Artistic image. Artistic time and space

Spatial features of text. Space and image of the world. Physical point of view (spatial plans: panoramic image, close-up, mobile - fixed picture of the world, external - internal space, etc.). Features of the landscape (interior). Types of space. The value value of spatial images (spatial images as an expression of non-pollutical relationships).

Temporary features of text. Time of action and time telling. Types of art time, the value of temporal images. Vocabulary with temporary meaning. The main chronotopes of the text. The space and time of the author and the hero, their fundamental difference.

Any literary work one way or another reproduces the real world - both material and ideal: nature, things, events, people in their external and domestic being, etc. Natural forms of the existence of this world are timeand space.but artistic worldor the world of artwork,always in one degree or another conditioned: it is formreality. Time and space in the literature are also conditional.

Compared to other arts, literature is most freely addressed with time and space. (Competition in this area can be made up, perhaps, only the synthetic art of the cinema). "My love ... images" gives literature the opportunity to instantly move from one space to another. In particular, events occurring simultaneously in different places can be depicted; For this, the narrator sufficiently say: "In the meantime, there was something there." Equally simple transitions from one time plan to another (especially from the present in the past and back). The earliest forms of such temporary switching were memories in the stories of actors. With the development of a literary self-consciousness, these forms of development of time and space will become more sophisticated, but it is important that in the literature they always had a place, and, therefore, constituted a significant moment of artistic imagery.

Another property of literary time and space is their interruption. For time, this is especially important because the literature turns out to be able to not reproducealltime streambut choose from it the most essential fragments, denoting skips by formulas like: "It took several days", etc. Such temporary discreteness (has been published inherent in literature) served as a powerful dynamization means, first in the development of the plot, and then - psychologism.

Fragment of space Partly is associated with the properties of art time, in part is independent.

Characterconventions and space to the strongest dependsfrom kind literature. Lyrics, which presents the current experience, and drama, playing in the eyes of the audience, showing the incident at the time of its accomplishment, usually use the present time, while the epic (mostly - the story about what passed) is in the past time.

Environment Maximum B.lyrics it may even be absolutely no image of space - for example, in the poem A.S. Pushkin "I loved you; Love is still, perhaps ... ". Often space in lyrics allegorically: the desert in the Pushkin "Prophet", the sea in the Lermontov "Sail". At the same time, the lyrics can reproduce the substantive world in its spatial realities. So, in the poem of Lermontov "Motherland" is recreated typically Russian landscape. In his poem "How often, the Movie Tolpoi is surrounded ..." The mental transfer of the lyrical hero from the ballroom to the "Kingdom" embodies the extremely significant for the opposition romance: civilization and nature, artificial and natural, "me" and "crowd" . And not only spaces are opposed, but also times.

Conventionation of time and space indrama related mainly with its orientation on the theater. With all the diversity of the organization of time and space in the drama, some common properties are preserved: no matter how much of the role in dramatic works, neby the narrative fragments, no matter how the depicted action is perfected, the drama is committed to closed in space and time with pictures.

Much more opportunities epic Roda where the fragmentation of time and space, transitions from one time to another, spatial movements are made easy and free Thanks to the figure of the narrator - an intermediary between the life depicted and the reader. The narrator can "compress" and, on the contrary, "stretch" time, or even stop it (in descriptions, reasoning).

According to the features of the artistic conventionality time and space In the literature (in all its birth) can be divided into abstract and concrete especially this distinction is important for space.

Both in life and in the literature space and time are not given to us in its pure form. We judge about the space on the filling items (in a broad sense), and about the time - according to what is happening in it processes. To analyze the work, it is important to determine the fullness, saturation of space and time, since this indicator in many cases characterizes styleworks, writer, directions. For example, Gogol has a space usually maximally filled with some objects, especially things.Here is one of the interiors in the "Dead Souls": "<...> The room was engaged in old striped wallpaper; paintings with some birds; between windows ancient small mirrors with a dark framework in the form of curved leaves; Behind every mirror were laid or a letter, or an old deck of cards, or stocking; Wall clock with drawn flowers on the dial ... "(ch. III). And in the style system of Lermontov, the space is practically not filled: there is only what is necessary for the plot and images of the inner world of heroes, even in the "Hero of Our Time" (not to mention the romantic poems) there is not any detailed written interior.

The intensity of the art time is expressed in his saturation of events.. Extremely saturated time from Dostoevsky, Bulgakov, Mayakovsky. Chekhov managed to dramatically reduce the intensity of time, even in dramatic works, which, in principle, supported the concentration of action.

The increased saturation of the artistic space, as a rule, is combined with a reduced time intensity, and vice versa: a weak saturation of space - with time, rich events.

Real (plot) and artistic time Rarely coincide, in particular, in epic works, where the game with time can be a very expressive reception. In most cases, the artistic time is shorter than the "real": the law of "poetic economy" is manifested. However, there is an important exclusion associated with the image. psychologicalprocesses I. subjective time character or lyrical hero. The experiences and thoughts, in contrast to other processes, flow faster than the speech stream is moving, which makes up the basis of the literary imagery. Therefore, the image time is almost always longer than the time of the subjective. In some cases, it is less noticeable (for example, in the "Hero of our time" Lermontov, Goncharov's novels, in Chekhov's stories), in others, constitutes aware of the artistic technique, designed to emphasize the saturation and intensity of mental life. It is typical for many psychologist writers: Tolstoy, Dostoevsky, Falkner, Hemingway, Pruts.

An image of what survived the hero just per second of the "real" time can occupy a large volume of narration.

In the literature as art dynamic, but at the same time faithful, often there are quite complex relations between " real "And artistic times.« Real»Time can be equal to zero in general, for example, with different types of descriptions. This time can be called unbelievous . But the event time in which at least something happens is internally inhomogeneously. In one case, the literature really records events and actions substantially changing or human, or the relationship between people, or the situation as a whole. it scene , or fabuli , time. In another case, the literature draws a picture of sustainable existence, repeated from day to day, from year to year of action and actions. Events as such in such a time not.All that happens in it does not change the character of a person nor the relationship between people, does not move the plot (Stabul) from the tied to the junction. The dynamics of this time is extremely conditional, and its function is to reproduce the stable lifestyle. This type of art time is sometimes called "Chronical household" .

The ratio of the time of the misstunity and eventful largely determines tempovaya artistic Time Organization that, in turn, determines the nature of aesthetic perception. So, the "dead souls" of Gogol, in which prevails monsterious, "Chronically household" time, create an impression of a slow pace. Another tempo organization in the novel of Dostoevsky "Crime and Punishment", in which prevails event Time (not only externally, but also internal, psychological events).

The writer sometimes makes time lasts, stretches it to convey a certain psychological condition of the hero (the story of Chekhov "I want to sleep"), sometimes stops, "turns off" (philosophical excursions L. Tolstoy in "War and the World"), sometimes makes the time to move.

