Poetics of prose V.M. Garshina: Psychologist and narration Vasina, Svetlana Nikolaevna

Introduction

Chapter 1. Forms of psychological analysis in prose V.M. Garshini

1.1. Artistic nature confession 24-37

1.2. Psychological function "Closeup" 38-47

1.3. Psychological function portrait, landscape, furnishings 48-61

Chapter 2. Poetics of narration in prose V.M. Garshini

2.1. Types of narration (description, narration, reasoning) 62-97

2.2. "Alien speech" and its narrative functions 98-109

2.3. Functions of the narrator and storyteller in the prose of writer 110-129

2.4. Point of view in the narrative structure and poetics of psychologism 130-138

Conclusion 139-146.

References 147-173

Introduction to work

Relaxant interest in poetics V.M. Garshin testifies that this study area remains very relevant to modern science. The writer's work has long become an object of study from the standpoint of different directions and literary schools. However, three methodological approaches are distinguished in this research diversity, each of which combines a whole group of scientists.

TO first the group should include scientists (G.A. Biablen, N.Z. Belyaeva, A.N. Latinina), who consider the work of Garshin in the context of his biography. Describing in general the writer's manner of prose, they analyze his works in chronological order, correlating certain "shifts" in the poetics with the stages of the creative path.

In research second the directions of Proza Garshin are highlighted mainly in a relatively typological aspect. First of all, here you should call the article N.V. Kozhukhovskaya "Tolstaya Tradition in military stories V.M. Garshina "(1992), where it was especially noted that in the minds of the characters Garshin (as in the consciousness of Heroes L.N. Tolstoy) is missing" Protective psychologicalreaction ", which would allow them not to suffer a sense of guilt and personal responsibility. Proceedings in the sickness of the second half of the 20th century are devoted to comparison of Creativity Garshin and F.M. Dostoevsky (Article F.I. Enunina "F.M. Dostoevsky and V.M. Garin" (1962), Candidate dissertation GA Slanenis "Typology of characters in Roman F.M. Dostoevsky" Brothers Karamazov "and in stories in .M. Garshina 80s. "(1992)).

Third the group make up the work of those researchers who

focused on learning individual elements of poetics

garshinskaya prose, including the poetics of his psychologist. Special interest

the dissertation study of V.I. Schubin "Mastery

psychological analysis in the work of V.M. Garshina "(1980). In our

observations we relied on its conclusions that distinctive

the peculiarity of the story of the writer is "... internal energy requiring a short and lively expression, psychologicalsaturation of the image and the whole story.<...> Moral and social issues that permeates all Creativity Garshin, found its bright and deep expression in the method of psychological analysis, based on the fastening of the value of the human person, moral began in the life of a person and his public behavior. " In addition, we take into account the research results of the third chapter of the work "Forms and means of psychological analysis in the stories of V.M. Garshina, in which V.I. Shubin allocates five forms of psychological analysis: an inner monologue, dialogue, dream, portrait and landscape. Supporting the findings of the researcher, nevertheless, we note that we consider the portrait and landscape in wider, from the point of view of psychologist's poetics, functional range.

The various sides of the poetics of Garshin prose were analyzed by the authors of the collective study "Pochika V.M. Garshina "(1990) Yu.G. Milyukov, P. Henry and others. The book is addressed, in particular, the problems of the theme and form (including the types of narration and types of lyrism), the images of the hero and "counter-door", the Impressionismist stylist of the writer and the "artistic mythology" of individual works are considered, the question of the principles of studying the unfinished stories Garshina ( Problem reconstruction).

In the three-volume compilation "Vsevolod Garshin At The Turn of the Century" ("Vsevolod Garin at the turn of centuries") are presented studies of scientists from different countries. The authors of the collection pay no attention not only to various aspects of poetics (S.N. Kaidash-Lakshin "The image of the" False Women "in the work of Garshin," E.M. Svenzitskaya "The concept of personality and conscience in the work of Sun. Garshina", Yu.B . Orlitsky "Poems in prose in the work of V.M. Garshin," etc.), but also allow the complex problems of translating the writer's prose into English (M. Dewhirst "Three Translations of Garshin" s Story "Three Red Flowers" and DR .).

The problems of poetics occupy an important place in almost all the works dedicated to the work of Garshin. However, most of the structural studies still carry private or episodic. This applies primarily to the study of the narration and poetics of psychologism. In the same works that are close to these issues, it is a greater degree about the formulation of the issue than about his decision, which in itself is an incentive for further research searches. therefore relevantit can be considered to identify the forms of psychological analysis and the main components of the poetics of the narrative, which allows the closest to approach the problem of the structural combination of psychologism and the narration in Prose Garshin.

Scientific novelty the work is determined by the fact that for the first time a consistent consideration of the poetics of psychologism and narration in Prose Garshin, which is the most characteristic feature of the writer's prose. Presented a systematic approach to the study of Creativity Garshin. The support categories in the poetics of the psychologist of the writer (confession, "close-up", portrait, landscape, furnishings) are revealed. These narrative forms in Prose Garshin, as a description, narration, reasoning, someone else's speech (straight, indirect, infirm-direct), point of view, narrator and narrator category are determined.

Subject studies are eighteen Garshin stories.

purposethe dissertation research is the identification and analytical description of the main artistic forms of psychological analysis in prose Garshin, systemic study of its narrative poetics. Research supercount is the demonstration of how the relationship between the forms of psychological analysis and the narrative in the prosaic works of the writer.

In accordance with the targeted purpose, specific tasksresearch:

1. Consider the confession in the poetics of the author's psychology;

determine the functions of a "close-up", portrait, landscape, furnishings in the poetics of the psychologist of the writer;

examine the poetic of the narrative in the works of the writer, reveal the artistic function of all narrative forms;

identify the functions of the "Alien Word" and "point of view" in the narration Garshin;

5. Describe the characteristics of the narrator and the narrator in the prose of the writer.
Methodological and theoretical basistheses are

literary Works A.P. Auer, M.M. Bakhtina, Yu.B. Boreva, L.Ya. Ginzburg, A.B. Eustina, A.B. Krintina, Yu.M. Lotman, Yu.V. Manna, A.P. Skaftova, N.D. Tamarchenko, B.V. Tomashevsky, M.S. Uvarova, B.A. Uspensky, V.E. Khalizheva, V. Schmida, E.G. Etkinda, as well as linguistic studies V.V. Vinogradova, N.A. Kozhevnikova, O.A. Nechava, G.Ya. Salgean. With support for the works of these scientists and the achievements of modern nratratology, a methodology has been developed immanent analysisallowing to reveal the artistic essence of the literary phenomenon in full compliance with the author's creative aspiration. The main methodological guideline for us was the "model" of the immanent analysis, presented in the work of A.P. Scafftom "Thematic composition of the novel" Idiot "."

Theoretical valuethe works are that on the basis of the results obtained, it is possible to deepen the scientific idea of \u200b\u200bthe poetics of psychologism and the structure of the narration in the prose Garshin. Conclusions made in work can serve as a basis for further theoretical study of Garshin's creativity in modern literary criticism.

Practical significance the works are that its results can be used in the development of the course of the history of Russian literature of the XIX century, special courses and special seminars dedicated to the work of Garshin.

The dissertation materials may be included in the elective course for the classes of the humanitarian profile in the secondary school. The main provisions endowed with the defense:

1. Confession in Prose Garshin contributes to deep penetration in
The inner world of the hero. In the story "Night" confession Hero becomes
The main form of psychological analysis. In other stories ("four
day "," incident "," coward ") she is not given a central place, but she
still becomes an important part of poetics and interacts with others
forms of psychological analysis.

"Close-up" in prose Garshina is presented: a) in the form of detailed descriptions with comments of an appraisal and analytical nature ("from the memories of ordinary Ivanov"); b) when describing dying people, the reader's attention is drawn to the inner world, the psychological state of the hero located near ("death", "coward"); c) in the form of transfer of the actions of the heroes that make them at the moment when the consciousness is disabled ("signal", "Nadezhda Nikolaevna").

Portrait and landscape sketches, the descriptions of the situation in Garshin's stories enhance the author's emotional impact on the reader, visual perception and largely contribute to the identification of the inner movements of the soul of heroes.

In the narrative structure of works, Garshin dominate three types of narration: description (portrait, landscape, furnishings, characteristic), narration (specific stage, generalized stage and information) and reasoning (personal assessment arguments, reasoning to substantiate actions, reasoning to prescribe or descriptions of actions, reasoning with the meaning of approval or denial).

Direct speech in the texts of the writer can belong both hero and subjects (plants). In the works of Garshin, the inner monologue is built as the appeal of the character to itself. Study of indirect I.

incoming-direct speech shows that these forms of someone else's speech in Prose Garshin are much less common. For a writer, it is more important to reproduce the true thoughts and feelings of heroes (which is much more convenient to convey with a direct speech, thereby keeping inner experiences, emotions of characters). The following points of view are present in the stories of Garshin: in terms of ideology, spatial-temporal characteristics and psychology.

The narrator in prose Garshin manifests itself in the forms of presenting the events of the first person, and the narrator - from the third, which is a systemic pattern in the poetic of the writer's narration.

