The narrator in the literary work. Narrator and storyteller
The narrative in the artistic work is not always conducted on the person of the author.
Author - This is a real person who lives in the real world. It is he who thinks his work from the beginning (happens, with an epigraph, even from the numbering (Arabic or Roman) to the last point or dot. This is he develops the heroes system, their portraits and relationships, this is he divides the work on the chapter. For him there is no " Superior »details - If there is a pot with a balsamine on the window in the station of the station caretaker, then it is that flower it took the author.
Examples of works where the author himself is present is "Eugene Onegin" A. Pushkin and "Dead Souls" N. Gogol.
DIFFERENCE BETWEEN
Narrator and narrator
The narrator - Author telling the mouth of the character. The narrator Lives in each specific text - this is, for example, an old man and an old woman who lived near the blue sea. He is a direct participant of some events.
BUT narrator Always about the storytellor, he sets out the story entirely, being a participant in the events or witness to the life of heroes. Narrator -this is a character that is represented as a writer in the work, but at the same time it retains the features of his speech, his thoughts.
The narrator is the one who wrote the story. It can be a fictional or real (then the concept of the author is introduced; that is, the author and the narrator coincide).
The narrator represents a writer in the work. Often the narrator is called the "lyrical hero". This is someone to whom the writer trusts and its own assessment of events and heroes. Or these points of view - the author of the creator and the narrator - can be close.
To present and reveal its intent in full, the author puts on various masks - in the narrator and narrator. The last two are eyewitnesses of events, the reader believes them. From here there is a sense of the reliability of what is happening. The author on stage - the pages of the work - plays one set of roles created by him. So it's so interesting to be a writer!
Who tells the story of Silvio?
In what other work the author resorts
To such reception?
Pushkin rode in Briand Briah. However, marriage prevented money difficulties. Neither Pushkin nor the parents of the bride excess money was not. The mood of Pushkin affected the epidemic cholera in Moscow, which did not allow him to go from Boldino. It was during the times of the Boldin Autumn, among others, and "Belkin's story" were written.
In fact, the whole The cycle is written by Pushkin,but the title and preface indicates another author, pseudo-autler Ivan Petrovich Belkin,however, Belkin died and published his story Some publisher A.P.It is also known that every story of Belkin wrote According to the stories of several "Persons".
The cycle begins preface "From the publisher",written on behalf of some A.P.Pushkinists believe that this is not Alexander Pushkin himselfSince the style is absolutely not Pushkinsky, but some kind of suitable, half acelary. Publisherwas not personally familiar with Belkin and therefore turned to neighbor of the late authorfor biographical information about him. A letter of a neighbor, a certain unorad landlord, is fully given in the preface.
Pushkin Belkin Represents the reader after all as writer. Belkin himself conveys the story with a certain narrator - Lieutenant Colonel I. L. P.(What is given in the footnote message: (approx. A. S. Pushkin.)
The answer to the question: who tells the story of Silvio - reveals as Matryoshka:
Pushkin biographical(It is known that once the poet himself ate a cherry for a duel, did not shoot) →
Pushkin-author(as the creator of the story from the plan to incarnation) →
Publisher A.P. (but Alexander Sergeevich himself) →
Uncleid landowner(neighbor deceased by the time Belkin) →
Blinkin biographical(he described in detail how he could, neighbor) →
Belkin-author (i wrote a story lieutenant Colonel I. L. P.) →
Narrator(Officer who knew Silvio and Graph-lucky) →
Narrator \u003d heroes(Silvio, Count, "Male about thirty-two years old, wonderful") .
The story is conducted from the first person: the narrator participates in action, it is him, a young army officer, Silvio turns the mystery of an unfinished duel. Interestingly, her finals I.L.P. He learns Silvio from the opponent. Thus, the narrator in the story becomes and attorney two characters, each of which himself tells his part of the story, which is given from the first person and in the past time. Therefore, the story told seems reliable.
This is such a complex construction, it would seem, a memorable story.
"Tale of Belkin" - not just a cheerful Pushkin work with funny plots. People who begin to play literary characters are in power of certain plot patterns and become not only ridiculous, funny, but risks in the truth to die on duels ... "It turns out that it is not so easy to" Tale of Belkin ".
All other stories of the cycle are built in a similar way. From other works you can call the story " Captain's daughter", Which is written on behalf of a fictional character - Peter Greeneva. He himself tells about himself.
Yun, honest and fair - only from such a position can be estimated to robbing the honor of Pugachev, recognized by the defenders of the state by the impostor, "contemptuous rebellion."
Through the words of the story of Greeneva, the author of the author, Pushkin, is heard. It is his irony through the narration of childhood, the upbringing of Petrushi, this Pushkin tells the mouth of his hero on the meaninglessness and merciless of the Russian Bunt.
In the last chapter ("Court"), Greenöve talks about the events that occurred during his conclusion, with the words of their loved ones.
You can remember Rudigo Panko, to whom Nikolai Gogol handed the story " Enchanted place».
The chapter is also built in the same way. Maxim Maximych»From" Hero of our time"M. Lermontov.
Concept narration in a broad sense, it implies the communication of a certain entity telling about the events with the reader and applies not only to the artistic texts (for example, the events tell a historian). Obviously, it should be primarily correlated with the structure of the literary work. At the same time, it is necessary to distinguish between two aspects: "The event that is told", and the "Event of the Talk himself." The term "narration" corresponds in this case solely by the second "event".
It is necessary to make two clarifications. First, the narrative entity has direct contact S.the reader-reader, is missing, for example, in cases of plug-in stories facing among the characters to others. Secondly, a clear distinction between the two mentioned aspects of the work is possible, and their relative autonomy is characteristic mainly for epicworks. Of course, the story of the character of the drama of events that are not shown on stage, or a similar story about the past of a lyrical subject (not to mention the special lyrical genre "story in verse ») present phenomena close to the epic narration. But it will be transitional forms.
The story of the events of one of the actors addressed not to the reader, but to students-characters, and the story about the same events of such a subject of the image and speech, which is intermediarybetween the world of characters and the reality of the reader. Only a story in the second sense should be - with more accurate and responsible toolpitation - to call the "narrative". For example, plug-in stories in Pushkin's "Shot" (stories of Silvio and Count B *) are considered as precisely because they function in the insiele-way world and become known thanks to the main storytellor, who transmits them to the reader, referring directly to it, and not to one or another Event participants.
