Critics will notice that not only public gust. Two conflict: Personal and Public
Her main representatives: N.G. Chernyshevsky, N.A. Dobrolyubov, D.I. Pisarev, as well as N.A. Nekrasov, M.E. Saltykov-Shchedrin as the authors of the actual critical articles, reviews and reviews.
Print authorities: Magazines "Contemporary", "Russian Word", "Patrican Notes" (since 1868).
The development and active impact of the "real" criticism on Russian literature and the public consciousness continued from the mid-50s to the end of the 60s.
N.G. Chernyshevsky
As a literary critic Nikolai Gavrilovich Chernyshevsky (1828 - 1889) speaks from 1854 to 1861. In 1861, the last of the fundamentally important articles of Chernyshevsky was published "not the beginning of the change?"
The literary-critical speeches of Chernyshevsky preceded the decision of the generalestwork issues taken by criticism in the master's thesis "Aesthetic attitudes of art, to reality" (written in 1853 she was protected and published in 1855), as well as in reviews on Russian translation of the book Aristotle "On Poetry" (1854) and authenthenevia on their own dissertation (1855).
Posted by the first reviews in "Patriotic Notes" A.A. Kraevsky, Chernyshevsky in 1854 passes at the invitation N.A. Nekrasov in the "contemporary", where the critical department is headed. Chernyshevsky's cooperation (and since 1857 and Dobrolyubov) "contemporary" was largely obliged not only by the rapid increase in the number of its subscribers, but also by turning the revolutionary democracy to the main tribune. The arrest in 1862 and the participation of Chernyshevsky's literary critical activities that followed him, when he was only 34 years old.
Chernyshevsky made a direct and consistent opponent of the abstraction-aesthetic criticism A.V. Druzhinina, P.V. Annenkova, V.P. Botkin, S.S. Dudyshkina. The specific disagreements of Chernyshevsky-Criticism with the criticism of "aesthetic" can be reduced to the question of the admissibility in the literature (art) of the entire variety of current life - including its socio-political conflicts ("malice of the day"), in general social ideas (trends). The "aesthetic" criticism as a whole answered this question negatively. In her opinion, the socio-political ideologicalness, or, as the opponents of Chernyshevsky, "Tendenzyosity" were opposed to art, because it violates one of the main demands of the artistic - an objective and impartial image of reality. V.P. Botkin, for example, stated that "a political idea is the grave of art." On the contrary, Chernyshevsky (like other representatives of real critics) responded to the same question affirmatively. Literature not only maybe, but should also penetrate and inspire the socio-political trends of their time, because only in this case it will become an expressive of the urgent social needs, and at the same time serve both his own. After all, as the critic in the "essays of the Gogolian period of Russian literature" (1855 - 1856), "Only those directions of literature achieves brilliant development, which arise under the influence of the ideas of strong and living, which satisfy the urgent needs of the era." The main of these needs Chernyshevsky, Democrat, the socialist and the peasant revolutionary, considered the liberation of the people from the serfdom and elimination of autocrat.
The rejection of the "aesthetic" criticism of social ideas in the literature was justified, however, the whole system of views on art, their roots of the German idealistic aesthetics, in particular, Gegel's aesthetics. The success of the literary and critical position of Chernyshevsky was determined therefore not so much a refutation of the private provisions of his opponents, how many fundamentally new interpretation of general -est source categories. This was devoted to the dissertation of the Chernyshevsky "aesthetic attitudes of art to reality." But first let's call the main literary-critical work that you need to keep in mind the student: Reviews "" Poverty is not a vice. " Comedy A. Ostrovsky "(1854)," "On poetry". Op. Aristotle "(1854); Articles: "On sincerity in criticism" (1854), "Works A.S. Pushkin "(1855)," Essays of the Gogolian period of Russian literature "," Childhood and adolescence. Essay of Graph L.N. Tolstoy. Military stories Graf L.N. Tolstoy "(1856)," The provincial essays ... collected and published M.E. Saltykov. ... "(1857)," Russian man on Rendez-Vous "(1858)," Do not be changed? " (1861).
In dissertations, Chernyshevsky gives fundamentally different compared to the German classical aesthetics. Definition of art object. How was he understood in an idealistic aesthetics? The subject of art is a beautiful and variety: elevated, tragic, comic. The source of the wonderful idea thought was the absolute idea or the reality embodiment, but only in the entire volume, space and length of the latter. The fact is that in a separate phenomenon - the final and temporary is an absolute idea, by nature eternal and infinite, according to idealistic philosophy, is neoplotim. Indeed, between absolute and relative, common and individual, natural and random there is a contradiction, such a difference, between the Spirit (he is immortal) and the flesh (which is mortal). A person is not given to overcome it in the practical "(material and social and political) life. The only spheres in which the resolution of this contradiction was possible, the religion was considered distracted thinking (in particular, as Hegel believed, his own philosophy, more precisely, its dialectical method) and, finally, art as the main varieties of spiritual activity, whose success is to a great extent Depends on the creative gift of man, his imagination, fantasy.
Hence the conclusion followed; Beauty in real reality, inevitably finite and transient, is absent, it exists only in the creative creatures of the artist - works of art. It is art that makes beauty to life. Hence the investigation of the first parcel: art, as the embodiment of beauty above the life. // "Venus Milos," says, for example, I.S. Turgenev is perhaps undoubtedly the Roman law or principles of 89 (that is, the French revolution 1789 - 1794.- V.N.) of the year. " Summarizing the main postulates of idealistic aesthetics and resulting from them the investigations, Chernyshevsky writes: "Determining the perfect as a complete manifestation of the idea in a separate creature, we must come to the conclusion:" Perfectly only a ghost, worsted our facts in it "; From this will follow that "in fact, the wonderful is created by our fantasy, and in reality ... there is a truly beautiful no"; From the fact that in nature there is no truly beautiful, it will follow the fact that "Art has its source a man's desire to fill the shortcomings of the beautiful in objective reality" and that the beautiful, created art, above the beautiful in objective reality, "all these thoughts constitute the essence of the dominant now concepts ... "
If in reality there is a wonderful and it is entered into it only with art, then create the latter more important than to create, improve life itself. And the artist should not help so much to improve life, how much to reconcile a person with its imperfection, compensating for its ideal-imaginary world of his work.
This system of presentations Chernyshevsky and opposed its materialistic definition of the beautiful: "Beautiful is life"; "It's a great that creature in which we see life like that it should be according to our concepts; It is beautiful that item that shifts life or reminds us of life. "
His pathos and at the same time, a fundamental novelty was that the main task of a person was recognized not to create an excellent in itself (in his spiritual and imaginary form), but the transformation of life itself including the current, current, according to the ideas of this person about her ideal . Solidarizing in this case with the ancient Greek philosopher Plato, Chernyshevsky, as if he says to its contemporaries: Make a beautiful one of all my life, and not fly away in beautiful dreams from her. And the second: if the source of the beautiful is life (and not an absolute idea, spirit, etc.), then the art in your search depends on life depends on the lifestyle, resulting in the desire for self-improvement as a function and means of this desire.
Clear Chernyshevsky and the traditional opinion about beautiful as the alleged major goal of art. From his point of view, the content of art is much wider than the wonderful and makes up "common in life", that is, covers everything. What is worried about a person, from which his fate depends. A person (not excellent) became in Chernyshevsky, essentially, and the main subject of art. Otherwise, I interpreted the critic and the specifics of the latter. According to the logic of the thesis, the artist distinguishes from the stubble not the ability to embody the "eternal" idea in a separate phenomenon (event, character) and the topics to overcome their eternal contradiction, but the ability to reproduce common interests for the Coultry of life conflicts, processes and trends in individually visual form. Art thinks Chernyshevsky not so much the second (aesthetic) reality, how much "concentrated" reflection of reality objective. Hence the extreme definitions of art ("art - surrogate reality", "Life Tutorial"), which were not rejected by many contemporaries without reason. The fact is that lawful in itself, the desire of Chernyshevsky to subjugate the art of public progress in these formulations turned into the oblivion of his creative nature.
In parallel with the development of materialistic aesthetics, Chernyshevsky comprehends such a fundamental category of Russian criticism of the 40s - 60s, as artistic. And here is his position, although it rests on the individual provisions of Belinsky, remains original and in turn the gram culture to traditional ideas. Unlike Annenkova or Druzhinina (as well as writers, as I.S. Turgenev, I.A. Goncharov), Chernyshevsky, the main condition of the art considers the objectivity and impartiality of the author and the desire to reflect reality in its completeness, not a strict dependence of each fragment of the work ( character, episode, details) from the whole, not closedness and completion of the creation, but the idea (public trend), the creative fruitfulness of which, according to the conviction of the critic, commensurate its vastness, truthfulness (in the sense of coincidence with the objective logic of reality) and "decorated". In the light of the last two requirements, Chernyshevsky analyzes, for example, comedy A.N. Ostrovsky "Poverty is not a vice" in which it finds the "cerebral adhesion that cannot and should not be abscessed." The erroneous initial thought, which was based on the comedy, deprived it, believes Chernyshevsky, even plot unity. "False on the main thought of the work - concludes a critic, - there are weakness even in purely artistic terms."
