Chateaubriand's story "Rene" as a work of romanticism. Roman F

Literary prototypes: Werther Goethe, lyrical heroes English poets of the 18th century. Gray and Thomson, heroes of Ossian's Poems, narrator of The Walks of a Lonely Dreamer by J.-J. Rousseau. The story "Rene" was first published as part of Chateaubriand's treatise "The Genius of Christianity" (1802) as an appendix to the chapter "On the Vague Passions." In this chapter, Chateaubriand analyzes “a state of mind that has not attracted proper attention until now”: “our abilities, young, active, whole, but hidden in themselves, devoid of purpose and object, turn only to ourselves. We know disappointment, not yet having tasted pleasure, we are still full of desires, but already devoid of illusions. Imagination is rich, abundant and wonderful; existence is meager, dry and bleak.

We live with full of heart in an empty world and, having not been satiated with anything, are already satiated with everything ”; forces "go to waste", pointless passions "burn a lonely heart." Chateaubriand associates such a state with the progress of civilization and its sad consequences: “the abundance of examples passing before our eyes, many books interpreting about a person and his feelings, make an inexperienced person sophisticated”. The described state of mind there were also very specific historical reasons, which Chateaubriand does not name directly, but as if implies: "ardent souls who live in the light, not trusting it, and become the prey of a thousand chimeras" - these are young people of the post-revolutionary era, from whom the revolution took away not only relatives, but also the whole habitual way of life, a field in which they could usefully spend their strength.

However, in the story itself, the historical, "material" reasons for Rene's grief remain behind the scenes, which is why this grief takes on a universal, truly metaphysical character. Embraced by melancholy, Rene leaves his native land and goes on a trip to Europe, visits Greece, Italy, Scotland; he contemplates ancient ruins and reflects on the fate of the world, sitting on the top of a volcano, and nowhere does his soul find peace. R. returns home, where his beloved sister Amelie is waiting for him, but she languishes from an incomprehensible illness and finally retires to the monastery; on the day of tonsure R. accidentally learns her terrible secret: Amelie has a criminal passion for him, her sibling, and that is why he flees from the temptations of the world to the monastery. R., in despair realizing himself the cause of Amelie's grief, chooses another refuge: he leaves for America, where he settles among the Natchez Indians and marries the Indian woman Seluta. Amelie dies in the monastery, while R. remains to live and suffer.

Immediately after the publication of a separate edition of the story, the image of Rene gained European fame. R. had many successors, from the famous, such as Byron's Childe-Ga-rolld, Jean Sbogard Nodier, Aleko, Octave A. de Musset, to obscure complainers, pouring out their sorrows in sad elegies. Chateaubriand himself later, in his autobiographical book"Burial Notes" (published 1848-1850), wrote that he would like to destroy Rene, or at least never create him: too many "relatives in prose and poetry" showed up at his hero, the writer complained; around you will not find a youth who would not be fed up with life and did not imagine himself to be an unhappy sufferer. Chateaubriand was upset that his idea was not fully understood, that, captivated by sympathy for Rene, the readers missed the finale of the story.

After all, the goal of the writer was not only to portray R.'s disappointment and melancholy, but also to condemn them. In the finale of Rene, the hero receives a harsh rebuke from the priest, Father Suelya: a person has no right to deceive himself with chimeras, indulge his own pride and languish alone; he is obliged to work together with people and for the good of people, and this life at the same time with his own kind will heal him from all moral ailments. It is to R. in the finale of the story that the Indian Shaktas turns the famous words that Pushkin loved so much: “Happiness is found only on the beaten paths” (cf .: “A habit from above is given to us; It is a substitute for happiness”). “Beaten paths” is a return to people, a cure for universal melancholy. R. himself dreams of such a healing, it is not for nothing that he asks the Natchez to accept him among the warriors of the tribe and dreams of living the same simple and pure life as they do.

However, Rene is not destined to be cured; and among the Indians he remains a man utterly disillusioned with life, cherishing his sorrow. This attitude towards the world was not invented by Chateaubriand; not only that there are many autobiographical moments in the description of R.'s psychology, it is much more important that many young people experienced similar feelings at the beginning of the century, Chateaubriand only expressed it in such a capacious and comprehensive form that until then was not available to anyone. Many of the most prominent French writers XIX V .: Lamartine, Sainte-Beuve, Georges Sand - recognized themselves in R. and their experiences. On the other hand, R.'s story not only expressed the already existing state of mind, but also to some extent provoked it, itself became a source of total disappointment, because from this story everyone remembered the hero's longing and his absolute rejection of the world around him, but no one wanted to heed Father Suelya's sermons.

