What applies to prosaic work. What is prose

Prose it Antonym of verse and poetry, formally - the usual speech, not divided into isolated commensurate rhythmic segments - poems, in the emotionally semantic plan - something landed, ordinary, ordinary; In fact, the dominant form in European literature since the 18th century (in relation to the prevalence of fiction even from the 17th century); in Russian - from the second third of the 19th century, although throughout the 19th century artistic literature, including prose, continued to call poetry. In the 19-20th centuries, the prose is unconditionally the prevailing form of epic and dramaturgy, there are more frequent prosaic lyrical works ("poems in prose"). In the colloquial speech of the 20th century, penetrated into a non-stated language of the history of literature and criticism, the theoretically clear Triad "Epos - Lyrics - Drama" is practically ousted by Treiada "Prose - Poetry - Dramaturgium". In the literary sense, preceded poetry prosecical forms.

Prose into antiquity

In antiquity, prose, unlike poetry, regulated by the rules of poetics, was regulated by the rules of rhetoric. As well as the poetic poetic speech, it was definitely decorated, but the techniques of this jewelry were different than in poetry. Western European Middle Ages continued to attribute poetry only poems, but the expansion of the readership audience led to the spread of more idle prose: from the mid-13th century, the prosaic treatment of poetic novels begins, the false verses are mixed with prose in the top of the first third of the 13th century "Okasen and Nicholet", then The "new life" (1292) of Dante Prosaic autobiography includes the author created by the author in 1283-90 poetic lyrics with a comment. The era of the revival is marked by the flourishing of the novels, first of all it is "Decameron" (1350-53) J. Bokkachcho. Among the most prominent works of Renaissance literature - the laughing epic, F. Prokella "Gargantua and Pantagruel" (1533-64), but it is close to the informal folk carnival culture, is not included in the hierarchy of traditional genres and is only conditionally referred to as a novel. Far by the foresight of the future celebration of the romance genre appeared "Don Quixote" (1605-1615) M.Servantes. In chapter XIVII Part 1, the priest, the piercing knightly novels, still highly appreciates the possibilities of their form (here in the indirect speech, Cervantes actually approves the form of his own work as decent recognition of the modern literature theory).

Prose gradually dispanned positions by verse. IN shakespearean tragedyMoreover, comedy, their mixing was the norm, although the prose was used mainly in the "low" episodes. In the 17th century, the Spanish Plutovskaya, analogues of which appeared in other countries were actively created. Despite the fact that the classicism is still a prose on the Rhetoric Office and recognized it only in the philosophical dialogue, historical narration or description, journalism, confession, the romance allowed the peripheral genre, entertaining, deprived of a moral goal and addressed to the inexperienced reader - even in France, The legislation of the classic norms and tastes, the prose penetrated various genres. In the 16th century, the first French original comedy appeared in the prose ("rivals" Zh.The La Tayya, 1573), tragicomedia ("Lysel" L. Lezhar, 1676). At the turn of the 16-17 centuries, nine prose nine comedies wrote P. D. Lariva. Strict theoretics of classicism Zhaplen spoke in favor of the "free" speech in the drama and considered the absurd rhymed text on the stage, referring to the samples of Italian plays in prose. The Moliere created in prose a few of his best comedies, including Don Juan (1665), "Surround" (1668), "Misseranina" (1670), which was highly appreciated by some contemporaries, but in practice for a long time did not receive continuation. In the dispute about the "ancients" and "new", which began in 1684, the latter defended the rights of prose. English prose The end of the 17th - early 18th century was represented by the translation "heroic" and short novelistic (A. Ben, W. Congriv), the historical and legendary narration (river), in Germany 17th century dominated the superficial adventure novel about love stories in court The environment addressed to readers who did not belong to it.

18th century - the time of approval of prose in developed European literature. In England, this is Satira J. Svift, "comic epidea" of Fidding and other writers, sentimental and gothic novels, in Germany - works I.V. Goethe, in France - Creativity Sh.L.Montskie, A.F.Prevo D'Eczil, Voltaire, J.Zh.Russo, etc. Sometimes genre borders of poetry and prose deliberately erased: Montesquieu, declaring in Persian letters (1721 ) The poem of a funny and grotesque figure, created two poems in prose, A.De La Mott Punch wrote ODU in Prose Abbot Preview in 1735 stated that the rhyme would divert the idea of \u200b\u200bpoetry, destroy the poetic gift. But the defenders of the verse were stronger. The most significant of them was Prosaik Voltaire, who clearly believed his philosophical stories more than philosophy than to the literature. In the "taste of taste" (1731), he ridicked the theory of the poem in prose, to which Lammott-blow was unsuccessful. Up to the beginning of the 19th century, dominant theories did not recognize prose. Even I.F.Siller in 1797 did not approve the "Years of Wilhelm Meister" (1795-96) Goethe; The latter agreed with him and in the "Maxim and Reflex Siya" called the novel "Subjective epic, in which the author ascertains the pervertation to his own way to overheet the world" (Collected works: in 10 volumes), which had a clear anti-gate orientation.

Nevertheless, the 18th century - a century of the decisive onset of prose and a more condescending relationship of the theory to the novel. For its time, the allegorical philosophical and political romance was had an allegorical philosophical and political affair F. Funeelon "Adventures of Telemaca" (1693-94), as well as the work of the Scottish author of the 17th century, writing in Latin, J. Barkley (Barkley) "Argenide" (1621). In the afternoon Russia, where for a long time was to improve the verse to the detriment of art prose, then the other attracted the attention of V.K.Teviakovsky. Roman Phenelon, he shifted hexameters, but "Argenide" translated in 1751 prose, and earlier in the "new and brief method To the addition of Russian poems ... "(1735) reported:" Epic witty, amazing, and sometimes Homer and Vergil superior fictions with a procure of written, I do not hope that it was more on another language, rather than they are in French, who are called novels . However, all those novels by Nasili can one barklaiyev argeneism can be outweigh. The presence of such samples made it possible to appear in Russia such oriented obviously not on the "lower reader" of works, like MM. Khraskov Masonic novels (60-90s and 18th century). But the highest achievements of Russian prose 18 centuries BCA Maramzin belong to the area of \u200b\u200bsatire in different types (comedy D.I. Kaib, the story, I. A.Krylova "Kaib", 1792, and fictional journalism "Travel from St. Petersburg to Moscow" , 1790, A.N.radishcheva). Karamzin with its sentimental stories of 1790s first introduced prose into high literature. Previously, the prose was considered unsupported with poetry, although she had more readers (the translations were specially popular, and from 1763, when the first works of F. A. Emina appeared, and domestic novels); Karamzin prose was recognized as the most educated and sophisticated, and at the same time a fairly wide reader.

Western European romanticism brought a well-known balance of poems and prose: although the strongest emotional impact provided poetry, the writer was the most popular in Europe and Russia. Scott as a historic novelist. Subsequently, prose's authority was supported by the Ladyomantic works of V.GUGU, J. Sand. Among Russian romantics, Belletist A.A. Bestuzhev (Marlinsky) was relatively short, however, the highest achievements of romanticism in Russia are poetic. In the 1830s, a little later than in the West, an epocheal fracture is happening: A.S. Pushkin writes more prose than poems, the prose appears N.V.Gogol, in 1840 - the first Russian socio-psychological and philosophical novel "The hero of our time "M.Yu.Lermontova. In the future, the pleiad of great prosaikov, among which L.N. Tolstoy and F.M.Dostoevsky. As in the West, the domination of prose in Russia became unconditional, with the exception of the beginning of the 20th century, when the achievements of poetry were generally higher, although the prose, especially the modernist, was fundamentally updated. At the end of the 20th century, poetry almost all over the world goes to the periphery of literature, becomes the property of relatively few lovers and even externally imites the prose: in many countries, almost all of it is created by free very.

Provas have their own structural advantages. Much less able than verse, to influence the reader using specific rhythmic melodic techniques, the functions of which revealed Yu.N. Tynyanov in the book "The problem of the poetic language" (1924), the prose is more free in choosing the semantic nuances, the shades of speech, in transmission "Votes" different people. "Drainage", according to M.M. Bakhtin, is inherent in prose much more than poems. The scientist highlighted the following "prose words" types (more precisely, every narrative, but predominantly prosaic). The first is a straight directly directed word, the usual designation, calling anything. The second type is the object word, the word of the depicted person, different from the copyright, transmitting the social, national, cultural, age and other specific characteristics of the characters, which in traditionalist literature was presented a little or not at all. The third type, according to Bakhtin, is the word "twin-alone", with an installation on someone else's word; "Two-rolled" word is also copyrighted, and the word character. Here are three varieties. The first is an estimated "unidirectional" twin-altitude word: stylization, narrator story, the nearest word of the hero - the carrier of the author's plans, the narrative of the first person. "The word" speaking, character, not negative for the author, more or less merged with the author's "word". If the speaker (writing) is not approved or ridiculed by allegedly its own speech, there is a "multidirectional", mainly parody, twin-alone word. The third variety of a twin-alone word is determined by Bakhtin as "Active Type", or a reflected alien word. According to the replicas of one member of the dialogue, you can guess the content and emotional color of the replica of the other. In the same row - a hidden inner controversy (the character says to himself, arguing with himself), the polemical painted autobiography and confession, hidden dialogue and in general, every word with the "Lucky" on someone else's word (with different interlocutors, the conversation is kept unenky). "Active type" is most characteristic of Dostoevsky, whom the object word (second type) is more interested: individual or social signs of speech are not so significant as the meaning controversy of characters with themselves and others; According to Bakhtina, the author participates in the struggle point of view - in terms of organization of the story, and not the general idea of \u200b\u200bthe work - on an equal footing with the characters, they do nothing dogmatically imposing. The prose has its own rhythm, other than the poetic, and sometimes meter, turning into a metric prose.

The word prose happened from Latin Prosa, from Prosa Oratio, that in translation means - directly directed, simple speech.

Prose - antonym of verse and poetry, formally - the usual speech, not divided into selected commensurate segments - poems, in terms of emotional-sense - something landed, ordinary, ordinary. In fact, the dominant form in the literature of two, and in Western Europe - the last three centuries.

Back in the XIX century. All artistic literature, prose, including, called poetry. Now poetry is called only poetic literature.

The ancient Greeks believed that poetry enjoys a special speech, decorated according to the rules that set out its theory - poetics. The verse was one of the elements of this decoration, the differences between the speech of poetry from everyday speech. Decorated with speech, but according to other rules - not poetics, but rhetoric - differed and oratory (the Russian word "eloquence" literally transmits this his feature), as well as historiography, geographical descriptions and philosophical essays. The ancient romance as the least "correct" stood below in this hierarchy, was not very taken seriously and was not realized as a special reservoir of literature - prose. In the Middle Ages, religious literature was too separated from the secular, actually artistic, so that the prose in the one and the other was aware of how something united. Medieval entertainment and even editing works in prose were considered unsupply with poetry as such, still poetic. The greatest novel of the Renaissance - "Gargantua and Pantagruel" Francois Rabl (1494-1553) - was more likely to the lower literature associated with the folk laughter, than to the official literature. M. Cervantes created his "Don Quixote" (1605, 1615) as a parody novel, but the implementation of the plan turned out to be much more serious and significant. In fact, this is the first prosaic novel (Knight's novels paroded in it were mostly poems), which was realized as a work of high literature and influenced the flourishing of the Western European novel more than a century - in the XVIII century.