Important for analysis hascompletion andincompleteness artistic time. Often writers create in their works closed the time that also has an absolute start, and - which is more important - the absolute end, which is, as a rule, the completion of the plot, and the conflict isolation, and in the lyrics - the exhaustion of this experience or reflection. Starting from the early stages of the development of literature and almost up to the XIX century. Such a temporary completion was practically mandatory and was a sign of art. The forms of completion of the artistic time were diverse: it is the return of the hero in the father's house after the wanders (literary interpretations of parables about the prodigal son), and the achievement of a certain stable position in life, and the "triumph of virtue", and the final victory of the hero above the enemy, and, of course The death of the main character or wedding. In the late XIX century. Chekhov, for whom the incompleteness of art time has become one of the foundations of his innovative aesthetics, distributed the principle open final and incomplete time on dramaturgythose. At that literary genus, in which it was harder and which strongly requires temporary and event closetness.

The space is as well as time, by the will of the author, can shift. Artistic space is created by applying image angle; This happens as a result of a mental change in the place where the observation is being conducted: a common, small plan is replaced by large, and vice versa. Spatial concepts in a creative, artistic context can only be an external, verbally, but transmitting other content, not spatial.

The historical development of the space-time organization of the art world detects a completely definite tendency to complicate. In the XIX and especially in the XX century. Writers use a spatial-temporal composition as a special, conscious artistic technique; It begins a kind of "game" with time and space. Its meaning is that, comparing different times and spaces, to identify both the characteristic properties of "here" and "now" and general, universal laws of being, to comprehend the world in his unity. Each culture is characteristic of its understanding of time and space, which is reflected in the literature. Starting from the Renaissance in Culture prevails linear concept Time related to the concept progress.Artistic time, too, mostly linear, Although there are exceptions. On the culture and literature of the end of the XIX - early XX century. Significant influence provided natural scientific concepts The time and spaces associated primarily with the theory of relativity of A. Einstein. Fiction and philosophical ideas about the changed scientific and philosophical ideas about time and space responded: the deformations of space and time began to be present. Most fruitfully mastered new ideas about space and time science fiction.

Title, denoting time and space.

With all the conventionality, the writer "new artistic reality" the basis of the artistic world, like the world of real, is his coordinates - timeand a place,which frequently indicated in the names of works. In addition to the cyclic coordinates (time of day time, days of the week, months), the time of action can be marked with a date related to a historical event ("ninety-third year" V.GUGO), or the name of a real historical person with whom the idea of \u200b\u200bone or another is connected Epoch ("Chronicle of the Kingdom of Charles IX" P. America).

In the title of the artwork, not only "points" on the time axis, but also the whole "segments", noting the chronological framework of the narration. At the same time, the author, focusing the reader's attention at a certain temporary interval - sometimes it is only one day or even part of the day - seeks to transfer and the essence of being, and the "bunch of life" of their heroes, emphasizes the typical of the events described by him ("Morning landlord" L.N. Tolstoy, "One day of Ivan Denisovich" A.I. Solzhenitsyn).

The second coordinate of the art world works - a place - can be marked in the title with different degrees of concreteness, real ("Rome" E.Zoli) or a fictional toponym ("Chevengur" A.P. Platonov, "Solaris" Article), defined in The most general form ("Village" I.A. Bunina, "Islands in the Ocean" E.Hehmingway). Fictional toponyms often contain an emotional assessment, which gives the reader an idea of \u200b\u200bthe author's concept of work. So, for the reader, the negative semantics of Gorky toponym of the eyepos ("Okurov town") is quite obvious; The town of Okrov at Gorky is the dead outfice, in which life does not boil, and barely warm. The most common names of the place, as a rule, testify to the maximum widespread value of the image created by the artist. So, the village from the same name I.A. Bunin is not just one of the villages of the Oryol province, but also the Russian village in general with the whole complex of contradictions related to the spiritual disintegration of the peasant world, communities.

The title, denoting the place of action, can not only model the space of the artistic world ("Travel from St. Petersburg to Moscow" An.radishchev, "Moscow - Petushki" Verofeeva), but also introduce the main symbol of the work ("Nevsky Prospekt" N.V. Gogol, Peterburg A. Bel). Toponymic titles are often used by writers as a kind of compound, combining individual works in a single cycle or book ("Evening on the farm near Dikanka" N.V.Gogol).

Basic literature: 12, 14, 18, 28, 75

Additional literature: 39, 45, 82

In ancient times, when the myth was a way to explain and knowing the surrounding reality, special ideas about the time and space, which subsequently had a noticeable impact on literature and art. The world in the consciousness of an ancient person was divided primarily into two parts - ordinary and sacred. They were endowed with different properties: the first was considered the usual, weekly, and the second is unpredictable wonderful. Since the actions of the mythical heroes were to move from one species of space-time to another, from the everyday to the wonderful and back, insight and happened to them in their travels, incredible adventures, since miracles can occur in an unusual world.

Illustration of Dore to "Divine Comedy" Dante A.

Illustration of Kalinovsky to the book of L. Carroll "Alice in Wonderland."

Figure A. De Saint-Exupery to the fairy tale "Little Prince".

"It was not; a long time ago; in some kingdom; went to the road road; How long is briefly; Soon the fairy tale affects, it does not soon be done; I was there, honey beer drank; Here is a fairy tale. "- Try to fill the actions of any heroes, and most likely you will have a complete literary work, the genre of which is determined by the use of these words themselves, is a fairy tale. Explicit inconsistencies and incredible events will not be afraid of anyone: it should be in a fairy tale. But if you look at, it turns out that the fabulous "arbitrariness" has its own tough laws. They are determined, like all fabulous miracles, the unusual properties of space and time in which the fairy tale unfolds. First of all, the tale time is limited to the plot. "The plot ends - the time ends," says Academician D. S. Likhachev. For a fairy tale, the real flow of time is unimportant. The formula "Lie Live, Briefly" indicates that one of the main characteristics of the fabulous time is still its uncertainty. As, in fact, the uncertainty of the fabulous space: "Go there, I do not know where." All the events taking place by C. Gerohem are elongated along its path in search of "Togo I do not know what."

The events of fairy tales can stretch ("Sydney sat thirty years and three years"), and they can accelerate until instant ("Throwing the scallop - grew by a dense forest"). The exploration of actions occurs, as a rule, outside the real space, in the space is fantastic, where the hero has magic assistants or wonderful means to help him cope with this fantastic space and merge with him wonderful time.

