Hamlet in art. Artistic image of Gamletta

(on the tragedy of William Shakespeare "Hamlet")

In the tragedy "Hamlet" (1601) William Shakespeare, reworing the plot of the medieval legend and the old English play about Prince Amlet, with the greatest depth, showed the tragedy of humanism in the modern world. Hamlet, Prince Danish, - the beautiful image of the Humanist, who collided with the world, enemy to

Humanism. The cunning murder of his father reveals the evil before the son, which rules in the country. The duty to take revenge for the killing of the father for Hamlet is not ordinary, blood revenge. She grows to him in the public debt of the struggle for the right thing, in a large and difficult historical task.

The time of our time swore.

My talent is damned

What I call must correct!

However, in this struggle, Hamlet Medlit, sometimes severely reproaching himself for inconsistency. Sometimes the idea is expressed that the Hamlet is weakly accuracy from nature by man, a thinker and an observer who is not capable of decisive actions. But it is not.

The heroic tragedy shows the powerful power of the feelings, which was distinguished by the Renaissance People. He is hard to experience the death of his father, and the shameful marriage of the mother. Hamlet loves Ophelia, but does not find happiness with her. His cruelty and offensive words in handling a girl testify to the power of love and disappointment.

Hamlet is characterized by nobility and comes out of high humanistic ideas about a person. It is from here that it follows his colossal angry when he faces the world and crime, cunning and blasphemy around him.

Hamlet is capable of great and loyal friendship. In his relationship, he is alien to feudal prejudice, he appreciates people for personal qualities, and not for the position they occupy. A single close friend is a student Horatio. Neglecting the Rowls, Hamlet friendly meets people art - actors. He loves the people, about what the king speaks with anxiety.

Hamlet is a man of philosophical thought. In some facts, he knows how to see the expression of large general phenomena. But not by itself the ability to think about his actions in the struggle, and those pessimistic conclusions to which he comes as a result of impacts over all others. The events that occur at the courtyard lead Gamlet to the generalizing conclusions regarding the person and the world at all. If there is a possible evil in the world if honesty, love, friendship is dying, the dignity of a person, then in fact, "the time has fallen." The world is imagined with a gamlet or garden, where weeds are replete, or a prison, well-designed, with the chambers, cameras and dungeons. Hamlet calls the world of the "violent garden" that only wild and dying seed. He declares his comrades who come to "be or not to be" Hamlet speaks doubts about the value of life itself. Recalculating a variety of human misfortunes, he depicts customs of society. Poverty he perceives as unbearably difficult for a person, because she has to tolerate

... Beach and time tightening

So, Hamlet is amazed not only with the crime of Claudia, and the entire system of alien to him principles of life and moral concepts. The hero knows that it cannot be limited to revenge, since the killing of Claudia will not change the world. Hamlet does not refuse revenge, but however, it is realized that the task of it is much wider - to counteract the evil at all.

The greatness of the task and objective failure to predetermine the emergency complexity of the inner life and actions of Hamlet. In the life of the "dishonest game", "enlarged pallium networks", it is difficult for him to determine his own place and find real means of struggle. The scale of evil is oppressed by Gamlet, cause him disappointment, awareness of the scanty of their forces. Man and world are perceived not as they seemed to him before.

Thus, the Hamlet is faced not with a random crime, not with a single enemy, but with a whole enemy society. And it is precisely because his far-sighted philosophical thought reveals the laws of this society before him, he feels his impotence in the fight against evil.

The content of the tragedy "Hamlet" is inspired by the public conditions of England of the time, but its value goes far beyond the boundaries of one country and one historical period. The picture shown in it in the oppression and lies, in particular tyranny, turned out to be correct for a long time. Hence the interest in the Hamlet, noble and lone fighter against evil and injustice for centuries.

Introduction

By the beginning of the XXI century, the history of literature has the main signs of science: the subject of study is determined - the global literary process; Scientific research methods have been formed - comparative historical, typological, system-structured, mythological, psychoanalytic, historical and functional, historical and theoretical, etc.; The key categories of analyzing the literary process are developed - direction, course, art method, genre and genres system, style, etc.

Modern Shakespeare Studies - a sample of such an understanding of the history of literature. But, to a certain extent, the history of literature largely acquired such a species under the influence of Shakespeare Studies - one of the most dynamically developing sections.

Moreover, the formation of a domestic shakespiece to a certain extent was distinguished by the established cult of Shakespeare (especially the romantic interpretation of the creativity of the great playwright), and the first Shakespearers in their own sense had to overcome the consequences of this cult.

In the second half of the XIX - early twentieth century, very valuable monographic works about Shakespeare appear. Of these, the works of N.I. Storozhenko, who often recognizes the father of Russian Academic Shakespeare [Kornilov 1967]. S.A. Hungarian activity is significant for the preparation of the publication of a complete collection of writings of Shakespeare, published in the publishing house Brockhauses - Efron.

Among the achievements of domestic science, it should be noted the emergence of Shakespeare's theaters ("Drama and theater of the Shakespeare Age" V. K. Muller), entering the light of the first Soviet monographs about Shakespeare, a psychological study of the works of Shakespeare ("Psychology" L. S. Vygotsky), research Shakespeare Language and Style (Works M. M. Morozova). Popularization of Shakespeare and the achievements of Shakespires are devoted to the numerous works of A. A. Anikst.

One of the highest achievements of the domestic shakespeare study is the book of L. E. Pinsky "Shakespeare: the beginning of drama" [Pinsk 1971], which proposes the concept of "trunk plots". Theatrical fate of Shakespeare's heritage countless monographs, dissertations, articles about Shakespeare continue to appear in recent decades.

An example of the development of Shakespeare Studies, despite the fact that we called only some work shows that our scientific ideas about literature are formed thanks to the research activities of a huge number of philologists, historians of culture, which, in turn, find a support in the statements of prominent writers, thinkers, lovers of verbal art .

The appearance of collections "Shakespeare in World Lithuage", "Shakespeare and Russian Culture", works of Yu.d. Levina, Yu.F. Swedov, V.P. Mosquito.

Significant observation M.P. Alekseeva, A.A. Smirnova, R.M. Samarina, A.A. Elistorate, B. I. Purishev, B. G. Reismov, N. P. Mikhalskaya, M. V. and D. M. Urnovy, other prominent philologists. From today's shakespires, A. V. Bartoshevich, I.O. Shaitanov, E. N. Chernozemova. Numerous publications of I.S. are valuable Prikhodko and its activities at the post of responsible secretary of the Shakespeare Commission of the Russian Academy of Sciences.

There was a large number of doctoral and candidate dissertations.

Since 1977, the Publisher "Science" began issuing collections of the Shakespeare Commission of the Scientific Council on the history of world culture of the USSR Academy of Sciences (now RAS) "Shakespeare's readings", which publishes a solid articles of domestic Shakespearev.

Shakespeare's conferences are held, regular seminars (one of the newest examples is the Scientific Seminar "Shakespearean Studies" at the Institute for Humanitarian Studies of the Moscow Humanitarian University). In October 2006, the Shakespeare Commission of the Russian Academy of Sciences held the next international conference "Shakespeare's readings" under the chairmanship of A. V. Bartoshevich.

Hamlet has long been recognized by everlasting world culture. In the gallery of eternal images, the Prince Danish occupies one of the most prominent places. Despite the fact that the concept of "eternal images" was widely used in philosophical and aesthetic criticism, it is not clear enough. The contribution to the theory of eternal images may be the consideration of various aspects of the image of Hamlet in the tragedy of W. Shakespeare, his interpretations in Western and Russian cultural traditions, his role in the formation of such a phenomenon of domestic culture as "Russian Shakespeare".

The tragedy "Hamlet" became not only closest to the Russian reader, literary and theatrical critics, actors and directors, but acquired the meaning of the text-making artwork, and the name of the prince became nominable. The eternal image of the doubting Hamlet inspired a whole string of Russian writers, who, one way or another, used his character traits in their literary works and types. Hamlet was interested in A. S. Pushkin, excited the imagination M. Yu. Lermontov. An outstanding role in Russian culture, in the formation of a Russian self-consciousness was played by the works of V. G. Belinsky. In a certain extent, "Gamletism" was inspired by F. M. Dostoevsky, a special look was expressed in the opposition "Hamlet and Don Quixote", nominated by I. S. Turgenev, who later received the status of the cultural constant [Stepanov 2004] in Russian self-awareness. Shakespearean "Hamlet" became not only the most popular foreign play in the Russian stage, but also the most frequently translated work that contributed to the formation of a Russian translation school. (P. A. Vyazemsky, A. A. Grigoriev, A. N. Plesev, A. A. Fet, A. A. Blok, F. K. Sologub, A. A. Akhmatova, N. S. Gumilev, O . E. Mandelshtam, M. I. Tsvevaeva, V. G. Sherevich, B. L. Pasternak, V. V. Nabokov, N. A. Pavlovich, P. G. Antonticolsky, B. Yu. Poplavsky, D. with . Samoilov, T. A. Zhirmunskaya, V.S. Vysotsky, Yu. P. Moritz, V. E. Receptor and many others experienced the influence of this image of the shakespear tragedy.). Dansk Prince did not leave indifferent members of the tsarist family, the Grand Duke Konstantin Konstantinovich Romanov translates the tragedy of Shakespeare.

The image of Hamlet was comprehended in world culture as in artistic form ("student years of Wilhelm Meister" I. V. Goethe, "Black Prince" A. Merdock, "Rosencranc and Guilderster are dead" T. Stoppard, "Hamlet" P. A. Antocol and MN. Dr.) and in scientific research (Gervinus, Brandes, E. K. Chembers, L. S. Vygotsky, M. M. Morozov, A. A. Smirnov, L. E. Pinsky , A. A. Anikst, B. I. Purishev, I. E. Verzman, M. P. Alekseev, Yu. D. Levin, I. O. Shaitanov, A. V. Bartoshevich, I. S. Prikhodko and MN . dr.).

The relevance of this study is determined by obvious gaps in the building of scientific literary work devoted to the detailed consideration of the image of the Gamlet Prince in the Russian Silver Century Poetry. Scientists have dedicated their research only by some individual poetic texts, but this aspect did not receive this aspect.

The goal is to consider the "Eternal image" of Hamlet and its interpretation in the context of Russian silver poetry (A. Block, M.TSvetaeva, A. Aakhmatova, B. Pasternak).

The purpose of the work determined the following tasks:

disclose the concept of "eternal image" in literary science on the example of the image of Hamlet;

-just follow the understanding of the image of Hamlet in Russian culture of the XVIII-XIX centuries;

-identify characteristic features in the interpretation of the image of Hamlet in the Russian literature and the drama of the 20th century;

-consider the image of Hamlet in the context of the existential type of consciousness of the 20th century;

-analyze the transformation of the image of Hamlet in the poetic world of interest A.blok;

-to observe the understanding of the image of Hamlet in poetry A.Akhmatova and M.I.TSvetaeva;

-comment on the features of the image of Hamlet in Poetry B. Pasternak.

Sources of research:

works dedicated to the typology of "Eternal images" of culture, "Shakespearecom" in the world and Russian literature;

creative heritage of the poets of the Silver Age (A. Block, M.TSvetaeva, A.Akhmatova, B. Pasternak);

literary and critical articles and literary work dedicated to the life and creativity of poets.

In the process of research, the following methods were used:

research

descriptive

comparable.

The scientific and practical significance of this work is that the observation and conclusions made in the course of its implementation can be used by students in preparation for classes in Russian literature of the 20th century, as well as during special courses and seminars on the work of W. Steetspear and the Silver Century poets and Literature lessons at school.

Graduation qualifying work consists of introduction, two chapters, conclusions and applications. The bibliographic list includes 58 sources.

hamlet Russian literature

Chapter 1. Hamlet in the system of "eternal images" of Russian literature of the XVIII-XIX centuries.

I.1 The concept of "eternal image" in literary science: the image of Hamlet

Eternal images are the term literary studies, art and cultural history, covering artistic images turning from the work into a work - an invariant arsenal of the literary discourse. You can highlight a number of properties of eternal images (usually found together):

High artistic, spiritual value;

The ability to overcome the boundaries of eras and national cultures, negligibility, increditative relevance;

Polyvalence - increased ability to connect with other systems of images, participate in various plots, fit into a changing environment without losing their identity;

Translating into languages \u200b\u200bof other arts, as well as languages \u200b\u200bof philosophy, science, etc.;

Wide prevalence.

Eternal images are included in numerous social practices, including distant from artistic creativity. Typically, eternal images act as a sign, symbol, mythology (i.e., a rolled plot, myth). As a symbol symbol as a symbol and faith symbol, anchor as a symbol of hope, heart as a symbol of love, symbols from ledges about Kole Arthur: Round Table, Bowl of Holy Grail), chronotop-space Time (World Flood, Scary Court, Sodom and Gomorra, Jerusalem, Olympus, Parnas, Rome, Atlantis, Platonovskaya Cave and MN. Dr.). But the mains remain the images and characters.

The sources of eternal images were historical persons (Alexander Macedonsky, Julius Caesar, Cleopatra, Karl Great, Zhanna D Ark, Shakespeare, Napoleon, etc.), Bible characters (Adam, Eve, Snake, Noah, Moses, Jesus Christ, Apostles, Pontius Pilate, etc.), antique myths (Zeus - Jupiter, Apollo, Muse, Prometheus, Elena Beautiful , Odyssey, Medea, Fedra, Oedip, Narcissus, etc.), the testers of other peoples (Osiris, Buddha, Saintbad-Sea - Khoja Nasreddin, Siegfried, Roland, Baba Yaga, Ilya-Muromets, etc.), literary fairy tales (Perra: Cinderella; Andersen: Snow Queen; Kipling: Mowgli), Romanov (Cervantes: Don Quixote, Sancho Pansy, Dulcinea Tobosskaya; Defo: Robinson Cruzo; Swift: Gulliver; Hugo: Quasimodo; Wilde: Dorian Gray), Novel (Merima: Carmen) , poems and poems (Dante: Beatrice; Petrarca: Laura; Goethe: Faust, Mephistofel, Margarita; Bayron: Choleld Harold), Dramatic works (Shakespeare: Romeo and Juliet, Hamlet, Othello, King Lir, Macbeth, Falstafa; Tirsco de Molina : Don Juan; Moliere: Tartuf; Boualersche: Figaro).

Examples of the use of eternal images with different authors permeate all world literature and other arts: Prometheus (Eschil, Bokcchchko, Calderon, Voltaire, Goethe, Byron, Shelly, Jew, Kafka, Vyach. Ivanov, etc., in painting Titian, Rubens, etc.) , Don Juan (Tirsco de Molina, Moliere, Goldoni, Hoffman, Byron, Balzac, Duma, Merim, Pushkin, A. K. Tolstoy, Baudelaire, Rostan, A. Block, Lesya Ukrainka, Frish, Aleshin and MN. Dr., Opera Mozart), Don Quixote (Cervantes, Alelyanted, Fielding, Essays Turgenev, Ballet of Mincus, Movie Korintsyv, etc.).

Often, eternal images act as a pair (Adam and Eve, Cain and Abel, Orest and Pill, Beatrice and Dante, Romeo and Juliet, Othello and Dzamemon or Othello and Yago, Leila and Medezhnun, Don Quixote and Sancho Pansa, Faust and Mephistofel and T . d.) Or entail fragments of the plot (Crucifixion of Jesus, the struggle Don Quixote with windmills, Cinderella Transformation).

Eternal images become particularly relevant in the conditions of the rapid development of postmodern intertertainment, expanding the use of texts and characters of writers of past epochs in modern literature. There are a number of significant works devoted to the eternal images of world culture, but their theory is not developed [Nousins \u200b\u200b1958; Spengler 1998; Zinoviev 2001;]. New achievements in humanitarian knowledge (a thesaurus approach, sociology of literature) create prospects for solving the problems of the theory of eternal images, with which such little developed areas of eternal topics, ideas, plots, genres in literature [Kuznetsova 2004; Onions tree A., Lukov Vl. A. 2004; Zakharov 2005]. These problems are interesting not only for narrow specialists in the field of philology, but also for a wide reader, which forms a base for the creation of popular science work.

The sources of the plot for Gamlet Shakespeare served "tragic stories" of the French Belfort and, apparently, who missed the play (perhaps, Kida), in turn, ascending to the text of the Danish chronicler Saxon Grammar (approx. 1200).

The Shakespeare Hamlet had a historic prototype - the Danish Prince of Amlets, who lived at the beginning of the IX century or earlier. In front of readers (few, for the time of universal literacy will come much later), he appeared in the "History of the Danes" Saxon Grammar (about 1200) and in one of the Icelandic Saga (historical legends) Snorry Sturlson, after 400 years - in "Tragic stories" Francois de Belfort. Only ten years before Shakespeare's "Hamlet", the image of Prince Danskaya took a prominent place on the stage of the scene. In this long prologist, the emergence of the eternal image is one repetitive detail: the word "story". But Hamlet as an eternal image entered world culture through the tragedy of Shakespeare, only thanks to her now and recall the same character at Saxon Grammar or Belfort. Was the image of Shakespeare a connection with history? This is not a rhetorical question, it is connected not so much with the story as such as a reality, as with the problem of art time.

The main feature of the artisticity "Hamlet" is synthetic (synthetic alloy of a number of plot lines - fate heroes, synthesis of tragic and comic, elevated and lowland, common and private, philosophical and specific, mystical and domestic, scenic action and words, synthetic communication with early and late works of Shakespeare).