If the restraint of the truthful idea provides the work of unity, its social and aesthetic significance depends on the scale and relevance of the idea.
Requires Chernyshevsky and compliance with the form of its content (idea). However, this correspondence, in his opinion, should not be strict and pedantical, but only appropriate: enough if the work is concise, without taking excess in the direction of the excesses. To achieve such appropriateness, Chernyshevsky believed, no special author's imagination, fantasy.
The unity of truthful and weathered idea with the form meets to her and make a work of art. The interpretation of the artisticity of Chernyshevsky, thus, removed from this concept that the mysterious halo, who made his representatives of the "aesthetic criticism. It was released from dogmatism. At the same time, both here, as in the definition of the specifics of art, the Chernyshevsky approach sinned with unjustified rationality, lime rectinity.
The materialistic definition of the beautiful one, call to make art content all that worries a person, the concept of artism intersects and refracted in Chernyshevsky criticism in the presentation of the public appointment of art and literature. The critic develops and clarifies the views of Belinsky late 30s here. Since literature is part of the lifetime itself, the function and means of its self-improvement, it, says the critic, "Can't be the servant of this or that direction of ideas; This is an appointment lying in her nature, from which she cannot refuse if she wanted to refuse. " In particular, it is true for unimited in the political and civil relations of autocratic-fastened Russia, where the literature "focuses ... the mental life of the people" and has "encyclopedic meaning." The direct debt of Russian writers is to inspire their creativity "Humanity and concern for the improvement of human life", which became the dominant time need. "Poet," writes Chernyshevsky in the "essays of the Gogol period ...", the lawyer., Her (the public. - V.Nl's own hot desires and sincere thoughts.
The struggle of Chernyshevsky for the literature of social ideas and direct public service explains the criticism of the creativity of those poets (A. Feta. A. Maikova I. Polonsky, N. Shcherbins), which he calls "Epicuretes", "for which public interests do not exist who are known Only personal, enjoyment and chagrins. Considering the position of "pure art", the everyday life was by no means disinterested, Chernyshevsky in the "essays of the Gogol period ..." rejects and the argument of supporters of this art: that the aesthetic pleasure "in itself brings a significant benefit of a man, softening his heart, upstanding his soul" that The aesthetic experience "" directly ... Removes the soul on the hills and nobility of objects and feelings that we indulge in works of art. "And the cigar, objects Chernyshevsky, softens, and good lunch, general health and excellent living conditions. It concludes critic, Pure epicorean view of art.
The materialistic interpretation of general -est -est categories was not the only prerequisite of Chernyshevsky criticism. The two other sources of Chernyshevsky indicated himself in the "essays of the Gogol period ...". This, firstly, the legacy of the Belinsky 40s and, secondly, Gogol, or, as clarifies Chernyshevsky, the "critical direction" in Russian literature.
In the "essays ..." Chernyshevsky solved a number of tasks. First of all, he sought to revive the covenants and the principles of the criticism of Belinsky, whose name itself was up to 1856, was under a censored ban, and the heritage was silent or interpreted by the "aesthetic" criticism (in the letters of Druzhinin, Botkin, Annenkov to Nekrasov and I. Panayev) unilaterally, sometimes Negative. The plan answered the intention of the editorial office of the "contemporary" "to fight with the decline of our criticism" and "if possible to improve" its own "critical department", which was said in "Announcement of the publication of the contemporary" in 1855. She followed Nekrasov, return to the interrupted tradition - to the "direct road" of "domestic notes" of the forties, that is, Belinsky: "... What faith was to the magazine, what a livelihood between, to them and readers!" Analysis from the democratic and materialistic positions of the main critical systems of the 20s - 40s (N. Polevoy, O. Senkovsky, N. Nerdadin, I. Kireevsky, S. Shevyreva, V. Belinsky) at the same time allowed Chernyshevsky to determine for the reader his own position in the brewing With the outcome of the "gloomy seven years" (1848 - 1855) literary struggle, as well as to formulate the modern tasks and principles of literary criticism. "Essays ..." served and polemical purposes, in particular the struggle with the opinions of A.V. Druzhinin, which Chernyshevsky clearly meant, when shifting the mercenary and security motives of literary judgments S. Shevyreva.
Considering in the first chapter "Essays ..." The reasons for the decline of criticism of N. Polevoy, "at first so cheerfully speaking one of the leaders in the literary and mental movement" of Russia, Chernyshevsky made the conclusion about the need for viable criticism, firstly, modern philosophical theory, Secondly. Moral feeling, of course, the humanistic and patriotic aspirations of criticism, and finally, the orientation on genuine progressive phenomena in the literature.
All these components were organically merged into the criticism of Belinsky, the most important principles of which were "flame patriotism" and the newest "scientific concepts", that is, L. Feyerbach materialism and socialist ideas. Other capital advantages of the criticism of Belinsky Chernyshevsky considers its struggle with romanticism in literature and in life, rapid growth from the abstract-aesthetic criteria for an animation "Inters of the national life" and judgments of writers from the point of view of "the meaning of its activities for our society".
In the "essays ..." For the first time in Russian objects, Belinsky was not only associated with the ideological and philosophical movement of the forties, but was made by his central figure. Chernyshevsky designated that scheme of the creative emotion of Belinsky, which remains at the heart of modern ideas about the activities of criticism: the early "Telescopian" period is the search for a holistic philosophical comprehension of peace and nature of art; A regular meeting with Hegel on this path, the period of "reconciliation" with reality and exit from it, a mature period of creativity, in turn found two points of development - according to the deepening of social thinking.
At the same time, the differences that need to appear in future criticism are obvious to Chernyshevsky compared to Belinsky's criticism. Here is his definition of criticism: "Critica is a judgment about the advantages and disadvantages of some literary direction. Her appointments - to truck the expression of the best part of the public and contribute to the further spread of it in the mass "(" On sincerity in criticism ").
"The best part of the public" is, beyond doubt, democrats and ideologists of the revolutionary transformation of Russian society. Future criticism should directly serve their tasks and goals. To do this, it is necessary to deduct from the workshop closetness in the circle of professionals, to reach permanent communication with the public. The reader, as well as to gain the "all possible ... clarity, certainty and direct" judgments. The interests of a common cause, which she will serve, give her right to sharpness.
In the light of the requirements, first of all socio-humanistic ideas, Chernyshevsky undertakes consideration of both the phenomena of current realistic literature and its origins in Pushkin and Gogol.
Four articles about Pushkin are written by Chernyshevsky simultaneously with the "essays of the Gogol period ...". They, Chernyshevsky, included in the discussion, started by Article A.V. Druzhinina "A.S. Pushkin and the last edition of its writings": 1855) in connection with the Annenkov Assembly of the compositions of the poet. Unlike the Druzhinina, who created the image of the Creator-artist, alien social conflicts and excitement of his time, Chernyshevsky appreciates in the author "Eugene Onegin" what he "first began to describe Russian morals and the lives of various classes ... with amazing loyalty and insight" . Thanks to Pushkin, Russian literature became closer to Russian society. The ideologist of the peasant revolution, especially the roads of Pushkin's "scenes from knightly times" (they should put "not lower than Boris Godunov"), the content of Pushkin verse ("Each line ... touched, excited thought"). Crete, recognizes the tremendous importance of Pushkin "in the history of Russian education." Enlightenment. However, in contradiction with these praise, the relevance of Pushkin heritage for modern literature was recognized by Chernyshevsky minor. In fact, in the assessment of Pushkin Chernyshevsky takes a step back compared to the Belinsky called the Creator of Onegin (in the fifth article of the Pushkin cycle), the first "poet artist" of Russia. "Pushkin was, - writes Chernyshevsky, - by the advantage of the poet of form." "Pushkin was not a poet of someone a certain view of life, like Byron, was not even a poet of thought at all, like ... Goethe and Schiller." Hence the final conclusion of articles: "Pushkin belongs to the past era ... He cannot be recognized by the Corifence and modern literature."
The overall assessment of the Russian Property of Russian realism was not historical. Gave it to know and unjustified in this case sociological bias in understanding Chernyshevsky art content, poetic idea. Olyu or unwittingly, but the critic gave Pushkin to his opponents - representatives of the "aesthetic criticism.