In contrast to the fairy tale and myth, the fiction of the new time, as a rule, deals with history, describes a certain, concrete era - past or modernity. But here there are our spatial-temporary laws. Literature takes out only the most essential of real reality, shows the development of events in time. The vital logic of the narrative is determining for the epic work, but nevertheless the writer is not obliged to consistently and mechanically fix the life of his hero, even in such a progressive genre like a novel chronicle. Between the lines of the works can be held years, the reader by the will of the author within one phrase is capable of moving to another part of the world. We all remember the Pushkin row from the "copper rider": "One hundred years passed ..." - but hardly draw attention to the fact that the whole age flashed here for one instant of our reading. The same time flows unequal for the hero of the artwork, for the narrator and for the reader. With amazing simplicity A. S. Pushkin writes in Dubrovsky: "It took several times without any wonderful case." Here, as in the chronicles, the event is eventually, the score is conducted from the event to the event. If nothing necessary for the development of the plot does not occur, the writer "turns off" the time like a chess player who has moved, turns off his clock. And sometimes it can take advantage of the sand clock, turning the events and forcing them to move from the junction to the beginning. The peculiarity of the novel, the story, the story is largely determined by the ratio of two times: the time of telling and time of action. The time of telling is the time in which the narrator lives, he leads his story; The time of action is the time of heroes. And all this we, readers, perceive from our real, calendar, today. In the works of Russian classics, it is usually described about the events that occurred in the recent past. And in which past - is not entirely clear. We can only talk about this temporary distance with the famous reliability when we are dealing with a historic novel, in which N. V. Gogol writes about Taras Bouof, A. S. Pushkin - about Pugachev, and Yu. N. Tyanyanov - O Pushkin. The gullible reader sometimes identifies the author and the narrator issuing himself for an eyewitness, a witness or even a participant in the events. The narrator is a kind of reference point. From the author, it can be separated by a significant temporary distance (Pushkin - Grinevo); It can also be at different distances from the described, and depending on this reader expands or narrows the field of view.

Roman-epic events are deployed for a long time on an extensive space; The story and the story are usually more compact. One of the most common places of work of works by N. V. Gogol, M. E. Saltykov-Shchedrin, A. P. Chekhov, A. M. Gorky - a small provincial town or village with a well-minded lifestyle, with minor events that repeated from Day a day, and then the sleepy time like moving in a circle on a limited patch.

In the Soviet literature, the artistic space of works is distinguished by a significant manifold. In accordance with the individual experience and preferences of those or other writers, attachment is observed to a certain place of action. So, representatives of the style of the style of the village prose (V. I. Belov, V. P. Astafyev, V. G. Rasputin, B. A. Mozhaev, V. N. Krupin, etc.), the effect of novels, lead , stories unfolds mainly in rural areas. For the same writers as Yu. V. Trifonov, D. A. Granin, G. V. Semenov, R. T. Kireev, V. S. Makanin, A. A. Prokhanov and others, the characteristic place of action is the city, And therefore, the works of these writers are often called the urban story than the characters and situations, and the image of action, thoughts, the experiences of their characters are determined. Sometimes writers are important to emphasize the specific certainty of the space of their works. The commitment of the "Don" problem was shown in their works - following M. A. Sholokhov - V. A. Zaplokin, A. V. Kalinin and other Rostovchan writers. For S. P. Zalina, V. G. Rasputin, M. M. Markova, V. P. Astafieva, S. V. Sartakova, A. V. Vampilova and a number of Siberian writers in principle that the action of many of their works occurs in Siberia; For V. V. Bykov, I. P. Meleja, I. P. Shamyakina, A. M. Adamovich, I. G. Chigrinova Artistic space is mainly Belarus, as for N. V. Dumbadze - Georgia, and for th . Aviyus - Lithuania ... At the same time, for example, for C. Aitmatova there are no similar spatial restrictions in artistic work: the action of his works is transferred from Kyrgyzstan to Chukotka, then to Russia and Kazakhstan, to America and in space, even on fictional planet Forest breasts; This gives generalizations to the artist universal, planetary, global character. On the contrary, the moods entered by Lyrics N. M. Rubtsova, A. Ya. Yashin, O. A. Fokina, could arise and be natural in Northern Russian, even more accurately - the Vologda village, which allows the authors to poetize their "small homeland" with Its life, original traditions, nuts, folklore images and folk peasant language.

A distinctive feature noted by many researchers of F. M. Dostoevsky, is an unusual speed of action in his novels. Each phrase in the writings of Dostoevsky seems to be starting with the word "suddenly", every moment it can become a turning point, change all the places, end the catastrophe. In "Crime and Punishment", time is under the hurricane, a wide picture of Russia's life is shown, whereas in fact the events of two weeks occur in several Petersburg streets and alleys, in the close Kamorca Raskolnikov, on black stairs of profitable houses.

The spatial-temporal characteristics of the artwork, as a rule, differ significantly from those familiar qualities with which we are faced in everyday life or get acquainted in the lessons of physics. The space of the artwork can be curved and closed on itself, it may be limited to have an end, and individual parts from which it consists, possess how we have already seen, various properties. Three dimensions - length, width and depth - are violated and confused in such a way that they combine incompatible in the real world. Sometimes the space can be inverted with respect to reality or constantly changes its properties - it is stretched, compressed, distortes the proportions of individual parts, etc.

Properties of special, as it is called theoretics of literature, artistic time is also unpredictable; Sometimes it may seem that it, as in the fairy tale L. Carroll "Alice in Wonderland," "went crazy." The story or story without any difficulty is able to transfer us and in the time of Vladimir the Red Sunny, and in the XXI century. Together with the heroes of the adventure novel, we can turn around the whole light or the will of the science writer to visit the mysterious solaris.

The most stringent laws from the drama: within one stage episode, the time required for the image of the action is equal to the time that is depicted. No wonder the rules of theoreticals of classicism touched first of all dramaturgy. The desire to give the stage work more likelihood and integrity gave rise to the famous law on three units: the time of action of the play should not exceed one day, the space was limited to a single place of action, and the effect itself was concentrated around one hero. In modern drama, the movement of heroes in space and time is not limited, and only from the change of decorations (viewer), the author's remarks (reader), from the replica of heroes we will learn about the changes that occurred between acts.

The most free journey in time and space is the privilege of lyrics. "Worlds fly. Years fly "(A. A. Blok)," Instant of the century "(A. White); "And the time is away, and the space away" (A. A. Akhmatova), and the poet of Vain, looking out the window, ask: "What, cute, we have a thousand thousand in the yard?" (B. L. Pasternak). Epochs and worlds fit the poetic image. One phrase poet is able to block the space and time as it seems necessary.

In other cases, the artistic time requires a lot of certainty and concreteness (historical novel, biographical narration, memoirs, artistic and journalistic essay). One of the significant phenomena of modern Soviet literature is the so-called military prose (works of Yu. V. Bondareva, V. V. Bykov, G. Ya. Baklanova, N. D. Kondratieva, V. O. Bogomolova, I. F. Stadniek, V. V. Karpova, etc.), in many respects autobiographical, turns to the time of the Great Patriotic War in order to, recreating the feat of the Soviet people who won fascism, put on the exciting of the modern reader the material of universal moral, social, psychological, philosophical problems, important For us today. Therefore, even the limit of art time (as well as spaces) allows you to expand the possibilities of art in the knowledge and understanding of life.