Hamlet is one of the most mysterious figures of world literature. For several centuries, writers, critics, scientists are trying to solve the riddle of this image, answer the question why Hamlet, having learned at the beginning of the tragedy, the truth about the murder of his father, puts the revenge and at the end of the play kills King Claudia almost by chance. I.V. Götte saw the reason for this paradox in the power of the intellect and weakness of the will of Hamlet. On the contrary, the film director G. Kozintsev stressed the active principle in the Gamlet, saw a continuously acting hero in it. One of the most original points of view expressed an outstanding psychologist L. S. Vygotsky in "Psychology of Art" (1925). In a new way, I understood the criticism of Shakespeare in the article L. N. Tolstoy "About Shakespeare and about Drama", Vygotsky suggested that the Hamlet is not endowed with character, but is the function of action of the tragedy. Thus, the psychologist stressed that Shakespeare is a representative of the old literature who has not yet known the character as a way of outright of a person in verbal art.

L. E. Pinska knitted the image of Hamlet not with the development of the plot in the usual sense of the word, and with the main plot of the "great tragedies" - the discovery of the Hero of the true face of the world, in which the evil more powerful than it was humanists.

It is this ability to know the true face of the world makes the tragic heroes of Hamlet, Othello, King Lira, Macbeth. They are Titans, superior to the usual viewer by intelligence, will, courage. But the Hamlet differs from the three other protagonists of Shakespeare tragedies. When Othello stifles Dzentemon, King LIR decides to divide the state between the three daughters, and then the share of the faithful Cordelius gives false player and the regain, Macbeth kills Duncan, guided by the predictions of witches, they are mistaken, but the audience is not mistaken, because the action is built so that they Could know the true state of things. This puts the usual viewer above the titanic characters: the audiences know what they do not know.

On the contrary, Hamlet only in the first scenes of the tragedy knows less spectators. From the moment of his conversation with the ghost, who hears, besides the participants, only the audience, there is nothing significant, which would not know the Hamlet, but there is something that the audience do not know. Hamlet finishes his famous monologue "to be or not to be?" Nothing a significant phrase "but rather," leaving the audience without an answer to the most important question. In the final, asking Horatio "tell all" the remaining alive, Hamlet pronounces a mysterious phrase: "Further - silence." He takes with him a certain secret, which the viewer is not given to know. Hamlet's mystery, therefore, can not be solved. Shakespeare found a special way to build the role of the main character: With such a construction, the viewer can never feel higher than the hero.

The plot connects "Hamlet" with the tradition of the English "tragedy of revenge." The genius of the playwright is manifested in the innovative interpretation of the problem of revenge - one of the important motifs of the tragedy.

Hamlet makes a tragic discovery: learning about the death of the father, hasty marriage of the mother, hearing the story of the ghost, he opens up the imperfection of the world (this is the taught of the tragedy, after which the action is rapidly developing, the Hamlet in front of the eyes, turning in a few months of Student's young men in 30 --year-old man). The next discovery: "Time dislocated", evil, crime, deceit, betrayal - the normal state of the world ("Denmark - Prison"), therefore, for example, the King Claudia does not need to be a powerful person who argues with time (as Richard III in the chronicle of the same name ), on the contrary, time on his side. And one more consequence of the record: to fix the world, to defeat evil, Hamlet himself is forced to stand on the path of evil. From the further development of the plot, it follows that he is directly or indirectly guilty of polonium, Ophelia, Rosencrana, Guildenster, Laerta, King, although only this last is dictated by revenge.

Revenge, as a form of recovery of justice, was only in the good old days, and now that evil spread, it does not decide anything. To confirm this thought, Shakespeare puts before the problem of revenge for the death of the father of three characters: Hamlet, Laert and Fortinbrus. LAERR acts without reasoning, the estimate of the "right and wrong", Fortinbras, on the contrary, is completely refused to revenge, the Hamlet puts the solution to this problem, depending on the general understanding of the world and its laws.

The approach discovered in the development of Shakespeare of the Motive Motive (personification, i.e., bringing the motive to the characters, and the variability) is also implemented in other motifs.

So, the motive of evil is personified in the Kola Qolaudino's king and is presented in the variations of an invalid evil (Hamlet, Gertrud, Ophelia), evil from vengeful feelings (LAERR), evil from helpfulness (Polonia, Rosencranz, Guildenster, Ozers), etc. The motive of love is personified In female images: Ophelia and Gertruda. Motive friendship is represented by Horatio (true friendship) and Guildrester and Rosencran (treason of friends). The motif of art, the world-theater is associated with both touring actors and a gamlet who are insane, Claudius, who play the role of good uncle Gamlet, and so on. The motive of death is embodied in the graveters, in the image of Jorik. These and other motifs grow into a whole system, representing an important factor in the development of the scene of the tragedy.

L. S. Vygotsky saw in the double killing of the king (sword and poison) Completion of two different plot lines developing through the image of Hamlet (this plot function). But you can find another explanation. Hamlet acts as a fate that everyone has prepared, preparing his death. The characters of the tragedy die, ironically: Laert - from the sword, which he smeared poison, so that under the guise of a honest and safe fight to kill Hamlet; The king is from the same sword (on his suggestion, it should be real, unlike the sword of Hamlet) and from the poison who prepared the king in case Laerth will not be able to apply a mortal blow to the Hamlet. The Queen of Gertrude mistakenly drinks poison, as she mistakenly trusted the king, who walked the evil secretly, while Hamlet makes all the secret explicit. Fortinbrus, refused to revenge for the death of his father, Hamlet will make a crown.

Hamlet is a philosophical mindset: from a particular case, he always moves to the general laws of the universe. The family drama of the murder of the Father he considers how the portrait of the world in which the evil flourishes. The frivolity of the mother, so quickly forgotten about the father and married Claudia, leads him to a generalization: "About Women, you have a name - treachery." The appearance of Yorik's skull leads him to the thoughts about the strugnure of the earthly. The whole role of the Hamlet is built to be secretly made explicit. But the special compositional means Shakespeare achieved that Hamlet himself remains an eternal mystery for viewers and researchers.

2 understanding of the image of Hamlet in the Russian culture of the XVIII-XIX centuries.

Russian writers and critics could not remain indifferent to the literary deal associated with the theory of eternal images. Moreover, in this case, we rightly talk about the phenomenon of the "Russian Hamlet", which played a very special role in the development of the concept of eternal images in the culture of our country.

The contribution of domestic literary studies to world shakespearemia is essential and indisputable. It is not by chance in many Shakespeare encyclopedias and directories, individual articles are devoted to our country. The fact of considerable Russian shakespeare studies is generally accepted and widely known in the West. Shakespeare found the second home in Russia. It is published in more widely discovered editions in Russia than in the UK and other English-speaking countries, and performances on the Soviet scene (not only in Russian, but also in many other languages \u200b\u200bof the USSR), according to some estimates, are held more often and visited by large the number of public than anywhere else in the world. The paradox is also seen that, despite the enormous popularity of the playwright in our country, it is precisely here we can find examples of the most severe criticism, for example, the lion of Tolstoy.

The first acquaintance of Russians with the work of Shakespeare could occur through the German actors who were trained by theatrical art of the British. Naturally, considerable, and often most of the Shakespeare works distorted due to the well-known causes: inaccuracies of translation and free interpretations of actors and playwrights. Unfortunately, accurate facts from reliable sources about which plays were put by these touring German troupes, we were not found.

It is known that the first literary processing of Shakespeare in Russian cultural soil belongs to Peru Alexander Sumarov, who redid "Hamlet" in 1748. In Russia, it was this tragedy in Russia that he received the palm of the championship [Stenic 1974: 248-249]. Many believe that Sumarokov used the French translation to A. de Laplas, since he did not owe English allegedly. The last statement is controversial. Most recently discovered a list of books taken by the poet in the Academic Library for 1746-1748, which indicates that Sumarokov took Shakespeare in the original. As in the case of Pushkin, the question of the degree of ownership of the English language remains open and requires a special study. It can be assumed that Sumarokov, knowing Latin, German and French, could read their English predecessor, using the dictionary.

It should still be noted that it is impossible to call the Sumarokovsky "Hamlet" by the transfer of Shakespeare, he wrote his own, Russian tragedy, taking into service only Shakespeare's motives. That is why in his edition he does not indicate the name of Shakespeare. Sumarokov himself wrote: "" Hamlet "mine, besides the monologue, in the end of the third action and Claudiyev to the fall of the fall, the tragedy is hardly like" [Cyt. By: Shakespeare 1985: 8.].

Sumarokov changed the drama "savage" Shakespeare on the canons of classicism. First, the ghost of Hamlet's father is presented as a dream. Secondly, each of the main characters has their own oppositions and inhabitants. Thirdly, Claudiy, together with Poloni, is plotting to kill Gertrud and then forcibly issue Ophelia for the first. Also, Claudius is indicated only as the "illegal king of Denmark". But the most important thing is that Hamlet Sumroikov from the very beginning and until the end of the play is presented as a person with a pronounced power of will. He avoids the whole fifty attempts to kill him and won a convincing victory over enemies. Gertrude repented and kneaded into a nun. Poloniy in the final commits suicide. Thus, the prince receives the Danish crown at the obvious manifestation of the people and is going to be engaged with his beloved Ophelia.

V. K. Trediakovsky In his criticism of Gamlet, Sumarokov in general spoke out about her as "pretty fairing" and took the courage to offer his own versions of some poems. In the official review of M. V. Lomonosov, he limited to a small postpiic, however, a famous epigram written by him after reading the writings in which he sacrifically rises the selected Sumaroken version of the translation of the French word "Toucher" how to "touch" in the second phenomenon, the second action in the words about Gertrude ("And the death of death was not touched by"):

Married styl, old man without urine

On Stella, which is fifteen years old

And without waiting for the first night,

Having coughed, left the light.

Here Stella poor sighed,

That the marital death was not touched by [Lomonosov 1959, T.8.: 7.].

Anyway, Sumarokov was trembled and destroyed the options of Trediakovsky. As a result, the tragedy saw the light in almost initially. Despite the fact that the author made some edits after the first edition, they were not taken into account after his death, and there were no new lifetimes. In the 1980s, the XVIII century "Hamlet" Sumarokova stood six editions.

The following decree "Hamlet" took place only in 1810. This time Shakespeare recycled S. I. Viscovatov, who used the common version of the Frenchman J. F. Dyusis (Dyusi). And this time it was quite distant from the tragedy of Shakespeare Exterisis. The author found it necessary to add a few scenes at the end of the play. Moreover, he significantly changed the storyline. For example, Hamlet becomes the Danish king, and Claudius only plots to take a handride to his wife. Ophelia The same daughter is not polonium, but Claudia; It can be called a real sentimental heroine, which was a manifestation of fashion trends of those years. But here the Hamlet is easily selected with Claudia and at the end of the presentation says words: "Fatherland! I am sacrificing myself! "

Criticism appreciated the "Hamlet" of Viscovatov as a whole not in flattering paints, especially for his style of renovation. As for the political relevance of the play, "A. A. Bardovsky saw in her a conscious desire to rehabilitate Alexander I, who climbed into the throne by the palace coup "[Gorbunov 1985: 9]. Obviously, the author sought to raise the patriotic spirit of the public, because in Europe a fire of Napoleonic wars was still hung. Perhaps it was for this reason that the templehouse "Hamlet" was put on Russian theatrical layouts a whole quarter of a century.

Since the beginning of the XIX century, interest in Shakespeare gradually began to grow. There was a number of translations of his works, active discussions began about his creativity. But still more often relied on the opinions of French and German critics than the originals of the Evonian swan. As for Gamlet, then only at the beginning of the second quarter of the last century, the tragedy ceased to be a play only on an injury of the political situation in Russia. Now it began to think about the historical and philosophical positions.

Often, the title of the first Shakespiece of Russia is awarded by A. S. Pushkin. Indeed, his passion for Shakespeare was very strong and, as some researchers believe, helped him get rid of the influence of Bairon. There is no doubt that the most significant Shakespeare influence on the work of Pushkin is found in Boris Godunov. There is a poet and several Hamlet Reminiscesses. But most importantly, as some critics believe, comparing in His "Message to Delvig" (1827) E. A. Baratynsky with Prince Danish, "For the first time in the history of Russian literature, the poet used the name of Hamlet in a none sense, thereby laying the first stone to the foundation already in Those years gradually starting to build a building of Russian Hamletism "[Gorbunov 1985: 10].

Following Pushkin, few of the Russian writers did not talk about Shakespeare. It became truly fashionable and prestigious using the creative heritage of the playwright, rethinking it, to create something new, create new characters. Recall, for example, "Lady McBet Mtsensky County" N. S. Leskova.

After the defeat of the Decembrists in 1825, Shakespeareskaya play became even closer to the Russian reader even closer, the image of Hamlet also forced to think about the reasons for the inability to change something at that height, not to mention the reaction that followed the reaction.

The first full translation of the "Hamlet" to the Russian language belongs to M. P. Vronchenko and refers to 1828. Applicating t. The principle of equivalence, he was able to put on the same number of lines as it exists in the script. It should be noted that the domestic school of poetic translation was made only the first steps, and Vronchenko made a great contribution to its future, trying to one of the first to fulfill the rule that V. G. Belinsky wrote: "The rule for the translation of artworks one thing is to transfer the spirit of translated Works, which cannot be done otherwise, how to transfer it to Russian, as the author himself wrote him, if he was Russian.<…> There is a goal of such transfers - to replace the original for those that it is not available for ignorance of language, and give them a tool and the opportunity to enjoy them and judge it "[Belinsky 1977, T.2.: 308.]. However, despite the poetic talent, Vronchenko failed to avoid "Ogrekhov", because of which his translation did not become a wide reader or viewer. Belinsky saw the reason that in pursuit of accuracy, the translator used too archaic and a highly sophisticated language, difficult to understand most of the public. Therefore, further critic stated that it was better to make a rework of Shakespeare, the main thing that she "strengthened the authority of Shakespeare and the possibility of the best, complete and reluctal translations ..." [Belinsky 1977, 2: 309]. But this does not mean that Vronchenko did not have a full-fledged translation. On the contrary, Belinsky pointed out a number of successful places, although he did not bypassed a different kind of inaccuracy and incisibility, comparing it with the translation of N. A. Polevoy.

It was in the version of this romance writer in 1837 a play again was put on Russian theatrical layouts and immediately acquired a wide success in the viewer. Field setted the purpose of making a translation, in the chapter of the angle by setting the requirements of theatrical formulation. Shakespeare tragedy was reduced by almost a third. The translator removed the seemingly small "dark places" and cut too long monologues. His interpretation was distinguished by a lively and figurative language, which was pleasant to the Russian ear. V. G. Belinsky, this work assessed this work: "In relation to the simplicity, naturalness, spending and poetic undispitude, this translation is the perfect opposite of translation of the city of Lronchenki" [Belinsky 1977, T.2: 314]. The critic noted that the field managed to catch the Shakespeare spirit, although many places inaccurately or are absent at all. However, the word added by the word of Hamlet - "Scary, for a person scary to me!" - produced in Belinsky and in many others a huge impression, since reflected the state of the Russian society in those years.

The main merit of N. A. Polevoy can be considered the fact that it was thanks to his translation, the viewer reached into the theater and "the myth of the surceitivity of Shakespeare was finally destroyed" [Gorbunov 1985: 11]. After all, quite no wonder Russian theatrical director set "Hamlet" precisely in his translation until the beginning of the last century, although there were options that differed to greater accuracy. Moreover, "a significant metamorphosis occurred: Separating from Shakespeare's play, Hamlet spoke with Russian people of the 19th century on their own sorrows" [Gorbunov 1985: 12].

The following is A. I. Kroneberg (1844) as follows his transfer to the court of the viewer and the reader. Being a professional philologist in the second generation, he, following the example of Vrombchenko, tried to approach the original as close as possible. However, in contrast to the predecessor, he managed to avoid archaisms and bivocialism, which gave a big plus to his translation for the scene. Maybe it was for this reason "Hamlet" of Kraveberg, many researchers are recognized as the best translation of the play into Russian XIX century. However, some lovers of literature found that his play was too pierced by romanticism, which was not at Shakespeare. This was expressed in the nore of mysticism and, in the words of B. L. Pasternak, "latitude and raising" [Pasternak 1968: 110].

The next milestone of the life of the Shakespeare tragedy in Russia can be described as a time of some cooling of the public to the play as such. Perhaps this is due to the appearance of interesting and original plays of Russian playwrights. However, the image itself of Hamlet, whose name finally became nominated, firmly fixed in the minds of advanced people of that era.

One of the most famous and in Russia, and in the West was the article I. S. Turgenev "Hamlet and Don Quixote" (1860). In it, he opposes the famous literary heroes, as, while Hamlet hesitates and doubts, Don Quixote is determined to fight against the world evil and the "Sea of \u200b\u200bDisaster" with which they both faced. Both of them are knights inspired by the humanistic principle of self-determination. However, they have one cardinal difference, which is expressed, according to the writer, in their view on the question of the life ideal. Thus, for Gamlet, the purpose of his own being exists within himself, whereas for Don Quixote - in someone else.

From the point of view of Turgenev, we all belong to the type of people. Some exist for your own "I", these are the egoists, as the Prince of Danish, others, on the contrary, live for others under the banner of Altruism, like the Knight Laman. Sympathy writer on the side of the latter. However, this does not mean that the Hamlet for him is sharply negative. According to Turgenev, Shakespearer hero is not sure of the existence of good: "The denial of Hamlet doubts good, but in evil it does not doubt and comes into a fierce battle" [Turgenev 1980, T.5: 340.]. Indeed, despite the skepticism, the prince is difficult to blame indifference, and this is already its dignity.