Unlike Pushkin heritage, the highest assessment receives in the "essays ..." Hogol Heritage on the thought of Chernyshevsky, facing the needs of public life and therefore performed deep maintenance. Especially emphasizes the critic from Gogol Humanistic pathos, essentially not seen in Pushkin creativity. "Gogol, - writes Chernyshevsky, - many are obliged to those who need protection; He became at the head of those. which deny evil and vulgar. "
The humanism of "deep nature" Gogol, however, considers Chernyshevsky, was not supported by modern advanced ideas (teachings), which did not affect the writer. According to Criticism, it limited the critical pathos of Gogol Works: the artist saw the disgrace of the facts of Russian public life, but did not understand the relationship of these facts with the indigenous basis of the Russian autoclative-serfdom. In general, Gogol was inherent in the "gift of unconscious creativity", without which it is impossible to be an artist. However, the poet adds "Chernyshevsky," I will not create anything great, if it is also not like a wonderful mind, strong common sense and a subtle taste. " The artistic drama of Gogol Chernyshevsky explains the suppression of the liberation movement after 1825, as well as the influence of the writer who defended S. Shevyreva, M. Pogodina and the sympathies of him to patriarchalness. Nevertheless, the overall assessment of Gogol creativity in Chernyshevsky is very high: "Gogol was the father of Russian prose," "He is the merit of a strong introduction to the Russian literature of satirical - or, as it is equitable to call his critical directions," he is "the first in Russian literature a strong desire To the content and moreover, the desire to such a fruitful direction as critical. " Finally: "There was no writer in the world, which would be so important for his people, like Gogol for Russia," he awakened consciousness about us about us - this is his true merit. "
The attitude towards Gogol and the Gogol direction in Russian realism, however, did not remain in Chernyshevsky unchanged, but depended on which phase of his criticism it belonged. The fact is that two phases differ in Chernyshevsky criticism: the first - from 1853 to 1858, the second - from 1858 to 1862. Rubezhnaya for them was a revolutionary situation in Russia, which caused the fundamental placement of democrats with liberals on all issues, including literary.
The first phase is characterized by the struggle of criticism for the Gogol direction, which remains effective and fruitful in his eyes. This is the struggle for Ostrovsky, Turgenev, Grigorovich, Pisemist, L. Tolstoy, for the strengthening and development of them of critical pathos. Task - Combine all anti-refrete writing groups.
In 1856, Chernyshevsky devotes great review of Grigorovich, by that time the author is not only "villages" and "Anton-Gorryki", but also the novels of "Fishermen" (1853), "Migrants" (1856\u003e. Improved deep participation in life and fate " Proshitin, "in particular the fortress peasants. Anti-composing Grigorovich his numerous imitators, Chernyshevsky believes that in his titles" the peasant life is shown true, without embellishment; in the description there is a strong talent and a deep feeling. "
Until 1858, Chernyshevsky takes protection for "extra people", for example, from criticism of S. Dudyskina. Employed them in the absence of "harmony with the situation", that is, for the opposition of the environment. In a modern society, such "Harmony" shows Chernyshevsky, it will only be reduced to "be a terminated official, a manager of the landlord" ("Notes on journals", 1857 *. At this time, the critic sees in the "extra people" more victims of the Nikolaev reaction , And he is the road of the share of protest, which they conclude in themselves. True, and at this time he belongs to them is not the same: sympathizes Rudin and Beltov, who seeks to social activities, but not Onegin and Pechorin.
The attitude of Chernyshevsky to L. Tolstoy, by the way, who responded about the dissertation of the critic and his personality itself is extremely disliked at this time. In the article "Childhood and adolescence. Essay of Graph L.N. Tolstoy ... "Chernyshevsky discovered an extraordinary aesthetic sensitivity when evaluating the artist, the ideological positions of which were very far from criticism sentiment. Two main features noted Chernyshevsky in the granulation of Tolstoy: the originality of his psychological analysis (unlike other realist writers, Tolstoy is not the result of the mental process, not compliance with emotions and actions, etc., but "the mental process itself, his shape, his laws , dialectics of the soul ") and the sharpness (" cleanliness ")" moral feeling ", moral perception of the depicted". The critic rightfully understood the mental analysis of thick as the expansion and enrichment of the possibilities of realism (we simply simultaneously be that this feature of the Tolstovskaya prose was at first very skeptical of even such Master, like Turgenev, who called her "Soking Sora"). As for the "purity of a moral feeling", which Chernyshevsky noted, by the way, and Belinsky, Chernyshevsky sees a security deposit in it by the artist after the moral falsehood also and socially inappropriate. , public lies and injustice. Confirmation of this was the story of a fat "Morning landlord", showing Signless meaninglessness in the conditions of serfdom of Bar ash philanthropy towards the peasant. The story was highly appreciated by Chernyshevsky in "Notes on magazines" of 1856. The author of the author was delivered to the author that the content of the story was taken from the new sphere of life, which developed the very visure of the writer "on life".
After 1858, the judgments of Chernyshevsky about Grigorovich, Pistemsky, Turgenev, as well as about "unnecessary people" change. This is due not only to the rupture of Democrats with liberals (in 1859 - I860 from the "Contemporary" leaving L. Tolstoy, Goncharov. Botkin, Turgenev), but also the fact that in these years the new course in Russian realism, represented by Saltykov-generous (In 1856, "Russian Bulletin" begins the publication of his "provincial essays"), Nekrasov, N. Asspensky, V. Sleptsov, A. Levitov, F. Reshetnikov and spiritualized by democratic ideas. Democratic writers had to be established in their own positions, freeing from the influence of the predecessors. In the solution of this task, Chernyshevsky is included, which considers that Gogol's direction has exhausted itself. Hence the revaluation of Rudina (the critic sees in it an unacceptable "caricature" on M. Bakunina, with whom the revolutionary tradition) was contacted), and other "extra people", which Chernyshevsky did not separately separate from the liberal nobles.
The famous Chernyshevsky "Russian man on Rendez-Vius" (1958) was the declaration and proclamation of uncompromising sizes with noble liberalism in the Russian liberation movement of the 60s. It appears at the moment when, as a specially emphasizes the critic, the denial of the serfdom, which united in the 40s - 50s of the liberals and democrats, was replaced by the opposite attitude of the former allies to the coming, the Chernyshevsky, the peasant revolution believes.
The reason for the article was the story I.S. Turgenev "Asya" (1858), in which the author of the "Diary of an extra person", "Calm", "Correspondence", "Trips in Polesie" depicted a drama of failed love in conditions when the happiness of two young people was seemed to be close . Interpretizing the hero "Asi" (along with Rudin, Beltov, Nekrasovsky Agarin and other "superfluous people") as the type of noble liberal. Chernyshevsky gives his explanation of the public position ("behavior") of such people - albeit a friend with a loved one in an intimate situation with his beloved and reciprocity. The performed ideal aspirations, elevated feelings, they say the critic, the fatal way stops before implementing them into life, is unable to combine the word with the case. And the reason for this inconsistency is not in some personal weaknesses, but in their affiliations to the dominant noble class, the burden of "estimated prejudices". From the noble liberal, it is impossible to wait for decisive actions in accordance with the Great Historical Interests of National Development "(that is, to eliminate the autocrete-frontest system), because the Nobalaski itself is the main obstacle for them. And Chernyshevsky calls on decisively abandon the illusions regarding the liberation-humanizatorial opportunities of the noble oppositionist: "The thought is increasingly and stronger in us, that this opinion about him is an empty dream, we feel ... that there are people better than him, which is those whom he offended; That without him we would be better to live. "
The incompatibility of the revolutionary democratism with reformism explains Chernyshevsky in the article "Polemic beauty" (1860) its current critical attitude towards Turgenev and a gap with a writer, who previously defended CNPalai from attacks "Our image of thoughts turned out for the city of Turgenev so much that he stopped approving him . It became for us that the last story of Turgenev is not so close to our relevant look at things, as before, when and his direction was not so clear for us, and our views were not so clear for him. We parted".
Since 1858, the main concern of Chernyshevsky is devoted to the middle-democratic literature and its authors, designed to master writing skills and indicate the public of others compared to the "extra people" of the heroes close to the people and spiritualized by popular interests.
The hopes for the creation of a "completely new period" in the poetry Chernyshevsky binds primarily with Nekrasov. Back in 1856, he writes him in response to a request to speak out about the famous collection of the "poem N. Nekrasov" collection: "Such a poet, as you, we have not had." High rating Nekrasov Chernyshevsky retained for all subsequent years. Having learned about the deadly disease of the poet, he asked (in a letter on August 14, 1877, Dupin from Vilyussk) kiss him and tell him, "the genius and noblest of all Russian poets. I scold about him "(" Tell Nikolai Gavrilovich, "Dwypina replied Nekrasov," that I am very much so thank Ego, I'm consorable: His words are more expensive than someone's words "). In the eyes of Chernyshevsky Nekrasov - the first great Russian poet, which became really popular, that is, he expressed as a state of the oppressed people (peasantry) and faith in his strength, the growth of popular self-consciousness. At the same time, Chernyshevsky road and intimate Lyrics of Nekrasov - "heart poetry", "plays without a trend," as he calls her, - embodied the emotional intellectual system and mental experience of the Russian allocating intelligentsia, inherent in her system of moral and aesthetic values.
