The originality of the artistic construction of Evgeny Onegin. Space "Eugene Onegin"? Control questions

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Keywords

A.S. Pushkin / "Evgeny Onegin" / Time / Module / Existence / Time Model / Alexander Pushkin / Eugene Onegin / Time / Modus / Existence / Time Model

annotation scientific article on linguistics and literature, author of scientific work - Faritov Vyacheslav Tavisovich

The article examines the philosophical aspects of time in the Roman A. S. Pushkin "Evgeny Onegin". The author shows that in the work is presented not one universal time, but many heterogeneous time measurements. The structures of the time of the time of Evgeny Onegin, author, Lensky, Olga and Tatyana, the family of Larina, Nature and the Social Society are analyzed. Describes appropriate temporary models Modes, their high-quality differences are detected in existential plan.

The Philosophy of Time In A.S. Pushkin "" S Eugene Onegin

The Aim of the Article Is To Study The Philosophical Aspects of Time In The Novel In Verse, A.S. Pushkin "S Eugene Onegin. Thesis That The Text of Pushkin" S Novel Presents An Original Concept of Time, Rich in Philosophical implications. The Problem, The Solutions of Which The Study Is Devoted To, Is That Russian Literature Before Pushkin Time As An Artistic And A Historical and Philosophical Category Was Thought and Experienced in a Completely Different Way. In The 18th Century, The Idea of \u200b\u200bHistorical Progress CharacterTic of the Enlightenment Dominantes Not Only in Russia, But Also in European Literature; IT Implies The Progressive and Mostly Unidirectional Movement Of Time, As Well As The Prevalence Of Social, Sociopolitical Time Over The Individual and Personal, Private Time. Pushkin Does Not Leave Aside The Historical Problem of Time of The Hero That Gets a Completely New Interpretation in The Novel. The Author Relies on the Methodological Principles and Theoretic Framework Of M.M. Bakhtin and Yu.m. Lotman and Uses Elements of Narratology Analysis. The Author Also Uses The Conceptual Devel-Opmenst of Existential Philosophy (K. Jaspers, M. Heidegger). It is Proved That Pushkin Was Ahead of His Time by Showing Not One Universal Time, But a Lot of Heterogeneous Measurements of Time. Each Such Measurement Acts As A Mode of Being, Defining The Nature Of A Particular Character, Their Way of Thinking, Behavior and Attitude Towards Others. And, Vice Versa, Each Character (from the main characters to minor persons) Have Its Own Temporaal Dimension. The Author Proves The Historical and Biographical Time Existential Time Plays a Significant Role in the Novel. This is time in Which A Person Makes The Fundamental Choice of Their Own Existence, Determined the Strategy of their Existence in the world. Two Fundamentally Different Modes of Existence in Time and, Accordingly, Two Worlds, Two Perspectives of Being Are Presented in The Nove First Chapter of The Novel. This is onegin "S Time And The Author" S Time. In This Case We Are Talking About Two Worlds, Each Of Which Is Determined by Their Specific Model of Time. Each of the Two Models of Time Has Its Own Role In The Organization of Time and Space of the Narrative (Plat Time, Chronotope). Pushkin Does Not Limit Himself in His Novel with Models of Time of Only Two Characters. In The Second Chapter He Develops Modes of Lensky, Olga and Tatiana, As Well As of the Larin Family. Each of these Characters Has Their Own Time Dimension. On The Protagonist of Pushkin "S Works The Protagonist of Pushkin" S Works, And Eugene Onegin Is Not Only A Realistic, But An Existential Novel. The Inner World of Individual Characters, Their Personalities and Destinies Are Determined Here Not So Much a Factor in the Social Life of A Certain Historical Period (Though This Layer Is Also Present In The Novel), But As Specific Ways of Organizing The Measurement of Time.

Text of scientific work on the topic "The philosophy of time in the Roman A. S. Pushkin" Evgeny Onegin ""

UDC 82.091

DOI: 10.17223 / 19986645 / 47/12

V.T. Farith

Time philosophy in novel A.C. Pushkin "Eugene Onegin" 1

The article examines the philosophical aspects of time in the Roman A. S. Pushkin "Evgeny Onegin". The author shows that in the work is presented not one universal time, but many heterogeneous time measurements. The structures of the time of the time of Evgeny Onegin, author, Lensky, Olga and Tatyana, the family of Larina, Nature and the Social Society are analyzed. The corresponding models of temporary modes are described, their qualitative differences are detected in existential plan.

Keywords: A.c. Pushkin, Evgeny Onegin, time, modus, existential, time model.

In the novel in verses "Yevgeny Onegin" presents the original, rich in philosophical implications The concept of time2. Pushkin was ahead of his era by showing not one universal time, but many heterogeneous time measurements. Each such measurement acts as a modus of being, which determines the character of a character, his image of thoughts, behavior and attitude to other people. Conversely - every character (from the main characters to secondary persons) has its own temporary measurement. The structure and configuration of one or another modus of the time initially forms individual and public worlds in which the events of the novel unfold. Each temporary modus sets a special reference system, a certain perspective of existence. In turn, the intersection and interaction of these heterogeneous measurements determines the conflict of the work.

MM Bakhtin points out that "the process of development in the literature of real historical time and space and a real historical person who dropped into them proceeded by complicated and intermittently. Separate parties to the time and space, available at this historical stage of development of humanity, were developed, and the corresponding genre methods of reflection and artistic processing of the developed sides of the reality were developed. " In Russian literature to Pushkin, the time as artistic and as a historical and philosophical category thought and worried completely differently. As noted by Yu.M. Lotman: "Historical time XVIII century. linearly. The idea of \u200b\u200bthe cyclic time of the Jambattist Vico, although he had a partial impact - through free - on Karamzin and, apparently, through Gerder - on Radishchev, still a noticeable role in the historical consciousness of the Russian XVIII century. Not played. " In the XVIII century, not only in Russian

1 Publication was prepared under the supported RGHF scientific project No. 15-34-11045.

2 General analysis of philosophical motives of creativity A.C. Pushkin see in the book. .

the idea of \u200b\u200bhistorical progress characteristic of the era of enlightenment is dominated by the idea of \u200b\u200bhistorical progress characteristic of the era of enlightened in European literature, as well as the predominance of social, socio-political time over individual and personal, private time. Pushkin does not leave the problem of historical time aside, but it matches him with the time of the hero, which in his work receives a completely new understanding.

The problem of time of Pushkin novel in verses was investigated in the works of G.A. Gukovsky, s.g. Bocharov, Yu.M. Lotman and other authors. In these works, the multi-layer and polyphonicity of the temporary structure "Eugene Onegin" have already been identified. In particular, B.C. Baevsky notes: "In the" Gamlet ", in Evgenia Onegin, in Rudi-not, in" War and the World "there is a multidimensional image of the time. It is interconnected with historical times, with copyright, with the images of the actors, enriches them and enriched them. So the fact that Turgenev, with reference to Shakespeare, called "The Body and Pressure of Time" - "The most appearance and pressure of time".

A common feature of these studies is the prevailing orientation for the realistic time of Pushkin's text (which corresponds to the tradition of reading the "Eugene Onegin" as a realistic novel). The chronology of the work was subjected to a detailed and thorough analysis, coincidences or discrepancies are detected in the dates of historical events, the events of the plot lines of the work, in the biographic time of heroes and the author. The work done has incredibly significance in the study of the problem of the time "Eugene Onegin". However, Pushkin Roman, as a genuine creation of genius, is characterized by an inexhaustible versatility that allows new aspects in the problems already developed and studied problems. So, we assume in this article formulate and substantiate the point of view, according to which in the novel of Pushkin, in addition to the historical and biographical time, a significant role plays a reservoir of existential time. This temporary layer is significantly different from the historical and copyright measurements studied, as well as the time of acting persons. Existential time receives its significance not from the plot organization of the artistic work and not from external, actual historical and biographical factors. In accordance with the theoretical developments of M. Heidegger, existential time is rooted in the ontological structure of human existence. This is the time in which a person is implemented by a fundamental choice of its own existence, the strategy of its existence in the world is determined. As such existential time is nonlinearly and inhomogeneously, but presented with highly different mododules (which will be discussed in this article below). Here we enter into the area of \u200b\u200bresearch, where literary studies cooperate with the latest developments in the field of philosophy. We put our task to show that Pushkin's novel has a completely decorated and self-sufficient existential reservoir. The rationale for this thesis will allow confirming the conclusion (see at the end of this article) that Evgeny Onegin is not only the first realistic novel in Russian

therates, but also destroys the way the formation of the poetics of the modernist novel (which not only in Russian, but also in European literature will have a much later era of writing "Eugene Onegin").