Thus, when approaching the differentiation of "acts of telling", depending on their recipient, the category of the narrator can be correlated with such various actors of the image and speech, as narrator , the narrator and "The image of the author." Common to them is mediationfunction, and on this basis it is possible to establish differences.
Narrator – TOT , who informs the reader about the events and actions of the characters, fixes the course of time, depicts the appearance of acting persons and the action situation, analyzes the inner state of the hero and the motives of its behavior, characterizes its human type (mental warehouse, temperament, attitude to moral standards, etc.) without being a member of events, nor - which is even more important - the object of the image for any of the characters. The specifics of the narrator at the same time - in a comprehensive horizon (its boundaries coincide with the boundaries of the image in the world) and in the addressence of its speech primarily the reader, that is, its direction is just beyond the world's limits. In other words, this specificity is defined by the position "on the border" of the fictional reality.
We emphasize: the narrator is not a face, but function.Or, as the German writer, Thomas Mann spoke (in the novel "Selected"), "Invalid, infertile the omnipresent spirit of the narrative." But the function can be attached to the character (or some spirit can be embodied in it) - provided that the character will not coincide as a narrator as a narrative person.
Such is the situation in the Pushkin "Captain Daughter". At the end of this work, the initial conditions for telling, it would seem strongly changed: "I was not a witness to everything, than I remain notifying the reader; But I so often heard about the stories that the slightest details crashed into my memory and what seems to me that I was immediately invisible attended, "the invisible presence is the traditional prerogative of the narrator, and not a narrator. But is it different any way to illuminate events in this part of the work from the entire preceding? Obviously, - nothing. Not to mention the absence of purely speech differences, in both cases the subject, the subject of the narrative is equally easily brings his point of view with the point of view of the character. Masha doesn't know exactly the same who, in fact, the lady, which she managed to "look at the legs to the head", like the Grine-character, who "seemed wonderful" the look of his warnish, does not suspect with whom in fact accidentally brought him a life. But a limited vision of characters is accompanied by such portraits of interlocutors who, in their psychological insight and depth, go far beyond their capabilities. On the other hand, the narrative Grineal is not a certain person, as opposed to the Grinevo to the acting person. The second is an object of the image for the first; The same as all other characters. At the same time, the view of Peter Grneev-character on what is happening is limited by the terms of the place and time, including the features of age and development; It is much deeper by his point of view as a narrator. On the other hand, the Greennev Character perceive other actors in different ways. But in the special function of the "I-telling" subject, which we call Grinev, the subject of an image for any of the characters is not. It is an image of the image only for the author-creator.
"Attachment" function of the narration to the character is motivated in the "Captain daughter" by the fact that the "authorship" of notes is attributed to the Grinev. Character as it turns into the author: Hence the expansion of the horizon. The opposite course of artistic thought is possible: the transformation of the author in a special character, the creation of his "twin" within the depicted world. This happens in the novel "Eugene Onegin". The one that addresses the reader with the words "Now we will fly to the garden, / where Tatiana met with him," of course, is the narrator. In the reading consciousness, it is easily identified, on the one hand, with the author-creator (the creator of the work as an artistic whole), on the other, with the character, who, together with Onegin, recalls on the banks of the Neva "The Beginning of Life Young". In fact, in the world shown as one of the heroes, it is present, of course, not author-creator (it is impossible), but "the image of the author", the prototype of which it serves for the creator of the work he himself as a "extraordinary" person - as a private person with a special biography ("But the north is harmful to me") and as a person of a certain profession (belonging to the "Torny shop").
Concepts " narrator "And" the image of the author »Sometimes mixed, but they can and should distinguish. First of all, and the other should be degraded - precisely as "images" - from the author's author. The fact that the narrator is a "fictitious image, not identical to the author," is a generally accepted opinion. Not so clear the ratio of the "image of the author" with the author genuine, or "primary". According to M.M. Bakhtina, "the image of the author" - something "created, not creating".
"The image of the author" is created by a genuine author (Creator of the work) on the same principle as a self-portrait in painting. This analogy allows you to clearly degrade creation from the Creator. The self-portrait of the artist, from the theoretical point of view, may include not only him with an easel, palette and brush, but also standing on the subframe a picture in which the viewer, carefully clinging, finds out the similarity of the autoportist contemplated by him. In other words, the artist can portray himself painting the most, in front of the audience, self-portrait (Wed: "Powstish my novel / I finished the first chapter"). But he can't show how this picture is created in her whole - with a perceived viewer doubleperspective (with self portrait inside). To create an "image image", like any other, the authentic author requires a point of support out ofworks outside the "image field" (M.M. Bakhtin).
The narrator, unlike the authors, is only depicted time and space,in which the plot is deployed. Therefore, it can easily return or run forward, as well as know the prerequisites or results of the events of the present. But his possibilities at the same time determined due to the borders of the entire artistic whole, which includes the depicted "Event of the Talk himself." "Allocating" the narrator (for example, in the "war and the world" of L.N. Tolstoy) just enters the author's plan, as in other cases - in "Crime and Punishment" F.M. Dostoevsky or in Romanov I.S. Turgenev - the narrator, according to the copyright, does not have the completeness of knowledge about the causes of events or the internal life of heroes.
In contrast to the narrator the narrator is not at the border of the fictional world with the reality of the author and the reader, but entirely insidedepicted reality. All the main points of the "Events of the Talk itself" in this case become the subject of the image, the "facts" of the fictional reality: "framing" the situation of telling (in the novelist tradition and the prose-oriented prose XIX-XX centuries); The identity of the narrative: he is either connected biographically with the characters, which leads the story (the writer in "humiliated and offended", the chronicle in the "demons" of F.M. Dostoevsky), or in any case has a special, not a comprehensive, horizon; Specific speech manner attached to the character or depicted by itself ("the story about how Ivan Ivanovich was quarreled with Ivan Nikiforovich" N.V. Gogol). If no one sees the narrator inside the pictured world and does not imply the possibility of its existence, the narrator certainly includes a horizon or narrator, or characters - listeners (Ivan Vasilyevich in the story "After the Bala" L.N. Ostvoye).
