Composition: Artistic features in the work of Gogol. Artistic features of Gogol's work
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Gogol's language, the principles of his stylistics, his satirical manner have had an undeniable influence on the development of the Russian literary and artistic language since the mid-30s. Thanks to Gogol's genius, the style of colloquial speech was freed from "conventional constraints and literary clichés," Vinogradov emphasizes.
Gogol's extraordinary, surprisingly natural language, his humor acted in an intoxicating way, notes Vinogradov. In Russia appeared absolutely new language characterized by its simplicity and accuracy, strength and closeness to nature; the turns of speech invented by Gogol quickly entered general use, Vinogradov continues. Great writer enriched the Russian language with new phraseological phrases and words that originated from the names of Gogol's heroes.
Vinogradov claims that Gogol saw his main purpose in "bringing the language fiction with live and tag colloquial speech people ".
One of characteristic features Gogol's style was Gogol's ability to skillfully mix Russian and Ukrainian speech, high style and jargon, clerical, landowner, hunting, lackey, gambling, bourgeois, the language of kitchen workers and artisans, interspersing archaisms and neologisms into speech, as actors, and in the author's speech.
Vinogradov notes that the genre itself early prose Gogol has the character of the style of the Karamzin school and is distinguished by a high, serious, pathetic narrative style. Gogol realizing the value Ukrainian folklore, really wanted to become "truly folk writer"and tried to involve a variety of oral folk speech into the Russian literary and artistic narrative system.
The writer connected the authenticity of the reality he conveyed with the degree of mastery of the class, estate, professional style of the language and dialect of the latter. As a result, the language of Gogol's narrative acquires several stylistic and linguistic planes and becomes very heterogeneous. gogol literature speech
Russian reality is conveyed through the appropriate language environment. At the same time, all existing semantic and expressive shades of the official business language are revealed, which, with an ironic description of the discrepancy between the conditional semantics of the public clerical language and the real essence of phenomena, appear quite sharply.
Gogol's vernacular style is intertwined with clerical and business style. V. Vinogradov finds that Gogol strove to introduce into the literary language the vernacular of different strata of society (small and middle nobility, urban intelligentsia and bureaucracy) and, by mixing them with the literary-book language, to find a new Russian literary language.
As a business state language in the works of Gogol, Vinogradov points to the interweaving of clerical and colloquial bureaucratic speech. In "Notes of a Madman" and in "The Nose," Gogol uses office-business style and colloquial official speech much more than other styles of vernacular.
Official business language connects together various dialects and styles in Gogol, who simultaneously tries to expose and remove all unnecessary hypocritical and false forms of expression. Sometimes Gogol, to show the conventionality of a concept, resorted to an ironic description of the content that society put into this or that word. For example: "In a word, they were what is called happy"; "There was nothing else in this secluded or, as we say, beautiful square."
Gogol believed that the literary-book language of the upper classes was painfully affected by borrowings from foreign, "foreign" languages, it is impossible to find foreign words who could describe Russian life with the same accuracy as Russian words; as a result of which some foreign words were used in a distorted sense, some were attributed to a different meaning, while some primordially Russian words irrevocably disappeared from use.
Vinogradov points out that Gogol, closely linking the secular narrative language with the Europeanized Russian-French salon language, not only denied and parodied it, but also openly opposed his style of narration language norms, corresponding to the salon-ladies' language. In addition, Gogol fought against the mixed semi-French, semi-common Russian language of romanticism. Gogol contrasts the romantic style with a realistic style that reflects reality more fully and believably. According to Vinogradov, Gogol shows the opposition between the style of romantic language and everyday life, which can only be described by naturalistic language. "A mixture of solemnly bookish with the colloquial, with the vernacular is formed. The syntactic forms of the former romantic style are preserved, but the phraseology and the structure of symbols and comparisons deviate sharply from the romantic semantics." Romantic style narration does not disappear entirely and completely from Gogol's language, it is mixed with the new semantic system.