Events of any artistic work unfold at a certain time and space.

The pictures and time shown are the conditions that determine the nature of the events and the logic of their follows with each other. The creation of a single spatial-temporal structure of the world of the hero is aimed at the embodiment or transfer of a certain system of values. Categories of space and time differ in relation to the speech material of the work and with respect to the world shown in the work with the help of this material.

Spatial models, the most commonly used Writers in artwork: Real, fantastic, psychological, virtual.

• Real (objective, social and subjective reality).
• Fantastic (Subjects of action may be fantastic characters or abstract faces; all physical characteristics are changed and inconstant).
• Psychological (Inner world, personality personality).
• Virtual (Artificially created environment in which you can penetrate and experience a sense of real life, combined with real or mythological).

The importance of artistic space in the development of the work is determined by the following provisions:
a) the plot, which is a sequence of events outlined by the author of the work within the framework of causal conditionality, develops in the conclusions of space and time;
b) the initial representation of the plot-forming function of the category of space is the name of the work that can serve as a spatial designation and can not only model the space of the artistic world, but also introduce the main symbol of the work, contain an emotional assessment, which gives the reader an idea of \u200b\u200bthe author's concept.

Art time

This phenomenon of the most artistic fabric of the literary work, subordinating to its artistic tasks and grammatical time, and his philosophical understanding of his understanding.

Any artwork is deployed in time, respectively, the time is important for its perception. The writer takes into account the natural, actual time of the work, but time is also depicted.

The author can depict a short or long period of time, can force the time to flow slowly or quickly, can portray it with continuously or intermittently, sequentially or inconsistent (with returns back, with "running" ahead). He can depict the time of the work in close connection with historical time or in the separation from it - closed in itself; Can depict the past, present and future in various combinations.

The artwork makes subjective time perception of one of the form of the image of reality.

If the author plays a prominent role in the work, if the author creates an image of a fictional author, the image of a narrator or narrator, then an image of the author's time is added to the plot time image, the image of the executor's time is in a wide variety of combinations.

In some cases, the shifted durations can also be added to these two "superimposed" on top of each other.

Copyright can be stationary - focused at one point, from which he leads his story, and maybe move independently, having its plot line in the work. The author can depict himself a contemporary event, can follow the events "on the heels", events can distingate it (as in the diary, in the novel, in letters). The author can portray himself a member of events that does not know at the beginning of the story than they end, separating themselves from the drawing time of the work of a large period of time, can write about them as if for memories - their own or other people.

Time in the artistic literature is perceived due to the connection of events - causal or psychological, associative. Time in artistic work is the correlation of events.

Where there are no events, no time: In the descriptions of static phenomena, for example - in the landscape or portrait and characteristics of the existing person, in the philosophical reflections of the author.
On the one hand, the time of the work may be " closed", Closed in yourself, committed only within the plot, and on the other hand, the time of the work may be" open"Included in a wider stream of time developing against the background of a certain historical era. "Open" work time involves the presence of other events that are simultaneously outside the work, its plot.

The transition of the character of borders that share parts or spheres of depicted space and time, and is an artistic event.

In the works of N. V. Gogol, the structure of time and space becomes one of the main expressive means. In the "Evenings on the farm near Dikanka" facing real and fantastic space. The "Petersburg Tale", closed in their geographical concrete becoming a metaphor of the world, destructive for humans, and the city, depicted in the "Revior", appears to allegorize bureaucratic Russia. Space and time can manifest itself in domestic scenes or in the marks of the borders of the existence of characters. In the "dead souls", the image of the road as the form of space is identical to the idea of \u200b\u200bway as a moral norm of human life.

I. A. Goncharov in the novel "Oblomov", emphasizing the slowness of the calendar of Patriarchal Being, addresses the comparison of the hero's life with that "slow enough, which geological modifications of our planet occur." The novel is based on the principle of open time. The author deliberately neglects a clear metric of the narrative, slows down the course of time, persistently returning to the description of patriarchal idyll.

The depicted time and time of the image in artistic texts may not coincide. So, the Roman "Oblomov" reproduces several episodes from the life of the main character. Those moments on which the author considered it is important to stop, are presented in detail, other - only marked. Nevertheless, this principle of organization of work as a result leads to the creation of a holistic picture of a person's life.

L. N. Tolstoy in the novel "War and Peace", reflecting on the laws of the human hostel, refers to the mythopoietic tradition, which is based on the idea of \u200b\u200bthe cyclicality of the development of the universe. The philosophical appointment of such a solution is the thought that everything in the world, chaotic and contradictory, is subordinated to the eall's death striving for the comprehension of harmony.

In the "War and World" novel, the flow of time is due to the law of nonlinear transformations, which is embodied in the intersection of the "time of valid" and "literary time". In the work of L. N. Tolstoy, the chronological order plays a particular role. The writer carefully dates each chapter and even marks the time of day.

In scenes describing the experiences of the characters, the author of the epic manages to achieve the rhythmic tension of the narrative and the dynamic change of emotional states. Reflections of heroes are diminishing, as if they are free, and accordingly, this time itself accelerates its movement or fossy in anticipation.

The work of art belongs to the special types of reality. Artistic image is only indirectly related to the image of reality. The writer should always be considered in his work with the space-time boundaries of reality, relate them to the chronology of the text being created. Often in the literary work the time physical and time stories do not coincide.

As an example, you can contact the poetics of Romanov F. M. Dostoevsky. The writer puts his heroes to crisis situations, which requires exceptionally long time. The events set forth in the novels of F. M. Dostoevsky, especially some scenes, do not fit into the real-time framework. But it is such a chronotope of the novel that transfers the tension of the thought and will of the characters caught by the drama of life situations.

Readers may have the impression that novels F. M. Dostoevsky are based on different temporal plans. This feeling stems from the intense weave of events, discussions, recognition, facts, internal monologues and internal dialogues. In fact, the works of the writer are marked by unity of time, and all artistic material is offered in the holistic space of simultaneous implementation.

The aesthetics of naturalism in the reproduction of space and time elects the technique of a rigid space-temporal presentation of the material. E. Zola, E. and J. Gonkura logo the facts of reality, relate them to the voice of nature, revealing the conditionality of intuitive actions of the heroes with eternal laws of nature.

Symbolism overcomes the subject of phenomenal being, metaphors and symbols expand the horizons of human existence. With the help of "lyrical alchemy", S. Bajler, P. Verlene, A. Rambo, S. Mallarm compares reality with the irrational meanings of the world, prove that the symbol embodies the perfect plan, the essence of things that were inequalized or someday will certainly declare yourself.