Chateaubriand was convinced that he embodied in the image of R. the "disease of the century", which will die along with the century, but readers different eras continued to recognize themselves in René. According to C. Nodier, the "disease" turned out to be more widespread than the author himself thought. This is an expression of the anxieties of the soul, which has experienced everything and feels that everything eludes her, for everything comes to an end. It is mortal melancholy, irresolvable doubt, inconsolable despair of hopeless agony; it is the terrible cry of a society that is about to disintegrate, the last convulsion of a dying world (On Types in Literature, 1832). In Russia, special attention to the figure of R. was shown by K. N. Batyushkov (who was especially sensitive to that ideal of patriarchal life, not knowing the willful passions of which R. had so hopelessly dreamed of) and M. P. Pogodin, who indicated in the preface to his translation “ Rene "(1826) on the similarity of this character with the characters, Wilhelm Meister, the heroes of Byron and Pushkin.

The second famous story of Chateaubriand looks even more autobiographical - her the main character bears the name of the author. The young aristocrat Rene, disappointed and disbelieving in people and life, leaves Europe and goes to America. He himself tells the story of his life, sitting under a tree against the backdrop of an exotic landscape, to the aged Indian Shatkas and missionary Suel.

Rene's birth cost his mother his life. His father was strict with him, and the boy became very attached to his sister Amelie, she was the only being close to him. After the death of his father, Rene, seized with melancholy, travels to European countries. He has visited Greece, Italy and Scotland, but the journey does not bring him any relief. Returning, he finds his sister sick of some kind unknown disease... Then she decides to have her hair cut as a nun. Attending the church during Amelie's tonsure, Renee learns that she chose the monastery to atone for the sinful passion she had for her brother. Rene, seeing himself as the culprit of her sister's illness and misadventures, decides to commit suicide. However, he once gave his word to his sister that he would never do this. To forget the past, Rene leaves for America, lives among the virgin forests and prairies of this country, among simple at heart Indians. Meanwhile, Amelie dies in the monastery. Rene settles among the Natchez, marries the Indian woman Seluta. His wife is sincerely attached to him, but she is unable to cure him of his disappointment. The contradictions of his soul do not allow him to be his own among the Indians, he remains a lonely "savage among the savages", and in the finale he almost gladly meets death at the hands of an Indian.

The image of Rene became the prototype of a whole galaxy of melancholic heroes of romanticism, sick with the "disease of the century", the ailment of the post-revolutionary era - the disillusioned, who have lost their ideals and their usual way of life.

Rental block

Largest figure of the first stage French romanticism was Viscount François-René de Chateaubriand (1768-1848), whom Pushkin called “the first of modern French writers, the teacher of the entire writing generation. "

Chateaubriand's treatise "The Genius of Christianity" (1802) played a certain role in the formation of the aesthetics of French romanticism, where he tried to prove that the Christian religion had enriched art by opening up a new drama for it - the struggle between spirit and flesh. Chateaubriand divides art into pre-Christian and Christian, implying that art develops and changes along with the history of mankind.

Chateaubriand's literary fame is based on two small stories "Atala" (1801) and "Rene" ( separate edition, 1805), which he originally thought of as chapters of a prose epic about the life of the American Indians, but then used as illustrations to "The Genius of Christianity" (to the section "On the volatility of passions").

In Chateaubriand's story "Rene", a disappointed hero appears without any makeup (he bears the name of the author); he, too, tells his own story, sitting under a tree against the backdrop of an exotic landscape, to the aged blind Shaktas and missionary Suel.

The youngest son of an old noble family, left without funds after the death of his father, the young man Rene threw himself “into the stormy ocean of the world” and became convinced of the instability and frailty of human existence. A lonely sufferer he goes through life, having lost all taste for it, full of vague impulses and unfinished desires, secretly proud of his fatal restlessness, which raises him above ordinary people.