Moreover, according to Turgenev, all existence is built on a combination of centripetal and centrifugal forces, i.e. egoism and altruism: "These two forces of cosmia and movement, conservatism and progress, the essence of the main forces of all existing" [Turgenev 1980, T.5: 341]. The future behind people who could combine reflections and action, but progress would be impossible, mainly without such eccentrics, which was Hidalgo. The thing is that they are not enough Hamlet's intellectuality.

Haslets, in his opinion, prevail in life, but their meditation and reflexion are fruitless, since they are not able to lead the masses, and Don Kihotov always finds his faithful Sancho Pans. Horatio is the only "student" of Hamlet, who follows him and admire the skepticism of the Prince.

The Turgenev article aroused the living response of many critics and writers, which in their own relation to its content were often directly opposite. Basically, they did not agree with his idealization of "Donctivities", but were those who opposed his interpretation of Hamlet as a complete egoist, for example, A. Lvov [Turgenev 1980, T.5: 518]. It is believed that Turgenev saw T. N. "Excess people", when, as revolutionary democrats, he rolled up in the armor of Don Quixote. So, N. A. Dobrolyubov sharply negatively belonged to the fact that Turgenev indirectly called the revolutionary "Donctitude", arguing that the Don Quixhots need to be called those who hoped to change something for the better, without resorting to active actions. Many still impressed the idea that Don Quixote was able to lead people. Later, "hamletism", in Turgenevsky his understanding, began to attribute to the people's movement, and "Donkyottia" - the allocations.

Becoming the synonym for "excess person", Hamlet has become an object for numerous comparisons or source of characteristic features for its new Russian "brothers": Onegin, Pechorin, Chulcaturin, Rudin, Bazarov, Oblomov, and even Skolnikov, and later Chekhovsky Ivanova.

However, there were those who believed that one should not compare these heroes of Russian literature with Shakespeare's Hamlet. One of the most famous critics that adhered to a similar point of view was A. A. Grigoriev. "Thus, hamletism in Russia developed in those years in parallel with the history of the Russian" Hamlet ", sometimes approaching, and sometimes alive from her" [Gorbunov 1985: 14].

Returning to the history of Gamlet's translations into Russian, it should be noted that the 1860s gave the reader to the interpretation of M. A. Zaguleeva. This time the critique was criticized, whom Zagulaev swung for excessive romanticization. In turn, the new creation of translation thoughts lost a certain poetic elevation, turning into a play, whose language was obviously different from Shakespearesky some decline in style.

The translation of Zaguleeva decided to take advantage of the actual actor V. V. Samoilov, who presented Hamlet to a greater extent as a simple person than the aristocrat. The artist emphasized the proximity of his hero to the Russian intelligentsia of those years, but was doomed to many critical remarks for the excessive landing of Shakespeare.

The first prosaic translation of Gamletta was made by N. Kh. Kether in 1873, not having poetic dating, he began to translate Shakespeare Chronicles since the beginning of the 1840s. The latter used quite very popular, since the reader did not have a different choice: other transfers simply did not exist. Obviously, the prose many gave the opportunity to more clearly understand the meaning and content of the tragedy. However, on the other hand, the Hamlet's poetic translations were out of competition, so this translation of the ketcher did not discharge wide fame among the mass reader. Similarly, it was the case with other attempts to translate A. M. Danilevsky (1878) and P. A. Kanchin (1893).

The last two decades of the XIX century were marked by the extraordinary interest of the Russian public to Shakespeare's masterpiece. Translations for "Gamlet" were one after another: N. V. Maklakova (1880), A. L. Sokolovsky (1883), A. Meskovsky (1889), P. P. Galcich (1892), D. V. Averkieva ( 1895). Despite such numerous attempts to give a more accurate and true translation, most of the editions of that time continued to print the KRONEBERG version, and on the Hamlet's scene, it was usually based on the interpretation of the field, from which it can be concluded that the expectations of translators were not crowned with success.

At the same time, numerous articles and fekelons began to appear, which finally betrayed the term "hamletism" negative character. But on the theatrical scene there was a whole Pleiad of Russian actors, each of whom was trying to reveal the eternal Shakespeare image in different ways. A. P. Lensky sought simpleness and simplicity, but as a result of his Hamlet became a dreamer than the avenger. M. T. Ivanov-Kozelsky decided to make a certain transfers from the transfers that had made his hero, which made his hero of the extensive forces opposing each other and made the focus on the most stunning prince's spiritual torment. On the same way, MV Dalsky went on the same way, whose Hamlet lives in constant challenge, but it has all the features of a volitional and mighty person. Schillerizer A. I. Yuzhin decided to return to the Mochalan interpretation and demonstrated a "strong and volitional personality whose slowness was explained only by purely external circumstances, his doubts in the words of the Ghost" [Gorbunov 1985: 17].

The next significant translation of Gamletta was the work of K. R. (Grand Duke K. K. Romanova). Like Vronchenko, he decided to comply with the principle of equivalence, which gave the opportunity for the first time in the history of the Russian "Hamlet" to release t. N. "Parallel" edition, in which the original and translation printed simultaneously. There is a known fact that K. Romanov, no doubt, from the young years, who owned English, constantly improved his knowledge, met the words of Shakespeare's Dictionary. He always very self-critical approached his translation and often came to despair before his idol. In general, the work of K. R. is recognized as rather accurate, although flaws were found. He was set in guilt the absence of Equitamia, that is, the replacement of a five-dollar Yamba Sixtopian, which made his "Hamlet" was more heavy to read, and his tongue was assessed as too tense and deprived of the liveliness.

In 1906, after a long random, L. N. Tolstoy decided to publish his article "On Shakespeare and Drama", which was finished back in 1904. His point of view was sharply different from the majority, according to his expression, "Persery" Shakespeare. The fact is that if he tried the great novelist to understand the greatness of the genius of the English playwright, his view did not change, despite the repeated appeals to the heritage of the playwright and the constant attempts to his friends convince him of Shakespeare's talent. For example, in 1857 I. S. Turgenev in one of the letters Tolstoy noted: "Your acquaintance with Shakespeare - or, more correctly, your approach to him is pleased. It is like nature; Sometimes it has a frozen physiognomy<…> "But even then there is a necessity in it ..." [Tolstoy 1978, T.1: 154.]. But years later, Shakespeare instilled in it only "irresistible disgust, boredom and bewilderment ..." [Tolstoy 1983, T.15: 259].

Starting from the analysis of the "King Lira", Tolstoy did not miss the opportunity to chite and "Hamlet." The main disadvantage of the play writer saw in the complete absence of any character at the main character, disagreering from those who believed that this absence, on the contrary, is a manifestation of the genius of Shakespeare. He also believed that Shakespeare was also exaggerated and stretched: monologues, dialogues, actions of heroes.

The reason for the same great admiration for the work of the British, he saw that "the Germans had to oppose the boring and really boring, the cold French drama is more lively and free" [Tolstoy 1983, T.15: 309]. In other words, this Goethe proclaimed Shakespeare of the genius, and the whole intellectual elite picked his call, lifting the Evonian swan on the pedestal of Honor, which, according to Tolstoy, was their big mistake and delusion.

One of the main ideas of L. N. Tolstoy is as follows: "The inner cause of the Glory of Shakespeare was and there is the one that the drama it came to Pro Capite Lectoris, that is, they corresponded to the arligiosis and immoral mood of people of the highest estate of our world" [Tolstoy 1983, t .15: 309]. To us, on the contrary, it seems that in the "Gamlet" you can find the features of a Christian behavior model. The opinion of the writer that Shakespeare's dramas corrupt the reader and the viewer, has not been proven neither by Tolstoy himself nor theatrical practice.

Despite the overall alert attitude towards Russian Hamletism, A. P. Chekhov denied the Tolstovsky point of view and defended the "Hamlet": "There are people who will corrupt even children's literature, which with special pleasure read in Psalti and in the parables of Solomon's spicy places, There are also those who get acquainted with everyday mud, the topical "[Chekhov 1956: 172].

However, interest in this eternal image had the opposite direction. Increased attention to the problem of riddles The nature of the Danish Prince, the emergence of a peculiar cult of Prince Danish in Russian aesthetic consciousness could not not cause the opposite reaction bordering irritation. At this time, numerous articles and feuethons began to appear, which were sought to betray the term "hamletism" a negative color.

The cultural and historical situation of Russia 70-80s of the XIX century also dictated its conditions for a new understanding of hamletism. People's movement and followed by this disappointment in the idea of \u200b\u200b"walking to the people", formed a new type of third-party observers who were separated from the movement. Similar reflecting, reflecting, egocentric gameths from the nobility and officials are captured in the story of the publicist Ya. V. Abramova "Hamlets - a couple on a penny (from the notes of Liegehogok)" ("Floors", 1882), the story of the researcher of the people's life A. I. Ertel " FAQ Children "(" Journal of Europe ", 1884), former rural teacher V. I. Dmitrieva" Prison "(" Journal of Europe ", No. VIII-X, 1887). Poet-population N. Sergeyev elected the poem "Northern Hamlet" (1880) of the contemporary, reflecting "about the petty vulgarity of his" as a lyrical hero. Only contemplation of the surrounding world "and to enjoy the fate of the Gamlet of our Days in Triazia to enjoy the fate of the Hamlet of our Days.

For populists, hamletism has become the embodiment of skepticism, bravelessness and inaction. The condemnation of these features, which were marked by the nominal concept of "hamletism", can be found in many articles of representatives of the militic movement: "Shakespeare and our time" P. L. Lavrov (1882), "Life in the literature and writer in life" AM SKabichevsky (1882 ), "Hamlet of our days" P. F. Yakubovich (1882) and others. But, probably, the most fierce attacks in the history of Russian hamletism of the 70s and 1980s, the XIX century Shakespeare's eternal image, and rather his domestic similarity was subjected to the article n . K. Mikhailovsky "Gamletized Pigs" (1882). Developing the ideas of Russian hamletism, laid back by Turgenev, Mikhailovsky allocated two types of domestic equivalents to the Danish Prince: "Gamletics" and "Gamletized Pigs". Determining the first type, the publicist wrote: "Gamletik, the same Hamlet, only less growth (...), according to the relative minority of his growth, he seeks under the shadow of the grand gamlet, is looking for and finds a desolation in his similarity. At the same time, however, the Gamletik still really suffers from the consciousness of his inactivity and looks at the task set before him is not downward, but on the contrary, from the bottom up: it is not a thing negligible, and he, Gamletik, insignificant. " Later, this type of Gamletika Mikhailovsky saw in the image of Nezenov from Turgenev "Novi". It seems that he is also mentioned above the poem N. Sergeeva "Northern Hamlet".

An even more radical and offensive term "gamletized piglets", Mikhailovsky calls those who justified their departure from the fight against injustice in Russian society with all sorts of theories: "The piglet, understandable thing, I want to be or even seemingly more beautiful than it is ... Hamlet - Licensephone And the rag ... In addition, it is lined with your Creator in a beautiful dumplings and is equipped with a row out of the existing dating, and therefore many idlers and rags want to recognize themselves in it, that is, they copy it, strive for his shadow. " In their refusal, the critic sees the arrogant self-deception of the piglet, who "convinced others would wish to convince that the case preserving him below him, which is generally not on earth of practical activity worthy of his piglery magnificence." Mikhailovsky's gamletized piglets saw in the heroes of the stories of his former friend Yu. N. Govorukh-excuses (famous for the literary pseudonym Y. Nikolaev), "Fatum" ("Polar Star", gr. Salyasa, 1881), "Distourment" ("Journal of Europe ", 1882). Mikhailovsky opposed the excuse and sympathy with human weaknesses, against cultivation in the works of Russian literature of the image of Hamlet. Gamletism, as the phenomenon of social and political life, the reaction critic attached parody features worthy of all kinds and contempt.

In a slightly more restrained form in Hamletism, heroes were accused of Heroes and V. M. Garshin, one of the most prominent writers of the literary generation of the 70s of the XIX century. In his subjective creativity, the mental discord of the idealists of the literary generation of this time was especially bright. Harshin himself was in his personal and artistic consciousness with a true humanist. How a cry of the soul sounds his protest against war in the stories of "four days" (1877), "Coward" (1879), "from the memories of ordinary Ivanov" (1883). Together with humanism in the work and personality, Garshin, the need for an active struggle against evil was displayed. This need reflected the most famous story of the writer "Artists" (1879), Harshin himself, represented by the artist Ryabinin, showed that a truly moral person cannot calmly create, seeing someone else's pain and suffering around.

The desire to destroy the world evil found its embodiment in an amazingly poetic fairy tale "Red Flower" (1883). From the biography of Garshin, we know that he went to the war in Bulgaria for the liberation of fraternal peoples from Turkish yoke, where with a particularly bloody battle near Aaslarom (August 11, 1877), a personal example raised the soldiers in the attack and was wounded in his leg. With a very utopian long-term project, Harshin appealed to the head of the Supreme Regulatory Commission, Count Loris-Melikova, to the Ober-police officer Kozlov; On foot came to a clear clearing, where all night shed with Lv Tolstoy about how it is better to equip the happiness of a person. It is also known about his nervous seizures, during which he dreamed of destroying all the world evil immediately. Disappointment In the impossibility to realize many of their undertakings and early, the withered mental disorder of the writer led hopeless melancholic to the unbelief in the celebration of good and victory over evil. Even the art of Ryabinin from the "artists", who went to the folk teachers, and, it would seem, did a real act, his choice cannot deliver sincere comfort, since the interests of the individuals are as important as public. Uncitus, as in the case of a gamlet, the symptoms of the exacerbated mental disorder, unreasonable longing led to deep depression and ultimately to suicide the writer.

A. P. Chekhov described the spiritual degradation of contemporaries, sarcastically referred to the preceding generation of the "extra people" of the 1960s of the XIX century, to the hobby of the Zemdom and the existence of disappointment in it. In the public consciousness of the 1980s, hamletism is associated with the philosophy of skepticism, inaction, bravery of the intelligentsia. Chekhov does not suggest a medium from which Russian gamiers occur, how many worthlessness shows, weaknesoli. Ivanov from the Drama of the same name is an eloquent example of such a relationship of Chekhov to the intelligentsia of the 80s of the year before last. The tragedy of Ivanov is that he is unable to do anything for others, change himself. The hero holds the parallel among themselves and the employee of Semen, who was reliated, praising by force in front of the girls.

A certain indecision and reflective "Hamletovsky period" survived the Chekhov himself, but the journey to Sakhalin largely changed the worldview of the Russian writer and helped overcome the spiritual crisis. True, all of their "gamletized heroes" of Chekhov leads to suicide (Ivanov, Treplev). The displacement of this type is in the Faken "in Moscow" (1891), where, by signing "Kisliyev", the hero pronounces a folding monologue-self-conversion: "I am a rotten rag, rubbish, kislytina, I am a Moscow Hamlet. Take me on Vagankovo! " [Gorbunov 1985: 16]. Chekhov branded such gamlets by the mouth of their hero: "There are pitiful people who flatter when they are called gamlets or superfluous, but for me it is a shame!".

3 Hamlet in Russian literature and drama XX century

The first "Hamlet" of Russia of the 20th century was the translation of N. P. Rossova (this name of Pashutin) (1907), in which he sought, according to his own recognition, "guess the thoughts, passion, the era of this language." It gave it the "Hamlet" the nature of the obvious arbitrariness.

The image of Hamlet continued to worry the Russian intellectual elite. Symbolists showed special attention to the hero of Shakespeare. The future famous psychologist L. S. Vygotsky also shared their positions. From the first pages of his work, the "tragedy about Gamlet, Prince Danish" stated that he expresses his purely subjective point of view as a reader. Such a criticism does not claim to be strict, it can, in his opinion, to call "dilettanic".

But, on the other hand, it exists and will exist. And Goethe, and Flestza, and many others noticed that the author can invest some specific idea in his creation, when as his reader can see something completely different, which the author did not intend to do. Each critic, according to Vygotsky, should have its own opinion, which should be the only true for him. "Varolpility" is needed only at the beginning of work, but no more.

Vygotsky believed that many interpretations of Hamlet were useless, since they are all trying to explain everything with the help of ideas taken from somewhere, but not from the tragedy itself. As a result, he came to the conclusion that "the tragedy is deliberately built as a riddle that it should be comprehended and understand exactly as a riddle, not amenable to logical expansion, and if the critics want to relieve a riddle of the tragedy, they deprive the tragedy of its essential part" [Vygotsky 2001: 316]. Nevertheless, he himself believed that Shakespeare was more interested in collision and intrigue play than characters. That is why it is possible that estimates of these characters is so contradictory. Vygotsky agreed with the opinion that Shakespeare was conceived to give the Hamlet as contradictory features so that it corresponded as best as possible to the conceived Fabul. The critic noted: the mistake of Tolstoy was that he considered such a move for the manifestation of the progress of the playwright. In fact, this can be regarded as a magnificent find of Shakespeare. From here, it would be more logical to ask the question, "not why Hamlet Medlit, and why Shakespeare makes Hamlet to slow down?" [Vygotsky 2001: 329]. From the point of view of Vygotsky, Hamlet eventually spreads to the king rather not for killing the one of his father, and Mastit for the death of his mother, Laert and himself. Shakespeare to achieve a special effect on the viewer constantly reminds of what should happen sooner or later, but every time evades the shortest path, which creates inconsistency on which the whole tragedy is built. Most critics are trying to find the Hero and Fabuli conformity, but do not understand, according to Vygotsky, that Shakespeare deliberately made them completely inappropriate to each other.