In the author of "provincial essays" M.E. Saltykov-Shchedrine Chernyshevsky saw a writer who came on the critical realism of Gogol. Unlike the author of the "dead souls", Shchedrin, according to Chernyshevsky, already knows, "What a connection is between that branch of life in which the facts and other sectors of mental, moral, civil, public life are able to build private disgrace. Russian public life to their source is the socialist system of Russia. The "provincial essays" are valuable not only as a "beautiful literary phenomenon", but also as a "historical fact" of Russian life "on the way of her identity.
In responses about ideally close to him writers Chernyshevsky raises the question of the need for a new positive hero's literature. He is waiting for "His speech, Bodreysh, together the querious and more determined speech, in which there would be no timidity of the theory before life, but the proof that the mind may be dominated over life and a person can agree with his beliefs with his beliefs." In the solution of this task, Chernyshevsky included in 1862 and himself, creating a novel about "new people" in the caasemate of the Petropavlovsk fortress - "What to do?"
Chernyshevsky did not have time to systematize his views on democratic literature. But one of her principles is the question of the image of the people - it was developed very thoroughly. Is the latter of the major literary and critical articles of Chernyshevsky "not the beginning of the change?" (1861), the reason for which the "essays of the national life" N. Uspensky became.
The critic opposes any idealization of the people. In the conditions of social awakening of the people (Chernyshevsky knew about the mass peasant speeches in connection with the robber reform of 1861), he believes, it objectively serves as guardious purposes, as it consolidates the folk passivity, the conviction in the inability of the people to decide their fate. Now is an unacceptable image of the people in the form of Akakia Akakievich Bashmachkina or Anton Horrayki. The literature should show the people, his moral and psychological state of "without embellishment", because only "the image testifies to the recognition of the people equal to other estates and will help the people to get rid of weaknesses and defects, whining to him humiliation and cure. No less important, not satisfied with the routine manifestations of people's life and dozen character, show people in which the "People's Initiative" is concentrated. It was a call to create in the literature the images of folk leaders and the riots. Already the image of Sovelius - the "hero of Svyatarussky" from the poem of Nekrasov "Who in Russia live well" spoke about that. That this covenant Chernyshevsky was heard.
Aesthetics and literary criticism Chernyshevsky do not differ academic fearlessness. They, according to the expression V.I. Lenin, imbued with the "spirit of class struggle." And also, add, and the spirit of rationalism, faith in the omnipotence of the mind characteristic of Chernyshevsky as an enlightener. This obliges us to consider the literary-critical system of Chernyshevsky in the unity of it not only strong and promising, but also relatively weak and even extreme parcels.
Chernyshevsky right, defending the priority of life, on art. But he is mistaken, calling the art of "surrogate" on this basis (that is, the substitute) of reality. In fact, art is not only a special (in relation to the scientific or public-practical activity of a person), but also a relatively autonomous form of spiritual creativity - aesthetic reality, in creating a huge role belongs to a holistic ideal of the artist and the efforts of his creative fantasy. In turn, by the way, it is underestimated by Chernyshevsky. "Reality," he writes not only less, but also perfectly fantasy. Fantasy images - only pale and almost always unsuccessful rework. This is true only in the sense of the association of artistic fantasy with the life aspirations and ideals of the writer, painter, musician, etc. However, the very understanding of creative fantasy and its capabilities is mistaken, for the consciousness of a big artist is not so much reworking the real, how much the new world creates.
The concept of an artistic idea (content) acquires from Chernyshevsky not only sociological, but sometimes rationalistic meaning. If its first interpretation is quite justified in relation to a number of artists (for example, to Nekrasov, Saltykov-generous), then the second actually eliminates the line between the literature and the science, art and sociological treatise by memoirs, etc. An example of an unjustified rationalization of artistic content can be the following statement of criticism in the Russian review of Aristotle's writings: "Art, or, better to say, poetry ... spreads a huge number of information in the mass of readers and more importantly, familiarity with the concepts produced by Nauhukho - - That is what the great value of poetry for life is. " Here Chernyshevsky free or involuntarily proacts the future literary utilization D.I. Pisarev. Another example. Literature, says critic elsewhere, gains authenticity and meaningful if "says everything that is important in any regarding relationship in society, considers all these facts ... With all possible points of view, explains From what reasons each fact is proceeds than it is supported, which phenomena should be caused to life to enhance it, if it is noble, or to weaken it, if it is harmful. " In other words, the writer is good if, fixing significant phenomena and trends in social life, exposes them to analysis and makes their "sentence" over them. So I acted and Chernyshevsky himself as the author of the novel "What to do?". But it is not necessary to be an artist for execution in this way, for it is quite solvable in the framework of a sociological treatise, a journalistic article, the brilliant samples of which were given Chernyshevsky himself (remember the article "Russian man on Rendez-Vous"), and Dobrolyubov, and Pisarev.
Almost the most vulnerable spot of the Literary Critical System of Chernyshevsky is an idea of \u200b\u200bartistic and typing. Agreeing with the fact that the valid person is often served for the poetic person, "the writer" to the general meaning "is often served, the critic adds:" It is common to emerge, because the original is already the general meaning in its individuality. " It turns out that typical faces exist in reality, and not created by the artist. The writer remains only to "move" them from life to his work in order to explain their and sentencing over them. It was not only a step back from the appropriate teachings of Belinsky, but also a dangerous simplification that made the work and business of the artist for copying reality.
The well-known rationalization of the creative act and the art as a whole, the sociological bias in the interpretation of literary and artistic content as an embodiment of a social trend explain the negative attitude towards the views of Chernyshevsky not only representatives of the "aesthetic" criticism, but also of the largest artists of the 50s - 60s like Turgenev, Goncharov, L. Tolstoy. In the ideas of Chernyshevsky, they saw the danger of "enslavement of art" (N.D. Ahsharumov) political and other transversions.
Noting the weaknesses of the aesthetics Chernyshevsky, it should be remembered about the fruitfulness - especially for Russian society and Russian literature - its main pathos - ideas about the social and humanistic service of art and artist. One of the first experiments of "practical aesthetics" will be called the dissertation of Chernyshevsky philosopher Vladimir Soloviev. Changes over the years the attitude towards it at L. Tolstoy. A number of provisions of his treatise "What is art?" (Published in 1897 - 1898) will be directly consonant with Chernyshevsky's ideas.
And last. We must not forget that the literary criticism was for Chernyshevsky in the conditions of an object of objective printing actually the main opportunity from the standpoint of revolutionary democracy to cover the urgent problems of Russian social development and influence it. You can say about Chernyshevsky-criticism that the author of the "essays of the Gogolian period ..." said about Belinsky: "He feels that the boundaries of literary issues are close, he will inhibit in his office, like a faust: it is closely in these walls, tested by books - all the same, good or bad; He needs life, and not a sense of advantages of Pushkin's poems. "
Critics notice that not only the public gusting of Chatsky, but also the chatter reheetlov can be understood as a copyright look at the Decembrism. Why was introduced into the comedy reheetles? How do you understand this image?
On a question, only one point of view is presented on the role of the repetitive image in comedy. It is unlikely that it is true. The surname of this character speaking (reheetles - from Lat. Repetere - repeat). However, he does not repeat Chatsky, but distortedly reflects the views of his and progressively thinking people. Like the Chatkom, the rehearsals appear unexpectedly and, as if openly expresses his thoughts. But we can't catch any thoughts in the stream of speeches, and if they ... He argues about the questions that Chatsky already concerned, but more about himself "such a truth that worse than any lies." For him, it is more important not to the creatures of the problems raised by the meetings visited by them, but a form of communication of participants.
Please be silent, I gave the word to be silent;
We have a society and secret collected
On Thursdays. Secretary Union ...
Finally, the main principle, if you can say, rehetylov - "noise, brother, noum."
Interesting estimates of the Chatsky Words of Reetleov, which testify to the difference in copyright views on Chatsky and Reettle. The author is jointly with the main character in the estimates of the comic character, unexpectedly appearing when the guests are driven: first, he is herrifies that the secret union meets in the English club, and, secondly, the words "Yes, from what about?" And "Do you like? Only?" Conducts the enthusiastic nonsense reheetlov. The image of the repetillas, we respond to the second part of the question, plays a significant role in resolving the dramatic conflict, movement to the junction. According to Literaryrian L. A. Smirnova: "The dental is the metaphor of the event of an event voltage of the episode. But starting to subscribe tension ... Blows up reheetles. Intermediate with reheetlery has its own ideological content, and at the same time, this consciously conducted by the playwright slowdown in the union of the BALA events. Dialogues with repetitives continue to talk on the ball, meeting with the late guest excites the consciousness of everyone the main impression, and the Chatsky hidden from reheetlov becomes an involuntary witness to a big slander, in its abbreviated, but already an absolutely defined version. Only now the biggest, independently meaningful and dramatically holistic episode of the comedy, deeply implemented in 4 acts and in its volume and meaning equal to a whole act ".