As for the national-scientific language - a language that, according to Gogol, is designed to be universal, national-democratic, devoid of class limitations, the writer, as Vinogradov notes, was against abuse philosophical language... Gogol saw the peculiarity of the Russian scientific language in its adequacy, accuracy, brevity and objectivity, in the absence of the need to embellish it. Gogol saw the significance and power of the Russian scientific language in the uniqueness of the very nature of the Russian language, writes Vinogradov, the writer believed that there is no language like Russian. Gogol saw the sources of the Russian scientific language in Church Slavonic, peasant and the language of folk poetry.
Gogol strove to include in his language the professional speech of not only the nobility, but also the bourgeois class. Giving great value peasant language, Gogol replenishes his vocabulary, writing down the names, terminology and phraseology of accessories and parts of a peasant costume, implements and household utensils of a peasant hut, arable land, laundry, beekeeping, forestry and horticultural, weaving, fishing, traditional medicine, that is, everything related to the peasant language and its dialects. The language of crafts and technical specialties was also interesting to the writer, notes Vinogradov, as well as the language of noble life, hobbies and entertainment. Hunting, gambling-game, military dialects and jargon attracted Gogol's close attention.
Gogol watched the administrative language, its stylistics and rhetoric especially closely, Vinogradov emphasizes.
V oral speech Gogol was primarily interested in the vocabulary, phraseology and syntax of the noble-peasant vernacular, colloquial urban intelligentsia and official language, Vinogradov points out.
In the opinion of V. Vinogradov, Gogol's interest in the professional language and dialects of merchants is characteristic.
Gogol sought to find ways to reform the relationship between contemporary literary language and the professional language of the church. He introduced into literary speech church symbols and phraseology, notes Vinogradov. Gogol believed that the introduction of elements of the church language into the literary language would bring life to the ossified and deceitful business and bureaucratic language. ...
Artistic features in the work of Gogol
Gogol began his creative career as a romantic. However, he soon turned to critical realism, opened a new chapter in it. As a realist artist, Gogol developed under the beneficial influence of Pushkin. But he was not a simple imitator of the founder of the new Russian literature.
The peculiarity of Gogol was that he was the first to give the broadest image of the county landlord-bureaucratic Russia and “ little man", A resident of St. Petersburg corners.
Gogol was a genius satirist who castigated "vulgarity vulgar person”, Which exposed to the utmost the social contradictions of contemporary Russian reality.
This social orientation of Gogol is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances, but events of social significance. At the same time, Gogol's plot serves only as a pretext for a / wide depiction of everyday life and the disclosure of characters-types.
A deep insight into the essence of the main socio-economic phenomena of contemporary life allowed Gogol, brilliant artist words, draw images of tremendous generalizing power.
The names of Khlestakov, Manilov, Korobochka, Nozdrev, Sobakevich and others have become household names. Even minor persons, brought out by Gogol on the pages of his works (for example, in "Dead Souls"): Pelageya, the serf girl Korobochki, or Ivan Antonovich, "jug snout" - have great power of generalization, typicality. Gogol emphasizes one or two of his most essential features in the character of the hero. Often he exaggerates them, which makes the image even brighter and more prominent.
Gogol's careful selection of many details and their sharp exaggeration serve the purpose of a vivid, satirical depiction of heroes. For example, portraits of the heroes of Dead Souls were created. These details in Gogol are mainly everyday: things, clothes, the hero's home.
If in Gogol's romantic stories there are emphatically picturesque landscapes that give the work a certain elevation of tone, then in his realistic works, especially in Dead Souls, the landscape is one of the means of depicting the types and characteristics of the heroes.
The theme, social orientation and ideological coverage of the phenomena of life and the characters of people determined the originality of Gogol's literary speech.
The two worlds portrayed by Gogol - the collective of the people and the "creatures" - determined the main features of the writer's speech: his speech is sometimes enthusiastic, imbued with lyricism when he speaks about the people, about his homeland (in "Evenings", in "Taras Bulba", in lyric digressions of "Dead Souls"), then it becomes close to lively conversational (in everyday pictures and scenes of "Evenings" or when it tells about the bureaucratic-landlord Russia).
