R&D: Female images in novelism Georges Sand.

The owner of a wonderful, enchanting voice (artistic prototype - famous singer Pauline Viardo-Garcia), Consuelo is Spanish by nationality, Italian by upbringing, gypsy by fate, embodies the theme of the artist-wanderer, the eternal traveler. K. herself, of course, is not aware of her own exceptionalism. As a girl, she looks at herself, like her fiancé Andzoletgo, with someone else's eyes. Fifteen years old, she seems almost ugly to the inattentive eye in her teenage angularity. She's only good when she sings.

She is completely devoid of coquetry and vanity. Her innate artistry and ability to hoax, play are combined in her with fundamental independence from the generally accepted image of the actress. She, despite the obvious external charm and femininity, subordinated the feminine nature to her vocation and freed herself from the captivity of the natural destiny of his wife and mother. Archetypally, K., according to the perception of others, is a nymph, devoid of guile and unconscious demonism, bright, chaste.

Adventurousness, traditional for the "travel novel," specifically forms the image of K., for whom home is the whole world. Everywhere she knows how to find something new, mysterious, inexplicable - in sunny Venice, in a gloomy castle in Bohemia, in a Prussian prison. She is the most romantic of the heroines of Georges Sand, perhaps truly " romantic heroine for all time ”, but not in a melodramatically reduced, but in a refined spiritual sense. She is a being of a special breed, "made" of a special substance, her reality is Magic world fantasies, ghosts, and above all, of course, music. In this sense, she is comparable to Hoffmann's Donna Anna, who can only live on stage. In the course of the plot, due to circumstances, Consuelo is forced to accept different names, but two are significant for her fate - Porporina and Bertino.

Porpoorina (that is, "Porpora's student") symbolizes her mission to art. Bertino ("Albert's beloved") - female destiny, love and loyalty to the extraordinary person who chose her. These two hypostases fight in K. to the very end. For her, art contains true life... But the drama of the heroine Georges Sand is that in privacy She is in her own way a "chamber" person, and it is not so easy for her to "go".

Nevertheless, the movement for Consuelo, a student of the ideologue of artistic freedom, maestro Porpora and a faithful friend in the wanderings of young Joseph Haydn, is the only way of existence, and "to stop" means to "freeze" internally, which is disastrous for those like her, as any form of spiritual enslavement is disastrous. K. is the personification of the fundamental independence of the artist, for whom any framework is tight - at home, family, marriage. Only music from the very beginning, from childhood, is her kingdom. Therefore, men in her life seem to arise by accident: they just happen to be nearby. First, Andzoletto, childhood friend, colleague, groom "out of habit". Then - Albert. Twice she hesitates between calling and "normal happiness." There is no compromise in her final choice: only such a person as Albert Rudolyptadt, a mystically gifted man of spirit, can be suitable for her as a companion.

We can say that it is love story... But his heroine is very unusual for the work this genre... She is restrained in experiencing feelings, rational, in her actions she is guided by a sense of duty and dictates of reason, and not by passionate impulses. This type of heroine is not typical for a love story. The uniqueness of the heroine gives the story authenticity and depth.

The love stories of George Sand are always broader than love itself. It shows a person's life, the world in which he lives, social, political, religious problems of this world. And Consuelo is no exception. We read about the adventures of young Consuelo, and the life of Italian, Czech, Austrian society of the middle of the 18th century passes before our eyes. And this life is full of precise details and, on the whole, is historically reliable.

In the mid-18th century, opera music was the queen of the arts in Italy and Europe. Knowledge of works famous composers and the ability to play music was part good education... At the churches, singing schools were created for orphans and children from poor families, the name of which in Italian sounded like "conservatory". Many famous artists and composers primary musical education received in such schools, where talented teachers sometimes taught and from where theaters recruited replenishment for their troupes. At that time, the world of musical and theatrical art was not a closed club. Talented person could break through to the stage, find his listeners.

Georges Sand shows the world of theater and music without embellishment, with its intrigues, rivalry, and licentious morals inherent in it. For a lucrative engagement, actors and actresses are fighting regardless of funds. But Consuelo gets his engagements and public recognition only thanks to talent and hard work. That is, it was possible, at least from the point of view of George Sand.

The heroine travels across the Czech Republic and Austria, meets with by different people, sees the life of peasants, aristocrats, clergy. Her paths intersect with real-life personalities, for example, with the young Joseph Haydn, with Queen Maria Theresa, with the Emperor Frederick. She sees life peasant families, who provide accommodation for poor travelers, lives in the castle of Czech aristocrats, whose family has long been involved in a religious and political conflict that began in the 14-15 centuries, she helps a fugitive soldier of the Prussian army and, dressed in a man's dress, almost gets herself into the hands of the recruiters of Emperor Frederick. Thus, through the adventures of the young heroine, George Sand shows us the harsh life of Europe in the mid-18th century and the manifestation of the "high" politics of royal houses in the lives of ordinary people who are ruined, kidnapped from their families, beaten and killed. And in salons and theaters wonderful music sounds at this time.

Consuelo is more than a love story. Of course, the description of the feelings and experiences of the heroes takes a significant place in it. But socio-political and historical aspects not relegated to the background. Personal and social organically complement each other. It is in such a novel that main character with the character of Consuelo - strong-willed, strict, restrained.