In "Rene" the idea is also held that man is a victim of uncontrollable passions. An example of this is the unnatural passion for the hero of his sister Amelie, whom Rene considered his only friend. Fleeing from herself, Amelie

Takes tonsure in a monastery, and Rene, revealing her terrible secret, flees from a vicious society to the forests of America, seeking oblivion among the simple-hearted Indians. But in vain: he brings with him all the contradictions of his soul and remains just as suffering and lonely "savage among savages." In the finale, Father Suel severely reproaches Rene for pride, saying: “Happiness can only be found on the beaten path,” but this time the author's admiration for an exceptional personality contradicts this imposed morality. The whole story is permeated with a keen sense of the irreversible movement of history; the past cannot be returned, “history has only made one step, and the face of the earth has changed beyond recognition,” and there is no place for René in the emerging new world.

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Francois René de Chateaubriand (1768-1848) was one of the writers who defined the features of the development of French literatureXIXcenturies. In his work, there is a contradiction between the worldview and the artistic method.

The future writer was born into a provincial noble family in Brittany, the family was ancient, but impoverished by the time of René's birth. François was the tenth child in the family, so from an early age he was prepared for spiritual activities. However, Rene did not want to become a priest, and in 1786 he entered the Navarre Guards Regiment. Chateaubriand lives in Paris, serves at court, closely follows the events that unfold before his eyes. He gives his sympathies to people hostile to the court. Soon Chateaubriand approached the opposition, enthusiastically reads Voltaire, Diderot, became an ardent admirer of J.-J. Russo. Gradually, a distinct rejection of the Bourbon monarchy was formed in his mind. However, Chateaubriand frankly did not accept the Great French Revolution, but, like many of his compatriots, did not become an emigrant.

The thought of flight from civilization becomes very relevant for the future artist, and in 1791 he went on an expedition to North America, plans to create an epic about the life of Indian tribes. In 1792, Chateaubriand returned to France with the idea of ​​opposing the revolution. At home, he enlists in the army of the Prince of Condé. From 1793 to 1800 lives in England and is in great need, systematically begins to engage in literary work. In 1800 he returned to France, temporarily supported Napoleon. In the era of the Restoration, Chateaubriand was the country's leading politician, consistently pursuing a reactionary line. After the revolution of 1830, he retired from politics.

In 1802, the writer creates his main work "The Genius of Christianity", it included two stories as illustrations of his philosophical thoughts: "Atala, or the love of two savages in the desert" (1801) and "Rene, or the Consequence of the Passions" (1802 .). The "genius of Christianity" glorified moral beauty Christian religion, which, according to the author, contributes to the improvement of morals. The development of passions has a detrimental effect on people, only turning to God is able to humble passions.

However, in their literary texts, which were supposed to confirm the truth of the opinions expressed, F.R. de Chateaubriand contradicts himself: he portrays the passion, the love of his heroes, which turns out to be stronger than the love of God.

The stories are interconnected by the plot and the characters: Shaktas is the central character of the first work, in the second story he appears as the listener and adoptive father of the protagonist Rene.

The story "Rene" has a circular composition: the beginning - a message that the European Rene living in an Indian tribe received a letter from his homeland and decided to tell the story of his disasters to his father Suel and Shaktas. The main part is Rene's confession. Finale - the message that all three (the narrator and his listeners) were killed during a military clash.

The narrative is a very detailed story about the life, experiences, feelings of Rene, who is a typical romantic hero: he is lonely, alienated from life and people, very sensitive and vulnerable:“ What little it took to dream me up! It was enough for a dry leaf blown by the wind in front of me, a hut, above which smoke rose to the bare tops of the trees, clumps of moss on the trunk of an oak that trembled under the cold breeze of the north, a cliff that rose to the side, a deserted pond where whispered something faded reeds! Often my eyes were attracted by the lonely bell tower, towering far in the depths of the valley; often, raising my head, I followed the migratory birds with my eyes.I imagined distant shores, foreign countries where they fly away, I wanted to possess their wings and also rush into the distance ”.

The hero is immersed in his feelings, which are more important to him than life itself. Rene really wants to be understood, heard by his interlocutors, so he constantly refines his feelings: “At night, when the breath of Aquilon shook my hut, when streams of rain fell on the roof, when through the window I saw the moon plowing through thick clouds like a radiant ship cutting through the waves, it seemed to me that my whole being was beginning to live with a vengeance, that I have the power to create worlds ”. It is worth paying attention to the syntax of this clause: a complex construct with complications within simple clauses.The hero experiences opposite desires, he is in an “unstable state of mind”: “I wanted to be one of the ancient warriors wandering among the winds, fogs and ghosts; then I even envied the fate of the shepherd, who warmed his hands over the weak fire of a fire made of thin brushwood ”.