In Russia, unbelievable novels appear late, from 1763 they did not belong to high literature, a serious man should have read OD. IN pushkin Epoch foreign novels of the XVIII century. Young provincial nobility like Tatiana Larina was fond of Tatiana, and domestic - even more unprhabitive public. Ho Sentimentalist N.M. Karamzin in the 1790s. Already introduced prose into high literature - in the neutral and non-genre-nomed genre, not included, like a novel, in the system of recognized classic genres, but not burdened as he, non-showing associations. The story of Karamzine became poetry in prose. A.S. Pushkin Even in 1822, a note wrote: "The question whose prose is the best in our literature? - Answer: Karamzin. " Ho added: "This is still not big ..." On September 1 of the same year, he advised the prince of P.A. Vyazemsky seriously engage in prose. "Summer is a clone to prose ..." - I noticed Pushkin, anticipating my poems in the sixth chapter "Eugene Onegin": "Summer to harsh prose is clone, / Summer Salunu-rhyme is driven ..." by the author of romantic ages A.A. Bestuzheva (Marlinsky) in the letters of 1825. He calls for a novel twice to take on the novel as N.V. Gogol - go from the topics to a large work. And although he himself printed in prose only in 1831, simultaneously with Gogol ("Evenings on the farm near Dikanka") and, as he, anonymously - "the leaders of the late Ivan Petrovich Belkin", thanks to the two of them in the 1830s gg In Russian literature, an epocal fracture has come, which has already occurred in the West: from predominantly poetic it becomes predominantly prosaic. This process ended in the early 1840s, when the "hero of our time" (1840) Lermontov appeared (having tried extensive intentions in prose) and "Dead souls" (1842) Gogol. Nekrasov then "proses" and the style of poetic poetry.

Poems for a relatively long period returned their leadership only at the turn of the XIX-XX centuries. ("Silver Age" - unlike the "Golden" Pushkinsky), and then only in modernism. Modernists confronted strong prose-realists: M. Gorky, I.A. Bunin

A.I. Kubrin, I.S. Shmelev, A.N. Tolstoy and others; For their part, symbolists D.S. Merezhkovsky, Fedor Sologub, V.Ya. Bryusov, Andrei White except poems created a fundamentally new prose. True, and in Silver century (N.S. Gumilev), and much later (I.A. Brodsky) Some poets set poems much higher than prose. However, in the classics of the XIX-XX centuries, both Russian and Western, more prose plates than poets. Poems are almost completely displaced from the drama and epic, even from Laro-epos: in the second half of the XX century. The only Russian poem of the classic level is the Akhmatovskaya "Poem without a hero", by the advantage of lyrical and started by the author back in 1940. Poems remained mainly for lyrics, and modern lyrics by the end of the century, as in the West, lost a massive, even wide reader, Stayed for few lovers. Instead of theoretically clear division of childbirth - Epos, Lyrics, drama - fuzzy, but who became familiar: prose, poetry, dramaturgy (although there are still lyrical miniatures in prose, Nature poems and completely already ridiculous dramas in verses).

The triumphal prose victory is natural. The poetic speech is frankly conditional. Already L.N. Tolstoy considered it completely artificial, although she admired the lyrics of Tyutchev and Feta. In a small space of intensive intense and the feeling of lyrical work, poems look more naturally than in length texts. The verse has a mass of additional expressive means compared with prose, but these "backups" archaic in their origin. In many countries of the West and East modern poetry It enjoys almost exclusively vertlibroid (free verse), not sized and rhymes.

Prose has its own structural advantages. It is much less able than verse, to influence the reader "Music", it is more free in choosing the semantic nuances, shades of speech, in the transfer of "votes" of different people. "Drainage", according to M.M. Bakhtina, prose is inherent more than verses (see: Artistic). The form of prose is similar to other properties and content, and the forms of the literature of the new time. "In prose - unity, crystallizing from a variety. In poetry, on the contrary, is a manifold, developing from clearly proclaimed and directly expressed unity. " Ho For a modern man, an unequivocal clarity, statements "in the forehead" in the art of akin to tribality. XIX literature And even more than the XX century. Prefers as the basic principle of unity complex and dynamic, unity of dynamic diversity. This applies to poetry. By and large, one regularity determines the unity of femininity and masculinity in verses A.A. Akhmatova, Tragism and Ernicity in Prose A.P. Platonova seemed to be completely incomprehensible plot-and-substantial reservoirs - satirical, demonic, "gospel" and the binding of their love - in the "Master and Margarita" M.A. Bulgakov, Romantic and Epopene in "Quiet Don" M.A. Sholokhova, absurdness and tallness of the hero of the story V.M. Shukshina "Chudik", etc. With this complexity of the literature, the prose reveals its own difficulty compared to verses. That's why Yu.M. Lotman built such a sequence from simple to complex: " colloquial speech - Song (text + motif) - "Classical poetry" - artistic prose. " With the developed culture of the speech "Looking for the language of literature of the literature in everyday life, more complicated than a clear, straight" fracture ", which was originally a poetic speech. So a student to draw harder to draw nature looks like anything. So realism demanded more experience from humanity than the pre-realistic directions in art.

HE should think that the rhythm has only verse. Pretty rhythmic spelling, as well as normal human movements - it is regulated by the respiratory rhythm. Rhythm is the regularity of some repetitions in time. Of course, the rhythm of ordinary prose is not so ordered as a poetic, is inconsistent and unpredictable. There is a more rhythmic (in Turgenev) and less rhythmic (Dostoevsky, L.N. Tolstoy) prose, but never it is not at all ordered. The syntactically distinguished short sections of the text are not extremely different from each other in length, often they are two and more times in a rutmically equally begin or end. It is noticeably rhythmic phrase about girls at the beginning of the Gorky "old woman isergil": "their hair, / silk and black, / were dissolved, / wind, warm and light, / playing them, / born with coins, / woven in them." Syntagma here are short, commensurate. Of the seven syntagms, the first four and sixth begin with shock syllables, the first three and sixth ends are erected by two unknown ("dactyl" endings), inside the phrase is the same - one unstressed syllable - two adjacent syntagms are switched out: "Wind, warm and light" (all three words Rhythmically the same, consist of two syllables and carry across the first) and "playing them" (both words ends with one unstressed syllable). The only one, the last syntagma ends with an emphasis, it is it energetically finishing the whole phrase.

The writer can play on rhythmic contrasts. In the story of Bunin "Mr. from San Francisco" the fourth paragraph ("was the end of November ...") contains three phrases. The first small one, it lies with the words "but floated quite safely." The next is huge, on a full-length, describing the pastime on the famous Atlantis. In essence, it consists of many phrases separated, however, not a point, but mostly point with a comma. They, as sea \u200b\u200bwaves, overlook one to another continuously. Thus, everything is practically equal, as stated: the ship's device, the routine of the day, passenger classes, is all living and inanimate. The final part of the giant phrase - "at seven was injured by pipe signals about what was the main goal In all this existence, the crown of him ... "Only here the writer takes a pause expressed by the departure. And finally, the last, final phrase, short, but as if equivalent to the previous one, so informationally saturated: "And then Mr. San Francisco hurried to her rich cabin - dressing." Such "equating" increases the thin irony about the "crown" of all this existence, i.e., of course, lunch, although it is consciously not named, but only implies. It is no coincidence that the Bunin will describe such a detail to prepare his hero to dinner and his dressing at the hotel at Capri: "And then he again began to prepare to the crown ..." Even the word "crown" is repeated. After the gong (the analogue of the "pipe signals" on the "Atlantis"), Mr fence in her reading room to wait for a completely ready wife and daughter. There he happens to him, from which he dies. Instead of the "crown" of existence - non-existence. So and rhythm, and rhythm failures, and similar rhythmic semantic "roll calls" (with some reservations it can be discussed about the rhythm of the image) contribute to the merger of all elements of the text into a slim artistic integer.

Sometimes, from the end of the XVIII century, and most of all in the first third of the 20th century, the writers even met the prose: they bring the same sequence of strokes into syntagma, as in Syllabo-tonic verses, but do not share text on poetic lines, borders between syntaglam Stay unpredictable. Andrei White tried to make a metric prose almost a versatile form, applied it not only in novels, but also in articles and memoirs than heavily annoyed many readers. IN modern literature The metric prose is used in some lyrical miniatures and as separate inserts in larger products. When in a solid text, rhythmic pauses are constant and the metric segments are equal in length, in the sound, such a text is indistinguishable from the poetic, like the "songs" of Gorky about falcon and the petrel.

Prose around us. She is in life and in books. Prose is our everyday language.

The artistic prose is not a size (a special form of organizing sounding speech), an unimpressed narration.

Prosecical work is written without rhyme, which is his main difference from poetry. Prose arts are both artistic and non-counted, sometimes they intertwined among themselves, such as in biographies or memoirs.

As arose prose, or epic, work

The prose came to the world of literature from ancient Greece. It was there that poetry appeared first, and then the prose as a term. The first prosaic works were myths, legends, legends, fairy tales. These genres were determined by the Greeks as non-counted, landed. These were religious, household or historical narratives that received the definition of "prose".

In the first place there was a highly artistic poetry, the prose was in second place, as some kind of opposition. The situation began to change only in the second half of the prose genres began to develop and expand. They appeared novels, stories and novels.

In the XIX century, the prose writer pushed the poet to the background. Roman, Novella became the main artistic forms in the literature. Finally, the prosaic work took its rightful place.

Prose is classified in size: on a small and large. Consider the main art genres.

Work in prose of large volume: types

The novel is a prosaic work that is distinguished by the length of the narrative and a complex plot, developed in the whole, and the novel may have side plot lines, in addition to the main one.

The novelists were Onor de Balzac, Daniel Defo, Emily and Charlotte Bronte, Erich Maria Remark and many others.

Examples of prosaic works of Russian novelists can compile a separate book list. These are works that have become a classic. For example, such as "Crime and Punishment" and "Idiot" of Fyodor Mikhailovich Dostoevsky, "Dar" and "Lolita" Vladimir Vladimirovich Nabokova, "Dr. Zhivago" Boris Leonidovich Pasternak, "Fathers and Children" of Ivan Sergeevich Turgenev, "Hero of Our Time" Mikhail Yurevich Lermontov and so on.

The epic is in terms of volume more than a novel, and describing large historically events or meets common issues, more often than.

The most significant and well-known epic in Russian literature - "War and Peace" of Lev Nikolayevich Tolstoy, "Quiet Don" Mikhail Alexandrovich Sholokhov and Pyotr First Alexei Nikolayevich Tolstoy.

Prosaic product of small volume: types

Novella - short piececomparable with a story, but having a greater saturation of events. The story of Novella takes the beginning in oral folklore, in parables and legends.

Themenests were Edgar by, Herbert Wells; Gi de Maupassan and Alexander Sergeevich Pushkin also wrote novels.

The story is a small prosaic work, which is distinguished by a small number of actors, one storyline and a detailed description of the details.

Stories richly Bunin, Pouustovsky.

Essay is a prosaic work that is easy to confuse with the story. But still there are significant differences: a description of the real events only, the lack of fiction, the combination of literature of artistic and documentary, as a rule, affecting social problems and the presence of greater descriptions than in the story.

Essays are portrait and historical, problematic and traveling. They can also mix together. For example, a historical essay may also contain portrait or problematic.

Essay is some impressions or author's arguments due to a specific topic. It has a free composition. This type of prose combines the functions of a literary essay and a journalistic article. There may also have something in common with the philosophical treatise.

Medium Prosaic Genre - Tale

The story is located on the border between the story and the novel. In terms of volume, it cannot be attributed to any small, nor to great prosaic works.

In Western literature, the story is called a "short novel". Unlike the novel, there is always one storyline in the story, but it also develops fully and fully, therefore it cannot be attributed to the story genre.

There are many of the examples of the leader in Russian literature. Here are just some: "Poor Lisa" Karamzin, "Steppe" Chekhov, "Nonzvanov" Dostoevsky, "county" Zamyatina, "Life of Arsenyev" Bunin, "Stationander" Pushkin.

In foreign literature, it is possible to name, for example, Rena Shatubrita, "Baskerville Dog" Conan Doyle, "The Tale of Mr. Zommer" Zyuskinda.

The 1830s - the flourishing of Pushkin prose. From prosaic works at this time were written: "The story of the late Ivan Petrovich Belkin, published by A.P." , "Dubrovsky", "Peak Lady", "Captain's Daughter", "Egyptian Nights", "Kirdzhali". The plans of Pushkin had a lot and other significant intentions.

"Tale of Belkin" (1830)- The first completed prosaic works of Pushkina, consisting of five leaders: "Shot", "Blizzard", "Ummaker", "Stationander", "Baryshnya-peasant woman". They are preceded by the preface "from the publisher", internally associated with "History of the village of Gulihino" .

