B - N "T about p about in
And Poor
Karamzin
An experience
readings
For the bicentennial
since the day of publication
RUSSIAN
STATE
HUMANITARIAN
UNIVERSITY
MOSCOW-1995
BBK8
T 58
INSTITUTE
HIGHER
HUMANITARIAN
RESEARCH
Responsible editor
D.P. Tank
Painter
A.T. Yakovlev
SSb
Mnpit "ka
Udmurt "
ISBN 5 - 7 2 8 1 - 0 0 2 0 - 1
Toporov V.N., 1995
Registration. RGGU, 1995
INSTEAD OF
P R E D I S L O V I
When Poor Liza appeared, its author went
twenty-sixth year. This story was not Karamzin's debut. She was preceded by almost ten years of literary experience. In his memoirs ("Look at
my life ") I.I. Dmitriev, who first saw Karamzin in Simbirsk at a wedding feast ("a five-year-old boy in a silk peruvien jacket with sleeves, whom the Russian nanny led by the hand to the newlywed and the ladies around her")
and made friends with him - for life - in Petersburg, where Karamzin arrived at the age of sixteen
young men, informs not only about their friendship, common
attachment to literature, but also about the first literary experience of Karamzin - "The conversation of the Austrian Maria Theresa with our Empress Elisabeth in
Champs Elysees ", transcribed by him from German
language, referred, on the advice of an older friend, to the bookseller Miller and became "the first retaliation
for his verbal labors. " Almost at the same time,
the first published work of Karamzin - translation of the "Swiss idyll" by S. Gesner "Wooden leg"
(SPb., 1783).
5
The following years, up to Poor Lisa, were filled with intense and varied literary activity. Karamzin worked with diligence,
pleasure, enthusiasm, pounced, one might say - with greed, on everything new in literature that
became known to him, and trying to immediately publish what was written. During these years it was written
more than four dozen poems (and among them
such famous as "Poetry", "Autumn", "Count Guinos", "Phyllide", "Alina", "Song of the Harper", etc.).
Much attention was paid to Karamzin and translations,
referring to very different authors and often very different in nature texts (there were also poems,
both narrative prose and drama; and artistic-literary, and natural-scientific, and philosophical texts; and Shakespeare, and Lessing, and Gesner, and
Thomson, and Janlis, and Haller, and Bonnet), diligently
approached prose - and small ("Eugene and Julia",
"Frol Silin", "Liodor", etc.), and large (the famous "Letters of a Russian Traveler", the publication of which began in 1791-1792 in the "Moscow Journal" and soon - thanks to translations -
made the name of Karamzin famous in Europe, in order to
time is an amazing fact in itself). Much
was written by Karamzin after Poor Liza, especially if we talk about fictional prose, in the following decade (experiments in the field of a historical story, psychological and autobiographical prose). And, nevertheless, it is "Poor Liza",
more than anything else Karamzin made in
fiction, merged with the name of the author,
st ^ ia as it were his personal mark: he created her, and she
forever made him a name, and therefore in the walking formula
"The singer of Poor Lisa" "nothing can replace the title of this story.
In terms of Karamzin creativity "Poor Liza"
actually opens a decade of its original
artistic prose and becomes a kind of measure
countdown ("glorious start" - they say about her, if not
forgetting about Karamzin's previous prose, then all the same
6
Moving her somewhat into the shade). But "Poor Liza" became a starting point and in a broader sense - for the whole
Russian prose of modern times, a certain precedent,
henceforth presupposing - as the complication, deepening and thus ascent to new heights - a creative return to it, ensuring the continuation of the tradition through the discovery of new
artistic spaces. Poor Liza has formulated a new and united readership under a new sign. After its appearance in print in 1792, this story was comprehended
a wide range of readers at that time as
so it is - and not only literary, but also partly
going beyond literature, changing something
important in the very perception of literature, in the mind of the reader and even in his very life.
But the reader, judging the work by hot
in the footsteps of what I just read, when the excitement is still
did not pass, but the emotions did not subside and the general impression
has not yet settled, often tends to natural
aberrations and, in particular, to the temptations of exaggeration. After all, he, the reader whom the author had in mind
first of all and who was the first, so to speak, hic
et nunc, the recipient of the story, could not help feeling his special connection with this story and with its author, and through them - even decades later - with that
long gone, but unforgettable
your time. With this sense of connection the reader with
the text and its author cannot be ignored. But it is partly because of this intimate connection, because of its emotionality, because of the factors limiting the "objectivity" of the "first meeting" of both,
it is not always possible to rely on the reader's opinion at the first perception of the text, or rather, -
most often and generally it is impossible, especially since the story
turned out to be "hot" and affected primarily the feelings
"Hot" readers. But over the past two hundred years, in
the course of which, at first, as if pondering
for three and a half decades after "Poor Lisa" and latently gaining strength to take a new one,
7
"Poor Liza" of the superior frontier - Russian
prose fabulously stepped forward, became great and even
later, in her violent captivity, did not take away
last hopes for her revival (they persist and even increase now, when she stands on
historically important crossroads), - during this time, much has become clear, has taken its stable places, acquired a more verified and reliable reputation. V
In the light of this experience, it can be safely asserted that "Poor Liza" stands at the very origins of the new Russian
prose, the next steps of which, after mastering
lessons from the Karamzin story (and, of course, not only
her), there will be "The Queen of Spades" and "The Captain's Daughter",
"A Hero of Our Time", "Petersburg Tales" and
"Dead Souls", which, in fact, begins with
a continuous line of great Russian prose. In any case, if you do not compromise on the breadth and do not allow yourself to sink to the distractions from the main
trifles, "Poor Liza" is exactly the root from which the tree of Russian classical prose grew,
whose powerful crown sometimes hides the trunk and distracts
from reflections on historically so recent
the origins of the samogb phenomenon of Russian literature of the New
time.
Of course, speaking of Karamzin prose, one cannot
limit only to "Poor Lisa": in a variety of
directions, genres, works Karamzin expanded the space of Russian prose. His other works of art (stories and stories), "Letters of a Russian Traveler", "History of the Russian State", his journalism, criticism,
literary articles, political reviews (and
n5 the spite of the day, and in understanding this malice in general), "Notes on Ancient and New Russia" and "Opinion
Russian citizen ", a wonderful epistolary
heritage and even many business papers marked
the achievement by Russian prose and the Russian language of a new, modern
only in time, but also for those tasks that
open in front of him) level and introduced the Russian pro8
Zu into a new stage of relationship with great literature
West, in the context of European prose.
What was needed for this to a person who,
can be said to have done it alone, to the author of this
prose? Karamzin himself asked a similar question. Less than a year after the publication of Poor
Lisa ", in the spring of 1793, he wrote a note with a title similar to the question raised above, -
"What does the author need?", Printed in the first part
almanac "Aglaya" for 1794. In this note already
the wise author of Poor Lisa, between
by the way, writes:
“They say that the author needs talents and knowledge: a sharp, discerning mind, vivid imagination and
etc. Fair enough: but this is not enough. He needs to have a kind, gentle heart, if he wants to be
friend and favorite of our soul<...>The creator is always
depicted in creation and often - against his will. The hypocrite thinks in vain to deceive the readers and
hide the iron under the golden robe of magnificent words
heart; in vain speaks to us of mercy, compassion, virtue! All his exclamations are cold, without
souls<...>
When you want to paint your portrait, first of all look in the right mirror: can it be
your face is an object of art<...>If creative
nature made you in an hour of neglect or in a minute
your strife with beauty: be wise, do not
the ugliness of the artistic brush - abandon your intention. You grab a pen and want to be an author:
ask yourself, alone, without witnesses, sincerely: what am I like? for you want to paint a portrait of the soul and
his heart<...>
You want to be an author: read the history of the misfortunes of the human race - and if your heart does not shed blood, leave the pen - or it will depict us
cold gloom of your soul.
But if everything sad, everything oppressed,
all tears open the way to the sensitive chest
yours; if your soul can rise to passion for
9
Good, can nourish the holy in itself, no spheres
unlimited desire for the common good: then boldly
call on the goddesses of Parnassus<...>you will not be a useless writer - and none of the good ones will look
with dry eyes on your grave.
<...>many other authors, despite their
scholarship and knowledge disturb my spirit even when
speak the truth: for this truth is dead in their mouth; for
this truth is not poured out from a virtuous heart;
for the breath of love does not warm her.
In one word: I am sure that a bad person is not
can be a good writer. "
By this time in Russian literature, followed
To the 81st psalm, words have already been spoken about duty Without help, without defense I Do not leave orphans and widows and that
that there is a duty to save the innocent from troubles, / To the unhappy
apply a cover; / Protect the powerless from the strong, /
To pluck the poor from their shackles, but this reminder was
addressed to the rulers and judges, who, however,
Do not heed! - they see and do not know! The words about speaking with the language of the heart have not yet been uttered. And therefore, it is Karamzin who has the honor of defining the most important component of the writing business - an equal, bequeathed to the subsequent
Russian literature as its duty (cf. also "To Grace", April 1792, which responded in Pushkin's I
he called for mercy to the fallen). Karamzin himself consciously assimilated this duty for himself and performed it in his
creativity and, perhaps, the brightest and most poignant of all
in Poor Lisa.
So, Karamzin had “talents and knowledge: a sharp, perceptive mind, a vivid imagination and
nf och. " There was also a "kind, gentle heart." Both
opened up great and favorable opportunities for him as an author, but nothing more. Distance between
rich opportunities and their implementation,
first of all, the embodiment in a word worthy of pledges
mind, soul and heart was very significant. V
Russian culture as it was at the turn of the 80s-90s
years of the 18th century, as in Russia itself, in the then
10
There was a lot of life and, finally, in the writer himself that made it very difficult to translate possibilities into an adequate word. There was only one way out - to get ready, and not in advance (in Russia
there was always plenty of space, but never
there was almost no time, which leads to far-reaching thoughts), and in the course of creativity, writing, which is already
this alone could not quite answer in cash
opportunities, terms and conditions that would be essential
reduced and, at least in part, allowed to overcome
difficulties that hindered the realization of these opportunities. Karamzin just started preparing
such conditions, during which elements of a new
years of the 18th and early 19th centuries, it did not become clear: the Russian
fiction has been renewed in its very foundations, a new stage in the development of Russian literature has opened, fraught with further achievements.
All the main things were done by Karamzin himself,
who walked in the development of prose far ahead of their contemporaries, even the younger ones. When Poor Liza was being written, there were no people in the world who were rightfully
true succession, he continued the work begun by Karamzin, assimilating it and overcoming it on new
ways. But Karamzin, who did so much for Russian literature and above all for prose, did
and prose itself, the highest achievement of "Karamzinsky"
period of Russian literature. I thought about what it cost in due time - and precisely in connection with
Karamzin - Chaadaev: "... what does it cost us a person who was born with great abilities to create himself as a good writer." Undoubtedly the price
was very high. But another one is no less important.
the feat of Karamzin is his personal life affair: he
he made himself (or, as Yu.M. L aphoristically designated "otman," Karamzin creates Karamzin). And
the way, tool, form and meaning of this
doing for Karamzin was stubborn, but inspiring the doer himself to work over everything that fell
into the sphere of his attention and at least once awakened to
11
Your interest. Not only the mind, but also the heart participated
in this work (on another occasion, regretting that he still had to leave England, the author of Letters of a Russian Traveler notes: “Such is my heart:
it is difficult for him to part with everything that, although somewhat interested in him ”). That is why this work was argued.
For those who know that TÓ was the result of this work, assimilated by Russian prose, it is appropriate to recall that with
what Karamzin had to start with. Description of Leon's childhood in The Knight of Our Time, where
so much autobiographical, leaves no doubt that the life of the heart in him was awakened by the early deceased
mother. Forgetting grief, or rather, distraction from it
both the widowed spouse and the son were looking for: the father began to
household, son - for the watchmaker. Almost half a month, under the leadership of a rural deacon, seven-year
Leon learned to read church books, and then
books of secular printing. “The first secular book, which our little hero, reading and reading, by heart
confirmed, was Ezopov's "Fables"<...>Soon given away
Leon the key to the yellow cabinet in which the
the library of his late mother and where on two shelves
there were novels, and on the third several spiritual
books: an important era in the education of his mind and heart!
"Daira, Oriental Story", "Selim and Damasina",
"Miramond", "The Story of Lord N" - everything was read in one summer, with such curiosity, such a lively pleasure that could have frightened another
educator ... "Of course, this is the literature of a low
level, but in this case it is not this that is important, but what is
curious, impressionable and receptive
a boy who keeps maternal pledges in his soul
(“I’m all my mother! Sometimes I didn’t let go of a book,” -
Leon's father used to say), extracted from reading these books.
The author describes how they attracted Leon: “Did the picture of love really have so many charms for
an eight- or ten-year-old boy so he can
forget the fun games of your age and all day
sit in one place, glaring, so to speak,
with all their children's attention to the non-store „Peace 12
Monda "or" Dyry "? No, Leon did more
incidents, the connection of things and incidents, rather than
feelings of romantic love. Nature throws us into
the world, as in a dark, dense forest, without any ideas and
information, but with a large supply of curiosity, which begins to act very early in the infant,
the earlier, the natural basis of his soul is more tender and
more perfect ... "and a little further:" Leon opened
new light in novels; he saw how in a magic
lantern, many different people on the stage,
many wonderful actions, adventures - game
fate, hitherto unknown to him<...>Soul of Leonov
floated in the book light like Christopher Colomb on
Atlantic Sea, for opening. ... ... short This reading not only did not hurt his young
soul, but it was still quite useful for. education in
I don't like feelings. In "Daira", "Miramonda", in "Selim and Damasin" (does the reader know them?), In a word, in all the novels of the yellow cabinet
heroes and heroines, despite the many temptations of fate, remain virtuous; all villains
described with the blackest paints; the former finally triumph, the latter finally, like dust,
disappear. In the gentle Leon's soul inconspicuous
image, but indelible letters inscribed
consequence: “So, kindness and virtue are one!
