O.A. Yakovlev

On the genre features of the Plutovsky Roman (on the material of the novel MD Chulkov "Podgorki")

In the 60-70s. The XVIII century Russian enlightened entered into its most radical development period. The process of democratization of fiction, which more covered the work of those writers, whose aesthetic attitudes were directed against the artistic principles of classicism. In the genreality, the struggle against the canons of classicism was carried out in prose and drama: in the genres of the story, Roman, comic opera, "tear" drama. For the above-mentioned process, the development of prosaic genres and strengthening realistic trends is especially characteristic. So, the genre of Roman began his literary life in Russia in the second half of the XVIII century.

In literature, disputes about the time of the emergence of the romance genre do not stop. D.V. The castle in the work of the "Art of the novel and the XX century", subjected to a thorough analysis of various points of view on the problem of the origin of the novel, concludes that it should be solved historically. He notes: "The genre is not directly producing a class ideology (having therefore" ownership rights "on it), but rather the brainchild of public formation as a whole."

From the same positions approaches the study of the romance genre M. Bakhtin. "Roman, - writes M.M. Bakhtin, - became the leading hero of the drama of the literary development of the new time, precisely because it is best expressing the trend of the new world, because it is the only genre born by this new world and in all a sorodine." However, I must say, M. Bakhtin does not conclude a novel into the tough borders of the bourgeois era. He writes: "Roman - the genre that becomes the genre ... The genome backbone of the novel is still far from hardened."

Thus, according to Bakhtina, the main difference between the genre of the novel from other genres and, above all, from the epic, is that it changes in our eyes. Other, more significant signs that distinguish the novel and Epos are named with its work. Epos narrated the past, great, irrevitable and completed time. The subject of the novel is a real, fluid, continuous, variable, represented in the immediate approximation and subject to immediate author's assessment. But, Bakhtin continues, "depicting events at one value-time level with himself and with its contemporaries (and, consequently, on the basis of personal experience and fiction), it means to make a radical coup: step up from the epic world to Roman."

The need for historical study of the romance genre MM Bakhtin also explains the diversity of his varieties and is attempted to attempt the historical classification of these species, which is based on the principle of building a chief hero image: Roman Westerns, Roman Test, Roman Biographical (autobiographical), Roman of upbringing.

Close to M. Bakhtina in his judgments about the novel and V. Kozhinov, the author of the book "The Origin of the Roman". It separates the origin of the novel from the classic epic and from similar novel narrative forms of antiquity and the Middle Ages. "Roman," he writes, "arises at the beginning of the bourgeois epoch a newly, as if on an empty place. And he arises in the form of Pikarski. " Thus, the Plutovsky Roman is historically the first novel form.

The Plutovskaya Roman in literature is considered as one of the genre modifications of an adventurous novel, which include: adventurous-confessional, adventurous-heroic, adventurous and adventurous-plutovskaya. These modifications of the adventurous novel are combined into one genre variety due to the presence of common genre-forming signs.

Consider Roman M.D. Chulkov "Podsaja cook" from the point of view of the implementation of genre-forming signs of an adventurous-plutical novel.

Scientists, first of all, note that artistic time in all varieties of adventurous novel historically. Time is manifested not only in the customs and tastes of characters. There are more direct ways to temporarily bind events. For example, a historical person may act as an episodic character, or may include an indication of historical

event. So, the main heroine of Roman M.D. Chulakov "Podsaja cook" Marton begins a story about his adventures with a message about the death of a husband in battle under Poltava. The reader can make a conclusion about the time of action in the novel: Poltava battle occurred in 1709.

The main feature of the adventurous novel is found in the genre designation of -vanture (in terms of the plot is the main characteristic). The emblem of adventure is the presence of the word "adventure", "adventure" or, as in our case, "adventure" is already in the title of the work: "The fitness of the cook, or the tearingurance of a depraved woman."

The adventure is a kind of event. Yu.M. Lotman in the work "The structure of the art text" gives such a definition of this concept: "The event in the text is to move the character across the border of the semantic field." Consequently, the adventure can be called an extremely sharp movement of the character through this border. Thus, the adventure is an "emergency" event, which goes beyond the borders of the existent norm.

Such events lead to a quick change of situations in which the hero of the novel is. Note that in the novel of the Epoch of Enlightenment, adventureness correlates with events and characters that do not go beyond reliability. This allows researchers to argue that in the adventurous novel of the XVIII century "reality is reproduced in the forms of life."

The life of the main heroine of the novel "Podsaja cook" is a series of takeoffs and falls, which began in Kiev, and ended in Moscow. Marton reports the death of her husband and describes the distress situation of the nineteen-year-old sergeant widow. One "honest old woman" took part in her fate, which took her under the patronage and found her to enjoy the young man. And the life of the heroine has changed. The young man turned out to be the butler of one Mr. and "without a stop spent money." Marton "began to be mistress." Soon, in one evening, the fate again "changed": its location was made by Mr. Her former Beloved Light. Happiness lasted a week, "For there is nothing inconsistency." Father's disease Sveton demanded departure to the village. It was decided to go together, and Marton settle at the neighbor. In the middle of the way, Sveton admitted that he was married. And Marton realized that her misfortune was close: she was not afraid of lover's loss, and the reception, "which the noble wives are spending our brother for the abduction of their husbands." The premonition did not fail, and soon the heroine was in the pure field. Marton comes a trip to Moscow, the description of which lowers, since "nothing has happened to any important thing."

For the genre characteristic of the novel, it is curious to note the following item. Marton points out that he arrived in Moscow on Wednesday, "And this day is meant by the ancient pagan God Mercury; Mercury was the god of rods ... as if it was determined by the help of it in the prov of the secretary. " Soon he gained a new lover - the office, and as soon as Mrs. secretary wanders began to look in her direction, it was again on the street.

But not a misfortune continued. The next day, a pimp complained to her and determined Marton with a housekeeper into the house to the rich retired lieutenant colonel who lost her wife eight. In one hour she received power in the house, and "an hour with two months later and over the owner", which was passionately in love with her.