The main feeling that Rene possesses is dissatisfaction, hence conflicting desires arise, none of which reflects the true needs of the hero. It is important that Rene is a person with a rich inner world: he subtly feels nature and the slightest changes in its state, he has a rich, juicy tongue, as evidenced by the abundance of tropes in his speech, for example, a detailed metaphor:"Our heart is an imperfect musical instrument, a lyre that lacks strings, which is why we are forced to sing about joy to a tune intended for complaints."

The syntactic structure of sentences is quite diverse: they are mainly complex constructions, consisting of simple sentences with a complication, which again demonstrates the personality traits of Rene, who is very emotional, developed and eager to be understood.

The main problem of the hero is his loneliness: the only person who perfectly understands and feels Rene is his own sister Amelie. But the tragedy lies in the fact that the girl has a passion for her brother, which Amelie cannot humble. To avoid temptation, she decides to take monastic vows, thereby dooming Rene to loneliness and suffering.

The theme of death is extremely important in the story, which Rene himself perceives as an opportunity to end a painful existence, as a kind of world where harmony is possible, where he will find happiness. Romantics, in general, did not perceive death as something tragic, for many of them - people of faith - it was only a new stage in the life of the soul. For Amelie, death becomes the only outcome, salvation from a destructive passion. Not finding his own soul, Rene also dies. The author emphasizes that in his modern world, a person is doomed to suffering, loneliness, and only death can change this.

A conflict in a story is a clash between personality and the laws of the world, according to which Rene will never be able to find in life soul mate... Before us is a typical contemplative hero, a tragic pessimist, who does not find a place for himself in reality, and therefore strives for another world, where it is possible to find a soul mate.

It should be noted that the hero and the author have a lot in common, starting with the name: both Chateaubriand and his hero lost their beloved sisters, both were younger sons in the family, which forced them to either take holy orders or go to military service, since according to the laws of entitlement (entitlement - in feudal legislation, the principle of inheritance of real estate, according to which it completely passes into the possession of the eldest son to the detriment of the rest of the children), they could not count on inheritance. Both the author and the hero took a trip to America; such an abundance of biographical coincidences allows us to speak about their psychological closeness.
© Elena Isaeva

The deep foundation of Chateaubriand's retrospective utopia was the Christian religion. In Rene, he presented his conversion to religion as a revelation and insight. The history of romanticism knows many examples of atheism from despair; fighting against God is one of the essential elements (more precisely, stages) of this attitude;

Chateaubriand demonstrates the apparently opposite variant - religious exaltation from despair; but in essence there is only one methodology - an attempt to try an extreme, unalloyed principle; This attempt is maximalistic, utopian and therefore fundamentally romantic.

To understand the true meaning of Chateaubriand's religious utopia, it is important to realize its initial premises, to take a closer look at that "present" image of a person who is artistic world Chateaubriand has yet to face the "miracle" of conversion. This is one of the most early heroes Chateaubriand, Rene in the story of the same name (1802).

René is one of the first carriers of the “disease of the century”, melancholy, in European romantic literature. Disappointment, loss of spiritual values, inner emptiness are companions of a romantic soul, such as Rene. All this is the result of "betrayal", "deception" to which the romantic "I" is exposed from the side of the "insidious world" around him. In this world, everything around him is unstable, nothing can be relied on, nothing can be trusted. So Rene tries to find solace in everything: in other countries, alone, and even tries to become a part of the society, which he despised all his life. Deception can be traced in everything, including that which is very dear to Rene and which, it seemed, could never be in doubt - the friendship between him and his sister:

I said goodbye to my sister; she embraced me with an impulse that sounded like joy, as if she were pleased with the separation from me; I could not help thinking bitterly about the impermanence of human friendship.