So, evil is ugly and vile! So virtuous
always wins, and the villain dies!
feeling is salutary in life, with what firm support
it serves for good morality, there is no need
prove. Oh! Leon in perfect years will often see the opposite, but his heart will not part with his
consolatory system ... "This passage is the first
the experience of subtle reader reflection on the "novels" read: "novels" are scarce, reflection is rich. But a little more than a decade and a half will pass, and the time will come when the reader's reflection
Karamzin will turn to the works of Kalidasa and
In the quotes here and below, our detente. - V. T.
E. K. Romodanovskaya. About changes in the genre system during the transition from ancient Russian traditions to the literature of modern times.
M. Di Salvo. Young Russian Abroad: Diary of I. Naryshkin.
E. Lentin. Authorship of the "Truth of the will of the monarchs": Feofan Prokopovich, Afanasy Kondoidi, Peter I.
M. Fundaminsky. To the history of the library T. Consetta.
AND. 3. Serman. Antioch Cantemir and Francesco Algarotti.
M. DeWitt. Lampoon, polemic, criticism: "A letter ... written from friend to friend" (1750) by Trediakovsky and the problem of creating Russian literary criticism.
S. I. Nikolaev. Kiriyak Kondratovich is a translator of Polish poetry.
H. Yu Alekseeva. Two verses from the Aeneid, translated by Lomonosov (inscription on the engraving in 1742).
AND.Klein. Lomonosov and Racine (Demofont and Andromache).
A. S. Mylnikov. The first Slavist of the St. Petersburg Academy of Sciences (new observations on the creative heritage of I.P. Kolya).
R. Yu. Danilevsky. Forgotten episodes of Russian-German communication.
X. Schmidt. Russian theme in scientific journalism of Halle and the University of Gaul in the middle of the 18th century.
M. Shippan. A.L.Shlozer's review of I.G.Fromman's dissertation on science and literature in Russia (1768).
L. Ya. Sazonov. A translated novel in 18th century Russia as ars amandi.
L. A. Sofronova. Theater in theater: Russian and Polish stage in the 18th century.
V. D. Cancer. F.A.Emin and Voltaire.
M. Ferrazzi."Letters of Ernest and Doravra" by F. Emin and "Julia, or the new Eloise" by J.-J. Rousseau: imitation or independent work?
M.G. Fraanier. About one French source of the novel "Letters of Ernest and Doravra" by F. A. Emin.
E. D. Kukushkina. The theme of the immortality of the soul by V. I. Maikov.
M. Shruba. Russian battle of books: Notes on "Naloy" by V. I. Maikov.
N.K. Markov. F. Gradizzi, I. P. Elagin, D. I. Fonvizin (to the history of one petition).
V. P. Stepanov. To the biographies of A. I. Klushin, A. D. Kopyev, P. P. Sumarokov.
G. S. Kucherenko. The composition of Helvetius "On the Mind" translated by E. R. Dashkova.
E. Cross."A fool will not overcome such a role" - Athanasius in the play of the Prince "Misfortune from the carriage."
C. Gardzonio. Unknown Russian ballet script from the 18th century.
X. Rote.“He chose a very special path” (Derzhavin from 1774 to 1795).
A.Levitsky. Derzhavin, Horace, Brodsky (the theme of "immortality").
M.G. Altshuller. The oratorio "Healing Saul" in the system of Derzhavin's late lyric poetry.
K. Yu. Lappo-Danilevsky. On the sources of artistic axiology N. A. Lvov.
J. Revelli. The image of "Mary, Russian Pamela" P. Yu. Lvov and its English prototype.
R. M. Lazarchuk, Yu. D. Levin."Hamlet's monologue" translated by MN Muravyov.
P.E.Bukharkin. About "Poor Liza" N. M. Karamzin (Erast and the problems of the typology of the literary hero).
V. E. Vatsuro."Sierra-Morena" N. M. Karamzin and literary tradition.
F.Z.Kanunova. N.M. Karamzin in the historical and literary concept of V.A.Zhukovsky (1826-1827).
E. Heckselschneider. August Wilhelm Tappé - popularizer of N.M. Karamzin.
A.Yu. Veselova. From the legacy of A. T. Bolotov: Article "On the benefits of reading books."
NS.R. Zaborov. Poem by M. V. Khrapovitsky "Four seasons".
B. N. Putilov. About proseism and formless verses by Kirsha Danilov.
B. A. Zapadov."Russian dimensions" in poetry of the late 18th century.
Yu. V. Stennik. Sumarokov in criticism of the 1810s.
S. V. Berezkina. Catherine II in Pushkin's poem "I'm sorry for the great wife."
S. Ya. Karp. About the Center for the Study of European Education in Potsdam.
Supplements to the biobibliography of P. N. Berkov.
List of abbreviations.
Index of names.
ROMAN B. AKUNINA "WHOLE WORLD THEATER" IN THE CONTEXT OF THE LITERARY PROJECT "ADVENTURES OF ERASTA FANDORIN"
Arbuzova Oksana Ivanovna
5th year student, Faculty of Philology and Journalism, KemSU, RF, Kemerovo
E- mail: arbuzova- filol@ yandex. ru
Poselenova Evgeniya Yurievna
scientific adviser, Ph.D. philol. Sci., Associate Professor of the Department of History and Theory of Literature and Folklore, KemSU, RF, Kemerovo
In the scientific literature that exists today, devoted to the work of B. Akunin, there is confusion in the use of the term, reflecting the commonality of the novels and stories about Fandorin. The most common nomination is "Fandorin" cycle, literary-commercial project and even novels-serials. We can see the actual author's definition on the cover of each edition about the Akunin detective: “All genres of the classic crime novel in literary project"The Adventures of Erast Fandorin". The logical question is what is the difference between this concept and the most commonly used concept of the cycle.
In the dictionary "Poetics" edited by N.D. Tamarchenko, the concept of a cycle is defined as follows: « a group of works compiled and united by the author himself according to various principles and criteria (genres, themes, plots, characters, chronotope) and is a kind of artistic unity. The obligatory features of the cycle usually include the title given by the author and the stability of the text in several editions. " The main connecting link of Akunin's novels is undoubtedly the image of the main character and the genre nature of the works - detective novels. Although here B. Akunin seems to be trying to break the unity: today the project includes two collections of stories ("Special Assignments", "Jade Rosary"), and the author refers the novels to different types of detective genre ("Azazel" - "conspiracy detective" , "Turkish Gambit" - "spy detective", etc.). And yet, the general scheme of the detective story remains unchanged, as well as the mandatory use of the citation mechanism. It is the double coding technique that turns out to be the cornerstone of Akunin's project, designed to attract the attention of both the mass and the elite reader.
The concept of a literary project, in our opinion, is broader than the concept of a cycle and concerns the sphere of the realization of a work as a trade product. In this regard, the definition given by Vladimir Gubailovsky seems to be indicative to us: "A literary project is an action program aimed at creating a text and its presentation (promotion) in such a way that the resulting feedback becomes positive." Proceeding from this, it is natural that the very phenomenon of a literary project belongs to the end of the XX - beginning of the XXI centuries. Modern literature, in comparison with classical literature, is especially associated with issues of publishing and popularizing works. Do not forget that the works of B. Akunin tend to fiction, which is oriented towards mass distribution. Therefore, we see the main distinguishing feature of a literary project in comparison with a cycle in the following: for a project it is not so much important that “ what written "how much," how written. " A striking example is another Akunin project - "Genres", in which the author demonstrates models of popular genres of modern literature, using a set of stamps characteristic of each of them. The "protagonist" in this case is the technology of creating the text. And, as mentioned above, intertextuality has become the leading principle in the implementation of the "Fandorin project", which allows it to be read as hypertext.
In the novel "The whole world is theater" at different levels of the existence of the work, we find references to the texts written almost a decade ago by "Azazel", "Decorator" and other works of the project. It is characteristic that these connections are marked with quotations from classical literature and, as a rule, perform the following functions: a) ridicule the character through comparison with the original source; b) parodying modern clichés of mass culture; c) an ironic depiction of modern stereotypes of perception of classical works. Let us consider each of them sequentially.
An example of an ironic coverage of a character is the transformation of Lermontov's myth, which is key to interpreting the image of Georges Devyatkin. Akunin gives clear allusions to the figure of the poet, who, as you know, sought to match the image of the mysterious man of Destiny, recreated by him in his work. Even before joining Stern's troupe, Georges played in a provincial theater under the pseudonym Lermont, so the director once contemptuously called his assistant “Lermonts for the Poor”. Already a member of the Noah's Ark troupe, Devyatkin plays in the play by A.P. Chekhov's "Three Sisters" of Lieutenant Solyony, who imitated M.Yu. Lermontov. Georges' direct connection with this character is confirmed by Stern, who stated that, having played the role of Solyony, Devyatkin played himself.
The novel "The whole world is theater" is not the first text in the series in which there is a direct reference to the biographical personality of M.Yu. Lermontov. In the novel "The Mistress of Death" (2001), the image of the eighteen-year-old poet Gdlevsky appears, whose appearance is similar to the famous portrait: "a pretty young man, still a boy in appearance - slender, with a capriciously arched mouth and a feverish blush on smooth cheeks." Unlike Devyatkin, the young man's talent is recognized by the decadent society of Lovers of Death, the head of which, Prospero, considers him the hope of new Russian poetry. It is important that in both cases, references to the image of Lermontov are closely related to the theme of genius. Gdlevsky declares: “I am the chosen one, not you! I, the youngest! I am a genius, a new Lermontov could come out of me. " Devyatkin, who declared himself the Artist of Evil and took on the role of God in the theater space, also extols his art: "Admit that such a beautiful performance has not been seen since the time of Herostarat! .. my benefit performance is the highest act of art!" ... Nevertheless, the words of the characters take on an ironic connotation, thanks to the details that emphasize the disparity between their claims and their real appearance. For Gdlevsky, this is an ecstatic obsession with rhyme, which he calls the most mystical thing in the world. He even sees a sign of being chosen by Death in the rhyme "twist and twist" from the song of the old organ-grinder. Devyatkin is convinced of his chosenness as a result of an absolutely ridiculous incident. Falling into the ditch, the hero concludes: “There is nothing fatal in the fact that you stepped over the ditch and I fell<…>now I understand that there is no Rock. Rock is blind. Only the Artist can see ”. But this statement also turns out to be false. The hero's aspirations for fame and love are constantly suppressed by circumstances or other characters. He hopes to play Lopakhin in The Cherry Orchard, but Stern gives this role to Smaragdov. When the prime minister dies, Devyatkin's plan is again not realized, because Fandorin suddenly brings the director another play, in which the "facilitator" gets the role of the Invisible, who never appears on the stage. He performs the functions of an assistant not only in the theater space, but also outside it: for example, under Fandorin during the invasion of Tsarkov's house. Instead of the love of the famous prima donna, Devyatkin receives the selfless and quiet love of Zoya Durova, who, before joining the Noah's Ark troupe, played in the midget circus and “pretended to be a monkey”. It is Zoya who clearly embodies the type of "little man" ("my life needs are tiny, and my love ones are even microscopic"). hints at his resemblance to Devyatkin: “Being a little man is much better, believe me. We are made for each other" . Indeed, on a par with her, Devyatkin constantly finds himself in the shadow of the "greats" (Stern, Luantin, Fandorin), who see in him only an assistant, "a servant for everything." The artist of Death performed by Devyatkin turns out to be by no means all-seeing and cannot prevent the collapse of his play in the finale. Thereby high low. The motive of the substitution can be traced in the semantics of the surname of this hero: 9-6. There is a postmodern game with form, reflecting the disorder, lack of stability in the hero's life. One can also note the connection with the reduced connotation of the word "six", which is expressed in the text itself: "a servant for everything." The discrepancy between the desired (in the image of the Genius) and the real (in the image of the "little man") generate a comic effect and the hero against the background of the scale of Lermontov's personality reveals its own inconsistency.
The theme of art plays an important role in the novel "The whole world is theater". And although the events of the novel take place at the beginning of the 20th century, the reader can easily find references to modern theater in the activities of the Noah's Ark troupe: striving for novelty in interpretation, exoticism, orientation towards a mass audience and commercial success. But through the prism of intertextual links, one can find a parody of the popular plot schemes of our time. As an example, consider the love story, which already at the beginning of the novel makes the reader turn to the first book of the project, Azazel. At the plot level, this is connected with the hero's memories of the death of the bride that took place thirty years ago. It is important for us that the love story in the first and twelfth editions of the project unfolds against the background of references to the story by N.M. Karamzin "Poor Liza". In both cases, this is indicated by the names of the characters: Erast and Liza (Lizanka in "Azazel", Liza Leikina, who took the pseudonym of Eliza Luantin, in the novel "The whole world is theater"). But the well-known plot of the precedent text is interpreted in different ways. In Azazel, Poor Lisa's literary model works: the girl dies on her wedding day. And although the death of Lizanka is explained by the plot twist of the detective sense and is not connected with such a deep moral and ethical problematic as in Karamzin's story, the general scheme remains. The novel "Whole World Theater" offers the reader a different version: the plot scheme of "Azazel" is superimposed on the layer of cultural associations associated with "Poor Lisa", and finds of the literary tradition of the 19th century and a modern love story are added to borrowings from Karamzin's artistic system.