Image of narrator- as characteror as a "linguistic person" (M.M. Bakhtin) is the necessary distinguishing feature of this type of the depicting subject, the inclusion in the field of the image circumstances is optional. For example, in Pushkin's "Shot" - three narrator, but only two situations of telling are shown. If a similar role is entrusted to the character, whose story does not bear any signs of his horizon, nor his speech manner (the story of Pavel Petrovich Kirsanov in the "fathers and children", attributed to Arkady), it is perceived as a conditional reception. His goal is to take off the responsibility for the accuracy of the told. In fact, the image entity and in this part of the Roman Turgenev - the narrator.
So, the narrator is a subject of an image, a fairly objectified and associated with a specific socio-cultural and language environment, from the position of which (as happens in the same "shint"), he depicts other characters. The narrator, on the contrary, is close to the author of the Creator. At the same time, compared to heroes, he is a carrier of a more neutral speech element, generally accepted linguistic and stylistic standards. So differs, for example, the speech of the narrator from the story of Marmaladov in "Crime and Punishment". The closer the hero of the author, the less speech differences between the hero and the narrator. Therefore, leading characters of big epics, as a rule, are not subject to stylistically sharply distinguished stories.
The "mediation" of the narrator helps the reader first of all to get a more reliable and objective idea of \u200b\u200bevents and actions, as well as about the inner life of characters. "Mediation" of the storytellor allows you to enter insidethe world shown and take a look at the events with the eyes of the characters. The first is associated with certain advantages. exteriorpoints of view. Conversely, works seeking directly to attach the reader to the perception of events by the character, cost them at all or almost without a narrator, using the forms of the diary, correspondence, confession ("poor people". Dostoevsky, "Letters of Ernest and Doravra" F. Emina). The third, intermediate option - when the author-creator seeks to balance the external and internal position. In such cases, the image of a storytellor and his story may be a "bridge" or a connecting link: this is the case in the "Hero of our time" M.Yu.Lermontov, where Maximi's story is binding "travel notes" of the self-character with the "magazine" of Pechorin.
So, in a broad sense (that is, without taking into account the differences between composite forms of speech), the story is a set of those statements of speech subjects (narrator, narrator, the image of the author), which carry out the functions of "mediation" between the world and reader - the addressee of the entire work as a single artistic statements.
The work is represented by the Department of Russian Literature of the XX century Astrakhan State University.
Gazdanova's novels hero is a certain type of personality, having a bitter experience of losses and pain, expressive of the main prose motives. The narrator, as well as the narrator in Gazdanov, is not fully objectified, often he has no name and nothing directly knows about him. But he
he has its own story, experienced drama, he reflects and deeply feels, knows the world around him through his feelings, all his thoughts are concentrated on its inner world.
Keywords: Gaito Gazdanov, Writer of Russian abroad, aesthetic views.
Image of the Author, Hero-Narrator and Narrator in G. Gazdanov "s novels
The Hero In G. Gazdanov S Novels Is a Personality Type Who Has Bitter Ex-Perience of Losses and Misfortunes and Who Expresses The Main Motives of the Prose. The Narrator in G. Gazdanov "S Prose Is Not Objectified, Sometimes He Has No Name and WE Know Nothing About This Person. But He His His Own Life Story, His Tragedy; He Thinks and Feels, Perceives Outward Things Through His Feelings; All His Thoughts Are Concentrated on His Inner Life.
Key Words: Gayto Gazdanov, Writer of the Russian Abroad, Aesthetic Views.
The work of a talented writer Russian abroad Gaito Gazdanova has recently been rapidly in literary critic and readers and his study is still far from its completion.
The loss of the Motherland aggravated the existential consciousness of Gazdanov, the feeling of loss and the feeling of non-accuracy in a stranger and hostile world. The essence of the concept of personality presented in Gaito Gazdanov's novels 1920-1950s. It may be understood only in an existential context. The existential consciousness was opened by a new hero in the literature - self-sufficient, self-sufficient, with a kind of unique inner world. This hero initially alien to socially and historically motivated "personality" of the XIX century. The world of these heroes remains closed, closed space, they do not object to life, into the world of people, since it is chaotic, unrecognizable and hostile space for them. The Hero of Romanov Gazdanova is a certain type of person, having a bitter experience of losses and pain, an expressant of the main prose motives. The narrator, as well as the narrator in the city of Gazdanova, is not completely objectified, often he has no name and nothing directly knows about him. But he has his own story, experienced drama, he reflects and deeply feels, knows the world around him through his feelings, all his thoughts are concentrated on its inner world.
The lyric hero Gazdanova is a contemplator, an observer of someone else's life. The narrative is built in the direction of "on itself", i.e., the conversation inside the own "I". But care in the depth of your own consciousness, in the very "fictional" life, even more aggravate the author's reflection. Gaito Gazda New reveals the depths of the human soul, so the events are moving into the background. His heroes are all the time in a state of choice, they are free, but their choice is not always successful, and sometimes tragic.
We consider incorrectly to completely identify the author and the hero, since the ratio of the author and the narrator in the works of Gazda Nova is not so unequivocally and uniformly. In each case, we are talking about varying degrees of biographical and psychological convergence.
Narrator narrator
Claire evening (1929) Story of the same trip (1938)
Night Roads (1941) Flight (1939)
Ghost Alexander Wolf (1947) Pilgrims (1953)
Buddha Return (1949) Awakening (1965)
Evelina and her friends (1968) Coup (1972)
The characteristics of the city of Gazdanov stands up the image of the author - an intellectual with a crippled soul who survived a large human drama, but he managed not to lose and not lose his "I". The writer can be attributed to the authors for which the scope of literature and literary creativity was the object of constant reflection. Many of his characters (with rare exceptions), including narrator, are writers or are associated with writing craft.