Psychologist and narration in the Garshin poetics are in constant interaction. In such a combination, they form a moving system, within which structural interactions occur.

Approbation of work. The main provisions of the dissertation study were presented in scientific reports at conferences: on X Vinogradovsky readings (GOU VPO MGPU. 2007, Moscow); XI Vinogradovsky readings (GOU VPO MGPU, 2009, Moscow); X Conference of young philologists "Poetics and comparativaty" (GOU VPO MO "KGPI", 2007, Kolomna). On the subject of the study, 5 articles were published, including two in the publications included in the list of WAK Mintophruuki Russia.

Structure of work determined by the goals and objectives of the study. The thesis consists of introduction, two chapters, conclusion and literature of literature. IN firstthe chapter consistently addresses the forms of psychological analysis in Prose Garshin. In secondchapter is analyzed by narrative models for which the story is organized in the stories of the writer. The work ends with a list of literature, which includes 235 units.

Artistic nature of confession

Confession as a literary genre after N.V. Gogol is increasingly distributed in the Russian literature of the XIX century. From the moment the confession was established in the Russian literary tradition as a genre, the opposite phenomenon began: it becomes the component of the literary work, the speech organization of the text, part of the psychological analysis. It is about such a form of confession that can speak in the context of Garshin's creativity. This speech form in the text performs a psychological function.

In the "literary encyclopedia of terms and concepts" is given to the definition of confession as a work, "in which the story is conducted on the first person, and the narrator (the author himself or his hero himself) admits the reader in the most intimate depths of his own spiritual life, seeking to understand" the final truths " , my generation. "

Another definition of confession we find in the work of A.B. Crinitian "Confession of a underground person. To anthropology F.M. Dostoevsky "- this is" a work written from the first person and endowed with an additionally at least one or more of the following features: 1) in the plot there are many autobiographical motifs taken from the life of the writer himself; 2) the narrator often represents himself and its actions in negative light; 3) The narrator describes in detail his thoughts and feelings, doing self-reflection. " The researcher argues that the genre-forming basis of the literary confession is at least the installation of the hero on full sincerity. According to A. B. Crinitian, for the writer, the key value of the confession is to be able to disclose the inner world of the hero in front of the reader, without breaking artistic likelihood.

M.S. Uvarov notes: "The text of confession arises only when the need for repentance before God is poured into repentance before himself." The researcher indicates that confession is published, readable. According to M.S. Uvarov, the topic of the author's confession-in-hero is characteristic of Russian fiction, quite often the confession becomes a sermon, and vice versa. The history of the confessional word demonstrates that confession is not teaching moral rules, it rather makes it possible for the "self-expression of the soul, which is in the confessional act and joy and cleansing."

S.A. Tuzkov, I.V. Tuzkova note the presence of a subjectively confessional principle in the prose Garshin, which manifests "in those stories Garshin, where the story is carried out in the form of a first person: a personified narrator, formally separated from the author, actually expresses his views on life .... In the same stories of the writer, where the narrative is conducted by a conditional narrator, which is not directly in the world depicted, the distance between the author and the hero increases slightly, but also a significant place is occupied by the self-examination of the hero, which is of lyrical, confessional character.

In the dissertation Patrikeev "Confession in the poetics of the Russian prose of the first half of the 20th century (problems of genre evolution)" Almost all aspects of this concept are indicated in the theoretical part: the presence in the structure of the text of the psychological "autobiogram, awareness of their own spiritual imperfection, sincerity before God underwritten, accompanying the violation of certain Christian commandments and moral prohibitions.

Confession as a speech organization of text is the dominant story "Night". Each monologue of the hero is filled with internal experiences. The narrative is conducted from a third party, Alexey Petrovich, his actions, thoughts are shown through the eyes of another person. The story of the story analyzes his life, its "I", assessing internal qualities, leads a dialogue with him, hesitates his thoughts: "He heard his voice; He no longer thought, but spoke out loud ... "1 (p. 148). Turning to myself, trying to deal with my "I" through the verbal expression of the internal impulses, at some point he loses a sense of reality, votes began to speak in his soul: "... They spoke differently, and which of these votes belonged to him, His "I", he could not understand "(p. 143). The desire of Alexei Petrovich to understand himself, to identify even what characterizes him not from the best side, shows that he really frankly, herself speaks of himself.

Most of the story "Night" is occupied by monologues of the hero, his reflection on the denial of their existence. Alexey Petrovich decided to commit suicide with him, shoot. The narration is an in-depth hero's self-analysis. Alexey Petrovich wonders about his life, trying to understand himself: "I went through everything in my memory, and it seems to me that I am right to stay on nothing, there is no way to put a leg to make the first step forward. Where forward? I do not know, but only won from this enchanted circle. In the past there is no support, because all the lies, all deception ... "(p. 143). Before the eyes of the reader appears the thought process of the hero. From the first rows, Alexey Petrovich clearly puts emphasis in the lived life. He speaks with himself, voicing his actions, without understanding that he is going to do. "Alexey Petrovich removed a fur coat and took a knife to break up his pocket and take out the cartridges, but came to his senses .... - Why work? Pretty and one. - Oh yes, very pretty one tiny piece, so that everything and forever disappeared. The whole world will disappear ... . There will be no deception of themselves and others, it will be true, the eternal truth of non-existence "(p. 148).

Psychological function of "close-up"

The concept of a close-up has no clear definition in literature so far, although it is widely used by authoritative scientists. Yu.M. Lotman says that "... a large and small plan exist not only in the cinema. It is clearly felt in the literary narrative, when the same place or attention is paid to phenomena of different quantitative characteristics. For example, if the text segments following each other are filled with content, sharply different in quantitatively: different numbers of characters, integers and parts, description of the objects of large and small size; If in any novel in one chapter describes events of the day, and in the other - dozens of years, then we also talk about the difference of plans. " The researcher cites examples from prose (L.N. Tolstoy "War and Peace") and poetry (N.A. Nekrasov "Morning").

U V.E. Khalizhev in the book "The value orientations of the Russian classic" dedicated to the poetics of the novel "War and Peace" L.N. Tolstoy, we find the interpretation of a "close-up" as a reception, "where you simulate close peeping and at the same time touching contact with reality." We will rely on the book E.G. Etkinda "Inner Man" and an external speech ", where this concept is derived in the title of the part dedicated to the work of Garshin. Using the results of the study of the scientist, we will continue to monitor the "close-up", which will determine the form of the image. "A closeup is both seen, and heard, and felt, and even flashed in consciousness."

Thus, V.E. Khalizhev and E.G. Etkind considers the concept of "close-up" from different sides.

In the work of EG Etkinda convincingly proves to use this form of the image in the story of Garshina "Four Days". It refers to the category of symimination, which is based on a direct show of an internal person "At such minutes when the hero, in essence, is deprived of the physical opportunity to comment on their experiences and when not only an external speech is unthinkable, but also internal."

In the book E.G. Etkinda gives a detailed analysis of the story of Garshina "Four Days" with a support for the concept of "close-up" and imyarchiness. We would like to apply a similar approach to the story "From the memories of Private Ivanov". Both narration brings the form of memories. This defines some features of the stories: in the foreground is a hero and his subjective assessment of the surrounding reality, "... However, the facts of the facts and almost inevitable one-sidedness are reached by ... lively and immediate expression of the personality of their author."

In the story "Four Days", Harshin gives the reader to penetrate the inner world of the hero, transfer his feelings through the prism of consciousness. The self-analysis of the soldier left forgotten on the battlefield allows you to penetrate the sphere of his feelings, and the detailed description of the surrounding reality helps "see" the picture with its own eyes. The hero is in serious condition not only physical (wound), but also spiritual. The feeling of hopelessness, understanding the futility of his attempts to be saved do not allow him to lose faith, a desire to fight for his life, even if instinctively, keeps him from suicide.

The reader's attention (and maybe already already the viewer), following the hero, focuses on separate paintings, in which its visual perception is described in detail.

"... However, it becomes hot. The sun burns. I open my eyes, I see the same bushes, the same sky, only in daylight. And here is my neighbor. Yes, it is the Turk, the corpse. What a huge one! I recognize him, this is the same ...

In front of me lies by me killed by me. Why did I kill him? ... "(p. 50).

This consistent fixation of attention on certain points allows you to look at the world through the eyes of the hero.

Watching the "close-up" in the story "Four days", we can argue that the "close-up" in this narration is volumetric, as much as possible by receiving the intrinsication, the narrowing of the temporary (four days) and spatial length. In the story "From the memories of ordinary Ivanov," where the form of the narrative is dominated - the memory, "close-up" will be presented otherwise. In the text you can see not only the inner state of the hero, but also feelings, experiences the people around him, in connection with this, the space of the events depicted expands. The worldview of ordinary Ivanov is meaningful, there is some assessment of the chain of events. In this story there are episodes, where the consciousness of the hero is disabled (even if it is partially) - it is in them that can be found "close-up".

Types of narration (description, narration, reasoning)

G.Ya. The Salgin allocates three functionally semantic types of speech: description, narration, reasoning. The description is divided into static (interrupts the development of action) and dynamic (not. Suspends the development of action, small in volume). G.Ya. The Solgin indicates the connection of the description with the place and the situation of action, the portrait of the hero (the portrait, landscape, event description, etc., is allocated, etc.). It notes the important role of this functional-semantic type of speech to create imagery in the text. The scientist emphasizes that the genre of the work and the individual style of the writer is important. According to G.Y. Solgana, the peculiarity of the narrative is to transfer the event itself, the actions: "The narration is closely connected with space and time."