The work of the Englishman Gordon Craga and K. S. Stanislavsky in the Moscow Art Theater became the last pre-execution stage of Gamletta in Russia. Both director were looking for new ways and ways of theatrical art, which will later influence the entire world theater, and later - to cinema. At this time, Gamlet was played by the famous V. I. Kachalov, who saw in a prince of the philosopher, a strong person, conscious, however, the impossibility of something radically change in this world.

After October 1917, Shakespeare divided the fate of all world literature in the former Russian Empire. There were assumptions, for example, Professor L. M. Nusinov, that the works depicting the "class society" will gradually become absolutely not needed by the proletariat society. However, nevertheless prevailed not so radical opinions. So, A. A. Blok and M. A. Gorky considered the impossibility of the exclusion of Shakespeare from the heritage of the whole world civilization. Nevertheless, critics, Tracting Shakespeare in the direction of Marxist ideology, called him or too aristocratic and reactionary, or bourgeois writer, who failed to make absolutely clear revolutionary ideas that are too veiled in his works.

Soviet Shakespearers focused on the work of Shakespeare as a whole, allowing the issues of how to understand the legacy of the playwright in the new realities of the Soviet state. Only in 1930 was published the monograph I. A. Aksenova "Hamlet and other experiments, to promoting domestic shakespery." As for theatrical layouts of the play, in the 1920s and 1930s, they were mainly unsuccessful variations, which sometimes worried too much and even vulgarized Shakespeare, representing the Dansk Prince as a fighter for justice and releasing the motive of reflection. For example, "Hamlet" N. P. Akimova (1932) presented the Shakespeare Hero in the form of a fastening merry, and Ophelia was turned into a representative of an ancient profession. An exception should be called the production of 1924, in which the role of the Prince played M. A. Chekhov. He focused on all the severity of the spiritual state of Hamlet and "played the tragedy of his contemporary, a small man who has passed war and revolution ..." [Gorbunov 1985: 21].

It was quite different in the art of translation. M. L. Lozinsky proposed a version of the reader's version of the reader in 1933. He managed to make his "Hamlet" such that, according to many specialists, he remains the most accurate until today. He followed the principles not only equivalence, but also equirimia, while maintaining the wealth of Shakespearean language, his metaphor and symbolism. The main disadvantage of this translation is its unsuitability for theatrical performances, since for most viewers, his poetry was difficult to perceive hearing.

Therefore, just four years later, in 1937, A. D. Radlova, which was made specifically for the Soviet theater and the average viewer, which naturally could not help but lead to a noticeable style gain.

Finally, in 1940 he saw the light, probably the most famous and popular translation: B. L. Pasternak published his first version of the tragedy, which was constantly edited until his death in 1960, its main installations can be called poeticity and clearer. He did not strive for absolute accuracy, for him it was more important to transfer the word, and Shakespeare's Spirit. Maybe this lies the reason for such a wide success of his translation among Russian readers and theaterons. Of course, there were also harsh critics that scolded him for the fact that he could not transfer all Shakespeare ambiguous.

The next one who ventured at the attempt to translate the Gamletta, became M. M. Morozov in 1954. This time it was a prosaic translation, which was much stronger and more precisely, the works of the XIX century [Kogan 2000].

At the same time, a whole series of critical works dedicated to the "Hamlet" Shakespeare appears. Let us dwell on some of them and express our opinion about their content.

In the Soviet post-war literary critics, many critics were trying to read Shakespeare in a new way or, according to A. L. Stein, to "rehabilitate" Hamlet, to make a revolutionary from him: "Hamlet is a positive hero, our associate and like-minded person - this is the main idea expressed in the last Time in our works on Gamlet. In the rustling of hobbies, one critic even said: "Hamlet - it sounds proudly" "[Stein 1965: 46].

The main idea here is that the Hamlet is alone and that, if you give a peasant movement "such a gamlet, it will show how to straighten with Tirana" [Stein 1965: 46].

In general, according to Matte, it is more interesting to watch the Hamlet when he reflects than when it acts. "The power of Hamlet is that he saw the dissonants of life, understood them, suffered from the disharmony of life" [Stein 1965: 53]. The causes of the slowness of the hero, according to Criticism, lie in the warehouse of the prince, his worldview. This remark is seen particularly important, since it is key to interpret the image of Hamlet, from what positions would not be approached by certain scientists in their research.

Another domestic Shakespire, M. V. Urnov immediately notices that how many actors, so many interpretations. Not to mention critics. And this is the true greatness of the hero of Shakespeare's drama. But, no matter how it was, it is accepted "to sympathize with Hamlet from the moment of its appearance on stage" [Urnov 1964: 139]. Indeed, only the most worry and dark person could remain indifferent to what is happening in the tragedy, whether on stage or in the imagination of the reader. Probably, few of the audience or readers did not put themselves in the place of Prince Danish, because, essentially, we read books, we go to performances, watch movies to compare ourselves with their heroes in attempts to find answers to the eternal questions of Being.

World evil overtakes Hamlet suddenly after returning from his alter mater, Wittenberg University, and he does not have an antidote, medicine that would help him or radically and quickly deal with him, or just close on all eyes, forget and just enjoy life like It is trying to do Gertrud. But the prince is forced to choose anything or the other. For "In it, the inertia of other elevated and enthusiastic ideas about a person" [Urnov 1964: 149]. He eager to get to the essence of what is happening, finding the root of evil, and it stands for him spiritual torment, numerous self-sustaining and experiences.

Urnov believes that traditional attempts to understand what Shakespeare show us is not satisfied with Shakespeare. Neither psychological nor social explanations are not able to give a clear answer to this question, since they do not take into account "important circumstances - an extreme interest in a person in Shakespeare's times, a concrete understanding of its nature and knowledge, a special artistic image ..." Urnov 1964: 156]. Of course, one of the features of the literature (and the whole culture as a whole) the Renaissance era is anthropocentrism. "The center of the world device has shifted in the minds towards the personality, the balance of the forces was broken in her favor." [Encyclopedia for children. World Literature 2000: 391]. Advanced people begin to call themselves humanists and gamlet, no doubt, it is possible to count them. He fell by hypocrisy and the greed of the people around him, he dreams of reborn the sinful human race. But, like many real humanists, he spends most of the time on reflections and on the construction of his philosophical doctrine.

A. Anikst saw in the weakness of Hamlet not his inner state, but "the condition experienced by him" [Anikst 1960, Vol. 6: 610]. He considers prince with a strong person, by nature energetic, but feeling how "all that happened his will" [Anikst 1960, Vol. 6: 610]. Hamlet, in his opinion, is noble, and the whole play is permeated with a feeling that, "it is difficult to remain unreacted in the world, poisoned by evil" [Anikst 1974: 569].

Continuing a brief excursion about the life of Gamlet in the Russian Theater, let's stop at 1954, in which the Prince played E. V. Samoilov. According to theatrical critics, in it, the prince from the young man-philosopher of royal blood turned into a simple man in the street, which is struck by the picture of the world evil and is in a state of constant spirit and reflections on the future of humanity.

The next real achievement of Soviet cinema became the screening of the tragedy of M. Kozintsyva 1964. She even was recognized as the best in the twentieth century. The game of I. M. Smoktunovsky's amazing on its aesthetics did its job and brought a great success picture of both with us and abroad.

Finally, bright - and I want to believe not the last original - Russian Hamlet is considered by V. S. Vysotsky. The actor has achieved his game that the very idea of \u200b\u200bthe entire performance was the idea of \u200b\u200bthe brillinity of our Being. Hamlet Vysotsky was doomed to the death of a priori and realized this, but he died with a highly raised head.

All these throws in the public cultural consciousness of Russia, as it is impossible to better describe D. S. Likhachev, who in the discredit of the "Russian Hamlet" recognized nothing more than a reflection of public split, which led to a further decrease in the role and importance of the class of intelligentsia in the social consciousness of Russians: "Care The people literally and figuratively led to some part of our society in the XIX and XX centuries. For many misconceptions in relation to the intelligentsia. The expression "rotten intelligentsia" appeared, contempt for the intelligentsia, allegedly weak and indecisive. The wrong idea of \u200b\u200bthe "Intelligent" gamlet is also created as a man, constantly hesitating and indecisive. And the Hamlet is not at all weak: it is filled with a sense of responsibility, he fluctuates not by weakness, but because he thinks, because it is morally responsible for his actions "[Likhachev 1999: 615]. Further, D. S. Likhachev cites lines from the poem D. Samoilova "Mezlet's justification":

"I am lying about Gamlet that he is indecisive, -

He is determined, rude and smart

But when the blade is listed,

Hamlet Medlit Be the Destroyer

And it looks in the periscope of time.

Not kneading, shoot villains

In the heart of Lermontov or Pushkin ... "

The excuse of Gamlet Samoilov successfully at least because the poet puts the Prince of Dansk to one row with the perpetual images of the tragicity of fate of the poets.

In the 80s and the 90s of the 20th century, the country was experiencing a difficult era of change, which resulted in the collapse of the Soviet Union. Together with all the country, complex times experienced the theater. From our point of view, that is why we could not find any well-known full-fledged published work, which would concern new productions of Gamlet. There are few exceptions. For example, in the article "Kommersant" newspaper for October 14, 1998, a brief review of Hamlet, put on the stage of the Theater of the Russian Army, by the German director Peter Shtyyn, is given. In general, it was stated that, despite the good acting game, the role of Hamlet was performed by E. Mironov) the performance of the supernova for the Russian public did not imagine.

But the jack of millennia presented the Russian reader as much as two new translations of Gamletta: V. Rapoport (1999) and V. Poplavsky (2001). And this indicates that the Shakespeare tragedy is not going to disappear from the context of domestic culture and in the third millennium. Shakespeare's Hamlet is needed to the viewer and today. A. Bartošashevich: "The reality is changing in which humanity lives, the questions they ask the artists of the past centuries - these artists themselves are changing, Shakespeare changes" [Bartoshevich 2001: 3.].

It seemed interesting to us page on the Internet, telling about the musical "here's a Hamlet ...", the premiere of which was held on April 25, 2002 at the student theater "Juven", which is located in the walls of the RPGU. A. I. Herzen. Essentially, this is not the Shakespeare Drama, or rather it is not at all such, since the scenario is written on the motives of the works of very other modern authors: L. Filatova and M. Pavlova. Shakespeare here comes up here in the mouth of the wardrobe, which is trying to convey the content of the "Hamlet" with a negligent teenager, a brithead bandit, a lady from the "Supreme Society" and a grandmother from the village - people who have never heard about any Prince Danish in life. Essentially, this is a picture of our modern society in miniature.

If we talk about the latest interpretations of Gamlet Shakespeare, proposed with us, you should mention such names as A. Barkov, N. Cholokawa, E. Chernyaeva, and others. Barkov, using some finds of said Shakespearers, suggested curious if not to say the revolutionary point vision. According to her, the story is conducted on behalf of Horatio, which is not a friend of Hamlet, as it is customary, but, on the contrary, is his opponent. Rows written by a five-colored yamb are part of the "plug-in novels", in which the prince Hamlet is the one who is considered - a man who is slowing with the act of revenge. Barkov makes an attempt to prove that the father of Prince Hamlet was the King Fortinbras, the father of Prince Fortinbrus, whom King Hamlet killed thirty years ago. The causes of numerous inconsistencies (for example, the age of the prince) are that, in the opinion of the researcher, there are two dimensions in the tragedy: one - in which Hamlet is the author of "Mousetrap" and then disappears, the second - in which Hamlet performs the hero of the theatrical stage written by them . Horatio deftly ink Hamlet in the eyes of the reader (for example, in relations with Ophelia), he himself draws himself in the form of a faithful friend.

Unfortunately, on the Russian stage of recent years, it has not been really significant and distinctive artistic interpretation of the eternal image. In many ways, this was due to the fact that the directors who tried to create a "new Russian" Hamlet went along the path of excessive experimentation, or tried to cite him, give him a modern sound. But neither expensive scenery and costumes nor the attraction of actors from fashionable serials did not give the feeling of the appearance of the hero of our time in the clothes of the Danish Prince. "The last Moscow productions of the tragedy, with undoubted stage merits of some of them (Satiron's performances, the theater on the cover, theater. Stanislavsky, P. Stein's statement with the procope team) indicate today's spiritual crisis, with clarity reflected in the interpretations of the role of the prince . It is characteristic that in most productions the central figure becomes Claudia, and the Hamlet turns out to be not only aesthetically difficult, but also spiritually inspired for playing the role of actors, with all the height of their professionalism. The tragedy begins to be inclined to the ironic tragicomedy - the genre seems to be a lot of more adequate globility of today's artists "[Bartoshevich 2004]. In these fair words, the researcher lies one very accurate idea, which has become a peculiar age of our time: on a two-century tradition, Russian culture tries to see himself through the tragedy of "Hamlet", but its modern "Nearby" state can not give it. To the question from the public, which hearing the report of A. V. Bartoishevich on Shakespeare's readings - 2006, what kind of Shakespeare's play today is most consonant with domestic cultural self-consciousness, the scientist called "measure per measure."

Thus, for the Russian identity of the newest time, Hamlet, ultimately, becomes not a banal embodiment of weakness, indecisiveness of the reflexer, but awareness of the degree of responsibility for the decision. The formation and intelligence of Hamlet is opposed to ignorance, "semi-antimony" of those who, hiding behind with high political slogans, reproaches it in inaction.

Conclusions on chapter 1

Despite all the ambiguity and complexity of the interpretations of the Hamlet's image, the paradigm of the development of Russian literature of the XIX century in the Thesaurus of Hamlet can be represented as follows: until the 30s of the 19th century, Hamlet was perceived as a strong man, purposeful, decisive. Everything in it "testifies to the energy and the greatness of the soul" (V. G. Belinsky). In the 1830s, hamletism was interpreted as "grief from the mind", in the 1840-1860, the concept of hamletism is associated with the way "excess person" in Russian soil. Although there are still positive features in the new gamlet, but, in general, it is a pity and even repellent unpleasant. A negative attitude towards the philosophical hero, I. S. Turgenev (Hamlet Schigrovsky County, "Hamlet and Don Quixote") and AP expressed to the "Meshchansky Hamlet". Grigoriev ("Monologists of the Hamlet Schigrovsky County" 1864). In the 1880s, the years of population crisis, hamletism associated with the philosophy of pessimism, inaction, phrase. And finally, blessing, coming to a complete crash, Hamlet in the representation of A. P. Chekhov - "Kislytina". The twentieth century gives his interpretations of the image. In this perspective, it is relevant to talk about the functioning of the entire text of the tragedy in the modern intertextual consciousness, or about the "Gamlet" as a pretext of modern literature.

Chapter II. Image of Hamlet in Russian Poetry of the Silver Age (A. Block, A.Akhmatova, M.TSvetaeva, B. Pasternak)

1 Hamlet as a focus of an existential type of consciousness of the XX century

Changing the centuries of the XVI-XVII and XIX-XX is held in the same situation of crawling utopia. The era of the tragic humanism and the era of the crisis of humanism (A. A. Blok) is consonant: in the first case, a person equal to God dies, God himself dies in the second (using F. Nietzsche).

The epochs close to the spirit are actualized in the collective cultural consciousness the same topics: first, the topic of suicide, secondly, the topic of madness.

At the very beginning of the play, even before the meeting with the ghost, the Hamlet exclaims: "Oh, if the samondo did not bring suicide ..." [Shakespeare 1994, T.8.: 19]. And then throughout the play, including in the central monologue to "be or not to be", he returns to reflection on this topic. One of the modern types of consciousness, which is defined as an existential [Zamanskaya 1997], undoubtedly, in its thesaurus actualizes this leitmotif of the tragedy. In the Essay "Italians about Shakespeare", the Russian writer of the second half of the twentieth century Y. Dombrovsky formats the model of the world of English playwright in the coordinates "Freedom - Suicide - loneliness". "And nevertheless," Dombrovsky argues, "the world managed to add and grab the most important link (in the work of Shakespeare) - for the freedom of man, for the concept of his self-sufficiency, which from all Elizabetins is inherent in Shakespeare. She wins everything. The person is absolutely free and is not doomed. Here is one of the main thoughts of Shakespeare "[Dombrovsky 1998: 658]. And further, after analyzing the famous monologues of Hamlet and Juliet, which she utters in the crypt before drinking a drink, and 74 Sonet, concludes that Shakespeare, undoubtedly, seeks death. The rational actualization of individual elements of the artistic world of Shakespeare in the worldview structures of consciousness, organized in the atmosphere of total pressure of reality on the identity, consciousness irradiated with existential globalism.

The topic of suicide becomes in the twentieth century not just a literary, or not so much literary, how much the theme of the liberation of the Russian writer (synonym - the Russian thinking, if it is not an oxymmer, a person). But mostly, most Russian literature (text) of the first half of the twentieth century, even doomed to exist in the atmosphere of Nietzsche, oriented not to the aestheticization of suicide, but to the feeling of the inevitability of death (spiritual and physical) in a situation of destruction of common ideals of spiritual life and to create ways to overcome this prerequisite. That is, in the situation of the collapse of the greatest universal idea of \u200b\u200bhumanity, literature is trying to offer new landmarks in the eternal wanderings of a person in the universe of his own soul. S. S. Averintsev speaks of this very accurately: "If there is a common denominator, under which it is not without reason, it is possible to let and symbolism, and futurism, and the public reality of post-revolutionary Russia, then the denominator will be the mindset of utopia in a wide variety of options - philosophical and anthropological , ethical, aesthetic, linguistic, political. We emphasize that we are not talking about social utopia as a genre of intellectual activity, namely, the mindset, about the atmosphere "[Averintsev 1990, v.1.: 23].