Eliza Luanten is clearly opposed to both Lizanka Kolokoltseva and Karamzin's heroine. Her sensitivity turns out to be nothing more than an actor's exaltation and even an ordinary professional habit, she only plays the role of Poor Lisa on stage. Initially, the scheme of relations between Fandorin and Eliza is realized in accordance with the classic plot. The hero of "Poor Lisa" fell in love with the shepherd girl because he found in her "what his heart had been looking for for a long time." For Erast Liza, fed up with secular entertainments, seemed extraordinary, unlike the girls of secular society. Fandorin, who has crossed the fiftieth birthday and has already seen a lot in his lifetime, falls in love with Eliza when he realizes that she is “just different, not like other women, the only one”. Erast Petrovich himself clearly acquires the features of the image of a "superfluous person", which, according to P.E. Bukharkin, is the literary successor of the hero Karamzin. Throughout the novel, there is a distance between Eliza and Fandorin that the hero could not overcome until the very last moment of the narrative. This trait brings the heroine closer to the traditional image of the “femme fatale”, which appears in the works of the 19th century: Tatiana in “Eugene Onegin” by A.S. Pushkin, Vera in "A Hero of Our Time" M.Yu. Lermontov, Odintsova in the novel "Fathers and Sons" by I.S. Turgenev.
In his novel, Akunin violates the traditional denouement of the relationship between the “femme fatale” and the “superfluous man”. "Putting on the mask" of the role of the hero-lover in the finale of the work, Fandorin thereby becomes a part of the theatrical space, the false world of Eliza. At this moment, the distance that separates him from the heroine disappears, and the work ends in the tradition of a love story. However, the concept of "love with limited liability", to which the heroes come, against the background of references to classical plots, make the happy ending nothing more than a parody of modern stereotypes of love stories.
In modern literary criticism, such a feature of postmodernism is generally recognized as attention to literary techniques, which are designed to emphasize the conventionality of hierarchies, rules and authorities already established and fixed in society. Therefore, it is not surprising that one of the most cited writers in the project was A.S. Pushkin, who had a strong influence on the development of Russian literature up to the present day.
Often, Pushkin's works, especially poetry, become the subject of direct quotation in the works of the "Fandorin project". But it is they who demonstrate the polemical orientation of the intertext in relation to Pushkin's system of values. Researchers have noticed a sharp contrast between the semantic load of a quotation and the situation in which it occurs. Pushkin's high poetry either accompanies a crime (double murder in Death's Lover), or is put into the mouths of negative characters and criminals. Direct quotations from Pushkin's poetry appear twice in the novel "The Whole World is Theater": in the first and last chapters, as if closing the action. And in both cases, they are debunked. In the first chapter, Fandorin argues in the traditions of Eastern philosophy: “The often-quoted Pushkin stanza“ Days fly by, and every day takes away a particle of being ”contains a semantic error. Probably, the poet was in a blues, or it was just a slip of the tongue. The poem should be read: “Days fly by, and every day brings a particle of being. " If a person lives correctly, the passage of time makes him not poorer, but richer. " In general, this position is justified by further events: the cold-blooded hero falls ill with a love affliction, although he has long been "burned out by his heart." In the last chapter, the issue of happiness becomes the subject of a dispute between Fandorin and his valet Masa, and the solution is the interpretation of the well-known lines: "There is no happiness in the world, but there is peace and will." For Masa, this is "a fallacy made by a person who is afraid to be happy." Fandorin does not find a convincing counter-argument and simply declares: "This is a line from Pushkin, and the poet is always right!" ... In our opinion, in this case, it is not the poet's work itself that is questioned, but his typical, stereotyped perception. Do not forget that Akunin's novels gravitate towards fiction, which is designed to attract the reader. The best way to get attention is to provoke the reader's reaction of surprise. We are accustomed to the stereotype that Pushkin's texts are a kind of ideal, an example of high art. And on the example of Fandorin, the struggle between this cultural stereotype and the attempt to overcome it is noticeable.
Of course, the intertextual links we have indicated are not a complete list of allusions and quotations in the "Fandorin novels". Our goal was to fit the novel “The Whole World is Theater” into the context of a literary project about Fandorin, to discover the continuity and / or evolution of the problematics and the nature of the rethinking of traditional plots. But even these observations make it possible to speak of the novel as a hypertext. Most often, quotes from "alien" texts in B. Akunin's novels are present in ironic coverage (such as borrowings from Pushkin's poetry) or turn out to be a background for creating a parody image (for example, the Lermontov myth applied to the image of Devyatkin). At the same time, it is noticeable that the author makes fun not of the work of the classics themselves, but of their stereotypical representation in the field of modern culture. And the organization of references reflects the goal of Akunin-Chkhartishvili: “I wanted as many people as possible to read the classics, to be interested in it, because it would be more interesting for me to live with such a reader. And then we will all understand each other better ”.
Bibliography:
- Akunin B. Azazel. M .: "Zakharov", 2007.
- Akunin B. The Diamond Chariot. M .: "Zakharov", 2009.
- Akunin B. The whole world is a theater. M .: "Zakharov", 2009.
- Akunin B. The Mistress of Death. M .: "Zakharov", 2008.
- Bobkova N.G. Functions of postmodern discourse in B. Akunin's detective novels about Fandorin and Pelagia: abstract of thesis. Candidate of Philol. n. Ulan-Ude, 2010.
- Booker I. Boris Akunin fools readers. Interview for Рravda.ru. 2006. [Electronic resource] - Access mode. - URL: http://www.pravda.ru/culture/literature/rusliterature/15-05-2006/84264-akunin-0/ (date of treatment 02.15.2015).
- Bukharkin P.E. About "Poor Liza" N.M. Karamzin (Erast and the problem of the typology of a literary hero) // XVIII century. Sat. 21. SPb., 1999.
- Gubailovsky V. Mandelstam's Formula // Arion. 2002. No. 4. [Electronic resource] - Access mode. - URL: http://seance.ru/n/23-24/perekrestok-vremya-proekta/literaturnyie-androidyi (date of treatment 11/23/2013).
- Karamzin N.M. Poor Lisa. Letters from a Russian traveler. Stories. M .: Pravda, 1980 .-- 608 p.
- Kunevich A., Moiseev P. Pushkin's text in the "Fandorin" novels by B. Akunin. // Siberian Lights. 2005. No. 3.
- Potanina N.L. Dicken's code of the "Fandorin project" // Voprosy literatury. 2004. No. 4.
- Poetics: a dictionary of current terms and concepts. Moscow: Intrada, 2008.
- Ranchin A. B. Akunin's novels and the classical tradition: narration in four chapters with a warning, a lyrical digression and an epilogue // UFO. 2004. No. 67. [Electronic resource] - Access mode. - URL: http://magazines.russ.ru/nlo/2004/67/ran14.html (date of treatment 05/12/2014).
480 RUB | UAH 150 | $ 7.5 ", MOUSEOFF, FGCOLOR," #FFFFCC ", BGCOLOR," # 393939 ");" onMouseOut = "return nd ();"> Dissertation - 480 rubles, delivery 10 minutes, around the clock, seven days a week
240 RUB | UAH 75 | $ 3.75 ", MOUSEOFF, FGCOLOR," #FFFFCC ", BGCOLOR," # 393939 ");" onMouseOut = "return nd ();"> Abstract - 240 rubles, delivery 1-3 hours, from 10-19 (Moscow time), except Sunday
Sapchenko Lyubov Alexandrovna. The creative heritage of N. M. Karamzin: problems of continuity: Dis. ... Dr. philol. Sciences: 10.01.01: Moscow, 2003 463 c. RSL OD, 71: 05-10 / 55
Introduction
Chapter 1. Paradoxes of Perception of the Karamzin Heritage
1. The contradictory perception of Karamzin's creativity by literary critical thought 24
2. The creative personality of Karamzin in the assessment of Russian writers 44
3. Karamzin's Centenary and Russian Society 68
4. Dynamics of attitudes towards the Karamzin heritage in the late XIX - early XX centuries 104
Chapter 2. The versatility and perspective of the form and content of the "Letters of a Russian Traveler"
1. Travel as an artistic expression of the ideal form of human activity and as an aesthetically universal phenomenon in Russian literature 116
2. The movement of the hero in the cultural universe as a source of themes, plots and images for subsequent generations of Russian writers 126
3. The image of the hero of his time in "Letters ...". "Russian traveler" in genealogical and typological aspects 149
4. A New Vision of the World as a Productive Art Model 162
5. Changing the internal structure of the image in "Letters ..."
and its development in the further literary process 182
6. Continuation and rethinking of the problems of "Letters ..."
in the almanac of Karamzin "Aglaya" and in the materials of the "Bulletin of Europe".
Ways of artistic transformation of Karamzin texts
by Russian writers 201
7. From a Russian traveler to a Russian landowner. Typology and genealogy of the "Russian landowner" 223
Chapter 3. Poetics of Karamzin's Novels in the Light of the Problem of Succession
1. Typology of characters and principles of plot building 239
2. At the origins of the psychologism of Russian fiction: collisions and forms 286
3. The problem of character formation of the hero 315
5. The lyricism of narration as a factor of the spatio-temporal organization of the text 346
6. Striving for simplicity, "precision and brevity" as a promising change in language and style 353
Chapter 4. "History of the Russian State" in the historical and literary perspective
1. "Historical" stories by Karamzin: convention of genre definition. "Natalia, Boyar's Daughter" and "Martha Posadnitsa" as Heroines of the Karamzin Era 364
2. Letters, lyric and philosophical reflections and "Thoughts" by Karamzin as going beyond the stable chronotopes to comprehend man in the universe 370
3. "History of the Russian State" - the path to the knowledge of historical time 384
Conclusion 429
Bibliography 435
Introduction to work
The surge of interest in Karamzin, caused by his 225th anniversary (1991), helped to establish that, "a great writer in all the sense of the word", according to Pushkin's definition, he became the ancestor of the genre of psychological stories, the founder of many plot motives and images. the creator of the characters that have become typical for Russian literature, the discoverer of new style trends. It is noted that the personality of Karamzin had an extraordinary influence on his contemporaries and descendants as a standard of noble independence, self-dignity and incorruptibility of convictions, at the same time kindness and tolerance, restraint and cordiality.
The relevance of research. The problem of comprehending the meaning that the legacy of N.M. Karamzin for Russian literature of the following decades, has acquired special relevance in our days.
If the historical and literary science of the 19th century closed Karamzin within the framework of his time, nevertheless noting his primacy in many endeavors, then modern literary criticism, embracing Karamzin's work in a historical and literary perspective, revealed the colossal role of his personality and his works for new generations of writers. Fundamentally important works by N.D. Kochetkova "Zhukovsky and Karamzin", SO. Schmidt "Pushkin and Karamzin", E. Krasnoshchekova "Goncharov and Karamzin", V.I. Melnik "Goncharov and Karamzin", SV. Belova "Dostoevsky and Karamzin", N.D. Bludilina "Tolstoy and Karamzin" and others. 1. The indicated direction has shown its undoubted promise and effectiveness.
1 Arkhipova A.V. Dostoevsky and Karamzin // Dostoevsky: Materials and Research. L., 1983. Issue. 5.S. 101-112. Belov S.V. Dostoevsky and Karamzin // Russian Archive. M., 1990. Issue. 1.S. 178-192. Bludilina N.D. Tolstoy and Karamzin // N.M. Karamzin. Anniversary 1991 Sat. scientific. works. M., 1992.S. 127-135. Her: Literary sources of the novel by L.N. Tolstoy "War and Peace" (Fiction and documentary prose). Abstract of thesis. day. ... Ph.D. Philol. sciences. M., 1994.Bukharkin P.E. About "Poor Liza" Karamzin (Erast and the problem of the typology of a literary hero) // XVIII century. Sat. 21. SPb., 1999. S. 318-327. Vershinina N.L.
“Literary connections, since they are reflected in the text and, therefore, can be traced, presuppose the author's acquaintance with some external source, based on direct contact with him (“ reading ”) or on indirect information of a“ secondary ”nature. In both cases, the definition of the Source and the pathways connecting the present
Features of the fictional reception of the story by N.M. Karamzin "Poor Liza" in the era of the 1830s-1840s (idyllic-anecdotal counterpoint) // Tale of N.M. Karamzin "Poor Liza": problems of study and teaching. Ulyanovsk, 1999.S. 29-51. Glukhov V.I. "Eugene Onegin" by Pushkin and Karamzin's stories // Karamzin collection. Creativity of Karamzin and the historical and literary process. Ulyanovsk, 1996.S. 24-35. His own: "My confession" by Karamzin in the creative mind of Dostoevsky // Karamzin collection. National traditions and Europeanism in Russian culture. Ulyanovsk, 1999.S. 50-63. Zhnlyakova E. M. Traditions of Sentimentalism in the Works of Early Dostoevsky. Tomsk, 1989. Her: The Problem of Sentimental Traditions in Turgenev's Aesthetics of the 1850s // Problems of Method and Genre. Issue 18. Tomsk, 1994.S. 152-171. Zorin A. L., Nemzer A. S. Paradoxes of sensitivity (N. M. Karamzin. "Poor Liza") // "Centuries will not erase ...". Russian classics and their readers. M., 1989.S. 7-52. Ivanov M.V. The fate of Russian sentimentalism. SPb., 1996. Kamenetskaya SB. "Knight of Our Time" N.М. Karamzin in the history of Russian culture. Kursk, 1991. Her: "The Knight of Our Time" N.М. Karamzin: sources and literary fate. Abstract of thesis. dis. ... Cand. philol. sciences. SPb., 1992. Kanupova F.Z. From the history of the Russian story (Historical and literary significance of the stories of N.M. Karamzin). Tomsk, 1967. Karlova T.S. Tolstoy and Karamzin // L.N. Tolstoy. Articles and materials. Scientific notes of Gorky University. Gorky, 1966. Issue. 77.S. 104-114. Korovin V.I. Pushkin and Karamzin (To the Interpretation of the Tragedy “Boris Godunov) // Korovin V.I. Articles about Russian literature. M., 2002.S. 43-148. Kochetkova N.D. Zhukovsky and Karamzin // Zhukovsky and Russian culture. L., 1987.S. 190-215. Krasnoshchekova E.A. I.A. Goncharov and N.M. Karamzin ("Frigate" Pallada ") // I.A. Goncharov. Materials of the international conference dedicated to the 180th anniversary of the birth of I.A. Goncharova. Ulyanovsk, 1994.S. 91-102. Her: “Two characters” (“Sensitive and cold” by NM Karamzin and “Ordinary history” by IA Goncharov // Karamzin collection of Karamzin's works and the historical and literary process. Pp. 66-74. Lotman Yu. M. Letters of a Russian traveler "N. M. Karamzin and their role in the development of Russian culture // N. M. Karamzin. Letters of a Russian traveler. L., 1984. S. 525-607. Melnik V. I. I. Goncharov and N.M. Karamzin (On the issue of some traditions) // XVIII century.Sat 17. St. Petersburg, 1991. S. 284-292.Serman I.Z.Pushkin and Russian historical drama of the 1830s / / Pushkin. Research and materials. T. VI. L., 1969.S. 118-150. Spector N.B. N.M. Karamzin in the artistic
consciousness L.N. Tolstoy (years of creation of "War and Peace"). Abstract of thesis. dis. Cand. philol.
sciences. Ivanovo, 1998. Toporov V.N. "Poor Liza" by Karamzin. Reading experience. To the bicentennial from the date of publication. M. 1995. Schmidt SO. Pushkin and Karamzin // N.M. Karamzin. Anniversary 1991 M., 1992.S. 73-91. Yanushkevich A.S. Features of novel poetics in "The Knight of Our Time" by Karamzin // Artistic creativity and literary process. Issue 1. Tomsk. 1976.S. 15-25.
the text with them constitutes an important task of literary criticism and the history of culture, which is growing in importance, ”writes V.N. Toporov.