There are two different situations of the romantic hero in the world: “hero deceived” and “hero exposing deception”, which are related as passive, enduring and active, retaining the right to the final final gesture - in this case, René's decision to die. Experiencing a conflict with the world - the world of former values, which he deceived, turned out to be insidious, the romantic “I” reserves the final freedom - the right of the last, final gesture in relation to the “changed” values. Romantic hero does not mourn lost values ​​- he proudly renounces them. René, each time disappointed in something, tries to find consolation and the meaning of life in something else.

Having decided to tell her friends about her mental suffering, Rene chooses a special place - a hill from which all the surroundings are visible. René finds herself in the center of everything, above the rest - this spatial solution of the scene emphasizes the hero's uniqueness.

Dawn was breaking; at some distance in the plain could be seen a Natchez village with a mulberry grove and huts that looked like bee hives. The French colony and Fort Rosalia were visible to the right, on the banks of the river. Tents, half-built houses, forts under construction, plowed fields, Covered with blacks, groups of whites and Indians, in this small space brought out the contrast between civilized manners and wild manners.

To the east, on the very horizon, the sun began to show between the scattered peaks of Apalac, which loomed in azure letters on the gilded heights of the sky; in the west, Meshasebe rolled her waves in majestic silence and closed the edges of the picture with an incomprehensible sweep.

In Rene's reflections on the frailty of all things, echoes of cemetery poetry are clear. On the one hand, the "complex of frailty" in him is far from the pacification of sentimentalists: behind his external detachment from the earthly pride, barely concealed pride, a thirst for completely worldly recognition and worship, internal litigation with a hostile society boils. But, on the other hand, the modern world is not allowed into the very figurative structure of the story, "the impossibility of desires" as the cause of melancholy is nowhere confirmed by real personal and social experience, it appears a priori. Both traits signify deviations from the traditional sentimentalist basis towards romantic "heliocentrism", for which the outside world is thought of as knowingly hostile and worthy of denial in its entirety, without immersion in details.

The main way to create the character of a hero is action. René is an active person. The plot of the poem is characterized by increased drama. a series of episodes from his life passes before the reader.

Whether out of natural inconstancy or out of prejudice towards monastic life, I changed my mind and decided to travel ...

However, full of fervor, I rushed lonely into the stormy ocean of the world, not knowing either its harbors or underwater reefs. First of all, I visited outmoded peoples: I wandered, resting, on the ruins of Rome and Greece, the ruins of countries full of great and instructive memories, where palaces are covered with ashes, and the mausoleums of kings are hidden under the thorns ...

Early romantic romance was, first of all, psychological, exploring the contradictory, complicated consciousness of the protagonist. And also Rene himself speaks about the inconsistency of his character.

I was of an unyielding disposition, with an uneven character. Either noisy and cheerful, now silent and sad, I gathered my young comrades around me; then, suddenly leaving them, I sat on the sidelines, watching a running cloud or listening to the rain falling into the tree foliage.

His restless mental discord with himself is a trait of a modern man, a trait of a romantic hero. He has the same contempt for the wretched people who make up humanity, this is another version of the romantic hero-individualist. Rene runs away from human society, is suspicious of the carnal nature of man.

For some time I wanted to throw myself into a world that did not say anything to me and did not understand me. My soul, not yet defiled by any passion, was looking for an object to which it could become attached; but I noticed that I was giving more than I was receiving. Neither lofty speeches nor deep feelings were demanded of me. I was only engaged in narrowing my life in order to reduce it to the level of society. Recognized by all as a romantic mind, ashamed of the role I played, feeling more and more aversion to things and people, I decided to retire to the suburbs and live there in complete obscurity.

At first I loved this dark and independent life. Unknown to anyone, I intervened in the crowd, this vast desert of people.

But if many romantics began in this situation with soaring to the heights of spirituality and built altruistic utopias of future omnipotence there, in the “transcendental” spheres, then Chateaubriand's distance from the world shows a different tendency: it is not in widening towards the “space”, but in radical concentration on the inner life of the individual, in the sequential cutting off of all connections with external being. So, in the story of Rene about his European wanderings, a deathly world appears before us, where ruins and fruitless memories dominate - a world, as it were, ended, without a future, without hope. And this corresponds to the endlessly varying images of "isolation" in the poetic structure of Chateaubriand's prose: the motives of suicide and voluntary imprisonment in a monastery; involuntary, as it were, organic selfishness of Rene, which is so clearly expressed in the history of an unhappy marriage and the crown of which is the specter of incest, the isolation of even love passion in the sphere of his own family and "blood".

