Roman "What to do? Problems, genre, composition. "Old World"
"I loved you so sincerly, so gentle,
How do you give you a loved one to be different ... "
A. S. Pushkin
When I began to disassemble the novel N. G. Chernyshevsky in detail, I got three shelves. On one - the moral relationships of the heroes with the world and among themselves. On the other - economic surveys. And on the third, secret, shelf - the revolutionary activity of Rakhmetov. The author wrote his wife that he had conceived a book ... In the easiest, popular spirit, in the form of almost novel, with jokes, scenes, sharpness, so that everyone who does not read anything other than novels read it. These lines tell us that Nikolai Gavrilovich preferred the literature for the mind. However, for the sake of increasing the reader audience, he went to melodramatic tricks. But even a love genre, thanks to the educational gift of the writer, turned into an entertaining textbook on the upbringing of feelings. It has pages about the position of a woman in society, about love and jealousy, about new family relationships. The main heroine of Roman Veroch, subsequently Vera Pavlovna, began to struggle for his right to love, still being in the village of enemies, see you with "new people." Mother wanted to marry her for a rich, but worthless man. Faith made a brave act when there was a wave of mother. The first allied girl in this struggle was the frivolous French Julie. This image is interesting because the author does not condemn the fallen woman, but shows that it is freer and in many ways decent to the venerable ladies. I imagine how Chernyshevsky contemporaries were shocked in that it was in the selling woman's customs that he put a flammable call: "Melci, but do not let the kiss without love!" Juli's herself can no longer love and considers themselves unworthy love. But it does not prevent her from understanding the value of a true feeling.
The acquaintance of the windows with Lopukhov became swivel in her fate. In a notprofitful student, she found the first like-minded person and a faithful friend. He became her Savior, helped her break out of a gloomy basement on a bright sunlight. In his first dream, the liberated faith produces on the will of other girls and first meets the so-called "bride of all grooms". Who she actually becomes clear only in the fourth dream. The Veroch could not love Lopukhov and was very happy when he married him. The author describes in detail us, what orders set in the "new" family. Lopukhov praised his wife for what the old husbands could not imagine - for independence: "So, so, the Verochka! Anyone let protect his independence by all means from any, no matter how loved him, no matter how believed him. " Chernyshevsky defends the revolutionary idea that a woman is no worse than a man and should have equal rights with him in everything.
For several years faith and Lopukhov live in complete agreement. But gradually in the soul, our heroin appears a vague feeling that she is missing for something. In the third dream the reason for this anxiety opens. That feeling that she is experiencing to "cute" is not love at all, but the wrong gratitude is wrong. Moreover, she truly loves her husband's best friend. And Kirsanov loves faith Pavlovna for many years. It seems to me that in the novel "What to do?" It is love that subjures the verification of the faithfulness of the heroes of the ideals of the "new" life. And Lopukhov, and Kirsanov, and the Verochka pass this test. In his torment, they appear not with heroes, but just good, decent people. The resolution of this love triangle is very original. The "permeable reader" is simply impossible to believe in the existence of such a decision. But the author does not care the opinion of the average man.
The "special person" of Rakhmetov is also inspected by feeling. "I don't have to love," he says and makes himself an iron warrior, but love penetrates his armor and makes exclaim with pain: "... and I also do not distract the idea, but a person who would like to live. Well, nothing will pass. " He, of course, heroic personality, but it's sorry for me, because a person who chosen love becomes an insensible car. Subsequently, he can only argue about feelings, but he should not believe in these matters. Rakhmetov speaks the violence of jealousy: "In a developed person, it should not be her. This is a distorted feeling ... This is the consequence of a look at a person like my affiliation, as on the thing. " The words are correct, but what can know about this harsh warrior? Only one who loves and defeats the insulting jealousy for another jealousy.
My favorite hero in the novel is Kirsanov. Unlike Rakhmetov, when Kirsanov realizes that he loves his friend's wife, he struggles not with feeling, but with himself. He suffers, but does not disturb the calm of the windows. The jealousy and desire of personal happiness for friendship. It seems to me that the words of A. S. Pushkin, which I took the epigraph to the composition, can be fully attributed to the love of Alexey Kirsanov.
In the fourth dream of Vera Pavlovna N. G. Chernyshevsky unfolds the picture of the ideal future before readers. Love is in it a great place. Before us is the whole history of mankind from the point of view of the evolution of love. Veroral finally recognizes the name of his guide star, "sisters of all sisters" and "the bride of all the grooms": "... this word is equality ... from him, from equality, and freedom in me, without which there is no me." It seems to me that the author wanted to say that without freedom of choice and equality of rights, true love cannot exist.
In the final part of the novel, we see Pavlovna, Kirsanov, Lopukhov, and his new wife Katya completely happy in love. The author is happy for his heroes: "... few have been tested that the charmingness that love gives everything is not at all ... to be a fleeting phenomenon in a person's life." The happiness of love will be eternal, only "need to have a clean heart and honest soul for this and the current concept of human rights, respect for the freedom of who you live with."
CH -this is the first and most famous Roman Chernyshevsky, who was created by a writer in the Petropavlovsk fortress.
This is a novel with both an artistic and socio-ideological side. Roman is ideological due to the fact that:
From the lecture Makeev: Motivation of characters, principles of Lopukhov's life, Kirsanov, faith of Pavlovna (achievement of science, for example) which they are guided, seem not very realistic. In this case, the task of implementing these motivations falls on readers. Therefore, the novel is the novel ideological, Roman Sermon. Based on the thought of Chernyshevsky that the path to the implementation of ideals of socialism lies through moral re-education and moral rebirth of a person.
It is also worth noting the feminist focus "What to do". The carrier of all good in the work is precisely the feminine start - it is truly the life-giving and moving the progress forward. Interestingly, Chernyshevsky's wife was the prototype of Fair Pavlovna.
Problems of art: Features of the novel.
1. Duality of the plot. The Chernyshevsky Biddy, it would seem that the history of the liberation of the daughter of a small St. Petersburg official from his home captive, a stressful story of the struggle of the Russian woman for the freedom of his personality, for civil equality. Vera Pavlovna is truly not heard and not seen before the way reaches material independence. She leads a sewing workshop and here, develops an active, purposeful, initiative.
This storyline is intertwined on the other hand, showing the implementation of a new woman even more significant life goals - achieving spiritual, moral and social independence. In relations with Lopukhov and Kirsanov, the heroine acquires love and happiness in their truly human high sense. Finally, the third storyline appears in the narration - Rakhmetovskaya, which seems to be crossed out only in external way with two first. In fact, it is not a side episode, not "insertion" and not branch from the main plot, but the most real isto it.
2. The originality of the composition what to do? ". The novel begins" eliminated "from the middle of the scene - climax: suicide on the bridge, the mysterious disappearance of one of the main actors. And besides, the story is also interrupted by outsided episodes, theoretical conversations, dreams. A.V. Lunacharsky, who wrote to Soviet times the best work about Chernyshevsky fiction, noticed: the author "What to do?" Used deeply thoughtful composite techniques. These are some situations (Provisions) characteristic of love-adventurous novels: mysterious incidents, unexpected turns in the development of events, spectacular clashes. All this gives the novel Chernyshevsky multifaceted character, makes its complex composition.