In the first half of the XIX century. Pushkin in artistic form anticipated such thinkers of the XX century as A. Einstein, M. Bakhtin and M. Hai-Degrheger. Already in the first chapter of the novel, two fundamentally different ways of existence in time and, accordingly, two worlds, two prospects of being are presented. This is the time of Onegin and the time of the author. In this case, it is about two worlds, each of which is determined by its specific model of time. Each of the two models of time also belongs to its role in organizing the time and space of the narration (scene time, chronotope) of the novel.

Onegin time is linearly and concentrated at the point of this. The life of the Hero of the novel from the very beginning seems to be a series of consistently replacing each other moments of this: "First, Madame went for him, // then Monsieur changed it." The past (historical and personal) does not have any existential significance for him: from history he remembers only the "days of the past jokes", which are currently currently life, his young years do not contain any significant events that could be the subject of memories. Past for Onegin is the moments of the present, displaced by other, new moments. The same applies to the future: in the existence of Onegin it is insignificant and makes sense only as an opportunity to lightly vary the filling of the present moment: "Where is my pitchfire? // Who will he start? All the same: // Having a nomouder everywhere. " The life of the hero in the present flows between two insulated temporary segments - yesterday and tomorrow. Time Onegin is the time of the present day, everyday life:

Wakes up for noon, and again until the morning, his life is ready, monotony and death, and tomorrow is the same as yesterday.

The day is an astronomical measurement unit. This is an external, objective, calculus. In the temporary measurement of Onegin, the increased importance is obtained by the units of astronomical time: morning, day, evening, noon, hour1. The time of the hero is regulated by non-internal motifs and experiences, but as an impersonal instance - clocks: "But the ringing of the Breghet is informed by them // that the new ballet began." The focality on the astronomical measurement of time reaches the maximum concentration in the letter of Onegin to Tatiana: "No, it will be remembered to see you," and further:

1 Comparative analysis of the "hour" lexeme in the works of A.C. Pushkin and J. Byrona see in work.

And I am deprived of that: for you

I am dragging everywhere.

I am roads day, I am roads hour:

And I spend in vain bored

Fate ended days.

And so they are painful.

I know: this age is measured;

But so that my life has lasted,

I must be sure in the morning

What will I see with you in the afternoon ....

So, Onegin lives in external time, measured by hours and days. Internal time does not have, inside - emptiness. Such a configuration of the time predetermines the exhaustion and boredom, which already from the first chapter will become the main characteristics of the condition of the hero. Astronomical time is not an existential time, but is a series of replacing each other "now", which constantly disappear and constantly come. This movement of temporary intervals is obviously devoid of meaning. Later, writers and philosophers existentialists will talk about it. In particular, M. Heidegger so characterizes one of the aspects of "unnecessary" temporary importance: "The sluggish badness of indifference is finally not tied to anything, which does not bring anything and gives out that every time he brings the day, and at the same time all accepting Convincial demonstrates the power of forgetting in everyday moods of the nearest concern. Life for the flow, everything "giving to be" as it is, is based on the forgetting of the thrown. Such life has an ecstatic meaning of incomprehensible former. "

Dead time requires filling, the purpose of which is to speed up the movement of empty, abstract "now." Almost all the actions of Onegin are defined by this motive:

One among your possessions so that only time to spend

At first, our Eugene was conceived by the order of the new establishment.

In the "sketches to the plan about Fausta" we find versions of verse "so that only time to spend":

Sickie! You are stupid and younger.

I can't catch me.

After all, we are not playing out of money,

And just to spend eternity! .

Allusion on the Faust here is not accidental. Pushkin Faust suffers from the same agement as Evgeny Onegin: "I'm bored, the demon." Faust Goethe suffers from the same disease: he is looking for and cannot find moments that would wish to stop ("Werd" Ich Zum Augenblicke Sagen: // Verwei-

le Doch! DU BIST SO SCHÖN! " ), and even the devil is unable to him in this

The image of the author is based on a completely different configuration of time. Here - the root and the source of the very "difference" between Onegin and the author. First of all, it should be noted that for the author, existence does not closes within the boundaries of the present moment. Its time is not linear, but constituted according to the principle of "temporary funnels". The general scheme of these "funnels" is as follows: the moment in the present produces a reference to the past. In the first chapter of such temporary funnels, four: 1) XVIII-XX, 2) XXIX-XXXIV, 3) XLVIII-LI, 4) LV-LX. So, a description of the visit to Onegin Theater causes the author of the memoil about the past time: "Magic edge! There in the old years ... ". This memory does not remain objective and impersonal, but immediately entails the memory of his own past: "There, there is under the sense of Kulis // My days are shared." The past for the author is not dead and subject to oblivion, but a significant moment in the formation of his self: it is what it is, thanks to his past, which is subject to constant renewal in the present through memory. Through the renewal, the past becomes a living element of the present, and the present, in turn, ceases to be an empty moment, disappearing and the monotonous point "Now". The present turns out to be in-depth and existentially filled, lorded past. At the same time, the existential past does not only appear in the present, but also focused on the future: "I will hear my choirs again." Thus, we see that we are not a melancholic care from reality in the kingdom of memories (as it took place in romanticism in Helderlin or Byrona) 2, but the living unity of all three measurements of time: the past is remembered in the present and aimed at renewing in the future . Onegin time is torn to isolated from each other moments that are repeated with the regular movement of the clock mechanism. This is the time limit of being in the world. This modus of the time to a certain extent is an expression of the existential position of the hero itself, which evades the problem of filling the experienced moments with its own meanings, preferring to replace them with a series of mechanical repetitions. Therefore, the time of Onegin internally (on the mental level) is an infant event, despite the external filing of its existence by movement and change3. The author's time, on the contrary, is a holistic phenomenon of being connecting the past, present and future for a single moment. This is the nerve that Faust was looking for and who could not survive Onegin.

1 On the topic "Pushkin and Goethe", see, for example, in the works.

2 For the topic "Pushkin and Byron" see in the work.

3 On the events as a narrator category, see the book. .

Again, boils imagination again, again her touch lit in a faded heart blood, again, longing, love again! ...

Currently can expand for the author not only in the direction of the past, but also in the direction of the future. Here, there is no memory, but imagination. So, the night landscape in the St. Petersburg Embankment rushes the author to the future:

Adriatic waves, about Brent! No, I will see you and, inspiration again full, I will hear your magic voice! .

However, and here the future is adherent with the past: as a poet, he was already there ("he will holy for the grandchildren of Apollo; // on the proud Lira of Albion // He's a sign, he is native). The future turns out to be the resumption of the former (albeit only in the modus of the poetic imagination).

Love experiences of the past are transformed into the present and disclose the future of the author's genuine "I":

Love was held, Musa appeared, and the dark mind turned out. Free, again looking for the union of magical sounds, feelings and a doom ....

So the past acquires the importance of fate: once former events become stages in the formation of a self and choosing their own path. On the contrary, for Onegin, love adventures are not implemented through memory and imagination into the valuable experience of self-knowledge and self-sustament. All of his women form only indifferent row, in which one replaces the other, just as one present will replace others. This series is not much different from a number of things that fill the space of the existence of Onegin (for example, a description of the items of the hero's office in the stanzhan XXIV of the first chapter). A series is a model of Onegin Time. The author's time model is a funnel. For Onegin, a time unit is a segment of the present, measured by hours, days or day of day. For the author, the time unit is not real, but also not the past and not the future, but is a filled moment, connecting all three measurements of time in one.

Only in the eighth chapter Onegin falls out of the vice of its temporary measurement and approaches the author's time. Love for Tatiana disrupts a series of consistently replacing each other of these moments: it acts as a paradoxical element, which does not fit into this series, and therefore breaks it. Tatiana is not one more in a number of others, but the only and unique, the event that is not subject to

including in a row. As a result, Onegin is immersed at the state when the past begins to actively come through the present:

It sees it: on the mob of snow, as if sleeping overnight, the realm of the young man lies, and hears the voice: what? killed. It sees the enemies of the woven, slanders and the panties of the evil, and the swarm of the young, and the circle of comrades contempt, then the rural house - and the window sits out of the window ... and that's it! ...

However, in this mode of time, Onegin could not resist:

Days were rushing: winter was heated in the air; And he did not become a poet, did not die, did not go crazy.

Pushkin is not limited in his novel the time models of only two heroes. Already in the second chapter, temporary modes of Lensky, Olga and Tatyana, as well as the Larina family are being developed. Each of the named characters has its own temporary measurement.