In the preface "from the publisher" Pushkin assumed the role of the publisher and publisher of the "History of Belkina", subscribing to its initials "A.P.". The authorship of the Agenda attributed to the provincial landowner Ivan Petrovich Belkin. I.P. Belkin, in turn, shifted the stories on paper, which other faces told him. Publisher A.P. Reported in the note: "In fact, in the manuscript of Belkin over each tast of the author's hand: I heard from such a person(Chin or title and capital letters of the name and surname). We write out for curious surveyors: "Caidizer" told him a titular adviser to A.G.N., "Shot" - Lieutenantkovik I.L.P., "Undeller" - Customer B.V., "Mistel" and "Baryshnya" - Device K.I.T.. Thus, Pushkin creates the illusion of the actual existence of the manuscript I.P. Belkin with his litters, attributes to him authorship and, as it were, documenting that the story is not the fruit of the fudge of Belkin himself, but in fact the stories that people have really existed about the narrative and familiar to him. Recalling the relationship between the storytellers and the content of the ART (the girl K.I.T. told two love stories, Lieutenant Colonel I.L.P. - A Tale from Military Life, Claud B.V. - from life of artisans, titular advisor A.G.N . - story about the official, cauldron of the postal station), Pushkin motivated the nature of the narration and his most style. He, as it were, eliminated himself in advance from the story, passing the author's functions to people from the province, talking about different sides of the provincial life. At the same time, the stories are united by the figure of Belkina, who was a military man, then resigned and settled in his village, was on business in the city and stopped at post stations. I.P. Belkin, therefore, unites all the narrator and turns their history. Such an arrangement explains why the individual manner, which allows to distinguish the stories, for example, the maiden K.I., from the story of Lieutenant Colonel I.L.P., does not appear. The authorship of Belkina is motivated in the preface by the fact that the landowner retired, at leisure or boredom, trying the pen, is impressionable, really could hear about the incidents, remember them and write down. The type of Belkin, as it were, put forward life itself. Pushkin invented Belkin to give him a word. Here, the synthesis of literature and reality was found here, which in the period of creative maturity Pushkin became one of the writing aspirations.

Psychologically reliably, the fact that Belkin attract sharp plots, stories and cases, jokes, as they would say in the old days. All stories belong to people of one level of world view. Belkin as a narrator spiritually close. Pushkin was very important that the story was not conducted by the author, not from the standpoint of a high critical consciousness, but from the point of view of an ordinary person, the incidents of amazed, but not a clear report in their sense. Therefore, for Belkin, all the stories, on the one hand, go beyond the limits of its usual interests, are felt unusual, on the other hand, the spiritual immobility of its existence.

The events that Belkin tells, in his eyes there are truly "romantic": there are all - duels, unexpected chance, happy love, death, secret passions, adventures with dressing and fantastic visions. Belkin attracts a bright, uniform life, dramatically released from everyday life, in which it is immersed. In the destiny of the heroes there were outstanding events, Belkin did not experience anything like that, but the desire for romance lived in it.

Trusting the role of the main storyteller Belkin, Pushkin, however, is not eliminated from the narration. What seems to be unusual, Pushkin drives to the most ordinary prose of life. Conversely: The most ordinary plots are full of poetry and make unforeseen turns in the destinies of heroes. Thus, the narrow borders of Belkin glance are immeasurably expanding. For example, the poverty of the imagination of Belkin acquires a special semantic content. Ivan Petrovich and in fantasy does not break out of the limits of the nearest villages - Gouliukhino, Chered, near them are located towns. But for Pushkin, in such a shortage, dignity is concluded in such a shortage: wherever they throw eyes, in the provinces, counties, villages - everywhere life flows the same way. Exceptional cases told by Belkin become typical thanks to Pushkin's intervention.

Because of the fact that the presence of Belkin and Pushkin is found in the top, clearly appears their originality. The story can be considered the "Belkin cycle", because to read a story, without considering the figures of Belkin, it is impossible. This allowed V.I. Tupet Following M.M. Bakhtin nip the idea of \u200b\u200bdouble authorship and a two-haired word. The attention of Pushkin is drawn to double authorship, since the full title of the work is "the story of the deceased Ivan Petrovich Belkin,published by A.P. " . But at the same time it should be borne in mind that the concept of "double authorship" is metaphorically, since the author is still alone.

This is the artistic and narrative concept of the cycle. From under the mask Belkin, the author's face looks like: "The impression of parody oppositeness of the association of Belkin has rooted norms and forms of literary reproduction.<…> ... The composition of each story is permeated with literary hints, due to which the conporation of life in the literature and back, parody destruction continuously occurs in the structure of the narration literary images Reflections of real reality. This split artistic reality, closely associated with epigraphs, that is, with the publisher, contrasting the image of Belkin, from which the mask of the semi-attractive landlord falls, and instead it is the witty and ironic face of the writer who destroys the old literary forms of sentimentally romantic styles and embroidery According to the old literary canvas, new bright realistic patterns. "

Thus, Pushkin cycle is permeated with irony and parody. Through the paroding and ironic interpretation of sentimentally romantic and moral plots, Pushkin moved towards realistic art.

At the same time, as E.M. wrote Muletinsky, Pushkin played by the characters "situations", "plots" and "characters" are perceived through the literary clichés by other applicants and narrative characters. This "literature in everyday life" is the most important prerequisite for realism.

At the same time, EM. Meletyansky notes: "In the novels of Pushkin, one is usually one unheard of an event, and the disconnection is the result of sharp, specific novelist turns, a number of which is just produced in violation of the expected traditional schemes. Event This is covered from different sides and points of view "character narratives". At the same time, the central episode is quite sharply opposed to the initial and final. In this sense, a three-part composition is characterized in the "ANGE OF BELKIN", thinly marked van der Engome.<…> ... The character is deployed and disclosed strictly as part of a basic action, without leaving these frameworks, which again contributes to the preservation of the specificity of the genre. The fate and the game of the case is assigned a certain place required. "

In connection with the association of the lead in one cycle, here is the same as in the case of "small tragedies", the question of the genre education of the cycle arises. Researchers are inclined to the fact that the cycle of the "History of Belkin" is close to the novel and consider it an artistic whole "novel type", although some go on, announcing it with a "sketch of the novel" or even "novel". EAT. Muletinsky believes that the stamped-friendly stamps relate to a greater extent to the tradition of the story and novel, rather than a specific novelist tradition. "But their very use of Pushkin, albeit with irony," adds a scientist, "characteristic of the Novella, which is a concentration of various narrative techniques ...". As a whole, the cycle is a genre education close to the novel, and individual stories are typical novels, and "overcoming sentimentally romantic stamps is accompanied by Pushkin to strengthen the specifics of the novel."

If the cycle is a single whole, then it should lie alone art idea, And the placement of the association inside the cycle should report each one and the entire cycle additional meaningful meanings compared to what sense is carried individual, isolated tales. IN AND. The TUUE believes that the combining artistic idea of \u200b\u200bthe "History of Belkin" is the cheating history of the prodigal son: "The sequence of the components of the AR cycle corresponds to the entire four-phase (i.e. - temptation, wandering, repentance and return - VC.)models revealed by German "pictures". In this structure, the "shot" corresponds to the phase of the separation (the hero, as well as the narrator, is prone to solitude); "The motives of temptation, wandering, false and not false partnership (in love and friendly relations) organize the plot of" blizzards ""; "The Undeller" implements the "Fability Module", taking a central location in the cycle and performing the intermediate function before the "station caulier" "with its cemetery finals on destroyedstations "; The "lady-peasant woman" assumes the function of the final phase phase. However, the direct transfer of the plot of the cheating pictures into the composition of the "Belkin" composition, of course not. Therefore, the idea of \u200b\u200bV.I. Tyes looks artificial. It was not yet possible to identify the meaningful meaning of the placement of the association and the dependence of each tale from the entire cycle.

Much of the Agent genre was much stronger. N.Ya. Berkovsky insisted on the novelistic character: "The individual initiative and its victory is the usual content of the novel. "Tale of Belkin" - five peculiar novel. Never before, nor after Pushkin in Russia, the novels were written so formally accurate, so loyal to the rules of poetics of this genre. " At the same time, Pushkin Tale on the inner sense "are opposite to the fact that in the West in the classical time was a classic novel." Difference between Western and Russian, Pushkinskaya, Novella N.Ya. Berkovsky sees that the national epic tendency prevailed in the latter, while the epic trend and European novels are little harmonized with each other.

The genre nucleus of the novel make up, as V.I showed Taped tale(legend, legend), parableand joke .

Tale"Models rolevoypicture of the world. This is an immutable and indisputable world order, where anyone, whose life is worthy of legends, a certain role is assigned: fate(or debt). " Word in tale - role and dismandable. The narrator ("speaking"), as well as characters, only transmits someone else's text. The narrator and the characters are the performers of the text, and not the creators, they say not from themselves, not from their face, but from some common whole, expressing nationwide, choirknowledge, "praise" or "hulu". Tale - "Domonologically".

World picture model proverbson the contrary, it implies "liability of free choice ..." In this case, the picture of the world appears valuable (good - bad, morally - immoral) polarized, imperativesince the character carries with him and approves some common moral lawwhich is the deep knowledge and moralization "wisdom" of the parable edification. Parable tells not about extraordinary events and not about private life, and about what is daily and constantly happens, about events of natural. The actors in the parable are not objects of aesthetic observation, but the subjects of "ethical selection". Talking in parable should be convinced and convictiongives teacher tone. In the parable, the word monologue, authoritarian and imperatively.

Jokehe opposes both the events of the legend and parable. Anecdot B. non-invalid Curious, becoming not necessarily funny, but certainly a curious, entertaining, unexpected, unique, incredible. Anecdote does not recognize any world order, so the anecdote rejects any orderliness of life, not counting the rituality of the norm. Life appears in a joke of a championship, holding circumstances or facing different beliefs of people. Anecdote - belonging to private adventurous behavior in the adventurous picture of the world. Anecdote does not claim reliable knowledge and is opinion,which can be accepted or not accepted. The adoption or failure of opinion depends on the skill of the storyteller. The word in the anecdote is situationally due to the situation and dialogueseed, since it is directed to the listener, it is initiative and personally painted.

Tale, parableand joke- Three important structural components of Pushkin novel, which in different combinations vary in the "Problkin's Hundreds". On the nature of the mixing of these genres in each novel depends on its originality.

"Shot".The story is an example of classic compositional harness (in the first part the narrator talks about Silvio and the case that happened in the days of his youth, then Silvio - about his duel with the graph B ***; in the second part, the narrator tells about the graph B ***, and Then Count B *** - O Silvio; in conclusion on behalf of the narrator, "Silver" ("affect") is transmitted about the fate of Silvio). The hero of the story and the characters are illuminated from different sides. They are seen by each other's eyes and unauthorized persons. The wrister sees a mysterious romantic and demonic face in Silvio. He describes it, thickening romantic paints. Pushkin's point of view is detected through parody use of romantic stylistics and by discrediting Silvio actions.

To understand, it is essential that the narrator, already an adult man, is transferred to his youth and appears first by a romantically tuned young officer. IN mature years, having retired, settling in the poor village, he looks somewhat differently at the recklessness, mischievous youth and the brown days of officer youth (the count he calls "Had", whereas for the previous concepts this characteristic would be uncomplicable). However, telling it, he still uses the book-romantic style. Significantly larger changes occurred in the column: he was careless in his youth, did not value his life, and in adulthood recognized genuine life values - Love, family happiness, responsibility for a close creature. Only Silvio remained loyal from the beginning to the end of the narration. He is by nature avenger, hiding under the mask of a romantic mysterious personality.

The content of life Silvio is a revenge of a special kind. Murder is not included in his plans: Silvio dreams of "kill" in an imaginary offender human dignity And honor, enjoy the fear of death on the face of Count B *** and for this purpose, uses the minute weakness of the enemy, forcing it to repeat (illegal) shot. However, his impression of the stained conscience of the count is erroneously: although the graph violated the rules of the fight and honor, he is morally justified, because, worrying not for himself, and for his dear person ("I considered a second ... I thought about her ..."), sought to speed up shot. The graph rises above ordinary representations of the medium.