As for the theme of the madness, the literature of the twentieth century gave so many concepts of the insane world, then inevitably causes doubt the thesis of M. Fouco that the era of the late revival raised the madness to the transcendental height [Foucault 1997]. Within the framework of this work, not touching in detail the problem of "madness in the work of Shakespeare and Modernity", we will focus on this comment.

The spiritual proximity of two epochs is formatted on the ontological level through identical bodily models of the universe. At the end of the first act, the Hamlet makes a diagnosis of his time: "The days of the binder thread broke up / how I scraps to connect them!" [Shakespeare 1994, T.8.: 41], translated, closer to the original: "The century will dislocate. Oh my evil lot! / The century I should fix my hand "[Shakespeare 1994, T.8.: 522]. In 1922, the fact of the collapse of the "communication of times" specifically draws O. Mandelshtam: "My age, my beast, who will be able to look into your pupils / and its blood smokes / two centuries of the vertebrae" [Mandelstam 1990, T.1: 145]<#"justify">.2 Hamlet in Poetic Most Vendor A.Blok

Not the last role of Shakespearer Hero played in the life and work of A. A. Blok, who was organized by the name of Hamlet of Russian poetry. The poet was fortunate enough to play the amateur role "Uznik Elsinor" in his youth (his future wife, the daughter of Chemist Mendeleev played Ophelia), and then throughout the life of the prince was a peculiar interlocutor and a source of self-knowledge for him. The tragic game of passions will begin to unfold not so much on stage as in life.

Shakespeare - a satellite of a block from early adolescence, when he rewrites and declares the monologues of Hamlet, playing Shakespeare on the home stage, discovering the limitless world of thoughts and passions, theater and poetry contained in them, until the last years of life when he works in BDT And in this regard, the importance of the great playwright and poet.

Shakespeare is one of the elements of the block department, - permeates all his work, at times going to the surface in the form of direct appeals, references, comparisons, images, quotes, but constantly staying at a depth and giving themselves to know in the organization of poetic space, in working on drama And in thought about the theater, in life impulses. Shakespeare imposes its unique imprint on life, fate, the identity of Alexander Blok.

Shakespeare Hamlet is most fully expressed by the tragic bundle of the hero with time and with himself. That is why this hero is accepted by romantics as romantic. Later it will take himself as organically its, glittering, Alexander Blok.

Blocking Hamlet is a big and deep topic. For the first time in the 1920s, MA appealed back in the 1920s. Rybnikova. Her observations completed it by TM Motherland. However, the theme of Hamlet was only raised by these research, but not exhausted. In the proposed study, we are talking about the Gamlett complex of the lyrical hero of the block. Among other literary and mythological characters on which the lyrical hero of the block is oppressed, the image of Hamlet has a special place. First of all, because it has a special stability in the work of the block: his evolution is clearly traced from the early poems to the mature lyrics of the mid-1910s.

The amateur play is covered. The block is taken for the "Hamlet", it is vigorously supported by Anna Ivanovna Mendeleev, which took on the functions of the director, Grider and the costume screen.

Selected excerpts from the tragedy, distributed roles. Start rehearsals in Cene Saraj. The block in the role of Gamletus pronounces the text in a somewhat strange way: a little in the nose and taxes - as they read the poets of their own poems. Love Dmitrievna, having learned the role of Ophelia, unexpectedly refuses rehearsals. She wants to prepare for the spectral alone, walking through the forest. Yes, and the prince Hamlet improves his declaignation, retaining in the house.

The premiere is scheduled for the first of August. The shed is constructed frames. Fifteen lamps are collected for lighting. All benches for the audience are busy with Mendeleev's relatives, landowners-neighbors, peasants. There was a rumor that real artists play from Moscow. A simple audience does not always understand the meaning of what is happening on the stage. Some see there "Chesshantovsky Barina" and "our young lady", others, on the contrary, perceive everything literally and the next day they will talk about how "Marusya drowned" (bearing in mind Ophelia).

At first, the artist of the role of Hamlet goes to the public to retell the brief content of the tragedy. And then the curtain opens and monologues follow. When a block in "be or not to be?" It comes to appeal to Ophelia, this name itself sounds magically. In the Sen Sarader there is an atmosphere of authenticity, which is not always present in the present theater with his professional routine.

Then the block, with a glued beard and mustache, in the clouded mantle, becomes King Claudia. Next to him playing Queen Serafima, the grandchildren of D. I. Mendeleev. Her sister Lydia appears on stage in the role of Laerta, after which - the outlet of the insane ophtelia, in a white dress, in a wedge of paper roses and with alive flowers in the hands of ...

The effect is even stronger than during the monologues of Hamlet. On the performers themselves passed the charge of theatrical electricity. A particle of art is mined, an element not provided for by the Mendeleev system ...

And the prince Hamlet, maybe for the first time broke out of the ultrasound egocentrism. The first poems issues appear in the flow of poems-replies:

"Why do you need a child?" - Thoughts repeat ...

"Why does child?" - I eased the nightingale ...

When in a silent, gloomy, dark hall

The shadow of Ophelia is mine.

At the initial stage of the block, the topic of Hamlet and Ophelia occupies. His relationships with ld He sees Mendeleeva in the light of this literary myth. Subsequently, there is an increasing switching of interest and attention from Ophelia on Hamlet, the reflection of the lyrical hero increases:

I dreamed again, in the colors, on a noisy scene,

Crazy like passion, calm, like a dream,

And I, plunged, inclined my knees

And I thought: "Happiness there, I am again conquered!"

But you, Ophelia, looked at Gamlet

Without happiness, without love, the goddess of beauty,

And roses poured on a poor poet

And with roses flowed, his dreams were poured ...

You died, all in Pink Siagni,

With flowers on the chest, with flowers on curls,

And I stood in your shouture,

With flowers on the chest, on the head, in the hands of ...

Personal thoughts and emotions of the poet dissolve the myth of the gamlet, forming a Gamlet's complex of minigors. If at first it is rather a romantic mask, a game in Hamlet on the home stage and in life, although even then in some extent a premonition and prophecy, then later the mask becomes a person: the poet was destined to live and survive the fate of Hamlet.

A huge Shakespiest theme is connected with the "Hamlet" tragedy, a universal metaphor with the deep philosophical content of the "World - Theater", which had a special importance for the block, which became a cross-cutting metaphor in his work, with a multitude of semantic aspects. This metaphor originally contains ironic subtext, undermining confidence in reality, suspecting it in lightness. This attitude to life is possible only in the era of the fracture, the crisis of humanism. The blocking interpretation of this metaphor determines the symbolist philosophy and aesthetics. Consciousness of symbols, which carrying the idea of \u200b\u200bthe lability of the "local" world, the conventions of his scenery, inevitably theatriates of this world. An important feature of the culture of this era becomes theatricalization of life surrounded by a block, a game of costumes and masks, the revival of the masquerade. This is a relationship to life as a masquerade, "Bright Ball" is reflected in the bloc lyrics. The symbolistic meaning of these images is as follows: everything in this world is transient, irrefidentally, neither; Only "far worlds" are true, opposed by the "local female", "Ball" of life. The awareness of the hero of lightness, the non-relief of life makes images of Pear, Bala, Masquerade Ghosts, emotionally paints them into tragic tones.

Shakespeare Carnival, which he is revealed in comedies, with transformations and dressing, is temporary, helping the heroes to decide on the Great Scene of Life, to find their true roles, to come true. This is a bright cheerful holiday. The difference between this type of Shakespeare theatricalization of life and Blokovsky is the same as between the carnival and Masquerad.

The hero of the Blokovsky Masquerade rather relates to the "knowledgeable" hero of the Shakespeare tragedy. "Ball" exposes the inner conflict of the hero of the block, his duality. On the one hand, - he "thrown into a bright ball"; On the other hand, in contrast to the surrounding masks, it is not deprived of authenticity and is tragically experiencing the lack of genuine life, the impossibility of incarnation ("and in the wild dance of masks and the prettiness forgot love and friendship lost"). This theatricalization contains the moment of liberation from a nearby world. Overcoming from lightness becomes possible not only through the aspiration towards "other worlds", but through the appeal of the "local" world in the genuine ("But only the false life of this blush fat east ...").

The tendency towards the internal disclosure becomes a source of peculiar theatricalization and dramatization in the lyrics of the block. So there are endless block twins: the young and old, carefree and extinct or sinister, filled with rainbow hopes and immersed in despair, doomed, harlequin and Piero. Other sources of twin blocks - comedy del Arte, German romanticism, Heine. These images filled with life, social and philosophical content are subjected to demonization and express amazing, incompleteness, torn of being. By recognizing the block, the twins will disappear when life will find its integrity.

Mask, hiding a true face ("Nakin Lichina! Laugh! Sing!"; "I am growing, turning and linking ...") Replaced by a mask expressing the deep state of the hero ("Mask of the Mourning Soul"; "I will not take off the night cloak", and t .P.). Such "Masquerade" is the only possibility of salvation in the world, where "lies and cunning measures are not". These are obvious reminiscence of the Hamletov role.

If in the early lyrics, the block came from directly theatrical impressions and saw his hero in the role of Hamlet, then gradually the hero is increasingly identified with his role, the mask becomes a face, the likeness overcomes the mask. 1914 poem "I - Hamlet ...", according to exact observation of TM Homeland, - End of theatrical Masquerade:

I - ha "mwage. Kloys blood,

When the network is weaving,

And in the heart - the first love

Alive - to the only one in the world.

You, Ophelia my,

Hung out a distant life cold

And flexible, prince, in the native land,

Clinic poisoned piping.

For block poetics are characterized by role, at first glance, the images of the lyrical character (Hamlet, Don Juan, Demon, Christ). But about the theatricalization of these images can only be said conditionally as about the initial moment of mythologization, which is an important feature of the poetic consciousness of the block.

Unlike role, myth lives consciousness. No characteristic of the image of decorations, costumes, masks. There are no concepts of artist and image themselves. There is a complete identification of the hero with his mythological analogue, he is experiencing the fate of the mythological character. This is exactly what the hero-Hamlet appears in the poem of 1914.

In the development of the metaphor "Life - Theater", with all the identity of its implementations in lyrics and the worldview of the block, and obvious Shakespearean began: Gamletovsky reminiscence, a "covered" mask and a discontinuing mask, a tragic irony, which is the essence of the point of view on the world as Theater, exposing cosupiness and false lifestyles, flowing from here, the lively impulses aimed at debunking the humiliating real in the name of a more worthy future.

II.3 Reminder of the image of Hamlet in Poetry A.Akhmatova and M.I.TSvetaeva

Hamlet - a man with a split consciousness, tormented by an irresistible discrepancy between the ideal of a person and a person real. These words - in another place - the Shkespeare himself says the mouths of Lorenzo: "So we have a soul to split the spirit of kindness and evil self-adequacy." Hamlet appears by the messenger of the death and the dark side of this world, and Claudius is his life force and health. It may seem a paradox, but it is worth thinking about the phrase "In the role of King Denmark, Hamlet would be more dangerous than Claudia," and everything becomes in place. The point is not even in the vitality, but in the metaphysical essence of that phenomenon that the scene of the pile of corpses. Fighters with evil, multiplying it incallible.

For Dostoevsky Shakespeare - the poet of despair, and Hamlet and Gamletism - the expression of world sorrow, the consciousness of his closer, Handra is complete hopelessness with the unatolya thirst for any faith, the Kainskaya longing, bile rings, flour throughout the doubtful heart ... Embittered and itself Everything that it saw it.

In the 20th century, modernism with drastically different creative techniques and methods comes to the literary arena. If social problems prevailed in the literature in the XIX century, then in the 20th century, an interest in the inner world of man and, as a result, subjectivism was published on the fore. In accordance with this change, priorities have changed the forms of the existence of Shakespeare Reminiscovers.

The "golden age" of Russian literature is symboling by the epochs of early and high rebirth. This statement is all the more apparent that as such a rebirth in Russian culture in general, and in the literature, in particular, did not exist, and Baroque, if the functions of the Renaissance era, neither as not in the literature, but, above all in painting, and architecture. With this consideration of the overall development of the spirit of Russian literature, the aberration of proximity is removed, Shakespeare becomes the post-minute of Pushkin and Lermontov and is not so far behind in the semiotic space from Balmont and White. At Akhmatova at the beginning of creativity, this temporal paradox is realized very harmless. In the collection "Evening", where the childhood of the consciousness of the poetry of the beginning of the twentieth century is, there is a microcycle "Reading Hamlet", consisting of two poems. "Hamlet" is the text that exists in the nearest environment (by the name of the cycle and direct citations), and Pushkin's poems are removed in aesthetic space, since an intertextual connection is encrypted not through a quote with an attribution, as in the case of Shakespeare, but through allocations.

A. Akhmatova 1. The cemetery dust dust with a wasteland, and behind him the river river. You told me: "Well, go to the monastery, or married a fool ..." ... 2. And as if, by mistake, I said "you," the shadow of smiles of cute features. From such reservations, everyone will flash eyes, I love you as forty gentle sisters. Shakespeare Hamlet (Ophelia): Getting up to the monastery, I tell you ... And if you certainly need to marry, go beyond the stupid ... Hamlet (about Ophelia, "): I loved Ophelia, and forty thousand brothers, and all the love of them is not a couple. A. S. Pushkin Empty you hearty you, thus replaced, replaced all happy dreams in the soul of in love. I stand thoughtfully standing, I have no strength from it; And I tell her: how are you miles! And I think: I love you!

The situation of the poem A. S. Pushkin "You and you" is given from the point of view of the woman, and the plots of both poems completely coincide and consist of a phase: a molts - joy - confusion - recognition in love. But the final poems at Pushkin "and I tell her:" As you are miles, "/ and think:" I love you "" Keep the mythological opposition of male and female, while the Akhmatova bodily essence of the universe taboo. Love "sisters" - love is only spiritual, albeit hyperbolized with numeral. The "Electra Complex" (the reverse side of the "Edipova of the Complex") is implemented in the desire of one poet to become equal to another (the relationship of brother and sister is not the fact that the relationship of the father and daughter).

But one of the masks of Pushkin, which exists in the consciousness of the early Akhmatova, is just a Hamlet who is trying to determine in his bodily existence to Ophelia.

The gap on this textual (plot) level is further turning into the idea of \u200b\u200bthe need to "pick up the world", an understanding of the impossibility of bodily doubling is sublimated in the utopian determination to combine the "two centuries of the vertebrae".

The possibility of the effect of greater temporary and physical approximity of the Hamlet compared to the cultural concept of Pushkin is laid, again, in the text of Shakespeare. In relation to the language, the Hamlet appears before us by the avant-garde, denying, consciously destroying the former iconic, semiotic system: "... I am with a memorable board of a sota all signs / sensitivity, all words from books, / all images, all the possessions, / that since childhood observation It was listed, / and only your only vein / all volume, I will write the whole brain book ... "[Shakespeare 1994, T.8.: 37].

Shakespeare Reminiscences in Poetry M.I. are especially indicative in this regard. Tsvetaeva. In 1928, on the impressions of reading the Shakespeare "Hamlet" of the poetess, three poems writes: "Ophelia - Hamletu", "Ophelia in defending Queen" and "Dialogue of Hamlet with conscience".

In all three poems, Marina Tsvetaeva can be distinguished by a single motive prevailing over others: the motive of passion. Moreover, Ophelia appears as a carrier of the ideas of the "hot heart", which at Shakespeare appears a model of virtue, purity and innocence. She becomes an agreed defender of the Queen of Gertruda and even identifies with passion:

I get up for your queen -

I, your immortal passion.

"Ophelia - in defense of the queen" [Tsvetaeva1994: 171]

It is no coincidence that the poem "Ophelia - in defense of the queen" the image of Fedra arises next to the image (almost at the same time that the poems of the Hamletovsky cycle, and the poem "Fedra" is written:

Prince Hamlet! Pretty tsaritsyn subsoil

Dispel ... not virgin - court

Over passion. Hardweight guilty - Fedra:

They sing about her and soy.

"Ophelia - in defense of the queen" [Tsvetaeva 1994: 171]

In the world literature, Fedra became an embodiment of a need for a sinful passion, which ends only death.

According to the lyrical heroine of the poem, alien passions, "Virgin" and "Women's" Hamlet has no right to "judge inflamed blood," because he himself did not feel strong feelings. He is not just reasonable, he gone so far away from the world of people, that their feelings and aspirations were not clear to him ("Divorous undead preferred," says about him. This is repeatedly emphasized in the poems of Ophelia - Hamletu and Ophelia - in defense of the queen. " Here is one of the quotes.

Hamlet - responded - Natogo,

In the nimble of negotias and know

Pale - to the last atom ...

(Year one thousand which is the publication?)

Ophelia in the poem Tsvetaee as it predicts that the Hamlet will remember about human feelings, only after her death:

Per hour when over a stream chronicle

Hamlet - pulled - We will set ...

"Ophelia - Hamlet" [Tsvetaeva 1994: 170]

In this sense, the poem "Dialogue of Hamlet with conscience" looks directly lyrical continuation. It is in him that the prediction of Ophelia comes true, and Hamlet thinks about his feelings for her.

The famous phrase of Hamlet is played in the poem:

I loved her. Forty thousand brothers

With all many of his love with me

They would not equal ...

Hamlet Translation M. Lozinsky [Shakespeare 1993: 272]

Tsvetaeva does not decide the question, loved Hamlet Ophelia or not. The lyrical hero itself remains in doubt about his own feelings. As further reflections, complete confidence in his love gradually moves from an unequivocal statement to doubts, and then to complete uncertainty.

At the very end of the poem, Hamlet issues itself:

At the bottom she, where IL.