The temporary modus of Lensky is characterized by a reference to the future. All of its existence is concentrated in dreams, hopes, expectations. He is waiting for a wedding with Olga and believes in the coming world bliss: "Outrageous rays // sometime we will illurb // and the world is blissful." If the time of Onegin is represented as a series, then Lensky's time is an arrow, as directed in one direction - to the future. Onegin time does not know the goals, only immersion in the abstract moments of the present; Lensky time is fully determined by the goal (whether it is marriage, the glory of the poet or the harmony of the world). However, such a model of time turns out to be as abstract and defective as the Onegin. The one-sided predominance of the vector of the future leads to a violation of communication with the present. The real young poet knows and does not see, because it does not live in it. For the characteristics of this Lena Pushkin, it selects the formula "not yet": "From the considerable debauchery of light // still tightened." The actual being of Lensky is incomprehensible, defective, it is still not. Hence the future of Lensky - by virtue of its complete convergence from the present - Efemern and fantastic. It feels and the author. Onegin: "And without me it will come; // Will Powers, he lives // Yes, believes the world to excellence. "

The temporal modus of Olga is characterized by imputing "always", indicating the absence of any movement in time: "Always modest, always obedient, // Always as the morning of the merry." Olga is in the frozen present, the model of its time is a point, self-sufficient and fixed. Its being is the being of a marble statue or standardized

portrait of the heroine "any" novel. Such a temporary modus does not cause any inconvenience or the suffering of Olga itself, however, for the author, he is boring in his frozen portrait monotony ("But I am tired of immensely"). Therefore, Pushkin pays Olga very little attention, almost immediately turning to Tatiana.

If the portrait of Olga opens with a temporary adder "always", then the characteristic of Tatiana begins by adverch "for the first time": "For the first time, the name is that ...". "For the first time," this is an event similar to the birth of a star, an outbreak of supernova, sudden illusion. However, at first, Tatiana's description impressed the black hole - due to the predominance of "not" in its characteristic: "She didn't attract once"; "She can't be able to caress"; "Play and jump did not want"; "Her ray fingers // did not know the needle ..."; "The pattern of silk, she // did not revive the web"; "But dolls even during these years // Tatiana did not take the hands"; "Conversations with her did not led"; "She did not play in the burner." Solid negation, no. But this lack is not equivalent to the emptiness of non-existence, it represents the existence in another time measurement, which does not match with the generally accepted stroke of things, with public daily time (whose characteristics we will give a little later). After three stanza with denial (HShU-HHUE), Pushkin finally gives the positive characteristic of Tatiana:

She loved to warn sunrise on the balcony, when the dance disappears on the pale sky sky, and quiet the edge of the earth brightens, and, the Morning Herald, the wind blows, and boils gradually the day.

If the previous stanzas revealed the "mining" character of the image of Tatiana (existence outside the world of everyday life), then the supervisory aspect of its being is presented here: its own existence is not in earth area (where you can play in the burner, in the dolls, embroider), but in the sky , among stars and morning dawn. This space corresponds to a special time measurement: the cosmic time of the formation, the time of movement of the celestial luminaries. This is not an abstract and calculated astronomical time of Onegin, it is rather the time of the ancient cosmos. In the fifth chapter, Pushkin will once again emphasize this space aspect of the space-time measurement of Tatiana:

Burning night, all the sky is clear; Heavenly wonderful chorus flows so quietly, so according to ... Tatyana on a wide yard in an open dress comes out.

In a letter, Tatiana to Onegin emphasizes the same rooting of the heroine in the highest sphere of being: "That in Vyshny, the Council is destined ... // That the will of the sky: I am yours." Here the ability of Tatiana

to become one moment the maximum completeness of being, survive for a moment as fate: "My whole life was a deposit // Siden's faithful with you." And further: "You have entered a little, I have learned, // the whole slave, dreamed." Tatiana time is concentrated in a mige, but this is such a moment that absorbs a lifetime, which is a space event detecting fate, heavenly destination. Tatiana is approaching pagan, ancient Greek globility with an appropriate way to experience time1. Tatiana's time model is the movement of heavenly shining.

The second chapter also characterizes the temporary measurement of the Larina family. The time is determined by the habit: "The habit of more than we are given"; "They kept in life peaceful // Habits of peaceful antiquity." The habit sets a certain rhythm of the flow of time, it provides regular repetition of folk traditions ("they have fatty pancakes on them in fat; // twice a year they are G Glysels). Unlike the time Olga, the time of Larina is not completely deprived of movement, but is characterized by a cyclic rhythm. It will be appropriate to hold a parallel with the position of M.M. Bakhtin about the decomposition of the "Shephealth-idyllic chronotope" in the novel "Dafnis and Chloe". Larina's time, in general, corresponding to the concept of idyllic chronotope, Pushkin is surrounded from all sides alien temporary mododules. This is the time of St. Petersburg, from whom in vain sought salvation in the village of Evgeny Onegin, this is the time of German romanticism, brought from "from the misty" Lensky, this time of Moscow, where the mother and daughter of Larina go. The idyllic chronotope with its cyclic rhythm is shown in the novel as degenerating and gradually losing its existential (as well as literary) significance. The habit of finds the fact that the tradition itself is no longer alive, that its authentic meaning is lost and forgotten, and the holidays and rites are observed only by force of the established routine, i.e. mechanically However, this modus of the time regulated by the habit makes it impossible if it does not mean, then at least order and regularity in the course of days and hours, turns the time row into the cycle ring. Thus, everyday, domestic time is released from the emptiness and abstractness of pure astronomical time. This time is not existentially complete, since it is deprived of genuine relationship with a traditional tradition, and through it - with the rhythms of nature and space. The linearity of time in this case is not removed, the time continues to go its own way, inevitably approaching the final being of a person to his last frontier:

And so they stolely both.

And finally opened

Before his spouse, a coffin door,

And the new one is the bone of the crown.

1 At the same time, we do not argue that Tatiana itself is a pagan. We investigate the measurement structure of the heroine time, and not its religious views. On the issue of the combination of paganism and Christianity in the work of Pushkin, see the book. .

After the high-speed nature of the verses of the poetry, the phrase sounds ironically: "He died in an hour before dinner," returning to the very day of everyday existence.

In the novel of Pushkin, the time of nature has independent significance. It is noteworthy that the most bright, which became the shittomatiy landscape sketches differ in one common part: they all depict the formation1. It is described not so much winter, not autumn or spring as the formation of winter, the offensive of autumn or spring. Pushkin fixes the moment of transition, origin and occurrence:

But our northern summer, caricature of southern winters, flashes and not: This is known, even though we do not want to confess. In the autumn, the sky was breathing, less often the sun shone, in short, it became a day, the forests of the mysterious village with sad noise was barely in the field of fog, Gusy Krique Caravan stretched to the south: quite boring time; There was no yard.

In the cancer of one stanza summer flows into autumn, and the autumn smoothly goes into the winter. Pushkin appears here a follower of Hercelite with his maxim: "everything flows." The same formation is described by the seventh chapter:

But summer fast flies. It came in the fall of gold. The nature of trepidate, pale, as the victim, lucually removed ... Here is the north, the clouds hitting, got drunk, overwhelmed - and here is the wizard wizard.

The nature of nature is the basis of the existence of all living things: everything becomes, goes into another state, everything is born, it appears, flourishing, everything dies, everything is returned again. The formation of nature lies and at the heart of genuine traditional traditions, legends and rites with their rooting in natural cycles, with their cyclic model. The contrast pole of natural time is the time of the inhabitants of large cities, cut off from the formation and from life:

But they are not visible to change;

All in them to the old sample:

The aunt is Princess Elena

All the same is a sheps ....

1 cm. In this regard, work.

This is the time of absolute stay and fixed identity. This is being without knowing.

Such are the main modes of time in the novel "Evgeny Onegin". The time dimensions described are in collaboration with each other. They come into opposition relationship, forming opposite poles, or complement and shade each other. Temporary modes detect a qualitative difference in existential plan. The time modes of Onegin and Lensky are defective. Olga modes, the family of lariat and secular society are unnecessary. As existentially full-fledged, the modes of the author's time and Tatiana. Based on the study, we can conclude that it is time that the main character of the work of Pushkin, and Evgeny Onegin is not only realistic, but also an existential novel. The inner world of individual heroes, their characters and fates are determined here not only by the factors of the social life of a certain historical era, but also the specific methods of organizing time measurements. Thus, the analysis of the eccentric-ontological structure of time in the novel "Eugene Onegin" makes it possible to reveal additional facets of the meaning and poetics of the immortal creation A.C. Pushkin.

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The Philosophy of Time In A.S. Pushkin "s Eugene Onegin

Vestnik Tomskogo Gosudarstvennogo Universiteta. Filologiya - Tomsk State University Journal of Philology. 2017. 47. 171-183. DOI: 10.17223 / 19986645 / 47/12

Vyacheslav T. Faritov, Ulyanovsk State Technical University (Ulyanovsk, Russian Federation). E-mail: [Email Protected]

Keywords: Alexander Pushkin, Eugene Onegin, Time, Modus, Existence, Time Model.