Research novelty. Russian academic science never tried to diminish the role of Karamzin in the history of Russian literature, but the historian, citizen, patriot, man came out on top.
“Everyone who personally knew the historiographer agrees that no matter how high Karamzin the writer stood, Karamzin the man was even higher,” wrote Ya.K. Grotto. - The more significant and deeper was the effect that he produced on his contemporaries: he not only strengthened their love of reading, not only spread literary and historical education; but also aroused in the mass of readers a religious and moral feeling, asserted in them a noble and honest way of thinking, inflamed patriotism ”3. His literary and moral code was conceived as "an expensive testament to Russian writers" 4.
Apart from his biography, scholars also focused on “the way of thinking of Karamzin as a historian” (A.D. Galakhov) 5, Karamzin as an “optimist” 6 and a “practical philosopher” (A.D. Galakhov and N. Lyzhin), his socio-political position (A.N. Pypin), his role in the development of the Russian language, in
understanding the relationship between Russia and Europe (F.I.Buslaev). The legacy of Karamzin in the Russian and European cultural and literary context of his time was studied by N.S. Tikhonravov 9. Multidimensional consideration of works
Toporov V.N. About "hidden" literary connections of Pushkin // Pushkin readings in Tartu. Abstracts of the scientific conference. November 13-14, 1987 p. 7.
3 Grotto J.K. Essay on the activities and personality of Karamzin. SPb., 1866.S. 2.
4 Ibid. P. 25.
5 Galakhov A.D. The way of thinking of N.M. Karamzin as a historian // Bulletin of Europe. T. IV. 1866.
December. S. XXXIII-LVIII.
6 Galakhov A.D. Karamzin as an optimist // Otechestvennye zapiski. 1858.Vol. 116.No. 1.P. 107-
146.
Lyzhin N. Materials for characterizing Karamzin as a practical philosopher // Chronicles of Russian literature and antiquity. Book. III. M., 1859.S. 3-12.
Buslaev F.I. "Letters of a Russian Traveler" // Buslaev F.I. About literature. Research. Articles. M., 1990.S. 448-494. 9 Tikhonravov N.S. Compositions. M., 1898.Vol. 3.1. S. 234-257. Part 2.S. 340-342.
Karamzin was undertaken in the works of V.V. Sipovsky. The issue of the continuity of the Karamzin traditions was viewed as “influence” and was limited mainly to the name of Zhukovsky (for example, A.N. Veselovsky argued that “Zhukovsky's poetry is the poetry of the sentimentalist of the Karamzin era” 10), more often it was reduced to a pejorative description of Karamzin's imitators. For all the obviousness of Pushkin's creative attention to Karamzin and numerous references to this topic by memoirists and scholars, special works devoted not to the history of the relationship between Pushkin and Karamzin, but to the problem of literary succession, are literally isolated and not fundamental. More often it was touched upon in literary critical articles. The problem of the creative development of the artistic discoveries of Karamzin was practically not posed by Russian writers (apparently, the literature of the 19th century as a whole, permeated with living threads, it was still difficult for contemporaries to comprehend), although gallery of types in Russian literature, was expressed in 1845 by V.G. Belinsky.
Appeared in 1916. article by B.M. Eikhenbaum "Karamzin" 11 set a new level of comprehension of the personality and creativity of Karamzin. In his further historical and literary research, B.M. Eikhenbaum more than once addressed the problem of the significance of the Karamzin heritage for Russian writers, primarily for Leo Tolstoy. He saw the task of historical and literary science "not in recreating the epochs of the past that were self-contained, but in the study of the constantly acting laws of historical dynamics."
However, the scientific assessment of Karamzin in the Soviet period was hampered by the ideological approach, according to which the writer was characterized primarily as a “monarchist” and “conservative” and, therefore, a bad artist.
10 Veselovsky A.N. Poetry of feeling and "heart imagination". SPb., 1904. S. X. For the first time: "Stock Exchange", morning edition. 1916.2 December.
therefore, the most profound works about Karamzin had to carry out his "rehabilitation", first in an ideological sense, and only after that in an artistic sense. It is not surprising that the authors of books about Karamzin (for example, EI Osetrov "Three Lives of Karamzin". Moscow, 1985) tried to show the richness of his personality, the ambiguity and depth of his views and substantiate the pattern of his writer's influence on subsequent generations. Also of great importance was the article 13 by N.Ya. Eidelman and his book "The Last Chronicler" (Moscow, 1983), resurrecting Pushkin's assessment of the "first historian".
Research by Yu.M. Lotman recreated the evolution of Karamzin's worldview and reconstructed the most important stages of his spiritual biography ("The Creation of Karamzin" he defined as a "novel-reconstruction"). The book made it possible to highlight the true role of Karamzin's literary heritage in the light of the problem of the continuity of his artistic principles. In various works of Yu.M. Lotman outlined the continuation of the Karamzin traditions in the works of Pushkin, Lermontov, Gogol, Tolstoy (creating a high standard of a "simple" person, showing a "history of the soul", recourse to memories as a way to combine the present and the past through a person, counterpoint use of points of view as a principle of fiction, complexity of associations, multi-layered structure of meaning, stable types of plots, special historical and socio-political discourse, etc. This opened the way for more detailed research, for "tracking" the continuity of the Karamzin tradition.
In literary criticism of the 60-90s of the XX century, this approach overshadowed all others, and the most interesting and fundamental works about Karamzin were devoted to this problem. The monograph by F.Z. Kanunova "From the history of the Russian story
12 Byaly G. B.M. Eikhenbaum - literary historian // Eikhenbaum B.M. About prose. L., 1969, p. 17.
(Historical and literary significance of the stories of NM Karamzin) ". Tomsk, 1967. The author of the monograph highlighted the following directions of the continuity of the Karamzin traditions by Russian writers: the development of the idea of human individuality and the search for new, vivid aesthetic means for its disclosure, an artistically convincing depiction of states and changes in the inner world of an ordinary person, the ability to find a subtle psychological motivation for actions, the poeticization of love based on the idea of the high moral basis of this feeling, the improvement of prose in terms of information content and laconism, on the other hand, the lyricism of the narrative, and in addition, the comprehension of history as a way to solve the problem of the human personality, to the search for social harmony. Consideration of "Letters of a Russian Traveler" and "History of the Russian State" was not included in the established research framework.
Work in this direction was continued by E.M. Zhilyakova in the books: "Traditions of Sentimentalism in the Work of Early Dostoevsky" (Tomsk, 1989) and "Traditions of Sentimentalism in the Work of Turgenev in the 1850s (" Noble Nest ")". Study guide (Tomsk, 1993). As a phenomenon of continuity, the researcher notes, first of all, the moral aspect of the depiction of the personality, the poeticization of an ordinary person, the lyrical nature of creativity.
The proposed dissertation takes into account the fact that, firstly, in the 19th century, the attitude towards Karamzin's work was inseparable from the perception of his personality (as was repeatedly noted by his contemporaries), and secondly, the concepts of "Karamzin traditions" and sentimentalist (or, as he calls their EM Zhilyakova, "sentimental") are far from identical concepts. Therefore, a special chapter is devoted to the peculiarities of the perception of the personality and work of Karamzin by Russian writers and critics.
13 Eidelman N. Ya. Karamzin and Pushkin. From the history of relationships // Pushkin. Research and materials. T. XII. L., 1986.S. 289-304.
M.V. Ivanov in his monograph "The Fate of Russian Sentimentalism" (St. Petersburg, 1996). Touching upon the problem of continuity of sentimental traditions, the scientist insists on priority attention not to transformation, but to the preservation of the “artistic core of sentimentalism” in aesthetic systems that are quite distant from it in time. At the same time, the fascinating research with the breadth of thinking leaves a feeling of "sentimentalism without shores."
The long-standing problem “Zhukovsky and Karamzin” by N.D. Kochetkov, combining aspects of the spiritual and personal relationship of two writers and their creative ties. In the article "Problems of Studying the Literature of Russian Sentimentalism" N.D. Kochetkova noted: "The perception of the literature of sentimentalism by subsequent generations, the continuity that exists between this literature and the work of Russian classics - realists (Pushkin, Lermontov, Gogol, Turgenev, Tolstoy, Dostoevsky) - these are the problems that await special further research" 14. It is no coincidence that the problem formulated here mainly determined the theme of the Karamzin readings (the first were dedicated to the 225th anniversary of the writer and historian) and the content of the series "Karamzin Collections", published in Ulyanovsk since 1991.
All these studies (with the exception of the article by ND Kochetkova "Zhukovsky and Karamzin") are devoted, first of all, to the development of the traditions of Karamzin prose, where Karamzin's artistic talent was most clearly manifested. He was also the author of poems, but most of all he was able to "turn into poetry plots that no one before him dared to consider from this side - from the love of a peasant girl to the history of Russian statehood" 15. Exactly what he was in the first place
14 Kochetkova N.D. Problems of studying the literature of Russian sentimentalism // Results and
problems of studying Russian literature of the 18th century. XVIII century. Sat. 16.L., 1989. P. 43.
15 Lotman Yu.M. Poetry of Karamzin // Karamzin N.M. Complete collection of poems. M., L.,
1966.S. 52.
Genres, plots, conflicts and characters created by Karamzin, etc. were a kind of "genetic code" that determined the development of Russian literature for many decades, connections with his work "in the form of polemics, overcoming the influence or continuation of tradition" mark an entire stage in Russian literature 16. However, if in the existing works the role of "Poor Lisa", "Letters of the Russian Traveler", "Sensitive and Cold" is largely determined, then the continuation and rethinking of the traditions of "Bornholm Island", "Julia", "My Confession", "Knight of Our Time" , as well as journal materials of Karamzin, his journalism, his letters, etc. in the literature of subsequent eras is still far from fully comprehended.
In addition, the prevailing "paired" principle in modern approaches ("Karamzin and ...) does not always make it possible to clearly see the patterns of assimilation of Karamzin's creative heritage, the main directions of his influence, the most productive artistic principles and forms created by him and demanded by the next generations of writers.
It is also necessary to expand the area of attention from the earliest period of assimilation of the Karamzin heritage, when Karamzin's influence was, in the words of Goncharov, “direct” until the turn of the 19th and 20th centuries, although the second half of the century was marked by a more complex, mediated, sometimes unconscious perception of Karamzin poetics. Thus, the responses of Tolstoy, Dostoevsky and others may contain directly negative reviews about Karamzin, some facets of their aesthetic ideal may be based on the denial of Karamzin's artistic principles, but at the same time, deeper levels of assimilation of the heritage are found in their works.
Karamzin, obvious interconnection and continuity. The sharp divergence of some direct reviews about Karamzin and at the same time the visibility of his influence on the work of Russian writers dictates the need for a scientific explanation of this paradox. Especially interesting are the cases of deep, hidden continuity (loyalty to the most general grounds in the complete absence of quotations, reminiscences, etc.).
Available "paired" studies are often scattered and unsystematic. However, the level of knowledge achieved to date, which determined the undoubted influence of Karamzin on the work of the most prominent Russian writers, allows us to pose the problem as a whole.
In this work, the purpose of the study is generalization already open and the discovery of new facets of Karamzin's work (first of all, his prose), which were most actively perceived not only by his closest successors, but by writers of the second half of the 19th century, as well as understanding the ways and forms of perception and transformation of the Karamzin heritage. The patterns of this process and its dynamics become the specific material of the dissertation.
This poses the following tasks for the researcher: to expand the time limits in which Karamzin's influence on Russian literature usually closes, to expand the circle of writers who have experienced his influence and to discover in the resulting “field” the “lines of force” that determined the forms of perception and development (rethinking) of the Karamzin heritage.
The main subject of attention is not Karamzin's epigones, but those authors, in whose works the literary traditions laid down by Karamzin “take on new life and, developing in new historical conditions, begin to bear new remarkable fruits” 17.
16 Lotman Yu.M. Evolution of Karamzin's worldview (1789-1803) // Lotman Yu.M. Karamzin.
Creation of Karamzin. Articles and Research 1957-1990. Notes and reviews. SPb., 1997.
P. 312.
17 Good D.D. About traditions and tradition // Tradition in the history of culture. M., 1978.S. 30.
The material of the work determines the methods of its study: historical
genetic, comparative typological, historical and functional,
intertextual.
