who will destroy them. I’ll leave with them, I’ll die with them” (Poplavskii, 2000, p. 84).
The emphasis on fragmentation, associativity, subjectivity, and external eventlessness is a general trend in the modernist novel of the 20th century, to which we include Poplavsky’s novel. “Apollo Bezobrazov” is a modernist text, which reveals both the features of a European novel of the beginning of the century and a Russian symbolist novel.
In his article “About...”, partly dedicated to the work of D. Joyce, Poplavsky contrasts the Irish writer with those classics who sought to “describe remarkable incidents of life and all sorts of important events.” Joyce, according to the writer, managed to touch the reality of existence, create an “intense sense of reality” (Poplavsky, 19966, p. 274), and discover “the majestic chaos of the human soul” (Poplavsky, 19966, p. 276). “All together,” Poplavsky writes about “Ulysses,” “creates an absolutely stunning document, something so real, so living, so diverse and so truthful that it seems to us that if there was a need to send to Mars or anywhere to hell in general, Easter cakes are the only example of earthly life or destruction European civilization the only book to be preserved as a souvenir, in order to give an idea of it, lost through centuries or spaces, it would perhaps be necessary to leave Joyce’s “Ulysses” (Poplavsky, 19966, pp. 274-275).
Many works are devoted to the type of literary hero of modernism, but the general opinion basically boils down to the fact that “he lacks stability and stability” (Stroev, 2002, p. 524). “Nowadays Europeans have been thrown out of their biographies, like balls from billiard pockets,” wrote O. Mandelstam in the article “The End of the Novel” (1922). - Contemporary novel immediately lost the plot, that is, the personality acting in the time belonging to it, and psychology, since it no longer justifies any actions” (Mandelshtam, 1990, p. 204). A.F. Stroev in his work “Hero - Character - System of Characters” writes that “the theory of relativity taught us the idea that the world is infinite, incomprehensible and ambiguous. A person cannot judge objective reality, but only his own perception of it. The rejection of positivism and God equally destroyed the harmonious picture of the universe and deprived existence of its purpose. Freudism showed the complex dual nature of human consciousness, the hidden irrational motivation of actions” (Stroev, 2002, p. 524).
N. Yu. Gryakalova, author of the monograph “Modern Man: Biography - Reflection - Letter” (Gryakalova, 2008), considers the construct included in the title as a special cultural-anthropological type in the paradigm of its literary and life-creative implementations. The world of the modernist novel is devoid of integrity, rationality, orderliness, and is constantly in the process of becoming; the hero of this space is, first of all, reflective. Similar ideas about the world were also characteristic of Poplavsky.
Modernism in the context of the first wave of Russian emigration undergoes certain modifications, which only strengthen some quality characteristics given artistic method. In our opinion, the emigrant prose of the 30s and the work of Boris Poplavsky are characterized by the construction of the text according to the autocommunicative principle.
Yu. M. Lotman identifies two directions of message transmission in the cultural space. The most typical case is the “I - HE” direction, where “I” is the subject of information transfer and its owner, “HE” is the object, the addressee. In this communication model, it is assumed that before the act of communication begins, some message is known to “me” and not known to “him”.
Lotman calls another direction in the transmission of communication “I - I”. In this model, the subject transmits a message to himself. At the same time, the researcher is interested in the case when the “I - I” system performs not a mnemonic, but another cultural function. These are all those cases when a person turns to himself, in particular, those diary entries that are made not for the purpose of remembering certain information, but for understanding internal state writing, clarification, which does not occur without writing.
Irrealization of the chronotope of Paris
In this chapter of the study, we will analyze the poetics of the “unreal” in Ioplavsky’s novel “Apollo Bezobrazov”, reveal its features and make an attempt to trace how the features of the “unreal” penetrate all structural levels of the novel.
The spatio-temporal structure of the first chapter of the novel “Apollo Bezobrazov” is of interest. It sets the “coordinate system” in which the characters will subsequently exist.