The Problem, The Solutions of Which The Study Is Devoted To, Is That Russian Literature Before Pushkin Time As An Artistic And A Historical and Philosophical Category Was Thought and Experienced in a Completely Different Way. In The 18th Century, The Idea of \u200b\u200bHistorical Progress CharacterTic of the Enlightenment Dominantes Not Only in Russia, But Also in European Literature; IT Implies The Progressive and Mostly Unidirectional Movement Of Time, As Well As The Prevalence Of Social, Sociopolitical Time Over The Individual and Personal, Private Time. Pushkin Does Not Leave Aside The Historical Problem of Time of The Hero That Gets a Completely New Interpretation in The Novel.

The Author Relies on the Methodological Principles and Theoretic Framework Of M.M. Bakhtin and Yu.m. Lotman and Uses Elements of Narratology Analysis. The Author Also Uses The Conceptual Devel-Opmenst of Existential Philosophy (K. Jaspers, M. Heidegger).

It is Proved That Pushkin Was Ahead of His Time by Showing Not One Universal Time, But a Lot of Heterogeneous Measurements of Time. Each Such Measurement Acts As A Mode of Being, Defining The Nature Of A Particular Character, Their Way of Thinking, Behavior and Attitude Towards Others. And, Vice Versa, Each Character (from the main characters to minor persons) Have Its Own Temporaal Dimension.

The Author Proves The Historical and Biographical Time Existential Time Plays a Significant Role in the Novel. This is time in Which A Person Makes The Fundamental Choice of Their Own Existence, Determined the Strategy of their Existence in the world.

Two Fundamentally Different Modes of Existence in Time and, Accordingly, Two Worlds, Two Perspectives of Being Are Presented in The Nove First Chapter of The Novel. This is onegin "S Time And The Author" S Time. In This Case We Are Talking About Two Worlds, Each Of Which Is Determined by Their Specific Model of Time. Each of the Two Models of Time Has Its Own Role In The Organization of Time and Space of the Narrative (Plat Time, Chronotope).

Pushkin Does Not Limit Himself in His Novel with Models of Time of Only Two Characters. In The Second Chapter He Develops Modes of Lensky, Olga and Tatiana, As Well As of the Larin Family. Each of these Characters Has Their Own Time Dimension.

On The Protagonist of Pushkin "S Works The Protagonist of Pushkin" S Works, And Eugene Onegin Is Not Only A Realistic, But An Existential Novel. The Inner World of Individual Characters, Their Personalities and Destinies Are Determined Here Not So Much a Factor in the Social Life of A Certain Historical Period (Though This Layer Is Also Present In The Novel), But As Specific Ways of Organizing The Measurement of Time.

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6. Lotman, YU.M. (2015) Pushkin. Biografiyapisatelya. Roman "Evgeniy Onegin". Kommen-Tariy, St. Petersburg: azbuka.

7. Toybin, I.M. (1969) Voprosy Istorizma I Khudozhestvennaya Sistema Pushkina 1830-Kh Godov, In: Meylakh, B.S. et al. (EDS) Pushkin. Issledovaniya I Materialy. Vol. 6. Moscow-Leningrad: Nauka.

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13. Pushkin, A.S. (1959) SOBR. SOCK: V 10 T. . Vol. 2. MOSCOW: Khudozhestvennaya Literatura.

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23. Faritov, v.T. (2016) MEMORY AND HISTORICITY AS EXISTENTIAL MOTFS OF PUSHKIN "S POETRY (Pushkin and Jaspers). Vestnik Tomskogo Gosudarstvennogo Universita - Tomsk State University Journal of Philology. 3 (41). PP. 170-181. (In Russian). DOI: 10.17223 / 19986645/41 / 14

In this section, the poetic space of Evgenia Onegin, taken as a whole, and the interrelation of the empirical space displayed in the novel, with the space of the text itself, will be sketched. The time of the novel was repeatedly analyzed (R.V. Ivanov-Obesenik, S.M. Bondi, N.L. Brodsky, A.E. Tarkhov, Yu.M. Lotman, V.S. Baevsky, etc.), but space On this expense is less lucky. In the works of "Onegin" there is, of course, an innumerable set of comments and observations over certain features of space, however, a special question has not even been put. However, the image of the space "Onegin" arose in the fundamental studies of Yu.M. Lotman and S.G. Bocharov, formally devoted to the description of the artistic structure of the novel, so implicitly the problem was still worked out. However, the structure, understandable as a space, is only part of the text space. This is a purely poetic space, more precisely, the main principle of its construction, which does not include modes and branching, as well as the whole wealth of the displayed empiric. Therefore, there are all reasons for the ferris of Onegin space, which, in addition to the problems of the device and placement of text, is a language for expressing a variety of forms of development of the world.

Evgeny Onegin is a complete poetic world, and, therefore, it can be imagined as a space of visual contemplation. At the same time, three positions of perception are implemented: a look at the novel from the outside, look from the inside and combining both points of view. The possibility of visual contemplation or at least a sensual experience of poetic space is supposed to be unconditional: otherwise it is not worth talking about space as a language and sense. The analysis will begin later.

From the outside the novel is comprehended as a whole, without distinguishing the components of its parts. However, a direct representation, not to mention the formulation, is impossible. Only a figurative substitution, an intermediate symbol of the type "apple on the palm" (2) *. Poems: "Onegin" Aircraft, as a cloud, it was necessary for me "(A. Akhmatova) and" His Roman got up from MGLL, which is not able to give a climate "(B. Pasternak) go back to the spatial representation of the author himself:" And Dom free novel, I have not yet clearly differently differently, "and in each case, the metaphor or comparison acts as an analogue not comprehensible to the actual reality (3) *.

The point of view, immersed in the inside of Onegin, opens uniformity instead of uniformity. All together, everything is invested, and all the volume of each other; The endless mosaic details unfolds in all directions. About the movement of the view in such space well say poems:

* Partitions Toncording
* I will pass through, go, like the light,
* I will pass like the image enters the image
* And how the subject sees the subject.
* (B. Pasternak)

The spatial significance of "Onegin" from the inside is not a film of the inner visions in the novel, where the imagination can stay in any "frame". This is a "frame", episode, painting, stanza, verse, skipping verse - any "point" of the text, taken in its distribution to the whole text, including its background space formed by references, reminiscences, quotes, etc. It is also an opponent The process is when it felt that all the outbound text of the novel with its structure of interconversion, intersecting and heterogeneous structures is directed exactly to the point on which attention is concentrated. The consciousness filled with the space of poetic text is capable of, however, to reproduce a number of such states simultaneously, and the oncoming bundles of lines, permeating and encountering the ensembles of local spaces, lead them into semantic interaction. Plexus spaces have a weaving meaning.

The combined point of view should show poetic text as space and as an ensemble of spaces in a single perception. As a visual analogue, a large grape cluster is suitable here with tightly apricious grapes - an image, apparently inspired by O. Mandelstam. It also goes back to the second approach. One of the best keys to the understanding of the Danct "Comedy", he believes "The inside of a mountain stone, charged in it Aladdinovo space, lampartry, lampiness, chandelie suspension of fish rooms."

The shaped likes of Onegin space have, of course, preliminary and quite general, coinciding with the features of the spatiality of many significant poetic texts. However, it is already possible to say that all that happens in Onegin is immersed in a spatial continuum filled with heterogeneous, capable of sharing in every possible way and with various degrees of local spaces. Inside the continuum, this set of qualitatively different spaces is needed, but not so much so that they speak the same voices. Moreover, on the thought of Yu.M. Lotman, "At what level we would look at the artistic text - from such an elementary level, like a metaphor, and to the most complex buildings of holistic artworks, - we are confronted with the connection of unsecast structures." Therefore, the multi-storey poetic space "Onegin" is characterized by a strong antipaty of individual fields and the simultaneous invasion of them in the boundaries of each other.

This property is clearly visible in one of the main characteristics of Onegin space. Well, having learned the classic formula of Zhukovsky "Life and Poetry - one", Pushkin in "Onegin" and other works significantly complicated and unfolded it. In "Onegin" it was manifested as the uniformity of the author's world and the world of heroes. The whole life material is placed by Pushkin into the overall spatial frame, but inside it the world has been developing, appears to strictly speaking, the plot of "Onegin" is that a certain author composes a novel about fictional heroes. However, no one reads "Onegin", because the story of Eugene and Tatiana in the novel at the same time exists regardless of writing as equal to life itself. This is achieved by moving the author-writer from his own space into the space of heroes, where he, as a friend of Onegin, becomes a character of the novel that is written by him. In this paradoxical combination of poetic and living spaces in the overall romance space, life and poetry, on the one hand, are identified, and on the other - they are incompatible.

S.G. Bocharov writes about it like this: "Roman Heroes depicts their lives, and it is also depicted as a novel. We read in a row:

* At the beginning of our novel,
* In the deaf, distant side ...