And the narrative is completed by a well-encrypted episode that took one incomplete page in the novel, without hesitation, called the author of the head, is the "change of decorations". And it's not by chance that the victory of the revolution was predicted here, for what a novel wrote.
3. Publicistic and polemicness of the novel.
Of particular interest is the image of the author, which in the work directly leads a dialogue with the reader. The author hopes for a friend's reader, a like-minded person who knows how to read between the lines, to solve the underwent, to understand the subtleties of Ezopova speech, and at a less enlightened, but a tortured reader who, who became interested in the personal destiny of heroes, will gradually enter the circle of reflection of the author.
/ / / Problems of the novel Chernyshevsky "What to do?"
The problem of revolution is closely related to moral issues. N.G. Chernyshevsky showed how psychologically the characters of people capable of going first against the family oppression, and then against the main part of society.
In moral terms, the author also raises the problem of love, which has a special relationship with family, revolution and female independence. The author shows how the marriage for the calculation is replaced by marriage in love. There is also a problem of choice when before Lopukhov, who understands that faith does not like him, a choice appears, where he makes a decision that is beneficial for both of them. The hero is not able to limit other people in their feelings. He, like other "new people", against marriages with unloved people.
The problem of emancipation is connected. The author shows an unfair attitude towards women who do not have the opportunity to work and marry love. The writer opposes female cure. Faith struggles with this injustice, she in his workshops gave freedom to girls working for her.
Thus, N.G. Chernyshevsky in the novel "What to do?" puts current political and moral problems that he is trying to solve. Roman is a kind of textbook of life.
Nikol Ai Gavrilovich Chernyshevsky-Romanist and Russian Democratic Belletristics of the 60s
The development of Russian realism of the 60-80s occurred under the sign of the formation of a "sociological" (or social) course, which has changed the flow of "psychological" in the Russian historical and literary process. In domestic literary science, this conditional typological distinction was entrenched, indicating the difference between the divine principles of incarnation in the literary product of the relationship between the individual and the medium. In this course, it is customary to allocate a line, conventionally designated as a socio-ethical, in line with the work of L. Tolstoy and F. Dostoevsky, and a revolutionary-democratic (or educational), who gave the domestic literature of the Chernyshevsky school, Nekrasov, Saltykov-Shchedrin.
Chernyshevsky entered the history of domestic literature primarily as the author of the novel "What to do?", Which had an enormous influence not only for the subsequent development of Russian realism, but also on the formation of the moral ideals of the whole generation. The traditions of Chernyshevsky-Romanist were most consistently embodied in the democratic literature of the 60s and 1980s of the XIX century., Who secured the opening of the psychology of the "new" people from the medium of the allocates, who became the heroes of the novel "What to do?
The creation of the novel was preceded by a significant stage in the spiritual development of N.G. Chernyshevsky, reflected in his journalistic and literary-critical activities, which was associated with the magazine "Contemporary". Being the leading literary criticism of the magazine (1853-1862), Chernyshevsky defends in 1855 the dissertation on the degree of Master of Russian Literature ("aesthetic attitudes of art to reality"), in which he performs the successor V.G. Belinsky, completing the work launched work on theoretical substantiation of realism, the problems of the nationality of art. The main subject of research in the dissertation of Chernyshevsky became the central issue of aesthetics - the attitude of art to reality. Critic formulates the main aspects of the relationships of art and life: philosophical and epistemological ("reproduction of life - a common characteristic sign of art", art - "Life Textbook") and social and axiological ("Works of art have another meaning - explanations of life ... and sentence On the phenomena of life "). These aesthetic principles have formed the basis of the theory
critical realism, gave a methodological key for scientific forecasting paths of domestic literature.
Following the logic of the designated principles of the approach to art, Chernyshevsky formulated the aesthetic ideal of the beautiful idea of \u200b\u200bthe concepts of "simple people" (life "in contentment with great work, not reaching, however, before the strength of the forces), gave the characteristics of the revolutionary-democratic interpretation of this ideal providing for satisfaction The material, mental and moral needs of a person: "Noble aspirations to everything high and beautiful recognizes science in man as significant as the need to eat and drink." For the first time in aesthetics, Chernyshevsky proclaimed the socialist ideal of a person as a comprehensively developed personality.
Arriving that "practical life hugs not one material, but also mental and moral activity of a person," Chernyshevsky, thereby spreads the scope of the emergence of elevated. Attention. According to Chernyshevsky, they can not only make elected personalities, but also representatives of the mass ("and were always everywhere thousands of people, the whole life of which was a continuous side of sublime feelings and affairs ... It depends on the person himself, to what extent his life is filled Beautiful and great. "In his literary critical works, Chernyshevsky justifies the program of activity of a positive-wonderful person. So, in the review" Russian man on Rendez-Vous "(1858), dedicated to the story of Turgenev" Asya ", criticism recreates the image of the hero of the new time, Drawing it as a public figure, whose words do not disagree with the case. The new hero, in his opinion, will not come from the environment of the enlightened noble intelligentsia, which has lost civil positions, and from the environment of democratic youth, which will find the effective way to rapprocherate with the people: article "Not Is there a change? "(1861),
In the reviews on "Childhood and Advocacy" and military stories. L. Tolstoy "(1856) Chernyshevsky expresses a judgment on the originality of the talent of a young writer who came into literature. Considering the peculiarities of the psychological analysis of Tolstoy, it indicates that most of all the graph of Tolstoy occupies "the mental process itself, his shape, its laws, the dialectics of the soul to express the definition term." In the same article, Chernyshevsky draws the attention of readers to the fact that the creativity of Tolstoy was marked by an exacerbid interest in the "moral side" of the phenomena of reality, to social socio-ethical issues.
Arriving the need to express the heroic in the literature, Chernyshevsky persistently carried out the idea that at this historical stage of the development of literature the most fruitful path of the "Gogol direction", directions are the advantage of critical. In the work "Essays of the Gogolian period of Russian literature" (1855-1856), he develops the theory of realistic art, arguing that his further path is the creative synthesis of life, politicians, science and poetry. The aesthetic installations of Chernyshevsky will find an embodiment in the novel "What to do?" (1863), which was written by him in the Alekseevsky Retalier of the Petropavlovsk Fortress.
Artistic method of Chernyshevsky-Romanist
In a letter to N. Nekrasov dated November 5, 1856, Chernyshevsky wrote that he lays special hopes for him as a poet, in whose work was harmoniously united "heart poetry" with "Poetry of thought" and that "heart poetry has the same rights as And the poetry of thought. " The time confirmed Chernyshevsky's forecast for Nekrasov, who opened a new page in the history of Russian poetry. Chernyshevsky himself artistically embodied the principles designated them in the novel "What to do?". In it, the author specified the concept of "poetry of thought", understanding the poetry of natural science, political, socialist ideas, acting in this case as the ideological supporter A. Herzen. At the same time, the "heart poetry" occupies an author not to a lesser extent: speaking the heir to the traditions of the Russian novel (first of all, Roman I. Turgenev), Chernyshevsky rethinks it and presents this side of the life of his heroes in the light of the theory of "reasonable egoism" - ethics " new people, the heroes of the new time.