Yu. M. Lotman noted that "the artistic space in a literary work is a continuum in which the characters are placed and an action is performed. Naive perception constantly pushes the reader to identify the artistic and physical space. In such a perception there is a truth, because even when his function of modeling out-space relations is exposed, artistic space will definitely preserve, as the first plan of metaphor, an idea of \u200b\u200bits physical nature. "

According to the degree of convention, space and time categories may be relative and specific in the literary work. Thus, in the novels of A. Duma, the action occurs in France of the XVII century, but the writer specified by the writer is a real historical place and time only a reason to recreate the heroic types. The main thing in this approach becomes the thought of W. Eco, the fact that it is not here and not now. "

The "concrete" principle of developing reality includes Gogol principles for realistic typing. The image of the provincial city of N. - not the symbol of the Russian province at all, is a symbol of bureaucratic Russia, an allegory of ubiquitous confusion.

For perception of the literary work, the difference between the fictional and real is not fundamentally distinction. The main thing is that both Petersburg in the Russian novel, and the city of S. (the story of A. P. Chekhov "Lady with a dog"), and the city of Kalinov (Piez A. Ostrovsky "Thunderstorm") - they all artistically embody the author's thought and are the symbols of the world lost to the idea of \u200b\u200bmorality.

The convention and stereotype of literary time manifests itself in the calendar of seasonal preferences. Winter is the most dangerous season for the embodiment of intimate emotions. Many romantic characters in winter are completely reflecting and remember the old unclear time left into oblivion. The rare hero of romanticism in winter will bring love of loveliness from home. Time and space are subordinated to the laws of severe regulation. Miscellaneous images, winter caress in the literature are correlated with the struggle of infernal forces and often become, especially in realistic literature, allegories of social violence. Winter landscape sketches are not less common, whose appointment to fight the intrinsicness of life.

The normativeness of classicism in the image of the reviving nature is to appeal to the ancient images, pathetic comparisons - is overcome by the sentimentalist conviction in the identity of nature and soul. Romanticism is saturated with a description of the waking world to the subject, expressive details rich in a coloric gamut.

Nature awaken from winter sleep provides convincing interiors to disclose the first feeling. Spring favors the birth of love. Gomon reserves in the forests, restless birds are absorbed by the device of housing. The world is without tired preparing for a date with passion.

The heroes of romantic poetry, loyal to the mastery of nature, with a heart performed by hopes, rushed into a cheerful misconception. Lyrical poetry attributes the most sincere and exciting emotions. In the spring, as literature proves, you just need to fall in love. Heroes feel their belonging to common unrest. Nature and soul are awakened from grief. It's time to experience the read read, seen in a dream and the sandy in dreams. The descriptions of the joy of innocent love sensations, and a long-speaking sigh, are dominant in literary plots. The experimental metric is drawn up in accordance with stormy natural metamorphoses. Poetry enthusiastically describes the first thunder, the May thunderstorms - signs of the symbolic exposition of the renewal of nature and the birth of love.

Summer in literary works, as a rule, comes unnoticed and does not give the promised joys. The literature does not favorably with miseans, illuminated by bright sunlight. All sincere frightened publicity. For a love plot is preferable to twilight. Evening walks typify the thoughts of eternity. Far stars are the only witnesses of a timid feeling - watching the lucky way. Misaneszen itself evening dating, as the works of Romantics and A. P. Chekhov show, is built in such a way as to make a plot of recognition.

Autumn plot declares the need to complete everything started in spring and summer. Love and consumer mythology of literature warns about it. English cemetery poetry permeated with autumn sentiments. It is at this time of the year that the most painful events occur in the works of neoromantism. The range of "autumn" activity of the heroes is extremely poor. Realistic poetry condemns social injustice, and the romantic heroes in the fall seek to put a point in the love punctuation.

The literary category of time is marked by a wide range of art decisions. The literature actively uses images that are symbols of measurement of time: mig, minute, hour, pendulum, dial. The poetry is widespread opposition of symbols of measurable and exorbitant - moments and eternity.

An ambiguous interpretation of the space-time continuum in the works of the last century.

The literature of the 20th century is noted by a special attitude to a category of time, to the phenomenon of the reconstruction of the happening. Starting with the "confession" of Blessed Augustine, the introduction of this and future plans in the past becomes one of the techniques of confessional and memoir literature. The integration of the future to the present allows you to analyze the happening, see it in the time perspective. V. Shklovsky, reflecting on the nature of the memoir genre, noted: "Two dangers have a person who begins to write memories. The first is to write by inserting yourself today. Then it turns out that you always knew everything. The second danger is remembering, staying only in the past. Run along the past, as a dog runs on a wire, which is hoping her dog chain. Then a person always remembers the same thing: remembers the petty. Pulling the grass of the past, he is tied to it. He is deprived of the future. We must write about the past, without inserting yourself in today's past, but seeing the past from today. "

Introduction to literary studies (N.L. Vertinina, E.V. Volkov, A.A. Ilyushin, etc.) / Ed. LM Kruchachanova. - M, 2005

L. S. Levitan

Space and time in the play A. P. Chekhov "Cherry Garden"

Determination of the features of Chekhov playwright on the basis of the analysis of "Seagulls", "Uncle Vanya" and "three sisters" not in everything applied to the last play of Chekhov. Much in it turns out to be new and unusual for Chekhov-playwright.

So, in particular, the situation is with the fabul comedy. Unlike other Chekhov's pies, the unity of action in it is achieved by the presence of a constant, strong fixed fixes - the fate of the Cherry Garden. Anxiety for the future of the cherry garden concerns in one degree or another of each of the characters of the play, about the Cherry Sale all the time they say, argue, write; Theatrical solutions are connected: scenery, color, light and sound in the performance; The cherry garden does not disappear from the scene for any moment: if it is not visible, then he can hear about him.

Stage space is limited to estate, garden, field near the garden; Concentration, the locality of the place of action is emphasized by the name of the play. For the first time, Chekhov, the name is not connected with the hero (or heroes), but with the place of their habitat, the name of which acquires a double meaning. Behind a concrete man, belonging to the Ranen and Gaev, is constantly shifting another image, a generalized, symbolizing concept of beauty, happiness, ideal, and this poetic image is projected by the fate of each character and its moral world. The cherry garden is the highest criterion of the beautiful, which reveals the measure of spiritual and moral in man. And this measure is not only different from different people, but also changing socially historically, changes from generation to generation.

The innovation of Chekhov drama is manifested primarily in choosing a new conflict showing "common time shifts". The formulation of T. K. Shah-Azizova is the most accurate: in the "Cherry Garden" "... The movement of time from the speeches goes into the action itself."

In fact, in the play Chekhov, as in every dramatic work, the action occurs only in the present, it is rapidly. And at the same time, it is incredibly condensed, the whole historical era is torn here in one node. Time is calendarly accurately, and at the same time it continuously pulsates, expanding and narrowing, exciting the layers of the past and the prospects of the future in a complex rhythmic pattern, in different ways organized in each comedy action.

Consider how time flows in the first action.