It is objectified, neutral or subjective, in which the author's word prevails. The reasoning, as the researcher writes, is peculiar to psychological prose. It is in it that the inner world of heroes prevails, and their monologues are filled with thoughts on the meaning of life, art, moral principles, etc. Reasoning make it possible to reveal the inner world of the hero, to demonstrate his view of life, people around the world. He believes that the functionally-semantic types of speech in the artistic text complement each other (the narrative with the elements of the description is most often occurring).

With the advent of O.A. Nechaeva in domestic science firmly enshrines the term "functionally semantic type of speech" ("certain logical-semantic and structural types of monologic statements, which are used as models in the process of speech communication"). The researcher identifies four structural-semantic "descriptive genres": landscape, portrait of a man, interior (setting), characteristic. O.A. Nechaeva notes that they are all widely represented in fiction.

I will identify the narrative specifics of the description (scenery, portrait, environment, description-characteristics). In prose, Garshina's descriptions of nature are given little space, but nevertheless they are not deprived of narrative functions. Landscape sketches serve as a background of narration. We must agree with G.A. Lobanova is that the landscape is "a type of description, a solid image of an unlocked fragment of natural or urban space."

These patterns are clearly manifested in the story Garshina "Bears", which begins with a lengthy description of the terrain. Landscape sketch premises the story. It serves as a prologue of a sad story about the mass shot of bears, who went with the Gypsies: "At the bottom of the river, bending the blue ribbon, stretches from the north to south, then leaving the high shore in the steppe, then approaching and flowing under his very steal. It is bold by bushes of a slotier, in some way, which is pine, and near the city of pasty and gardens. Some distances from the coast, towards the steppe, stretching with a solid strip almost all over the course of Rokhley loose sands, barely held back and black and black lounge and a dense carpet of fragrant purple vanity "(p. 175).

Description of nature is a listing of signs of a common area (river, steppe, bulk sands). These are constant features that make up the topographic description. The listed features are key components of the description, which include supporting words (at the bottom of the river, in the direction of the steppe, at some distance from the coast, throughout the course of Rokhley, stretches from north to south).

In this description, the verbs are found only in the form of the present time constant (stretching, bordered) and the expressive inclination. This happens because in the description, according to O.A. Nechaeva, there is no change in the temporary plan and the use of irreal modality, which lead to the appearance of dynamism in the text of the artwork (this is characteristic of the narration). The landscape in the story is not only the place where events occur is also the starting point of the narrative. From this landscape sketch blows serenity, silence, peace. The emphasis on this is made to ensure that all further events associated with the real murder of innocent animals are perceived by the reader "on the contrast".

In the story "Red Flower", the writer gives a description of the garden, because the basic events of the narration will be associated with this place and the flower growing here. It is here that the main character will constantly pull. After all, he is absolutely sure that the poppy flowers carry the universe evil, and he is designed to enter into battle with him and destroy him, even at the cost of his own life: "Meanwhile, it came clear, good weather; ... their garden separation, small, but densely overgrown with trees, was everywhere where only you can, planted with flowers. ...

"Alien speech" and its narrative functions

MM Bakhtin (V.N. Voloshinov) argues that "someone else's speech" "is speech in speech, saying in the statement, but at the same time it is talking about speech, saying about the statement." He believes that someone else's statement enters into speech and becomes its special constructive element, while maintaining its independence. The researcher characterizes the patterns of indirect, direct speech and their modifications. In the indirect design M.M. Bakhtin highlights the subject-analytical (with the help of an indirect design, the subject composition of someone else's statement is transmitted - which said speaking) and verbally analytical (someone else's statement is transmitted as an expression that characterizes the speaking itself: his mental state, the ability to speak, speech manner, etc. ) Modification. The scientist emphasizes that the third modification of indirect speech can also be in Russian - impressionistic. Its feature is that it is somewhere in the middle between subjectual analytical and verbal-analytical modifications. In the templates of direct speech M.M. Bakhtin allocates the following modifications: the prepared direct speech (a common case of direct speech from the indirect, weakening of the objectivity of the copyright context), an extractive direct speech (on the words of the hero were transferred by estimates saturated with its object content), anticipated, scattered and hidden direct speech (including copyright intonations , there is a preparation of someone else's speech). Scientist separate chapter Shklzhase7 n includes two speeches: hero and author), which is considered on examples from French, German and Russian.

ON THE. Kozhevnikova in the book "Types of narration in Russian literature of the XIX-XX centuries." Offers his vision of the nature of the narrative in artistic prose. The researcher believes that the type of narrator (author or narrator), the point of view and the speech of the characters are of great importance for compositional unity. She notes: "The work can be unintended, accommodating in the framework of one narrative type (a first-person story), and can go beyond a certain type, representing a multi-layered hierarchical construction." ON THE. Kozhevnikova emphasizes: "Alien speech" can also belong to the sender (spoken, inner or written), and the recipient (perceived, heard or read speech). The researcher identifies three main forms to transfer someone else's speech in the texts: direct, indirect, improper-straight, which we will study on the example of Garshin prose.

I.V. Trufanova in the monograph "Pragmatics of incoming and direct speech" emphasizes that in modern linguistics there is no single definition of the concept of incomprehensive-direct speech. The researcher stops on the bisclaimability of the term and the interpenetration of the author's plans and the hero, determining the improper-direct speech as "the method of transmitting someone else's speech, a biblan syntactic design, in which the author's plan does not exist separately from the plan of someone else's speech, and merge with it."

Consider the narrative functions of a direct speech, which is "a way to transfer someone else's speech, preserving lexical, syntactic, intonational features of the speaker. It is important to note that "direct speech and speech of the author clearly distinguish between": - Live, brother! - impatiently shouted the doctor. - See how many of you here ("Bunner and Officer", p. 157). - For what? For what? He shouted. - I did not want to evil anyone. For what. Kill me? Ltd! Oh my God! Oh you, tormented before me! I pray you, get rid ... ("Red Flower", p. 235). "Leave me ... Go where you want." I stay with Seine and here with MR. Lopatin. I want to take a soul ... from you! - Suddenly she screamed, seeing that Bessonov wants to say something else. - You contacted me. Leave, leaving ... ("Nadezhda Nikolaevna", p.271). - Ugh, brothers, what the people! And our priests and our churches, and they have no idea what they have! RUP Silver Khosh? - Screams that there are urine soldiers with a shirt in the hands of Romanian trading in an open bench. . For a shirt? Patra Frank? Four francs? ("From the memories of ordinary Ivanov", p.216). "Sushch, quiet, please, she whisked." - You know, because everything is over ("coward", p. 85). - In Siberia! .. Is it because I can't kill you that Siberia is afraid? I'm not only ... I can't kill you because ... yes, how can I kill you? How will I kill you? - He choking, he said: "After all, I ... (" Incident ", p.72). - Whether it is impossible without such expressions! - said abruptly Vasily. Petrovich. - Give it to me, I am a hidden ("Meeting", p. 113).

Garshina's transcellations of the direct speech are contaclared from the prose stylistically against the background of a neutral author. One of the functions of direct speech, according to G.Ya. Solknika is the creation of characters (characteristic). The author's monologue ceases to be monotonous.

V.M. Garshin was a sensitive witness to the sorry era, whose features left the mark on the worldview of the writer, giving it the works of the tragity. The topic of war is one of the main in the work of V.M. Garshin. "Mommy," he writes in April 1877, "I can't hide behind the walls of the institution, when my peers and chest peers are substituted under the bullets. Bless me. " Therefore, after the official announcement of the war of Turkey by Russia, V.M. Garshin, not thinking, goes to fight. Suffering on the pages of its works is considered as the formula for the spiritual development of the personality on the way of a collision with evil.

Military stories Garshina - "Four days" (1877), "Very short novel" (1878), "Coward" (1879), "From the memories of ordinary Ivanov" (1882), they form a group of stories united by the state of humanistic suffering.

A person, from the point of view of the anthropocentric direction in the literary criticism of the early 1990s, is the center of the Universe and has absolute right to the limitless freedom of thoughts and actions to achieve earthly happiness. With this consideration, suffering limits the scope of his own personality and prevents the manifestation of natural individualistic start. For us more acceptable in the study of Russian classics is the understanding of humanism, reflecting Christian principles. So, S. Transober characterizes humanism as "the religion of human-industry (faith in man, man deification), designed to destroy the traditional Christian faith in God," and Y. Seleznev, considering the peculiarities of the Renaissance in the Russian literature of the XIX century, differing from European, notes that Humanistic situation There is a form of "fundamentally monologular, inherent - egoistic consciousness," which assumes a person to absolute height and opposes its entire universe, so humanism and humanity, as often it is customary to understand may not be synonymous.

The early stage of Garshin's creativity, until 1880, painted by the humanistic ideas of the writer. Suffering on the pages of his stories appears as "Emergency, the opposite of activity; The state of pain, illness, grief, sadness, fear, longing, anxiety ", leading heroes on the path of spiritual death.