In this case, the intellectual, rationalistic start becomes poetic content and takes the appropriate artistic form. The aesthetic substantiation of a new type of artistic thinking is associated with the name of V. Belinsky, who wrote in the article "A look at Russian literature 1847": "Now the most limits of the novel and the story spread", therefore, "Roman and the story give a full expanser to the writer in relation to the prevailing property of his Talent ", when" the thought element ... merged even with artistic. "
The author "What to do?" Starts the story with explaining the special aesthetic position of the storyteller, arguing about his artistic tastes and the final dialogue with the "insightful" reader with the recognition that he has no shadow of art 370
Ayaznta. " This statement contains a clear hint of the proximity of the narrative manner of the novel by the works of A. Herzen, noting the features of the style of which Belinsky wrote: "The power of thought is the main power of his talent; Art manner grabbing the right phenomenon of reality is a secondary, auxiliary force of his talent "(" A look at Russian literature of 1847. Article Etya ").
Indeed, in the novel "What to do?" Scientific and sociological thought organizes the structure of the work, determines the features of its plot-composite structure, the system of image images and stimulates the aesthetic experiences of the reader. Having made the philosophical and sociological thought of the genre motivation of the work, Chernyshevsky thereby expanded the ideas about the artistic work of realistic art.
"What to do?"
The studies dedicated to the novel contain a significant number of versions explaining its complex architectonics. Attention was paid to the "internal construction" of the work on the "four belts", on the "dual plot" (family-psychological and "secret", Ezopovsky), "multistageness" and "cyclicity" of a series of closed plots (stories and chapters). Attempts were made to prove that the peculiarity of the structure of the novel is that the front "Aggregate of the Agent", united by the copyright analysis of the social ideal and ethics of "new people".
Indeed, in the scene lines of the novel, you can note the following traditions that have gained an embodiment in the works of Russian writers of the middle of the century. This is the motive of the suffering of a girl in his native family, alien to her in spirit, and a meeting with a man of high civil ideals ("Rudin", "On the eve", "opening"), the situation of a love triangle, the way out of which is a woman ("noble nest", " Storm"). However, the nature of the compounds of genetically ascending to certain types of plot schemes of the novel situations demonstrates the author's innovative approach to solving the task. Roman "What to do?" With all the apparent mosaic, construction has a through line of narration. This is a story about the formation of a young generation of builders of a new life. Therefore, in the story of the life of the faith of Pavlovna, naturally (sometimes, even contrary to traditional ideas about the "main" and "minor" characters), the stories about Dmitry Lopukhov and Alexander Kirsanov, Kate Polozova and Nastya Kryukov, Rakhmetov.
Originity of the genre romana It consists in combining three substantive-structural elements in it: describing the intimate-family life of heroes, analyzing the process of mastering the new ideology and morality and characteristics of ways to implement ideals in reality.
l Artistic Unity Roman also attaches the auto-narrative function.
Chernyshevsky comes out on a conversation with the most different readers. This is stated by a wide range of intonation funds used by the storytellor. include I. Irony, and mockery, and sarcasm, and the patter. It is ironically sometimes that words characterizing the level of moral development of the "good" readership "public", which is still "illegible and inaccessible", which the Romanist has to be attracted to its side. Chernyshevsky uses the reception of a literary mask, veiling in such a way its own point of view. The storybook justifies the "main requirements of Human frommore.
A special role in the structure of the novel belongs to the "dreams" of the Pavlovna faith, which cannot be considered as an extra-made "inserts" necessary to disguise revolutionary and socialist ideas. The "dreams" of faith of Pavlovna are the interpretation of the nodal elements of the event plot. In the first two dreams, the relationship between the faith of Pavlovna with the "vulgar people" of the old world was completed and the transition of it to the "Society of Pure People" was traced. The third dream psychologically justifies the plot of the second marriage of the heroine, and in the fourth presented the spiritual world of the developed personality of the Faith of Pavlovna and the image of an excellent future was created.
A particularly important role in the artistic structure of the novel is played by the fourth Son of Faith Pavlovna. It was in this dream that a qualitatively new face of the realistic method of Chernyshevsky-Romanist, which included the "idyllic" paintings of a bright future in the work of "idyllic" pictures of a bright future. Relying on the experience of the works of the Socialists-Utopists, in a special author's retreat, the author claims that "the purest nonsense, that idyll is not available; It is not only a good thing for almost all people, but also possible, very possible. " A few years earlier, Chernyshevsky justified the "idyllic" poetics of the future novel, characterizing the features of the works of the Socialists-Utopists; "... The first manifestations of new public aspirations always have the nature of enthusiasm, dreamability, so more like poetrythan to serious science. "
It should be noted that Chernyshevsky retreats from the "canon" adopted in utopian novels, and transfers the function of the narrative of the future heroine. The change of the "subject" of the story is a significant fact: "Sleep" faith of Pavlovna primarily - the result of the "processing" of the individual psyche of the impressions of the impressions, therefore characterizes the self-consciousness of the heroine at a certain stage of her life. Chernyshevsky gave himself aware that the "idyllic" image of the upcoming communism created in the novel is the fruit of pure fantasy, it "cannot create a single element for its paintings, besides the reality given to it."
One of the bright images of "Sleep" is the "Crystal Palace", in which the people of the future live. Its image goes back to the ferris of the Palace of Pakston, compiled by Chernyshevsky in 1854 and published in the August issue of "domestic notes" (the locality described in it is called Saydengem, and in Roman Sidengam). This palace was built in the London hay Park for the World Exhibition of 1851, and then his advanced project was resumed three years later in the town of Saydengem. From this description later and
the poetics of the fourth "sleep" of Vera Pavlovna are formed. Such details of the image as "the most fatal, most excellent halls" capable of accommodating a huge number of people in lunch and recreation hours, greenhouses, glass, orchestras, magnificent table setting - all these "fantastic" elements of the lives of ordinary people who know how to work and rejoice are undoubtedly Go up to the description of the real celebration of the opening of the Crystal Palace.
Between the "Single" faith of Pavlovna and the magazine Review there is a similarity of other order. You can talk about the coincidence of composite methods of deploying the image of human history in both descriptions. In the description of the Crystal Palace, the reader got acquainted with the museum expositions of Egyptian, Greek, Roman, Byzantine, and so on the chambers, the exhibits of which reflected milestones of human history. In the novel, the movement of time in understanding the heroine is represented as a movement from the era, the symbol of which the Phoenician goddess Astarta (Woman Slave) became, to the image of Greek Aphrodite (Queen-Semi-foreground), the goddess of the Middle Ages comes to replace it - mournfulness, etc.