The peculiarity of Gogol's language lies in the wider use of common speech, dialectisms, and Ukrainianisms than that of his predecessors and contemporaries. Gogol loved and subtly felt the folk-spoken language and skillfully applied all its shades to characterize his heroes and phenomena of public life.
1) the periodic structure of the phrase, when many sentences are combined into one whole (“Taras saw how the Cossack ranks became confused and how despondency, indecent to a brave, began to quietly hug the Cossack heads, but he was silent: he wanted to give time to everything so that they could get used to despondency, induced by parting with his comrades, and meanwhile in silence he was preparing at once and suddenly to wake them all up, shouting like a Cossack, so that once again and with greater force than before, cheerfulness would return to everyone's soul, which only the Slavic breed, wide a mighty rock in front of others, that the sea in front of shallow rivers ");
2) the introduction of lyrical dialogues and monologues (for example, the conversation between Levko and Ganna in the first chapter of "May Night", monologues - appeals to the Cossacks of Koshevoy, Taras Bulba, Bovdyug in "Taras Bulba");
3) an abundance of exclamation and interrogative sentences (for example, in the description of the Ukrainian night in "May Night");
4) emotional epithets that convey the power of the author's inspiration, born of love for native nature(description of the day at the Sorochinskaya Fair) or to the folk group (Taras Bulba).
Gogol uses folk speech in different ways. V early works(in "Evenings") its bearer is the narrator. The author puts into his mouth both vernacular (everyday words and phrases), and such appeals to the listeners, which are familiar and good-natured, characteristic of this environment: “By God, I'm already tired of telling! What do you do
The character of a person, his social position, profession - all this is unusually clearly and accurately revealed in the speech of Gogol's characters.
Gogol's strength as a stylist lies in his humor. Gogol's humor - "laughter through tears" - was due to the contradictions of the Russian reality of his time, mainly - the contradictions between the people and the anti-people essence of the noble state. In his articles on Dead Souls, Belinsky showed that Gogol's humor “is the opposite of the ideal
life with the reality of life. " He wrote: "Humor is the most powerful instrument of the spirit of negation, destroying the old and preparing the new."
Gogol began his creative career as a romantic. However, he turned to critical realism, opened a new chapter in it. As a realist artist, Gogol developed under the noble influence of Pushkin, but was not a simple imitator of the founder of new Russian literature.
The peculiarity of Gogol was that he was the first to give the broadest image of the county landlord-bureaucratic Russia and the "little man", a resident of St. Petersburg corners.
Gogol was a genius satirist who castigated the "vulgarity of a vulgar person", utterly exposed the social contradictions of contemporary Russian reality.
The social orientation of Gogol is also reflected in the composition of his works. The plot and plot conflict in them are not love and family circumstances, but events of social significance. In this case, the plot serves only as a pretext for a broad depiction of everyday life and the disclosure of characters-types.
A deep penetration into the essence of the main socio-economic phenomena of contemporary life allowed Gogol, a genius artist of the word, to draw images of enormous generalizing power.
Gogol's careful selection of many details and their sharp exaggeration serve the purpose of a vivid satirical depiction of heroes. For example, portraits of the heroes of Dead Souls were created. These details in Gogol's work are mainly everyday: things, clothes, housing of the heroes. If in the romantic stories of Gogol emphatically picturesque landscapes are given, giving the work a certain elevation of tone, then in his realistic works, especially in Dead Souls, the landscape is one of the means of outlining the types, characteristics of the heroes. Themes, social orientation and ideological coverage of the phenomena of life and character of people determined the originality of the literary speech of Gogol. The two worlds portrayed by the writer - the collective of the people and the "creatures" - determined the main features of the writer's speech: his speech is sometimes enthusiastic, imbued with lyricism when he speaks about the people, about his homeland (in "Evenings ...", in "Taras Bulba ", In the lyrical digressions of" Dead Souls "), then it becomes close to lively conversational (in everyday pictures and scenes of" Evenings ... "or in stories about bureaucratic landlord Russia).