Karamzin himself was very ironic about the problem of "influence." On November 3, 1810, he wrote to P.A. Vyazemsky: “... Turgenev, Zhukovsky I boldly call friends in Petersburg, although we rarely see the first, and the second almost never; the first is engaged in movement, the second in sitting: he writes an academic speech ... about influence, etc. This is a rich subject: isn't it? We are all influenced; it all depends on the influence and so on. This is the most academic influence ... "18.
Although, according to Yu.M. Lotman, "Russian literature knew writers greater than Karamzin, knew more powerful talents and more burning pages" will stand comparison with any, the most brilliant, names ”19.
The article by P.A. Vyazemsky's "Poems of Karamzin" is a fragment that is of fundamental importance not only for understanding poetry, but also for the entire Karamzin heritage as a whole: , sincere. For the first time, more than one external environment was reflected in it, but in a heartfelt confession it was said that the heart feels, loves, conceals and nourishes in itself. From this still, I agree, a rather modest spring spilled and later sounded abundant streams, with which Zhukovsky, Batyushkov, Pushkin fertilized our poetic soil. Admiring the stately Volga, sung by her pets Karamzin and Dmitriev in Simbirsk, we will honor her grateful
Karamzin N.M. Selected articles and letters. M., 1982.S. 208.
hello and where she is still, so to speak in infancy, flows quietly and humbly. If in Karamzin one can notice a certain lack of the brilliant qualities of a happy poet, then he had the feeling and consciousness of new poetic forms. "
The fact is that here the most correct, adequate to the essence of the matter, the principle of approach to the study of the role played by the new artistic forms created by Karamzin in Russian literature, which appeared to him as quiet and humble sources, but turned into stately with the development of Russian literature, is figuratively outlined here. streams, looking at which it is difficult to imagine their imperceptible beginning. Moving "upstream" to the sources, noting also the "tributaries", one can imagine the path traveled by Russian literature from Karamzin to Chekhov.
In the selected aspect of the study, the thoughts of M.M. Bakhtin on the significance of the experience of previous eras for
*} 1
creativity of the writer, about "great historical time", which helps to reveal the full completeness of the work. The concept of "continuity" is used to describe this phenomenon. In contrast to imitativeness, continuity is understood as a creatively meaningful tradition organically woven into the specific artistic world of the author.
The philosophical positions of V.F. Ern, who once thought about the concept of "philosophical tradition". Returning to the original meaning of the Latin word "traditio" (transmission, legend), V.F. Ern says about the relationship between tradition and freedom: “If tradition is a real tradition, that is, if she really conveys something to a novice philosopher,
19 Lotman Yu.M. Karamzin. Creation of Karamzin. Articles and Research 1957-1990.
Notes and reviews. P. 221.
20 Vyazemsky P.A. Aesthetics and Literary Criticism. M, 1984.S. 256.
21 Bakhtin M.M. Aesthetics of verbal creativity. M., 1979.S. 333, 331, 330.
then this transmitted is no longer the philosopher's own acquisition and, therefore, in this transmitted his thought is not individually free. " Creativity - philosophical or literary - is unthinkable without freedom. Culture is impossible without tradition. The way out, probably, is that, perceiving the cultural (literary) tradition, the philosopher (writer) can and should remain, as V.F. Ern, “individually free”: he not only perceives the previous achievements, but keeps them in a living “inner” form and thus keeps them from mortification - thus the “possibility of successive cultural creativity with the preservation of individual freedom” is determined. With this understanding, V.F. Ern, tradition is "not externally, but internally given." “The philosopher finds the results of successive achievements not outside, not in books, not in school teaching, but in himself, in the metaphysical depth of his being, and school, books, everything external is only a reason for realizing this depth, and without it they would remain absolutely incomprehensible and unable to be perceived ”24.
Only tradition, understood in the internal sense, and not the process of "predetermined redistribution", can be the beginning of the cultural and philosophical, sums up V.F. Ern. Arguing against a narrow, rational understanding of the word "tradition", he objects to the understanding of tradition as some kind of school, as a continuous external line, as "direct and successive transmission in the sphere of consciousness, which is possible only in a sect, in a circle, in a torn off and closed unit. In fact, the tradition is infinitely wider and deeper, for the subject of transmission is the entire experience of mankind, and besides, this experience is not passed from hand to hand without fail, but sometimes through the heads of several generations, sometimes through centuries and millennia ”25.
Ern V.F. Compositions. M, 1991.S. 96. Ibid. P. 97. [ In the same place. 1 Ibid. P. 98.
“In the depths of the catholic life of mankind, as well as in the depths
the individual spirit tirelessly and irreparably co-participates and
traditions that preserve the forces of the past in the present and transmit them
future, and the creative energy of spiritual activity, directed towards
the future and giving birth to the new, ”wrote S.L. Frank.
Modern culturology uses the concept of “tradition” in three senses: “object (tradition is understood as cultural heritage), procedural (tradition as a process of transferring and assimilating the experience of the culture of the past) and subjective (tradition as a set of methods of selection by the actual culture of the most significant material for the modern situation from past) "27.
The problem of tradition has recently attracted particular attention of philosophers and culturologists. In particular, the phenomenon of tradition is considered in the light of the main provisions of hermeneutics. Thus, according to V. Malakhov, hermeneutics does not consider the question of what makes tradition possible. "This," writes the author of the article, "is not a mythical language, but books and people," while Gadamer's approach "presupposes the fundamental isomorphism of the space of tradition." In Malakhov emphasizes the need for a cultural and sociological plan for the study of the transmission mechanism of tradition.
“In recent years, attention to tradition has been increasing in the spiritual life of society,” writes V.A. Kutyrev. - Habitually associated with a rather limited sphere of culture and everyday life, with history, this concept acquires the status of universality before our very eyes and, in terms of frequency of use, begins to compete with the concept of progress. It becomes a Tradition ”29.
Frank S.L. Spiritual foundations of society. M., 1992.S. 125.
27 Osipov ALO. On the boundaries of the concept of "tradition" // Tradition in the history of culture. Abstracts
scientific conference. Ulyanovsk, 1999.S. 78.
28 Malakhov V. Hermeneutics and tradition // Logos. 1999. No. 1. S. 5-6.
29 Kutyrev V.A. Tradition and Nothing // Philosophy and Society. 1998. No. 6. P. 170.
It is known that the widest and most widespread understanding of the word "tradition"
This is a "transmission", a kind of connection between the past, present and future. However, this
connection is not preservation as such. “This is not preservation or change, but something
constant within changes, constant in development, absolute in relative,
eternal in temporary ”30. In this case, not only the very fact of the transfer is important, but also that
transmitted. Any private name will not suffice here. By #
opinion of V.A. Kutyrev, who considers the problem from a general philosophical point
view, by "what" is meant the fact of the transfer of being. "Tradition passes the baton
existence. And it is possible that its more accurate theoretical translation into
the Russian language would not be a "transmission" as such, but a continuity.
Continuity assumes that the transmission has "reached" (adopted, inherited), that
the relay race is accepted and the phenomenon continues to exist in new conditions ”31.
T.S. Eliot wrote: “... when we extol this or that poet, we usually
we focus on how it differs from others. We suppose to find in these
sides of his works individuality, the unique essence of standing
behind them a person. We are happy to talk about his dissimilarity with his predecessors, especially with immediate ones; we strive to find something specific in it and enjoy this specificity. But it is worth approaching the poet without prejudice, as it will be discovered that not only the best, but also the most individual in his work is rooted where his ancestors, the poets of the past, most strongly affirmed their immortality ... ”.
Most scholars, authors of the collection Tradition in the History of Culture, agree that innovation is always based on tradition and, as it were, grows out of it. “Of course,” writes R.A. Budagov, “we are talking about a tradition represented by outstanding masters of the word”. And further: “Innovation of style
30 Kutyrev V.A. Tradition and Nothing // Philosophy and Society. 1998. No. 6. P. 181.
31 Ibid. P. 182.
Eliot T.S. Tradition and individual talent // Foreign aesthetics and theory of literature of the XIX-XX centuries. Treatises, articles, essays. M., 1987.S. 169.
a truly great writer is impossible without relying on the tradition characteristic
for the national literature that he represents ”33.
Yu.M. Lotman in his book "The Creation of Karamzin" writes: "The influence of writers on cultural life can be twofold. The heritage of some is passed on to the offspring along with their name, each of their lines reminds of a particular work. As a rule, this is the lot of geniuses. Their work looks at us with collected works from the shelves of libraries, and they themselves - from the monuments on the squares of cities. But there is another fate and another influence. Anna Akhmatova once said about her native land:
We lie down in it and become it, That's why we call it so freely - ours.
These writers fall into the land of their native literature and become this land. Their legacy can lose its name, no longer feel like someone else's legacy. It is made by soil. This is the fate of Karamzin in the second half of the 19th and 20th centuries. They stopped reading it - it survived only as a child's reading. But in the soil of Russian culture, the elements that were created by him continued to live, to be reborn, to acquire new types and forms. "
“The world of traditions is included in literary works not only“ in the guise ”of the writer's conscious and programmatic orientation towards the values of past eras (this is not always the case), but is also present in them, inevitably and imperiously, bypassing the conscious intentions of the authors, - writes V. E. Khalizev. - Cultural traditions in their importance for literary creativity, - the researcher continues further, - this is the air by which
Budagov R.A. A few remarks about tradition and innovation in the style of fiction // Tradition in the history of culture. P. 39, 40.34 Lotman Yu.M. Creation of Karamzin. M., 1987.S. 306.
writers breathe without thinking about it ”35. The following statement is also important: “... comprehension of literature from the perspective of the author's intentionality (conceptuality) is fully available to contemporaries; the sphere of author's unintentionality opens up to the perceived consciousness (including scientific) only later, from the outside, from the outside, in the perspective of “out-of-access”, in subsequent epochs, when the former “cultural axiomatics” ceases to be such (the air that is not felt) ”.
Another point of view is presented in literary criticism. “The basic concept of the old history of literature is“ tradition, ”wrote Yu.N. Tynyanov, - it turns out to be an illegal abstraction of one or many elements of one system, in which they are in the same "role" and play one role, and combining them with the same elements of another system, in which they are in a different "role" - in a fictitious - a single, seemingly integral series "37. And one more thing: “One has to talk about continuity only with the appearance of school, epigonism, but not with the phenomena of literary evolution, the principle of which is struggle and change” 38.
“The most widespread principle of the literary mechanism is the principle of dichotomy, when the literary process is interpreted through oppositions, through the struggle of currents, schools, genres, etc. This, writes A.M. Panchenko is undoubtedly the correct principle.
But maybe the national culture in its foundations is not only dichotomous, but also uniform? Perhaps there is a certain obligatory and inalienable topic related to what is commonly called a national character? To answer these questions, systematic research is needed - taxonomy first, i.e.
Khalizev V.E .. Cultural tradition in the sphere of author's unintentionality // Tradition in the context of Russian culture. Collection of articles and materials. Part 1. Cherepovets, 1993. S. 3-4.
36 Ibid. P. 6.
37 Tynyanov Yu.N. Poetics. Literary history. Cinema. M, 1977.S. 272.
38 Ibid. P. 258.
constructing a complex of "common places", and then checking the taxonomy throughout the entire space of Russian culture. " In these loci communes, the researcher believes, “the poetic aspect and the moral aspect are inseparably merged. Perhaps we should speak not just about the topic of art, but about national axioms. " A.M. Panchenko believes that “the idea of a national topic in no way contradicts the evolutionary principle. The evolution of culture is not only inevitable, but also beneficial, because culture cannot remain in a frozen, ossified state. But evolution nevertheless proceeds within the limits of the “eternal city” of culture ”39.
In the light of the above, the question arises about the types of attitude towards the traditions that have developed in culture (literature).
Speaking about the traditions in culture and art inherited by subsequent generations, we can distinguish (in accordance with the philosophical concept of A.M. Pyatigorsky) the following principles of classifying attitudes towards a particular tradition.
The first is when one writer “is connected to another through a continuous tradition (no matter whether real or imagined), and both are aware of their belonging to this tradition. And, in principle, it is absolutely indifferent whether an outside observer who does not belong to this tradition finds their ideas, concepts or concepts common, congenial or even comparable ”40. The point here is the subjective awareness of tradition or "inheritance" by both writers.
Second. Subjective awareness is one of the. writers of inheriting the traditions of another can actually be problematic, and therefore the bystander has the final say in
Panchenko A.M. Topics and cultural distance // Historical poetics. Results and perspectives of the study. M., 1986.S. 244, 246, 248.
40 Pyatigorskiy A.M. About tradition, knowledge and understanding in a Buddhist context (subcomment to the commentary by F.I.Scherbatsky) // Lotmanovskiy collection. 2.M., 1997.S. 7.
deciding whether a second writer really belongs to the same tradition
Third - when an outside observer views someone's work as a continuation, development or completion of some previous tradition. In this case, the awareness of continuity by the writer himself does not exist or is not taken into account by an outside observer, since his task is to make a judgment about the existence of a tradition, but not about people, about creativity, and not about creators.
As noted by A.M. Pyatigorsky, these three meanings of the words "inherited" or "traditional" for convenience can be called, respectively, "subjective", "subjective-objective" and "objective", since in the first case the point of view of an outside observer is not taken into account (in including, by the outside observer himself), in the second, the writer's self-consciousness is in a certain agreement with the point of view of the outside observer, and, finally, in the third case, the point of view of the outside observer is the only significant one. These approaches to understanding the term "tradition", to the problem of continuity will be taken into account in the work.
Based on existing views, it seems possible to determine your own position on this issue.
So, for the emergence of a literary tradition, the following prerequisites are necessary: a bright creative individuality; the associated beginning of a new literary era; the discovery and approval by a creative person of productive (promising) artistic models that preserve the ability to artistic mastery of the world in the process of transformation of tradition.
Certain factors influence the establishment and development of the tradition: the special quality of the creative personality, which makes it possible to mythologize, the multidimensionality of the writer's artistic heritage, the inexhaustibility of the problems posed by him.