In the stories of "four days" and "very short novel" the suffering of heroes is the reaction of a egocentric person to the tragic circumstances of real reality. Moreover, the war acts as a form of evil and antigenism (in understanding humanism) in relation to the personal beginning of the heroes. V.M. Garin at this creative stage the highest value of being was in the uniqueness of human life.

The sense of duty called the hero of the story "Four days" to go to war. This position, as noted above, is close to the sickness itself. The period on the day before and during the Russian-Turkish war, 1877-1878 gave rise to a "squall of sympathy to the" Slavs Brothers ". FM Dostoevsky so determined the attitude to this problem: "Our people do not know either Serbs nor Bulgarians; He helps, and pennies with his own and volunteers, not Slavs and not for Slavism, but he only heard that the Orthodox Christians suffer from, our brothers, for faith Christ from the Turks, from "Godless Agaryan" ... ". However, the desires of ordinary Ivanov are far from Orthodox empathy. Its impulses should be called romantic, and in a negative sense: only the beauty of the actions is injecting Ivanov in the battles that glory will bring him. They manage the desire to "substitute your chest under the bullets." The hero of the story "Four days" gradually understands that it is wounded, however, in addition to the feeling of physical awkwardness ("strange position", "terribly awkward"), Ivanov does not have anything. Restless tone of the narrative increases as soon as the hero understands: "I'm in the bushes: I did not find me!" . From this point on, the understanding of the inhumanity of war and the individualistic reflection of Ivanov begin. The idea that he was not found on the battlefield and that now he is doomed to lonely death, leads a hero to despair. Now he is worried about only his own fate. Private Ivanov passes several stages in the approval of its position: the pre-suffering (premonition of suffering), despair, attempts to restore mentally and spiritual equilibrium, outbreaks of "universal" experiences, actually individualistic alarms. "I'm going together with thousands, of which, if I've break down somewhat, like me, going eagerly," he eats herself from the total mass. The patriotism of the hero takes a kind of check, during which the high civilian senses of a person covered by individualism are insincere: he says that most of the military would refuse to participate in universal murder, but "they go the same as we," Conscious "". The hero of the story becomes apparent in the story final, doubts the correctness of his views and actions. The celebration of his own "I" does not leave him even at the moment when he sees his sacrifice - dead Fellah. Awareness of themselves as killers contributes to the understanding of the inner essence of the experiencing of the hero. Ivanov opens for themselves that the war forces to kill. However, the murder, in the context of ordinary reflection, is regarded only as deprivation of people of the right to life and self-surprise. "For what I killed him?" - On this question Ivanov does not find a response, therefore, it is experiencing moral torment. And yet, the hero removes all moral responsibility for the perfect: "And what am I guilty, although I killed him?" Own physical suffering, fear of death is mastered by the hero and discover its spiritual weakness. Despair is enhanced; Repeating "anyway", which should express the reluctance to fight for life, Ivanov as it were in humility. The desire to live, of course, is a natural feeling in a person, however, in a hero, it acquires shades of insanity, because he cannot accept death, because he is a man. As a result, the Garshin's hero curses the world, which "invented the war to the suffering to people," and, the worst, comes to the thoughts on suicide. The pity is so strong that he does not want to experience herself more pain, thirst and loneliness. Schematically spiritual development of the hero can be represented as follows: pain - longing - despair - the idea of \u200b\u200bsuicide. The last link can be replaced by another - "spiritual death", which comes, despite the physical salvation. It is noteworthy in this regard, his question is a lazare officer: "Will I die soon?", Which can be viewed as a result of Ivanov's moral quest.

In the essay, the "very short novel" war acts as a background to demonstrate the individual tragedy of the main character. The author represents the reader of a man who has already seoperable. "Masha ordered me to be a hero" - so motivates its actions of the essay hero. It was "for Masha" he became a hero and even "honestly performed his duty and relative to the Motherland", which, of course, is quite controversial. On the battlefield, they managed, as it turns out, only vanity, the desire to return and appear in front of the Masha Hero. In the story there are no paintings of the battle, the hero "paints" only the paintings of their own suffering. The betrayal of a loved one had such an impact on him, which did not have a leg loss in the war. The war is made by the culprit of his personal drama. The suffering of physical and spiritual served as a check of his spiritual essence. The hero turns out to be unable to transfer all life tests - he loses its composure and doomed it is comprehending his continued existence. The Garshin's hero discloses his sufferings with such a force that it seems that he enjoys them. Suffering him is purely individualistic character: the hero is worried about only their own sadness, which becomes even more gloomy against the background of someone else's happiness. He rushes and looking for himself relief, so it speaks with a special pity, talking about his position "man on a wooden leg", then proudly ranks himself to the village of Knights, who are rushed to the feats on the half-word; it compares himself with the "unstopphan stocking" and a butterfly with sealing wings, then condescendingly and downward "sacrifices" by its feelings for the sake of love of two people; It seeks sincerely to open the reader, it indifferently refers to the reaction of the public to the question of the truth of his narration. The tragedy of the main character is that he left his peaceful, happy life, filled with vivid impressions and paints, in order to prove his beloved in the matter, that he is "an honest person" ("honest people affirm their words"). The concepts of "Honor" and "honest", which are of the "nobility of the soul" and "pure conscience" (following from the definition of V. Dal), in the story there are a kind of check, as a result of which the true meaning of these words in the understanding of the heroes is distorted. The concept of honor during the war can not be reduced only to the knighthood and heroism: impulses are too low. The final appears in the "humble hero", who donated his happiness for happiness in two. However, this act of self-sacrifice (note, absolutely nechritic) is deprived of sincerity - it does not feel happiness for others: "... I was Schafer. I proudly performed his duties... [Allocated by me. - E.A.] ", - These words, in our opinion, can serve as an explanation of the awards of the Hero of the essay and the proof of his individual position.

The story "Coward" begins the symbolic phrase: "War does not give me rest of the war." It is the state of peace and, in turn, associated with him, the feelings of freedom, independence and independence constitute the basis of the life of the main character of the story. He is constantly absorbed by thoughts about human deaths, about the actions of people who deliberately reaching the war to kill and deliberately taking other people's lives. The absolute right to life, freedom and happiness is disturbed by the cruelty of people to each other. Bloody paintings are rushing in his eyes: thousands of wounded, piles of corpses. It is outraged by so much of the victims of the war, but is even more outraged by the calm attitude of people to the facts of military losses that telegrams are fought. The hero, arguing about the victims of war and about the attitude of society, comes to the thought that, maybe he will have to become a member of this not the war on them: he will be forced to leave his former dimension and give it into the hands of those who began bloodshed. "Where is your" me "? - exclaims the Garshin's hero. "You will protest our whole creature against the war, and yet the war will force you to take a gun on the shoulders, go to die and kill." It is outraged by the absence of free choice in managing his fate, so he is not ready to sacrifice. The main question, which is asks the direction of the thought of the hero, is the question of "coward I or not?". Constantly referring to his "I" with the question: "Perhaps all my disturbances against the fact that everyone considers the great work, they come from fear for their own skin?", The hero seeks to emphasize that he is not afraid of his life: "It became , not death scares me ... ". Then the question is logical: what is the hero scares? It turns out, loss of individual rights to a free choice. The pride does not give him rest, infrained "I", which is not able to dictate his rules. Hence all the torment of the story hero. "Coward" does not seek to analyze the social aspects of the war, it does not possess specific facts, more precisely: they are not interested in it, as it refers to the war "direct feeling, outraged by the mass of blood shed." In addition, the hero of the story does not understand why his death will serve. His main argument is that he did not start war, which means he is not obliged to interrupt the course of his life, even if "stories needed his physical forces." The long experience of the hero is replaced by the act of despair, when he sees the suffering of Kuzma, "eaten" by Ganger. The Garshinsky Hero compares the sufferings of one person with the suffering of thousands that suffer in war. Submitted by the author on the pages of the story "Personal voice" The story of the story should be called civil sorrow, which is revealed to the fullest precisely during the period of Kuzma's disease. It should be paid to the fact that F.M. Dostoevsky was negatively related to the so-called "civil sorrow" and recognized the only sincerely Christian sorrow. The moral torment of the Garshinsky Hero is close to suffering, about which F.M. Dostoevsky in relation to N.A. Nekrasov in the article "Vlas": "You suffered not in Burlake actually, but, so to speak, in general turbine", that is, according to "Universal Affairs", individual. In the final, the main hero of the story decides to go to war, guided by the motive "Conscience will not be tormented." Sincere desire for "kind to learn" he did not arise. The sense of civil debt, which has already been developed by society, but has not yet become the inner natural component of a human spiritual and moral world, does not give a hero to evade war. The spiritual death of the hero comes before the death of physical, even before his departure to the war, when he, including himself, calls the "black mass": "The body has a huge unknown organism, which you make an insignificant part, wanted to cut you off and throw you. And what can you do against this desire you ... finger from my feet? .. ". In the soul of the hero, the concept of debt and sacrifice did not become a vital need, perhaps, therefore, he cannot fight evil and antihumanity. The concept of debt for him remained abstract: the mixture of personal debt with a debt generally leads the hero to death.