We use the concept of "author" mainly in relation to the creator of the work, which expresses its aesthetic credo and the worldview, attitude to real reality with the help of its work. The author becomes the organizer of the text. It participates in the process of text management at the same level as the narrator and narrator. It is typical for the novels of Gazdanov (for example, "Night Roads", where he resorts to lyric philosophical retreats). We can apply the term "Didro Type" to such a copyright (access to the reader). As an example, in the novel "History of one trip" (1938) thinking Arthur about the Monparnas environment. At a certain moment of the text, the narrator from a third party seems to appear in the text space and performs the character function. Gazdanova in novels written from "I", this author's "I" is not very different, a similar character is guessed, thanks to some detail. Thus, the author and narrator is an extractic subject, and the narrator is an intrathertic subject. When the story in Gazdanova comes from the first person, then all the characters have only the projection of the participants in the plot in the thoughts of the speaker, and not real communicants. Of course, the author is reflected in the text as a real physical and creative personality, as for the choice of the plot, vocabulary, etc. And here we use the term "image of the author". Given the fact that the conceptual content of this term is ambiguous, its widespread use is presented to us problematic. Analysis of the functioning of the terms "image of the author", "image of the narrator", "Author"
showed that they are often used as synonyms. In the city of Gazdanov, in contrast, for example, from M. Proust, we do not meet such direct declarations: "The book is the product of another me, not like that we can imagine, based on our habits, of our defects, from that What we show in society. " Gazdanov has a narrator and the main character - it is always a person with a weathered character. However, it is known that the writer himself was quick-tempered and cutting in communication.
Of course, the novel "Evening of Claire", like the novel "Night Roads", has an autobiographical basis and lyrical nature. Often, on the basis of these novels, the writers of the writer conduct direct analogies to it with life and biography. In the novel "Evening from Claire" displays the biographical proximity of the author and the character of the narrator. But the city of Gazdanov, for example, gives another name to his hero - Nikolai neighbor, thereby giving himself from the hero. However, etymology of the surname of neighbors suggests the thought of kinship, the neighborhood with the author, but not to complete identification with it.
The existential nature of this novel is manifested from the first lines. In the foreground, the inner world of the narrator, Nikolai Negalova (a character who appears in subsequent novels and stories), his experiences, doubt. Through his perception of the surrounding world, events occurring in the Hero's life are presented. Outwardly, he is - passed, immobile, but inside it is boiling passion, desire, there is a constant assessment and analysis of the whole thing. Such opposition "internally / external" sets the rhythm of the narrative. Each character serves to add a picture of the story of the storyteller. The effect of the author's presence is created and, at the same time, thanks to the reception of memories, Gazdanov creates a certain distance with it. Therefore, this novel cannot be regarded as fully autobiographical. The writer did not strive to accurate reality, but only to reproduce emotions in memories.
The second novel "The Story of One Travel" is written in the third person (the main character, Volodya, should not be identified with the author),
but the narrative rod in the novel is absent: this is, in fact, a number of stories related only by the fact that everything told in them saw or knew Volodya. All other characters and events are interconnected through it. Yes, indeed, there is no event in the novel as such, around which the plot would develop. Volodya and Arthur is like two halves of one personality (as in other works, perhaps of Gazdanov himself). For the first time in this novel, Gazdanov included fragments that are an essay, in the form of reflection and impressions of characters - about the monparnas atmosphere, about the quality of teaching at the University of Sorboné, about writing, about the irreversibility of a vital flow, etc. In the poetics of the novel, a new element appears: Suspension, which has become one of the characteristic features of the literature of the twentieth century, illustrating the originality of modernist art.
In this, Gazdanov gives it very ulcerative, cruel and ironic characteristics by Montparnasse regulators through the Character Arthur Thompson: "Increased artists with hungry faces, ridiculous dressed<...> argued about Cezanne, Picasso, a feet;<...> Some unleashing and verbose subject fiercely praised French poetry and quoted poems of Bodler and Rambo<.> Here is a young author who is under strong influence of modern French prose<.> Here is a submitting philosopher - work on the history of Romanesque thought, a book in printing about Russian giggling, the most interesting articles about Vladimir Solovyov, Berzhson, Gussers; Lives on the content of the retired musical beauty<...> - the unpleasant thing, the monar-us ... "The next part of the novel continues the topic of Montparnasse, but the story is conducted on the face of Arthur in the form of an internal monologue to a direct speech:" The poets have become less and less - and because poetry clearly walked , and because for poetry it was necessary to at least be able to competently write and something to once learn; And although nobody presented to Montparnasse Poets, no matter how, however, nor to whom on Montparnasse - yet
some rustles, some glimpses of culture had to have ... ". Further, in the definition of Arthur, the author's point of view is traced: "CE Sont Des Rates (here is the rats (Fr.).)" "," Arthur thought "(Introducing my. - E. K.). Arthur is the Englishman who spoke in Russian, Why should he think in French? Consequently, this was done by the writer himself. Note that the translation is not entirely true, since the rat in French is written by Rat, the word ratés means "losers" and the meaning is changing somewhat (it is not known whether this is a translator, or the typographical error typo). Character Arthur Thomson is full of contrasts. Arthur is little similar to the Englishman, and at first glance is idealistic.
Hero-protagonist Volodya Rogachev is going to write a novel only after the history of Arthur and Victoria finds out. Through the sensations and emotions of Arthur, he begins to build a chain of associative his own memories. G. Gazdanov so describes the process of writing the novel: "... fullness of impression is created by almost the irrational sound of words, successfully withheld and inexplicable rhythm of the narration, as if everything written, it was impossible to tell, but what went between words as invisible flowing here in this book, human existence. But when he tried to write like this, almost paying attention to the construction of phrases, all following this rhythm and this irrational, musical movement, the story became severe and meaningless. Then he was taken for a thorough finish of the text, and it came out that successful comparisons appeared on his pages, and they became similar to that moderate French prose, which he always found unbearably false. And only in a rare clock when he did not think how to write and what to do when he wrote almost with his eyes closed, without thinking and not stopping, he managed, with the help of several casual words, express what he wanted ; And rereading some time after these pages later, he clearly recalled those sensations that caused them and retained, contrary to the law of the cauldron, their unfavorable and illusory life. " And here Gazdanov seemingly writes about
yourself, about your manner of work on the artistic work. Very similarly described the creative process in his story "Happiness" (1932).