Why does Literary critic A. Lebedev calls the silent "eternally young old people of Russian history"? What is the true face of Molchalin?
Calling so silence, the literary critic emphasizes the typicity of this kind of people for Russian history, careerists, adaptors who are ready for humiliation, meanness, dishonest game for the sake of mercy of mercenary purposes, exits with all sorts of ways to tempting positions, favorable family connections. They are not even characteristic of the romantic dreams, they do not know how to love, can not and do not want to sacrifice in the name of love. They do not put forward any new projects for the improvement of public and public life, serve to persons, not the work. Implementing the famous Famusov Council "I would have learned on the older looking", Molchanin assisted in the Magazine Society "The last living traits", who so passionately praised Pavel Afanasyevich in their monologues - flattery, pleasing (by the way, it fell on the fertile soil: remember what you wanted Father's silence), the perception of the service as a means of satisfying the own interests and interests of families, close and distant relatives. It is the moral appearance of Famusov reproduces Molchanin, seeking a love date with Liza. Such is silell. True his face is correctly disclosed in the statement of D. I. Pisareva: "Molchanin said to himself:" I want to make a career "- and went on the road that leads to the" degrees known "; I went and no longer kill neither right or left; Dying his mother away from the road, call his beloved woman in the next grove, spit him all the world in the eyes to stop this movement, he will go and comes ... "Molchanin refers to the eternal literary types, it's not by chance that his name has become a nominal and The word "silence", denoting moral, or rather, immoral phenomenon appeared in the conversational use.
What is the disclosure of the public conflict of the play? Who is Chatsky - winner or defeated?
With the phenomenon of the last action, the public conflict of the Pieces occurs, in the monologues of Famousov and Chatsky, the results of the differences sounded in the comedy between the Chatsky and the Famovsky society and the final breaking of the two worlds - the "century of the current and the last year of the past" are approved. " It is definitely difficult to determine the winner or defeated Chatsky. Yes, he experiences Millon Torzania, tolerates a personal drama, does not find an understanding in society, where he has grown and which replaced in childhood and adolescence early lost family. It is a hard loss, but Chatsky remained faithful to his beliefs. He began during the years of study and traveling precisely of those reckless preachers, who were the first prostaters of new ideas, are ready to preach even when no one listens to them, as it happened to Chatsky on the ball at Famusov. Famovsky peace is alien to him, he did not accept him. And therefore we can assume that the moral victory on his side. Moreover, the final phrase of Famusov, finalizing the comedy, testifies to the confusion of such an important Barina of the noble Moscow.
Being a Russian writer, I always read the debt to follow the current
literary and always read with special attention of criticism, which I filed
occasion. I often confess that praise touched me as clear and,
Probably sincere signs of favor and friendliness. Reading the analysis very
hostile, dare to say that he always tried to enter the image of my thoughts
Criticism and follow his judgments, without refuting these with proud
impatiently, but wanting to agree with all sorts of copyright
By itself. I noticed unfortunately, that for the most part we
did not understand. As for the critical articles written with the one
insult me \u200b\u200bin any way, I will only say that they are very
angry me, at least in the first minutes, and that investigators
These can be satisfied.
"Ruslana and Lyudmila" generally accepted favorably. In addition to one article in
"Messenger of Europe", in which her swallowed very unreasonable, and very
Solly "questions", which enduring the weakness of the creation of the poem, it seems that there was no
It says a thin word. No one even noticed that she was cold.
Accused her in immorality for some slightly voluptuous descriptions,
For verses, me issued in the second edition:
About a terrible look! Wizard Chile
Caressing with a wrinkled hand etc.
For the accession, I do not remember which songs:
In vain in the shade traveled etc.
And for the Parody of "Twelve Sleeping V."; For the latter it was possible me
To bold about the lack of esefetic feeling. Not simple
It was (especially in my summer) to parody, in the fence of mobile, virgin,
Poetic creation. Other reproaches were quite empty. Li B.
"Ruslana" at least one place, which in liberty jokes could be compared with
Shades, although, for example, Arrivost, about which he remembered me? Yes I.
I was very familiar to me very, very softened to the imitation of Ariosta
(Orlando, Canto V, O. VIII).
"Caucasian captive" - \u200b\u200bthe first unsuccessful experience of character with whom I
Nasil Sladie; He was best adopted that I wrote, thanks
Some email and descriptive poems. But Nicholas and Alexander
Raevsky and I - we have made a widow over him.
"Bakhchisarai fountain" is weaker "captive" and, as he speaks reading
Bairon, from which I went crazy. The scene of the zarema with Maria has
Dramatic dignity. It seems to be not criticized. A. Raevsky Hokhotal
Above the following verses:
He often in the siquests
Sablya lift - and with a scope
Real estate suddenly
Looks with madness around
Pale etc.
Young writers do not know how to portray physical movements at all.
passions. Their heroes always shudder, laugh wildly, crossed teeth and
Other. All this is funny like a melodrama.
I do not remember who noticed to me that it is incredible to compose together
Robbers could smear the river. All this incident is true and
It happened in 1820, into benating my in Ekaterinoslavl.
About the "gypsies" one lady noticed that in the whole poem alone alone
Man, and that bear. The deceased railing was indignant, why Aleko drives a bear
And also collects money from the stubble public. Vyazemsky repeated the same
comment. (Ryleev asked me to do from Aleko at least a blacksmith, which would not
In an example noble.) I would only better make an 8th grade official from him
landowner, not gypsy. In this case, the truth would not be the whole poem, MA
Tanto Meglio (1).
Our critics have long left me alone. It makes them honor: I was
far in circumstances are not favorable. As a habit, I was still thinking
A very young man. The first hostile articles, I remember became
appear in printing the fourth and fifth song "Eugene Onegin". Parse
Chorch, printed in "Atere", surprised me with a good tone, a good syllable
and strange bindings. The most ordinary rhetorical figures and trails
Criticism stopped: it is possible to say the glass hits instead of wine hits
glasses? Fireplace breathes instead of couples goes out of the fireplace? Is it too boldly jealous
suspicion? Invalid ice?
What do you think so mean:
Malchischi
Skates litter the ice?
The critic guessed, however, what it means: boys run on ice on
Skates.
Instead:
(Thinking to sail on the waters)
Steps gently on ice
Critic read:
On the red legs goose heavy
Conceived sailing -
And rightly noticed that we would float close to the red legs.
Some poems: after negative particle is not -
accusative, not a genitive case; time instead of time (like, for example,
Batyushkova:
Then ancient rus and morals
Vladimir Tons)
They criticized my great bewilderment. But most of all irritated
His verse: Human Mollus and Konsky Top.
"Are we expressing that we who studied on old grammarities, is it possible
Cover the Russian language? "Abrigiously laughed in this verse and in
"Junior Europe". Solve (speech) The word is indigenous Russian. Top instead of topot
As well as the spike instead of hiss1 (in effect, and clap
Instead of clapping, not disgusting the spirit of the Russian language at all). On that trouble and verse
All is not mine, and taken entirely from the Russian fairy tale:
"And he came out for the Gate of Gradsky, and heard the horse top and human mollus."
Bova Koruvich.
Study of vintage songs, fairy tales, etc. required for perfect
Knowledge of the properties of the Russian language. Critics are in vain with them despise.
Verse:
Two centuries to quarrel not want
Critics seemed wrong. What does grammar say? what
a valid verb, controlled by a negative particle, requires no longer
Vinitive, but a genitive case. For example: I do not write poetry. But in my
Verify verb to scream not to manage not partition, but I want the verb. ERGO (2)
The rule is here. Take, for example, the following sentence: I can't
Let start writing ... poems, and certainly not poems. Surely
The electrical power of the negative particle must pass through all this chain.
verbs and recall in nouns? I do not think.
By the way about grammar. I am writing gypsies, not Roma, Tatar, and not Tatars.
Why? Because all names are nouns, cumshots on Anin, Janin,
Arin and Yarin, have their own genitive in the plural on the An, Yang, AR and Yar, and
Non-faminary multiple on Ana, Yane, Ara and Yar. Yet nouns,
Cumshots on the Academy of Sciences and Yang, AR and Yar, have in multiple nominative on abna
Jana, Aries and Yars, and the genitive on Annov, Janov, Arrov, Yarov.
The only exception: Names Own. Descendants Mr. Bulgarine
will be Bulgarians, not Bulgar.
We have many (between others and the city of Kachenovsky, whom it seems impossible
Believe in ignorance of the Russian language) are hiding: I decide whether to decide whether
We decide whether to decide, decide instead of solutions, you will decide and so on. Solution is hidden as
sin.
Foreign Own Names, Currency on E, and, Oh, U, not
inclined. Cumshots on a, k and b are inclined in the men's mind, and in women's
No, and against this, many are sick. Writing: a book, composed by a heter,
and so on.
How to write: Turks or Turks? both correctly. Turk I.
Turka is equally used.