The idea of \u200b\u200bsuffering finds a different development in the story "From the memories of Private Ivanov", which was written in 1882. Humanistic pathos does not leave the artistic field of the work, however, it should be indicated that the idea of \u200b\u200bsuffering is refracted through the concept of Altruism. Therefore, here we can talk about altruistic suffering as a form of humanistic suffering. Note that the concept of "altruism" was introduced by positivists (O. CONT), which in their ethics avoided the Christian concept of love to neighbor and used the concept of "humanity" as opposed to egoism. It is noteworthy that "humanity is love for man as such as a living being. It implies love for himself, and love for neighbor and far, i.e. To like himself, to all mankind. " However, humanity "does not exclude in certain cases of hostility towards a particular person."

Before the reader, an already familiar solid-definite ordinary Ivanov appears. But from the first lines it becomes obvious that Ivanov differs from the previous heroes to another attitude towards war and man as a participant in the "common suffering." Obviously, Ivanov's decision to go to fight consciously and weighed. It is interesting here to compare the position of the hero of the story "Coward" and the hero of the analyzed story. The first with a special emotional tension suggests that at home is easier to die, because nearby are close and relatives, which is not in war. The other is calm, affirmatively and without regret exclaims: "We were infected by an unknown secret force: there is no power in human life. Everyone would leave home, but the whole mass was going, obeying not the discipline, not the consciousness of the right thing, not the feeling of hate to an unknown enemy, not the fear of punishment, but to that in the unknown and unconscious, which will still led humanity on a bloody slaughter - the largest reason All sorts of human misfortunes and suffering. " This "unknown secret force", in which we will see below, there is a Christian thirst for self-sacrifice in the name of good and justice, which has rallied in a single impulse of people of different length groups. Understanding the hero of war is changing. At the beginning of the story - "Enroll in some regiment" and "visit the war", then it is to "look, see."

In the study of the above-mentioned military stories, we were guided by the scheme A.A. Bezrukova "The torment is despair - a doomed - death" revealing the humanistic definition of suffering. In the story "From the memories of an ordinary Ivanov", this logical chain cannot be applicable, since the content of the concept of "suffering" occupies the border position between humanistic and Christian ("suffering - death - resurrection"): displaying certain signs of the first, it is still sufficiently Does not carry the axiological load of the second.

The main character, as well as the heroes of other military stories V.M. Garshin, painfully perceives the cruelty of human actions and evil, caused by the war, but there is no longer a tragic bewilderment in the work, which characterizes the considered stories. War for Ivanov remains a common suffering, but he is still reconciled with its inevitability. He will allow itself to assert, deprived of individualism or egocentrism, which serves as convincing evidence of the deep spiritual and moral growth of the Garshinovsky Hero from the story to the story. His thoughts and actions now lead a conscious desire to be part of the flow, which does not know the obstacles and which "will be broken," everything will endure and destroy everything. " The hero covers a sense of unity with the people who can selflessly go ahead and expose themselves danger for freedom and justice. This people of Ivanov are penetrated with great sympathy and, together with him, selflessly transfers all adversity. Under the influence of this "unconscious" force, the hero, as it were, "rents" from his "I" and dissolves in a living human mass. The idea of \u200b\u200bsuffering in the story "From the memoirs of ordinary Ivanov" appears as a conscious need for self-sacrifice. Ivanov, who stood at a high stage of spiritual and moral development, strives for self-sacrifice, but understands it as an act of humanity, a person's debt act fighting for the right to itself. He opens the war other. She, of course, brings the same suffering as any war. However, suffering, own and other people, force the hero to think about the meaning of human life. It should be noted that these reflections are mostly distracted, and yet the fact of the presence of self-sacrifice ideas speaks of the spiritual growth of ordinary Ivanov compared to previous heroes.

Bibliographic list:

1. Balashov L. E. Abstracts about Humanism // Common sense. - 1999/2000. - № 14. - P. 30-36.

2. Bezrukov A.A. Return to Orthodox and the category of suffering in the Russian classics of the XIX century: monograph. - M.: Publishing House RSU, 2005. - 340 p.

3. Buchanov A.N. Russian idea. From Vladimir Saint to this day / A.N. Balkhanov. - M.: Veva, 2005. - 400 p.: Il. (Great Russia).

4. Garin V.M. Red flower: stories. Fairy tales. Poem. Essays. - M.: Eksmo, 2008. - 480 p. Next quoted with the page.

5. Garin V.M. Full Cathedral cit. - T. 3. - M.-L.: Academia, 1934. - 569 p.

6. Dostoevsky F.M. Complete essays in thirty volumes. - L.: Science, 1972-1990. T. 24.

7. Dostoevsky F.M. Complete essays in thirty volumes. - L.: Science, 1972-1990. T. 21.

8. Transvants S. Meaning of Russian history. - M.: Veva, 2004. - 496 p.

9. Seleznev Y. Eyes of the people // Seleznev Yu. Children's chain. - M.: Contempor, 1985. - 415 p. - P. 45-74.

10. Philosophical Encyclopedic Dictionary. GL ed. Ilyichev L.F., Fedoseev P.N. and others. - M.: Soviet Encyclopedia, 1983. - 836 p.

Analysis of the story V. M. Garshina "Four days»

Introduction

The text of the story V. M. Garshina "Four days" fits on 6 sheets of the book of an ordinary format, but his holistic analysis could deal with the whole how it happened in the study of other "small" works, for example, "poor Lisa" N. M . Karamzin (1) or "Mozart and Salieri" (2) A. S. Pushkin. Of course, it is not entirely correct to compare the semi-forgotten story Garshin with a famous story of Karamzin, who began a new era in Russian prose, or with an equally famous "small tragedy" Pushkin, but for literary analysis, as for analyzing scientific, to some extent " Equally, "how famous text is known or stuck, I like it or does not like the researcher - in any case, there are characters in the work, the author's point of view, the plot, composition, the artistic world, etc., fully fulfill a holistic analysis of the story, including its Contextual and intertwist connections - the task is too large and clearly exceeding the possibility of training test work, so we should more accurately determine the purpose of the work.

Why was the story of Garshin's "Four Days" been chosen for analysis? This story V. M. Garin once became famous (3) Thanks to the special "Garshinsky" style that first manifested himself in this story, he became a famous Russian writer. However, the readers of our time this story is actually forgotten, they do not write about him, it is not studied, and this means that he has no thick "shell" of interpretations and discrepancies, it represents "clean" material for training analysis. At the same time, there is no doubt about the artistic advantages of the story, in his "quality" - he was written by Vsevolod Mikhailovich Garshin, the author of a wonderful "red flower" and "Attalea Princeps".

The choice of the author and the work influenced that it would be the subject of attention primarily. If we analyzed some story V. Nabokov, for example, "the word", "fight" or "razor" - stories, literally filled with quotes, reminiscence, alluzia, as if in context in the context of the modern literary era, A detailed analysis of the intertextual links of his work simply could not be understood. If we are talking about a product in which the context is irrelevant, then the study of other aspects - the plot, composition, subject organization, the artistic world, artistic details and details. It is the details, as a rule, carry the basic semantic load in the stories of V. M. Garshin (4) , In a small story, "four days" is particularly well noticeable. In the analysis, we will take into account this feature of the Garshin style.

Before making the analysis of the content side of the work (theme, problem, idea), it is useful to find out more information, for example, about the author, circumstances of creating a work, etc.

The author is biographical. The story "Four days", published in 1877, immediately brought the glory of V. M. Grhin. The story was written under the impression of the Russian-Turkish war of 1877-1878, about which Harshin knew the truth of first-hand, as he fought an ordinary infantry regiment as a volunteer and in August 1877 was injured in the battle at Aaslar. The volunteer at Garin's war went because, firstly, it was a kind of "walking of the people" (react with Russian soldiers of gravity and deprivation of army front-line life), secondly, Harshin thought that the Russian army was going to help the Serbs and Bulgarians free from the centuries-old pressure of the Turks. However, the war quickly disappointed the volunteer Garshin: the help of the Slavs from Russia in fact turned out to be a mercenary desire to take strategic positions on the Bosphorus, in the army itself there was no clear understanding of the goal of hostilities and therefore reigned a mess, the crowds of volunteers died completely pointless. All these impressions Garshina reflected in his story, whose veracity struck readers.

The image of the author, the author's point of view. The truthful, fresh attitude of Garshin to the war was artistically embodied in the form of a new unusual style - the essay of the fragmentary, with attention to, it would seem unnecessary details and details. The appearance of such a style reflecting the author's point of view on the story of the story, not only a deep knowledge of the Grushin truth about the war, but also the fact that he was fond of natural sciences (nerd, zoology, physiology, psychiatry), who taught him to notice "infinitely small moments" reality. In addition, in the student years, Garshin was close to the circle of mobile artists who taught him to look at the world insightful, in the shallow and private to see significant.