It should be noted the important role of poetic inclusions in "Sleep". They perform several functions. They can be viewed as a lyrical version of the main topic of the novel - the theme of the liberation sounding in the publicistic retreats of the author-narrator. The poetic inserts are introduced into the novel of the Motive of the "inspired poet", singing the anthem of the Sun, Light, Love. Interestingly, the fourth dream of Vera Pavlovna predict the row cited by Chernyshevsky from the "Russian song" by A. Koltsov, who at the very beginning of the chapter "pick up" the lines from the "May song" Goethe and the poem of Schiller "Four Centuries". Unconditional symbols of poets in a dream of a heroine: Chernyshevsky "erases" the temporary and stylist difference of the manner of each of the poets, thereby pointing out on the timeless character of man's desire for freedom. At the same time, it can be assumed that in this way Chernyshevsky indicates the "sources" of the moral state of the heroine, brought up in the educational ideas of Goethe, the romantic pathos of Schiller's poetry, National Poetry Koltsov and Nekrasov.
Thus, the "Utopia" of Chernyshevsky, created in the dream of the Faith of Pavlovna, is not the fruit of the author's pure fiction, as it is impossible to name and the image of the driver's workshop by creating the author's fantasy, this is evidenced by a large number of documents confirming the existence of such public organizations (sewing, shoe workshops, Artists of translators and rebooters, isto- 374
0BTX Commune), which set themselves the purpose of the formation of the social consciousness of the simple people. In the novel itself, the fourth sleep compositionally is located between the story of two workshops - faith of Pavlovna and Merzalova - and directly precedes a message about the device of a new workshop and hopes that "two years instead of two sewing will be four, five, and there will soon be ten and twenty. " But if the Communes were a promotion of the future for the Chernyshevsky and his like-minded people, they instilled their hope for the accomplishment of the social revolution, then for such writers, like F. Dostoevsky, N. Leskov, they were alien phenomena of Russian life. In the "Crime and Punishment", F. Dostoevsky rose the ideas of the commune, embodying his negative attitude towards them in the image of morally uncleanproof Lebesyatnikov, and N. Leskov dedicated to the exposure of the insolvency of the socialist "hostel" Roman "Nochuda", following the tragedy of the pure soul of people Rainer, tied by the "new" people.
In his novel, Chernyshevsky introduced the reader with different types of "new people", continued by Turgenev bazaarov, the Chernyshevsky went to a well-known risk, taking artistically justify the possibility of dividing "new people" on "ordinary" (Lopukhov, Kirsanov, Vera Pavlovna, Polozov, measures - Tsalova) and "special" (Rakhmetov). However, the image of Rakhmetov in the plot of the novel is motivated by socio-psychologically: there is a need for change in society, so it caused a new human breed. Rakhmetov is almost deprived of individuality (a brief biography of the hero, "bare-out" from its medium, rather a means of typing, rather than individualization of the hero). Groteskov turns out to be one of the central, memorable episode with a bed, stubborn, nails, exaggerated "Romanic history" with a young widow. It is curious that the love plot about Rakhmetov becomes known to the reader with the words of Kirsanov, which gives the appropriate assessment of the behavior of his friend at Rendez-Vous. This is a significant fact of the novel: it reflects Chernyshevsky's confidence in the fact that there is no insurmountable border between "ordinary" and "special" people. It is not by chance that it is Rakhmetov by the author "trusts" to clarify the act of Lopukhov and transfer the note from him to the faith of Pavlovna. Chernyshevsky does not show a "special" hero in the field of practical activity, how to happen to "ordinary" people who lead educational work among the people: Lopukhov and Merzalov - with girls in the workshop, Lopukhov - with students and workers of the factory. Imagining personal traits
revolutionary, Chernyshevsky experiencing certain difficulties in to specifically portray "Underground" activities of Rakhmetov. Apparently, it can explain the fact that the image of Rakhmetov in knows degree "limited" His "feature": in case of victory or deathcausehe mustassimilate with "ordinary" people accepting themformlife. Second from named options and is considered democratic Fiction 60-70s, in which the complex community is captured The situation that has developed as a result wrecking hope The peasant revolution.
The plot-composite side of the novel "What to do?" It has long been attracted researchers with their magnificent and complex architectonics. This complexity was sought to explain from different positions. Attention was paid to the "Internal Building" of the work (on four belts: vulgar people, new people, higher people and dreams), "dwarf plot" (family-psychological and "secret", "Ezopovsky"), "multistage" and "cyclicity" series of closed plots (stories, chapters), "Aggregate of the Assignment", united by the copyright of the social ideal and ethics of new people. The genesis of scene lines of Roman was found out, in many respects representing the contamination of several traditional for Russian literature for the middle of the century of plots carried out in the creative practice of I. S. Turgenev, I. A. Goncharov, A. V. Druzhinin and other authors (the oppression of the girl in the native family, Alien to her in spirit, and meeting with a man of high aspirations; the plot about the situation of a married woman and a family conflict known as the "triangle"; the plot of the biographical story). one
All these interesting observations help to comprehend the process of forming the Chernyshevsky novel on the paths of cyclization of stories and the associates, genetically restore the typological pedigree number of its plot provisions. Without them, the literary innovation of Chernyshevsky-novelist will look unconvincing. However, the genetic approach sometimes moved to the second plan to find out the nature of the qualitatively new plot situations "What to do?", And excessive "anatomy" of the work on a number of "closed", "plug-in" plots hardly helped to identify its plot-composite integrity and monolith. Apparently, it is more expedient to discuss not about "closed" plots and "dual" centers, but about new and interrelated plot situations integrated in the unified artistic structure of the novel.
It has an end-to-end, passing through all the work history of the formation of a young generation of builders of a new life, exciting her social, etio-philosophical and moral and psychological aspects. In the narrative of the life of the Faith, Pavlovna is natural and logical (sometimes even contrary to traditional ideas about the main, minor and "plug-in characters) stories about Dmitry Lopukhov and Alexander Kirsanov, Kate Polozova and Nastya Kryukov, Rakhmetov and the young widow," Lama in Thour "and" Men of Thirty ", which appeared in the chapter" Decoration Change ". And this happened because the narrative of the formation and fate of the new woman did not only have not only intimate-love experiences of the heroine, but also the whole process of introducing it to a great restructuring of social, family-legal and moral and ethical obscures of society. The dream of personal happiness naturally turned into a socialist dream about the happiness of all people.
The structural unity "What to do?" It is carried out primarily in the subject form of manifestation of the author's position, when the image of the author of the narrative is introduced into the novel. A wide range of intonational-stylistic means of a narrator, including good-natured and frankness, hoax and audacity, irony and mockery, sarcasm and contempt, gives reason to talk about the intention of Chernyshevsky to create in this image the impression of a literary mask designed to carry out copyright on heterogeneous readers of the book: "Noble »Readers (friend)," insightful "reader (enemy) and the" good "readership" public ", still" illegible and inaccessible ", which the Romanist has to attract to his side. Apparent at first glance "scissors" between a genuine author and a narrator who does not have "either the shadow of art talent" (the third section "Preface"), in the course of further narration become less noticeable. It is noteworthy that such a multi-valued stylistic manner at which a serious mocked by a joke and irony was characterized in general for Chernyshevsky, who loved even in the household setting to mystify the interlocutor.