After Sylvio inspired himself, as if he was dismissed, his life was deprived of meaning and nothing remains nothing but the search for death. Attempts to heroize the romantic personality, the "romantic avenger" was insolvent. For the sake of a shot, for the insignificant goal of humiliation of another person and imaginary self-affirmation, Silvio robs and his life, in vain retention in the sake of petty passion.

If Belkin depicts Silvio Romantic, then Pushkin decisively refuses the avenger in such a title: Silvio is not a romantic at all, but quite a prose avenger-loser, which is only pretended by a romantic, reproducing romantic behavior. From this point of view, Silvio is a reader of romantic literature, which "literally embodies literature in his life up to the Gorky Final." Indeed, the death of Silvio is clearly correlated with the romantic and heroized death in Greece by Bairon, but only then to discredit the imaginary heroic death of Silvio (a view of Pushkin appeared in this).

The story ends with the following words: "They affect that Silvio, during the indignation of Alexander Ipsilanti, led by a detachment of etterols and was killed in the battle under the whiskers." However, the narrator admits that he had no news of the death of Silvio. In addition, Pushkin wrote in the story "Kirdzhali" that "700 people of Arnautov, Albanians, Greeks, Bulgar and all sorts ..." were performed in the battle under the sculunents against the Turks. Silvio, apparently, was slaughtered, since in this battle there was no single shot. The death of Silvio is intentionally devoid of Pushkin heroic haloe, and a romantic literary character is understanding the ordinary avenue-loser with a low and evil soul.

Belkin-narrator sought to heroize Silvio, Pushkin-author insisted on a purely literary, book-nomanic character of a character. In other words, the heroic and romance were not the character of Silvio, but to the narrative efforts of Belkin.

The strong romantic beginning and as much as a strong desire to overcome the imprint on the entire story: the social status of Silvio is replaced by demonic prestige and displacement of generosity, and the carelessness and superiority of the natural hatch of the graph rise above its social origin. Only subsequently, in the central episode, the social infringement of Silvio and the social superiority of the graph are opened. But neither Silvio, nor the graph in the narrative of Belkin, do not remove the romantic masks and do not refuse romantic cliché, just like the refusal of Silvio from the shot does not mean refusal from veneer, but seems to be a typical romantic gesture meaning the accomplishment of revenge ("I will not answer Silvio, - I am satisfied: I saw your confusion, your timidity; I made you shoot for me, I am pretty enough. You will remember me. I bet you.

"Misel".In this story, as in other issues, plots and stylistic clichés of sentimentally romantic works ("poor Lisa", "Natalia, Boyarskaya daughter" Karamzin, Byron, Walter Scott, Bestuzhev-Marlinsky, "Lenor" Burger, "Svetlana" Zhukovsky, "Groom-Ghost" Washington Irving). Although heroes are waiting for the resolution of conflicts on literary schemes and canons, the collisions are erected differently, since life contributes to them. "Van der Eng sees in the" blizzards "of six rejected life and the case of options for sentimental plot: the secret marriage of lovers against the wills of the parents because of the poverty of the groom and, with the subsequent forgiveness, the silent part of the heroine with the house, the death of the beloved and or the suicide of the heroine, or his eternal mourning it, etc., etc. " .

The basis of "Misteli" is based on the adventurism and the anecdicality of the plot, the "Game of Love and Case" (I went to get married with one, and I was married to another, I wanted to marry one, and went out for another, explaining the fan in love with a woman who de jure is His wife, in vain resistance to parents and their "evil" will, naive countering social obstacles and as well as a naive desire to destroy social partitions), as it was in French and Russian comedies, as well as another game - patterns and chance. And then the new tradition is coming - the tradition of parables. The plot mix the adventure, anecdote and parable.

In the "blizzard" all events are so closely and skillfully intertwined among themselves, that the story is considered a sample genre, ideal novel.

The plot is tied to confusion, on a misunderstanding, and this misunderstanding is double: first the heroine is married not with the beloved, which he was elected, but with an unfamiliar man, but then, being a person, he does not recognize in the new chosen one who has already become her husband. In other words, Marya Gavrilovna, reading the French novels, did not notice that Vladimir - not her narrowed and mistakenly recognized the chief of his heart, but in a bourge, an unfamiliar man, she, on the contrary, did not recognize his real chosen one. However, life corrects the mistake of Marya Gavrilovna and Burmine, who can not believe, even being a meant, legally wife and husband, which is intended for each other. Random separation and accidental association explained by the game of the elements. The blizzard, symbolizing the element, whimsically and capriciously destroys the happiness of some lovers and is equally whiffly and capriciously connects others. Element in his arbitrarity gives birth order. In this sense, the blizzard performs the function of fate. The main event is described on three sides, but the narrative of the trip to the church contains a secret that remains such for the participants themselves. It is explained only before final junction. Two love stories agree on the central event. In this case, from unhappy history is happy.

Pushkin skillfully builds a story, giving happiness with sweet and ordinary people who have matured during the testing period and aware of the responsibility for personal destiny and for the fate of another person. At the same time, another thought sounds in the "blizzards": the real life relations "embroidered" are not on the canvas of book sentimentally-romantic relations, but taking into account personal intelligence and quite a tangible "general order of things", in accordance with the dominant stands, in the nearest, property Regulation and psychology. Here the motive of the element is the fate - blizzards - the case retreats before the same motive as a pattern: Marya Gavrilovna, the daughters of wealthy parents, more than being the wife of the rich colonel of Burmin. The case is an instant tool providence, the "Life Game", her smile or grimace, a sign of her unintentional, the manifestation of fate. In it, the moral justification of the story is: in the story, the case is not only Ocoltzal and completed the new story, but also "spoke" in favor of the device of all being.

"Undertaker".Unlike other leaders, the "Ublober" is saturated with philosophical content and is characterized by fantasy, invading artisans. At the same time, the "low" life is comprehended in a philosophical and fantastic vein: as a result of drinking artisans, Adrian Prokhorov is started in the "philosophical" reflections and sees a "vision", filled with fantastic events. At the same time, the plot is similar to the structure of parables about the prodigal son and anecdotal. It also looks at a ritual journey to " afterworld", Which makes Adrian Prokhorov in a dream. Resettlement Adriana - first in new houseAnd then (in a dream) in the "Morbon World", to the dead and, finally, returning from sleep and, accordingly, from the kingdom of the dead into the world of living - comprehended as the process of gaining new life stimuli. In this regard, from the gloomy and sullen mood, the coffin moves to bright and joyful, to the awareness of family happiness and genuine joys of life.

The adrian housewear is not only real, but also symbolic. Pushkin plays hidden associative values \u200b\u200bassociated with the ideas of life and death (a housewarming in a figurative sense - death, resettlement in another world). An arter's occupation determines its special attitude to life and death. He in his craft directly comes with them: Live, he prepares "at home" (coffin, home) for the dead, his clients are dead, he is constantly engaged in thoughts, as if not missing income and not hesitate the death of another person. This problem finds an expression in references to literary works (to Shakespeare, to Walter Scott), where the coffins are depicted by philosophers. The philosophical motives with ironic coloration arise in the conversation of Adrian Prokhorov with Gotlib Schulz and at the last party. There, the Besoch of Jurko offers Adrian to the ambiguous toast - a drink for the health of his clients. Yurko, as it were, connects two worlds - alive and dead. The proposal of Jurko encourages Adrian to invite the dead of the dead for whom he made the coffins and which he spent in last way. Fantasy, really reasonable ("sleep"), is saturated with philosophical-household content and demonstrates a violation of the world order in the innate consciousness of Adrian Prokhorov, distortion of household and Orthodox engines.

Ultimately, the world of the dead does not get for her hero. A bright consciousness is returned to the arter, and he calls on daughters, gaining peace and coming to the values \u200b\u200bof family life.

In the world, Adrian Prokhorov again restored the order. His new state of the spirit comes in some contradiction with the same. "Of the respect for the truth, it is reported in the story - we cannot follow their example (i.e. Shakespeare and Walter Scott, who portrayed the chambers of people with fun and joking - VC.)and forced to admit that the temper of our undertaking perfectly corresponded to its dark craft. Adrian Prokhorov was a sullen and thoughtful. " Now the mood of the delighted Undertaker is different: he does not have, as usual, in the gloomy anticipation of someone's death, but becomes cheerful, justifying the opinion of Shakespeare's Umakers and Walter Scott. Literature and Life are closed in the same way as they approach each other, although they do not coincide, the points of view of Belkin and Pushkin: the new Adrian corresponds to those book images that Shakespeare and Walter Scott drew, but it does not happen because the urbeller lives in artificial and The fictional sentimental-romantic standards as I would like that Belkin, and as a result of a happy awakening and admission to the bright and living joy of life, as Pushkin depicts.

"Stationander".The story is based on contradiction. Usually the fate of the poor girl from the lower layers of society who loved the knowledgeable Mr. was unenviable and sad. And he drove her, lover thrown her to the street. In the literature, such scenes were developed in a sentimental and moral spirit. Screen, however, knows about such stories from life. He is also known for his pictures about the prodigal son, where a restless young man goes first, blessed by his father and awarded with money, then wins the state with shameless women and the poor, repentant returns to his father who takes him with joy and forgives. Literary scenes And the loudspeakers with the history of the prodigal son assumed two exodus: a tragic, retreating from the canon (the death of the hero), and happy, canonical (newly acquired soulful calmness for both the prodigal son and the old man's father).

The plot of the "stationander" is deployed in a different way: instead of repentance and returning a prodigal daughter to his father, his father goes to seek a daughter. Dunya with Minsk happy and, although he feels his guilt before his father, does not think about returning to him, and only after his death comes to the grave. The caretaker in the potential happiness of the Duni outside the father's house does not believe that it allows you to call it "Blind"or "Doveshop caress" .

The following words of the narrative, who did not give proper meaning, was the reason for the Kalambourne Oxymoron, but which, of course, were focused by Pushkin: "The poor caretaker did not understand, ... as a blindness found him ...". Indeed, the caretaker Vinin saw his own eyes that the Dunya does not need salvation that she lives in luxury and feels like a hostess. Contrary to true feelings Wrina, who wants the happiness of his daughter, it turns out that the caretaker does not rejoice in happiness, but rather would be happy with misfortune, because it would justify his most gloomy and at the same time the most natural expectations.

This consideration led V. Schmid to the rawless conclusion that the mountain of the caretaker is not "misfortune threatening his beloved daughter, and her happiness, whose witness he becomes." However, the trouble of the caretaker is that he does not see happiness, although nothing but the happiness of his daughter does not want, but sees only her future misfortune, which constantly stands before his eyes. Imagined misfortune became real, and real happiness - fictional.

In this regard, the image of the screen will double and is an alloy of comic and tragic. In fact, isn't it ridiculous that the caretaker has invented the future of the Duni's unfortunate and in accordance with his false belief of himself on drunkenness and dying? "Stationander" Eastorg "Literary criticism has so many journalistic tears on the unfortunate lobe of the notorious little man", I wrote one of the researchers.

Now this comic version of the "station caretaker" resolutely prevails. Researchers, starting with Van der Energ, ladies ladies, "blaming" Samson Wyrna. The hero, in their opinion, "reflects and behaves not as much as a father as like in love or, more precisely, like a rival of his daughter's beloved."

So, it's not about the love of my father to my daughter, but about the love of a lover to the mistress, where the lovers and daughter are like lovers. But in the text of Pushkin, there is no reason for such an understanding. Meanwhile, V. Schmid believes that sculitant in the depths of the soul - "blind jealous" and "envious", reminding the elder brother from the Gospel Proverbs, and not the honorable elder father. "... Vinin is neither a disinterested, generous father from the parables about the prodigal son, nor a kind pasta (meaning the gospel from John - V.K.) ... Vinin is not the person who could give her happiness ..." He unsuccessfully opposed Minsk in the struggle for the possession of the Dunya. Further, I went in this direction V.N. Turbin, who directly declared the worked her daughter's lover.