The first replicas establish the connection between the present and the past: the train, which was late for two hours. This is a specific, real train, it is a "short-term", everyday connection, but this is already a connection with the past, in the course, at least recent. The following replicas of the blades prolong this connection five years ago ("The love of Andreevna lived abroad for five years"), and then another fifteen-twenty years ("When I was a boy of fifteen years old") and again returned the reader to five years of separation. The first words Ranevskaya resurrect the time is much more distant: "I slept here when it was small ..."

With a long, emotional psychological scale of the time of time, the "scale of memories" - the other interacts - the local, the pilot: Anya, who returned with his mother, left in the Great post, in the snow and frost; The mention of this is celebrated twice: in replica, first Dunyushi, then Ani. And the message of the Dunyshi introduces another one, more fractional, compressed temporary dimension - no years, not months, and the days: "Third Day Peter Sergeich arrived." And we remember the rhyme temporary situation: "I bought myself a third day of the boots," said the ipaths.

Coolings of short periods of time are replaced by roll-winning increasingly enlightening its segments. Anya recalls: "Six years ago, a father died, in a month brother Grisha drowned in the river." Behind these memories should again be a wider range of the temporary pendulum - in the past, in the childhood of the fifty-year-old Gaeva: "Once we and I and I, sister, slept here in this room." Time seems to have between the present and the past - and with a wider amplitude.

Firs recalls how Barin traveled to Paris on horseback, as the dried cherry was sent to Kharkov and to Moscow. These memories are introduced not only about the long-lasting time, but also about the rates of its flow. Horse trip and train trip - these are different epochs, different globility; It is like the expression of a historical fracture acts as the topic of the railway in Russian literature of the second half of the XIX century.

"Yes, time is coming," Vopakhin notes. But if it goes - it pulls into the future, first still quite tangible and concrete: "I now, in the fifth hour of the morning, to Kharkov to go" (Lopakhin); "Tomorrow morning I will stand, run to the garden" (Anya); "Tomorrow at the mortgage interest to pay ..." (Picker). The prospect is gradually arising, but still not unhappy: three weeks will return to Lopakhin, for the twenty-second August, auction is appointed.

And again the pendulum was swing back, in a distant happy past: "I slept in this nursery, I looked from here to the garden, happiness woke up with me every morning, and then he was exactly the same, nothing has changed." Yes, the beauty of the cherry garden remained the same, but everything else has changed: the secret is lost, how to dry the cherry, and he has come to Gaev, and in just five years "shelled" and drove Peter, and the nanny died, and Anya and Dunyash rose, and it seems , only an old bookcase is unchanged.

So, the principle of the image of time in the first action is: with the present, the past is closely connected; The action will break all the time between the present and the past, and in these transitions changes the scale of time counting, time intervals become short, everyday, then larger, sheedy lyrism; Each mention of the change in time is repeated twice, through a small interval of stage action, as if responding with echo in the consciousness of another person. The past appears in the first action as a bright, beautiful, complete sense, although at times and bitter. An expression of light and beauty becomes an image of a blooming cherry garden, which connects the past and the real joy of the meeting, recognition of loved ones, devoted to each other people. What warm words speak to each other Anya and Ranevskaya, Ranevskaya and Varya, Anya and Gaev, Lopahin and Ranenevskaya, Ranevskaya and Trofimov, Varya and Anya, Anya and Dunyash! Lask, love, friendly participation permeate the entire atmosphere of first action: all are happy to each other, everyone is condensed by the meetings, caress each other: Ranevskaya kisses Brother, Any, War, Dunyash, Petya, Firsa, Gaev - Any and Varya, Anya - Mother and Uncle , Varya - Anya ... Each fifth remark of the first action indicates: "kisses", "kisses hands", "hugs", "caresses" ... and, penetrating this atmosphere of love and lunia, we are far from immediately paying yourself a matter that the word "Love" from the very beginning of the comedy acquires duality: multiple, persistent, sincere outpouring is accompanied by as a shadow, ironic exhaust. Dunyash about the penis say: "He loves me crazy," he loves me, he loves so much! " Anya speaks of love to Vare, Gaev - that His, Gaeva, Men loves, Anya - that Gaeva love and respected. That is, we are talking about the love of funny, "nearest", or about what is not at all.

The prose of life is breaking into poetry, beauty comes into a clash with the benefit, benefit, and the Lopakhinsky ax over blooming cherries has already been listed. Actually, the action and began with prosecical, comic: Dunyasha with his claims for refinement and delicacy, the ipaths with his ridiculous speeches, the leopown, who specially arrived to meet Ranevskaya - and fell asleep, and fell asleep - because he began to read. The ironic accompaniment of lyrical events sounds the declamation of Gaeva, cooking news Couples, semi-connecting speeches of the meal ... Life is moving in a common stream, in which poetry and prose from each other.

But where is she moving? It remains unknown. The prospects for the future are uncertain, hopes for the way out of difficulties - illusory ("And there, looked, still something turns out today, tomorrow ..." - Simeon-Pirchik; "If the Lord had helped!" - Varya). And the intention of Gaeva on Tuesday to go for money, and the assumption of the leopard that. The summer house in twenty years will deal with the economy, perceived as equally unreal. Nevertheless, there is hope for the future. Life is still bright, its disagreement is corrected. And the final words of Trofimov, addressed to Ana: "My Sun! Spring mine! " - They say not only about Trofimov, not only about Ana, but about the desire of all the heroes of the play hug the world - bright, spring, joyful - and be happy together with this flourishing world.

In the second action, the ratio of times is different. Time appears, firstly, more generally and large, and secondly, in parallel organized plot lines.

The movement of large periods of time is shown already remarking, which opens the second action: on the one hand, a long-abandoned chapel, scattered stones, formerly grave elites; On the other hand, the telegraph poles, the road to the station, a big city.

Memories of different heroes of the Piece about the past this time are equally sad: Charlotte's impossible and smoothly took place, the share of the teenager, wobble and rudeness, and at the same time, the love story of Ranenevskaya is also unattracturing (as they contradict her delicacy and the grace of the story of him: I agreed, rudely, I threw, threw, I came down with the other ...). Satisfied with the past only by Firs; The Khoping sense of his elegic memories is ironically emphasized by the label of the replica of the blades: "It was very good very well. At least Drals. "

And here, dramatic memories are accompanied by Chekhov's smile: remember the cucumber, which, delivering from the pocket, eats Charlotte, the singing of the penis, the "nerves" of the Dunyshi, the arrogant Yashina of the replica. Comic than the name of the book in the mouth of the Epodov, the poems of Nekrasov and Naston in the mouth of a drunk passerby.

The movement of time from an unhappy past to the future is thus aesthetically justified. What. same promises the future? The nearest - it, as in the first action, or prosaic and threateningly (all, the same twenty-second August, hanging in the Damoclays Sword), or ghostly insoliently (the marriage of the blades on Vare, the acquaintance of Gaeva with the general).