For the age of 16, as I type, and critics noticed in my verses 5
grammatical errors (and fairly):
1. Stop the gaze to remotely
2. On the topic of the mountains (the pattern)
3. Wilhed instead of
4. It was denied instead of refused
5. Igumen instead of Ighemna.
I was always sincerely grateful and always corrected the observed
a place. I am writing a look much wrong, but I'm still worse and almost so,
As writes G. **.
Many are written by HPA, Soveb, instead of a skirt, a wedding. Never in derivatives
Words t will not be changed to d, n n on b, and we say the skirt, wedding.
Twelve, not two. Two abbreviated from two, like Tre from
three.
They write: tѣlega, telѣga. Is it not more correct: a cart (from the word
Taurus - carts harnessed by oxen)?
Spoken language of the simple people (not reading foreign books and,
Thank God, not expressing how we, our thoughts in French)
Ready also deepest studies. Alfieri studied Italian on
Florentine Bazaar: Not bad for us sometimes listen to Moscow
Clear. They say amazingly clean and right languages.
Moscow reprimand is extremely fused and whimsical. Sound letters sh and h
Before other consonants are changed in it. We even speak women, nasty (see
Bogdanovich).
Spies are similar to the letter Kommersant. They are needed in some only cases, but here
You can cut them without them, and they are accustomed to everywhere.
The missed stanzas served repeatedly reason to the censure. What is
stanza in the "Eugene Onegin", which I could not or did not want to print, this
There is nothing to be divided. But, being issued, they interrupt the connection of the story, and
Therefore, there is a place where it should be supposed. It would be better to replace these
Strafs by other or crossing and fuse me saved. But to blame
I'm too lazy on it. I am humbly confident that in "Don Juan" there are 2
Released stanza.
Mr. Fedorov in the journal who began to publish, disassembling
favorably 4 and 5 chapter, noticed, however, I, I, in the description of the autumn
Several poems of stroke begin with me the particle that he called
Horry, and that in rhetoric is called unity. He also condemned the word cow
and pronounced me for the fact that I was a noble lady and probably the official
called girls (which, of course, is not scientifically), meanwhile as a simple
Rustic girl called the virgin: in the hut chatting, maid
Hang ...
The sixth song did not disassemble, did not even notice in the "messenger of Europe"
Latin typo. By the way: since the lyceum came out, I did not reveal
Latin book and completely forgot Latin language. Life is short;
reread once. Wonderful books are crowded one for another, and no one
Today, they don't write them in Latin. In the 14th century, on the contrary, the Latin language was
We are needed and fairly revered by the first sign of the educated person.
Criticize the 7th songs in the "Northern Pchele" I ran away and in such
a minute as it was not to Onegin ... I noticed only very well
Written poems and a rather funny joke about the beetle. I have said: I was
evening. Sky Merclo. Water
Flowed quietly. Beetle buzzed.
The critic rejoiced the appearance of this new face and expected from him character
better sustained others. It seems, however, nor a single remark
Or the thought of critical was not. I did not read other critic, for, right, I
It was not up to them.
NB. The criticism of the northern bee was in vain attributed to the city of Bulgarin: 1)
poems in it too good, 2) prose is too weak, 3) Bulgarian did not say
that Moscow's description was taken from Ivan Zimizgin, because Bulgarian is not
It brings that the tragedy "Boris Godunov" is taken from his novel.
Probably, my tragedy will not have any success. Magazines on me
They are angry. For the public, I no longer have the main attraction: youth and
Novelty of the literary name. In addition, the main scenes are already printed or
Distorted in other people's imitations. Overlook Naudal Historical Novel
Bulgarin, I found that he came about the appearance of the impostor comes to declare
king kn. V. Shuisky. I have Boris Godunov speaks alone with Basmanov about
The destruction of locality, - in Bulgarin also. All this is dramatic
fiction, not historical legend.
After reading for the first time in the "Voynarovsky", this poems:
Wife suffered Kochubey
And the daughter seduced by him -
I was amazed as a poet could pass by such a terrible circumstance.
Burdened with fictional horrors historical characters and not wonderful and
Not generously. Slander and in the poems always seemed to me in disroximal. BUT B.
Description of Mazepa to miss such a striking historical line was still
In angrily. However, what a disgusting subject! not a good one
Fair feeling! Not a single consolation feature! temptation, enmity,
Treason, lucavia, foolishness, ferocity ... strong characters and deep,
The tragic shadow sketched on all these horrors, that's what fascinated me.
"Poltava" wrote in a few days, somehow could not do it and threw
Everything would be.
Between other literary accusations stored me too much
The price "Eugene Onegin" and saw terrible korestolobi in it. It's good
talk to the one who did not sell their essays or whose writings not
sold, but as they could repeat the same cute charges of the publishers "North
Bees "? The price is not installed by a writer, but the bookSerships. in relation to
poems The number of demanders is limited. It consists of the same persons
Which pay 5 rubles for a place in the theater. Bookcars, buying, put it,
A whole edition of the ruble copy, nevertheless was sold b 5 rubles. Truth,
In this case, the author could begin to the second cheap publication, but also
the bookcraft could then reduce its price and thus drop
New edition. These trade turnover us, breast-writers, are very famous.
We know that the cheapness of the book does not prove the avoidance of the author, but or
Great requirement of ona or perfect stop on sale. I ask: what
It is more profitable to print 20,000 copies of one book and sell 50 kopecks.
Or print 200 copies and sell 50 rubles?
The price of the last edition of Basen Krylova, in all respects
People's Poet (Le Plus National Et Le Plus Populaire3)), not
contradicts us said. Basni (like novels) reads the writer and
A merchant, and a secular man, and lady, and maid, and children. But poem
Lyrical read tokmo lovers of poetry. Are there many of them?
Jokes of our critics sometimes bring their innocence into amazement. Here
True anecdote: in a lyceum one of the younger comrades, and, not be
will be remembered, good boy, but rather simple and in all classes last,
I composed once two poems, known to everything lying:
Ha ha ha, hee heeh,
Delvig writes poems.
What was we, Delvig and me, in the past 1830 in the first book
An important "European messenger" find the next joke: Almanac "Northern Flowers"
It is divided into prose and poems - hee, hee! Imagine how we were delighted
The old one is familiar! This is not pretty. This hee hee seemed to be visible, so
Introducing that he was reprinted with a big praise in the "Northern Pchele": "Hee
Hee, as very witty it was said in the European Bulletin "Etc.
Young Kireevsky in eloquent and complete thoughts of our review
Literature, speaking about Delvig, used this exquisite expression: "ancient
The muse is sometimes covered by a shower of the newest despondency. "Expression,
Of course, funny. Why not to say it was simple: "in verses Delig
Sometimes the ugliens of the latest poetry speak "? - Our journalists, about which G.
Kireevsky responded rather indifferently, delighted, picked up this
showering, broke into small loskutki and now for a year, as they affect,
Trying to make her audience. Put, all the same joke every time they and
succeed; But what is it from that profit? There is almost nothing to the public to literature
and the small number of lovers believe in finally not a joke, indiscriminately repeated, but
constantly, albeit slowly, piercing opinions of common criticism and
impartiality.
1 He spit it in a snake. "Ancient Russian poems" (approx.
Pushkin.)
T.F. Kurdyumova, S.A. Lonov, O.B.Marina.
Comedy A. S. Griboyedov "Woe from Wit"
Getting Started by the study of the comedy A. S. Griboyedov, it is advisable to begin work on the conversation about the features of the drama as a kind of literature, about the differences of the dramatic work from the epic and lyrical.
External distinguishing features of drama are: the presence of posters - a list of actors, dividing on actions (acts), scenes, phenomena, dialogic form of the play, remarks. The drama covers a small length of time, it is distinguished by the tensions of the conflict and experiences of the heroes, is intended for setting on the scene. Copyright comments are reduced to the explanations in the list of actors and to remarks. Heroes show themselves through monologues, dialogues and actions.
The work on the study of the play should be built, taking into account all the features of the dramatic work.
Entrance activitiesthe dramatic work may be different depending on the peculiarity of the play.
The study of the Comedy "Mount from Mind" is preceded by a story about the personality and fate of A. S. Griboyedov, an interesting person, a wonderful writer and a musician, a talented diplomat, so brightly and dramatically lived his life.
There is a story about time, epoch, the problems of the Russian life of the first quarter of the XIX century, which were reflected in the play. Victoriously finished war of 1812. But the Russian people are the winner of Napoleon and the liberator of Europe - still shacking the chains of serfdom, shameful slavery, which inhibited the development of Russia. The crying injustice does not leave indifferent many progressive people - the atmosphere of Russian society is imbued with the mood of waiting, change, reforms, which cannot implement the indecisive government of Alexander I. New sentiments and ideas poured into the creation of Decembrist societies. The era of the Decembrism came, so tragically and sacrificously ended December 14, 1825 in the Senate Square.
Alexander Andreyevich Chatsky, the main hero of the comedy "grief from the mind" - a representative of this era, which has absorbed her ideas and moods.