The researchers for some reason think that love is pretending that there is more egoism, pride, care for yourself than about her daughter. In fact, it is, of course, not so. The caretaker really loves his daughter and is proud of her. Because of this love, he is afraid for her, no matter how it happened to her any trouble. The "blinding" of the caretaker lies in the fact that he cannot believe in the happiness of the Duni, because it happened to her indefinitely and disgust.

If so, then where does jealousy and envy? Who will ask, jealous of the china - Minsk or Dun? No envy in the story there is no speech. Minsk Vyrin cannot envy at least for the reason that he sees the hang in him who seduced his daughter and gathering early or later to throw it into the street. Duna and her new position scum also can not envy because she alreadyunhappy. Maybe Verin is jealous of Minsk in the fact that the Dunya went to him, and not stayed with his father, what did she prefer the Father Minsk? Of course, the caretaker is annoyed and offensive that the daughter did not do with him, not in Christian and not in relation to him. But envy, jealousy, like a real rivalry there are no - such feelings are called otherwise. In addition, Vyrin understands that it can not even be an involuntary rival of Minsk - they are separated by a huge social distance. He is ready, however, to forget all the resentment, forgive his daughter and take it to the native home. Thus, in conjugation with comic content, there is also a tragic, and the image of the screen is lit not only comic, but also tragic light.

Egoism and mental cold is not deprived of the Dunya, which, sacrificing the father for the sake of a new life, feels his guilt in front of the caretaker. The transition from one social layer to another and the disintegration of patriarchal bonds is represented by Pushkin and natural, and extremely contradictory: the acquisition of happiness in a new family does not cancel the tragedies relating to the previous rural and human life itself. With the loss of Duni, I didn't need a dunger and own life. Happy junction does not cancel the tragedy script.

Not the last role in it plays the motive of socially unequal love. The personal fate of the heroine social shift does not cause any damage - the life of the Duni is successful. However, this social shift is paid for by the social and moral humiliation of her father when he is trying to regain his daughter. The turning point of the novel turns out to be ambiguous, and the initial and final points of the aesthetic space of the Patriarchal idyll (exposition) and the melancholic elegreence (final). From this it is clear where the movement of Pushkin thought is directed.

In this regard, it is necessary to determine what is in a chance of a random, and what is natural. In the ratio of private fate of the Duni and the general, human ("young fools"), the fate of the caretaker's daughter seems random and happy, and the total share is unhappy and disastrous. Wine (like Belkin) looks at the fate of the Duni from the point of view of the overall share, general experience. Not noticing a private event and without taking it into account, he fails private case under general ruleAnd the picture gets distorted lighting. Pushkin sees a happy private event, and unhappy typical experience. In this case, none of them undermines and does not cancel the other. Luck the private fate is solved in bright comic tones, the overall unenviable fate - in the melancholic and tragic paints. The tragedy is the death of the caretaker - softened by the scene of the reconciliation of the Duni with his father, when she visited His grave, silently rushed and asked for forgiveness ("she lay down here and lying long).

In the ratio of random and natural, one law is valid: as soon as the fate of people, the social start interferes with their universal relationships, so the reality becomes fraught with a tragedy, and, on the contrary: as they remove from social factors and approaching universal, people are becoming more and more happy. Minsk destroys the patriarchal idyll of the caretaker's house, and the screamer, wanting to restore it, seeks to destroy the family happiness of the Duni and Minsk, also playing the role of a social disturbance, who invaded his low social status in a different social circle. But barely social inequality is eliminated, the heroes (like people) again gain peace of mind and happiness. However, the tragedy lashes the heroes and hangs over them: the idyll of fragile, Sybka and relative, is ready to turn the tragedy immediately. The happiness of the Duni requires the death of her father, and the happiness of the father means the death of family happiness of the Duni. The tragedy began invisibly spread in life itself, and even if it does not protrude out, it exists in the atmosphere, conscious. This beginning settled in Samson's soul sculpt and led him to death.

Therefore, the German moral pictures depicting episodes of the Gospel Proverbs come true, but in a special way: Dunya returns, but not to his home and not to the living father, but on his grave, her repentance does not occur during the life of the parent, and after his death. Pushkin reincarnates the parable, avoids a happy end, as in the story of the Marmontite "Loretta", and the unfortunate love story ("poor Lisa" Karamzin), which confirms the correctness of Osline. In the consciousness of the caretaker, two literary traditions - Evangelskaya parable and moral stories with a happy ending.

Pushkin's story, without glowing with traditions, updates literary schemes. There is no tough relationship between the social inequality and the tragedy of heroes, but Idilly with its prosperous final picture is excluded. The case and pattern are equal in their rights: not only life corrects the literature, but also literature, describing life, is able to transmit the truth of reality - Verin remained faithful to his life experience and the tradition that insisted on the tragic resolution of the conflict.

"Baryshnya-peasant woman."This story sums up the entire cycle. Here, the artistic method of Pushkin with his masks and overflowing, the game of the case and patterns, literature and life is revealed openly, nude, catchy.

Based on the love of love secrets and changing two young people - Alexey Berestov and Lisa Murom, owned first to the warring, and then reconciliated families. Berestovs and Muroms like different national traditions: Berestov - Rusophil, Muromsky - Engnoman, but belonging to them does not play a fundamental role. Both landowners are ordinary Russian bar, and their special preference for one or another culture, their own or someone else - a votary tetree, arising from the hopeless provincial boredom and whim. In this way, an ironic rethinking of book representations is introduced (the name of the heroine is associated with the story of N.M. Karamzin "Poor Lisa" and with imitation of her; the war of Berestov and Muromsky parodings the war of the Monttecs and Capulini family in the Romeo and Juliet tragedy). Ironic transformation concerns other details: Alexei Berestov has a dog that carries a hatching team (the name of the hero of Roman Sh. Nodier "Jean Sabagar"); Nastya, the servant Lisa, was "the face much more significant than any arms in the French tragedy," and so on. Significant details characterize the life of the provincial nobility, not alien enlightenment and touched spill of the chemicals and coquetry.

For imitative masks are hidden quite healthy, cheerful characters. The sentimentally-romantic makeup is densely imposed not only on characters, but also to the most plot. Alexei's mystery correspond to the tricks of Lisa, which moves first in the peasant dress to find out the closer to the young Barin, and then in the French aristocrat of the Times of Louis XIV, in order not to be recognized by Alexey. Under the peasant mask, Lisa faced Alexey and herself felt a heart attraction to the young Barina. All external obstacles are easily overcome, comic dramatic conflicts dissipate when real life conditions require the execution of the will of the parents, seemingly the feelings of children. Pushkin laughs at the sentimental-romantic tricks of characters and, washing off the makeup, there is their valid faces that shining youth, health, filled with the light of the joyful transaction of life.

In the "Baryshnya-peasant" in a new one, various situations of other associates are reprigranged. For example, the motive of social inequality as an obstacle to the connection of lovers, found in the "blizzard" and in the "stingy cauldron". At the same time, in the "Baryshny-peasant", the social barrier compared to the "blizzard" and even with the "station caretaker" increases, and the resistance of the father is depicted stronger (personal entry of Murom with BERESS), but artificiality, the imaginaryness of the social barrier also increases and then completely disappears. Resistance to the will of the parents is not necessary: \u200b\u200btheir female turns around opposing feelings, and the fathers of Lisa and Alexei are experiencing to each other peaceful pleasant.

Heroes play different roles, but are in an unequal position: everything is known to Lisa about Alexei, while Lisa for Alexey is covered with a secret. The intrigue holds on the fact that Alexey has long been solved by Liza, and Lisa still has to solve.

Each character will double and even break: Lisa on the "peasant", an impregnable Zhemunnitsa-coquette of the old times and the dark "young lady", Alexey - on the "Vacanner" Barin, on the "gloomy and mysterious saronic skeleton", "traveling" in surrounding forests , and kind, fervently small with pure Heart, mad dumplings. If Marya Gavrilovna has two applicants for her hand in Maryia Gavrilovna, then in the "young peasant" - one, but Liza itself appears in two species and consciously plays two roles, parodying both sentimental and romantic stories and historical moral stories. At the same time, the parody of Lisa is exposed to a new Pushkin parody. Baryshnya-peasant woman is a parody of the parody. From here it is clear that the comic component in the "Baryshnya-peasant" is repeatedly reinforced and condensed. In addition, in contrast to the heroine "Misley", which fate plays, Lisa Muromskaya is not playing fate: she herself creates circumstances, episodes, cases and does everything to get acquainted with the young Barin and take it into their love networks.

Unlike the "station caretaker" it is in the story of the "young lady-peasant", the reunion of children and parents occurs, and the total world order is fun triumph. In the last story, Belkin and Pushkin, like two author, are also connected: Belkin does not chase for literature and creates a simple and life final that does not require compliance with the literary rules ("Readers will save me from an excessive obligation to describe the interchange"), and therefore the Pushkin does not need to correct Belkin and take a layer of a layer of book dust with his innocent, but applying for sentimentally romantic and moral (already pretty-embossed) literature of the narrative.

In addition to the "History of Belkin", Pushkin created several more large works in the 1830s and among them - two finished ("peak lady" and "Kirdzhali") and one unfinished ("Egyptian nights") of the story.

"Peak lady."This philosophical psychological story has long been recognized as masterpiece Pushkin. Tie a story, as follows from recorded PI Bartenev words P.V. Nachshokina, who told Pushkin himself, is based on the actual case. Grandson Prince N.P. Golitsyna Prince S.G. Golitsyn ("Firs") told Pushkin, which, once losing, came to the grandmother to ask for money. That money did not give him, but called three cards appointed to her in Paris Saint-Germain. "Try," she said. S.G. Golitsyn put on the named N.P. Golitsyna card and played. Further development of the story is fictional.

The plot of the story is based on the game of chance and necessity, patterns. In this regard, each hero is associated with a specific topic: Germanha (surname, not name!) - With the theme of social dissatisfaction, Countess Anna Fedotna - with the theme of fate, Lizaveta Ivanovna - with the theme of social humility, Tomsk - with the topic of undeserved happiness. So, in Tomsk, playing a plurality of a minor role, a significant sense load falls: an empty, an insignificant secular person who does not have a pronounced person, he embodies accidental happiness, not deserved them. He chose a fate, and does not choose fate unlike Hermann, seeking to conquer Fortune. Good luck pursues Tomsk, as she pursues a countess and all her genus. At the end of the story it is reported that Tomsk marries the princess Polina and produced into the Rothmisters. Consequently, it falls under the social automatism, where random luck becomes a secret pattern regardless of any personal advantages.

The chief of fate concerns the old Countess, Anna Fedotovna, the image of which is directly related to the theme of fate. Anna Fedotovna personifies the fate, which is emphasized by its conjugacy with life and death. It is on their intersection. Live, she seems to be leaning and dead, and the dead comes to life, at least in the imagination of Hermann. Being still young, she got a nickname in Paris "Moscow Venus", that is, the beauty of her had a feature of the coldness, the dead and petition, like a well-known sculpture. Its image is inserted into the frame of mythological associations, soldered with life and death (Saint-Germa, with whom she met in Paris and who told her the mystery of three cards, called the eternal Jet, Agasfer). Her portrait, who looks at Hermann, is immobile. However, the Countess, being between life and death, is able to "demonically" to ride under the influence of fear (under the German Pistol) and memories (with the name of the late Chappetsky). If it was involved in life ("Her cold egoism" means that she has talked his age and alien to the present time), then after death, she comes to life in Herman's consciousness and is him like his vision, reporting that she visited the hero not by His will. What is this will - evil or kind - unknown. There are guidance on demonic strength in the story (the secret of the cards is open to the Saint-Germain, the demonic world), on the demonic demonia (once a dead countess "mockingly gladly looked at Germans," "squinting with one eye", another time he saw the hero in the map "Peakka Ladies »Old-Countess, who" squinted and grinned "), for good will (" I forgive my death for you, so that you marry my pupils to Ivanovna ... ") and on mystical revenge, because German has not fulfilled the conditions set by Countess . In a suddenly revived map, fate was symbolically displayed, and various countenetses of the Countess - "Moscow Venus" (young countess from a historic joke), a stale old woman (from the socio-household story about the poor pupil), a winking corpse (from the "horror roman" or "Scary" ballad).