(misunderstanding)

"Gamlet's dialogue with conscience" [Tsvetaeva 1994: 199]

If you pay attention to the form of a poem, then you can see that it resembles dramatic. The poem is based on the internal dialogue of the lyrical hero. The link to this is already given in the title - "Dialogue of Hamlet with conscience". In the poem there is another sign of the drama - the author's remark to the words of the character.

The poem of M. Tsvetaeva reflects the copyright look at Gamlet, attitudes towards the characters of the tragedy. At the same time, the poetess creates quite different from Shakespeare's images and plots - a kind of alternative Shakespearean. Depending on the perception of Tsvetaeva, images of Hamlet, Ophelia, Queen Gertruda are transformed. Ophelias are attributed to non-existent and even impossible in the context of the play of Shakespeare the dialogues with the Hamlet, and the reflection of Hamlet is directed not to the epochal problems, but on personal feelings and experiences. Most of all correlates with Shakespeare's primary source. Last poem. It would most logically fit into the story canvas.

II.4 Image of Hamlet in Poetry B.Pasternak

Boris Pasternak began literary activities as a poet futurist. His collection "My sister - life" received wide fame, but the top of the literary creativity B. Pasternak became the novel "Dr. Zhivago". This work, first published abroad, received world recognition, proof of this is the Nobel Prize, awarded to the Writer in 1958.

In the novel, "Dr. Zhivago" B. Pasternak showed Russia the first third of the twentieth century (reflected the events of the 1905 revolution, the First World War, the October Revolution, Civil War), but it would be wrong to speak only about the socio-political aspect of interpretation of the work. "Dr. Zhivago" - a moral-philosophical novel, in which the writer raises the exciting problems of love (to his homeland and to a woman), at home, responsibility, freedom of personality, creativity.

The crown of the novel - the cycle of the poems of Yu.Vigo, dedicated to the life of the hero itself (poem "Hamlet", "Explanation", "Autumn", "separation", "Date") and Christ ("Christmas Star", "Magdalen", "Garden Garden "). This is a kind of gospel from Yuri Zhivago, the spiritual will, in which he says goodbye to the world:

Farewell, the wing span is painted,

Flock free persistence

And the image of the world, in the word injured,

And creativity, and the miracle.

B. Pasternak, having endowed his hero with a poetic gift, made him in vague, so it becomes the obvious correlation of the fate of Zhivago with the fate of Christ, and the Gospel of Yuri Zhivago becomes the Gospel from B. Pastenak.

By the end of 1947, 10 poems from Notebook Yuri Zhivago were written.

The correlation of poems with the hero of the novel allowed Pasternak to make a new step towards greater style transparency and clarity of thoughtful and determined thought. Transferring the authorship of the poems to his hero, a poet-amateutant, Pasternak deliberately refused the specifics of his creative manner who carried his traces of his personal professional biography - from an underlined subjectivity of perception and individual associativity.

The inner driving impulse of all genuine lyrics, the core of its semantic structure is the moment of comprehension of the lyrical hero<...> There is a phenomenon or event that makes a certain milestone in a poetic biography. Lyrical poem - as thematically, and in its construction - reflects the special, extremely stressful state of the lyrical character, which we call the "state of lyrical concentration" and which is already due to its nature, "on the task" cannot be long.

The first version of the "Hamlet" poem, dated February 1946, is significantly different from the final edition:

So I'm all. I went to the layout.

Leaving for the door jamb

What will happen in my century.

This noise was away by going.

I play them in all five.

I'm alone. All sinking in the Pharisee.

Surprisingly on its generalization and LANCOMMUM RODE: "... The noise in the distance of the running actions." The collisions of the tragedy of Shakespeare went beyond the limits of their time and continue in the next century. This is the struggle of single humanists with cynicism and cruelty, reigning in society.

In the given version, there is not the depth of the pondal of life that is inherent in the last edition.

The interpretation of Hamlet in this poem was distinctly personal, the meaning of his fate was associated with a Christian understanding of life as a victim.

"... Hamlet refuses himself to" do the will of his heaven. " Hamlet is not drama of non-abstentivity, but the drama of debt and self-denial. When it is found that visibility and reality are not converging and the abyss shares them, it is not essential that the reminder of the falsity of the world comes in a supernatural form and that the ghost requires a gamlet. It is much more important that the will of the case of Hamlet is elected to the judges of his time and in the servant more distant. "Hamlet" is a drama of a high lot, the protected feat, entrusted purpose. "

Even in Chistopol, Pasternak wrote the first scattered sketches of their "notes about Shakespeare". He defined the "bottomless music" of the Hamlet's monologue "to be il not to be" as "the advanced Requiem, the preliminary" now vaccine "for every unforeseen case. They all redeemed and enlightened. " Now, after five years, chosen and overtaken each other, the inappropriate expressions of Hamlet's monologue Pasternak compares with a "sudden and obscure breakdown of the organ before starting requiem."

"These are the most trembling and insane strings ever written about the longing of the unknownness on the eve of death, the power of the feelings towering to the bitterness of the Gefseim notch."

In the final edition of the poem "Hamlet", the words "praying about the bowl" were introduced, which combine his hero with the image of Christ.

The poem is dedicated to the acting person of the tragedy - Hamlet. This hero Pasternak was highly honored as a representative of the "indigenous directions of the human spirit." Hamlet was the road to the poet to his ministry of good and justice. "The audience," the poet wrote, "it is granted to judge how great the sacrifice of Hamlet, if, with such types of future, he comes with its benefits for the sake of higher target" - fighting lies and evil.

It is impossible to understand the meaning of the poem "Hamlet" without taking into account his writing time. In the 40s, the compass registers were published: "On the magazines" Star "and" Leningrad "", "On the repertoire of dramatic theaters and measures to improve it", "On the movie" Great Life "", "On Opera" Great Friendship "in .Murats. It was an unceremonious dictate of the authorities, how to write poems and stories, make movies, put the performances, compose music.

At the same years, Pasternak was attacked criticism. Alexander Fadeev wrote about the alien to the Soviet society of idealism in the work of the poet, about Pasternakovsky "Care of transfers from relevant poetry on the days of war." Alexey Surkov wrote about the "reactionary lagging outlook" Pasternak, which "cannot allow the voice of the poet to become a voice of the era." Despite this, Boris Leonidovich truncated the idea of \u200b\u200bthe novel "Dr. Zhivago" (he began to work on him in mid-1945). He wanted to tell his work about those disasters who brought the October Revolution to the peoples of Russia. The book created subsequently completed the verses of Zhivago. The first of them is "Hamlet", which focuses the author's thoughts about its time. This is a kind of confession of the poet, the likelihood of his life is the fate of the Shakespiest Hero, "the weapon against the sea of \u200b\u200bdisasters".

With the hero of the tragedy of Shakespeare of the lyrical hero of the eponymous poem, B. Pasternak brings together the same aspiration: make your life choice "in the mortal fight with the whole sea of \u200b\u200btroubles" ("Hamlet", Act 1). He, like Hamlet, feels the gap of the "binding thread" of times and its responsibility for its "connection":

The days of the binding thread broke out.

How to connect them scraps! ..

(V. Wespir. "Hamlet")

Many memoirists noted that when reading this poem, the poet emphasized his proximity to Hamlet.

Let us turn to the text of the poem:

The hum of quiet. I went to the layout.

Leaving for the door jamb

What happens on my age.

"Ground Natih". The word rumble is more correlated with many-voiced noise of the crowd on the street than with noise in the theater before the start of the performance.

"I went out to the layout" - it means not only went to the scene. The word of the stage has another meaning: a construction on the square for a speech before the people. It is on a street dumpline that "door jamb" is possible. "I went out on the layout" in itself and other meaning (metaphorical). For the writer of the page of his creations the same stage, where his voice is heard. In the "echo", the reaction of the reader to the work, one can foresee what "happens to ... century."

The "axis" of life touched on the fate of Yuri Zhivago: it turns out to be in the center of the Universe, "at the crossroads", trying to predict his "role" in the world "drama".

In the rows "Sugura nights are instructed on me // Thousand binoculars on the axis" contains a kind of share.

The image of "thousand binoculars" expands the artistic space of the poem. For this metaphor - understanding the essence of human being. The world is a huge space. Thus, the topic "Life-theater", declared in Shakespeare's tragedy, B. Pasternak expands to the infinite - "The soul wanted to be a star" (F. Tyutchev).

"Dusk Night" implies the oppressive atmosphere of the Union, which reigned in the country. "Dusk Night" carried out thousands of owners of "binoculars on the axis": officials from literature, censors, begged. They peered, listened to the life of the poet. And the lyrical hero asks God ("Avva Father"), so that their court passed him. But the electing path is erected to the "eternal prototype" and conjugate with the inevitable suffering;

Unless you can, avway,

The bowl of this pass is pasted.

The image of the bowl is an open gospel reminiscence: "Yes, the bowl of this!" In this circulation, the periphyra prayer of Christ in the Garden of Garden before, "how the hands were laid on Jesus Christ and took it. And the departed a little, fell on his face, prayed and said: "My father! If possible, I will send me a bowl of this "" (Matt. 26, 39).

Here, the premonition of complete death as the price for the "role-playing" destination of the Creator, the artist. There is a motive of sacrifice for free creativity. It is implemented in the last quatrain. This quatrain represents the "end of the path" - that is, the "crucifix", the victim "for many<...> In leaving sins. "

In the next stanza, the poet talks about his commitment to Hamlet as a fighter with injustice:

I love your plan stubborn

And play this role to play.

"Play this role" is not the acting execution of the face of the play, and the desire to make a mission of the hero as a fighter with the "dislocated century".

But now there is another drama,

And this time I dismissed me.

We are not talking about another play ("Other Drama"), but about the tragedy of life itself, which is superior to the drama of Hamlet. And in vain to confront the established rules of the authorities.

The prayer of the lyrical hero about the change of fate, about mitigating life blows is the eternal human appeal to God, but at the same time the hero feels that "inevitable the end of the path":

But thought out the routine of actions,

And inevit the end of the way.

Esopovsky meaning of these rows is transparent. The poet will not refuse to publish the "Dr. Zhivago". But this "action" will inevitably result in a kara ("inevitable the end of the path").

So, Pasternak managed to foresee how his life circumstances will be collaborated after the publication of the novel. How much bitterness and pain in the above statements of the poet, awareness of the inability to change anything in their fate: "There is no way differently, nor live nor think." And about this final lines of poem:

I am alone, everything is sinking in the Pharisee.

Life live - not the field go.

Pharisees - personification of hypocrisy, lies, lawlessness. In the instruction of Jesus about the Pharisees pronounced: "Mount to you, scribes and Pharisees, hypocrites, which make the kingdom of heaven to people!" Thanks to this reminissation, you can understand the true role of both the lyrical character, and Yuri Zhivago, and Boris Pasternak (as we see, only these heroes remain in the end). The proof of this is the semantic color of individual words: the stage in the first stanza seems to be actualized by theatrical destination of fate. However, the following words: the role, drama, the routine of actions deprive the right of choice, but they all turn out to be reduced to one formula - "life live - not the field go." And this is no longer from the acting game: life wisdom does not tolerate hypocrisy. Life itself is a choice, live it - it means this choice to do.

"I love your plan stubborn, but this time (" And this time I dismiss me)) I know my destiny and going to meet it, coordinating my choice with the folk wisdom "Life to live - not the field go." This is the true face of the hero who courageously coming to an inevitable end. The choice of the path was made in favor of Christian ethics: I go towards suffering and death, but in no case - lies, inappropriate, lawlessness and challenge.

The last line of the poem ("Life live - not the field go") does not belong to the lyrical hero. This is a national speech talking about the wisdom of his creators. A person is a prisoner of his time and is forced to obey the power of circumstances, sometimes fall on its principles. In the name of the good of loved ones, he received his principles and Pasternak. He refused the Nobel Prize, requested the N.S. Khrushchev did not send it outside the country, as the "public" required.

Several comments on the tank and chasing words in the work. Some rows aphoristically express the author's thoughts: "Surak night", "" ... Play this role is to play, "" ... Now there is another drama "," ... thought about the routine of actions "," ... inevitten the end Ways "," ... everything is sinking in the Pharisee. " The appeal of the poet to the theater, the play of Shakespeare led to a certain selection of vocabulary: the stage, binoculars, the idea, play the role, the routine of actions, the end of the path. But each of these words and expressions are in itself and figurative meaning. Sixteen lines of "Hamlet", and how much is told by the poet about his time.

The state-machine is one of the central mythologies of the cultural consciousness of the twentieth century. First of all, it functions in the structure of utopia, primarily the social (idea of \u200b\u200bcommunism and technocratic state). The lyric rethinking of the destructive essence of the "car" see B. Pasternak in his "Theater Dilogy": a poem of 1932 "Oh, I would know that it happens ..." [Pasternak 1988: 350-351. and the opening "poems Yuri Zhivago" "Gamlet" (1946) [Pasternak 1988: 400-401]. Associative series "Poet - Actor - Hamlet - Jesus Christ", which constitutes the core of the image of a lyrical hero, organizes the development of the lyrical plot of this "AUTOMINETEST", a kind of "event row", "the storyline" or "main plot" - the essence of the case Not in terms.

Understanding the duality of the world, which is divided into reality ("soil and fate") and art (theater and poetry), - in the exposition, in the first two stanches "Oh, I would know that it happens ...". The subjunctive mood and pastime of verbs - "knew", then "refused b" - indicates a stable worldview model, which is based on the idea of \u200b\u200bdowemine, close to romantic. But already here is the tie of reflection: poetry in general and art as a whole can lead a person to death. Moreover, this can only happen at the time of the highest spiritual stress ("it happens") when the barrier is overcome between the text and the physical world. Therefore, the very deep structure of the poem can be expressed in the Shakespeare binary opposition "to - not be". Stay in poetry, that, in fact, suicide, or distanced from it, is not too late. After all, "it happens", but not.

In the poem "Hamlet", metamorphosis has already fully happened. Scene, text is truth, and all that a rape and word, - Phariseesy, lie. This is the world of the other, door jamb - the border between the two worlds. Hamlet Pasternak is devoid of choice, it is doomed to death. The last lines "but thought out the routine of actions, / and inevit the end of the path", despite the citation in the previous stanches of the Bible, do not overcome entropy, do not carry teleological ideas. After death, only the unitious world will remain, "Dusk Nights".

Thus, the general storyline of this dylogium can be represented as follows: 1. The exalted life of the Creator simultaneously in two worlds - 2. The choice between the world is the real and world of art (here "artificial") - 3. At least the inevitability of physical death in the world of art, which Lost "artificiality", remained the only guarantor of the truth of reality.

The exemption from the autobiographical aspect allowed Pasternak to expand the lyrical topics, which mainly refers to verses for gospel plots, but at the same time does not contradict poems, including details of their own biography. The highest example of the harmonious merger of both trends was the poem "Hamlet", which transmits the fever and flour of Christ prayer in the Goloby Garden, the last prayer in front of Calval.

II.5 The image of Gamlet in the poets of the Silver Century poets: Analysis of the artistic text in the lesson of literature in high school

The lyrics of the Silver Century poets is studied in the 11th grade of secondary school.

For the lesson, we chosen four poems: A. Block "I am Hamlet. Blood cold ... "(1914), M.TSvetayeva" Dialogue of Hamlet with conscience "(1923), A.Akhmatova" In the cemetery, the desert dust dust ... "(1909) and B. Pasternak" Hamlet "(1944). Texts are printed on one sheet and distributed to students on the eve of the lesson. The task was formulated extremely generalized: you need to choose one of the proposed poems and prepare for a written story about it. There are no prompts with students, then all the answers will be different and their discussion will be devoted to another lesson. The essence of the task is only to search for rolls with the tragedy of Shakespeare, not only reflecting on how one or another poet perceived the plot situation of "Hamlet" or any image, but also to watch the "as done" a poem.

So, in the course of working on the text of the lyrical poem, it is necessary to actively develop and use methods and techniques of independent work, requiring students of the manifestation of creativity, innovation and allowing to identify the dynamics of promotion to understand, that is, the regularities of the transition from just knowledge to the knowledge of "personal", conscious (Writing the final works involving the recreation and transformation of the main conclusions of the training dialogue).

Let us give excerpts from the works written by students of grade 11. Some of them seem controversial or too paradoxical, but they all indicate a personal, concerned about the guys to the poetic text, which is in this case the main thing.

In this poem, two lives are echoing: the life of Hamlet and the Block itself. If you do not know the biography of the block, you can simply trace the life of Gamlet: first the fight against cunning, then the death of his beloved Ophelia, and then the Hamlet itself dies from the poisoned blade. But in the poem it is felt by some strong personal supervision ...

Dmitrievna Mendeleev's love was the first love of the block. Subsequently, he had other women, but her one, he as if put on the pedestal over everyone. Their relationship began in 1898, when both of them played in the Gamlet, put in the estate of Father Lyubov Dmitrievna, in Boblov. He played Hamlet, she - Ophelia.

And now, when the sketches of the poem are made, they are separated. It is far and the block feels the whole cold not only distances, but also its changed attitude towards him. "You, Ophelia my, // lifted the far life of cold" - just about it ...

Natalia V.

"Blood cold" - Hamlet gradually dies, the only thing that does not give it to do is, the first love, alive, and everything else, already fading, froze. "Ophelia My Cool led distant life" - she, too, froze. "The blood cold is cold," the death of Hamlet looks like a consequence of death of Ofelia: before that time one spark remained - love for her, but she fastenses, and the Hamlet is frozen. "Updated" - and "flexible": only after that the Hamlet dies ...

No, he did not love Ophelia ... Before death, a few minutes remained, and if he loved Ophelia, he would have devoted to the thoughts about her all. He thinks about himself, regrets himself, justifies himself. He even turns inside out the cause of the death of Ophelia, and it turns out that he himself is not guilty ...