Chernyshevsky and in other works written in the Petropavlovsk fortress seeks to create an impression of the objectivity of the story by introducing a storyteller with a liberal orientation (Alfreyev) or even several narratives ("Tale in Tale"). Such a manner will be characteristic of some of the works about "new people" of other authors (I. Kushchevsky, Nikolay Negorev, or a prosperous Russian "; Osipovich-Novodvorsky," Episode from life nor false or crows ", 1877). However, in "What to do?" The functions of the conservative interlocutor are transferred to the "permeable reader", which personifies the reactionary principle and in political, and in the moral and ethical, and in the aesthetic plans. In relation to him, the narrator acts as an antagonist and an implacable polemicist. Composite they are firmly "tied to each other" (XI, 263).
The call to devote yourself to the revolution, the glorification of the revolutionary - "engine engines" of public progress, the socio-economic substantiation of the behavior and nature of people, the propaganda of materialism and socialism, the struggle for women's equality, the approval of the new moral and ethical norms of the behavior of people - this is not a complete complex of social The political and philosophical and moral problems, who worried the author-storyteller in conversations with the reader, who still has so many "Sumbura and Chepuchi in the head." Decorated in lyric retreats, conversations and controversy with the "insightful reader" the author's "intervention" becomes a structurally organic factor of the narrative. And here the very narrator justices the "main requirements of art", new principles of plotting, "without any tricks", "mysteriousness", "effects" and "strip". The readers will open the creative laboratory of the novelist, when he meets the new principles of materialistic aesthetics, which are based on the novel, with reflections on the ratio of artistic fiction and life material, about the various concepts of the plot and composition, about the outdated definitions of the main and secondary characters and T . D. So in the presence of the reader, a new poetic was formed, the original art structure of the socio-philosophical novel.
Consider how other forms of genre structural unity are carried out in the novel "What to do?".
From the plot-composite side, all meetings of the heroine with other characters (including with Rakhmetov and the "lady in Touré") are interrelated and included in a through event plot, in which "personal" and ideological are in a non-painting artistic unity. To make sure that it is necessary to donate from the obsolete and leading the habit of the habit of treating the "dreams" of the Pavlovna faith as an extra-made "inserts" and "episodes", which are necessary only for disguising dangerous revolutionary and socialist ideas.
The "dreams" of the faith of Pavlovna represent an unusually bold artistic interpretation of the event plot on the nodal, turning stages of the spiritual life of the heroine and are carried out in two varieties. In one case, these are artistic and symbolic paintings, approving the typological unity and the relationship of the personal liberation of the heroine and the liberation of all the girls from the "basement" ("First Sleep of Versery"), the female emancipation and social renewal of all mankind ("Fourth Son Pavlovna Vera"); In another - a retrospective and extremely "compressed" statement of events that influenced the world-carriage and psychology of the heroine and predetermined new plot turns. It is through the "second dream of faith Pavlovna" the reader will learn about the disputes in the Lopukhov circle about the natural science works of the German chemist of liberal (about different conditions of growing wheat spoal, the value of drainage works), philosophical discussions on the real and fantastic desires of people, about the laws of historical progress and Civil War in America. In the home youth "University", Vera Pavlovna, having learned the idea that "Life has the main element of work," decided to organize the labor partnership of a new type.
Both species are artistically convincing and original because the psychological impressions of people in a state of dreams are used here (reflection of real events, conversations and impressions in fantastic grotesque images or in each other paintings, bizarrely shifting the temporal and spatial boundaries of real "primary sources") . The symbolic images of the "Bride of their grooms" look natural in the dream of dream dreams, which first arose as a brave art allegory of revolution in the conversation of Lopukhov with faith of the Pavlovna during Kadryli (IV section of the first chapter), and her youngest sister - "Light Beauty", personifying love Equality ("Third Son Faith Pavlovna", the first part of its "fourth sleep"). It is noteworthy that the structural unity of the novel, the relationship between personal and public, love and revolutionary activities was particularly clearly clearly clearly shown in these vertex plot points.
Thus, the story of the first and second marriage of Vera Pavlovna, the love and happiness of the young woman goes synchronously with the history of her spiritual development, who crowned the organization of the labor commune and its leadership and recognition of the holiness of the revolutionary feat. "Forget what I told you, Sasha, listen to her!" (XI, 335) - She is excitedly whispering with her husband shocked by the fate of the Ladies in Touréres and her fiery calls:
My dear, bolder
Jump you in rock!
And earlier, she will give her a lesson of humanity, moral durability and loyalty to the social ideals of Rakhmetov (see XI, 210-223), which became unexpectedly for her memorable visit to her, but naturally for the author and his heroine a central character of the novel.
So the Chernyshevsky book was created about love, socialism and revolution.
Attracting traditional plot situations, contamining and rethinking them, the author "What to do?" In his art decisions, in essence, laid the foundations of the new plot-composite construction, which will later be used in other works on "new people". This includes a fundamentally new version of the decision of the Hero's situation on the "Rendez-Vous", which in the predecessors of Chernyshevsky (for example, Turgenev) was interpreted as an impracticable opportunity for thoughtful and looking for girls to gain their happiness thanks to a meeting with a man sublime aspirations.
Chernyshevsky optimistically looked at the possibility of ideological "new evidence" women under the influence of a person with an unusual for the people of her circle with concepts and views. In the sphere of such a spiritual revival, even women from the privileged circles of society (Katerina Vasilyevna Polyozov, rescued by Rakhmetov, a young widow) were found. But the main reserve in replenishing the series of "new people" the author undoubtedly saw in a female democratic environment, providing for even the possibility of the moral revival of the so-called "fallen woman" (Nastya Kryukov). The description of the relationship between Lopukhov and the windows of Rosalskaya translated the traditional plot situation "Rendez-Vous" to the new plot version of "new evidence." The ideological and moral and ethical impact on the consciousness of the heroine was carried out through Lopukhov's educational conversations, reading the books recommended by him, socio-philosophical discussions occurring in the "society of pure people." The plotorganizing factors in the history of faith of Pavlovna and Lopukhov, in it, so to speak, the inner substantiation were new moral and ethical views of the heroes (the theory of "intelligent egoism"), and in the external, eventual manifestation - a fictitious marriage, which then became valid.
"Egoism" of the heroes "What to do?", Their "theory of the benefit of the benefits" "reveals the true motives of life" (XI, 66). He is intelligent because they are subordinated by their natural desire for happiness and good. Personal benefit of a person must comply with universal interest that Chernyshevsky identified with the interest of the labor nation. There is no lonely happiness, the happiness of one person depends on the happiness of other people, from the overall welfare of society. That is why Lopukhov frees the healer from home oppression and forced marriage, and Kirsanov cures Katya Polozov and helps her to free themselves from the illusion of "happiness" with Jean Solovtsov, the applicant for her huge inheritance.