For the actualization of the established tradition, appropriate conditions are also needed: typological similarity of historical-cultural and socio-political situations; the comparability of the aesthetic ideas of the two eras; demand for this or that facet of the artist's mythologized personality. The attitude of writers of the next generations to the existing tradition depends on their worldview principles, aesthetic attitudes, and personal qualities.
Different types of attitude to tradition are possible: epigonism; parody; principled denial; creative assimilation.
In the latter case, we can talk about both a declared, clear continuity, and about a deep, hidden connection, about loyalty to the most general grounds in the absence of direct references, quotes, etc.
Mixed and transitional forms are also possible. In addition, there is a dynamic attitude towards tradition, a change of types.
Thus, in the process of the birth, formation and actualization of a particular literary tradition, a fundamental role is played by:
a special quality of the creative personality of its "ancestor", ie. quality that determines the possibility of mythologizing a given personality;
forms and degree of presence of the left heritage in the cultural memory of generations; defined as extra-literary (the originality of the cultural, historical, socio-political situation) and literary factors proper (actualization of certain literary and aesthetic principles that have formed in line with the artistic styles of the past);
the presence in the writer's work of productive, sometimes universal artistic models that retain for a long time the ability to be an instrument of aesthetic cognition of reality,
to artistically reflect certain facets of life, serve as elements of "supporting structures" in the creation of a new literary work, and finally,
a new creative personality, capable, due to the individual characteristics of his talent and perception of the world, to become the successor and continuer of a particular tradition.
Karamzin remains in the cultural memory of generations, primarily as the author of the Letters of the Russian Traveler, the creator of Poor Liza and other stories, as a historiographer of the Russian state. This determines the structure of the work. Chapter 1 examines the paradoxes of perception of Karamzin's work in a social and cultural context. Chapters 2, 3 and 4 are devoted to the most important aspects of the Karamzin heritage, taken from the aspect of the problem of continuity. The scale and value of his legacy in the understanding of descendants, the reasons for his relevance by his successors, the patterns of attitude to the left legacy, the ways and forms of his perception and transformation become the subject of research. At the same time, part of the material inevitably remains outside the work, however, the very discovery of new, not mentioned in the study, facts of the presence of the Karamzin heritage in the work of one or another author will only be an additional confirmation of the observations and conclusions made in the dissertation. A look at the works of Karamzin in the light of the problem of the continuity of his traditions by outstanding Russian writers allows us to see his creative achievements, so to speak, in an enlarged version, to discern previously unnoticed, to trace the path of his writer's discoveries from inception to their acquisition of a perfect, aesthetically flawless artistic form in the process of the development of the Russian classical literature.
The contradictory perception of Karamzin's creativity by literary-critical thought
Nikolai Mikhailovich Karamzin - a monumental and at the same time paradoxical phenomenon of Russian literature - for more than two hundred years continues to be an actual factor in the development of Russian culture. Sensitive traveler and professional writer, "the first historian and the last chronicler", "cosmopolitan" and "patriot", "republican at heart" and "loyal subject of the Russian Tsar", "angel" and "enemy of God, enemy of every good, an instrument of darkness" - this is not a complete list of the characteristics given to him.
Since the release of his first novellas, and then the volumes of The History of the Russian State, he has become the object of the most controversial criticism - both in terms of language and style, and in terms of his ideas and concepts (Pushkin has already compared the polar points: considering Karamzin a “great writer in the entire sense of the word "1, he also cites in his response an opposite, anonymous assessment:" Do you feel all the insignificance of your Karamzin? ").
Materials of the famous dispute between "shishkovists" and "karamzinists", reviews of A.S. Shishkova, P.I. Makarova, A.A. Bestuzhev, Decembrist criticism, as well as the highest and at the same time fundamental assessments of the personality and work of Karamzin, given by the leading figures of Russian literature and culture - V.A. Zhukovsky, A.S. Pushkin, N.V. Gogol, P.A. Vyazemsky, ST. Aksakov, I.A. Goncharov, etc., allow us to take a fresh look at the significance of the Karamzin heritage for further national cultural development.
In a more restrained perception of Karamzin, Russian critics and literary historians also reveal their own pro et contra, and a wide range of assessments also unfolds - enthusiastic and reverent, balanced, dismissive and destructive: N.A. Polevoy, M.P. Pogodin, V.G. Belinsky, SP. Shevyrev, Ap. Grigoriev, P.A. Pletnev, N.N. Strakhov, A.N. Pypin, A.V. Skabichevsky, N.V. Shelgunov and others.
The ambiguous nature of the perception of the Karamzin heritage by different generations of Russian writers and critics, the heated debates around it prove that for two centuries Karamzin remained and continues to be a living phenomenon of Russian culture, influencing its development.
Many of Karamzin's contemporaries, having once turned to the assessment of his work (in a private letter or in a journal polemic), continued to write about him, giving more balanced, time-tested assessments, placed in a historical and literary context or in the form of memories. These are the reviews of V.A. Zhukovsky, P.A. Vyazemsky, A.S. Pushkin, M.P. Pogodin, ST. Aksakov and others. These assessments had, of course, their own dynamics and could appear internally polemical: data at different times, they sometimes acquired the opposite sound (Pushkin, Pogodin, in the genre of literary criticism - Belinsky). It could have been otherwise: the reverent attitude towards Karamzin during his lifetime remained unchanged many years after his death, or even more intensified due to a clear awareness of his immeasurable significance for Russian culture (Zhukovsky, Vyazemsky, A.I. Turgenev, F.N. Glinka, etc.).
To this day, it is still customary to speak disapprovingly about Karamzin's "epigones" (such as Prince PI Shalikov) or his enthusiastic admirers (such as ND Ivanchin-Pisarev). Meanwhile, Shalikov's article “On the Syllable of Mr. Karamzin,” published in the Aglaya magazine, reveals a delicate taste and a prophetic gift in the author. In a short article, the principled idea was expressed that Karamzin never repeated his aesthetic experiments: each of his stories is a new facet in his aesthetics. The author substantiates reasonable approaches to innovations in the language, notes the direction of development of the language of Karamzin himself, rejects the accusations against him of spoiling the Russian language, mentions its influence on readers and writers, gives the correct characteristics of his style, and also expresses his conviction (which turned out to be absolutely fair) that "impartial offspring will be fairer than many contemporaries who will not reach his trial, while Mr. Karamzin will receive an unfading wreath from him!"
Deep thoughts are expressed by N.D. Ivanchin-Pisarev, stressing also the ambiguity of the public's attitude to Karamzin and the need for an objective assessment: “I am sure that you do not confuse me with the crowd of shouts who repeat after others:“ Karamzin! Karamzin! " I call him a great man, I regard him as the first inventor of prosaic harmony, decent, akin to our language; imagining how he would write in a language more preliminarily processed (for to create, so to speak, a syllable during important considerations about the essence of the subject being presented is a feat of the Hercules) ...
Travel as an artistic expression of the ideal form of human activity and as an aesthetically universal phenomenon in Russian literature
The "Letters of the Russian Traveler", in which he so vividly and engagingly told about his acquaintance with Europe, easily and pleasantly introduced the Russian society to Europe, - wrote V.G. Belinsky. In this respect, "Letters of a Russian Traveler" is a great work, despite all the superficiality and all the shallowness of their content: for the great is not always only that which is really great in itself, but sometimes that which achieves a great goal whatsoever. by way and means. We can say with confidence that the Letters of a Russian Traveler owe their great influence on the public of today to their lightness and superficiality: this public was not yet ready for more important and deeper interests. "
I would like to argue to Belinsky: "Letters of a Russian Traveler" is a universal work - in form and content. It contains everything: all or almost all themes and problems, plots and characters, genres and styles, which were continued and developed in subsequent Russian literature. Moreover: "Letters ..." by Karamzin so fully and completely embodied the possibilities of "sensitive" and "enlightenment" travel1 that the appearance of works of a similar genre, equally extensive content and equally deep moral and philosophical level at the new stage of literary development was simply excluded ... Thus, a modern study compares two works of the 1830s, focused on the Karamzin tradition: "A Summer Walk in Finland and Switzerland, in 1838" Bulgarin and Zhukovsky's Essays on Sweden, written at a time when Zhukovsky was traveling as a teacher in the retinue of the heir to the Grand Duke Alexander Nikolaevich. “Bulgarin, the antagonist of the Karamzin camp in literature, tried to use its traditions and did it quite skillfully. A talented journalist, he creates a story that is not devoid of fun and meaning. However, Bulgarin proceeds from completely utilitarian considerations, focusing primarily on commercial success, self-rehabilitation and self-promotion. He needs tradition as an authoritative niche. He writes his "Summer Walk ...", exploiting the canon, almost mechanically following the model of the Karamzin travel literature, and it avenges itself. Bulgarin fails to disguise the true pragmatism of his text.
On the contrary, ... the Karamzinist Zhukovsky plays with the Karamzin tradition, acting quite in its spirit. He refers the readers of Sketches of Sweden not so much to Letters of a Russian Traveler as to Bornholm Island, drawing a thread from the "Gothic" novella to the romantic story of the 1830s. Zhukovsky creates an elegant "trinket", hiding the inner meaning of his story in subtext and demanding from the reader of "Sketches" creative tension and good orientation in contemporary literature and political context. "
It was impossible to surpass Karamzin in this genre, just as Krylov could not be surpassed in the genre of fables. The works of Russian writers, built taking into account the Karamzin tradition in this area (we are not talking about imitations), not only, for example, “Travel letters from England, Germany and
France "N.I. Grech or "Travel Diary" by M.P. Pogodin, but also such as "Letters from France and Italy" by Herzen, "Frigate" Pallada "by Goncharov," Winter Notes on Summer Impressions "by Dostoevsky, cannot be compared with" Letters of a Russian Traveler "in terms of universality of content and artistic form and appear much narrower and more unambiguous.
At various levels of the artistic structure of Letters of a Russian Traveler, there were many barely outlined opportunities for further development and transformation of the themes, plots and images of this work. and society. N.M. Karamzin's book is a unique phenomenon in the entire Russian culture. Due to its multi-theme and multi-problem nature, it can without exaggeration be called an encyclopedia of European life. In addition to encyclopedism, the Letters have a clearly expressed concept of progress, which for Karamzin consisted both in the successes of industry and trade, and in the assertion of humanity, cultural relationships, and closeness to nature. This concept is correlated in the book with the problem of "Russia and the West", taken in the historical and cultural aspect.
At the same time, this work is unusually relevant in terms of social, moral, philosophical and aesthetic sounding, its individual pages seem to be literally written today. Topical problems of our time - nature, culture, revolution, religion - are not only posed in the work of Karamzin, they are artistically resolved, and resolved at that level of humanism, which in many respects has not yet been achieved even today.
In this regard, it is necessary to analyze those features of Karamzin's creativity, those principles of artistic vision and generalization, which for a long time continued to be a real factor and an inexhaustible source of literary and cultural development.
Many of these principles are described in detail in the fundamental work of Yu.M. Lotman and B.A. Uspensky "Letters of a Russian Traveler" and Their Place in the Development of Russian Culture ": a multi-layered historical and cultural context, the absence of an attitude towards the universality of truth, the interconnection of the private and the universal, the specific character of a hero capable of connecting time and space. However, a sufficiently developed topic cannot be considered closed yet.
Typology of characters and principles of plot building
Karamzin entered Russian culture primarily as the author of Poor Liza. The image he created has always remained relevant for Russian literature. The usual "binomial" of the title turned out to be surprisingly capacious: it contains the heroine, her fate (plot) and the attitude of the author and readers to her. In this regard, it is sometimes impossible to separate these three aspects from each other: this is how the specificity of Karamzin prose declares itself.
Poor Liza and other characters in Karamzin's stories largely determined the typology of characters in Russian literature of the 19th century.
The story "Poor Liza" was published in the "Moscow Journal", in the June issue of 1792. According to M.P. Pogodin, she "held the hearts of Russian readers for fifteen years without a rival, and only in 1808 did she share her glory with Maryina Roscha and then Lyudmila, Zhukovsky's first ballad, for another twenty years!"
This exemplary short story foreshadowed, according to L.V. Pumpyansky, the future perfection of "Belkin's Tales" and "Taman". In comparison with many sentimental stories of the late 80s - early 90s of the 18th century, “Poor Liza” was “a kind of peak, which some authors simply could not reach,” writes P.A. Orlov
V.N. Toporov in the final work, published for the bicentennial of the work, also notes that for almost forty years, "before the appearance of the stories and stories of Pushkin and Gogol," Poor Liza "remained the most perfect and representative example of Russian fiction" 4.
A touch of textbookness on a work sometimes makes it difficult to see its innovative essence. Meanwhile, Karamzin's novels and lyrical and philosophical fragments are distinguished by their multifaceted impact on the further development of Russian literature and are of fundamental importance for the work of writers of the 19th century. Karamzin's fiction has risen above the limitations of those meanings that were put into it not only by contemporaries, but also by descendants.
For decades, Karamzin's story continued to remain an inexhaustible part of his heritage, a source of themes, plots, images for new generations of Russian writers. But, according to V. Shklovsky, "fixed forms in art live by changes."
M.V. Ivanov builds "that series of works where the love of a master and a commoner is not just a theme, but a plot-forming element:" Poor Liza "(1791) by Karamzin," Stationmaster "(1830) by Pushkin," Who is to blame? " (1846) Herzen, "Poor People" (1846), "Teenager" (1875) by Dostoevsky, "Asya", "Noble Nest" (1857) by Turgenev, "Oblomov" (1859) by Goncharov, "Bitter Fate" (1859) by Pisemsky , "The Enchanted Wanderer" (1872) by Leskov, "Resurrection" (1898) by Tolstoy, "Olesya" (1898) by Kuprin, "Before the Court" (1915) by Blok, "Dark Alleys" (1943) by Bunin ... "
Boratynsky's poem "Ed", where "Eda is almost Karamzin's Liza in her position, and her Hussar is almost Erast ..." can also be named here.