Subject. The story of the story "Four days" is easy to formulate: a person in war. Such a topic was not the original invention Garshin, it was quite common as in the previous periods of the development of Russian literature (see, for example, the "military prose" of the Decembrists F. N. Glinki, A. A. Bestumeva-Marlinsky et al.) And In modern sickness of the authors (see, for example, "Sevastopol stories" L. N. Tolstoy). You can even talk about the traditional solution to this topic in Russian literature, which began with the poem of V. A. Zhukovsky "Singer in the Fet of Russian Warriors" (1812) - there was always a part of the major historical events that arise as the amount of certain ordinary people, As in some cases, people are aware of their impact on the course of history (if it is, for example, Alexander I, Kutuzov or Napoleon), others participate in history unconsciously.

Garin made some changes to this traditional topic. He brought the topic "Man in War" beyond the topic "Man and History", as it would transfer the topic to another problematics and strengthened the independent meaning of the topic, which makes it possible to explore existential issues.

Problems and art idea. If you enjoy the benefit of A. B. Esin, the problem of the story Garshin can be defined as a philosophical or as a romance (according to the classification of Pospelov). Apparently, the last definition is more precisely suitable in this case: the story shows not a person at all, that is, a person is not in the philosophical sense, but a particular person, experiencing the strongest, shock experiences and overestimating their attitude to life. The horror of the war is not the need to perform heroic actions and sacrifice themselves - just these pictorial visions were represented by the Volunteer Ivanov (and, apparently, the Glossin himself) before the war, the horror of the war in the other, in the fact that you can not even imagine. Namely:

1) The hero argues: "I did not want to evil anyone when she went to fight.

The idea that you have to kill people, somehow left me. I imagined only how I will substitute my chest under the bullet. And I went and subordinate. So what? Fool, fool! "(P. 7) (5) . A man in war even with the most noble and good intentions inevitably becomes a carrier of evil, the killer of other people.

2) A man in war is tormented not from pain that the wound generates, but from the unnecessaryness of this wound and pain, as well as the fact that the person turns into an abstract unit, which is easy to forget: "In the newspapers there will be several lines that, they say, Our losses are insignificant: so much is injured; Killed ordinary of all-determining Ivanov. There are no surnames; Just say: one killed. One like that dog is killed ... "(P. 6) in the injury and death of the soldier there is nothing heroic and beautiful, it is the most ordinary death that can not be beautiful. The hero of the story compares his fate with the fate of the dog remembered from his childhood: "I walked down the street, a handful of people stopped me. The crowd was stood and silently looked at something white, bloody, complaints about. It was a small pretty dog; The wagon of the promotional road moved her, she died, that's how I now. Some wipers crushed the crowd, took a dog for a collar and hooked.<…> The janitor did not regret her, knocked her head against the wall and threw in the pit, where they throw a litter and pouring. But she was alive and suffered three more days<…>"(P. 6-7.13) Like that dog, a man in the war turns into garbage, and his blood is in the help. Nothing holy from a person remains.

3) The war completely changes all the values \u200b\u200bof human life, good and evil confused, life and death are changing in places. The hero of the story, waking up and realizing his tragic position, with horror she understands that next to him lies the enemy killed by him, the fat Turk: "In front of me lies my man killed me. Why did I kill him? He lies here the dead, bloody.<…> Who is he? Perhaps, and he, like me, there is an old mother. Long it will be in the evenings to sit at the door of her wretched Mazanka and look at the distant north: Does her beloved son, her employee and the breadwinner? ... And I? And I also ... I would even change with him. As he is happy: he doesn't hear anything, does not feel pain from wounds, neither deadly longing, no thirst<…>"(S. 7) A living person envies the dead, the corpse!

Ivanov's nobleman, lying next to the decaying stinking corpse of a Tolstoy Turk, does not happen to a terrible corpse, and almost indifferently obfins all the stages of his decomposition: at first, a strong body smell was heard "(P. 8), then" his hair began to fall out. His skin, black from nature, paled and yellowed; The inflated ear stretched to the point that she burst into the ear. Worms have kept worms there. The legs are tightened into the stages, swollen, and between hooks, the shtiblet got out huge bubbles. And all he swelled the mountain "(P. 11), then" his faces he was no longer. It slipped off the bones "(P. 12), finally," he completely broke. Miriad worms fall out of it "(P. 13). A living person does not experience disgust for the corpse! And so much as she crawls to him in order to drink warm water from his flasks: "I started to untie the flank, leaned over one elbow, and suddenly, having lost the balance, fell face on his savory's chest. From him already heard a strong body smell "(p. 8). Everything changed and confused in the world if the corpse is the Savior ...

The problems and the idea of \u200b\u200bthis story can be discussed further, as it is almost inexhaustible, but the main problems and the main idea of \u200b\u200bthe story we are thinking already called.

Analysis of artistic form

The separation of the analysis of the work on the analysis of the content and form separately is a big convention, since according to the successful definition of M. M. Bakhtin "The form is frozen content", which means that arguing about the problem or artistic idea of \u200b\u200bthe story, we simultaneously consider the formal side of the work For example, the features of the style of Garshin or the meaning of art details and details.

The world depicted in the story is characterized by the fact that it does not have obvious integrity, but just the opposite is very fragmented. Instead of the forest, in which the battle is going at the very beginning of the story, details are shown: hawthorn bushes; branches broken by bullets; prickly branches; ant, "some kind of soda of the Sora from last year's grass" (p. 3); Crazk Kuznechikov, buzzing bees - all this variety is not united by anything. Similarly, the sky: instead of a single spacious arch or infinitely ascending heavens - "I saw only something blue; It must be the sky. Then it disappeared "(p. 4). The world does not have integrity, which is quite consistent with the idea of \u200b\u200bthe work as a whole - the war is chaos, evil, something meaningless, incoherent, inhuman, war is the breakdown of a living life.

The image of the world has no integrity not only in spatial hypostasis, but also in temporary. Time develops and not consistently, progressively, irreversibly, as in real life, and not cyclically, as it often happens in works of art, here time every day starts again and every time they would seem to have the questions already solved by the hero. On the first day, from the life of Ivanov's soldier, we see him on the edge of the forest, where the bullet got into it and hardly wounded, Ivanov woke up and feeling himself to understand what happened to him. On the second day, he again solves the same questions: "I woke up<…> Is I not in the tent? Why did I get out of it?<…> Yes, I wounded in battle. Danger or not?<…>"(P. 4) On the third day, he repeats everything again:" Yesterday (it seems, it was yesterday?) Ranilla me<…>"(P. 6)

Time is crushed to unequal and meaningless segments, while still similar to hours, in part; These temporary units seem to be folded in the sequence - the first day, the second day ... - However, these segments and temporal sequences have no patterns, they are disproportionable, meaningless: the third day repeats the second, and between the first and third day the hero seems to be a gap. Much more than a day, etc. The time in the story is unusual: this is not a lack of time like, say, the world of Lermontov, in which the hero-demon lives in eternity and is not aware of the difference between the MiG and the century (6) , Garshin has a dying time, in the eyes of the reader there are four days from the life of a dying person and it is clear that death is expressed not only in the rotation of the body, but also in the loss of life, in loss of time, in the disappearance of the spatial perspective of the world. Garshin showed not a solid or fractional world, but the world is disintegrating.

This feature of the artistic world in the story led to the fact that artistic details began to have particular importance. Before, analyzing the meaning of artistic parts in the story Garshin, it is necessary to figure out the exact value of the term "part", as there are two similar concepts in the literary work. There are two similar concepts: detail and detail.

In literary review there is no clear interpretation of what is an artistic part. One point of view is set forth in a brief literary encyclopedia, where the concepts of artistic details and details are not distinguished. The authors of the "dictionary of literary term terms" are ed.

S. Turaeva and L. Timofeev do not determine these concepts at all. Another point of view was expressed, for example, in the works of E. Kupov, G. Biae, A. Esina (7) In their opinion, the detail is the smallest independent meaning unit of the work, which is to singleness, and the detail is the smallest significant unit of the work, which is fragile to fragility. The difference between the detail and the details is not absolutely, the number of details replaces the part. In a sense, the details are divided into portrait, domestic, landscape and psychological. Talking further about the artistic detail we adhere to this understanding of this term, but with the following clarification. In what cases the author uses the item, and in what details? If the author for any reason wants to specify the big and significant image in his work, then it depicts it with the necessary details (such, for example, the famous description of the Achilles shield in Homer), which clarify and specify the meaning of the whole image, detail can be defined as stylistic Equivalent Synepso; If the author uses individual "small" images that do not fold into a single common image, and have an independent value, then these are artistic parts.

Increased attention to the details of Garshin not by chance: as mentioned above, he knew the truth about the war from the personal experience of a volunteer soldier, he was fond of natural sciences, who taught him to notice "infinitely small moments" reality is the first, so to speak, "biographical "Cause. The second reason for the increased significance of the artistic part in the artistic world Garshina is the topic, the problem, the idea of \u200b\u200bthe story - the world decays, is crushed into meaningless incidents, random deaths, useless acts, etc.