Where did an event occasionally remember? We are responsible for two parallel verses, only a cumulatively giving Pushkin image of space in "Onegin". In the deaf side, at the beginning of the novel - one event, exactly localized in a single place, but in different places. "In the deaf, distant side" is taken into the frame for the first verse; We read them next one after another, and "see" one in the other, one through the other. And so "Eugene Onegin" as a whole: we see a novel through the image of the novel. "

From this high excerpt, it is clear that significant artistic text reduces the spaces, which in direct logic or common sense are considered unnecessary. The space "Onegin", such a playful-demonstratively nominated by Pushkin as a split, essentially acts as a pledge of the unity of the poetic world as a symbol of being in his unrealized manifold. In such a space, there are a lot of syncity and simulation, and in its type it is definitely goes back to mythopoetical space. After all, the spaces divided by the increasing complication of being to alienity, after all, return, thereby returning to the initial one-grain or forgotten communion.

The mutual compliance of the two poems of "Onegin" as spaces from the example S. G. Bocharov shows which inexhaustible reserves of meanings are concluded in this intense permeability-impermeability. Strengthening the meaning in spaces of this type in something like functions of semiconductors in the transistor device. At the same time, the difficulties associated with spatial interpretations are also visible: what acts as combined can only be described as consistent.
The events depicted in the novel belong to several spaces. To extract the meaning of the event is designed for any background or sequentially on a series of backgrounds. In this case, the meaning of the event may be different. At the same time, the translation of the event from the language of one space in the language of another always remains incomplete due to their inadequacy. Pushkin perfectly understood this circumstance, and his "incomplete, weak translation", as he called the letter Tatiana, evidenced by this. In addition, it was a translation not only from French, but also from the "Heart Language", as S. G. Bocharov showed. Finally, events and characters can be transformed when transformed from one space. So, Tatiana, being "translated" from the world of heroes to the world of the author, turns into Muse, and a young town center, reading the inscription on the Lensky monument, in the same conditions becomes from an episodic character of one of many readers. The conversion of Tatiana in Muse is confirmed by parallel translation in comparative terms. If Tatiana "silently, like Svetlana, entered and sat down by the window," then Muza "Lenor, with the moon, hung up with me on horseback." By the way, the moon is the permanent sign of the space of Tatiana to the eighth chapter, where and the moon, and the dreams will be taken away from it, as it changes the space inside the Own World. Now Tatiana attributes will be transferred to Onegin.
The bipostasics of the Onegin space, in which poetry and reality, romance and life are reduced to the everyday experience, is repeated as a principle at levels below and above considered. So, the contradiction and unity are visible in the fate of the main characters, in their mutual love and mutual failures. Collision of spaces plays a considerable role in their relationship. So, "Roman Pushkin himself is simultaneously completed and not closed, open." "Onegin" during his artistic existence creates around itself the cultural space of reader reactions, interpretations, literary imitations. The novel goes out of himself into this space and admits it to himself. Both spaces on their border are extremely expansive, and mutual permanent and intercoupels lead to a closure of the already known rules of incorporability. The novel, breaking down, goes into life, but life itself acquires the appearance of a novel, who, according to the author, should not finish until the end:
- Blessed, who is early to celebrate life
- left without adding to the bottom
- Full wine glasses,
- Who did not dape her novel ...
Throwing a look at the spatial uniformity of "Onegin" from its high-quality heterogeneity, we now turn to the consideration of the holistic space of the novel in correlation with the largest formations filling it. Here it will be about pure poetic space, the picture and the structure of which will be others. The largest formations within the Onegin text are eight chapters, "notes" and "Excerpts from Onegin Travel". Each component has its own space, and the question is whether the amounts of spaces of all components are equal to the poetic space of the novel. Most likely, not equal. The overall space of all parts of the novel, taken together, is significantly inferior in dimension or power with a holistic space. Imagine an exventual space that can be called "far a free novel". In this "Dali" already exists all "Onegin", in all the possibilities of its text, from which not everyone will be implemented. Eventual space is not yet poetic space, it is a protesture, prototext, space of possibilities.
This space in which Pushkin still "does not clearly distinguishes" his novel, it is not yet, and still he is already from the first to the last sound. In this preliminary space, consecutive concentrations of chapters and other parts arise. Decorated verbally and graphically, they are tightened around themselves, structuring it with its compositional mutual excavation and release its peripheral and intermediate areas due to its increasing seal. Such "Onegin" is truly similar to the "small universe" with its galaxies-heads placed in devastated space. We note, however, that the "empty" space retains eventuality, that is, the possibility of generating text, intensely unexplosion. These "voids" can be literally seen, as Pushkin has developed a whole system of graphic instructions on "skipping" of poems, stanza and chapters containing inexhaustible semantic potentiality.
Without deepening further into small-term processes within a purely poetic space, they are detained only on one of its sufficiently obvious property - tendency to seal, concentration, concentration. In this sense, "Eugene Onegin" is superbly implemented by a repeatedly marked rule of poetic art: the maximum compression of the verbal space with the boundless capacity of life content. The rule is, however, applies primarily to lyrical poems, but Evgeny Onegin is just a novel in verses, and lyrical epic. "Dizhively laconicism" - an expression A. A. Akhmatova in relation to the poetic drama of Pushkin - characterizes "Onegin" is hardly in all aspects of his stylistics, especially those that can be interpreted as spatial. You can even talk about a peculiar "collapse" in "Onegin" as a private manifestation of the general principle of Pushkin poetics.
However, the unidirectional seal of the poetic text is not included in the task of the author, otherwise the "abyss of space" will eventually disappear from each word. The compression itself and the suspiciousness of the space is inevitably associated with the possibility of explosive expansion, in the case of "Onegin" - semantic. Compressed to the point of education will definitely turn into an old or new space. Pushkin, squeezing the poetic space and capturing in him the nomination and diversity of the world, was not going to climb the abyss of the meaning as Ginn in the bottle. Genie makes sense to be released, but just as the poet wants. The contiguity of compression and expansion should be balanced both in the poetic space itself, so - and this is the main task! - and in its interaction with the space displayed, outpoures text.
The reader reads the text "Onegin" linear order: from the beginning to the end, stanza for the stanza, chapter for the head. The graphic form of the text is really linear, but the text as a poetic world is closed into the circle cyclic time of the author, and the cyclic time, as is known, acquires the features of space. Naturally, the "Onegin" space can be represented by circular or even, as follows from the previous description, spherical. If the space "Onegin" circular, what is located in the center?
The space center in Oneginsky texts is the most important structural-semantic point. According to a number of researchers, in Onegin - this is a dream of Tatiana, who is "placed in almost the" Geometric Center "and constitutes a peculiar" axis of symmetry "in the construction of the novel." Despite its "dollability" regarding the life plot of Onegin, and rather, thanks to her, Tatiana's dream gathers around him the space of the novel, becoming his composite lock. The entire symbolic meaning of the novel is concentrated and compressed in the episode of the sleep of the heroine, which, being part of the novel, at the same time accommodates it all (18). It would seem, by nature the world of sleep is sealed and impenetrable, but there are no conditions for the romance space. Tatiana's dream, spreading to the whole novel, connects his verbal dream theme, selects in many episodes. You can see the deep rolls of "Night Tatyana" with the "Day of Onegin" (the beginning of the novel) and the "Author's Day" (the end of the novel).

Writing on literature on the topic: Spatial interpretations in the novel "Evgeny Onegin"

Other writings:

Roman "Evgeny Onegin" is a novel about love. On a life path, each of the heroes meets this wonderful feeling. But no of the characters can be connected to your loved one. Nanny Tatyana Larina says that at her time even "did not hear read more ......
Roman in verses "Eugene Onegin" puts a lot of problems. One of them is the problem of happiness and debt that touched Tatiana's parents, Tatiana Larina and Eugene Onegin. Tatiana's mother loved one person, and had to marry another, for Dmitry Read more ......
Concentrating the poetic space of Onegin, Pushkin actualizes it by semantically the most diverse means. The central place of Sleep Tatiana in the novel is confirmed by the special position of the fifth chapter in the composition. Heads "Onegin" up to the "passages from the journey" the hero, as a rule, are completed by switching to the author's world, which, read more ......
Evgeny Onegin is rightfully considered to be the central work of A. S. Pushkin. Work on it lasted about eight and a half years. At the first mention of the work on Eugene Onegin Pushkin reported: "I am writing not a novel, and the novel in verses is a devilish difference." Read more ......
Vladimir Lensky. Deeply revealed by Pushkin, the globility of another characteristic Hero characteristic for this era - Vladimir Lensky. It is very attractive moral purity, romantic dreaminess, freshness of feelings, winsted moods. In contrast to the disappointed Onegin Lensky imbued with faith in a person, in love, in Read more ......
Evgeny Onegin is a work in which the eyelid "has reflected." The disease of the century, the disease of "unnecessary people" was "Russian Handra". The study of this phenomenon and dedicated to Pushkin his novel. The protagonist of the novel, having a rich spiritual and intellectual potential, cannot find applications with its abilities Read more ......
"Pushkin would even better have done if Tatiana named his poem, and not Onegin, because she is undoubtedly the main heroine of the poem" F. M. Dostoevsky Roman "Evgeny Onegin" is one of the most interesting works of Pushkin, which went about nine Read more ......
Love all ages are submissive ... A. Pushkin Roman "Eugene Onegin" is a novel about love. On a life path, each of the heroes meets this wonderful feeling. But no of the characters can be connected to your loved one. Nanny Tatyana Larina says that read more ......