But in the second action, the future arises already in another plan, as a prospect, as a remote bright future of mankind. It appears in the Manyuchant distant in the speeches of Trofimov, causing delight of Ani: "Forward! We go uncontrollable to a bright star, which burns there away! Forward! Do not fall behind, friends! "

How to treat these speeches?

Between the lengthy monologues of Trofimov, his own replica is very unexpected: "I am afraid and do not love very serious physiognomies, I am afraid of serious conversations. Better quilted! " Silent Peter Trofimov is clearly unable, and much in his speeches is close to the cherished thoughts of other Chekhov heroes - in the stories "on service affairs", "Teacher of Literature", "case of practice", "House with mezzanine". But far from all speeches Trofimov sounds convincing.

Trofimov calls for work. But does the work enjoyed a person? In the "Vishnevian Garden", the Ranevskaya, Gaev, Anya and Simeon-Pisher belong to the number of "unemployed elements", but they are surrounded by workers who help them with people: Yasha and Firs - Lacey, Dunyasha - Maid, Epiphas - Butter, Charlotte Governess, Varya - Housekeeper. However, who can ethically and aesthetically satisfy the "work" of Yasha or "dull cotton" Warm? Shielding from morning to evening, gets up in the fifth hour of the morning - whether his "Labor activity" elevates? And Trofimov himself - a worker, a student, but does his work briefly bring his future? There is obvious lightness of the labor of the characters of the "Cherry Garden", because there is no connection with the Great Goal, for which a person works.

And it is also completely insoludently denial of the trophim beauty and the absolute value of the cherry garden in the name of the atonement of the sins of the past. It is terrible to say (this thought seems to be no longer expressed by anyone), but the speech of Trofimov about the cherry garden to some extent lift and send an ax of a blades. If the garden personifies the serfs of the past, if the slaves are watching from each tree, - these trees are not sin to cut down, no wonder Anya under the influence of Troprophim's speeches no longer loves the cherry garden as before. There is something in such a thought of Trofimov something from theories, who sinned once Pisarev ("destruction of aesthetics") and which in the near future will respond in the breakdowns of the breakdowns ("in the name of our break will burn Rafael ...").

So, the past should leave - but is there so much inexplicable happiness of the future, the proximity of which feels Peter Trofimov and is waiting for Anya?

The third action is most dramatic and in its content, and in its construction. The time of action is accurately determined: Gaeva is waiting with a daily train, and he comes in the evening. The painful wait is filled with comic episodes: a similarly rolled ball, Charlotte focuses, water-wing scenes with a bidding, food, Peter. And this contradiction is allowed by the culmination, in which it is not just the estate goes out of one hands to others (Varya threw the keys, and the lopakhin raised), and the era is going on: the ghosts are thrown in the old house grandfather and parents of Ranevskaya with their guests, grandfather and father Present at its celebration - and in the Witnesses of the future, grandchildren and great-grandchildren are called, and a life opens ahead in which Anya promises to put a new garden ... Only when he grows up, this garden, and for whom?

The French director Jean-Louis Barro, who supplied the "Cherry Garden" in 1954 in the "Marigny" theater, called this work of a play about the time that passes, the play that discovered the path to the penetrating perception of the passing time. Barro believed that, because in each of us the past, present, and the future, Gaev, Lopahin and Trofimov are constantly living in every person.

It is important, however, to emphasize that in this "Triad" there is not only what the characters breed at different historical times, but also what drives them, making it possible to mutual respect, sympathy, friendly communication. The basis of the combination of heroes is that N. Ya. Berkovsky designated as "domestic reserves for a different life than the one who is familiar to them and painful for them ... In People Chekhov, there is a mental material of the future", since "Cherry Garden" will penetrate the lighting Of tomorrow, "in other words, the premonition of the revolutionary shift, which is about to happen.

That is why social, specific historical certainty is characteristic of the characters of the "Cherry Garden".

Levity and irresponsibility, egoism and carelessness of Ranenevskaya, Gaeva, Simeonov-Mainic - undoubted birth of Oblomovsky features, the heritage of serfdom. Clear and social nature of the blades. But to see in Chekhov's heroes only class beginning means to see the epigens of seventies in Chekhov, repeating the back across thirty years. Lopakhin is not the "chumazy" Gleb Uspensky, who mounted from suggestion: "More Ba ... with a sour B because of what ..." And for the blades, the concept of use and benefits come into contact with the concepts of beauty: "I bought the estate, which is nothing more in the world."; "Forty thousand pure" received for Mac - but "When my poppy bloomed, that it was for the picture!"

The dream of the happiness of grandchildren and great-grandchildren, understanding the beauty and space of the native nature - all this is in the bobbin, along with his predatoryness and tactlessness. And it determines the drama of his position, quite aware of them: "Oh, rather, all this passed, rather than our awkward, unhappy life." We are unlike these experiences on self-satisfying rejuvenation of the new owner. The contradictions of the blades manifest themselves in the fact that the purpose of the delightfulness of the Himberbne. Hire the Epodsov who cannot step in order to not break and not crush something, - and expect that under his supervision everything will be fine; Buy an eight-bone bottle of champagne so that Has Yasha's all glaked it even happily noted that the champagne "not real"!

Humanity, as is known, laughing breaks up with his past, and in the current master of the Cherry Garden, who has just entered into possession, is already breaking the doom.

On the other hand, and leaving the past social types have the right to compassion, because they have the truth: universal, eternal values \u200b\u200bof humanity, intelligence, understanding of beauty.

There are these values \u200b\u200band in Pet Trofimov. Incidentally honesty, selflessness, awareness of the need for social changes, purity of thoughts - attract sympathy to him. But it is definitely a superficiality of its judgments. It is impossible to disagree with a soft reproach Ranenevskaya: "You feel free to see ahead, and not because you don't see and do not expect anything terrible, since life is still hidden from your young eyes?" In the justice of this doubt, the reader will fail very soon - in the fourth action.

The fourth action is by no means an epilogue of the play. It continues the necessary development of dramatic action. "Willingness" of the heroes decided, embodied into real movements, the discrepancy of the feelings turned into the discrepancy of the fate. All travel - even geographically - in different places: in Yashnevo - Varya, in Kharkov - Lopahin, to the city - Anya and Gaev, to Moscow Trofimov, to Paris - Ranevskaya with Yasha, in the unknownness - Charlotte. So the plot ring is closed: the action began with the fact that the train was late, the play ends with the fact that they are afraid to be late for the train; The play began to appear on the scene of Dunyushi, Lopakhina, Epodov, then by Firs, - servants and will remain in the estate, and the new owner will run.

The fourth play is the most controversy. Unexpected its final; In the example of other Chekhov's plays, we would expect the "alignment of household and lyrical" in a monologue, similar to those who end up the third action. Our expectation seems all the more legitimate, that way, Ani, her words, vigorous and joyful, or by love, ended and the first, and the second action. But the play is ends not a monologue, not even calling the exclamations of Ani and Trofimov, but a stating speech of a dying company. What is the meaning?