In romanticism, love is the driving force human soul, and therefore Rene in his story tells about how he cried out to God, because he suffered incredibly from the fact that there was no one in his life to which he could harbor the strongest feeling in the world, in which partly he saw salvation is love.

Oh Lord, if you would give me the wife I need; if, like our first father, you brought Eve by the hand to me, taken out of me ... Heavenly beauty, I would bow before you, then, taking you into my arms, I would pray to the eternal one to allow me give you the rest of my life!

It is on this basis of total unbelief that Chateaubriand's religious utopia arises. That Chateaubriand's religiosity is not so much organic as it is romantically demonstrative is revealed especially clearly just at the most ardent, initial period of his conversion. In René, the contradictions between romantic individualism and Christian dogma are glaring. The idea of ​​suppressing passions put forward by Chateaubriand, thanks to the skillful disposition of the plot, loses its absoluteness, not only because religious tranquility is bought at the cost of death or ruin in life, but also because even this ambiguous good does not reach the "main" hero: Amelie's enlightenment - but the eternally inconsolable Rene remains.

At the end of Rene, Father Suele was already chastising the hero for his immense pride and distance from people. But the effect of this morality was not shown - Rene remained on the stage, whose humility itself was more than pride, and some critics (for example, P. Barberis) even suggested that this sermon could be added retroactively to the original, more tragic, and “ the hopeless "complex" Nachez ".

Apparently aloof in his works of art, from the problematic " modern man and the world ”, Chateaubriand, with all his contradictions, embodies it in his own way, and in this sense his work is located on the general line of the heightened interest of French romantics in the psychology of the“ son of the century ”.

Conclusion.

Romanticism - highest point in the development of humanistic art, begun in the Renaissance, when man was proclaimed the measure of all things. The youth, in whose eyes the drama of the French Revolution was unfolding, experienced all its ups and downs, hesitating between delight, enthusiasm for the fall of the monarchy and horror of the execution of King Louis XVI and the Jacobin terror.

Subjective idealism is replacing the materialism and rationalism of the Enlightenment as the philosophical basis of creativity; socio-political issues, which played a central role in educational literature, are being replaced by an interest in an individual taken outside the system of social relations, because this traditional system has collapsed, and the outlines of a new, capitalist system have just begun to appear on its ruins. The world for romantics is a mystery, a mystery, which can only be known by the revelation of art. The fantasy expelled by the Enlightenment returns to romantic literature, and the fantastic in romantics embodies the idea of ​​the fundamental unknowability of the world. The world of romance is known as children - with all senses, through play, they look at it through the prism of the heart, through the prism of the subjective emotions of the individual, and this perceiving consciousness is equal to the rest of the external world. Romantics exalt personality, put it on a pedestal. The romantic hero is always an exceptional nature, not like the people around him, he is proud of his exclusivity, although it becomes the cause of his misfortunes, his incomprehensibility.

Romantic characters are usually static, they do not change over time, if only because the action in romantic works develops very rapidly and covers a short period of time. This opposition often takes on an exceptional, melodramatic character; typically romantic, melodramatic effects arise.

The romantic hero challenges the world around him; he is in conflict not with individuals, not with socio-historical circumstances, but with the world as a whole, with the entire universe. Since a single individual is equal in size to the whole world, it must be as large-scale and complex as the whole world. Therefore, romantics focus on portraying the spiritual, psychological life of the heroes, and the inner world of the romantic hero is all about contradictions. In a rebellion against everyday life, the romantic consciousness rushes to extremes: some heroes of romantic works strive to spiritual heights, become like the creator himself in their search for perfection, others indulge in evil in despair, not knowing the measure in the depth of moral decline. Some romantics seek the ideal in the past, especially in the Middle Ages, when direct religious feeling was still alive, others - in the utopias of the future. One way or another, the starting point of romantic consciousness is the rejection of the dull bourgeois modernity, the assertion of the place of art not just as entertainment, rest after working day dedicated to making money, but as an urgent spiritual need of man and society. Abstract >> Culture and art

Your religious and poetic feeling. Romantic hero- a complex personality, passionate ... the time of romance was perceived novel how a means of comprehending history, but ... an intimate psychological novel and the story of Atal (1801) and René (1802) Chateaubriand, Dolphin (...