The story of the epoch can be illustrated by the reproductions of paintings by artists (portraits of the most striking representatives of this time; image of significant events; scenes, reflecting the morals of people and society), historical documents, etc.
Acquaintance with the history of the creation of the play and its stage history will contribute to the intensification of the creative imagination of students and the creation of the mood on the work. Here it is also possible to use the means of visibility - portraits of actors, paintings by Misaneszen, photographs of scenes of performances.
With great difficulties pierced the scenic road of the play. Initially, it existed in an innumerable number of lists, and printed in 1832 was so distorted by censorship that Nikitenko celebrated in his diary: "Someone sharply noticed that only grief remained in this play, it was such a distorted by a Benkendorfovskaya government knife." But the subsequent fate of the play turned out to be happy: all the leading theaters of the country already put it and continue to put it. The best Russian actors of different times performed roles in the play Griboedov. The reader and scenic life comedy continues.
Comedy analysispreceded by the conversation by poster:the attention of students on talking surnames of Heroes (Molchalin, Scalyozub, Reetales, Toguhovsky), pointing to the essence of the characters, to the location of the heroes in the poster (the main character of the play, Chatsky is not the first, and the fifth of the acting persons), it turns out what is the reason for this location (It coincides with the advent of the main characters on the stage; the playwright will first recreate the atmosphere of the House of Famousov, in which Chatsky should appear, shows the arrangement of the actors, and then hesitates the hero into action). The first remark contributes to the auditory reconstruction of the action situation.
K. S. Stanislavsky wrote: "A plant grows out of grain, as precisely from a certain thought and the sense of the writer grows up his work ... All these thoughts, dreams, the eternal flour and joy of the writer are becoming the basis of the play, for the sake of them, he takes over the pen. The transfer on the scene of the senses and thoughts of the writer, his dreams and joy becomes the task of the performance. " The same task is also before the teacher, seeking to show that he worries the playwright, what he reflects on and what he calls to reflect the viewer.
Conflict in the playdrives all the action. What is the conflict of the plays "grief from the mind" and what is his originality? The main conflict reflects the internal contradictions in the Russian society of the first quarter of the XIX century. In the conflict of Chatsky, the collision of two hostile public forces was reflected in the conflict of the Famówovskaya Moscow: progressive disadvantaged nobility and the reactionary camp of the destroyers. But in addition to the social conflict in the play, there is a personal conflict - this is a love drama of Chatsky and Sophia. The presence of two conflicts determines the development of two plot lines of the plays, which constantly interact and strengthen each other.
The question of the grouping of acts of acting persons is not caused: in one pole, Chatsky, on the other - all other characters of the play.
Students get acquainted with the classification of heroes of dramaturgical works and characterize the heroes of the comedy, taking into account this classification.
main characters- Heroes, whose interaction with each other develops the course of action (determines the development of events).
Secondary heroesalso participate in the development of action, but they do not have direct attitude to the plot. Their images are psychologically designed less deeply than the images of the main characters.
Heroes masks- Their images are extremely generalized. The author is not interesting to their psychology, they only occupy it as important "time challenges" or as eternal human types.
Availablecharacters - Heroes, whose names are called, but they themselves do not appear on stage and participate in action do not accept.
Sequential development observation of action allows you to identify the main elements of scene lines,understand the characters of the actors, the functions of various characters play.
Exposure(i.e., the introductory part of the plot depicting the life situation in which the characters of the acting persons were developing and developed) are the events of the first action (phenomena 1-5) preceding the emergence of Chatsky in the Famusov House. Of these, the viewer or reader learns about the details of the Lifestyle of the Magazovsky House, about the relationship of the actors, the first characteristics of Chatsky sound here.
Provision of personal conflictoccurs at the time of the appearance of the Chatsky in the House of Famousov (first action, phenomenon 7- 9), but public- During the first collisions of Chatsky and Famousov in phenomenon 2 of the second action.
Public conflict develops on Naras. A special place in its development occupies a monologue of Chatsky "And the judges who? ...". The attention of students should be paid to the change in the nature of the monologues of the Chatsky as the social conflict develops: from the unlocked ridicule, irony through the ulcerative and evil wit, angry glory to bitterness, hatred, and disappointment of a person whose best feelings of Vtoptans in dirt.
Both conflicts are further developed in the third action: Personal - through an attempt to arrange sophia and find out who she loves; Public - through the strengthening of the alienation of the Chatsky from the Famow Society. Culminationboth conflicthappens in the third action. Public relations reaches their highest tension at the time of the announcement of the Chatsky crazy, and the personal feelings of the hero are experiencing several shocks: Sophia becomes the guilt of gossip about the crazyness of Chatsky; The true face of the beloved Sophia opens. Chatsky leaves the house of Famusov. The personal relationships of the heroes are ends on this, well, and the struggle of Chatsky with the Famovsky society is not completed, it is still ahead ...
Working on comedy, teacher can choose various the paths of analysis: "Following the author," probication is problematic.
The first way ("Following the author")it involves commented reading and analyzing the most important scenes of the EPPPS, considered in the course of the development of the plot, in which the characters of the characters are manifested, the essence of their relationship is detected.
In the first action, attention should be paid to the first phenomena that introduce the reader into action, the arrival of Chatsky to the House of Famusov, his first monologue. To help draw up the first ideas about the heroes of the following questions.
What are the judgments of Famusov about books, about the service, about the current century?
What evaluation give Sophia and Lisa Chatkomu and silence?
What is the purpose of Sophia talking about your dream?
How does she perceive mockery over people of her circle?
What is the silence in the first action?
What conclusion can be made about Chatsky's attitude to the Famovsky society on its first monologue?
The following remarks deserve attention: re-brand to phenomenon 1, introducing into operation; REMARK at the end of the fourth action (Leaves with silent, in the door skips it forward),making some new sound in the relationship of Famusov and Solkolly and forces it to think about the true essence of the nature of Molchalin.
In the second action, the dialogues of the Chatsky and Famousov and the main monologues of these heroes appear to the fore.
What is the essence and cause of disagreements between the Famusov and Chatsky?
What are the ideals and moral performances of Famusov?
What kind of new life ideals, the new Nor Mahah morality says Chatsky?
What is the meaning of the opposition of the "century of the current" "century last"?
What age does Chapsky fight with?
Some questions arise in connection with the image of the scalosis.
What qualities bring scalosis success in service and society?
The nature of Sofia is revealed deeper when answering the question:
What highlights sophia from the circle of Moscow ladies?
The third action gives a broader idea of \u200b\u200bthe nravs of the Famusov society. Satirically enhancing the negative sides of the members of the Famusov society, Griboedov shows typical representatives of Moscow Baria. Here are many secondary characters, complementing the appearance of the Moscow nobility.
Chlestova is an important lady, powerful, arrogant, protector of serfdom (its image accompanies the image of a fortress girl-arapki, which contributes the dramatic sound of the play).
Zagoretsky - a man of dubious moral qualities, the servant, without which the Famusovskoe society cannot do, etc.
Griboedov perfectly uses various techniques of comic: receiving talking surnames, the reception of the deaf talk "(the interlocutors in the play do not hear each other), which, acting throughout the Comedy, special acute reaches in the farce scene of the conversation barely hearing Grandmother's Countess with a completely deaf prince Toguhovsky (reception of the "mirror curve").
Special attention of the couple Natalia Dmitrievna and Platon Mikhailovich Korichi.
Who turned into a former officer, Comrade Chatsky in service?
Does the Griboedovo indicate the way Natalia Dmitrievna for the further fate of Sofia?
The dialogue of the Chatsky and Molchalin is significant in phenomenon 3 of the third action.
What's new we learn about silence from this dialogue?
In the third action - the most intense moments of the development of plot lines. The gossip about the madness of Chatsky is distributed. Gossip - a typical phenomenon for the Society of Famine, Scalyozubov, Zagoretsky, etc. But it is also an instrument of combating inconvenient people for this society.
Why did the gossip about the madness of Chatsky arose and spread?
Why the role of distributors gossip Griboedov instructed the faceless GG. N and D?
Why is the guests of Famousov so hardly support this gossip? Do her believe?
What are the guests of Famousov see signs of madness of Chatsky?
It should be stopped on the monologue of the Chatsky, who finishes the third action, about the French from Bordeaux, in which the hero condemns any low-alphabones in front of foreign and protects the true national culture and language. Remarika, completing the third action, has a double meaning: the Chatsky alone in this society, no one listens to him and does not seriously perceive it, but his words are drawn not only to the Famovsky society. The viewer is that the main listener, for which everything happens.
When contacting the fourth action, issues associated with the image rehetylov.
What is it introduced into the comedy reheetles? What evaluation gives him Pushkin in a letter to Bestuzhev?
How does other characters perceive it? How does the repetitives correlate with the image of Chatsky?
What does he have to do with the Decembrist movement?
Prove that reheetles are being rejected by advanced ideas.