Soon, Marton was set in a new adventure. Her inclinations achieved a young man Akhal. Initially, he visited the house of the lieutenant colonel, changing the allegedly to the sister Marton, and then it was decided to run, preliminarily enhancing benefactor. However, Akhal deceived his beloved and ran away from all the property. And again Marton on the street without livelihood. But concern about his own destiny makes her risk, and she goes to his benefactor. Fear was not justified: the lieutenant colonel accepted her with tears of joy and forgiveness. Everything returned to their places, but not long. The lieutenant colonel died, the state inherited his sister, and Marton entered into prison. And this is not the end of adventure.

Another system-forming feature of the adventurous-plutical novel of the Epoch of Enlightenment is the central character. This is the hero-Pikaro, the hero of the Plut and the adventurer. In the novel, M.D. Chulkova, he is embodied in the form of Marton.

The adventures (and misadventures) of the character may be the result of its own activity, but may also be the generation of life situations, the result of the impact of external forces. The peako hero is not born perfectly. Romanists-enlighteners showed how social conditions and environment affect the moral evolution of the characters of their books. However, as part of individual situations, they are given the opportunity to choose one or another line of behavior and thus exhibit their vital activity. MG Sokoliansky notes: "If the hero shows itself actively, only then can we talk about adventurism as an as inherent in the character and the novel as a whole."

In adventure novels, the "test idea" is often present. Recall that M. Bakhtin, classifying the novels on the principle of building the image of the chief hero, among other varieties allocated a novel of the hero test, which is inherent in the following features:

1) The plot is built on retreats from the normal social and biographical movement of heroes, on such events and provisions, which is not in the typical, normal, ordinary human biography. Roman ends when events come back to a normal rut;

2) time is devoid of historical localization, i.e. attachment to a certain historical era, relations with certain historical events and conditions (which is not typical for adventurous novel);

3) Roman test focuses on the hero. The world and minor characters in most cases turn into a background for the hero. There is no genuine interaction between the hero and the world: the world is not able to change the hero, he only experiences him, and the hero does not affect the world.

M. Bakhtin notes that the novel of the test in the XVIII - XIX centuries. lost its purity. However, the idea of \u200b\u200btesting played a significant role in the subsequent history of the novel, as it allowed to "connect acute adventure with deep problemability and complex psychology."

Despite the fact that our heroine is never placed in the situation of choice, temptation, tests, it is indirectly exposed to him. Marton must survive, and when the circumstances offered her a way of survival, she, without thinking about the morality, easily took advantage. The author does not try to deeply reveal the psychology of the heroine. It in this case is interested in the fate of a woman from democratic layers, which did not receive moral education, who collided with the lowest life and not established on the path of virtue.

Marton firmly knew that "wealth creates an honor", and what way wealth is achieved - no matter. Stockhkov brings the reader to the thought that the social conditions, the powerful position of the woman turn out to the wines: "... I was left without any food, I wore the title of sergeant wife, but was poor"; ". Although I knew the passage of Lyudskov and could not make a place for himself, and so much because of the fact that we were not defined in any posts"; "All the light on me overturned and so much in the new my life I was having hated me that I did not know where to browse my head"; "Everyone was talked about me, vinyli and droin me what I did not know at all."

The heroine makes his choice once. When the "honest old woman" found her a young man "For Miscellenus", she "first I showed hard, but two days later I would be happy to follow her advice and forgot your sadness." And then in all his adventures of Marton pursued one goal - to survive.

For the disclosure of the character of the heroine, it is important that Marton appears in front of the reader at the same time in two hypostasses: the heroine of the narration and the narrative, and there is an obvious temporary and moral gap between them. Temporary gap will be emphasized by the past narration time. Changes in moral appearance Marton are almost invisible throughout the story.

The general direction of change in its character can be determined thanks to the leading admission of the narrative: the story about the next incident in the fate of Marton is accompanied by a total conclusion. So, being deceived by Akhal, she draws conclusions: "And although I still saw that I thought about me, but I couldn't disassemble the pretending to disassemble and in sees I really learned that, as it were, the woman either was oral and intricate, but always susceptible to deceptions

men, and specifically at the time when she is passionate "; "In Seed, I wrapped out that he had more needs in his lover's belongings, rather than in me, and did not make a beauty of mine, but Chervonians and Pearls."

Moral changes become apparent when comparing the initial and final positions of the heroine in the same type of plot situations. They are particularly visible in relation to Marto-we to love: if relations with LIGHTON, one of the first lovers, were the result of a commercial transaction, then the explanation in love with Svidal, the last lover, did not mean any bargaining. Consequently, the spiritual path of Marton is directed towards moral improvement. So the genre model of the adventurous novel connects with the model of the novel of education.

As for the life position of Marton, it is more passive, rather than active: with all its initiative, the heroine is too depends on the circumstances to which they are forced to adapt. However, as for the real Picaro hero, the failure for her is not a tragedy, but the reason to start a new adventure.

The confessional form of the novel does not fulfill its direct destination - it does not serve to relieve the soul of the hero or when editing the reader. Chulkov is important that the reader understands his heroine, and then gave her an assessment: "He will see the light, seeing, will discern; And the silent of my deeds, let him give me, what it will free. " However, the didactic goal of MDs is characteristic of the XVIII century writer. The stockings still achieved: his heroine has changed, and for the better.

The text of the novel ending to us ends with a phrase: "The end of the first part". Until now, it was not established whether the second part of the novel was written. Nevertheless, the plot tissue has become an aesthetic fact of the history of Russian literature. Lack of plot end, open perspective, the possibility of further movement has become an integral sign of this genre. The meaning of the democratic novel is 1760-1770. It is impossible to overestimate, since it is precisely in it those findings and discoveries that have to be found in a slim genre system of the classical Russian novel.

Bibliographic list

1. Bakhtin M.M. Epos and Roman. On the methodology of the study of the novel // Questions of literature. 1970. No. 1.

2. Bakhtin M.M. Aesthetics of verbal creativity. M.: Art, 1979.

3. Zatonsky D.V. Art of the novel and the XX century. M.: Hood. LIT-RA, 1973.

4. Kolinov B. The origin of the novel. M.: Soviet writer, 1963.

5. Lotman Yu.M. Structure of art text. M.: Art, 1970.

6. Sokolyansky MG Western European Roman Epoch of Enlightenment. Kiev - Odessa: Vice School, 1983.

7. Chulkov MD The appeal of the priest, or the conventions of the depraved woman: the Reader of the Russian Literature of the XVIII century / Sost. A.V. Kokorev. M.: Enlightenment, 1965. P. 587-607.