Through the story of Tomsk about the Countess and the secular adventurerist Saint-Germain Hermann, provoked by the historic joke, also binds to the theme of fate. He is experiencing fate, hoping to master the secret pattern happy case. In other words, he seeks to exclude the case for himself and turn card success into a legitarious, and therefore subordinate to his fate. However, entering into the "zone" of the case, it is dying, and its death becomes as random, as lawyer.

The mind, calcality, solid will, capable of suppressing ambition, strong passion and fiery imagination are concentrated in Germanha. He "player" in the shower. The game of card symbolizes the game with fate. "Verb" meaning of the card game is clearly detected for Hermann in his game with Chekalinsky, when he became the owner of the mystery of three cards. Excusted, the rationality of Hermann, stressed by his German origin, the name and profession of a military engineer, conflict with passions and fiery imagination. The will, restraining passion and imagination, in the end, turns out to be drawn, because Germans independently of his own effort falls under the power of the circumstances and is done by the instrument itself, someone else, incomprehensible and incomprehensible secret force, which turns it into a miserable toy. Initially, he seemed to skillfully use his "virtues" - calculation, moderation and hard work - to achieve success. But at the same time, he entails some force, which he involuntarily obeys, and, in addition to his will, it turns out to be at the house of the Countess, and in the head it is in advance, a mysterious and strict arithmetic is replaced by a mysterious game of numbers. So the calculation is displaced by imagination, it is noticeable by strong passions, it becomes no longer a tool in the plan of Hermann, but the mystery tool that uses the hero in the unknown purposes. In the same way, the imagination begins to be exempted from under the control of mind and will, and German has already built plans in the mind, thanks to which he could snatch three cards at the Council. At first, its calculation comes true: it appears under the windows of Lizavets Ivanovna, then it seeks her smiles, exchanges with her letters and finally, he agrees to a love date. However, the meeting with the Countess, despite the persuasion and threats of Hermann, does not lead to success: none of the spell formulas offered by the Hero "Treaty" does not act on the Countess. Anna Fedotovna dies from fear. The calculation turned out to be in vain, and the imaginative imagination turned out to be empty.

From this point on, one period of the life of Hermann is completed and the other begins. He, on the one hand, brings the line under his adventurous design: Ends the love adventure with Lizavenny Ivanovna, confessing that she was never the heroine of his novel, but only the instrument of his ambitious and mercenary plans; Decides to ask for forgiveness from the dead Countess, but not from ethical considerations, but because of the egoistic benefits - to protect yourself in the future from the harmful influence of the old woman. On the other hand, the mystery of the three cards still owns it with consciousness, and Germans cannot get rid of the vague, that is, to put a point under the lived life. Wait defeat when meeting with the old woman, he does not humble. But now, from an unsuccessful adventurist and a hero of a socially domestic story, throwing his beloved, he turns into a crushing character of a fantastic story, in whose consciousness reality is mixed with vision and is even replaced by them. And these visions again return Hermann on the adventurous road. But the mind already changes the hero, and the irrational began grows and increases its impact on it. The line between real and rational turns out to be blurred, and Germans are in the obvious gap between the bright consciousness and its loss. Therefore, all Visions of Hermann (the phenomenon of a dead old woman, reported by it the secret of three cards, the conditions put forward by the late Anna Fedotovna, including the requirement to marry Lizawn Ivanovna) - the fruits of the blurred mind emanating as it were from the other world. In the memory of Hermann again pops up the story of Tomsk. The difference, however, is that the idea of \u200b\u200bthree cards finally mastered them, expressed in all the great signs of madness (a slim girl - a trio of a worn, a pushed man - ace, and ace in a dream - spider, etc.). Having learned the secret of three cards from the world of fiction, from the world of Irrational, Germans sure that he excluded the case from his life that he could not lose that the law of success was subject to him. But again, the case arrives from Moscow to St. Petersburg of the famous Chekalinsky again to experience his allocation. Hermann again sees some of the finger of fate, that is, the manifestation of all the same need, which is as if favorable. In it again come to life indigenous traits - calcality, cooling, will, will, but now they play not on his side, but against him. Being quite sure in good luck, that she subjugated the case to himself, Germans unexpectedly "lied", received another card from the deck. Psychologically, this is quite explained: one who too believed in his infallibility and in his success is often careless and inattentive. The very paradox is that the pattern is not shakeped: the ace won. But the everlasting case, this "God-inventor", is not canceled. Hermann thought that he excluded the case from his fate of the player, and he shouted him. In the scene of the last game of Hermann with Chekalinsky, a card game symbolized a duel with fate. Chekalinsky felt it, but Hermann, because he believed that fate in his power, and he was her lord. Chekalinsky flutter before destiny, Hermann was calm. In the philosophical sense, he understood by Pushkin as a non-executant of fundamental obscures of Being: the world holds on moving equilibrium patterns and chance. None nor other cannot withdraw or destroy. All sorts of attempts to block the world device (not social, not public, namely, existent) are fraught with a disaster. This does not mean that fate is equally favorable to all people that she tries to all deserved and evenly, rightly distributes good luck and failure. Tomsk belongs to "chosen", successful heroes. Hermann - to "inadvertible", to losers. However, the riot against the laws of being, where the need is just as ignorant, as is the case leading to collapse. By excluding the case, Germany after all because of the case through which the pattern was manifested, went crazy. His idea to destroy the fundamental foundations of the world created over, truly insane. With this idea intersect and social meaning of the story.

Social order is not equal to the world device, but the laws of necessity and chance is inherent in him. If the changes in social and personal fate affect the indigenous world order, as in the case of Hermann, then they end the collapse. If, as in the fate of Lizaveta, Ivanovna, they do not threaten the laws of being, they can be crowned by luck. Lizaveta Ivanovna is a precious creation, "homemade martyr", which occupies an unenviable position in the social world. She is alone, humiliated, although worthy of happiness. She wants to escape from his social fate and waits for any "delightful", hoping to change his fate with it. However, she did not associate his hope exclusively with her Hermann. He turned up to her, and she became his unwitting partner. At the same time, Ivanovna Lizaveta does not build calculating plans. She trusts life, and the condition of change of social status for her still has a sense of love. This humility before life will be relieved by Lizaven Ivanovna from the power of demonic strength. She sincerely repents in his delusion relative to Hermann and suffers, sharply experiencing his involuntary guilt in the death of the Countess. It was her Pushkin who rewards with happiness without hiding with the Irony. Lizaveta Ivanovna repeats the fate of his benefactor: with it "a poor relative" is brought up. " But this irony applies rather not to the fate of Lisaetes Ivanovna, but to the social world, the development of which is performed in a circle. Social world itself is not happier, although individual participants in social history, who passed through the involuntary pregrocheses, suffering and repentance, have honored personal happiness and well-being.

As for Hermann, he, in contrast to Lizaveta Ivanovna, dissatisfied with social order, rebellious and against him, and against the laws of being. Pushkin compares him with Napoleon and Mephistofel, pointing to the intersection of philosophical and social riots. The game of cards, symbolizing the game with fate, crushed and dropped in its content. Wars Napoleon were a challenge to humanity, countries and peoples. Napoleonic complaints were overlooking and even universal character. Mephistofel has taken into proud confrontation with God. For Hermann, the current Napoleon and Mephistopel, this scale is too high and burdensome. The new hero focuses its efforts on money, he is capable only to scare the talked old woman to scare. However, he leads the game with fate with the same passion, with the same merciless, with the same contempt for mankind and God, as was characteristic of Napoleon and Mephistofel. Like them, he does not take God's peace in his laws, it is not considered with people in general and with each person separately. People for him are tools for satisfying ambitious, egoistic and mercenary desires. Thus, in the ordinary and ordinary man, the new bourgeois consciousness of Pushkin saw the same Napoleonic and Mephistophele beginners, but he took off the halo of "heroics" and romantic fearlessness. The content of passions crushed, cringed, but did not cease to threaten humanity. And this means that social order is still fraught with disasters and cataclysms and that Pushkin felt distrust to universal happiness and in the foreseeable time for him. But he does not deprive the world of all hope. This is convinced not only the fate of Lizaveta Ivanovna, but also indirectly - from the opposite - the collapse of Hermann, whose ideas lead to the destruction of the person.

Hero Tale "Kyryzhali"- Real historical face. Pushkin found out about him at a time when he lived in the south, in Chisinau. The name Kirdzhali was then washed the legend, rumors were rumored about the battle under the scullenses, where Kirdzhali would see himself heroically. The wounded, he managed to hide from the persecution of the Turks and appear in Chisinau. But he was issued by Russian Turks (the act of the transfer was performed by the acquaintance of Pushkin's official M.I. Lex). At the time when Pushkin started writing a story (1834), his views on the uprising and Kirdzhali changed: the troops who fought under the scoles, he called "Robbing" and robbers, and Kirdzhaly himself too a robber, but not deprived attractive damn - courage, resourcefulness.

In a word, the image of Kirzhali in the story dual is both the folk hero, and the robber. To this end, Pushkin closes fiction with documentary. He cannot sin against the "touching truth" and at the same time takes into account the national, legendary opinion about Kirdzhali. The fairy tale is connected to the right. So, 10 years after the death of Kirdzhali (1824), Pushkin, despite the facts, depicts Kirdzhaly alive ("Kirdzhali now robbing about Yass") and writes about Kirdzhali as alive, asking: "What is Kirdzhali?". Thus, Pushkin, according to folklore traditionSees in Kirzhali not only the robber, but also a folk hero with his non-dying vitality and mighty force.

A year after writing "Kyryzhali" Pushkin started a story "Egyptian Nights". The design of Pushkin arose in connection with the recording of the Roman historian Aureliya Victor (IV century. N. E.) about the Queen of Egypt Cleopatre (69-30. BC), who sold her nights to lovers to the price of their lives. The impression was so strong that Pushkin immediately wrote a "Cleopatra" fragment, which began with words:

His lush revived a feast ...

Pushkin has repeatedly searched to the exercise of his intention. In particular, Egyptian anecdote was to become part of the novel from Roman life, and then used in the story that the words "we spent the evening at the cottage." Initially, Pushkin assumed to treat the plot in lyrical and limier-form (poem, a large poem, poem), but then leaned to prose. The first prosaic embodiment of the theme of Cleopatra became the sketch "Guests went to the cottage ...".

Pushkin's plan concerned only one feature in the history of the queen - the conditions of Cleopatra and the reality - the unreality of this condition in modern circumstances. In the final embodiment, the image of the improviser appears - a link between antiquity and modernity. His invasion of the plan was connected, firstly, with the desire of Pushkin to portray the morals of the Great Lady of St. Petersburg, and secondly, the reality reflected: in Moscow and St. Petersburg, there were fashionable performances of arrival improvisers, and Pushkin himself was present at one session at his familiar D.F . Fikelmon, granddaughter M.I. Kutuzov. There, on May 24, 1834, Max Langershvars. Adam Mitskevich, with whom Adam Mitzkevich, with whom Pushkin, is friendly a Polish poet in St. Petersburg (1826), was friendly. Pushkin was so excited by the art of Mitskevich, which rushed to him on the neck. This event left a mark in the memory of Pushkin: A.A. Ahmatova noticed that the appearance of the improviser in Egyptian nights has undoubted similarity with the appearance of Mitskevich. The indirect influence on the figure of the improviser could be provided by D.F. Fikelmon, which was a witness of the session of the Italian Tomaso Strey. One of the cases of improvisation is "Cleopatra's death."

The idea of \u200b\u200bthe story of the "Egyptian Nights" was based on the contrast of bright, passionate and cruel antiquity with an insignificant and almost lifeless, reminding Egyptian mummies, but externally discerning the society observing the decency and the taste of people. This duality concerns the Italian-improviser - an inspired author oral worksexecuted on the topics ordered, and a small, odd, mercenary person, ready to humiliate for money.