In the novel "Night Roads" the narration is conducted on behalf of the night taxi driver. The writer himself, as you know, worked for a night taxi driver for 25 years. There are many other autobiographical details in the text and many other autobiographical details, of which the recognizable plot of Gazdanov's life wanderings is built: "In the same way, as in other countries, where I was a vagabond, then a soldier, then a gymnasium, then a unwitting traveler, I never knew What will happen to me and help me, as a result of all the monstrous displacements, which I witnessed and participant, in Turkey or in America, in France or in Persia, is also here in Paris ... ". But he retains a distance between the hero and the author, acting as an observer, is not objectified to be fully identified with the hero. All the events described are combined by the relationship of the narrator, its comments.
In the novels "Evening Claire", "The Story of Single Travel", "Night Roads" One Type of Hero - Autobiographical "I": Nikolai neighbors, Volodya Rogachev, a night taxi driver (who does not even have a name, and maybe because he is too We recognize in this novel), and in general for him - a young Russian emigrant in France, endowed with the abilities for writing creativity, as a journalist or writer.
In all novels (with the exception of the novel "Awakening"), the narrator hero is a creative person, intellectual, bright personality, a hero is associated with writing activities (Volodya from "History ...", a journalist from "Ghost ..." and others. ), the presence of his antipode only emphasizes its significance, dissimilar to the mass surrounding. The main problems that affect Gazdanov relate to the inner world of heroes. Real life for his heroes is replaced by the existence in the lyrical world - the world of fantasies, traveling in which the fate of a completely alien person becomes close and understandable, and the game of
imagination is indistinguishable from genuine, immediate feelings.
The protagonist of the novel "Pilgrims", Robert Bertier, is opposed to Fred, its antipode, whose metamorphosis we are seeing at the end of the novel. His two sides are marked by two names: Fred - for the villain and Francis - for the character of the changed.
Robert and Fred - peers, but their different class affiliation explains their personal differences. Gaito Gazdanov focuses on the role of books in human life, in education. The author describes in detail describes the childhood of Freda, those pitiful, terrible conditions in which he grew up, all the cruelty, which he experienced first on himself, and then began to act in a similar way with others. On the example of the life of Fred Gaito Gazdanov proclaims the biblical truth: evil creates evil, and good - good.
The leaving of the Parisian "DNA", the teenager Francis falls once to the elderly prostitute - a lover of a low-profile detective novel. It is she who gives Francis a new name - Fred, so called her beloved hero of the adventurous novel. And Francis gradually complies with this fictional manner. Francis passes into Fred and becomes a cruel pimp. He is not much fear, but he turns out to be unprotected from the love of Zhann. Always felt "but": if not., Fred would not be engaged in such matters. And this thought is implemented in the future. The key point in the metamorphosis of Fred was the overheard of the conversation in the cafe (it was about the history of culture), because of which there was a dome in his consciousness, not yet aware of the understanding (implicit premonition) of something that is beautiful, what will help him in Life, what he really wants. This means that it was originally pleased with where and how he lived. It distinguishes him from Rene, Duda and others.
You can see in the Fred character typical features of representatives of the lower layers who subsequently creating all these changes in society. According to him, it was exactly what Ma Ning preferred someone better than him, and did not give him peace. He stretched like she, for the better, bright. Fred managed to use sent
he was a chance and met with Rozhe, which a neighbor in a prison cell told him about. Thus, the first step of the return of the hero to itself turns out to be associated with the return of his own name.
The fact that the neighbor himself failed to change his life, and we understand that this requires a character that Fred has. This is a strong, interesting person. The final chord in his fate, in his metamorphosis, played again. But the fact that he managed to read them, suggests that he was a competent person (unlike the neighbor on the camera) and, it means that he had some kind of education. Probably, thanks to the formation, he was able to resist, to evaluate that the real thing was surrounded. The first grains of doubt in the correctness of its existence were renounced by Lazarev, whose words were cheated by the pride of Fred, his ambitions. It is known that these two qualities are the driving force of many actions, both positive and negative. The final amazes unexpected death (ridiculous) Freda Francis. Yes, he was reborn, became different, just began to live, but, you might think that the city of Gazdanov does not know what to do with this new person and does not see his future in this world. Perhaps the writer did not want to develop the socio-political theme of adulthood of Francis and eliminated the hero. Gazdanov in this novel takes the transformative role of culture and art (through this and the metamorphosis of Fred and Zhanin).
In the novels of the city of Gazdanov, the center of the composition, external and internal, moves from the storylock to the disclosure of the inner world of its heroes, which are increasingly "objectified", express the image of the author. In the narration, many household details are lowered, detailed descriptions of nature and appearance, giving place a lyrical philosophical theme, which, released, begins to sound all hot and expressive. This topic, first of all, about the beauty and wealth of the human feeling, about the essence of being, etc. In the novels of the city of Gazdano-Wa, it fits the relaxation of the story canvas, on the one hand, and the dominance of the descriptive reflection of the hero's immediate experiences is on the other. This is
the honor of his prose was not left unnoticed criticism, which announced the inability of the writer to build a full-fledged epic story, what should be the novel in the traditional understanding. The plot in the novels of Gazdanov takes on a psychological function, and the descriptions are focused primarily on the inner world of the hero, to work his soul. Romantic Thinking Gazz-Danov produces original principles of poetics: the narrative in the direction of the flow of consciousness, temporary syncretism, Dwymiria, the combination of rational and irrational, etc.
So, summing up some results, we highlight common elements for the author, narrator and narrator (with the exception of Pilgrimov and Awakening novels): a man involved in writing; Russian Intelligent-Bilingv, an emigrant, constantly immersed in memories of Russia; Passed civil war; Lonely and poor, engaged in severe physical work, later becomes a night chauffeur in Paris. The type of personality has a lot of similarities with the fate of the author. All dominant prose motives Gazdanova are expressed by his heroes: a journey, loneliness, expansion, death, etc. The author acts as a real creative personality (thanks to autobiographical details) and it coincides with the author to the author. The narrator and the narrator are considered primarily as a text-forming category. The "I" of the storyteller in the novels of Gazdanov is not fully identical to the author, but the degree of self-expression of the writer, the openness of his author's consciousness, the limiting frankness is very large.