His creativity was anti-dvoryan. It was directed against the aesthetics of classicism. He consciously reduces the literature from the heights of classicism, turning her to real life, to the low picture of reality, to domestic, sometimes naturalistic shown scenes.

Heroes Chulkov seek to achieve the earthly well-being of any means, and the question of the unhappiness of the goals before them did not get up.

"Gorky fate" is a story about the plight of the peasant Syshoy Fofanov, in which the stockings sees the "Main Fatherland of the feeder during a peaceful, and in a military strong defender." For him, there can not be "the state without landowner can be caught as a person without a head can not live." The life of the Sysophone Fofanova, the son of Durnsopov, heated since childhood. He worked in the sweat of the face and only bread and water had to feed.

Talking about peasant life, stockings for the first time in Russian literature notes stratification in the peasantry environment and all the sharpness of this process. Rustic fists give the poor, weak suskie to recruits. As if in passing, impassively, the author notes that only 50 left 50, the rest remained or died. Sysova turned out to be a brave soldier and, having lost his right hand in battle, returned home. In the village of Sysova, entering the parent house, finds all his family brutally killed. Here the author proceeds to the description of the mysterious history of the murder and the trial. "Gorky fate" - a testimony of inhuman conditions for the essence of the "Kormaltsev of the Fatherland", the terrible cure and poverty of the peasants.

In 1770, the first part of the novel Chulkov "Putting the priest, or the tearingurance of a depraved woman" appeared (the second part was not published). The very name of the novel, which put in the center of the narration "depraved woman," was the challenge of aesthetics of classicism, the noble taste of the noble class. Representing your heroine Marton, 19 years old from the family, the remaining widow, the stockings are not going to read the morals and to teach. He is not interested in the question of moral assessment of the action of heroes. Left without any means of existence, Marton uses its beauty to establish itself in life. She is beautiful, enterprising, and despite cynicism, peculiar to her, the author is in no hurry to condemn her. A person from the bottom of society, she experienced that the right of strong in this life is above all. And she lies, chittrate, deceives his lovers, openly sells his beauty.

Far from the idealization of their heroine, stockings, creating its image, and he is deprived of one-celinence, pursues the reader to the idea that not so much guilty of Marton, as life circumstances forced it to such a craft. The Agreement is conducted on behalf of the heroine, which impassively and sincerely tells about their luck and misadventures. Marton, in essence, not bad by nature: She sympathizes those who have become a victim of her deception and spontaneous, forgives those who turned out to be crucible and deceived it, she is capable of a sincere disinterested feeling (the love of the officer is sideway). Stockhkov faces the heroine with even more vicious people, many of which belong to the noble class. Such are the Barsky Camfener, his depraved Mr. Sveton, a devout secretary bribemer. The sympathy of the author is clearly on the side of the heroine.

In his prose, stockings truthfully reproduces certain phenomenons of reality, details of life and life of heroes, but does not seek to social understanding and artistic generalization of characters and life circumstances, does not seek to inspire certain ideas.

Heraskov "Russiaid"

"Russiaida" - the heroic epic (1779) of the poetics of classicism provided for the creation of the poem the importance of the historical plot, the inclusion of the element of the wonderful ITP.

An extensive poem, consisting of 12 songs, Russians is devoted to a significant event of the Russian history, Taking the Terrible Kazan, which Heraskov regarded as the final stage in the struggle of Russia with the Tatar-Mongolian ig. In the "historical preface" to "RussiaID" he wrote that the capture of Kazan meant the transition of the country "from weakness by force from humiliation to glory." In work on the work, he used the chronicle sources, the "Tale of the Kazan Kingdom", historical legends.

The main idea of \u200b\u200b"Russiaids" is the celebration of the heroic of Russian warriors, the victory of Russia over barbarism, Orthodox faith over Mohammedanskaya. With his poem, the author pursues an educational and patriotic goal: to inspire contemporaries with the exploits and teach them genuine patriotism. Heraskov does not seek the historical truthfulness, documentation in the poem. Much is creatively reworked, decorated with fantastics, painted from book sources, and from Folklore, when, near the mythological images of Mars, Erota, Cresprides act a snakes Tugarin ITP. In the spirit of the ideas of the noble liberalism of Heraskov, considers the relationship between the Terrible -Ideal monarch and Boyar. Tsar brave, generous, shares with the near the last sip of the water, he is pleasing to God. The unity of Grozny and Boyar affects the utopian of the political ideals of Heraskov. Most of the boyars, an approximate king, warriors and advisors are valiant, brave, they are faithful patriots who keep themselves with the king boldly and independently. This is primarily Kurbsky and Adashev. In the spirit of the educational ideology of Heraskov gives the lessons to the king. The introduction of the heavenly ambassador (Shadow of Prince Tver) the king is indicated for his debt to the fatherland.

"You are all the power to do everything, you are broadcasting to flattery;

You are the slave of Fatherland, broadcast debt and honor. "

Despite the historical basis of the plot, Russia is facing modernity. Written during the Russian-Turkish war and finished shortly before the accession of the Crimea to Russia, the poem contains praise to Catherine, which made the "Eastern Moon" and will give the peoples of "Divine" laws. The poem is dedicated to Catherine II - all this makes very limited liberalism Heraskov. Responding to the requirements of classicism, it fills the poem with a variety of allegories, personification, fantastic images. There are many deviations, long descriptions, which slows down the development of the plot. At the same time, there are a number of deviations in the heroic epic that violate the purity of the genre and testifying to new trends in the literature. Such are the plot line of the Tatar queen of Sumbeka, associated with her the love element, such an appeal to folklore.

Although Russians were far from genuine historicism, she played a prominent role in the Lit-December 18th century by virtue of his civilian patriotic content. No wonder Heraskov called his poem "Russiaid". At the heart of the epic - the national plot, it tells not only about the affairs and relationships of the king and boyars, but also about Russia, about the heroic Russian people.