Spatial interpretations in the novel "Eugene Onegin"

Natural forms of the existence of the depicted world (as, however, and the world time and real) are time and space. Time and space in the literature are a kind of conventionality, on the nature of which different forms of the space-time organization of the artistic world depend.

Among other arts, literature is most freely accessed with time and space (the competition in this regard can be only the art of cinema). In particular, literature can show events that are occurring simultaneously in different places: for this, a storytellor is enough to enter the formula "and in the meantime there it happened" or similar. Also, the literature moves from one time formation to another (especially from the present in the past and back); The earliest forms of such temporary switching were memories and a story of a hero - we already meet them from Homer.

Another important property of literary time and space is their discreteness (interruption). For time, this is especially important, since the literature does not reproduce not all the time stream, but only artistically significant fragments choose from it, denoting "empty" intervals like "Live Li Live" type "," a few days "and so on Temporary discreteness serves as a powerful dynamization means at first the plot, and afterwards psychologism.

The fragmentary of the artistic space is partly related to the properties of the artistic time, it is partly independent. So, the instantaneous change of space-time coordinates, natural for literature (for example, the transfer of action from St. Petersburg to the crushing in the novel of Goncharov "Oblomov") makes an unnecessary description of the intermediate space (in this case, roads). The discreteness of the actual spatial image is that in the literature, this or that place may not be described in all parts, but only designated by individual signs that are most significant for the author and having a high semantic load. The rest (usually large) part of the space is "completed" in the imagination of the reader. Thus, the place of action in Borodino Lermontov is marked with only four fragmentary details: "Big Field", "Reduce", "Gun and Forests Blue Tips". Also frantically, for example, a description of the village office of Onegin: Only "Lord Bayron Portrait" is marked, Napoleon's statuette and - a little later - books. Such discreteness of time and space leads to significant artistic savings and increases the importance of a separate figurative part.

The nature of the conventionality of literary time and space is a strong depends on the kind of literature. In lyrics, this convention is maximum; In lyric works, in particular, there is no way an image of space in general - for example, in Pushkin's poem "I loved you ...". In other cases, the spatial coordinates are present only formally, being consequentially allegorical: so, it is impossible, for example, to say that the space of the Pushkinsky "Prophet" is the desert, and the Lermontov "Sails" - the sea. However, at the same time, the lyrics are capable and reproduced the subject world with its spatial coordinates who have great artistic significance. So, in the poem of Lermontov "How often, the Movie Tolpoi is surrounded ..." The opposition of spatial images of the ballroom and the "kingdom of the campaign" embodies the antithesis of civilization and nature for Lermontov.

With artistic times, the lyrics drawn as freely. We often observe in it the complex interaction of temporal layers: the past and the present ("When a noisy day fails for a mortal ..." Pushkin), past, present and future ("I will not be harmed before you ..." Lermontov), \u200b\u200bBroan Human Time and Eternity (" With a mountain, having risen, the stone lay down in the valley ... "Tyutchev). It is found in lyrics and the complete absence of a significant time image, such as, for example, in the poems of Lermontov "and boring and sad" or Tyutchev "Wave and Duma" - the temporal coordinate of such works can be determined by the word "always". It happens, on the contrary, a very acute perception of time by the lyrical hero, which is characteristic, for example, for poetry I. Annensky, as they say even the names of His works: "MiG", "longing of the mimicity", "minute", not to mention more depth Images. However, in all cases, lyric time has a great degree of convention, and often abstractness.

The conventionality of dramatic time and space is mainly connected with the orientation of drama on theatrical production. For each playwright, each playwright has its own construction of a space-time image, but the general nature of the convention remains unchanged: "What a significant role in the dramatic works did not acquire narrative fragments, no matter how the depicted action has been crushed, no matter how obeying the characters sounding the logic of their internal Speech, drama is committed to closed in space and time with pictures. "

The highest freedom of handling of artistic times and space has an epic genus; It also observes the most complex and interesting effects in this area.

According to the features of the artistic convention, literary time and space can be divided into abstract and concrete. It is especially important to division for artistic space. Abstract will be called such a space that has a high degree of convention and which in the limit can be perceived as the "Universal" space, with the coordinates "everywhere" or "noy". It does not have a pronounced characterity and therefore does not affect the artistic world of the work: does not determine the nature and behavior of a person, not related to the peculiarities of the action, does not set any emotional tone, etc. So, in Shakespeare's plays, the place of action is either generally fictional ( "Twelfth night", "storm") or does not have any influence on the characters and circumstances ("Hamlet", "Coriolan", "Othello"). According to the right remark of Dostoevsky, "His Italians, for example, almost completely the same English." The artistic space in the drama of classicism, in many romantic works (Guete's ballads, Schiller, Zhukovsky, Novella E. software, "demon" Lermontov), \u200b\u200bin the decadence literature (Pieces M. Meterlinka, L. Andreeva) and modernism (" Plaza "A. Kama, Piesen J.-P. Sartra, E. ionesko).

On the contrary, the space concrete does not simply "binds" the world's shown to one or another topographic realities, but actively affects the entire structure of the work. In particular, for Russian literature XIX century. Specifying space, the creation of images of Moscow, St. Petersburg, the county city, estate, etc., as mentioned above in connection with the category of the literary landscape.

In the XX century Another trend was clearly marked: a peculiar combination within the artwork of a specific and abstract space, their mutual "flow" and interaction. At the same time, a specific place of action is given a symbolic meaning and a high degree of generalization. Specific space becomes a universal model of being. At the origins of this phenomenon in Russian literature stood Pushkin ("Eugene Onegin", "History of the village of Gulihin"), Gogol ("Auditor"), further Dostoevsky ("Demes", "Brothers Karamazov"); Saltykov-generin "History of one city"), Chekhov (almost all mature creativity). In the XX century, this tendency finds an expression in the works of A. White ("Petersburg"), Bulgakov ("White Guard", "Master and Margarita"), veins. Yerofeyev ("Moscow-Petushka"), and in foreign literature - at M. Proust, W. Falkner, A. Kama ("Strying") and others.

(It is interesting that a similar tendency to turn the real space into symbolic is observed in the XX century. And in some other arts, in particular, in the movies: So, in films F. Coppola "Apocalypse Today" and F. Fellini "Orchestra rehearsal" is quite concrete at the beginning The space gradually, by the end is transformed into something mystico-symbolic.)

The corresponding properties of art time are commonly associated with abstract or specific space. So, the abstract space of fables is combined with abstract time: "In a strong alwayspowerless to blame ... "," And in the heart of the smoke alwaysit will find the corner ... "etc. In this case, the most universal patterns of human life are mastered, timeless and non-spatial. Conversely: The spatial concrete is usually complemented by temporary, such as, for example, in the novels of Turgenev, Goncharov, Tolstoy, etc.

Forms of specification of artistic time perform, firstly, "binding" actions to real historical landmarks and, secondly, the exact definition of "cyclic" temporary coordinates: the time of the year and time of the day. The first form was specially developed in the aesthetic system of realism of the XIX-XX centuries. (So, Pushkin persistently indicating that in his "Eugene Onegin" the time "calculated by the calendar"), although it appeared, of course, much earlier, apparently, already in antiquity. But the measure of concreteness in each case will be different and in varying degrees accented by the author. For example, in the "war and the world" of the Tolstoy, Lifesty of Klim Samgin, Gorky, "Living and Dead" Simonov, etc. The arts of the world. Real historical events directly enter the text of the work, and the time of action is determined with accuracy not only up to a year and months, but often one day. But in the "Hero of our time" Lermontov or "Crime and Punishment" of Dostoevsky, the temporary coordinates are quite vague and guessed on indirect signs, but at the same time binding in the first case to the 30th, and in the second to the 60s it is quite obvious.

An image of the day of day has been discussed in the literature and culture a certain emotional meaning. So, in the mythology of many countries, the night is the time of the undivided domination of the secret and most often evil forces, and the approach of dawn, heated by the crude rooster, was delivered from unclean power. The obvious traces of these beliefs can be easily discovered in the literature until today ("Master and Margarita" Bulgakov, for example).