The peculiarity of Gogol's language lies in the wider use of common speech, dialectisms, and Ukrainianisms than that of his predecessors and contemporaries.
Gogol loved and subtly felt the folk-spoken language, skillfully applied all shades of it to characterize his heroes and phenomena of public life.
The character of a person, his social position, profession - all this is unusually clearly and accurately revealed in the speech of Gogol's characters.
Gogol's strength as a stylist lies in his humor. In his articles on Dead Souls, Belinsky showed that Gogol's humor "consists in the opposite of the ideal of life with the reality of life." He wrote: "Humor is the most powerful instrument of the spirit of negation, destroying the old and preparing the new."
Since the end of the 20s. a number of journal articles and individual books appear on the issues of Russian, Ukrainian and common Slavic ethnography, and one edition after another of monuments appears folk art: "Little Russian songs" by M. A. Maksimovich (1827-1834), "Zaporozhye antiquity" Ed. Yves. Sreznevsky (1834, 1835, and 1838), the three-volume "Tales of the Russian People" by I. P. Sakharov (1836-1837) and many others. others. At the same time, the "Collection of Russian Songs" by Pyotr Kireevsky was prepared, published later.
In line with this still nascent folklore movement, Gogol finds himself as an artist, creates and publishes his first narrative cycle "Evenings on a Farm near Dikanka."
Gogol was born and raised in Ukraine and until the end of his life he considered it his micro-native, and himself a Russian writer with a "hohlack" leaven.
A native of the middle Ukrainian nobility, he knew well his rural and urban life, with young years was burdened by the provincial-feudal "poverty" and "earthiness" of this life, admired the folk-poetic legends of "Cossack antiquity", which then lived not only among the people, but also revered in some "old-world" noble families, including in the house of a noble and highly educated distant a relative of the future writer - DP Troshchinsky, an ardent admirer and collector of Ukrainian "antiquity".
"Evenings" amazed contemporaries with their incomparable originality, poetic freshness and brightness. There is a well-known review by Pushkin: “... everyone was delighted with this lively description of the tribe singing and dancing, this fresh paintings Little Russian nature, this gaiety, ingenuous and at the same time crafty.
How amazed we were at the Russian book, which made us laugh, we who have not laughed since the time of Fonvizin! " The mention of Fonvizin is not accidental. This is a hint that the ingenuous gaiety of "Evenings" is not so simple-minded as it might seem at first glance.
Belinsky, who greeted the "Belkin's Tale" very coldly, greeted "Evenings", also - and before Pushkin - noting in them a combination of "gaiety, poetry and nationality."
"Merry Narodnost" sharply distinguished "Evenings" from the usual naturalistic depiction of the serf life of the Russian and Ukrainian villages in the so-called "common" stories of the time, in which Belinsky rightly saw the profanation of the idea of nationality.
Gogol happily escaped this danger and did not go to the other extreme - the idealization of "popular customs", finding a completely new angle for their depiction. It can be called a mirror image of the poetic, life-affirming consciousness of the people themselves. "Living", in the words of Pushkin, "description of the tribe of singing and dancing" is literally woven from the motives of Ukrainian folklore, drawn from its various genres - heroic-historical "dooms", lyric and ritual songs, fairy tales, anecdotes, comedies.
This is the artistic credibility of the gay and poetic nationality of Gogol's first narrative cycle. But his poetic world permeated with a latent longing for the former Zaporozhye freedom of the enslaved, like all "tribes" Russian Empire, "Dikan Cossacks", which forms the epic principle and ideological unity of all the stories included in it.
Romantically bright in its national flavor, the poetic world of Evenings is deprived of another obligatory attribute of romantic epics - historical, temporal locality. The historical time in each story is different, special, sometimes definite, and in some cases, for example, in "May Night", conditional. But thanks to this, the national character (in the philosophical and historical terminology of the 1930s and 1940s - "spirit") of the Cossack tribe appears in the "Evening" from the side of its ideal, invariably beautiful essence.