The image of the hero writer is a sign. First, he reflects in his views with universal problems, the ideas of humanists. And in this aspect, he is given in opposition to the surrounding confusion. Secondly, the hero writer represents the image of the author himself and in this case expresses his reflections and the worldview on issues that are relevant to Gaito Gazdanov. This character is an expressive of aesthetic
the looks of the writer himself. Merit of G. Gazda Nova, it can be considered that all his writer characters allowed to create in the literature
the image of the Russian emigrant writer: before it did not manage to make anyone from Russian writers.
BIBLIOGRAPHY
2. Gazdanovg. Collection of Op.: At 3 t. M.: Consent, 1996. T. I.
1. Adam J-M, Revaz Fr. Analyse des Textes. P., 1972.
2. Gazdanov G. Sobraniye Soch.: V 3 t. M.: Soglasiye, 1996. T. I.
The writing
Mikhail Zoshchenko - a writer unique. His works have a unique flavor: the spirit of the Soviet streets of the 20s of the 20th century. While almost all Soviet writers challenged the Great October Revolution, turned to heroic topics, Zoshchenko wrote about a simple person living in that complex era.
Almost all zoshchenko stories are distinguished by the fairy manner of the narrative. A story about some events is not on behalf of the narrator, a close to the author in terms of education and culture, looks for life, language. The narrator from Zoshchenko is a simple worker, a man of the street, "proletariat". Naturally, he conveys events from his point of view, as he understands it and evaluates.
We can say that the Hero of Zoshchenko fell ambitious changes. Life in the country has become absolutely another, starting with ideology and ending with new words that life began to be marked. The hero understands little in all this. In his poor head, everything was confused, turned into porridge. But, nevertheless, the narrator seeks to keep up with the times. From here - all funny and ridiculous situations that happen to the hero.
The storytellor in the works of Zoshchenko is difficult to confuse with a teller who has any other writer. In Zoshchenko, he speaks on a juicy, colorful language, which is filled, on the one hand, vulgarism and spacious, and, with the other, by chancellery and borrowed words.
Stories "Aristocrat" and "Marriage for the Calculation", for example, are united by one hero-storyteller - Gregory Ivanovich. We learn about him that he "Cavalier and power". But, most likely, Grigory Ivanovich is a simple plumber. In the story "Aristocrat" we read that he, interested in "one aristocrat", came to her as the face official and was interested in "in the sense of damage to the water pipeline and a restroom."
About the fact that Grigory Ivanovich is simple, we understand, already reading the first rows of the story: "Grigory Ivanovich sighed, wiped the chin with a sleeve and began to tell ..." Hero liked the woman he had for some reason he accepted for an aristocrat. He himself really does not know who is such an aristocrat and how she should look. I saw the Gregory Ivanovich the hat, the stockings of Fildekosovoy, the pizza on her arms and the tooth Golden - and decided that he met some former princess or countess. Moreover, the manners of this lady were "secular": on the street with her it was necessary to go under the hand. Ivanovy Ivanovich "Together" for his "aristocrat", "that Pike". Of course, for the hero, such manners are not only not familiar, but even wild. The narrator himself admits that he was ashamed to all the people.
Grigory Ivanovich is trying to care for his lady, but does not know how to approach this case. And then it falls. In the theater buffet, he treats the "aristocrat of" the cake at his own expense. Yes, only money in his pocket is not enough. Fearing that he is not enough and there will be a scandal, he looks in a panic, as a lady eats a cake for a cake. In the end, Gregory Ivanovich does not withstand and shouts: "Lodges back!" Of course, after such a confusion, his novel with an "aristocrat" was completed. Grigory Ivanovich shook until the end of his life not to meet with aristocrats.
The speech of the hero in this story complements his portrait. In the lexicon Grigory Ivanovich a lot of gross and integral words and expressions: "Mother is honest", "in the edge", "turns hands to the horn", "Barakhlova", "Dog", "eats", "Money - Cat has been cutting", "with Gulkin's nose "," Singhary Gusen, such a bourgeois of a wonderful look around her "," I don't see a fuck "," Fry "," tooth in the mouth "," bastard ", etc. The hero seeks to seem to the cultural person, turns into his Speech "Smart" Lucky, but it becomes even more likely to be visible to be visible: "I am terribly liked," I will come, as the official official, "" Crane "," Indifferent "," Funny Fantasies "," Experts "," Sorry for the expression " In addition, the Speech Gregory Ivanovich entered the words - Timesticks: "Deployed its ideology," "You, Citizen".
The deeper image of Grigoria Ivanovich is revealed in the "Marriage Marriage" story. It turns out that this "old revolutionary, from the ninth year" does not want to work at all, but is looking for a bride with dowry or at least with a "discharge and rate." And as soon as his young wife lost his job to reduce "as a married", so in Grigory Ivanovich, all love has passed to her immediately. And he again turned out to be in a free search.
So, from an unsuccessful cavalier, this image converts into the negative nature of the "dowry hunter".
In such stories, like a "glass", "Banya", the image of the character of the narrator is complemented by another characteristic feature - absurdity, attempted, some kind of childishness. With a storytellor, some funny and, at the same time, sad stories are happening. For example, in the story "Glass" Hero, being visiting, inadvertently breaks the glass. Because of this, the owners inflate a whole scandal. The storytellor is very insulting to listen to claims from the owners, but he only responds to all their insults: "Ugh at all, and on the Lelno pah." In the end, the hero had to pay money for a glass, but he won a broken glass of "out of principle": "Therefore, indeed, when my character will go, - I can get to the Tribunal."
In many stories Zoshchenko, the narrator only reports the events whose witness he was ("Nervous people", "Game of Nature", "Dog Nyuh", etc.). Here his image, on the one hand, is moving into the background, but on the other, all that happens we see the eyes of the story, it is he who forms our idea of \u200b\u200bevents.
Therefore, it can be said that the hero is a narrator - one of the main heroes of the works of Zoshchenko. This is a simple man "from the bottom" living in the city. He observes the changes occurring in life after October 1917. Moreover, it can be said that the narrator is a revolution product. In his head and in his speech, a lot of things are intended: a rustic past, urban culture, revolutionary ideology. The hero seeks to keep up with the times, but it does not work well. Whether he is so stupid, is it a difficult time? And what do you think citizens?
The literary debut of Yu. Kazakov coincided with a strip of deep changes that attached the literature a new public and aesthetic quality that secured after her forever and determining one of its main properties.