The crisis of classicism is distinctly designated in the work of V.I. Mikov, who was a student of Sumroikov. Did not receive completed education. He was close as the writer Sumarokov Satiriko-accusatory trends of his creativity and attention to the realities of life. Rained on ignorant and nobility nobles, bribes, etc.

Elisha, or irritated Vakh

This is a poem in which the collision of high and low in the limits of one genre is combined. In the paradoxical interlacing of genre canons of the IROU-comic and burgrop (comic poem, in which the elevated theme is set out parody) poems and was the essence of the Commission. The string of living, the bright poem "Elisha, or an irritated Vaca" serves as an increase in prices for vodka by decoupers. This fact took place in reality, and Mikov, after Sumarokov, acts as an opponent of the exhaust system, which enriched individuals at the cost of ruining the wide masses. The god of Wine Vakh was angry at the flaws for raised the prices of wine and drunk became less. In the Petry House, Vakh finds a yammer Elezu, who chooses the tool of revenge. Mikes about the adventures of the drunk and Drachun Yellesi tells the jokes of the drunk. He ruins the cellar of the flaws, does not feel until Zeus, collecting the God's Council, does not decide to give it to the soldiers. In the poem, merchants, depositors, shoemakers, tailors, peasants, thieves act with mythological deities, referred to in low colors. The gods are engaged in the poem by ordinary affairs.

There are many rude words in the poem.

In "Elisee", Majkova is abundantly represented by household material, sharp sketches of reality. Life of urban life became Majkova for the first time the subject of artistic development. True, many paintings are given naturalistically. Mikes are somewhat hassle refers to their heroes from the bottom of society, he does not pursue any social goals, his task is to smash the reader. Many in the poem of people's poetic elements. All this, together with the paintings of the "low" life, taken from reality, contributed to the destruction of classicism and the development of realistic trends.

1. Poetics, problems and genre peculiarity of the novel MD. Chulkov "Puttingage of the cook, or the adventures of a depraved woman."

Poetics and genre peculiarity

roman MD Chulkov "Harfing of the priest"

Roman Mikhail Dmitrievich Chulkov (1743-1792) "The Harness of the Cook", or the adventures of the Depraved Woman "was printed in 1770, a year after the release of the" Letters of Eroste and the Doravra ". In his genre model, the "Podarchy" tradition connects the tradition of an adventurous-plutical novel-trip with the tradition of psychological novel: the form of the narrative in the "Footage of the Precision" - the autobiographical notes of Marton - close to epistolar form by their personal character, the lack of a moralistic vote and the method of creating a heroine character in Her self-discharge. However, inheriting a pan-European scheme for the development of the romance narration, stockings took care to accommodate a number of recognizable national life in the framework of this scheme.

His heroine of Marton, whose character in general, correlate with the image of the Picaro, the hero of the Plutovsky novel of Western Europe, is a widow killed under Poltava Sergeant - thus, the action of the novel gets the initial historical binding: the Poltava battle was in 1709 - the truth, afterwards in the novel An explicit anachronism arises, since "Oda Lomonosov" is mentioned "Ode Lomonosov" (and the first Ode of Lomonosov, as was known, was written in 1739, and by that time 19-year-old at the beginning of the novel, Marton should have been 49 years old, which is not combined with the plot Romana) - But, nevertheless, the original stage in the biography of Marton is attributed to the Petrovsk era, and it makes it see for an initiative, active and pleasant heroine in the nature of the overall revival of an individual initiative, which was marked by the era of state transformations.

The beginning of the actions of the novel causing Marton in Kiev. The infancy of fate subsequently throw it into Moscow. The novel mentioned walking destroyment that Marton did not at all in his will; However, the circumstances of this particular "adherence" in the novel are not disclosed, and the plot-forming motive of traveling in the "Fair Prieguan" appears in its metaphorical aspect of "life path". The Moscow period of life of the heroine also has its topographic bindings: Marton lives in the arrival of Nicola on the curious legs, her lover Akhal - in the Yamsk Sloboda, a duel between Akhal and Svidal because of the favor of Marton occurs in Marina Grove, and all this gives Roman Chulakov additional household Accuracy.

Yes, and in the very image of Marton, in the means that stockings uses to convey the warehouse of her character, noticeably the writer's desire to emphasize the national beginning. Martone's speech is richly accustomed to proverbs and sayings; All the incidents of their life are inclined to explain with the help of universal wisdom, recorded in these aphoristic folklore formulas: "She-de Widow of the sleeves, it would be where to put unfulfilled words", "on a red flower and a bee flies", "The wealth creates the honor", "Delieleva Makar Rudda dug, and now Makar to the governors got", "the bear is wrong, that a cow ate, inert and cow that in the forest wandered." These and many other proverbs, generously scattered in the narration of the novel, form the national basis of the character of the heroine. Democratic origin makes Marton organic carrier of national folk culture and the type of national consciousness embodied in the folk genre. So the genre model of the novel as a whole and the character of the heroine in particular is the same in its aesthetic nature, the combination of traditional signs of the European novel with successful for that epoch is an attempt to Russification.

In this concretized national historical, geographical, topographic and mental context, which placed the history of the democratic heroine of the novel, the functions of traditional for Russian literature of life-wing motives are modified, due to which a reliable image of material life is created. The history of the heroine adventurers is surrounded by a dense halo of the life of food, clothes and money, which accompany the literally every plot fracture of the novel and turn of the fate of the heroine; Differs from misfortune to well-being and back strictly cause these low-lying and satirical motives for the genesis:

It is known to all that we received the victory by Poltavoy, on which my unhappy husband was killed by the battle. He was not a nobleman, did not have the villages for his own, therefore, I was left without any intimacy<...>. At most of this time, I had a guarantee of the proverb: "Shay de Wow is a wide sleeve, it would be where to put unfulfilled words."