These emotional-semantic values \u200b\u200bare preserved to a certain extent in the literature of the XIX-XX centuries. And even became stable metaphors like "Dawn of a new life". However, for the literature of this period, a different tendency is more characteristic - to individualize the emotional and psychological meaning of the day of day in relation to a specific character or lyrical hero. So, the night can become the time of tense thought ("Pushkina-eyed verses), anxiety (" the pillow is already hot ... "Akhmatova), longing (" master and margarita "Bulgakov). Morning, too, can change the emotional color to the right opposite, becoming sadness of sadness ("Morning Misty, Morning Sedoy ..." Turgenev, "A pair of bumps" A.N. Apukhtina, "Gloomy Morning" A.N. Tolstoy). In general, individual shades in the emotional color of time exists in the latest literature a great set.

The time of year was mastered in human culture from the most pressing times and was mainly associated with the agricultural cycle. In almost all mythologies, autumn is the time of dying, and spring is the Renaissance. This mythological scheme has passed into literature, and its traces can be found in a variety of works. However, more interesting and artistically significant are individual images of the year of the year for each writer, executed, as a rule, psychological meaning. There are already complex and implicit relationships between the year and mental state, giving a very wide emotional scatter ("I do not like spring ..." Pushkin - "I love the spring most of all ..." Yesenina). The correlation of the psychological state of a character and lyrical hero with this or that season becomes in some cases a relatively independent object of comprehension - here you can recall a sensitive feeling of Pushkin Seasons ("Autumn"), "Snow Masks" of the block, a lyrical retreat in the Poem of the Tvardovsky "Vasily Terkin" : "And at what time of year // easier to die in war?" The same time of the year, different writers are individualized, carries a different psychological and emotional load: compare, for example, Turgenev summer in nature and St. Petersburg summer in the "Crime and Punishment" of Dostoevsky; Or almost always a joyful Chekhov Spring ("May felt, dear May!" - "Bride") with a spring in Bulgakovsky Yerschalaim ("What a terrible month is Nisan this year!").

Like a local space, a specific time can detect the beginning of the time of absolute, infinite, as, for example, in the "demons" and "brothers of Karamazovy" Dostoevsky, in the late prose Chekhov ("Student", "on the affairs of service", etc.) , in the "Master and Margarita" Bulgakov, Romans M. Proust, "Magic Mountain" T. Mann, and others.

Both in life and in the literature space and time are not given to us in its pure form. We judge about the space on the filling items (in a broad sense), and about the time - according to what is happening in it processes. For practical analysis of the artistic work, it is important at least qualitatively ("more - less") to determine the fullness, saturation of space and time, since this indicator often characterizes the style of the work. For example, Gogol's style is inherent mainly as much as possible space, which we talked above. Somewhat less, but still a significant saturation of space and things we find Pushkin (Evgeny Onegin, "Count Nulin"), Turgenev, Goncharov, Dostoevsky, Chekhov, Gorky, Bulgakov. But in the style system, for example, Lermontov space is practically not filled. Even in the "Hero of Our Time", not to mention such works as "demon", "MTSI", "Boyar Orsha" We cannot imagine a single particular interior, and the landscape is most often abstract and fragmentary. There is no subject saturation of space and in such writers like L.N. Tolstoy, Saltykov-Shchedrin, V. Nabokov, A. Platonov, F. Iskander, etc.

The intensity of the art time is expressed in his saturation of the events (at the same time, under the "events" we will understand not only external, but also internal, psychological). Here are three options: medium, "normal" time population event; increased intensity of time (the number of events per unit of time increases); Reduced intensity (saturation of events is minimal). The first type of artistic time organization is presented, for example, in Evgenia Onegin Pushkin, Turgenev novels, Tolstoy, Gorky. The second type is in the works of Lermontov, Dostoevsky, Bulgakov. Third - from Gogol, Goncharov, Leskova, Chekhov.

The increased saturation of the artistic space is common, as a rule, with a reduced intensity of art time, and vice versa: reduced full-time fullness - with enhanced saturation of time.

For literature as a temporary (dynamic) type of art, the organization of art time is in principle more important than the organization of space. The most important problem here is the ratio between the time depicted and the image time. Literary reproduction of any process or event requires a certain time that, of course, varies depending on the individual reading rate, but still possesses some certainty and one way or another with the time of the flow of the image. So, the "life of Klim Samgin" Gorky, which covers the forty years of "real" time, requires for reading, of course, a much smaller time interval.

The depicted time and time of the image or, otherwise, the real "and artistic time, as a rule, do not coincide, which often creates significant artistic effects. For example, in "Tale about how Ivan Ivanovich was quarreled with Ivan Nikiforovich" Gogol between the main events of the plot and the last visit of the narrator in Mirgorod goes around one and a half dozen years, the extremely discouraged in the text (from the events of this period only the deaths of Judge Demyan Demyanovich are mentioned and Krivoy Ivan Ivanovich). But these years were not and absolutely empty: all this time lasted a litigation, the main characters of the older and approaching the inevitable death occupied by the same "case", in comparison with which even eating melons or tea drinking in the pond are presented with classes performed meaning. The time interval prepares and strengthens the sad mood of the final: which initially it was only ridiculous, then it's sad and almost tragic one and a half dozen years.

In the literature, quite difficult relationships between real and artistic times arise. So, in some cases, real time can be equal to zero: this is observed, for example, with different types of descriptions. This time is called disadvantia. But the event time in which at least something happens, internally heterogeneously. In one case, before us events and actions, substantially changing or humans, or the relationship between people, or the situation as a whole - this time is called plot. In another case, a picture of sustainable existence is drawn, that is, actions and actions repeated from day to day, from year to year. In a system of such an artistic time, which is often referred to as "CHRONIC-DOMESTIC", almost nothing changes. The dynamics of this time is as common as possible, and its function is to reproduce the steady lifestyle. A good example of such a temporary organization is an image of the cultural and domestic text of the Larina family in Evgenia Onegin Pushkin ("they kept in life peaceful // Habits of cute antiquities ..."). Here, as in some other places, the novel (the image of the casual occupations of Onegin in the city and in the village, for example), is reproduced not the dynamics, but the static, is not once former, but always happening.

The ability to determine the type of art time in a particular work is a very important thing. The ratio of the timeless ("zero" time), a household and event-plot, largely determines the tempo organization of the work, which, in turn, determines the nature of aesthetic perception, forms subjective reading time. Thus, the "dead souls" of Gogol, in which the misunderstanding and chronicle houses prevails, create the impression of a slow pace and require the appropriate "reading regime" and a certain emotional attitude: artistic time is leisurely, this should be the time of perception. The exact opposite tempo organization has, for example, the Roman Dostoevsky "Crime and Punishment", in which the events prevails (we recall that we consider not only the plot peripetics, but also internal, psychological events). Accordingly, the modus of its perception, and the subjective pace of reading will be different: often the novel is read simply "Correb", in one breath, especially for the first time.

The historical development of the space-time organization of the art world detects a completely definite tendency to complicate. In the XIX and especially in the XX century. Writers use a spatial-temporal composition as a special, conscious artistic technique; It begins a kind of "game" with time and space. Her thought, as a rule, is that, comparing different times and spaces, to identify both the characteristic properties of "here" and "now" and general, universal laws of human existence, independent of time and space; This is the understanding of the world in his unity. This artistic idea very accurately and deeply expressed Chekhov in the story "Student": "Past," he thought, "it is connected with the present continuous chain of events that aroused one of the other. He seemed to him that he had just seen both ends of this chain: he touched one end, as the other "..." True and beauty, who guided the human life there, in the garden and in the courtyard of the High Priest, continued continuously until now and, Apparently, they always amounted to the main thing in human life and in general on earth. "

In the XX century Comparison, or, by the Tolstoy Talk, "Conjugation" of spatio-temporal coordinates has become characteristic of very many writers - T. Manna, Falkner, Bulgakova, Simonova, Aitmatova, etc. One of the most vivid and artistic meaningful examples of this trend is the poem of Tvardov "For a distance - Dal." The space-time composition creates an image of the epic unity of the world, in which there is a legitimate place and the past, and the present, and the future; And a small blacksmith in Zagor, and the Great Forge of the Urals, and Moscow, and Vladivostok, and the front, and the rear, and another other. In the same poem, the Tvardovsky figuratively and very clearly formulated the principle of the spatial-temporal composition:

There are two discharge of travel:

One - go off the place in the distance

The other is to sit for yourself

Flip back calendar.

This time the reson is special

Combine them will allow me.

And he, and that - by the way both,

And my path is most profitable.