Critics will notice that not only the public gusting of Chatsky, but also the chatter reheetlov can be understood as a copyright look at the Decembrism.
In the phenomenon of 12 of the third action, the true face of Molchanlin is found.
What are the vital principles of this character?
The last scenes are the interchange of all conflicts.
Who is Chatsky - winner or defeated?
What did you know what I understood what Chatsky was disappointed for the day spent in Moscow?
Another waydating with comedy (verbal)built on the basis of a comparative analysis of acting persons.
The "burning mind" image system is a gallery of the brightest human portraits, constituting together the appearance of a serf society living under the laws of the "century past". The actors are constantly rotated by the playwright of those faces that discover their mutual resemblance. An integer poetics of such comparisons are deployed. For example, Chatsky speaks about Zerkolly: "In it, Zagoretsky will not die." A lot of synonymic figures are guessed outside the stage action. Symmetric replicas sound in the play. For example: "My husband, adorable husband" (Natalia Dmitrievna Gorich). "Your Spitz, Adorable Spitz" (Molchanin).
Does the resemblance of replicas?
How does it help to understand the essence of the characteristics of thoring and relations between representatives of the Famow Society?
Such parallels indicate the deep correlation of images: the world in which the Chatsky was found in, appears in the form of a generalized picture, whose name is Famovschina.
It is useful to trace the first two actions of mentioning female characters, compare them with Sofia. This kind of comparison is provided by the author, since all these mentions initially arise in the conversations of a particular person with Sofia. Comparisons with Madame Rye, Sophia aunt, Andreevna Pulcheria cause the question: What is the nature of these comparisons - like a similarity or contrast?
Comparison of Sofia with Natalia Dmitrievna Gorić and other guests on the ball leads to the conclusion that it looks like and is not similar to these ladies. Sofya is not looking for a profitable marriage, no public opinion is afraid, but the ideal of family life is "husband-boy". By entering the Moral Principles of the Famow Society, the heroine, nevertheless, in his own way, approves its foundations.
We counted it appropriate to dwell on the correlation of sofya and khatski. Both are in similar situations: Sophia is deceived - Chatsky is deceived; Sunlights Sofya - overhears Chatsky. As a result, the hero, and the heroine is experiencing the collapse of their ideals.
It is curious to compare the images of Chatsky and reheetle and mention due to the reception of the "curve of the mirror": the rehearsals of the parody repeats the Chatsky (repetitives from Repeter - to repeat). Both heroes unexpectedly appear, openly declare something important for themselves. Speaking about yourself, Chatsky notices: "I myself? Is it not true, ridiculous? .. "," I am strange ... "Like him repeats him:" I'm a pitiful, I rides, I'm not a fool. " Just like Chatsky, no one takes seriously reheetlov, no one listens to him.
No analysis of the comedy text is without comparing Chatsky and Molchalin. Both honored each other for nothingness. For Chatsky Molchanin - Voluntary Famusovsky Lackey. Molchanin is afraid of jokes of Chatsky, but at the same time despises, nothing puts it in anything. In the third action there is a famous dialogue of two contrasting characters.
Analyzing these images, it is worthwhile asking: why did the need to compare these two such different characters?
For comparison, you need to choose the most essential signs: the situation in society, the image of thoughts, the purpose of life, mind, character, speech, attitude to Sofier, people, understanding of the service, etc.; Pay attention to the remarks, which accompany the speech of Chatsky and Molchalin, see how the author's attitude towards the heroes of the comedy is manifested.
Questions are noteworthy of comparison of different estimates of the images of Chatsky and Molchalin. For example, the statements of Pushkin, Goncharov and Katpenin about Chazkom. Why is it as different as an image?
Whose of statements - Gogol, Goncharov or Pisarev - fully reveals the essence of Molchalin?
An important composite moment is the opposition of two camps in the play. Kyhelbecker said: "... All the tie consists of the opposite of Chatsky to other persons."
Hence the system of comparative tasks.
Comparison of the characteristics of the scalosis, data in the Famine Society: "Three Sent Delets"; "And the Golden Bag, and Metit to the generals"; "Not now - tomorrow General" and Chatsky: "Chipoun, an extravantory, Fagot, the constellation of maneuvers and Mazurki."
What is Solkhalin in the submission of Sofia; in the assessment of Chatsky; in real?
Comparison of the relationship of the Chatsky and Famovsky Society: to serfs; service; Enlightenment, etc. This task will reveal the antagonism of the two worlds.
Analysis of the meaning of the word "mind". At the same time, it is necessary to recall the words of Famousov: "We are in our opinion, liquefied"; Reetalova: "A clever person can not be not a plow"; Sofia about the mind of Chatsky: "Sight, brilliant", "genius for others, and for other - plague." For the Famousov, Nenormal Chatsky, for Chatsky - the Mir of Famusov.
The question of comparing the fate of four young heroes of the comedy - Chatsky, Kryych, Molchalin, a scalosis.
What is the reason for such a strong discrepancy between people living in one society?
The path of problem-thematic analysisensures the formulation of the main problematic issue, the search for a response to which will determine all the work on the play. There may be to be the question of whether the Chatsky is the smarter from which a number of problems follows, in particular, the problem of the mind in comedy. It is appropriate to take advantage of various interpretations of the image of Chatsky (Pushkin, Goncharov, Katenina) and ask the question of why this hero is perceived differently, taking into account the point of view of Griboedov himself: "In my comedy 25 fools on one sensible person" "The girl herself is not stupid, prefers a fool to a smart person."
On what base Pushkin refuses the Chatcoma in the mind?
What is the plain play - on the collision of the mind and nonsense or on the collision of various types of mind?
The choice of the path of analyzing the play should be due to the age characteristics of students' perception, their interests, expediency and effectiveness of this particular analysis in this audience of students.
In the process of working on the work and preparation for the composition, the teacher must introduce students with the main literary issues.
The features of classicism, romanticism and realism in the play.Noting the innovation of Griboedov-playwater, which created a political comedy, classic in shape and realistic on the content of the content, it is necessary to designate a combination of the features of various methods and directions.
Traits of classicism:partial preservation of the law of three unities - unity of the place and time (the action takes place in the Famous house during the day); "Speaking" surnames; extensive monologues that do not contribute to the development of action; Traditional role.
Romantic traits:the image of the Chatsky contains signs of a romantic hero (sublime ideals, protest against injustice, loneliness, rebellion, Dwymiria: High ideas - a vulgar world).
Features of realism:violation of the unity of action - the presence of two conflicts and two storylines; a large number of insignificant characters expanding the temporary and spatial boundaries of the play; Modern material, modern conflict, modern hero, expressing advanced free-free ideas; Refusal to traditional story junction and prosperous finals; Realistic characters disclosed deeply and multilaterally shown in typical circumstances; Comedy language (rejection of the traditional six-resistant yamba and the introduction of live speech in the literary language, the liveliness and accuracy of the aphorisms, stylistic diversity).
Determined genre featurespieces, it is necessary to designate the tasks of the comedy, the essence of the political comedy, the presence of a double conflict, the combination of tragic and comedy beginnings (tragic associated with the images of Chatsky and Sophia, comedy - with members of the Famusov society, especially the guests of Famusov), mixing the genres of satire and high comedy, connection Damn various directions.
Comedy completing work, students get acquainted with a critical etude I.A. Goncharov "Milong Torzaniya"which gives a general assessment of comedy and basic images. You can invite students to answer the following questions:
What does the goncharov sees the cause of the extraordinary vitality of comedy?
Do the gonchars agree with the opinion of some critics, that there is little vitality in Chatsk, that this is not a person, but an idea?
Evaluation criticism of sofa image. Why don't you live and not translated in society? "
Is the Chatsky with the number of old power broken or he himself inflicted her death blow? Who, according to Criticism, is the winner from the battle of Chatsky with the Famovskoy society?
Is everything still left in the house of Famusov and in the Famovskogo society after the departure of Chatsky?
Do you agree with Goncharov in the assessment of the last monolor of Chatsky? What is your assessment of the words of Chatsky?
comedy reheetles? How do you understand this image?
Critics notice that not only the public gusting of Chatsky, but also the chatter reheetlov can be understood as a copyright look at the Decembrism. Why was introduced into the comedy reheetles? How do you understand this image? On a question, only one point of view is presented on the role of the repetitive image in comedy. It is unlikely that it is true. The surname of this character speaking (reheetles - from Lat. Repetere - repeat). However, he does not repeat Chatsky, but distortedly reflects the views of his and progressively thinking people. Like the Chatkom, the rehearsals appear unexpectedly and, as if openly expresses his thoughts. But we can't catch any thoughts in the stream of speeches, and if they ... He argues about the questions that Chatsky already concerned, but more about himself "such a truth that worse than any lies." For him, it is more important not to the creatures of the problems raised by the meetings visited by them, but a form of communication of participants. Please be silent, I gave the word to be silent; We have a society and secret collected on Thursdays. Secretary Union ...