It is easy to notice how the function of the life-speaking motifs in Roman Chulkov is changing: with all its visible traditions, they cease to be a means of discrediting the heroine, while maintaining the functioning function of a reliable habitat. From the means of satyric denial of character, life-bearing motifs are transformed into artistic acceptance of this nature. Passion for the material, which Marton Odershele at the beginning of the novel - "I would agree then it would be better to die, than part with my estate, so much I read it and loved" (264) - not a native vicious property of Marton; She inspired by her the terms of her life, her poverty, the lack of support in life and the need for this life somehow supported; As the heroine itself explains this property, "I firmly knew this proverb that" wealth creates the honor "(266). So at the very beginning of the novel, its fundamentally new aesthetic orientation is asked: not so much to appreciate the character as a virtuous or vicious, how much to explain it, showing the reasons that affect its formation and formation.

Demonstrative refusal to moral assessments and the desire for the objectivity of the image, uniting the copyright position of Chulkov, who gave the heroine the narrative of her stormy life and a dubious profession, with the position of the heroine, which calls things by their names throughout the narrative, is extended at the very beginning of the novel:

I think a lot of our sisters will challenge me immodestly; But as this vice for the most part women are amplified, then not wanting against nature to be magnificent modest, I'm going to the hunt. He will see the light, seeing, will disassemble, and sobly my works, let him name me, what it freezes (264).

Such a position, a new one in itself, was to be perceived even more acute due to the fact that the heroine, and the history of her life was for Russian literature by an unprecedented phenomenon. The woman of easy behavior and the surrounding small noblemen, the judicial officials-bribers, thieves, fraudsters and plows, - such heroes to Chulkov Russian literature has not yet seen, in any case, in the national novel. The subject of the narrative, as it were, pushed the writer to the unacted didactic moral method, and the fact that in the "Fitness of the Province" Moralistic Paphos does not have declarative forms of expression, and hidden in the system of artistic images and a special, dry, protocol-accurate manner of Matton's livelihoods, was crucial For the gradual formation of new aesthetic criteria for Russian elegant literature. The desire of the new generation of Russian writers is not modeling, but to reflect the life in the work of elegant literature, not to evaluate, but to explain the character, determined two indigenous postulates, which are subject to the narration of the "depraved woman" about her swimming on the sea Livecomment.

First of all, this is the idea of \u200b\u200bmobility, fluidity, variability of life and the idea of \u200b\u200bthe incessant evolution of character corresponding to it. Dynamic concept of life extended by Bulkom in copyright to the novel:

Everything in the light of prison; So, this book is now there, a few times will come, finally eating, will disappear and will come out of everyone from memory. A person will be born overlooking glory, honor and wealth, taste joy and joy, go through troubles, sadness and sadness<...>(261).

recently acquires a reinforcement in a similar statement by Marton, which is guided by the same idea of \u200b\u200b"debris" in its worldview:

I always kept such an opinion that everything in the light is inconstant; When the sun has an eclipse, the sky is increablely covered with clouds, time in one year is varied four times, the sea has a tide and sump, fields and mountains are green, then whitewash, birds are thinning, and philosophers change their systems, - as a woman who is born To change, you can love it to the death of her century (286).

As a result, life reflected by the author and the heroine reader behaved, which is equally guided by the dynamic idea in their worldview, appears a peculiar self-apparent reality. The life position of Marton is more passive, rather than active: With all its active initiative, the heroine Chulkov is capable of building his fate only to some extent, it is too dependent on the circumstances to which it is forced to adapt to defend their individual privacy in the fight against fate and the case. The whole biography of Martone in the social sense is built as a continuous chain of drops and ups, changes from poverty to wealth and back, and all these changes do not take place at the request of the heroine, and besides him - in this respect, Chulkov's heroin can really be like to navigate on the stormy waves of the sea of \u200b\u200blife.

As for the moral appearance of Marton, the picture is more complicated here, since the factual life of the narrative manner and the identity of the democratic heroine itself excluded the possibility of open psychological analysis. The spiritual path of Marton, the changes made in the character of the heroine - this is one of the earliest samples of the so-called "secret psychology", when the process of changing the character is not depicted in the narration, but can be determined from the comparison of the initial and final evolution items and reconstructed on the basis of changing Heroine reactions in similar circumstances.

And here it is important that Marton in his autobiographical notes appears simultaneously in his two personal hypostasses: the heroine of the narration and narrator, and between these two stages of its evolution there is an obvious temporary and hidden moral gap. Marton-heroine appears in front of the reader in the present time of his life, but for Marton-narrator this stage of her life is in the past. This temporary gap will be emphasized by the past narration time, especially noticeable in objective. Thermal characteristics that Chulkov gives himself a heroine:

<...> In such people, what was I was then, the buddies do not happen; Cause of the fact of the irremiate of our pride. (269);<...> Virtue was and published unfamiliar (272);<...> I did not know that there is gratitude to the light, and I didn't hear anyone from anyone, but I thought that it was possible to live without her in the world (273); Conscience did not hire me Nimalo, for I thought that there are people in the world, much bravely me, which one minute will make more thin, rather than on three days (292); It is possible then in me in me a humanity, about it, I tea, my lord reader will think (296).

Of the frank autcharacteristics, accompanying such frankly described dubious acts in a moral attitude, the low-surpical moral appearance of women adventurers, less than all the concerned observance of the rules of universal humanistic morality. But this Marton, which appears in front of the reader in the present day of reading the novel, for Marten - the author of autobiographical notes is "Marton then". What is the same Marton now, from what kind of moral position it tells about its turbulent and immoral youth - nothing is reported to the reader. But, however, the Roman himself contains the landmarks in which you can reconstruct the general direction of change in the character of the heroine, and that it changes, testifies to the leitmotional taking of the story about her life. The story about the next incident in her fate is strictly accompanied by the conclusion of the final nature. Marton acquires life experience in front of the reader, making laconic conclusions from the extensive descriptions of the facts of their biography.

By serving the Secretary of the Court and watching it in his house, she immediately reports: "In this time I learned that all the servants secretarians enjoy bribes as they are Mr." (276). Being deceived by his lover Akhal, who escaped from her with money, joined the old and rich lieutenant colonel, Marton enriches his experience with two more observations:

And although I saw that I thought about me, but the pretense of his [Ahal] could not disassemble, and in Sea, I really found out that, as it were, a woman either was Ortre and intricate, however, it is always susceptible to the deceptions of a man, and psycho at that time When she is passionate (294).