The chapter opens with an epigraph in French from Paul Eluard, one of Poplavsky’s favorite writers: “Like a bird closed in its flight, he never touched the ground, did not cast his shadow on it.” In the statement one can isolate some spatial-temporal categories that are important for the first chapter and the entire novel, which form oppositions: “closedness - openness”, “flight - fall”, “earth - sky”, “shadow - light”, the pronoun “never” in In this case, it can be equated in meaning to the word “always,” that is, “eternal,” and, thus, “eternal” is opposed to “temporary.” In the sentence, the “above-ground” existence of the subject (“he”) is compared to the flight of a bird - and in this chapter the hero “I” (whose name, by the way, the reader learns towards the end of the novel) will meet the same “mysterious”, “strange”, “ unreal" character, whose existence is marked by "isolation".
The narrative begins with a panoramic description of Paris, the city crowd, in which the reader will soon see the hero-narrator of the novel: “I”.
In general, the “Parisian text” in the history of literature exists along with the “texts” of other cities and has a range of established ideas and associations. Note that V.N. Toporov introduced the term “St. Petersburg text” and defined it as an artistic realization of the image of the city, and this definition can, by analogy, be extended to “Parisian”, “Moscow”, “London”, “Dublin” and other texts ( see Toporov V. N. Myth, Ritual, Symbol, Image: Research in the field of mythopoetic: Selected / V. N. Toporov - M.: Progress, 1995. - 624 pp.).
“Text”, in this case, we define, following B. Uspensky, as any “semantically organized sequence of signs” (Uspensky, 2000, p. 15). “Urban text” is also a sequence of signs, semantically organized by their belonging to this phenomenon(city).
Researcher L.V. Syrovatko, by analogy with the “St. Petersburg story,” identifies a special feature in the prose of the Russian diaspora of the first wave genre variety“Parisian novel” and refers to it some works by V. Nabokov, G. Gazdanov, B. Poplavsky and others (Syrovatko, 2000). According to the literary critic, the main feature of the “Parisian novel” is a special type central character- this is a person “from the outskirts”, a marginal, a loner, a stranger in the metropolis, because initially he belonged to a completely different, more ancient and natural type of civilization (for example, in Gazdanov and Nabokov - a Russian estate). This space, which has disappeared forever, is associated with the cross-cutting motif of the “Parisian novel” - the metaphor of the “lost home”. Paris is perceived as a machine with human gears. L.V. Syrovatko notes: “There is no return to the ancestral, natural life, and the outwardly festive world of the “new civilization” turns inside out for the hero... It is no coincidence that when describing Paris... both Gazdanov and Poplavsky especially highlight clochards. A “wanderer”, a “traveler” in life, an “outsider”, a “stranger” in the metropolis, biographically and metaphysically homeless, acutely aware of the inevitability of non-existence, the hero of the “Parisian novel” tries to overcome the resulting emptiness by uniting him with other people by complicity in the every second approaching someone else’s death , co-dying” (Syrovatko, 2000, pp. 90-91). The features of the “Parisian story” listed by L.V. Syrovatko correlate with the broader concept of “Parisian text”.
However, not all researchers clearly assess the significance of the Parisian text for Russian writers in comparison with other urban texts. N. E. Mednis, noting the presence in the culture of St. Petersburg, Moscow, Roman, Florentine and other texts, believes that for “the germination of the Parisian text” there is not enough “certain internal intentions” (Mednis, 1999, p. 132). At the same time, the literary critic admits that “some artists experience Paris precisely through text” (Mednis, 1999, p. 146). N. E. Mednis finds an example of such a perception of the French capital in N. Berberova’s memoirs “My Italics.” The writer’s attitude towards Paris contains “all the semiotic prerequisites for the formation of her own Parisian text, in which the city is able to realize the potential of otherness” (Mednis, 1999, p. 214). “Paris is not a city,” writes N. Berberova. - Paris is an image, a sign, a symbol of France, its today and its yesterday, the image of its history, its geography and its hidden essence. This city is full of meaning more than London, Madrid, Stockholm and Moscow, almost as much as St. Petersburg and Rome... it speaks of the future, the past, it is overloaded with overtones of the present, a heavy, rich, dense aura today. Whether we love it or hate it, we cannot escape it. He is a circle of associations in which a person exists, being himself a circle of associations” (Berberova, 1999, p. 331).
Of interest to our research is Boris Poplavsky’s transformation of the domestic and foreign literary tradition of the “Parisian text” and the creation of his own space of Paris - the “emigrant” topos.