The new moral and ethical teaching, in a new regulatory personal and public relations of people, is thus at the heart of the scene situations unusual for literature. This teaching determines the optimistic junction of a confusing "triangle" (the love of a married woman to a friend of her husband), over the resolution of which literature fought so unsuccessfully. Making sure that Vera Pavlovna loves Kirsanov, Lopukhov "comes from the scene." Subsequently, about his act, he will write: "What a high enjoyment is to feel like a noble person ..." (XI, 236).
The plot situation of "new evidence" has absorbed a whole complex of the designs of a novelist, including the process of forming a new person - the socialist, and the implementation of the idea of \u200b\u200bthe emancipation of women, and the formation of a morally healthy family. Her various options were artistically tested Chernyshevsky in the story of "Alferyev" (the relationship between the hero with a seraphic of Antonovna Chekmazova - a negative option; with Liza Dyatlova - an example of friendly standards in the relationship between a man and a woman, incomprehensible and suspicious for the older generation), in the "Tale" (The story of Lizavets Sergeyevna Krylova), in the Prologue (Nivelzine and Lydia Vasilyevna Savelova, Levitsky and Annie, Levitsky and Mary), in the "Stories of one girl" (Lisa Skydina).
In fiction about "new people", the hero's situation on "Rendez-Vous" in its new interpretation of "new evidence" will be artistically represented in two typological solutions coming from Turgenev and Goncharov, in one case, and from Chernyshevsky - in another. Bazarovsko-Volokhovskaya typological "model" (Evgeny Bazarov - Odintova, Mark Volokhov - Vera), indicating the difficulties of "new evidence" (complicated by the theory of "freedom of passions"), is visible in the few novels. Of these, works of 1879: N. Arnold (Vasilisa) and O. Shapir ("One of the many"). In the first of them, the tragic history of Vasilisa Nikolaevna Zagorskaya, courageously broken with the aristocratic environment, but failed to organically merge with the revolutionary environment and adopt new ideals of the Russian political emigrant Sergei Borisov. A long and complex novel of the "new" man and women who came out of privileged circles (Mikhail Nezhinsky and Eva Arkadyevna Simborskaya), in the work of O. Shapir also ends with suicide heroine.
The second version of the "new evidence, which comes from" what to do? ", It was artistically chained in a significantly larger group of works. Among them are "difficult time" V. Sleptsova (Maria Nikolaevna Schetinina - Ryazanov), "Step by step" by I. Omlevsky (Lizaveta Mikhailovna Prozorov - Svetlov), "Roman" A. Osipovich-Novodvorsky (Natalia Kirikova - Alyosha), " Andrei Kozhukhov "S. Stepnyak-Kravchinsky (Tanya Repin - housings) and others. By the beginning of the new century, this process becomes usual and mass. In social democratic organizations, it became the usual appearance of girls that fearmented with a privileged position in society. The ideas of socialism entered the consciousness of Natasha, Sashanyaki, Sophia and Lyudmila (the story M. Gorky "Mother"), and they, in turn, convey their working youth.
In the novel "What to do?" The differentiation of "new people" is clearly traced. It was extremely sustainable in the artistic practice of democratic literature, at least for two decades.
Chernyshevsky contemporaries very well understood creative difficulties in the outfit of a new type of modern figure. "We generally think that a modern young man can not be chosen in the heroes of the novel," S. S. Rymarevko writes in the handwritten lecture on the Roman I. S. Turgenev "Fathers and Children" in the spring of 1862, - a deep analysis of his actions are subject to more maintaining the III branch, rather than the artist of modern society. I think comments here - more than a job, everyone understands that I want to say. " Rymarenko foresides only two possibilities for a writer: "One of the two - or to speak about it by the offensive, or to portray it in a completely different light against the present. Both are unlightened. " 2.
Chernyshevsky went along the path of differentiation of "new people" on "ordinary" (Lopukhov, Kirsanov, Vera Pavlovna, Merzalov, Polozov) and "special" (Rakhmetov), \u200b\u200bfiling these concepts with a deep social and ideological meaning, while maintaining a high level of artistic impressibility. The conditional allocation of two types in the system of positive characters has its philosophical and social and historical justifications. Especially often mentioned in this regard, the influence of the philosophical and anthropological representations of Chernyshevsky during the allocation of "extraordinary people" in the "special breed", as eligible for this isolation due to the inborn properties of their individual "nature". This is the effect of anthropologism on the artistic method of the author "What to do?" It is often exaggerated, some critics of the novel with this approach are trendy noted in the image of Rakhmetov even "duality", "straightness", "schematism" and other "shortcomings" and retreat from realism. Invalid accents in determining worldview, anthropological and artistic and aesthetic aspects in the typological structure of "new people" are largely due to ignoring the relations of the novel with the revolutionary reality of the 60s., On the one hand, and the underestimation of the artistic and logical means of the complex recreation of the appearance of the intellectual figure - with another. "Circumstances" of life, social being, and not biologically given properties of human nature determine the behavior and moral of "new people" - and "special", and "ordinary".
Differentiation of heroes "What to do?" It is confirmed by the practice of "landwall" figures involving, in addition to the organization of "underground", according to the name of that time, society, also forms of legal impact on social layers, to which, for example, one of the memoirs (M. N. Sleptsova) referring "publication of popular books The organization is read with a very cheap board, a network of Sunday Schools. " 3.
The Chernyshevsky author's historicity is that, it is sensible in life these two aspects of social activities in life, he "translated" them to the level of artistic typology. However, the novelist contrast of "special people" "ordinary", managers of the revolutionary underground by ordinary figures of the liberation movement, and the dialectical relationship between them, introducing the images in the trarawe and "men of thirty years old" as a transitional binder. In the future, democratic literature of the 60-70s. Reflect the expansion of the relationship between "exceptional" and "ordinary", which will be observed in the history of several generations of revolutionary fighters.
Chernyshevsky's "ordinary" activities involved legal educational work in Sunday schools (teaching Kirsanov and Merzalov in the team of workers with a sewing workshop), among the advanced part of the student (Lopukhov could conduct conversations with students), in factory enterprises (classes in the factory office for Lopukhova is one of the ways of providing "influence on the people of a whole plant" - XI, 193), on a scientific field. With the name of Kirsanova, the scientific and medical plot of the collision of the medalist doctor with the "Aces" of St. Petersburg private practice is connected - in the episode of the treatment of Kati Polozova; His experiments on the artificial production of Belkovina welcomes Lopukhov as "the full coup of the whole question about the food, the whole life of humanity" (XI, 180).
But most of all worried the readers of the novel the legendary figure of a "special" person. Under the conditions of the first revolutionary situation, the allocation from the environment of the new heroes of "special people" - revolutionaries, recognizing them of the central position in the overall alignment of novel characters was undoubtedly a civilian and creative feat of the writer. Despite the fact that the writer did not have the opportunity to tell in detail about the parties to life in which Rakhmanov (the original surname Rakhmetov in the draft Roman) was the "main acting person" (XI, 729), he still managed to recreate the moral and psychological appearance of professional The revolutionary, to acquaint with his social, ideological and moral ideas, trace the paths and conditions for the formation of a new hero of modernity, even hint at some specific aspects of its practical activity.