In Seed, I said that he [Akhal] had more needs in the belongings of my lover, rather than in me, and was not a beauty, but Chervonians and Pearls (296).

Finally, having heard about the imaginary death of Sidala, whom she, imperceptibly for himself managed to love truly, Marton reports his opening as follows:

In this case, I learned right, something that is a real passion love. Having heard about the death of Svidal, the blood was cooled in me, my loyalty was buried, and the lips were baked, and I pronounced my breath. I thought that I was deprived of all the world, when I was deprived of Svidal, and the casually deprivation of my life then I could not.<...> I was ready to undergo everything and proceed without timidity to death, only to pay for the loss of his life, which I was the cause, of all unfortunately in the world (304-305) -

and this says that the Marton, which did not defeat ten pages before the death of the hussar lieutenant colonel, the reason for which she served as a failed flight with Akhal.

Gradually, but constantly gaining life experience implies changes in the character of heroines, which are almost invisible throughout the story, but are obviously detected in comparison of the initial and final position of the heroine in the same type of plot situations. These changes are particularly visible in relation to Marton to love: a professional priestess of free love and the selling woman of the string of the novel to his final becomes just a loving woman; And if the story about her relations with the light, one of the first lovers, is overflowed by commercial terminology, then in a message about explaining in love with Svidale, the branding motive arises in the opposite meaning:

The first place was a trading, and we didn't say anything else, as the contract was concluded; He [LIGHT] traded my charms, and I gave way to him for a decent price, and we were obliged then by receipts<...> (268). Thus, I really learned that he [Svidal] alive and loves me as much as I, or, maybe, less, in what we were not dressed with him, but fell in love with each other without any trade (305).

The greed and korestolobyuye, ready to die for his material benefits at the beginning of the novel, in his end of Marton becomes simply calculating and prudent woman:

The wealth of this was not fun to me, for I have already seen it pretty, but I took more careful and removed to stock for the desired case (307).

Finally, rigid and ungrateful - not by vanity of character, and on the harsh circumstances of life, Marton in the final of the novel detects other feelings: the news about the suicide of Ahal makes it sincerely regret the lover deceiving her:

The act of Akhalev was completely strong against me from my memory, and alone his wells were visible in my memory (321).

From these comparisons that are not emphasized by Bulkov in his novel, but the entire reader's attention and thoughtfulness, it turns out the general direction of the moral evolution of the heroine: if its event biography is a chaotic witch by the will of the circumstances, fate and the case, then Marton's spiritual path is sent to The side of growth and moral improvement. So the dynamic picture of the world in Roman Chulkova is complemented by the dynamic spiritual life of the heroine, the genre model of an adventurous novel of adventure and wanderings is connected to the novel model - the education of feelings.

Cause of the case, this ideological and artistic concept of a novel as a mirror of life itself in its constant and infinite movement and updating has gained another way of his artistic expression in Roman Kuvkov. The text of the novel ending up to us the scene of a meeting of the dying from remorse of conscience for the imaginary murder of Sigid Ahal with his imaginary victim, after which the phrase stands: "The end of the first part". And until now, it is definitely not established whether the second part of the novel was written, but for some reason was not printed by Bulkova, or it was not at all: thus, it is unknown, the Roman Chulkov is finished or not. From the point of view of a purely story, he is torn off on a half-word: it is unknown, whether the ahalah attempted suicide, it is incomprehensible how the Matton, Ahal and Sidel's relations are being collapsed and, and finally, what's the "fitting of the cook", because the service of Marton is mentioned as the prov In one of the initial episodes of the novel, and then this line does not find any continuation. However, from the point of view of aesthetic, and, for the writer XVIII century. No less, it may be more important, - didactic, in the novel "Podsaja cook" all the most important thing has already happened: it is obvious that Marton has changed, and changed for the better, and a woman writer is already a completely different person, from height His life experience capable of objectively understand and describe itself, despite all the delusions of her difficult and stormy youth.

Regardless of whether Chulkov had an intention to finish the second part, and whether the final phrase of the novel is a conscious hoax or evidence of incomplete implementation, the fact remains: the novel saw the light and reached the reader in the very form in which we read it now. And in this sense, the external fragmentation, the plot breakdown of the novel "Podguzhby cook" became an aesthetic fact of the history of Russian literature and a significant factor that determined the representation of Russian readers (and, that is important, writers) about the genre of the novel. The lack of a plot end, an open perspective, the possibility of further movement, the feeling of which gives the external incompleteness of the novel, gradually began to be aware of the inalienable sign of this genre, artistic reception, which formally expresses the idea of \u200b\u200bthe vitality of the novel, draws it up as self-devoid reality. We will see the same reception in one experience of the novel, "Knights of our time" of Karamzin; Is it necessary to say that he will find his final incarnation in the Pushkin novel "Eugene Onegin", where will finally be established in his status of intentionally used artistic reception and consciously achieved aesthetic effect? With all the aesthetic imperfection of the Russian democratic novel, 1760-1770s. Its an imaginary value for the history of Russian prose of the classic period is impossible to overestimate. It is here that in these early experiments of the Russian novel contains a whole scolder of semi-conscious finds and discoveries, which will have to work into a slim genre system and put the new glitter under the pen of the Great Russian novelists of the XIX century.

Summing up the conversation about the patterns of ways of becoming Russian prose, in the entire voice of the 1760-1770s in journalism and novels, it is necessary to note the incredible productivity of documentary genres and forms of the first person in both varieties of Russian prose of this time. And in satirical journalism, and in fiction 1760-1770. The imitation of the document, epistolary, autobiographical notes, travel notes, etc. is absolutely dominated, and this is a fundamentally important factor that defines the new aesthetic attitudes of art and reality.

It is at that moment that Russian literature is aware of life and seeks to be liken to live in their forms. In turn, life agrees to recognize the literature by his reflection, generously endowing it with its attributes - endless variability, constant movement and development, many voyage of different views and points of view expressed by literary personalities and characters in the range from Empress Catherine to the appeal of the priests. And already not far at the time when the return process - the life of the aesthetic activity is born in the Russian narrative prose, the desire to like the empirical life of a private person with a generalized aesthetic fact.