These are the main elements and properties of the side of the artistic form that we called the world. It should be emphasized that the world is an extremely important side of the entire artwork: the style, artistic peculiarity of the work often depends on its features; Without dealing with the features of the world's pictures, it is difficult to reach an artistic content. We remind you about this because in the practice of school teaching the pictured world is not allocated as a structural element of the form, and therefore, it is often neglected by the analysis. Meanwhile, as one of the leading writers of modernity, O. Eco said, "for telling, first of all, it is necessary to create a certain world as it is better to build it and thinking in the details."

? CONTROL QUESTIONS:

1. What is understood in literary criticism under the term "depicted world"? What does his identity of the primary reality manifest itself?

2. What is the artistic part? What are the groups of artistic parts?

3. What is the difference between the details and the detail-symbol?

4. What is the literary portrait? What kind of portrait varieties do you know? What is the difference between them?

5. What functions do images of nature in the literature? What is a "city landscape" and why is it needed in the work?

6. For what purpose are things describe in the artwork?

7. What is psychologism? Why is it applied in fiction? What forms and techniques of psychologism do you know?

8. What is fiction and life-like as a form of an artistic convention?

9. What functions, forms and fiction techniques do you know?

10. What is the story and descriptions?

11. What types of spatial-temporal organization of the pictured world do you know? What artistic effects writer removes space and time from images? How do the time relative and time are artistic?

21. Space and time in the literature.

Image of time and space

An image of time and space is an integral category for any painting of the world. The image is conditional (it is not valid).

Literature demonstrates extremely ample opportunities in the image of space and time that other arts do not have.

With regard to the time image, there are certain problems. The process of perception of both literary and scenic works is a process that develops in time. Consequently, the contrast of the real and depicted times varies very well. Real time is the time for which the book is read. The depicted time is time in the work. This is especially important for the theater, where the process of perception is continuous.

Example: "Oblomov"

Beginning - Mature Bakes

Sleep Oblomov (Insert) - Returning to childhood

End - Death of Oblomov

On the last pages it is written that there are several years among the main pages and death. Narration fragmentary.

Intermission in the theater make it possible to emphasize the fragmentation of the work.

There were attempts to prompt the time depicted and real. The theater of classicism (17 century) approved the unity of time - 1 day, as a last resort - 24 hours. Classicists believed that if the events on the stage would be laid during viewing, they would be believable.

Example:

Crystil - Piece "Dangerous Rotation". Events are developing in a few hours. The time is depicted and the real coincide. In the house, namely - in the living room, one of the characters are going to close people. Everything is fun, but unexpectedly arises the topic of clarification of relationships. Thanks to the memories, all the time is lengthened, the memories give events. One after another they join the conversation, gradually the characters are revealed, which gives the play detection.

The writer can compress the time due to time pass, seizures with a message about it. The literary work allows you to move from one time to another, for example, from the present in the past. For this there are special techniques. For example: in debt, but with a sequential dream of Oblomov, which contains many details - the events of the present time are given, and then the insertion of the pictures of the past. There is interleaving the present and past. Retrospective - return from the present in the past.

In addition to the fact that the literary work can compress time, it can also lengthen it. This is due to the presence of temporary measurements - real, measurement of comprehension (read) and depicted. Example: a series of Sevastopol novels Tolstoy. The death of one of the heroes is described (shell fell into it), and in 1 second he sees the events of his life, but this is 1.5 pages. Time is stretched here.

The depicted time correlates with real, can play different times, can reflect memories.

Time has certain characteristics:

actions are confined to different days of day, year.
historical characteristics (events time, era)
- there are various modifications that are well noticeable if they are traced on a large material. Example: The ancient literature and literature of the Middle Ages (the tragedy about Muhammeda belongs to the ancient era, but the time in it is deprived of the historical past, as well as national accepts; it does not reflect the specification of life, relationships, realities)

Local flavor - reproduction of national historical specificity.

Walter Scott. With the help of realities (customs, clothing, utensils, interior) depicts the historical era. It should be noted that the landscape has ceased to be faceless, but is depicted precisely as Scottish.

The literature of antiquity and the Middle Ages (until the end of the 18th century) uses historical stories, materials, but not perception of historical specificity. And the modern novel without it is unthinkable.

Space and time intersect. The space is changing. Due to this, it becomes clear what time changes and time.

Local flavor assumes an image of national and historical specifics.

MM Bakhtin was convinced that space and time - the intersecting categories. He introduced the term chronotope - the time of space (it is impossible to separate them).

Time is filled with events, and space - objects.

There are literary works, where the space looks sparse (that is, there are few objects in it). When events occur a lot, the time flows quickly. In adventurous novels, time is saturated with events (features of adventurous time). Dostoevsky event also follows quickly - one after another.

When there are few events or they are from the discharge of repeating, it is felt as very slow flow.

Time is eventful and misstain.

Modern literature practically does not depict an off-day.

Early literature in the image of very bright, significant events, she did not pay attention to the misunderstood. And realism reveals for the literature the misunderstanding time of everyday life: descriptions appear, total repetitive actions in the life of characters.

Chekhov "Ionch":

1 part - actions Events that can be future memories, the most significant events (romance with a girl).

The 2 part is the total image, as life flows (it turns out that he was an greedy, greedy, thick) is an off-day.

Pushkin "Eugene Onegin"

it begins with a generalization of the defendant of Onegin's life (it describes his 1 day in St. Petersburg, life is described in the village), the description of which is fills the events, but they are repeated every day, therefore, the total - misunderstood time is described.

Significant events are not described in total, but in detail.

The misunderstanding time describes household time, so it is chronically.

Space and any spatial categories (city, village) can be described peculiar or as any space.

In the early literature, the landscape for one culture is always the same, inside the corresponding culture there are no specifics. The main difference in it is a description of the time of year and the time of day.

The city is in early literature.

In the "1000 and 1 nights" describes Baghdad, but if the action is transferred to another city, the description will still not change. The city will still be described by canons.

The image of the city appears only when the desire appears to portray specifics. But nevertheless, not all modern literature turns on the specifics of the image.

Brecht "Good Man from Sonchuan"

It ignores the specifics of time and space specifically, because It could happen anywhere, at any time.

Brecht wants to say with his parables that they are eternal

There is an image in the literature that is not called at all (for example, the city N).

Dostoevsky in the "Brothers Karamazov" action takes place in the fictional city

In "demons" the city is not called at all

Although in "Crime and Punishment", the events occur in St. Petersburg

And in "demons" and in the "brothers of the Karamazov" cities are attached to all the features of the Central Russian provincial city

For example, fictional cities, states, countries often appear in Latin American literature.

Falkner

The action takes place in the fictional state, but it indicates the features of South American states.

Marquez

Markond - a fictional country; But the life of the heroes, the system of relations is very close to the South American states

An artistic task is the desire to give a generalized image of some place.

Why do you need the transformation of these categories?

Bulgakov "Master and Margarita"

2 times existing in parallel (Evangelsk and Moscow)

3 spaces (Moscow, Yershalaim, the mythological space of Voland) also exist in parallel, intersect with each other

Spatial coordinates.

In Evgenia Onegin, the movement begins with the meeting of Eugene and Tatiana. The house is a place where love is tied, conversations.

In French literature 19 in. (Balzac) the center where the relationship is tied, the secular living room becomes, where the highest society is going. In the second half of the 19th century. (Chekhov) is to make a provincial town's place.

The space where the action occurs is not indifferent to the basis of the plot. Artistic space has a symbolic value. Symbols spatial and temporary are laid in archaic societies.

A closed space - a house is built.

In fairy tales there is opposition to open space and at home. The storyline begins outside the house ("Red Hood").

A closed space may have a positive and negative value.

Positive:

The house is closed, but there are comfort in it, the house is filled with loving people.

Negative:

The house is a closed space; what prevents living is dragging; Get out of the house - go out into the wide world (characteristic of Gogol).

In Tarasa Bulbe: a steppe, where the Cossack walks - a place where a person lives.

At Bulgakov, the middlewind of values \u200b\u200bis the house. But there is also a motive of homelessness (Ivan Homeless, Yeshua). In the "Master and Margarita" there is no house, and the apartment. The image of the house appeared in the basement from the master. When he burns the novel, the house again becomes the basement.

Lotman believes that for Bulgakov, the house is not only the place of comfort, but also the place is cultural (books in the house, piano music).

House of Starlavetsky landowners.

The world is limited from all over the other. A closed world whose residents have a vague idea of \u200b\u200bthe outside world (immediately behind the fence; the fence is the border). For example, a pultuity kitty Ivanovna for the fence has a symbolic meaning - the death of the pulfer.

V.Resputin (70s. 20 century): Prose. Military literature began to collapse, so they wanted to preserve the image of a rustic culture. "Farewell to Mother": Matera is an island, in the center of which an extraordinary tree grows, there is a beast - the keeper of the island, it emphasizes that the island is a separate, special world. Symbolism inherent in time has mythological, fabulous roots). Miscellaneous perception of different times of the year.