Of course, all this is achieved by the special ways of artistic generalization, in which historically specific names and events disappear, and the means of allegory serve as additional creative finds to recreate the mysterious, hidden from the eyes of "educated people" "underground" Rakhmetovy activities. The artistic impact on the reader was carried out using a whole complex of funds involving copyright (section XXXI - "Conversation with an insightful reader and exile", etc.), the multi-valued use of artistic (eventful) time, the assumption of two options for Rakhmetov's activities in the period from 1859 to 1861 (abroad and in Russian conditions), artistic and symbolic comparison of the hero with the Burlats leader Nikituchka Lomov. In the novel, intentionally grotesque, at first glance "untrue" episodes from the life of Rakhmetov: the famous "test" of the hero to bed, covered with nails (Rakhmetov is preparing for possible torture and deprivation), and "Romanical history" of his relationship with a young widow rescued The refusal of the author from love intrigue as a professional revolutionary image). The narrator may unexpectedly move from a hemale-shaped high style styles and rumors about Mr. "Very rare breed" to the life of a household scene of the conversation now already "cunning", "cute", "funny person" with the Pavlovna faith (Section XXX Third Head). In the entire section, a well-thought-out vocabulary and stylistic system of allegory (Rakhmetov "was engaged in other people's cases or drawn," he didn't have any personal affairs, "the fiery speeches Rakhmetov, of course, not about love" . d.).
In the "Rakhmetov" parts of the novel, new plot situations are presented for the first time, which will be supported in the structure of subsequent works about professional revolutionaries. Description of the three-year travel of Rakhmetov in Russia, introduced in the story as a private episode of the biography of the hero, who had achieved "respect and love of ordinary people, was unexpectedly popular among the readers of the novel, and then received creative development in many works built on the plot of" walking to the people "and Meetings Hero with commoners. It is enough to remind the observation of one memoirist, who in the two-three phrases of Chernyshevsky about how Rakhmetov "pulled the strap" with burles, saw the "first hint of" walking in the people ". 4 And at the end of the summer of 1874, in the midst of historical "walking to the people", D. M. Rogachev repeated the path of Rakhmetov, having traveled with Burlacs along the Volga. For two years, he was a burlack, a loader and black-worker.
The motive of "walking", "wanderings" and meetings underlies many works about "new people". Among them - "Stepan Rulele" N. Bazhina, "Episode of Life Nor Pava, Nor Curron" A. Osipovich-Novodvorsky, "Novy" I. Turgenev, "Under the Grays and Weights" P. Snodimsky and others. Genetically go beyond to episodes "Goats to the people", developed by democratic literature, the story turns of M. Gorky "Mother" in connection with the description of the rides of Rybin, Nilovna and Sophia in the village and villages.
The attention of many readers "What to do?" Attracted Rakhmetov's trips abroad. In the situation of strengthening the links of revolutionaries with Russian political emigration and, in particular, with the Russian section of the first international Rakhmetov, even as a promoter of Western Movement was perceived. 5 In the literature after Chernyshevsky became familiar with the plot situations, reflecting the trips of "new people" abroad and the life of Russian political emigration ("Step by step" by I. Omlevsky, "Vasilisa" N. Arnold, "One of many" O. Shapir, " Two brothers "K. Stanyukovich," Andrei Kozhukhov "S. Stepnyak-Kravchinsky, etc.). Chernyshevsky returned to this plot in the Siberian link, told in the novel "Defali Shyania" about foreign wanders of his new hero Vladimir Vasilyevich, the participant of the Paris commune.
No less (if no more) popular among readers was an "erotic episode" from the life of Rakhmetov. Rakhmetovsky rigorism in relation to the woman was noticeably affected by young people, for example, in anticipation of mass walking into the people. It was believed that family life with its joys was created not for revolutionaries doomed to death. The statutes of some revolutionary circles were offered to "make celibacy as a requirement from members." Rakhmetovsky Rigorism was followed by the prominent revolutionaries-seventies - A. Mikhailov, D. Lisogub, S. Halturin, M. Asenbrenner, and others.
It is difficult to overestimate the literary consequences of the plot for the first time told by Kirsanov about his extraordinary friend. Rakhmetovic version "Rendez-Vous" firmly rooted in works on professional revolutionaries, in many respects determining their plot-composite structure. In Rakhmetovski build their personal life Stepan Rulev at N. Bazhina, Ryazanov at V. Sleptsova ("Hard time"), Telenev at D. Girs ("Old and Yuna Russia"), Pavlusha Skripitsyn (in the first part of the Roman V. Bervi -Plerovsky "For Life and Death") and Anna Semenovna with her theory of celibacy (in the second part of the same work), Lena Zubov and Anna Vulchi S. Stepnyak-Kravichi ("Andrey Kozhukhov") and, finally, Pavel Vlasov u m . Gorky ("Mother").
However, due to the active invasion of women in the revolutionary movement of the 70s. In the fiction about "new people", another storyline was developed, by the way, as provided by Chernyshevsky in the tragic history of "Ladies in Tour" and "Men of Thirty years old" as an alternative to Rakhmetovsky relation to marriage. It was embodied, for example, in the description of the relationship between Scripitsyn and Anuti, Pavlova and Masha, the perfect and Anna Semenovna in the already novel of Bervy Flerovsky, Zina Lomova and Boris Maevsky, Tanya Repina and Andrei Kubjukhov - in the work of S. Stepnyak-Kravkinsky. These plot loving intimate situations ended normally tragically. Life confirmed that in the absence of political freedoms, in the situation of gendarme repression, the revolutionary is deprived of family happiness.