Alexey V.

Reading the poem of the block, I imagine how a knight in very, very cold, brilliant from the cold armor first stands, and then quickly rushes against the cold wind, not hearing him, and it is still colder. But in the knight itself, the heart beats, in which the hot perturbation and the inner cold gradually displacing kindness and love. The external wind and the cold knight does not feel at all, only frozen fingers are very awkward kept spear, turning into air and cold ...

A. Akhmatova

It seems to me that my perception of Ophelia and Hamlet in something is very consonant with Akhmatovsky. I can't not admire Ophelia, her will of the will and the power of her love. For Akhmatova, this pain caused by Ophelia Hamlet becomes a symbol of greatness - the royal "mountainous mantia". Ophelia has handed over - and this is her little victory! At the same time, it felt that she is very insulting and sad. "Princes only always say that" - Hamlet spoke not only that, but at this point I think about it even more painful ...

Hamlet passionately loves Ophelia, but puts the mission of the elimination of injustice, for which he believes, he is born above personal happiness. For the performance of the plan, he plays crazy and therefore in a conversation with Ophelia says that she does not like her anymore.

But Ophelia also loves Hamlet. A sudden repulsion of her, the departure of "in the monastery or marry for a fool" turns out for her too serious impact: she "this remembered speech." When after that he kill her father, she goes crazy and soon dies.

All her thoughts after she went crazy - about the father and about the Gamlet: then she represents how she cries over the grave of her beloved, he imagines himself to his wife Hamlet - Queen, dressed in the mountainous mantle.

If for Gamlet in the heart, love for Ophelia remains a true feeling, and insensitiousness is only visibility, a mask, for Ophelia, the repulsion, dislike of Hamlet, and loyalty, True love is now only a lie: instead of a real mantle, only repulsive words remain with it. Gamlet, speech, which will rip up a "one hundred century in a row of the mountainous mantle from the shoulders."

This poem is not about the gamlet, but about the prince. Remember the associate? She had his own prince who sailed on the ship with Alami sails and took her with him. Assol's dream came true. And the same prince is both Akhmatova and Ophelia. The rest of the people when you see the prince are somehow lubricated in front of it, as at night, the view from the window is lubricated when you turn on the lamp. It says about the rest: "... or married a fool." And it is for the prince, and not for the "fool" want to marry. Let the Prince's Assol perfect, let Ophelia he really does not matter. He is.

But the tragedy is that the prince, that which Ophelia sees him, no. No, since "Princes are always talking only." "I did not love you," the princes say, and only Gray, the prince of the dreams came to the associate. And Ophelia faces reality. What should she do? Either dream of a prince, or - "Go to the monastery or marry a fool." But she chooses her way ...

Tatyana D.

M.TSvetaev

The Gamlet's Dialogue with conscience is well conveyed by the essence of his character: constant doubts and attempts to sort it yourself, to identify the truth. Hamlet is aware that there is his fault in the death of Ophelia, but puts a huge love for her in an excuse: "But I loved her, // How forty thousand brothers cannot love!" The conscience is persistently repeats: "At the bottom of it, where IL ..." Gamlet's statements become every time everything is shorter and shorter (three lines, two lines and one). For the first time he speaks with fervor (worth an exclamation mark), in the second breaks the phrase (ellipsis) and, finally, doubt (two signs of the question) appear.

Conscience constantly emphasizes the irrevocability of what happened: "And the last whine // surfaced on the curvature birings ..." If you see the focus on the word "il", it turns out that the water in the river with a muddy bottom, muddy, and Ophelia - the flower of life - rests in such a mut (according to Tsvetaeva, it remained at the bottom) ...

Ekaterina N.

Most of all in this poem pleases the fact that Hamlet has a conscience!

Sergey L.

B.Pasternak

B. Pasternak wrote about his novel "Dr. Zhivago": "... This thing will be an expression of my views on art, on the gospel, to a person's life in history and much more." The latter part of this novel is the poems of Yuri Zhivago. One of the most famous - "Hamlet".

The hero of the poem is alone, infinitely alone because it cannot freely communicate, talk, share thoughts with other people. The whole country is "Phariseesyoval", and the poet felt it and suffered ...

Andrei Ch.

In the poem, you can find a lot of rolls with the "Hamlet". First of all, the hero of the poem says that he is one in the world in which "everything is sinking in the Pharisee", that is, there is a lot of evil in the world, with which the Hamlet must fight: "I love your plan stubborn // and play this role "... At the same time, Hamlet understands that it will happen to him:" ... to inevit the end of the way. " In addition, at the Hamlet "Sugura nights / / thousand binoculars on the axis", that is, all the worldly evil is directed to him ...

Conclusions on chapter 2

Hamlet - hero of the same name TRAGEDIY W. Shakespeare; One of the eternal images, which became a symbol of a reflective hero, not deciding for a responsible effect because of doubt on the right and moral impeccability of his act (one of the common later interpretations is a fearless thought in impieving, "will paralysis"). Reminiscesses of the image of Hamlet are imbued with Russian literature of the XX century.

A.blok We find a new type of artistic thinking: not the use of individual motifs, a separate topic, not repetition and borrowing images, but deep penetration into the atmosphere of tragedy, the correlation of the thoughts and feelings of the literary hero with their own, works of art with life, reproduction of literary Myth at the level of vital, philosophical, psychological and artistic. The block tradition of Hamlet can later be traced in Poetry M. Tsvetaeva, A. Akhmatova, B. Pasternak, P. Antontic, D. Samoilova, and others. In poetry M. I. Tsvetaeva Hamlet - a symbol of noble, but lifeless purity, in the poem of the same name L. Pasternak Hamlet - a whole person who made his choice: Care from alien to his spirit of modernity. Hamlet Pasternak begins with the same as the Gamlet Blok, with the thirst for the ideal. They want to be the heroes of the "other drama", to create it according to the laws of their beauty, the laws of the heart, good, dreams, truth-law. Resurrection them was questioned, since his price appears exorbitant - refusal from himself.

Conclusion

Hamlet entered the gallery of eternal images of world culture, occupying in it one of the most prominent places. In the study it is planned to be disclosed widespread, but not a clearly defined idea of \u200b\u200bthe perpetual images and their functions in culture, consider various aspects of the image of Hamlet in the tragedy of W. Shakespeare and its interpretation in Western and Russian cultural traditions. It is necessary to reveal the special meaning of the image of Hamlet in the establishment of such a phenomenon of domestic culture as "Russian Shakespeare".

The "Hamlet" tragedy became not only closest to the Russian reader, literary and theatrical critics, actors and directors, but acquired the meaning of the text-sensitive artwork, and the name of the prince became nominative (P. A. Vyazemsky, A. A. Grigoriev, A. N. Plesev, A. A. Fet, A. Blok, F. Sologub, A. Akhmatova, N. S. Gumilev, O. E. Mandelstam, M. Tsveyev, V. G. Shernevich, B. Pasternak, V. Nabokov, N. Pavlovich, P. Antokolsky, B. Yu. Poplavsky, D. Samoilov, T. Zhirmunskaya, V. Vysotsky, Yu. Moritz, V. Receptor, and others, did not leave indifferent members of the royal family, for example, the Grand Duke Konstantin Konstantinovich Romanova). The eternal image of the doubting "Hamlet" inspired a whole string of Russian writers, who somehow used the features of his character in their literary works. Hamlet was interested in A. S. Pushkin, excited the imagination of M. Yu. Lermontov, in a certain extent "Gamletism" was inspired by F. M. Dostoevsky, a special look was expressed in the opposition "Hamlet and Don Quixote", nominated I. S. Turgenev, later received In Russian self-consciousness, the status of a cultural constant.

The influence of the images created by Shakespeare, it is difficult to overestimate the world literature. Hamlet, Macbeth, King Lear, Romeo and Juliet - these names have long been nominated. They are used not only as a reminiscence in artistic works, but also in normal speech as the designation of any human type. For us, Othello - Jealous, Lire - the parent, disadvantaged by the heirs, whom he himself and enforced, Macbeth is a usurper of power, and Hamlet is a reflective person, which is broken by internal contradictions. The only moral and psychological appearance associates with Shakespeare's prototype, as one or another epoch, one or another interpreter understands it. "Undoubtedly, Eschil, Dante, Homer for the XVI century were not the fact that they became for XVIII, even less than steel for the end of the XIX, and we cannot imagine what they will be for XX - just know that great writers The past and present for the upcoming generations will no longer as they see them see what our eyes love them "[Merezhkovsky 1995: 353]. These words D. S. Merezhkovsky, no doubt, can be applied to Shakespeare.

Shakespeare Reminiscence had a huge impact on the literature of the XIX century. I.S. Romegenev, F.M. Dostoevsky, L.N. Tolstoy, A.P.hekhov, etc. They did not lose importance in the 20th century, were treated for the play of the English playwright.

All the huge reservoir of world gamletistics, which raised the multiple problems of the inner spiritual self-determination of the individual became its generating began for Russian culture. The eternal image of the Prince of Danish, rooted on domestic soil, quickly increasing the scale of the literary character. Hamlet became not only the name of the nominal, he embodied the entire changeability of the self-identification of the Russian man, his existential search of the path through the burned contradictory and tragic events of the history of Russia of the last centuries. The martyrdom of the "Russian Hamlet" was different at certain stages of the development of social thought in Russia. Hamlet became the personification of an artistic, moral, aesthetic and even political ideal (or anti-day). So, for Pushkin in the "Message of Delvig" (1827) (Hamlet-Baratinsky), the image of Prince Danish was the embodiment of a true thinker, an intellectual, in whose ideological nature the reflecting began in understanding the surrounding world is dominated. Lermontov saw the greatness and inimitability of Shakespeare's creativity, embodied precisely in Gamlet. Reminiscences from Hamlet are easily traced in the Lermontov drama "Spaniards", in the image of Pechorin. For Lermontov Hamlet is the ideal of the Avenger-Romance, which suffers, realizing all the imperfections of the Broken World.

Shakespeare studies in Russia developed intensively. The fundamental for domestic science about Shakespeare was the reviews of A. S. Pushkin, Articles V. G. Belinsky ("Hamlet." Drama Shakespeare. Mochalov in the role of Hamlet ", 1838, etc.), I. S. Turgenev (Article" Hamlet and Don Quixote, 1859).

In the rethinking and perception of the eternal image of the Hamlet of the Russian Critical Thought of the late XIX century, the opinion of his full helplessness, unnecessaryness and insignificance ... Prince Danish becomes an "external person", "a gamletized piglet", acquires a negative value, the cause of its inaction is distorted.

In the twentieth century, Prince Danish was finally established as one of the main poetic images of Russian literature. F. K. Sologub, A. A. Akhmatova, N. S. Gumilev, O. E. Mandelshtam, M. I. Tsvetaeva, V. G. Shershevich, B. L. Pasternak, V. V. Nabokov, N. A. Pavlovich, P. G. Antokolsky, B. Yu. Poplavsky, D. S. Samoilov, T. A. Zhirmunskaya, V.S. Vysotsky, Yu. P. Moritz, V. E. Receptor, etc. Not so much Exploited the high intertextuality of the eternal image of Hamlet, how many new faces create it. The most striking interpretation of the image of the Prince of Dansk in the domestic poetry of the last century can be called Hamlet-actor-Christ Pasternak. The unusual of the interpretation of a person's current image in a crisis situation finds Pasternak the features of the true sacrifice of the lyrical hero. Initraward Hamlet-student Nabokova, Prince Buntar-Marginal Vysotsky, but they do not have that lyrical wholeness and depth, which is expressed by the simple and understandable wisdom of the Pasternak Hamlet-actor-Christ: "But the routine of actions, / and inevit the end of the path. I'm alone, all sinking in the Pharisee. / Life live - do not go to the field. "

Hamlet membrane is a thinker membrane. The plot is built in such a way that Hamlet learns true information. The problem over which Götte, Belinsky, Vygotsky, thousands of researchers, were reflected, the problem of the slowness of Hamlet turns the unexpected side. Meeting even with true information, the theusurus of the thinker is critically checking it. In the "Gamlet" W. Shakespeare is spent the first three acts. But even make sure of her truth, he must understand how to react adequately to her. The remaining two acts are leaving for it. The main path of this type of Thesaurus membrane is a testing of reality. Not inaction, namely, the actions of Hamlet (the murder of Polonia, consent to the duel with Laert) indicate tributes in the Hamlet membrane (censorship of information). The old mechanism of activity under pressure "rot in the Danish kingdom" broke. Then turns on the membrane of the thinker. In other words, the Hamlet from nature is not a philosopher, he becomes in front of the audience, passing the phase of genuine madness.

But this does not mean that Hamlet as an eternal image should be interpreted solely as it is presented in the text of Shakespeare. Recall that the words "be or not to be" from the Hamlet monologue, becoming a winged expression, are interpreted in perfect separation from this monologue. Therefore, most people, without even thinking, would answer the Hamletovsky question - "Be!". Meanwhile, if they clarify what "be" is "to humble under the blows of fate", and "not to be" - "We must have resistance ...", then those who were determined with the answer will inevitably think that they wanted to answer Hamleti question, did not hurried with the conclusion.

Similarly, the Hamlet as an eternal image broke away from the system of images and ideas of the tragedy of Shakespeare and lives an independent life, acquiring additional meanings in thesaurus of world culture.

A. Akhmatova in the "poem without a hero" there are two wonderful formulas of modern creativity. First: "I am writing a draft" [Ahmatova 1989: 302] - Poetic design of the philosophical concept of "Text in Text", the second: "But I confess that I used / sympathetic ink ... / I write a mirror letter ..." [Akhmatova 1989: 321 ] Reveals the technique of "re-reading" of the iconic, central texts of culture with a new aesthetic consciousness. The poetry of the beginning of the twentieth century applied to the "Hamlet" W. Shakespeare precisely the principle of mirroring "rewriting", unfolding in the opposite side of the image of the play. They are filled in the twentieth century not just an antonymic content, they become more semantically rich, which, in addition to the installation on "synthetic art", is also explained by the "translation" from the drama language into the lyric language. Moreover, structural recoding occurs: the rod in the twentieth century, they occupied a border, marginal position in the plays of the XVII century, and auxiliary functions were performed. "Hamlet", as the "central" text of any cultural education, is subject to a thorough audit by Russian lyrics, since it contains the energy of the destruction, which the collective consciousness of our poetry seeks to resist.

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In the twentieth century, V. Vysotsky, E. Mironov, was played in the Russian scene of Hamlet, His, I. Kozintov, I. Smoktunovsky performed this role. The tragedy was put in the costumes of the Victorian era, they put on the mini skirts and clashes on the actors, and they were very stripped; Rosencranc and Guildrester took the face of rock and roll stars, Hamlet portrayed a pathological idiot, and Ophelia from the nymph turned into a nymphomaniac. From Shakespeare, they did a Freudian, then an existentialist, then a homosexual, but all these "formalistic" tricks, fortunately, did not lead to anything particularly outstanding.

A remarkable page in the "Russian Hamletian" was the performance of the Moscow Art Theater (1911), delivered by E.G. Crag, - the first experience of the joint work of Russian actors and the English director, with actors and director of diametrically opposing theatrical addictions and directions. The role of Hamlet was played by V.I.Kolov. Elegic V.I. Kachalov nothing seems to be reminded of his loud preder, and nevertheless, in principle, he had all the same dissolution in the gamlet. Moreover, not one Kachalova, but the whole play, Shakespeare and the auditorium: the world is not Shakespeare, and Hamlet.

EG Crag was a shroud of symbolism in scenic art. The vital concreteness of Shakespeare conflicts and images, it replaces the abstractions of a mystical nature. So, in the "Gamlet" he sees the idea of \u200b\u200bthe struggle of spirit and matter. Psychology of heroes does not interest him. The life setting also does not have any meaning in his eyes. Being a given artist, he creates conditional decorations and frees the appearance of heroes from everything that could make them a certain era. True, the practical implementation of its concepts E.G. CRAG was achieved only to a minimal extent, but the ideas nominated to them had a significant impact on the development of decadent trends in the theater. The production of "Hamlet" in the MHT in 1911 only partially expressed his plan, consisting in approval of the idea of \u200b\u200bhuman weakness. Views of E.G. Craga confessed with ideological and artistic positions K.S. Stanislavsky and the theater led by him.

History of relations KK Stanislavsky with Shakespeare was extremely difficult. Progressive MHATI experiments were built on the fashionable then realistic drama and the "romantic tragedy" did not correspond to the image of the theater. But, in the end, the Hamlet performed by Kachachaov demonstrated the public the helplessness of the individual in the atmosphere of the celebration of the reaction forces.

V.E. Meyerhold, concealing the production of "Hamlet", thought to return to the forms of an area of \u200b\u200bthe area, although it was in the Gamlet "Shakespeare identified his disagreements with a publicly available theater and expressed confidence in the court of connoisseurs, loners?

Comedy from the tragedy "Hamlet" in the 30s. Made N.P. Akimov, who, working on the "Hamlet", returned with justified determination at one time to a number of issues, the answers to which demanded updates. What still means "humanism" in applying to the Hamlet and Shakespeare Epoch ("does not match the trivial humanity of liberals at all)? He was also right when, looked around the story of the Hamlet's stages in the past century, concluded that the XIX century on many lands, but invariably, he repeated in the interpretation of the Shakespeare tragedy, the same romantic alignment of forces: "The king is evil; The spirit of the father of Hamlet is the Eternal Beginning of Good, "especially" Hamlet himself personified the night idea of \u200b\u200bgood. " In short, the essence of a romantic understanding of Hamlet was imprisoned in words - "the best of people" is indicative that these words that have done, like the grace, an integral characteristic of Gamlet, at Shakespeare are attributed to another character. It is possible that the Hamlet is very good that this personality is exceptional, outstanding, but the type is not at all what the definition of "best of people" suggests. As "elegant and gentle" at Shakespeare is not Hamlet, but Fortinburg, and "the best of people" is not Hamlet, but Horatio .. The performance on the scene of the theater. Vakhtangov, inspired by N.P. Akimov, limited himself, however, the fact that the high definition approved for the Hamlet was turned inside out, and the Hamlet was not better not worse, he became the same as everything around him. But to reaudit, knock on the head on the head - this is not a revision on the merits.