Its immediate reality appears in all the stories of the cycle, the linguistic consciousness of the people. The predominantly speech characterization of the characters gives the fairytale style of "Evenings" the "picturesqueness of the syllable" previously unknown to Russian prose, noted by Belinsky, and is one of Gogol's most promising innovations.
The tale is a means of delimiting the speech of the author from the speech of his heroes, in "Evenings" - from the vernacular of the people, which thereby becomes at the same time both a means and an object artistic image... Before Gogol's Evenings, Russian prose knew nothing of the kind.
The stylistic norm of the vernacular element of "Evenings" is rustic innocence, under the mask of which there is an abyss of "Khokhlatskiy" cheerful slyness and mischief. In combination of one with the other, the whole comic of "Evenings" is concluded, mainly speech, motivated by the artistic fiction of their "publisher", "pasichnik" Rudy Pank, and a number of related storytellers.
Written on behalf of Rudy Pank, the preface to “Evenings” characterizes their “publisher” as the bearer of the speech norm, not the author, but his storytellers and heroes. And this norm remains unchanged in all the stories of the cycle, which also emphasizes the constancy of the fundamental properties national character"Dikan Cossacks" in all historical circumstances.
So, for example, the vernacular, and thus the spiritual appearance of the characters of the Sorochinskaya Fair and the Night before Christmas, do not differ in any way from each other, despite the fact that the action of the first story is attributed to the present, takes place in front of the author, and the action of the second timed to late XVIII century, by the time when the government decree, promulgated in 1775, was being prepared, according to which the Zaporozhye army was deprived of all its liberties and privileges.
In the breadth of the historical time covered by "Evenings", their lyrical and ethnographic principles merge together, acquire an epic scale.
"The Night Before Christmas" opens the second part of "Evenings", published in early 1832. And if the epic of the first part ("Sorochinskaya Fair", "Evening on the Eve of Ivan Kupala", "May Night") only declares itself historical implications folk fantasy, oral-poetic "past" and "fables", then the novels of the second part in conjunction with the concluding part of the "Lost Letter" have a fairly clearly defined historical space - from the era of the struggle of the "Cossack people" against Polish domination ("Terrible revenge") to his feudal modernity ("Ivan Fedorovich Shponka and his aunt").
This is how history merges with modernity according to the contrast of the beauty of the heroic past of the freedom-loving "tribe" with the ugliness and dullness of its serf life.
Exactly the same ideological and artistic connection exists between the stories of the second cycle of Gogol - "Mirgorod" (1835). If two of them - "Old World Landowners" and especially "The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich" - stylistically and thematically adjoin the story about Shponka, then the other two - "Viy" and "Taras Bulba" - are in one along with the overwhelming majority of the novellas "Evenings", they have in common with them a bright poetic flavor.
It is no coincidence that Gogol gave Mirgorod the subtitle “Continuation of the Evenings on a Farm Near Dikanka,” thereby emphasizing the ideological and artistic unity of both cycles and the very principle of cyclization. This is the principle of contrast between natural and unnatural, beautiful and ugly, high poetry and the base prose of national life, and at the same time its two social poles - the popular and the small local.
But both in "Evenings" and in "Mirgorod" these social polarities are attached to different eras national life and correlate with one another as its beautiful past and ugly present, and the present is outlined in its immediate feudal "reality", and the past, as it was imprinted in the national consciousness, was deposited in the national "spirit" of the people and continues to live in its legends, beliefs, legends, customs.
Here is manifested the most important feature artistic method Gogol - his philosophical historicism, Walter-Scott's beginning of the writer's work.
The depiction of popular movements and mores is one of the most promising innovations historical novels W. Scott. But this is only the historical background of their actions, the main "interest" of which is the love affair and the related destinies of the personal heroes of the narrative, voluntary or involuntary participants in the depicted historical events.
The nationality of Gogol's Ukrainian tales is already significantly different.
National specificity and historical projection of their Cossack world are a form of critical understanding of "scarcity" and "earthiness" contemporary writer Russian life, perceived by the writer himself as a temporary "lulling" of the national spirit.
History of Russian Literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983