The significance of Pushkin's plan and the perfection of his expression has long ago created the reputation of one of the masterpieces of Pushkin Genius, and some literary critics (M.L. Hoffman) wrote about the "Egyptian nights" as the top of the creativity of Pushkin.

By the 1830s, two created by Pushkin Roman - "Dubrovsky" and "Captain's daughter" belong. Both are connected with the thought of Pushkin about the deep crack, which ran between the people and the nobility. Pushkin, as a state of state mind, saw in this split a true tragedy of national history. He was interested in the question: under what conditions maybe the reconciliation of the people and the nobility, the establishment of the consent between them, how much would their union be durable and what consequences for the destiny of the country should be expected from him? The poet believed that only the Union of the people and the nobility could lead to good changes and transformations on the path of freedom, enlightenment and culture. Therefore, a decisive role should be reserved by the nobility as an educated layer, the "mind" of the nation, which should rely on the folk power, to the "body" of the nation. However, the nobility is inhomogeneously. Further, the "young" nobility, close to power, after the Ekaterininsky coup, 1762, is distinguished from the people, when many ancient aristocratic childbirth fell and shrewd, and the "new" nobility is the current king servants, feels for ranks, rewards and estates. The oldest aristocratic nobility is close to the people, former boyarsNow ruined and lost influence at the courtyard, but preserved direct patriarchal relations with the serfs of their remaining defenders. Consequently, only this layer of the nobles can go to the union with the peasants, and only with this layer of the nobles will go to the union peasants. Their union can also be based on the fact that those and others are offended by the supreme power and recently nominated by the nobility. Their interests may coincide.

"Dubrovsky" (1832-1833).The basis of this novel (the name of the Pushkin does not belong and is given to the publishers by the name of the main character) lay down the story P.V. Nachichoke, what is the record of the biograph of Pushkin P.I. Bartenheva: "Dubrovsky's novel was a nickname. He told Pushkin about one Belarusian poor nobleman in the surname Ostrovsky (as it was called first novel), who had a process with a neighbor for the land, was supplanted from the left and, remaining with the alone peasants, began to rob, first, the attains, then others. Nachashkin saw this island in Ostrog. " The characterity of this story was confirmed by Pskov's impressions of Pushkin (the case of the Nizhny Novgorod landowner of Dubrovsky, Kryukov and Murakov, the morals of the owner of Petrovsky P.A. Hannibal). Real facts corresponded to the intention of Pushkina to put the peasants of the decendent and deprived of the noble land of the nobleman.

The monolayness of the initial plan was overcome during the work on the novel. In the plan there was no father Dubrovsky and the history of his friendship with Troekurov, there was no disclaimer of lovers, the figures of the Veresky, very important for the idea of \u200b\u200bthe bundle of the nobility (aristocratic and poor "romance" - honey and rich attachments - "Cynic"). In addition, in terms of Dubrovsky falls the victim of the foreigner's betrayal, and not social circumstances. The plan is scheduled for the history of an exceptional personality, a bold and lucky, offended by a rich landlord, the court and imaginary for himself. In the text that came to us, Pushkin, on the contrary, emphasized the typical and customs of Dubrovsky, with whom the event was happening characteristic of the era. Dubrovsky in the story, as VG rightly wrote Marantsman, "Not an exceptional personality, accidentally plunged into the whirlpool of adventurous events. The fate of the hero is determined by the social life, an era, which is given to be branched and multifaceted. " Dubrovsky and his peasants, as in the life of Ostrovsky, did not find a different exit, except for a mismune, robbery offenders and rich nobility landowners.

Researchers found in the novel tracks of the influence of Western and partly Russian romantic literature with a "robbery" topic ("Robbers" Schiller, Rinaldo Rinaldini Vulpius, "Poor Wilhelm" G. Stein, "Jean Salgear" Sh. Nodier) "Rob Roy" Walter Scott, "Night Roman" A. Radcliffe, "Fra-Devil" R. Zotova, Korsar Bairon). However, mentioning these works and their heroes in the text of the novel, Pushkin insists everywhere on the literature of these characters.

The effect of the novel occurs in the 1820s. The novel presents two generations - fathers and children. The history of the life of the fathers is compared with the fate of children. The history of friendship fathers - "Prelude of the tragedy of children." Initially, Pushkin called the exact date, which spread fathers: "Nice 1762 brought them up for a long time. Troshekurov, a relative of Knyagini Dashkova, went to the mountain. " These words mean a lot. And Dubrovsky, and Troekurov are the people of the Ekaterininsky era, together who started the service and sought to make a good career. 1762 - the year of the Ekaterininsky coup, when Catherine II overthrew from the throne of his husband, Peter III, and began to manage Russia. Dubrovsky remained faithful to the Emperor Peter III, as the ancestor (Lev Alexandrovich Pushkin) of Pushkin himself, about which the poet wrote in "My Pedigree":

My grandfather when the rebellion rose

The medium of Peterhof's courtyard,

As mini, faithful remained

Padena Third Peter.

Got in honor of the eagle,

And my grandfather in the fortress, in quarantine.

And I recalled our genus stern ...

Troyekurov, on the contrary, stood on the side of Catherine II, which brought to himself not only the controversial of the coup by Princess Dashkov, but also her relatives. Since then, the career of Dubrovsky, who did not change the oath, began to clone to the sunset, and the Career of Trocery, who had changed the oath - to the sunrise. Therefore, winnings in social position And the material plan was paid to the treason and moral fall of a person, and the loss - loyalty of debt and moral challenge.

Troceurov belonged to that new servant noble noble, which for the sake of ranks, titles, titles, places and awards did not know ethical obstacles. Dubrovsky - to the old aristocracy, which was honored, dignity, the debt is above all personal benefits. Consequently, the reason for the sizing lies in the circumstances, but that these circumstances manifest themselves, people are needed with low moral immunity.

Since the Dubrovsky and Troshekurov broke up, a lot of time passed. They met again when both were not deed. Personally, Troceurov and Dubrovsky did not become enemies of each other. On the contrary, they are associated friendship and mutual attachment, but these strong human feelings are not able to first prevent a quarrel, and then reconcile people who are at different steps of the social staircase, as they cannot hope for common fate loving friend Friend their children - Masha Troekharov and Vladimir Dubrovsky.

This tragic idea of \u200b\u200bthe novel about the socio-moral bundle of people from the nobility and social hostility of the nobility and the people finds an embodiment at the end of all scene lines. It gives rise to inner drama, which is expressed in contrasts of the composition: friendship is opposed by the scene of the court, the meeting of Vladimir with his native nest is accompanied by the departure of the father's life, confused by misfortunes and deadly disease, the silence of the funeral was broken by the Grozny glow of fire, the holiday in Pokrovsky ends with a robbery, Love - flight Wedding - battle. Vladimir Dubrovsky inexorably loses everything: in the first volume he is taken away by the victim, he is deprived of the parental home and position in society. In the second volume, Veresky takes love from him, and the state is a robbery will. Social laws will defeat human feelings and affection everywhere, but people cannot but resist circumstances if they believe in humane ideals and want to keep the face. So human feelings come into a tragic duel with the laws of society, valid for all.

To get over the laws of society, you need to get out of their power. Pushkin's heroes tend to arrange their destiny in their own way, but it can't succeed. Vladimir Dubrovsky is experiencing three options for its life: a wasteful and ambitious guards officer, a modest and courageous deforefinger, a formidable and honest robber. The purpose of such attempts is to change your destiny. But it is not possible to change fate, because the place of the hero in society is fixed forever - to be the son of an old nobleman with the same properties that the father and the Father are poverty and honesty. However, these qualities in a certain sense are opposed to each other, and the position of the hero: in the society where Vladimir Dubrovsky lives, it is impossible to afford such a combination, for it is cruelly punished without delay, as in the case of the senior Dubrovsky. Wealth and dishonor (Trookero), wealth and cynicism (VEREYSKY) are inseparable couples characterizing the social organism. Save honesty at poverty is too big luxury. Poverty obliges to be stopped, tanging pride and forget about honor. All Vladimir's attempts to defend their right to be poor and honest erected by a disaster, because soul quality The hero is incompatible with his socio-public situation. So Dubrovsky will circumstances, and not the will of Pushkin turns out to be a romantic hero, which, as a result of his human qualities, is constantly drawn into a conflict with the established order of things, seeking to rise above it. In Dubrovsky, a heroic beginning is found, but the contradiction is that the ancient nobleman dreams of not about the exploits, but about a simple and quiet family happiness, about family idyll. He does not understand that this is not given to him, as not given to a poor ensign to Vladimir from "Misli", nor the poor Eugene from the "Copper Rider".

Marya Kirillovna internally relative to Dubrovsky. She, "Forky Dreamer," saw in Vladimir a romantic hero and hoped for the power of feelings. She believed, like the heroine of "Misley", which can soften the heart of the Father. She naively believed that she was touched and the soul of Prince Veresky, awaken in it "the sense of generosity" in it, but he remained indifferent and was indifferent to the words of the bride. He lives a cold calculation and hurries the wedding. Social, property and other external circumstances are not on the side of Masha, and she, like Vladimir Dubrovsky, is forced to pass his position. Her conflict with the order of things is complicated by the internal drama associated with typical education, spoiling a soul of a rich noble girl. The aristocratic prejudices inherent to it inspired her that the courage, honor, dignity, the bravery is inherent only in the highest class. Go the border in the relationship between the rich aristocratic young lady and the poor teacher is easier than to connect life with the robber rejected from society. Borders defined by life stronger than hot feelings. Heroes understand this: Masha firmly and strongly rejects the assistance of Dubrovsky.

The same tragic situation is also in folk scenes. The nobleman arises at the head of the peasants, who are committed to him and fulfill his orders. But the goals of Dubrovsky and peasants are different, because the peasants are ultimately hated all the nobles and officials, although the peasants are not deprived human feeling. They are ready to take revenge on landowners and officials in any way, even if you have to live with a break and robbery, that is, let them go on forced, but the crime. And Dubrovsky understands it. He and the peasants lost a place in society, which threw them and rek up to be outcasts.

Although the peasants are determined to sacrifice and go to the end nor them good feelings To Dubrovsky, nor his good feelings for peasants do not change the tragic event of events. The order of things is restored by government troops, Dubrovsky left the gang. The Union of Nobility and the Peasantry was possible only for a short time and reflected the inconsistency of hopes for joint opposition to the government. The tragic issues of life that stood in the novel Pushkin were not allowed. Probably, as a result, Pushkin abstained from the publication of the novel, hoping to find positive answers to burning life problems that worried him.

"Captain's daughter" (1833-1836).In this novel, Pushkin returned to those collisions, to those conflicts that disturbed him in Dubrovsky, but allowed them otherwise.

Now in the center of the novel - the People's Movement, the People's Bunth, headed by a real historical person - Emelyan Pugachev. The nobleman Peter Grinean is involved in this historical flow of circumstances. If in "Dubrovsky" nobleman becomes at the head of the peasant perturbation, then in " Captain's daughter»The leader of the People's War is the person from the people - the Cossack Pugachev. There is no union between the nobles and the rebel Cossacks, peasants, foreigners, Grinev and Pugachev - social enemies. They are in different camps, but fate drives them from time to time, and they respect to each other with respect and confidence. First, Grinev, not allowing Pugachev to frozen Pugachev in Orenburg steppes, a soul warmed his soul, then Pugachev saved Grneev from execution and helped him in heartfers. So, fictional historical persons are placed Pushkin into a real historical canvas, have become participants in powerful popular movement and history degree.

Pushkin widely used historical sources, archival documents and visited Pugachevsky Bunta, visorzhye, Kazan, Orenburg, Uralsk. He made his story extremely reliable, writing documents similar to the present, and including quotes from genuine papers, such as Pugachev's appeals, considering their amazing samples of popular eloquence.