Creative heritage Prosaika can be viewed and evaluated from different positions. On the one hand, his stories enclose the author's open controversy with the tradition of the idealization of reality, simplified image of human relations. This phenomenon was characteristic of the prose of many writers of the 60-70s. On the other hand, the Prose Yu. Kazakova is fully fitted in the framework of domestic literature and in some sense is its continuation.
The writer of a new direction most clearly expressed his commitment to the artistic traditions of Russian classics, the desire to fully use the national herifting of domestic literature. According to the most researchers of the writer's creativity, Yu. Kazakov revived the traditions of Russian lyrical prose in all its genre-style varieties and wealth. The influence of Russian classics is manifested in the noble beauty and painting of the Russian language, the accuracy of stylistic reception, a developed sense of measure, especially important for the author-narrator.
Modern researcher Egyns N.E. Lines the typology of the story of the writer, according to which all the stories Yu.P. Kazakov are divided into two types: a story-event and story-experience. This classification, according to the author, "is conditional in nature and is created with the sole purpose - to comprehend the work of Cossacks deeper."
The object of the artistic image of Yu. Kazakov becomes modern reality with its eternal problems of the meaning of life, the relationship of people, moral and ethical, philosophical, social issues. The writer seeks to catch and show the "spiritual cosmos" of the state of modern society. The choice of the genre also predetermined the author's addiction.
Analyzing the prose Y. Kazakov, critic L. Anninsky, in particular, notes: "There is a feeling of mysterious simplicity: the simplicity of the word, thoughts, landscape, details. The feeling of courage, but not underlined, and detached: it is in this simplicity of the stroke. "
The story "In the dream you are bitterly crying" - one of the early lyrical works of Yu.P. Kazakov, in which the most typical vehicle prose feature a line of subject, psychological narration.
The form of a story indicates the presence of a speaker-storyteller, who is at the same time a participant in the art event. The storyteller and the lyrical hero act in a duet, and all the stories' events are associated with them and through their worldview are reproduced.
Lyrical experience as an expression of the position of the author and how the form of the author's narration is characteristic of the entire creativity of the writer - the sixtieth century Yu. Kazakov. The stories and stories are distinguished by the highest degree of lyrism and psychologism. It is in this story that the style of the writer's prose is most clearly manifested: touching intonation and superstral sentimentality. The event of the story of the story is significantly weakened, the main object of the story becomes the internal experiences of the lyrical character of the story. The monological form of the narrative ensures the most complete and objective expression of the senses and moods of the character of the storyteller.
Kazakov's prose's hero - a man internally lonely, with the sophisticated perception of reality, an exacerbid sense of guilt. The last stories "Slices" (1973) and "In a dream, you cried in a dream," the main character of which, in addition to the autobiographical narrator, is his little son, is his little son.
The story precedes a kind of lyrical entry "There was one of those summer warm days", sending to the Turgenev narrative-poetic description of the landscape. The storywriter leads a long conversation with a small son-son, telling him different stories. But for him there are not so many of these stories, how many impressions that produce these stories-conversations on a small son. And the child itself becomes the object of thoughtful and experiences of the hero.
Sentimental, touching experiences are replaced by a sad memory of the tragic death of a comrade, a friend with the Father. From the memories of the father, the character of the narrator returns to the story about a walk with her son in the forest.
The desired and gentle feeling of the Father to the Son, caused by a smile of a child, also becomes the object of his story-thinking. "You smiled mysteriously. Lord, whatever I gave to just know what you smile as vaguely alone with me or listening to me! Do not you know something that much more important than all my knowledge and all of my experience? ". And re-come memories, but already about recent events related to the birth of the Son.
The originality of the story composition "In the dream, you are bitterly crying" is that the plot lines, or narrative situations of it disparaged, diverse and less related. Touching-lyrical intonation and tense rhythm of the narrative transmit the entire range of internal experiences and moods of the character of the narrator, overflows and transitions from a comfortable-enthusiastic state to the obscure crying.
The character of the narrator seems to miss the thoughts, moods and feelings of the son, trying to understand, comprehend the inner drama of the children's soul. And the deeper the father is immersed in the world of children's experiences of the Son, the stronger the longing and bitterness of the upcoming parting with an expensive little man. Hence sad, sentimental intonations.
In the same thematic key, a lyrical story "Slices" was written, where the main hero of the story was once again the author. The story of the story is the conversation of the father with his son. Two voices constitute a single speech stream. But the father's voice dominates.
The storyteller acts as a participant in the artistic event, at the same time he watches the events and actions of another character - a little son. The story about the Son acquires the form of the conversation: the father tells the son of himself.
In this story, the primary form of narration prevails. The narrator is personified, recognizable in the text. He owns all the narration. In addition to him, there is a companion in the text - a small boy who addressed the text of the storyteller.
In "I", he expresses his own opinion, the point of view on events and faces. The intonation, the rhythm of the narration is changing, varying, reflecting the inner experiences and mood of the character of the narrator. In this case, transitions from calm-contemplative to stress-dramatic are possible.
In the story "Blue and Green", the narrative is conducted from the face of the character of the narrator. This is a lyrical story about touching first love and as touching young men with his beloved. "I carefully take her hand, I shook and let go. I mumble my name. It seems that I did not even immediately realize that you need to call my name. The hand, which I just let go, gently whites in the dark. "What an extraordinary, tender hand!" - I think with delight. " In the presented passage, the hero-narrator is present and designated in the structure of the narrative form "I". All further events, environmental objects are given from his position.
The character of the narrator seems to be focused on herself, his feelings and sensations. The state of internal excitement and confusion is expressed in its actions. He contemplates more, studies, evaluates situations, behavior, household items, reflects. From thought proceeds to the description of the painting of nature. Thirst for discovery moves by a storyteller.
The story is written in the form of a lyrical monolor from the first person. The peculiarity of the story is that the events of the past are shown as if they are currently taking place. And the feelings experienced by the hero-taled worker are experienced by him as if reover. The inner state of the narrator is revealed in the change of action performed by him. "I snatch, put my hands in my pockets and with the flow of seeking I go to the exit to the square. I squeeze the cigarette in the teeth and look at the silvery lamppost ... and I lower my eyes ... "
The painter form is not the only way to keep a story in prose Yu. Kazakov. In other novels of the writer, you can detect other forms of narrative. For the writer's prose, it is characterized by an appeal to a narrative form from a third party, traditional in the Russian prose of this period (such stories as "Arcturus - Rook Disci", "Adam and Eve", "Range of Breghet", "Blue and Green", "Night", "Quiet Morning", "ugly").