Consider for the example one notable detail of the artistic world of the story - the sky. As already noted in our work, space and time in the story are distinguished by fragility, so even the sky is something uncertain, as if a random fragment of this sky. Having received wound and lying on the ground, the hero of the story "I did not hear anything, but I saw only something blue; It must have been the sky. Then it disappeared "(pp. 4), after a while, waking up from sleep. He will again pay attention to the sky:" Why do I see the stars that are so brightly shung on the Black Blue Bulgarian sky?<…> It is necessary for me - the block of the black and blue sky, on which a big star is burning and a few small, around something dark, high. This is a bushes "(pp. 4-5) is not even the sky, but something similar to the sky - he has no depth, it is at the level of hanging over the face of the wounded bushes; This sky is not ordered space, but something black and blue, a bun, in which, instead of a perfectly beautiful bucket of the constellation, a big bear is some unknown "Star and a few small", instead of a guiding polar star, just a "big star". The sky has lost harmony, there is no order in it, meaning. This is another sky, not from this world, this is the sky of the dead. After all, over the corpse of the Turk is such a sky ...

Since the "Sky Block" is an art detail, not detail, then it (more precisely, "the" Church of the sky ") has its own rhythm, as events develop. Lyzh on the ground face up, the hero sees the following: "Pale pinkish stains came around me. The big star turned pale, a few small disappeared. It is climbing the moon "(p. 5) The author's recognizable constellation. The author persistently does not call for his name and his hero will not recognize, so it happens because it is completely different stars, and quite another sky.

It is convenient to compare the sky of the Garshinsky story with the sky of Austerlitz from the "war and the world" L. Tolstoy - there the hero was in a similar situation, he was also injured, too, looking into the sky. The similarities of these episodes have long been noticed by readers and researchers of Russian literature (8) . Ivanov's soldier, listening in the night, clearly hears "some strange sounds": "As if someone moans. Yes, it is moan.<…> The moans are so close, and about me, it seems, there is no one ... My God, but this is - I myself! " (P. 5). Compare this with the beginning of the "Austerlitsky episode" from the life of Andrei Bolkonsky in the Romainepope Tolstoy: "On the Pratsoman Mountain<…> Prince Andrey Bolkonsky, expired by blood, and, not knowing himself, moaning a quiet, pitiful and children's moan "(t. 1, part 3, ch. XIX) (9) . The alienation of its own pain, its moan, its body - the motive binding two heroes and two works are only the beginning of similarities. Next coincides the motif of forgotten and awakening, as if the rebirth of the hero, and, of course, the image of the sky. Bolkonsky "revealed his eyes. Over it was again all the same high sky with an even higher rising floating clouds, through which the blue infinity was visible " (10) . The difference from the sky in the story Garshin is obvious: Bolkonsky sees although the distant sky, but the sky is a living, blue, with floating clouds. Wounding Bolkonsky and his audience with heavens - a peculiar retaration invented by Tolstoy in order to give a hero to realize what is happening, its real role in historical events, to relate. The wound of Bolkonsky is an episode of a large plot, the high and clean sky of the Austerlitz - artistic detail specifying the meaning of the grand image of the Heavenly Code, that quietly pacifying sky, which is occurring hundreds of times in the fourtime product of Tolstoy. In this root of the difference of similar episodes of two works.

The story in the story "Four days" is conducted from the first person ("I remember ...", "I feel ...", "I woke up"), which, of course, is justified in the work, the purpose of which to explore the mental state of a senselessly dying person. The lyricism of the narrative, however, does not lead to a sentimental pathos, but to an increased psychologism, to a high degree of reliability in the image of the spiritual experiences of the hero.

The plot and composition of the story. Interestingly built plot and composition of the story. Formally, the plot can be defined as a cumulative, since the story events would be riser in each other in an infinite sequence: the first day, the day is the second ... However, due to the fact that the time and space in the artistic world of the story as if spoiled, then no cumulative movement not. In such conditions, a cyclic organization is noticeable inside each plot episode and the compositional part: on the first day of Ivanov, I tried to determine my place in the world preceding this events, possible consequences, and then in the second, third and fourth day, the same he will repeat the same. The plot develops as if circles, all the time returning to its original state, at the same time a cumulative sequence is clearly visible: with each day the corpse of the killed Turk is increasing more and more terrible thoughts and deeper answers to the question about the meaning of life come Ivanov. Such a plot combining in equal proportions cumulativeness and cyclicity can be called turbulent.

Many interesting story in the subject organization, where the second acting person is not a living person, but a corpse. The conflict is unusual in this story: it is sednate, absorbs the old conflict of Ivanov's soldier with his nearest relatives, the confrontation between the soldier Ivanov and Turkom, a complex confrontation between the wounded Ivanov and the Turk and MN corpse. Dr. It is interesting to analyze the image of the narrator, which, as it were, hid himself inside the voice of the hero. However, it is unrealistic to do all this within the framework of test work and we have to limit yourself already made.

Holistic analysis (some aspects)

Of all the aspects of a holistic analysis of the work regarding the story of "four days", the most obvious and interesting is the analysis of the features of the "Garshinsky" style. But in our work, this analysis was actually done (where it was about using the garrhine art details). Therefore, we will pay attention to another, less obvious aspect - the context of the story "four days".

Context, intertextual connections. The story "four days" has unexpected intertextual connections.

In a retrospect, Garshin's story is connected with the story of A. N. Radishchev "History of one week" (1773): the hero of every day decides the question of the meaning of life, worries his loneliness, separation from close friends, the most important thing - every day changes the meaning of already solved, It would seem that questions and puts them again. Comparison of the "four days" with the story of Radishchev opens up some new aspects of the meaning of the Garshinsky story: the position of the wounded and forgotten on the battlefield of man is terrible not by the fact that he opens up for himself the terrible meaning of what is happening, but in the fact that it fails to find anything at all, everything meaningless. The person is powerless before the blind element of death., Every day, this meaningless search for answers begins again.

Perhaps in the story "Four days", Harshin argues with some Masonic idea, expressed in the story of A. N. Radishchev, and in the mentioned poem V. A. Zhukovsky, and in the "Austerlitz episode" at L. N. Tolstoy. It is no coincidence that, in the story, another intertextual relationship appears - with the New Testament Revelation of John the Theologian or Apocalypse, which tells about the last six days of mankind to a terrible court. Garshin puts hints or even direct instructions on the possibility of such comparison - see, for example: "I am an unhappy [dogs], because I suffer for a whole three days. Tomorrow - the fourth, then, the fifth, the sixth ... Death, where are you? Go, go! Take me!" (P. 13)

In the future, the Garshiny story, which shows the instantaneous transformation of a person in the garbage, and his blood in the residue, it turns out to be associated with the famous story A. Platonova "Dust Wind", in which the motive of the transformation of a person and the human body is repeated in trash and help.

Of course, in order to discuss the meaning of these and possibly other intertextual ties, you must first prove them, study, and this is not included in the task of test work.

List of used literature

1. Garin V. M. Stories. - M.: True, 1980. - P. 3-15.

2. Biala G. A. Vsevolod Mikhailovich Garin. - L.: Enlightenment, 1969.

3. Dover E. plot and reality. Art art. - L.: Sov. Pi Suitor, 1981. - P. 301-310.

4. Esin A. B. Principles and techniques for analyzing the literary work. Ed. 2nd, copy. and add. - M.: Flint / Science, 1999.

5. The history of Russian literature in 4th TT. T. 3. - L.: Nauka, 1982. - P. 555 558.

6. Kiyko E. I. Garin // The history of Russian literature. T. IX. Part 2. - M.; L., Academy of Sciences of the USSR, 1956. - P. 291-310.

7. Oxman Yu. G. Life and creativity V. M. Garshina // Harshin V. M. Ras Skazy. - M.; L.: Giz, 1928. - P. 5-30.

8. Skornikov V.D. Realism and romanticism in the works of Garshin (to the question of the creative method) // Izvestia Academy of Sciences of the USSR. Departure Lit. and rus. Yaz. - 1953. -t. XVI. - Vol. 3. - pp. 233-246.

9. Stepnyak-Kravchinsky S. M. Garshini stories // Stepnyak Kravchinsky S. M. Works in 2 tts. T. 2. - M.: Gihl, 1958. -s. 523-531.

10. Dictionary of literary terms / ed. - Sost. L. I. Timofeev and S. V. Turaev. - M.: Enlightenment, 1974.

Notes

1) Toporov V.N. "Poor Lisa" Karamzin: Experience reading. - M.: RGGU, 1995. - 512 p. 2) "Mozart and Salieri", Pushkin tragedy: Movement in time 1840-1990: Anthology of interpretations and concepts from Belinsky to this day / Sost. Uncompressive V. S. - M.: Heritage, 1997. - 936 p.

3) See, for example: Kuleshov V. I. The history of Russian literature XIX century. (70-90s.) - M.: Higher. Shk., 1983. - P. 172.

4) See: Bylya G. A. Vsevolod Mikhailovich Garin. - L.: Enlightenment, 1969. - P. 15 and further.

6) See about this: Lominadze S. Poetic World M. Yu. Lermontov. - M., 1985. 7) See: Bial G. A. Vsevolod Mikhailovich Garshin. - L.: Enlightenment, 1969; Dover E. plot and reality. Art art. - L.: Sov. Writer, 1981. - P. 301-310; Esin A. B. Principles and techniques for analyzing a literary work. Ed. 2nd, copy. and add. - M.: Flint / Science, 1999.

8) See: Kuleshov V. I. The history of Russian literature XIX century. (70-90s.) - M.: Higher. Shk., 1983. - S. 172 9) Tolstoy L. N. Collected Works in 12 TT. T. 3. - M.: True, 1987. - P. 515. 10) Ibid.