A significant role was played in the work of Pushkin over the "Captain Daughter" and the testimony of his acquaintances about the Pugachev uprising. Poet I.I. Dmitriev told Pushkin about the execution of Pugachev in Moscow, Basinishets I.A. Wings - about war and besieged Orenburg (his father, captain, fought on the side of government troops, and he himself was in Orenburg himself), the merchant L.F. Blogs - about staying in Pugachevsky captivity. Pushkin heard and recorded legends, songs, stories from the old-timers of those places for which the rebellion rolled.

Before the historic movement captured and skidded in the terrible storm of cruel events of the fictional heroes of the story, Pushkin alive and lovingly describes the life of the family of grine, unlucky Bopres, the faithful and devoted Savelich, Captain Mironov, his wife Vasilis Egorovna, daughter Masha and the whole population of the fortress. A simple, imperceptible life of these families with their old patriarchal entry is also a Russian history, which is invisible for prying eyes. It is committed quietly, "home". Therefore, it should be described in the same way. An example of such an image served for Pushkin Walter Scott. Pushkin admired his ability to present history through life, morals, family legends.

A little time passed after Pushkin left the Roman "Dubrovsky" (1833) and finished the novel "Captain's daughter" (1836). However, in the historical and artistic views of Pushkin, a lot has changed in Russian history. Between "Dubrovsky" and "Captain Daughter" Pushkin wrote "Pugacheva's story",which helped him to draw up the opinion of the people about Pugacheva and it is better to present all the sharpness of the problem "Nobility - the people", the causes of social and other contradictions that divided the nation and preventing it unity.

In the "Dubrovsky" Pushkin still dotted as the novel moved to the end of the illusion, according to which the Union and Peace and Peace are possible between the old aristocratic nobility and the people. However, Pushkin's heroes did not want to obey this artistic logic: on the one hand, they turned into romantic characters regardless of the author's will, which was not provided for Pushkin, on the other - their fate became more tragic. Pushkin did not find at the time of the creation of the "Dubrovsky" nationwide and all-life positive idea, which could unite the peasants and nobles, did not find the way to overcome the tragedy.

In the "Captain Daughter" such an idea was found. There was also planned way to overcome the tragedy in the future, during historical Development mankind. But before, in the "Pugachev's History" ("Remarks on Bunte"), Pushkin wrote words that testified to the inevitability of the nation's split into two irreconcilable camps: "The whole black people were for Pugachev. The clergy benevoles himself, not only priests and monks, but also archimandritis and bishops. One nobility was open on the government side. Pugachev and his accomplices wanted at first and noons to stick to their side, but their benefits were too anti-fallen. "

All the illusions of Pushkin regarding the possible world between nobles and peasants were collapsed, the tragic situation was exposed with even greater evidence than it was before. And the more distinct the task of finding a positive response, allowing the tragic contradiction. To this end, Pushkin masterfully organizes the plot. Roman, whose rod - love story Masha Mironova and Peter Greeneva, turned into a wide historical narration. This principle is from private destinies to the historical destinies of the people - permeates the plot of the "Captain Daughter", and it can be easily obtained in every significant episode.

"Captain's daughter" has become truly a historical product, rich in modern social content. Heroes and secondary faces are derived in Pushkin, multilateral characters. Pushkin does not only have positive or only negative characters. Everyone acts as a living person with good and bad features that are manifested primarily in the actions. Fictional heroes are associated with historical faces and included in the historical movement. It was the course of history that determined the actions of heroes, throwing their hard fate.

Thanks to the principle of historicism (an inexperienced movement of history, aspiring in infinity, containing many trends and opening new horizons), neither Pushkin nor his heroes are amenable to despondency in the most gloomy circumstances, faiths are not deprived of faith in personal, nor in general happiness. Pushkin finds an ideal in reality and thinks its implementation during the historical process. He dreams of not the social bundles of the Isocal Retail in the future. This will be possible when humanism, humanity will be the basis of state policy.

Pushkin heroes appear in the novel from both sides: like people, i.e. in their universal and national qualities, and as characters who play social roles, i.e. in their social and social functions.

Grinevo - and a tortinian young man who received homemade patriarchal education, and ordinary inexpensive, which gradually becomes an adult and courageous warrior, and nobleman, officer, "King's servant", the correct laws of honor; Pugachev - and an ordinary man, not alien to natural feelings, in the spirit folk traditions protecting the sirota, and the cruel leader of the peasant rebellion, hating nobles and officials; Catherine II - and the elderly lady with a dog, walking in the park, ready to assist Syrote, if with that he did unfairly and offended, and an unprofitable self-catering, ruthlessly overwhelming rebellion and creative stern court; The captain of Mironov is a kind, imperceptible and duplicate person, who is under the head of his wife, and an officer, a devotee of the sovereign, without thinking about the responding to torture and making reprisals with ruffers.

In each character, Pushkin reveals truly human and social. Each camp has its own social truth, and both of these truths are irreconcilable. But every camp is characterized by humanity. If social truths disconnect people, then the humanity connects them. Where there are social and moral laws of any camp, the human is moving and disappears.

Pushkin depicts several episodes, where he first tries to rescue Masha Mironov, his bride, from Pugachevsky captivity and from the hands of Schwabrin, then Masha Mironova seeks to justify Greenland in the eyes of the Empress, governments and courts. In those scenes where the heroes are in the sphere of action of social and moral laws of their camp, they do not meet understanding by their ordinary human feelings. But as soon as the social and moral laws of even hostile heroes of the camp retreating into the background, Pushkin heroes can count on goodwill and sympathy.

If a Pugachev-man were temporarily, with his pitiful soul, sympathizing with offended orphan, did not prevail over the Pugachev - the leader of the rebellion, then Grineh and Masha Mironov would certainly be killed. But if in Catherine II, when a date with Maronova did not won human feeling Instead of social benefits, the Grinene would not be saved, get rid of the court, and the connection of lovers would be postponed or did not take place at all. Therefore, happiness of heroes depends on how people can remain people how humane they are. This is especially true to those who have the authority from whom the fate of subordinates depend.

Human, says Pushkin, above social. No wonder his heroes, due to his deep humanity, do not accommodate the game of social forces. Pushkin finds an expressive formula for the designation, on the one hand, social laws, and on the other hand, humanity.

In the modern society, there is a gap between social laws and humanity, the contradiction: what corresponds to the social interests of one or another class, suffers from insufficient humanity or kills it. When Catherine II asks Masha Mironov: "You are an orphan: you probably complain about injustice and insult?" The heroine answers: "No, no-s. I came to ask for mercy, not justice. " Mercybehind which Masha Mironova arrived, is humanity, and justice- Social deposits and rules adopted and operating in society.

According to Pushkin, both camp - and noble, and peasant are not humane, but that humanity won, do not need to move from one camp to another. It is necessary to rise above the social conditions, interests and prejudices, stand over them and remember that the human rank is immeasurably higher than all other ranks, titles and ranks. For Pushkin, it is quite enough that heroes inside their medium, inside their estate, following their moral and cultural tradition, will preserve the honor, dignity and will be faithful to universal values. Grinev and Captain Mironov remained betrayed by the Code of Noble Honor and Osieg, Savelich - the peasant morals. Humanity can be the property of all people and all classes.

Pushkin, however, not a utopian, he does not depict the case as if the cases described by him became the norm. On the contrary, they did not become a reality, but their celebration, let them in the distant future, possibly. Pushkin appeals to those times, continuing the topic of mercy and justice important in his work, when humanity becomes the law of human existence. In the present time, a sad note sounds, which makes an amendment in the bright history of Pushkin Heroes - as soon as large events leave the historical scene, and the cute characters of the novel become inconspicuous, in life stream. They touched the historic life only for a short time. However, sadness does not wash off Pushkin confidence in the course of history, in the victory of humanity.

In the "Captain Daughter" Pushkin found convincing art decision There are contradicts of reality in front of him and only being.

The measure of humanity became along with the historicism, the beauty and perfection of the form inherent and recognizable sign of Pushkinsky universal(it is also called ontologicalhaving in mind the universal, existent quality of creativity, which defines the aesthetic peculiarity of mature works of Pushkin and his own as an artist) of realism, which has entered into itself and the strict logic of classicism, and free game Imagination brought into literature Romanticism.

Pushkin made an end of the whole era literary development Russia and the subject of the new era of the art of the word. His main artistic aspirations were the synthesis of the main artistic directions - classicism, enlightenment, sentimentalism and romanticism and the approval on this foundation of universal, or ontological, realism called by them "trueomantism", the destruction of genre thinking and the transition to thinking with styles, which provided in the future the dominance of an extensive system of individual styles, and Also, the creation of a single national literary language, the creation of perfect genre forms from the lyrical poem to the novel, which has become genre samples for Russian Writers of the XIX century, and the update of Russian critical thought in the spirit of the achievements of European philosophy and aesthetics.

Prose (Lat. PRōSA) is a speech without dividing on commensurate segments, the rhythm of which relies on the approximate correlation of syntactic structures. She is also nestical literature.

Unlike poetry, the prose does not have significant restrictions on the rhythm and P IFME. It provides the authors, as M. M. Bakhtin noted, the wider "possibilities of a linguistic manifold, compounds in the same text of various manners think and speak out: in prosaic artisticity (most fully manifested in the novel)." Prose, in particular, is many times superior to poetry in the genre of manifold.

The copywriter needs to be able to create both prosaic and poetic works. Knowledge of poetry enriches the language of the prose. As noted by K. Pouust:

"Poetry has one amazing property. She returns his original virgin freshness to the word. "

Birth and genres of literature

All verbal-artworks can be combined into three large groups, referred to as literary childbirth and include both poetic and prosaic texts:

- Epos,

- drama,

- Lyrics.

Also, as a separate genus is distinguished by limit and distinguish some interdic and ringed forms.

Although there is a division into childbirth, in literary works can be a "generic intersection". So, there may be an epic poem, a lyrical story, a dramatic story, etc.

In each of the literary clauses include works of a certain genre.

Literary genres are a group of works collected in a formal and meaningful basis. It can also be said that the genre is a historically folding and developing type of artwork having a certain complex of sustainable properties (size, speech structures, construction principles, etc.). Genres ensure continuity and stability in literary development.

Over time, some genres die, others come to shift. Also, "survivors" genres can become both more and less popular - both in authors and readers. The formation or change in literary genres is influenced by historical reality. So, for example, at the turn of the nineteenth and twentieth centuries, a detective, police romance, science fiction and ladies ("Pink") Roman developed powerfully.

Classification Zhonhov - Non-easy task, because Different genres may have the same properties.

Historically, genres were broken into two groups: "high" and "low". So, in the early literary times of the saints, the saints were "high", and entertainment works are to "low". In the period of classicism, a strict hierarchy of genres was installed: High - this is an ex., Tragedy, epic, low - comedy, satire, fable. Later, the "high" began to attract a fairy tale, novel.

Today they talk about high literature (strict, genuinely artistic, "literary top"), and about the mass ("trivial", "popular", "consumer", "paralythetic", "conjunctural literature", "literary bottom"). The first is designed for people of reflexing, educated, disassembled in art. The second - for the unspoicing majority of readers, for a person "not acquainted (or a little acquainted) to artistic culturenot possessing a developed taste who does not want either not able to think independently and to appreciate the works looking for mainly entertainment in printed products. " Mass literature is distinguished by schematism, the use of stereotypes, clicing, "disavotorism". But its shortcomings popular literature Compensates for a dynamically developing action, an abundance of incredible incidents.

Also isolated classical literature and fiction. Classical literature is those works that are tops of creativity and to be equal to modern authors.

As they say, the classic is what is written with the calculation of the tastes of future generations.

Fiction (from fr. Belles Lettres - elegant literature) is usually called a non-classic narrative prose relating to mass literature, but not in the "bottom". In other words, fiction - median mass literaturelocated between classics and boulevard.

The copywriter should well imagine the specifics of childbirth and genres of literary works. For example, mixing or substitution of genres can easily "kill" text for the reader awaiting one, and received another (instead of the "comedy" - "drama", instead of the "militant" - "melodrama", etc.). However, the thoughtful mixing of genres can also effectively work on a specific text. The end result will depend on literacy and skill of copywriter. He must know the "laws of the genre."

More information on this topic can be found in the books of A. Nazaykin