But before finding a new artistic embodiment in the heroines of Turgenev, Dostoevsky, Tolstoy, the image of poor Lisa created by Karamzin was repeatedly reflected in the dull mirror of imitations ("Poor Masha"
A. Izmailova, "Seduced Henrietta, or the triumph of deception over weakness and delusion" by M. Svechinsky, "Unhappy Margarita" by an unknown author, "Beautiful Tatiana living at the foot of the Sparrow Hills" In Izmailova, "Poor Chloe" by Kara-Kakuello-Guji, "The story of poor Marya" N. Brusilov and others) 8. We should also mention the dramas of N. Ilyin “Liza, or the triumph of gratitude. Drama in three acts "(St. Petersburg., 1803) and V. Fedorov" Liza, or the consequence of pride and seduction, a drama in five acts, borrowed from poor Liza Mr. Karamzin "(M., 1804). In addition to being secondary as such9, the named stories suffered to one degree or another from didacticism, simplification or lack of psychological motivations, the removal of social conflicts (the “poor” peasant woman in many cases turns out to be a noble's daughter), schematism of the author's position, and elementary bad taste. “After Karamzin, it is impossible to name a single prose writer who made any strong impression. - In general, after him they write with greater accuracy, but his art remained his secret.
"Historical" stories by Karamzin: convention of genre definition. "Natalia, Boyar's Daughter" and "Martha Posadnitsa" as Heroines of the Karamzin Era
Karamzin has always had an inherent interest in the historical theme. His historical views underwent a certain evolution, which more than once became the subject of deep scientific analysis in the works of G.P. Makogonenko, Yu.M. Lotman, N. D. Kochetkova, L.N. Luzyanina and others.
However, the various stages of this evolution influenced in different ways the work of Russian writers, where there is a clear continuity, and rejection, and creative development. The peculiarities of the perception of this part of the Karamzin heritage depended largely not only on the creative individuality of the writer, but also on the degree and quality of historicism in Karamzin's works.
"Natalia, the boyar's daughter" by Karamzin is sometimes usually defined in terms of genre as a historical story. "... This work should be placed at the head of the development of the Russian historical novel, not romantic, but really sentimental, of the type that in its further development gives" The Captain's Daughter "Pushkin," War and Peace "by L. Tolstoy" , - wrote V.V. Sipovsky 1. However, this opinion needs to be adjusted. In the mental appearance of Natalya Karamzin reproduced the psychology of not a girl of the 17th century, but of her contemporary (raised in the atmosphere of a sentimental-romantic culture), for whom love, the very expectation of meeting her becomes the main content of life (this was not the case in the old days described by Karamzin - cf. Pushkin with the words of the nanny, addressed to Tatyana: "... In these years we have not heard about love ..."). The aforementioned textual coincidences between the texts of "Natalia ..." and "Eugene Onegin" ("Here he is!"), Some similarity between Tatyana and Natalia, and therefore it turned out to be possible that Karamzin depicted in the story the "feelings" of the heroine of his time.
However, Karamzin was interested in the historical topic. Here, he also had numerous imitators and followers: M.N. Zagoskin, A.A. Bestuzhev-Marlinsky and others. I.I. Lazhechnikov, which was clearly manifested in his first work on a historical theme - the story "Robin" 2.
In his study "Our Historical Novel" A. Skabichevsky says about Lazhechnikov: "... Unfortunately, carried away by the sentimental direction of the literature of that time, which tempting examples are seen in" Poor Lisa "and" Natalia, Boyar's Daughter ", he began to write in this kind of story, rhyme and reasoning. Subsequently, he published these immature works in one book, entitled "The first experiments in prose and poetry", but seeing them in print and being ashamed of them, he soon hastened to destroy all copies of this publication ”3. The critic retells the story "The Robin" to show "to what slavish imitation of Karamzin Lazhechnikov reached at that time." He characterizes Zagoskin in the same spirit: “No matter how funny it seems to us, but to what extent this first historical story in Russia made a deep and charming impression for at least thirty years, we can judge from the novel Zagoskin "Yuri Miloslavsky". We see that Zagoskin struck up a love affair in his novel in exactly the same way as it was struck with Karamzin, i.e. I met the hero with the heroine in the church, named his hero almost the same as Karamzin, and then finished his novel with even greater similarity ”4.
The strong influence of "Natalia, the boyar's daughter" is also felt in the story of A.A. Bestuzhev-Marlinsky "Roman and Olga".
But, as it turned out, there could have been a different, creative attitude to the principles laid down by Karamzin.
As E. Rozova writes, "" Natalia, the boyar's daughter "is not only the ancestor of the Russian artistic and historical genre" 5. This work, which recreated the feelings of a girl's soul, along with Poor Liza, also left a tangible mark in Belkin's Tales (Blizzard, Stationmaster) and even in War and Peace.
In addition, thanks to Karamzin's stories, interest in the peculiarities of the life of bygone times has increased; it is no coincidence that some details of the "Arap of Peter the Great" remind of the Karamzin story. IN AND. Fedorov points out that one of the characters in this work, Gavrila Afanasyevich, "" tried to preserve the custom of his beloved antiquity at home ", that is, the customs of approximately that time, which is reflected in" Natalia, the boyar's daughter. " This is how the daughter of Gavrila Afanasyevich, Natalya, lived and was brought up: "His daughter was 17 years old. As a child, she lost her mother. She was brought up in the old way, that is, surrounded by mothers, nannies, girlfriends and hay girls, sewed in gold and did not know certificates ... ". All this is very similar to the life and upbringing of Karamzin Natalia. It is curious that for his heroine Pushkin retained the name of the heroine of the story by Karamzin and even her semi-orphan position. "
N.M. Karamzin, an outstanding educator, was one of the first in Russia to accept the idea of social equality and clothe it in an amazing form, which has no analogue in Russian literature. A striking example of this form is the story "Poor Liza" (1792). Although more than two hundred years have passed since its writing, neither the idea nor the form have lost their relevance. It was the uniqueness that became the reason for the creation of many parodies of the writer's work. The purpose of this article is to describe, in our opinion, the most characteristic of them, created during the twentieth century, and to trace how the nature of parodying a well-known thing has changed.
Speaking about parody, we will follow Tynyanov's understanding of it (in a broad sense). It is known that Yu.N. Tynyanov, who defined parody as a comic genre in 1919, 10 years later in his article "On parody" has already challenged the idea of it as a comic genre only. The literary theorist saw the essence of parody in a special emphasis on "the correlation of a work with another", as well as in the mechanization of a certain method by which the organization of new material is carried out, imitating the style of the writer, or overturning the idea of a situation, a literary hero, etc. ... It is important, however, to distinguish between parody as a literary genre and parody, understood "much broader than ... literary parody", as a device that presents "in a funny way certain features of its" original "". For the material presented by us, the distinction is also important parodies and parodies, by which we, following Yu. Tynyanov, will understand “the use of parodic forms in a non-parody function”, in other words, the use of pretext “as a model for a new work”, which is not intended to create a comic effect.
Undoubtedly parodies – this is a special way of literary and critical understanding of the work. They testify to the popularity of this or that author and his creations. For example, V.F. Khodasevich, developing the idea of V.V. Gippius about the parody of "The Station Keeper" by A.S. Pushkin, called it a parody of "Poor Liza" by Karamzin. The critic, of course, did not mean ridicule, but a kind of playful response to an extremely popular work in the 19th century, which was already overgrown with legends during the life of its author. V.N. Toporov also interprets Poor Liza itself in a parody key, "as an example of a genre known in Russian literature - Russian speech in the mouth of a German."
In the 19th century, the memory of N.M. Karamzin was still quite fresh, but at the turn of the 19th and 20th centuries. the work was perceived as hopelessly a thing of the past. In those years, new approaches to literature, literary technique were outlined, an active search for new genre forms began. E.I. Zamyatin in his article "New Russian Prose" wrote about it this way: "Life itself<…>has ceased to be flat-real: it is projected not on the former stationary, but on the dynamic coordinates of Einstein, the revolution. " Calling on writers to move to new frontiers, Zamyatin outlined an important quality of this new prose - irony, when the "club" and "whip" (heavy laughter, satire) give way to an elegant sword (irony), on which the writer string "war, morality, religion, socialism, the state ”. In the spirit of this trend, parodying traditions that do not meet the requirements of the time has become one of the directions of literature. So, E.S. Papernaya wrote in the 1920s a burlesque parody of Poor Lisa , where she beat the high style of Karamzin's story:
Dear reader! How pleasant and touching it is for the heart to see the friendship of two loving beings. With all her sensitive nature, the poor old woman loved the gray goat; know, you coarse hearts, that peasant women know how to feel.
The parody effect is achieved due to the contamination of two texts: the children's song "Once upon a time there was a gray goat with my grandmother" and the story of Karamzin. Papernaya retells an uncomplicated plot about the goat in a high style, playing on the key words and images of the classic: "feeling", "sensitive", "adorable", "soul", "tears", "heart", "silence / quiet", "nature" etc. In the short story, she weaves descriptions of idyllic rural life: grazing herds, "blossoming trees", "babbling rivulets." Papernaya uses such parodic means as copying the stylistic features of Karamzin's story: characteristic inversions, direct references to the reader, exclamations, outdated pronouns "this", "rather than"; almost unchanged, she borrows the catch phrase "and peasant women know how to love!"
The travesty playing of the tragedy of the heroine Karamzin gives the acuteness of the parody. Papernaya applied the so-called. "Reducing rethinking", depicting the death of a goat from the teeth and claws of the "shaggy monster of the forests of Hyperborean - the gray wolf", which, however, is also capable of experiencing tender feelings of "friendship and affection of the heart." Only they are directed not to a frivolous goat who desired a "stormy life", but to an old woman, as a sign of which the wolf left her, inconsolable, "the horns and legs of a creature so dearly loved and so sadly died."
Recognition of the game code is facilitated by the mention of the "Hyperborean monster", by which the writer may have meant a specific person who was a member of the Acmeist circle and who wrote strict reviews of the poems of novice poets. Such a person could be, for example, M.L. Lozinsky, editor of the journal of acmeists "Hyperborey" and translator, which could be important for Papernaya, who was professionally engaged in translations. In the writer's field of vision, V.V. Gippius, a famous critic and poet, who wrote in high style poems about the atmosphere in the circle of acmeists:
On Fridays at Hyperborea
The flowering of literary roses.
And all the gardens of the earth are more variegated
On Fridays at Hyperborea
As under the wand of a magic fairy,
The seductive flower garden has grown.
On Fridays at Hyperborea
The flowering of literary roses.
Thus, in E.S. Papernaya's story of the deceived girl is axiologically inverted in order to create a comic effect. The heroine (Liza) is transformed from a deceived creature into a "traitor" (a goat), who has paid for her craving for a stormy life. However, the author did not intend to ridicule the literary original itself. Papernaya created a classic parody, the comic of which is addressed to the poetics of sentimentalism.
Today, parody as a special cultural form that allows you to connect phenomena of different levels, is extremely popular thanks to postmodern literature, mass media and the Internet space. It is noteworthy that "Poor Liza" by Karamzin still serves as an object of parody. Noteworthy L. Bezhin's story "The Private Observer" (1999) - bright sample of "non-parody parody"(Yu. Tynyanov). In its center is the story of two lovers whose happiness was prevented by circumstances, social inequality and the weak character of the hero.
Bezhin not only does not hide, but in every possible way demonstrates reliance on Karamzin's text, placing the "identification beacons" in strong positions. The narration, as in Poor Liza, is conducted in the first person, which gives it a lyrical confessional character. A mature professor who has seen a lot in life, Professor Pyotr Tarasovich recalls his youth when he was “ kind by nature"A student of philology, leading, like Erast, is quite scattered life and dreamed of her change(hereinafter my italics - THEM.). To prove his worth, he decided to write a term paper on the story “ Poor Lisa". At this moment, he meets a woman with the same name. Trying to find the reason for persistent thoughts about a casual acquaintance, Peter guesses that “the background of these sinful and obsessive thoughts is in what the old man Karamzin raising his finger condemningly, sternly knitting his eyebrows and flashing his eyes in anger, I would probably say: temptation! Temptation!" ... Finally, at the end of the story, the hero's bride at the wedding utters ironic words about her defeated rival: "Oh, poor Liza!" All these markers become the identification marks of parody.
The author uses a plot scheme that contrasts with the original, where the parody code is recognized due to the obvious discrepancy between the first and second plan (the texts of Bezhin and Karamzin), as well as due to the hidden irony, which is recognized only when fragments of two stories are compared. For example, the moment the heroes meet is connected with the purchase and return of money, but the scene when Peter's elderly father brings out an ugly lampshade of "agonizing pink, alcove color" - Lisa's purchase - is solved in a comic vein. The role of the naive mother from the story "Poor Liza" is played by Bezhin's father of the hero, who did not suspect the fallen woman in his fellow traveler and completely entrusted her son to her. As in the story of Karamzin, the hero cannot withstand a collision with life and refuses love, but turns out to be unhappy in marriage and all his life feels guilty before Lisa. In the finale of the story, the hero, who over the years has turned into a "flattering and cynic", just like the narrator in Karamzin, turns his gaze to Liza's poor and seemingly empty dwelling, where they were happy, and tears blur his eyes. This sentimental passage, capable of evoking an ironic smile, since it belongs to a cynic, was brought to the finale by Bezhin, but this only strengthened his position. In fact, the author "plays" with the plot of Karamzin, without affecting the style of the classic, as a result of which there is a kind of balancing on the verge of parody and non-parody.
There are also finer threads connecting the two texts. For example, ironic reminiscences emerge in the scene of a family feast in the house of Susanna's (second lover of Peter's) parents, where the girl, sharing her impressions of her recent trip to the Caucasus with her parents, spoke about the “gloomy shepherds and cheerful winemakers, oh wondrous beauty of nature". (Compare Karamzin: “On the other side of the river one can see Oak Grove, beside which numerous herds graze; there are young shepherds sitting under the shade of trees, sing simple, dull songs and shorten the summer days ”).