Nikolai Konstantinovich Mikhailovsky (1842-1904). About Vsevolod Grhine /

"Incident" "A story about how Ivan Ivanovich fell in love and suied. He fell in love with Nikolayevna, a street woman who once knew the best times, who studied, holding the exams, remembering Pushkin and Lermontov, and so on. Unfortunately pushed her on a dirty road, and she was tied in the mud. Ivan Ivanovich suggests her his love, his home, his life, but she is afraid to impose these correct bonds, it seems to her that Ivan Ivanovich, despite his whole love, will not forget her terrible past and that she has no refund. Ivan Ivanovich after some, too, however, weak, attempts to dissuade her as if agreed with her, because she was shot.

The same motive, only in a much more complex and confused Fabul, is repeated in the "Nadezhda Nikolaevna". This Nadezhda Nikolaevna, as the first, what appears in the "Incidents", there is a Coccob. She is also found fresh, sincere love, she is overwhelmed by the same doubts and fluctuations, but she is already inclined to complete regeneration, when the bullet of the jealous former lover and some special weapons who call her to a new life, tear this novel with two deaths.

"A meeting". Old Comrades Vasily Petrovich and Nikolai Konstantinovich, who have long missed each other from sight, are unexpectedly found. Vasily Petrovich once dreamed of "about professors, about journalism, about a loud name, but it was not enough for all this, and he puts up with the role of a gymnasium teacher. Matters, but refers to the upcoming new role to him as an impeccable honest person: he will be exemplary The teacher, will sow seeds of good and truth, in the hope that someday the old age will see in his students the embodiment of his own youthful dreams. But then he meets with the old comrade Nikolai Konstantinovich. This is a completely different flight of a bird. He builds some mole and about This building is so skillfully warms the hands that when empty a salary lives in luxury even unlikely (he has an aquarium in the apartment, in some respects competing with Berlin). He does not hide his joy in any way. On the contrary, opens all his cards and with man's arrogance, Theoretically convinced of the legitimacy of the poverty, tries and Vasily Petrovich to turn into his faith. It cannot be said that his argument has an insurmountable force y, but Vasily Petrovich parries his arguments even less. So in the end, although the porkness of Nikolai Konstantinovich is fully discovered, but in the consciousness of the reader at the same time, his shameless and irreparable prophecy: "Three quarters of your pupils will come out with the same as me, and one quarter as you, That is, well-free smeared. "

"Artists".Grandfather's artist is a representative of pure art. He loves art for the sake of himself and thinks that inhaeing the burning everyday motives that violate the calm of the Spirit, it means to drag art on the mud. He thinks (strange thought!) That both dissonances, the cutting ear, unpleasant sounds, and in painting, there are no unpleasant plots in art in art, in art. But he gives and goes well to the door leading to the temple of Glory, orders and Olympic soul equilibrium. The artist Ryabinin is not such. He, apparently, the Damenov daronta, but he did not create a cumier from pure art, and other things occupied. Stopping almost by chance on one scene from the life of the factory workers or, rather, even one figure only, he began to write it and survived so much during this work, so he entered the position of his story, which stopped painting when she finished the picture. He is somewhere in other places, another work pulled with an insurmountable force. For the first time he entered the teacher's seminary. What happened to him, it is unknown, but the author certifies that Ryabinin "did not succeed" ...

As you can see, a number of misfortunes and integer prospects of hopelessness: good intentions remain intentions, and what the author is likely to sympathize, remains beyond the flag.<...>

The creations of Vsevolod Mikhailovich Garshin can boldly put in one row with the works of the largest masters of Russian psychological prose - Tolstoy, Dostoevsky, Turgenev, Chekhov. Alas, the writer was not given to live a long life, the biography of V. M. Garshin is broken on the figure 33. The writer was born in February 1855, and he died in March 1888. He was the same fatal and tragic, as all the world that expressed in short and piercing stories. Especially feeling inevidated evil in the world, the writer created the work surprisingly in the depths of the psychological drawing, survived them with his heart and mind and could not defend himself from the monstrous disharmony, reigning in the social and moral life of people. Heredity, a special warehouse of character, experienced in childhood drama, a sharp sense of personal guilt and responsibility for injustice, which was done in reality, - everything led to madness, the point in which, rushing into a staircase, put V. M. Garshin himself.

Brief biography of the writer. Children's impressions

He was born in Ukraine, in Yekaterinoslav province, in the estate with the cute name of a pleasant valley. The father of the future writer was an officer, a member of Mom was distinguished by progressive views, owned several languages, read a lot and, undoubtedly, managed to inspire the son of nihilistic moods peculiar to the sixties of the 19th century. A woman boldly broke with his family, passionately carried away by the revolutionary Zavadsky, who lived in the family on the rights of the educator of the older children. Of course, the event is a "knife" pierced the small heart of the five-year-old Vsevolod. In part, due to this, the biography of V. M. Garshin is not devoid of gloomy colors. The mother, conflicted with his father for the right to raise his son, took him to St. Petersburg and determined the gymnasium. Ten years later, Harshin entered the Mountain Institute, but did not receive a diploma, since the study was interrupted by the Russian-Turkish war of 1877.

Experience of war

The student was signed up by the volunteer on the first day and in one of the first battles fearlessly rushed into the attack, having received a notasy wound in his leg. Garshin received a rank officer, but did not return to the battlefield. The pictures of the war shook the impressionable young man, he could not accept the fact that people blindly and mercilessly exterminate each other. He did not return to the institute, where he began to study the mining: a young man was powerful entailed literature. For some time, he visited the local lecture at the philological department of the University of St. Petersburg, and then began writing stories. Anti-war moods and experienced shock poured into works that instantly made a novice writer famous and welcome in many editions of that time.

Suicide

The spiritual disease of the writer developed parallel to his work and social activities. He was treated in a psychiatric clinic. But soon after that (Biography V. M. Garshina mentions this bright event) His life was illuminated by love. Marriage with novice physician Hope the golden writer regarded the best years of his life. By 1887, the writer's disease was aggravated by the fact that he was forced to leave the service. In March 1888, Harhin was going to the Caucasus. Things have already been packed and time is scheduled. After Torzing insomnian Night, Vsevolod Mikhailovich suddenly came out onto the staircase, descended on one span below and from the height of four floors rushed down. Literary addresses of suicide, who burned the soul in his novels, were embodied scary and irreparable. The writer was taken to the hospital with severe injuries, and after six days he died. The message about V. M. Grhine, about his tragic death, made a lot of social excitement.

To say goodbye to the writer on the "Literal Mostki" of the Volkovsky cemetery in St. Petersburg (now there is a museum-necropolis) people of various layers and classes gathered. The poet Plescheev wrote a lyrical obituary, in which he expressed the acute pain that Garshina is a man of a large pure soul - no more among the living. Literary heritage Prosaika is still disturbing the souls of readers and acts as a subject of studies of philologists.

Creativity V. M. Garshin. Antimylitarian theme

Lewous interest in the inner world of a man surrounded by a merciless reality is the central topic in the compositions of Garshin. Sincerely and empathy in the author's prose, undoubtedly eats from the source of the Great Russian literature, which since the time of the book "Life Protopopa Avvakum" demonstrates a deep interest in the "soul dialectics".

Garshin-narrator for the first time appeared before the public with the work of "four days". So much lay a soldier with his feet on the battlefield, until he was found for one-pillar. The story is conducted from the first person and resembles the flow of a person's consciousness, exhausted pain, hunger, fear and loneliness. He hears the moans, but with horror she understands that it moans himself. Near him, the corpse of the opponent killed him is decomposed. Looking at this picture, the hero is horrified by the person who burst into the skin, scared scalded the skull scared, - the face of war! Other stories are breathing like anti-war pathos: "Coward", "Bunner and officer", "from the memories of ordinary Ivanov."

Thirst for harmony

With the limiting frankness, it appears before the reader of the heroine of the story "Incident", earning a living by his body. The story was built in the same manner of confession, merciless self-analysis characteristic of Grinshin. The woman who met his "support", a man who unwittingly put her on the path of choice between the "cheeky nominal nucleus" and "legitimate wife and ... a noble parent", is trying to change his fate. Such an understanding of the theme of the harlot in the Russian literature of the 19th century is observed, perhaps for the first time. In the story of "Artists", Garin with a new force embodied the idea of \u200b\u200bGogol, holy believed that the emotional shock made by art could change people for the better. In the meeting "Meeting", the author shows how the cynical conviction is that to achieve well-being, all means are good, mastering the minds, it would seem the best representatives of generation.

Happiness - in the sacrificial act

The story "Red Flower" is a special event that the creative biography of V. M. Garshin is noted. He tells about the madness, confident that the "bloody" flower in the hospital garden accommodated all the inappropriate and cruelty of the world, and the mission of the hero is to destroy it. Having done a deed, the hero dies, and his dead liquefyful face expresses "proud happiness". According to the writer, a person is unable to defeat the world evil, but a high honor of those people who cannot put up with it and are ready to defeat him, sacrificing their lives.

All the works of Vsevolod Garshin - essays and the novel - brought on only Tom, but the shock, which his prose produced in the hearts of thoughtful readers is incredibly great.