The appearance of Firsa in the final is motivated plot: they forgot about him, he was not sent to the hospital. This plot situation becomes an expression of the guilt of the new, young in front of the old, who have learned, - but still alive! And the image of Ani in this situation is invisibly present.

In the literature about Chekhov, they often compare Any from the "Cherry Garden" with Nadi from the story of the "Bride" as representatives of the strength that is destined to "flip life" for good. Known memories of conversation with Chekhov, who thought the future of Nadi as a way to revolution. Often to this conversation "expose" and Any. But there are no reason for this. Nadia is an adult (she is twenty-three), she independently decides on breaking with the same life and in the final it turns out not only to relate native, but also Sasha, who once helped her take the first step into the future. "Live, cheerful" - these epithets are relative to Nadia with Anya, but the seventeen-year-old Anya is another child, she will be the will of circumstances, and not in free choice leaves the cherry garden and is not ready for responsible solutions. Putting in the words of Petit Trofimova, Anya says and dreams of a happy future, she attracts universal sympathy, everyone loves her, - but the most cruel act in the play makes exactly Anya! It is forgotten by her fault of her cheap house.

Ranevskaya is discouraged several times about the FarRis, and Anya asks Yasha: "Firsa sent to the hospital?". Even cynical and arrogant Yasha gives an answer not affirmative, but evasive: "I spoke in the morning. Sent, you need to think. " It clearly needs to be inspected, and Anya appeals to the penis, which at this time passes through the hall: "Semen Panteleich, please contact Lee Firsa to the hospital." But Yasha was offended: "I spoke HIR in the morning. What to ask for ten times! " - And Ana began to insist awkward on his. When Varia's voice was heard behind the door: "Firs took to the hospital?" "Anya replied:" taken away "," and even the fact that the letter to the doctor did not take, she was not alerted. Of course, Anya would have come to horror if he knew what she did, she would not regret nothing to redeem his guilt; But the fact remains a fact: the delicacy of Ani, its inexperience and impracticality led to inhumanity, and hope for the fact that Anya will rebuild his life and other people - is clearly premature.

Thus, in the final of the play, the problem of interconnection times is revealed in more than one plan: we appreciate the possibility of aging dreaming about the future with the price that must be paid for it in the present. And from this point of view, one of the main plot motives is completed in the final - the motive of the Cherry Garden as the values \u200b\u200bof spiritual and aesthetic. The attitude of Ani to the Fours is associated with the attitude of Ani - and Trofimova - to the Cherry Garden: "Peter and Anya, easily and having fun with the garden, not close to Chekhov, and hardly behind them - a true new life."

It's not by chance that Chekhov "deprived" these young people feeling love: they are friendly, but, despite the fears of Wise, do not fall in love with each other. They see the expression of their freedom, their gap with the traditions of the past. But proud petition statement: "We are above love!" - It sounds comic (I remember how the love of NiHist Bazarov has once denied).

As for other characters play, they are below love, already in the most direct sense of the word. Mutual sympathy of the blades and cooking is so weak and sluggish that only Anya can call him with love - and Ranevskaya - from the desire to arrange Barina fate. The attitude of Yasha to the dungean is different as "appetite" you will not call ("Cucumber!"), And Dunyasha is not capable of deep experiences, but on the manner sensitivity: "Dunyasha (powder, looking in the mirror). Send a letter from Paris. After all, I loved you, Yasha, so loved! I am a gentle creature, Yasha! ".

What remains of love unrest? Relvorally expressed in love of the incomplete bikhodov in a silly dunyash. And - the hard doomedness of the feeling of Ranevskaya to the small scoundrel ("This is a stone on my neck, I go with him to the bottom, but I love this stone and I can not live without him").

Throws by this feeling, Ranevskaya leaves their homeland for the sake of foreign. Decisive gesture in the first action: "This is from Paris. (Telegram's tears, without reading.) With Paris, over ... "- turned out to be the same fiction as the plans to save the Cherry Garden. Ranevskaya, who came from Paris, returns to Paris - in someone else's world, which for her, as well as for Ani, is cold and unrelated.

So the drama of the fate of Ranevskaya receives a spatial expression in the plot. And again, as in other situations, dramaticism is shaved by a satirical accompaniment: Yasha is accompanied by Ranevskaya, for which Paris is the promised, and Russia is "the country is uneducated" (in which it is quite solidarity and dunchais, and the ipaths with it).

Why in the "Cherry Garden" - unlike other plays Chekhov - there is no real, deep and sublime love, why is there a love line in the plot of the plays? Because love does not solve anything and does not save anyone, because for the happiness of a person there is little love, it is impossible to clicter in it. A few years ago, Chekhov thought otherwise. Suppose that Nina Zarechny, wise life, would answer the love of Trepleva, "the Treplev would not have to shoot, his life would have gained meaning. But what's new would love Ani and Petit Trofimov? Or marry Yasha's marriage?

The fourth action ends on the fault of the epoch: "Goodbye, old life! Hello, a new life! .. "Physically noticeable, a moment for a moment, passes, breaks up, a drop behind the drop is irrevocable time:" There are only forty for the train - six minutes! .. In twenty minutes, go to the station "; "Ten minutes later, let's sit down in the crews ..." "You can ... five minutes ..." "I will sit in another minute"; "Last time to look at the walls, on the windows ..."

But because of such droplets, such moments, the whole life of a person is drawn up, which "knows yourself" (Lopahin), and no one will return it and will not happen again. The last monologue of the Firsa, crowing the whole play, summarizes his almost old life. What did he have done for these many years that he left people and what he himself can be satisfied with a farewell look that the life of life is a farewell look? "Life has passed, as if not lived." This is the result of the life of all the notepads, - and not the inappropriate (to one degree or another) all the characters who passed along the stage? What is their life, what is its meaning? "Who am I, why I am unknown ..." - these words of Charlotte belong to all the characters of the "Cherry Garden". None of them is capable of putting a new cherry garden, no one is worthy to become a flue with a flowering garden, but most of them already dreams of such a person, a giant in their affairs and soulful beauty.

Chekhov does not solve issues, but the question "why do you live? And what will you leave? " He places his play before each hero and before each reader and the audience. "Of the unclear, broken, confusing life, where everything turns into fatigue and failure, it arises without whining, not a hneeze, but something active, but deprived of the element of struggle, - longing about the best life," so formulated the meaning of Chekhov's drama VL. I. Nemirovich-Danchenko.

This implies from what was laid in the past. The future is determined by the fact that people do in the present. And every minute, a person is responsible for thinking, doing and creates.

This is the artistic testament Chekhov.

6. Space and time from Tarkovsky and still leading home the road turned out to be too long, as if Poseidon, while we lost time there, stretched the space. I. Brodsky category of time serves for Tarkov's key key in the approach to the cinema in general.

From the book, the culture of ancient Rome. In two volumes. Volume 2. Author Schkunayev Sergey Vladimirovich