This naturally stimulated the flourishing of various literary forms of manifestation of author's individuality in the declarative and impersonal texts of Russian literature XVIII century. And of course, a deeply natural is that the process of promoting the author's personality into the system of artistic images of text with all clarity was embodied in the genre of a lyrol-epic poem connecting the objectivity of the narrative epic with lyrical subjectivism.

Mikhail Chulkov

Pickup cooks, or cheating of a depraved woman

Part I.

His high alarming validcamerager and various orders of Cavalera

Premogoomoled my sovereign

Your high stepper

Your Majesty!

Everything that neither is in the world is made up of Tlen, therefore, the book is made by my book made from Tlen. Everything in the light of prison; And so the book of this book is now there, a few time will come, finally eating, will disappear and will come out of all from the memory. A person will be born overlooking glory, honor and wealth, taste joy and joy, pass the troubles, sadness and sadness; Like the book of Siah occurred in order to demolish her some shadow praise, negotiations, criticism, indignation and realization. Everything with her will come true, and finally will turn into dust, like the person who praised her or droin.

Under the guise of a book, the desire to prevent himself to the patronage of your high movement: the desire of the total all people who do not have tsarist portraits. People are made worthy, therefore, the mind, virtue and condescension, you erected you on this high degree. You can gline a lot of deliciousness, and I am convenient to deserve it with all sorts of zeal. Who are you, about Tom finds out the society when you have happiness to use your benefits.

Your High Excretion of the Gracious Sovereign Nearby servant

Writer Say a book.

Previation

No beasts, no science science do not mean,
Neither the fish nor the Gada read read.
Do not argue about verses between sobody flies
And all flying perfume.
Neither prose nor verse they say
So it became that they do not look into the book.
To this reason visible
Reader my beloved
Of course there will be a person
Which is the whole age
In the sciences and affairs works
And above the clouds with the concept of becoming.
And as if he had no thoughts,
What impass him and will have a limit.
I leave all creatures
To you, about man! I spell my speech
You're reading
Dealer
Scribe.
And in the word, you mean, you mean,
Up the bottom of the books of the books, of course, do not know how
And you will see it from my head,
And you will see everything my art in it,
My errors are all in Oyoy,
But only you, my friend, do not strictly judge them,
Errors are affected to us, and weaknesses are decent,
Error to create all mortals are common.
Since the beginning of the century, we though in the sciences in the sciences,
However, the wisers do not find this
Which would have had no mistake
At least he knew how to dance
And I am not afraid of any dull, nor dance
So, therefore, I can also give.

Putting the cook

I think many of our sisters will challenge me immodestly; But as this vice for the most part women are now affected, then, not wanting against nature, the modest, let's go to it with the hunt. Will see the light, seeing, will disassemble; And the breakdown and the collections of my works, let him give me, what it will free.

It is known to all that we received the victory by Poltavoy, on which my unhappy husband was killed by the battle. He was not a nobleman, did not have a village, therefore, I was left without any food, I wore the title of sergeant wife, but was poor. I was then nineteen from the family, and for that poverty my seemed to me even more infrequent; For I did not know the passage of the human, and could not make a place for himself, and so did it, because of the fact that we did not determine in any posts.

Mikhail Dmitrievich Chulkov

The novel is preceded by a letter to the anonymous benefactor "Camerager and various orders of Kavaleru" in order to draw the attention of the reader to the fact that praise or indignation turn into dust, like a person who praises or flocks this book. The author draws the reader in verses, calling him to be attentive, but indulgent.

A storyteller tells that nineteen-year-old widowed, since her husband died under Poltava and, being a man of a simple title, left it without any content. And since the life of the poor widow corresponds to the saying "Shele de, widow, wide sleeves, would be where to put adolescent words", then the heroine with ease agreed to the proposal to make the patronage of the very fitting of the butler noble lord. His heroine was put to his money, hired a maid and soon attracted the attention of all Kiev, where she lived, with his beauty and fun.

Soon, the gate of her house appeared Mr., who gave her gold tobacco with diamonds, because of what Marton, so calling the story, concluded that it was interested in very important especially. However, the former man, seeing tobackerka and identifying her owner's thing in it, threatened to the ungrateful widow to the thread. Marton was frightened before he slot, but returned with the wagon of the butler, seeing the bed of a sick owner, Primdal himself and expressed the heroine of the deepest reverence and continued to serve his lover his lord.

His owner, LIGHT, soon received a letter from his elderly father, and anticipating an ambulance ending. The Lights did not dare to leave the city without his girlfriend, but his buddy and a neighbor for the estate suggested them to go together and leave Maton in his village under the guise of relatives. On the way, the Lights admitted that he was married, and married recently. It was disturbed by the story, as she premeditated the disaster threatening. The premonition of it was fully justified, and during the next date with a beloved light, the wardrobe in the room, where they were kind, suddenly opened and the furious wife of the Sveton came out of it, hurried to escape. Marton suffered from a deceived wife a lot of fell and found himself on the street without a penny and belonging. The former silk dress had to exchange on peasant clothes and get to Moscow, to suffer and resent.

In Moscow, the storytellor managed to get a cook to the secretary who lived bribes and offerings of the petitioners. The wife of the secretary was not distinguished by virtues - changed her husband and was inclined to drunkenness, so I made the cook with my forehead. The stationery who lived in the house entertained the heroine with his stories. In his opinion, the true example of the mind and the study are famous Marton Secretary and Strank. The poetmen is not at all what heroin thinks about them. It was somehow in the office of some Lomonosov's office, so none of the order could not understand her, and therefore it was declared this ode with wanderings, inferior in all respects the last stationery note. Marton had to endure the stupidity of the office, as he generously gave it. I like it with it, it began to attract the attention of housing rehabils. The secretary's wife tolerate this did not and refused Marton from the place. Nobody was interested in the story of this house, and she was unfortunately left.

Very soon, with the help of a heroine pimmer, I found a place in the house of the retired lieutenant colonel. A childless widower, admired by the beauty and elegant journal of Marton, offered her to dispose of all his property and even walked to leave all the state to her, since he had no heirs. The heroine was agreed without delay and became "pleased with his money." The enthusiasm of the old man was so great that he did not allow the storytellor to go to her old apartment behind the farewell and gave her immediately the keys from the chests and the boxes with the jewels of his deceased wife. For the first time, heroine saw such a number of pearls and, forgetting about the decency, immediately began to adopt all the pearls. Love old man helped her.