N.P. Akimov emphasizes that the works of E. Rotterdam were desk books for all those educated people of Shakespeare, and this is another moment, especially important to the director: the time and place of its performance is extremely specified - England Elizavtian era. So, if you level the philosophical layer of the tragedy, then the only line remains - the struggle for the throne. On the throne of the usurper. Therefore, the main goal of the heir is to pick up what belongs to him rightly. That is what Akimov formulated the topic of its production. He conceived the "Hamlet" as a bright sight with tense, nor for a second, not by the remaining action, instant decoration shifts, with tricks and buffonad. "You can not do anything, it turns out a comedy!", "N.P. said. Akimov on the report of the exhibition of the future performance actors.

Later N.P. Akimov recognizes: "At that time, before the resolution of April 23, 1932, which coincided with the general rehearsals of my production" Gamlet ", when I could no longer revise and change the foundations of my legal plan, we had no current speech to the classics "

"He is crazy, and suffers shortness of breath ..." according to N.P. Akimova, this replica Queen Gertruda pushed the director to the thoughts to appoint A.I. Goryunova, a magnificent comedian comedian, improviser, fatman-Balaguar. At Akimov sketch, a suit of Hamlet was depicted A.I. Goryunov. Looks like and not like. Even strange: N.P. Akimov, a wonderful portraitist, always sought to grab the main trait of the character of a person, embody her in the figure - and with A.I. Goryunov did not come out. All spoils heavy volitional chin.

A number of facts indicate that the execution of A.I. Goryunov his roles was noticeably different from the fact that he originally conceived the director. Akimov wanted to see Gamletta with an assertive, even a little rude, cynical, bold, evil. The charming infantality of Goryunov confused all the cards. He could not be evil truly. Funny - yes, defenseless - yes. The only moment when A.I. Goryunov managed to create a feeling of something sinister at the viewer, was at the very beginning of the performance.

But most of all Akimov got from critics for the "blaspheme" interpretation of this particular image. "The functions of this girl in the play concluded that it is the third spy attached to Hamlet: Rosencranz, Guildenster - and Ophelia." The position of the director is formulated extremely clearly and clearly. Actress V. Vagrina was perhaps the most "scandalous" ophthielia in the history of the theater. About any love between the Hamlet and daughter, Polonia in the play of Wahtangov's speech was not. The marriage with the prince was interested in Ophelia only as an opportunity to become a member of the royal family - she sought to this ambitious goal, not considered anything: spying, overheard, peepshed, confused. And she was extremely offended and upset when he understood that her dream was not given. It is so upset that sprinkled alone on the royal ball and said obscene songs - so Akimov solved the scene of the madness of Ophelia. "I was somewhat annoyed this little-poor madness, which is entirely stacked in the old stage tradition, but from our stage tradition falls.<…> I changed the ending of the role of Ophelia: It leads a frivolous lifestyle, resulting in a drunken way. It hurts our attention much less than if we think that she was crazy, and even stopped. "

The famous interpretation of the Akimov Scene "Mousetrap" is repeatedly described, where the Comarem is brought to such a grotesque level that the King of Claudius becomes the central character. On the presentation of the stray actors, he came in the next new outfit, the main part of which was the longest red loop. Claudius Stepodo occupied his place, but as soon as the actor depicting the king, poured the poison in the ear of the grazing Gonzago, uncle Gamlet was rapidly broke away from the chair and flew, could be said, I wangle for the scenes. And behind him, dragging, stretched endlessly long red - bloody - cable.

Another resonant scene from the play Akimov is the famous monolog of Hamlet "to be or not to be?". In the zabachka, tired of wine barrels, barely spinning with the tongue, the Prince was reflected, to be or not to be a king, then putting on, then removing the Butafor Cardboard Crown, left by the actors after the rehearsal, and the drunken Horatio enthusiastically dared to a friend.

By plan N.P. Akimova Hamlet - Humanist, it means that he should have an office for scientists. In the library of Hamlet, in addition to books, geographical maps, the globe, stood a human skeleton with a playfully raised bony hand. (Akimov planned to put another skeleton of the horse, but also as in the case of a piglery, this intention could not be implemented).

As we can see, there were quite a few "black humor" in the performance. For the murder, Polonia followed the episode in the spirit of tricky western with comic chains. Picking up the corpse of Polonia, Hamlet entertained him on the numerous ladders of the castle, running away from the Palace Guard. And even a fight was a half-scene, henoginol. The place of the fight, made like the ring, was surrounded by a crowd of viewers: live actors in the dolls: it turned out when the guard began to accelerate the crowd along the Claudia signal, (after Gertruda poisoned). Hamlet and Lanert fought in fencing masks, and Laert's mask resembled Shakal. Goryunov was an unimportant fencer, but you can guess what infectious excitement he swung a sword.

The last scene of the performance N.P. Akimov developed especially carefully. Fortinbras on horseback drove directly on the platform, at which a duel took place. He uttered his monologue without joining the saddle. In the final of this cheerful performance, the tragic notes unexpectedly sounded. While Finturbras followed how the corpses killed by Horacio, leaning over the body of Hamlet, read the poems of Erasmid Rotterdam:

"He argued about the clouds, about ideas,

He measured flea joints,

He admired mosquito pegs ...

But what is important for ordinary life - he did not know ... "

The last replica in the performance was a quotation from Ulrich von Gutten: "What a joy to live ...". Horatio uttered this phrase by a criminal and mournful voice, with bitter sarcasm emphasizing the difference between meaning and intonation.

Thus, if in the 30s-40s there was a tendency to overtake Shakespeare, showing Hamlet with a strong person who almost did not know doubt (V. Dudnikov, Leningrad, 1936; A. Polyakov, Voronezh, 1941), then the performances of the 50s marks The revival of the complexity and duality of the character of the hero, his oscillations and doubts, and the Hamlet, without losing a fighter for justice, is increasingly revealed as a person who collided with the tragedy of life, which was a characteristic feature of the productions of Kozintsev and N. Okhlopkov. In contrast, the execution of Hamlet M. Astangov (theater them. Evg. Vakhtangov, director B. Zakhava, 1958) was noted by a few cold didactism, because in his interpretation, Hamlet was a man who knew answers to all the "damned questions" in advance.

G. Kozintsev in "Gamlet" is fundamentally different: it retains all the plot lines, all the main characters, but boldly (although not mercilessly) ducts even very important monologues for the meaning of the tragedy, replicas, withdraws all the descriptive, all that You can view visibly on the screen.

Such an approach has been outlined during the period of work on the theatrical formulation of Gamletta. B. Pasternak, the author of the translation, which the director used, gave the most radical recommendations in this regard: "Cut, cut and criste, how much you want. The more you throw away from the text, the better. On half of the dramatic text of all the play, the most naistemer, classical and ingenious, I always look like a common remark written by the author in order to introduce performers as deeper in the essence of the action being played. As soon as the theater penetrates the idea and mastered it, it is possible to sacrifice the most bright and deep replicas (not to mention the indifferent and pale), if the actor has been reached equivalent to the talentedness, the Mimic, silent or more confession of the drama, in this place This link is its development. Activate the text with complete freedom, this is your right ... ".

G. Kozintsev accepted these tips, but, so to speak, for the future - for the screen: "In the cinema with its power of visual images, it would be possible to risk achieving" equivalent ". The word dominates on the stage ... "

Continuing the same course of thought - the image is dominated on the screen. It means that Shakespeare is perceived by cinematographically, its poetry needs to be translated into a visual row. That is why, removing the "Gamlet", the city of Kozintsev deliberately prosecates the language of the tragedy - in this its ally is Pasternak, whose translation, as close as possible to modern conversational speech, he uses. The same is achieved and due to the reduction of pieces of poetically beautiful, metaphorically figurative. But poetry does not disappear, does not depreciate. It persists, but not in the word, but in plastic - and acting, and the one that is created by visible screen images.

The problems of the "Gamlet" of Kozintsev, where a conflict situation was created with the executor of the leading role of I. Smoktunovsky, which represented his hero completely different (in other words, within the framework of another thesaurus). Kozintsev, according to the estimation of Smoktunovsky, literally forced him to stick to the director's intent.

Thoughts about man and humanity, about the uprising against the despotism of the century, who worried the director, not just pronounced from the screen with actors, speaking Shakespeare's texts - they permeate each cell of the film. More than once it was written about what sense-filled with Kozintsev stone and iron, fire and air. The fact that Denmark is a prison will open us not only the words of Hamlet, but also the image itself, the lifeless stone of the walls, the creamy naked lattices, descending on the gate, cold steel helmets, hiding the face of soldiers guarding the castle. And the Danish Prince's rebuke against this world throughout the film will be accompanied by fire - a unknown, rebellious, flashing, how truth in the darkness of lies.

The originality of the production was different and "Hamlet" Yu.P. Lyubimova on the famous Taganka, where he performed in the title Vysotsky. As directed by Yu.P. Lyubimov generally inherent acute plastic solution of the image of the performance as a whole, therefore, this time he has determined the visual dominant of the performance in general with the artist D. Borovsky. But today it is not a pendulum from the "Hour Peak", nor an amphitheater of the university audience from "What to do?", No cubes from "Listen!", And the wall that shares everything and everyone in the Danish kingdom.

In this performance, the director and actors were not seduced by lightweight external citement and fairly passed as past hamets in Thractions and the bearded jeans - and after all, such princes tried to demonstrate to us a foreign theater, applying to the approach of Shakespeare's tragedy to our days. Hamlet Vysotsky is not a mesmerous dreamer, divided between the velves of conscience and debt, and not an adventurer who seeks to master the crown, not an exalted mystic and not an intellectual who diluted in the labyrinths of Freudian "complexes", and the person of our era, the young man who is conscious of his historical debt The main values \u200b\u200bof human existence and therefore openly coming into battle for humanistic ideals.

Hamlet Vysotsky The most democratic of all, which were played in the twentieth century, and this is also a sign of the century, because the blue blood has long been no longer serves as a guarantee of grace and nobility and hero today you can easily imagine not only with a sword, but also with hockey stick or lomik climber.

The work of the German director P. Stein was the last stage of Gamletta on the domestic scene. P. Stein simply tells the story of Hamlet, Prince Dansk. He tells for those who first meet with the play of Shakespeare in its full version. He tells how the ghost of the murdered father is pushing his son to revenge, as the Hamlet Jr. is preparing for the execution of his plan, as Claudia resists and tries from the persistent stepper to get rid of, as at the end almost all the heroes die, and in Denmark comes near the tank nearby, But a strong soldier Fortinbras.

It seems that P. Stein reads Shakespeare's play as a "well-told story", the performance does not make its goal in the "Gamlet" something new. In general, both new "Hamlet" are interesting in that it seems that all these moves have ever been somewhere. Hamlet performed by E. Mironova - an ordinary young man who feels really no matter: all the same, the father recently died, the mother immediately married the unloved uncle, then the ghost of the murdered father will appear at all offering revenge. There is a little joyful, but Mironova's Hamlet does not at all, he reflects, but this is not some high philosophical problems, this is an ordinary course of the thought of a young man who learned such news, sometimes even trying to suicide, often looking at the veins on her hand.

Hamlet-senior (M. Kozakov) is an affordable shadow. According to Elsinora, there is a white figure, the faces are not visible, the steps are not heard, the voice is echoed echoed, Marcellle and Bernardo skipped through it, Gertrude is really unable to see the ghost.

P. Stein's characters - People succeeding, dressed from Tom Clive, looking "Mousetrap" in elegant glasses, quietly knocking in a silver spoon about a porcelain cup, unfolding silent candy candy candy and stretching them with bodyguards, and young people are not lagging behind them. Only Hamlet and Horatio are occupied by the idea of \u200b\u200bexposing the king, Ophelia and Laert such a life more like.

Thus, the twentieth century brought new incarnations of the image of Hamlet not only in the theater, but also in the movies. The images of the Prince of Danish, created by P. Kachaloov, I. Smoktunovsky, V. Vysotsky and other actors, showed how different hammlet in various interpretations at different stages of the twentieth century could be.

So, at least from the moment of the first stage of Gamlet, more than four hundred years have passed, this tragedy leaves the minds of directors and actors around the world. The image of Hamlet has changed not only from the historical era, but also from the country in which the "Gamlet" is being taken out, who plays a role. A huge role for the embodiment of the image of Hamlet was rendered, on the basis of which the play was raised. If in England the image was created tragic, then in Germany, the Hamlet is a lazy and boring hero, which is not capable of action. In Russia, the Hamlet was so different, depending on the era and translation, that each stage of the play is a new hero and a new drama.

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Researchers of Creativity Shakespeare argue that in the history of art there is no other example of such a steady and long-term popularity of the play than the popularity of Shakespeare's "Hamlet". Almost three hundred years, this tragedy refers on scenes of the theaters of the whole world ....

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1. New!

   We have passed the whole life of Gamlet. Although the tragedy covers a few months, but it was a period of real transformation of the hero from the boy, who never came across everyday black life, in a thinker, philosopher, ready for the actions of the young man. Some...

At the very beginning of the new century, Shakespeare began working on a new play - the tragedy about Gamlet, Prince Danish. Ancient legend of a prince who is looking mad to hide his revenge on the murder of his father, was given in the historical chronicle ...

2. New!

   Every generation for four centuries in different ways is experiencing the tragedy of William Shakespeare "Hamlet", written in 1601. Mystery, hidden in the tragedy, everyone opens in its own way. Hamlet? .. Do we understand the meaning of this name? - It is great and deep: ...

3. New!

   The legend of the Gamlet was first recorded at the end of the XI century Danish historian Samson Grammar in his meeting legends and chronicles called "History of Denmark". This legend states that in times of pagans, one of the rulers of Yutland was killed on his brother to the feast ...

The writing

Three and a half hours are more than enough to slowly read the "Hamlet" tragedy, which belongs to Peru ingenious British playwright William Shakespeare. Its defining features - compression and conciseness of presentation, not a single word. The whole consists of philosophy, psychology, symbols and secrets, which still capture the imagination of many scientists, artists, critics. And yet - worldwide glory. "Hamlet, Prince Danish" - a work of art and human genius, in which they contacted blood, lyrics, love, where thousands of faces, where there is a plot in the plot and tragedy in the tragedy, where reality intertwined the other world, madness, frenzy. The image of Hamlet has long been knocked out on the srices of the classics of world literature. The interpretation of this figure, her mysteriousness, "madness", wise thoughtful, which invested the prince of English playwright in the mouth, and these replicas have acquired a real aphoristity, as evidenced by the solid number of people who use Shakespeare's phrases, not even conscious of their origin. And what could be the best confirmation?

The work has become the field of the literary battle, where one thousand copies are broken. And all this is common phrases. It is important only what exactly causes in our souls, the hearts of a big tragedy of no less than the Master. "There is nothing good and nothing bad: it's only meditation make it all like that, as Hamlet said. And these words brightly indicate the value of their own subjective views, because they form our perception of the world. Therefore, I, giving a tribute to the canonism of the presentation, will focus on my personal feelings and impressions.

The turn of the first thought: monologues and the dialogs of the heroes seem to be higher than the overall composition and the plot of the work. They will have content and depth even out of context, and this, I think is a key difference. The thought of a friend was completely surrendered to the topic of love. Realist Shakespeare focuses on this because the love of the time is ruled. With these words, he gives anyone else, like the king, his brother of the deceased! They are felt (by me, at least) the fear of the fact that his atrocities can turn to it by the same coin.

Also very interesting there is a light, as if smoke, a hint of prejudice of morality regarding the behavior of the beloved: Remember the order of Polonia and Laert Ophelia? And the unfortunate of her fate? There is a completely reasonable thought: but if everything would not work out, if the girl had his heart, and not relatives? The question is rhetorical, on that, in fact, the tragedy. Peak Third Thought: Of course, being. The question of life and death, which, paraphrasing the words of one philosopher, is already so tortured and buried under the pile of so many interpretations, which seems to have lost its original meaning.

So, being, human fate, the moment of choice, evaluation of the events of our existence. I still permeate words about dreams, "... who will be held in a mortal dream when they leave this mortar world ...", about that "Unknown Region, from where not to return." The artist is surprisingly clearly, concisely and laconic formulates human fears and meditation, which covered each of the mortals, but not everyone could express them. What is the meaning of our being? Our pain, suffering? Why are we in this world that keeps us here? The answer to such questions are looking for a lifetime, and some of us come from this distance before and, so to speak, personally. And our reality is that we don't really know, or have the right to condemn or stop those who shorten ages (here there is still a choice of choice - Ophelia has done it ...), but have the right and do something - Two different things that, as it turns out, often go apart.

Fit the fourth and, probably, the last thought: Throughout reading the work (by the way, repeated) I did not leave the feeling that I did not cover the tenth of the depth or of the ease of thoughts. Constantly some blurred visions sailed between the rows of my book, and I could not catch them. But I understand that they are both vision, and strings, and indeed every word of the work - so captured me that I would hunt them with every re-reading and watching a big tragedy, until I caught.

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