The analytical reading of the lyrical prose Kazakova convinces that the narrative structure of his stories is distinguished by a variety of forms of narration: from the first person to the third, from the monologue to the dialogue, from subjective to objective. The central hero of his prose hero is a narrator, the nature reflexive, deeply suffering, philosophizing. Consciousness "I" - a narrator coincides with the author's consciousness. The distance between them turns out to be insignificant, sometimes it is erased. This gives all the prose of the writer confessional character. "I" - the narrator seeks to express the fact that many of his contemporaries experienced, while at the crossroads of the coming decades of the "Khrushchev thaw" and "Brezhnevsky's timeless."
Genre of Story
In November 1959, Cossacks wrote by V. Bulk: "I thought, no more, no less than to revive and revive the genre of the Russian story - with all the consequences arising from here. The task is proud and entertaining. Our story was once strong enough - before the imbelief of the arrogant Westerners. And now we are flattering and timidly thinking about all soroans, Caldwells, Haminguy, and so on. Shame on our heads! .. Let's strain our sorrowful dyes and rashes and prove the swollen west what Soviet Rus! ".
In literary review, the opinion is common, according to which the story is Russian equivalent of the term "novella", its synonym (V.A. Nedzvetsky). With regard to the Cossack, this distinction is fundamentally important. He really worked only within the boundaries of the "small" genre, but wrote in the genre of the story, and not novels.
The writer himself strictly raised these varieties, believing that the novel was a genre of Western literature, and the story is a small epic form with the original Russian "national roots": "There (in the novel) logic, here (in the story) poetry, there are events, here life ", there" External plot "," witty, exciting ", with" sudden, often paradoxical, ending ", here" internal "(" Memories of happy and unfortunate days, minutes experienced "hero or" moments "when he Feeling "Suddenly the Time and Brotherhood of People").
The brevity is a genre-forming sign of the story. By virtue of its short, the story is extremely mobile: it turns out to accumulate various formal and meaningful trends. This feature of the limiting content and formal concentration of the genre under consideration is the cause of approaching it with the elements of poetry, impressionistic aesthetics. The shortage of the story requires the limit concentration, but, as Cossacks believed, this sense thickening should not lead to schematics. The story, unlike the novel, should remain a "free" genre, which, in our opinion, in prose Kazakov is just achieved thanks to impressionistic aesthetics, since impressionistic novels, sketch, are not responding. They do not have an objective clarity of a realistic story, there is no energetic schematics of expressionistic novel. Coloring events is more important than Fabul. The personality is interesting only within a given moment. It is precisely such as researcher A. Shorokhov Kazakov's stories: "Proza Kazakov - a permanent questioning. And yet - life, chromating, like all its definition, allowlessly, rarely rarely splashing to the question, and never before the answer ... fluid.
As you can see, the writer explains his preference to his preference with the artistic method of impressionism - by the method, the initial purpose of which was the removal of all restrictions from creativity, conditional delimitation, in which the faces of the face between poetry and prose, which is still the cause of the impressionistic work to " Small "genre: The brevity of any talented literary work is a consequence of language" concentration "- the main quality of poetry.
Indeed, his works are characterized by a number of impressionistic features, some of which he designated in his reasoning: "MAKA technique", visual "condensity", the desire to recreate reality in its primacy, the predominance of the subjective principle (the transfer of impressions through perceiving consciousness), suggestion, etc.
Cossacks, as already mentioned, in his work I preferred the story as a genre sufficiently free from all kinds of artistic conventions, unlike the novel. For the same reason, literary critic A.V. Mikhailov determines the impossibility of high-quality distinction between the Russian story from the middle and large epic forms: "Novella is primarily opposed to the story of both the form, an open world and not internal completion, as a genre that differs in quantitatively from the story and novel, but also directly reproducing validity in its latitude and completeness. " Story, according to A.V. Mikhailov, opposed to Novella. If the novel is distinguished by the presence of a complete external plot, an event, the story is not completed, in its essence, the plot in the traditional understanding is often absent in it, the content of the story seeks in the perfect version as if to continue real reality. If the novella is extremely concise, and even to a certain extent schematically (a slender composition is clearly charged), then the story is descriptive, everything is built on associativity, a thin game of consciousness, hence deeper psychologism, greater expression, meditativeness. If the author of the novels seeks to be as objectively as possible in his work, then the author of the story, on the contrary, seeks to present what is happening, "missing" through the inner world, the emotions of the narrator, characters.
Thus, the researcher comes to the conclusion that the story is presented as the removal of restrictions from the novel and the only combining characteristic of them is brevity, quantitative indicator. Therefore, the novel and the story still have certain general characteristics.
Conclusion
The stories of Yuri Pavlovich Kazakov are an important phenomenon, without which it is impossible to understand the development of lyrical prose. They are associated with traditions. These traditions largely go from Bunin, Chekhov, Turgenev, L. Tolstoy. From the Russian classics, the writer adopted the harmony and accuracy of the phrase. Also in his work, the writer is based on the experience of Soviet classics, experiencing M. Gorky, M. Privina.
The poetic style of Kazakova, the leitmotive structure of its stories have the properties of a unique individual existence of a writer, which is existential. The merger of poetic and prosaic began in the work of Cossacks is based on the antinomicity of his creative consciousness and, at the same time, the desire to overcome the contradictory perception of the world, to gain internal integrity, initial harmony.
Art Consciousness Y. Kazakova included the search for its own aesthetic agents that can adequately express the complex world of the XX century personism. Overcoming one-sided perception of reality, approaching the detection of the essences of being, the writer entered the orbit of existential consciousness, which invariably called for a change in the nature of its realism. Organically enriching it ornamental, impressionistic trends, Cossacks revealed new opportunities for a realistic way to master reality. All these qualities of Jury Kazakov simply suggest that the stories of the writer, created in the best traditions of the Russian story of the XIX and XX centuries, have harmonious integrity and perfection.