Next, the storytellee says that a reasancement served as a reservoir and prosperous life, since she was forbidden to leave the house. The only place where she was brought to, the Church, where she went with the lieutenant colonel. However, and there she managed to meet her next love. The elegant appearance and honor of the lover allowed her to stand in the church near the closer among people of the venerable. One day, Marton caught a look of a young man. Her owner, also noticing the attention of the acquisition of a well done, barely coped with his excitement and at home demanded from the "Russian Elena" assurances in love and loyalty.

Soon the petitioner with a large number of certificates appeared to the house in the hope of finding a place. The storyteller found a note among the papers with confessions in love from Ahel - a stranger from the church. It was not necessary to count on a place in the house of the jealous old old man, but the maid was filed by Marton, a cunning council. Ahel, changing into a female dress, penetrates the house under the guise of a senior sister of storytellers. Their dates with Marton took place literally on the eyes of a jealous old man who did not only suspect anything, but did not hide his admiration for the tenderness and love of two imaginary sisters.

Ahel to such an extent was attached to Marton, which offered her to marry him. Lovers were engaged. Marton did not suspect anything even when Ahel attached her to get a fee from his heroine for his heroine, in other words, to take all valuable things. Pearls and money to take out unnoticed was the easiest thing that the storyteller did, having transferred the values \u200b\u200bof Agel. Thai getting out of the house of the old man, Marton discovered that Ahel disappeared with things, and his search was unsuccessful.

The prieuger of the priest had to return to the widow. The storytellor found him off-free from grief. He accepted her without flipping. The ruler, who accepted Marton was quite rude, was immediately dismissed, but he threw angrily and dismissed heroine. As soon as the lieutenant colonel died, his sister declared, claiming inheritance (she learned about everything from an offended governor), and managed not only to take possession of property, but also to plant Marton to prison.

In prison, the narrator had to be tight, but Sudelle appeared unexpectedly with his friend. They managed to free Marton. Once at the wild, the storyteller quickly recovered, began to dress up and have fun. The only thing that seriously grieved her, is jealousy and rivalry between Ahel and Svidale. The first believed that he had more rights to Marton because of a long-time dating. During the card lot in the Lobmer, both Raughty laughed to such an extent that Svidal caused Ahel to duel. A few hours of Marton died in ignorance about the fate of their lovers. Suddenly, Ahel appears, reports that he killed Kiev, and taking advantage of the heroine fainting, disappears.

The storytellor came seriously and recovered from the disease only when there was Svidal. It turns out that taking advantage of the duel, he pretended to be dead and forced Ahel to run forever from the city. He also explained that his ingenuity is not accidental, but dictated by love for adorable Marton. Our heroine, sciences of bitter experience, did not rely only on love and continue to start to save the Chervonians and dear gifts.

Soon, Marton met a young nobility, married merchant. The society, which was gathering in the house of the cauldron, was very funny and nobility did not differ, but served as heroine a good school. The same mistress itself had the criminal intentions of the lime of her merchant husband. To this end, she hired Maloross from Chelyadi Marton and persuaded him to prepare poison.

For an unlucky merchant, everything ended well, since the servant of the storylors did not poison him, but only caused his tincture temporary breathtaking. For what was generously rewarded. Suddenly, Marton received a letter from Ahel, in which he informed the desire to die, because unfortunately to endure the death of a friend and loss of beloved. In order to part with life, Ahel takes poison and dreams of saying goodbye to his beloved Marton. The storytellor and her beloved Svidal together went to Agel, but only Marton entered the house. She learned that Ahel was brought to despair a remorse and he, having decided to leave her a bumping for the estate acquired on her money, decided to leave life. One mention named after Svidal led him to fury, and he could not realize that his buddy was alive.

The story is conducted from the first person. The heroine, the girl named Marton, lost her husband at nineteen years and remained without a penny. This forced it to be the content of a noble lord. The butler gave her decent money, she began to dress well and deserved certain fame in Kiev. His attention to her, notable Mr. Sweeton, who served her lover-butler. Becoming the content of Sviton, Marton has kept even more, but did not postpone the future life or a penny, all spending on the outfits.

The wife of Sviton learned about the enthusiasm of her husband, she broke the broken cook and that in a torn dress was forced to move to live in Moscow. There, she settled to work the cook before the secretary, became his mistress and lived. However, the secretary's wife for a long time suffered and kicked out Marton Von. So she was in the house of a rich lieutenant colonel. The old man fell in love with it, he gave all the outfits and decorating the deceased wife, but forbade it from home. Together they walked only to the church, where the handsale of Ahel fell in love. He managed to get into the House of Lieutenant Colonel and persuaded Marton to paint money and jewelry. Marton did this, but Ahel, taking her whole prey, disappeared without a trace. The cook returned to the lieutenant colonel who quickly forgave her. His manager wanted to open the owner of his eyes on a dishonest mistress, but was immediately dismissed. He revenged later: after the death of the lieutenant colonel, he led him to his sister into his house, and Marton was put in prison. From prison, it was able to rescue Ahel with his friend Svidall. Both young people became Marton lovers. They were not satisfied with this, and Ahel caused a friend to a duel. Soon he returned to the cook and stated that he killed Svidal.

After that, he left Moscow forever. Literally a few minutes later, Marton appeared Svidal. He admitted that she pretended to be killed with the sole purpose: to force Ahel to leave Marton forever. Young people begin to live together, engaged in a deception of ordinary citizens. A little later, the cook received a letter from Ahel, in which he admitted that he could not forgive himself the murders of his comrade and wants death. He accepted poison and asks Maton to come to him to say goodbye. Arriving the cook, one comes into the room alone and finds out that Ahel wrote her a rich estate to her inheritance. He once acquired this house for the money she stole from Lieutenant Colonel. After that, before the eyes of the dying Ahel appeases. Ahel is shocked, but the poison is already beginning to act and cannot be changed.