During the first meeting of Peter and Lisa, he noticed scattered cards on her table, this detail is repeated twice in the text, recalling Erast's gambling loss, as a result of which he lost his fortune. The motive of feeding the hero Liza is also important, which, as in the proto-text, is of a ritual nature and serves as a sign of initiation into the secret, it is not by chance that Bezhin mentions an idol, a pagan prayer house, a temple:
... everything was ready in advance: the tea was brewed, and the bread was sliced, and the tantalizing scent of a roast removed from the stove was poured in the air. Liza took pleasure in feeding me: for some reason she considered me eternally hungry, and in her presence I never said that I had already had my fill at home.
She sat me down behind a huge cast-iron pan, from which steam rose like from an idol, she demanded the university news.
On the other hand, in the scene of Peter's “feeding”, there is something exaggerated, degrading the hero's manhood, demonstrating his “childishness” and almost filial dependence. It is no coincidence that Liza calls him the "childish" name Petya.
Peter's gesture is curious, which convinced Liza of the need for further studies for him, "raising his hands to the sky." This gesture refers to the famous scene of the farewell of the heroes by Karamzin: “Liza sobbed - Erast cried - left her - she fell - knelt, raised her hands to the sky and looked at Erast, who was moving away. " However, Bezhin turns over the tragedy of the original, giving the scene a shade of comic, arising from the inconsistency of an insignificant situation with the behavior of a man who demonstrates weakness and lack of independence. It is significant that in the final scene of the characters' farewell, Liza repeats this gesture (“strangely raised her bent elbows”), but this time the gesture is not read as comic.
Finally, in Bezhin's story, such an important constructive element of the genre of the sentimental story is transformed as increased sensitivity of heroes, which is explained by the philological education of Peter and is in no way motivated in the heroine, surviving in the cruel world of the big city. On the contrary, the "tender" Liza Karamzina is opposed by the rude heroine Bezhina, who, although she bears the name Liza, is far from the ideal of pretext. She easily makes acquaintances with men, “her boyish haircut is ... too short for her age, her lips are made up provocatively bright”, the narrow skirt does not hide the “outlines of the hips and knees, and the neckline of the bow-decorated sailor suit” reveals “much more than one could expect with the most immodest curiosity. " Such an overturning of the characterization of the heroine is undoubtedly a sign of parody. We are probably dealing here with a crypto parody of the image of poor Lisa. Perhaps the author showed how the heroine of Karamzin could look in the conditions of the modern world.
Meanwhile, Bezhin also focuses on the feeling of pity that Liza evokes. The first in a series of characteristic details should be noted her name. She is Goremykina. "Mournfulness" clearly shows up in the characterization of the heroine's appearance ("catastrophically middle-aged"), in the description of her ridiculous house, "like a fire tower", with a single window in the "blind wall", by chance, belonging to Liza, and "dried up", " creaky "lift. You can get to the heroine's house by going a long way "by crooked, hunched lanes, intricate labyrinths of walk-through yards and backyards with sheds, boiler houses and dovecotes." Then the signs of a miserable life follow one after another: Liza lives alone in a poor Moscow communal apartment, surrounded by the suspicion and hostility of her neighbors.
Lisa's occupation is evidenced by a skirt that is too short for her age and brightly painted lips, the "alcove" color of the lampshade she bought, a fine knowledge of the psychology of men, an acquaintance with the underworld of Moscow and a meeting with two shaven-headed, impudent guys, from whom Lisa fights off, only by informing them about his imminent marriage. The heroine's decision to get married was forced - so she decided to protect herself from the troubles of life, to hide behind the back of an elderly widower who loves a summer residence. rural farm (Liza from Karamzin also received an offer from peasant from a neighboring village).
However, in the spirit of modern postmodern literature, which thinks of the world as a text, and the text as a field of citations, Bezhin introduces intertextual cross-talk with other literary works. For example, Pushkin's code is recognized in the ironic description of the bride Peter, given to her by her father-general, who mentioned the “devilish pride, arrogance and arrogance of Susanna, inherited from gentry ancestors "(Compare with Pushkin:" Enough, I'm ashamed / humiliated before a proud Pole. " Grief it's grief or not, but there was too much in me already then out of mind, from science - not the one taught in universities, but his own, bizarre, home. "
Astafiev's text is hidden in the story. Some phrases resemble scenes and dialogues from the story "Shepherd and Shepherdess", the genre of which V.P. Astafiev defined it as "modern pastoral". But since Astafyev himself parodied pastoral motives, repelled them (remember that Erast called Lisa a shepherdess, and Lisa compared the local shepherdess with Erast), and Bezhin, in the spirit of the postmodern tradition, freely operated with lines and motives of different texts, as a result, in his text connected three semantic systems. Each of the three planes implicitly shines through the other, giving rise to a complex projection of meanings. This can be seen in the scene when Peter carries Lisa in his arms, as did Boris Kostyaev, who in turn imitated those ballet shepherds and shepherdesses whom he saw in childhood in the theater. The old soldier's blanket covering the heated bodies of the lovers, at first glance, may seem like an "accidental" detail. But this "frontal" detail also refers to the story of V.P. Astafiev and echoes the motive of the heroes' doom of love. Liza Goremykina's sadness and thoughtfulness remind not only of Erast's withdrawal into himself before parting with the heroine deceived by him, but also the sadness of Lucy - “a hundred-year-old man” - from the story “The Shepherd and the Shepherdess”. Let us compare: “Running in, I found her in that absent-minded half-thought that a mirror hanging in the wall evokes: it attracts an inexperienced eye with the deceptive hope of seeing herself as you are, not suspecting that they are looking at you. I did not like Liza's frequent pensiveness, and I quietly crept up behind, wanting to scare her as a joke, but she, noticing me in the reflection, immediately turned around. " Astafyev's sadness looks like this: "her eyes were again distantly deep and on the whole sleepless night of the cut face lay the eternal sadness and fatigue of a Russian woman." The motive of the mirror also brings these two texts together. Liza, like Lucy, knows a lot about bad life, but she also hides her knowledge from Peter. Only sometimes she, like Cassandra, tells the hero about his family, about his present and future, predicting even an imminent marriage and the birth of twins. A number of citations could be continued further.
Thus, the transformation of the genre of literary parody is observed in Bezhin's story. Parodism in it is a means of interacting with another text, and “the addressee of parodic repulsion” (Yu. Tynyanov) becomes the plot, the system of images of the story “Poor Liza”, as well as the motive of fatal love, which ended, however, with the hero's banal marriage to an unloved girl. For Bezhin, the pretext becomes a parodic backbone non-comic parody when Karamzin's story is divided into separate parts, each of which undergoes transformation, and then all the parts are folded into a new structure, on which, among other things, motives of other works are strung. The nature of its orientation towards pretext makes Bezhin's work a parody. Bezhin does not parody Karamzin's text, does not imitate either in style or in the depiction of images, but varies the characteristic structural elements of the original source, sprinkling them with a significant amount of irony and including the reader in a characteristic postmodern game. The author of "Private Observer" does not question the artistic value of the Karamzin story; moreover, he removes the comic effect of his parody, translating the narrative into an ironic, then a dramatic plan and, finally, into a philosophical plane.
Piques interest modern fan literature (the unofficial name of "fanfiction") is a new type of online literature based on well-known classical texts, or works of literature, films, television series, computer games popular among young people. These are small texts, the authors of which do not pretend to be artistic and sometimes hide their real name behind a nickname. The plots of such parodies, "replacing" the original plot of Karamzin, are often openly obscene, and the love story of Liza and Erast is deliberately translated into an anecdotal plane. The goal of the authors is self-realization, communication with an interested audience. To stand out, they strive to shock the reader, to make an "indelible" impression. In the fan environment, it is not customary to study, so parodists are asked not to criticize their opus, or to speak out in a mild form. As a result, the authors of "fan fiction" create rather weak opuses on the theme of Karamzin's story, turning into a kind of folklore material, where a naive belief in selfless love (option - pure love) is ridiculed, or the "stupidity" of the heroine (hero), who decided to give up her life from for unhappy love. Such are the fanfiction "Poor Cyril" (author. Darkhors), in which the main character Cyril is portrayed as a victim of hypersensitivity, and also "Poor Lisa 2003" (author. Hobbit), where Erast turns out to be a jaded pervert and, moreover, a philologist by education its completely uncompetitive in the groom market. Even more often stylizations are created based on the works of Karamzin, in which the themes of unhappy love are covered (poetic fanfic "Now I am with her", 2012. Auth. Remus).
Against the background of the frankly weak flow of fan literature, the parody of the ninth-grader Yuri Kazakov "Poor Liza" stands out, in which the plot of Karamzin is played up, but the accents are reversed. The main character Liza is a cool business woman who sells flowers (“Presentations and buffets during the day, parties at night and shooting video clips”). Erast is her rival, who wants to destroy Lizin's business with the help of subtle intrigue.
Once a young, well-dressed, pleasant-looking man, without any security, appeared in this hut and asked to introduce him to Lisa as a wholesale buyer of lilies of the valley.
Surprised, Liza went to a young man who dared to invade her domain without any invitation or recommendation.
- Do you sell lilies of the valley, girl? He asked with a smile, then blushed and lowered his eyes to the ground.
- Five "pieces" bucks per batch.<…>
- It's too cheap. I'll take them for your three prices ..
- I don't need too much.
Yu. Kazakov exactly follows the twists and turns of Karamzin's plot, almost without changing the dialogues, but turning the situation around according to the realities of the modern business community. So, Erast interpreted the sincere act of Lisa, who threw all the flowers into the Moscow River, as a cunning business move, as a result of which the cost of flowers on the market would increase several times. An insidious plan of revenge matures in the hero's head: he infects Lisa in love with a "bad" disease. Learning about Erast's treachery, Lisa rushes into the pond.
A parody of Kazakov's text is made by the presence of two plans, one of which is addressed to the present, the other to the text of Karamzin. As a result, the work lives a double life, when through the plan of the modern cruel glamorous consumer society shines through the second - pure, naive, but colored by the author's irony. And if the foreground separately (without the presence of a dialogue with the text of Karamzin) would be deserved as a rather helpless didactic story about the dangers of gullibility in business and love, then the second plan gives a small story an irony and depth that is surprising for a young author. The specificity of the laughing principle in the work testifies to Yu. Kazakov's rejection of the morality of modern business, which is ready to sacrifice even love for money.
An analysis of the parodies based on the story "Poor Liza" showed that the works written in different time periods are very different from each other in their technique of performance. If at the beginning of the twentieth century. E.S. Papernaya played with the style of the original, then at the end of the twentieth century. the authors focus on its topics and problems. Comparison of the texts convinces us that the modern world rejects the Karamzin idea of social equality. It is presented as a certain unattainable ideal in the present. The human community, recreated by means of literary parody, turns out to be rather cruel, cynical, where there is no place for naive heroes. And yet the authors choose Poor Lisa as the object of parody. Perhaps this is a signal that people lack humanity, kindness, soulfulness - everything that this immortal example of Russian literature carries.
Bibliography
- Astafiev V.P. Shepherd and Shepherdess. Contemporary pastoral. M .: Soviet Russia, 1989.608 p.
- Bezhin L. Private observer // New youth. 2003. No. 5 (62). S. 99-134.
- E.I. Zamyatin Sobr. cit .: in 4 volumes. T. 3. Persons. Theatre. Moscow: Knigochelovek Book Club, 2014.480 p.
- Zorin A.L., Nemzer A.S. Paradoxes of sensitivity // "Centuries will not erase ...": Russian classics and their readers / Comp. A.A. Ilyin-Tomich. M .: Kniga, 1988. S. 7–54. URL: http://www.e-reading.club/chapter.php/1032702/2/Stoletya_na_sotrut_ Russkie_klassiki_i_ih_chitateli.html
- Karamzin N.M. Poor Lisa. Collection. M .: Eksmo, 2007.160 p.
- Karamzin N.M. Note on the sights of Moscow
- Kazakov Yu. Poor Liza // Proza.ru. Portal Dm. Kravchuk under the auspices of the Russian Writers Union. URL. www. proza.ru/2009/04/19/689
- Fanfiction book. URL. https://ficbook.net/ readfic
- A.A. Morozov Parody as a literary genre (to the theory of parody) // Russian Literature. 1960. No. 1. P. 48–77.
- V.I. Novikov Parody, parody, parody in the literature of the twentieth century - from symbolism to postmodernism // Comic in Russian literature of the twentieth century / Comp., Otv. Ed. D.D. Nikolaev. Moscow: IMLI RAN, 2014. pp. 38–44.
- Pushkin A.S. Full collection cit .: in 17 volumes. T. 7. Dramatic works. Moscow: Sunday, 1994.395 p.
- Russian literature in the mirror of parody. Anthology / Comp., Com. Art., Comm. ABOUT. Kushlina. M .: Higher. shk., 1993, 478 p.
- Toporov V.N. "Poor Liza" by Karamzin. Reading experience. Moscow: RGGU, 1995.432 p.
- Tynyanov Yu.N. Poetics. Literary history. Cinema. Moscow: Nauka, 1977.576 p.
- Poor Cyril. URL / https://ficbook.net/readfic/4017403
- Hobbit. Poor Liza 2003. URL: http://www.proza.ru/2003/01/17-170
N.M. Karamzin wrote in the "Note on the Moscow Monuments" (1817): "Near the Simonov Monastery there is a pond, shaded by trees and overgrown. Twenty-five years before this I had composed Poor Liza there, a very simple tale, but so happy for a young author that thousands of curious people went and went there to look for the Lizins' traces. "
Papernaya Ester Solomonovna (1900-1987) - writer, translator, editor of the magazine "Chizh". It was formed under the influence of the aesthetics of the Silver Age, which is rightfully called the “golden age of literary parody”.
Matveeva I.I.