Rakhmetovsky type of professional revolutionary, artistically open Chernyshevsky, had a huge impact on the life and struggle of several generations of revolutionary fighters. The greatest merit of Chernyshevsky-Romanist V. I. Lenin saw that "he not only showed that every correctly thinking and really decent man should be a revolutionary, but another, even more important: what should the revolutionary need to be, what should be it Rules, as he should go to their goal, what methods and means to achieve its implementation. " Artistic principles opened by Chernyshevsky in the novel "What to do?" To recreate the heroic nature of a professional revolutionary, were solely convincing for his followers who set themselves the task of preserving the heroic ideal in life and in the literature. A number of stable will take a revolutionary:
the refusal of noble privileges and material benefits (Vasily Telenev, an army officer, resigned and lives lessons; Sergey Ovarian, being the heir of two hundred souls, "threw" the peasants, i.e. refused them; Arkady Karamanov rises with his father and gives the land peasants);
huge physical hardening and the ability to carry deprivation (champion is a good swimmer, he is experiencing his physical strength in the fight against rural storm; Overin checks his excerpt, I am in the palm of the right hand of Lancet; Stozharov can sleep on nails like Rakhmetov, the author calls him a rigorist) ; the refusal of love for a woman in the name of a large social goal (love is not included in the life calculations of Telenev; Overin, admired by the courageous behavior of Lisa during the arrest, ready to marry her, but refuses his intention, having learned that Malinin loves her; Strozarov leaves for her beloved Girls - Vary Barmitinova; Svetlov declares Christian Zilinskaya, which never marries, and reads her the Circassian song from the poem Lermontov "Izmail-Bay", familiar readers also on the novel "What to do?"; Seliverstors are unhappy in his personal life, but he has "There is a case, there is another love, greater, there is another happiness, more complete" - a common cause);
big theoretical preparation, ideological conviction and dedication to the case of the people (champion their theoretical provisions defended in dispute with Markinson, keeps propaganda work with peasants, ranking themselves to those educated people who wish good peasants; Oveynin "Calculates a circle of historical events in Russia," creates New science - "Historical algebra", according to which the nobility is equal to zero; All this prepared him to the decisive step - to lead the peasant uprising; Svetlov promotes advanced ideas through the school of adults and without hesitation sympathize with the rebel workers of the Yeltsin Factory).
All of these characteristic elements of the "Rakhmetov" ideological and artistic structure with an emphasis on "exclusivity" of heroes allow us to talk about the undoubted influence of Chernyshevsky on the work of democratic fiction.
The main characters of Russian classical literature preceding the Chernyshevsky, - "extra people". Onegin, Pechorin, Oblomov Without the difference between themselves, are similar in one: they all, according to Herzen, "smart unnecessaries", "Titans of the Words and Pigmeas of the Cause", forked, which suffers from the eternal disclosure between consciousness and will, thought and deed, - From moral exhaustion. There are not the heroes of Chernyshevsky. His "new people" know that they need to do, and know how to fulfill their ideas, they have a thought inseparable from the case, they do not know the disadvantage between consciousness and will. Heroes of Chernyshevsky - the creators of new relations between people, the carriers of the new morality. These new people are in the center of the author, they are the main characters of the novel; Therefore, by the end of the second chapter of the novel, such representatives of the old world, like Marya Alekseevna, Strushnikov, Juli, Serge, and others are released from the scene.
The novel is divided into six chapters, of which each, with the exception of the latter, in turn, is divided into the master. In an effort to emphasize the extremely important importance of concluding events, Chernyshevsky talks about them in a particularly highlighted single-lane masterpiece "Change of decorations".
Especially great value of the fourth sleep faith Pavlovna. In it in an allegorical form, in the change of paintings, the past, present and the future of humanity is drawn. In the fourth dream of Vera Pavlovna, a revolution appears again, "the sister of his sisters, the bride of his grooms." She speaks of equality, fraternity, freedom, that "there is nothing higher than a person, there is nothing higher than women," talks about how people life will be arranged and what a person becomes in socialism.
The characteristic feature of the novel is frequent author's retreats, appeal to the heroes, conversations with the insightful reader. The meaning of this imaginary character is very large in the novel. In his face, the sepietary part of the public, oblique and stupid, seeking sharp scenes and spicy provisions in novels, constantly interpreting about "artisticity and not understanding in genuine art is also exposed. The insightful reader is the one who "smugly interprets about literary or scientists, in which neither Belmes will not make sense, and does not intervene because they are in fact interested them, but in order to fascinate with his mind (which he did not happen from nature ), With its sublime aspirations (which in it as much as in a chair on which he sits) and its formality (which in it as much as in the parrot). "
Much and mowing over this character, Chernyshevsky thus turned to the reader to a friend, to which he fell in great respect, and demanded a thoughtful, close, truly insightful attitude towards the story of "new people."
Introduction to the novel image of the insight reader was due to the need to attract the attention of the reading public to what Chernyshevsky could not speak about the censorship conditions openly and directly.
To answer the question "What to do?" Chernyshevsky raises and allows the following burning problems from a revolutionary and socialist position:
1. The socio-political problem of the Company's reorganization is revolutionary, that is, through the physical collision of the two worlds. This problem is given hints in the history of Rakhmetov's life and in the last 6th chapter of the "change of decorations". Due to censorship, Chernyshevsky could not expand in detail.
2. Moral and psychological. This is a question about the internal restructuring of a person who, in the process of combating the old power of his mind, can raise new moral qualities in itself. The author traces this process from its initial forms (the struggle against family despotism) before preparation for the change of decorations, i.e. to the revolution. This problem is revealed against Lopukhov and Kirsanov, in the theory of rational egoism, as well as in the conversations of the author with readers and with heroes. This problem includes a thorough story about sewing workshops, i.e., about the meaning of labor in the life of people.
3. The problem of the emancipation of a woman, as well as the norms of the new family morality. This moral problem is revealed in the history of the life of the faith of Pavlovna, in the relations of the participants of the love triangle (Lopukhov, Vera Pavlovna, Kirsanov), as well as in the first 3 sodes of Vera Pavlovna.
4. Socio-utopian. The problem of the future socialist society. She is deployed in the 4th dream of Faith Pavlovna as a dream of a beautiful and bright life. There is also a chatequiming of labor, that is, the technical machinery equipment of production.
The main pathos of the book is a passionate enthusiastic propaganda idea of \u200b\u200bthe revolutionary transformation of the world.
The main desire of the author was the desire to convince the reader that everyone, subject to work on himself, can become a "new person", the desire to expand the circle of their like-minded people. The main task was to develop a new methodology for educating the revolutionary consciousness and "honest feelings." The novel was called upon to become a textbook of life for any thought man. The main mood of the book is a sharp joyful waiting for the revolutionary coup and thirst to take part in it.
What to reader is a novel?
Chernyshevsky was an educator who believes in the struggle of the masses themselves, so the novel turned to the wide layers of the various-democratic intelligentsia, which became the leading power of liberation movement in the 60s.
Artistic techniques, with the help of which the author comes his thoughts to the reader:
1 Reception: the name of each chapter was given a family-household character with predominant interest in love intrigue, which exactly transfers the story plot, but hides true content. For example, the head of the first "life of Pavlovna's faith in the parent family", chapter the second "first love and legitimate marriage", chapter of the third "marriage and the second love", chapter fourth "second marriage", etc. From these titles, deeper traditional and unnoticed What is really new, namely, the new nature of the relationship of people.
2 Reception: The use of plot inversion is the movement of 2 introductory heads from the center to the beginning of the book. The scene of the mysterious, almost detective disappearance of Lopukhov distracted the attention of censorship from the true ideological orientation of the novel, that is, from the fact that the author's focus was paid.
3 Reception: The use of numerous hints and allegory, called Ezopova speech.
Examples: "Golden Age", "New Order" is socialism; "Case" is a revolutionary work; "A special person" is a man of revolutionary beliefs; "Scene" is life; "Change of decorations" - a new life after the victory of the revolution; "Bride" is a revolution; "Bright Beauty" is freedom. All these techniques are designed for intuition and intelligence of the reader.