The mystical line is also presented in the plot - mysterious dungeons, the theory of the endless rebirth of human souls and a telepathic emotional connection between loving people, the perception of time as a unity of the past, present and future, strange and terrible disease the main character give the novel a touch of Gothic. But all this is within the framework of common sense and with a sense of proportion. The mystical component is presented as part ordinary life, which has a materialistic explanation. In addition, the mystical element of the plot is skillfully intertwined with the historical, allowing to bring the events of three hundred years ago closer to the reader and show their influence on modern heroes life.

The interweaving of many diverse lines does not create chaos and congestion. The novel is perceived as an integral multifaceted thing, a reflection of the life of people of a certain time with its real story... The novel was written 150 years ago, but even today it is read with interest and much in the lives and experiences of the heroes can be extrapolated to modern life... Morals, public morals have changed, but honesty, sincerity, a serious, responsible attitude to their actions and their choices are relevant regardless of time and historical realities.

In the 40s, the writer created her own best works- dilogy "Consuelo" (1842-1843), "Countess. Rudolstad" (1843-1844). They were written at the time when. Georges. Sand stopped opposing people of thought and people of action, she said the greatness of incomprehensible suffering. But on the other hand, he deepened psychologism in his novels, consolidated socio-political views. The two parts are connected not only by the plot - the story of family love. Consuelo and the Count. Albert, but also dynamic action, changes in environment and circumstances, a courageous spirit of adventure. All events unfolded in. Germany in mid XVIII v. In the center of the two parts, just a man appeared. Consuelo with high moral qualities, courageous, strong and independent woman is strong and independent woman.

The novel "Consuelo" was and remains very popular. The main goal of the writer is to show the social face of art, in this case music. Therefore, it is no coincidence that the singer and actress became the heroine of the novel. Kon nsuelo. This is a new type of woman in creativity. Georges. Sand, which manifested itself in his attitude towards marriage and work. The classical triad "church, kitchen, children" did not concern her in any way, she was not going to become her homemaker and thus realize her natural feminine potential. Consuelo realized herself outside the narrow limits of the classical triad and achieved a lofty goal in her art: to serve the family, to excite high feelings in them, and they feel great. “Her whole being was extremely excited; it seemed to her that something was about to break in her, like a string pulled too tightly. And this feverish excitement carried her away to. finds the strength to act in reality ".

The theme of the novel is art and the artist, their place in society. Consuelo is a talented nugget, a representative of the people, who has absorbed the wealth of folk music "Consuelo sang simply, naturally, and under the high church vaults there was such a clear, beautiful voice that had not yet sounded in THESE walls."... The AI ​​image is symbolic: she is the "living embodiment of music"

The young girl is endowed with a great gift of singing. She remained faithful to art, passing trials and long wanderings. Italy ,. Germany. Czech Republic. The heroine is selfless in her service to art, she was not attracted by fame, money, jewelry, or applause from the public. "In the meantime, you made a big mistake. Refusing jewelry and title. Well, nothing! You have reasons for this, c. Which I enter, but I think that such a balanced person like you cannot act frivolously. "

paving the way for trials and difficulties, overcoming numerous temptations: refusal to become the favorite of the count. Dzustignani ,. Goditsa, the king. Frederick II, wife of a wealthy and noble count. Rudolstadt, finally got freedom, independence, gave her art to the people. She sacrificed for art and her first love for Andzoletto.

Most of the heroes of the novel are associated with music, but they became the bearers of genuine art. Consuelo ,. Haydn, Count. Albert background. Rudolstadt. The girl together with the young. Haydnom sang to peasants and artisans during her travels, and she felt better at the same time than when she performed in front of an exquisite audience.

So, in the novel "Consuelo" a woman appeared in an unexpected and new angle for world literature: a man conscious of her own vocation. In a central way. Georges. Sand showed that a woman should be on par with a man in everything, should engage in socially useful activities, and only then will she be spiritually rich in wealth.

The writer continued to develop her idea in the novel "The Countess. Rudolstadt" Whereas in the first volume. Consuelo appeared before us as creative person, a brilliant singer, in the second volume we hardly hear her singing. And this is due not only to the change in the atmosphere of the work (in such an atmosphere, the music dies down), but also to the growth of the inner drama by the heroine of the heroine.

In the second part of the dilogy, the author expanded the boundaries of the reproduction of events: the main character fell from the world of theatrical and aristocratic intrigues into the element of secrets and mystical legends. Already in the first chapters of the Roma, mysterious characters are brought out - the famous magician adventurers of the 18th century. Cagliostro and. Saint Germain, the ghost of the royal castle. Consuelo was all the time under someone's supervision: either at the court of the Prussian king, I was, then at the castle. Spandau, then in the "heavenly" house among the possessions of the anonymous duke, where the eye was watching her invisibly. Invisible.

In the second part of the book, the main character herself entered a powerful order. Invisible, which is the Countess. Wanda (the mother of Count. Albert) had an equal relationship with her family. And therefore central theme novel - the place of a woman in the th family, the advantage family ties over social. The invisible are a secret brotherhood, half political, half religious, borrowing their rituals and attitudes from society. Masonov.

In the epilogue of the novel, a mature woman appeared before the readers. Consuelo, who lost her amazing voice after an illness, was left without friends and position in society, survived the collapse of the order. Invisible. Together with your loved ones. Albert and the children born of him, she returned to the wandering life of the gypsies. In the finale, the writer revealed the masculine type of woman: strong in spirit the mother of the family is no longer a genie.

In the epilogue, the "mighty shoulders" are mentioned twice, on which the heroine put the children on the way. This symbolic detail led to the conclusion that emancipation, which she persistently defended. Georges. Sand, as a result of the peret was created on the "right" of women to wear more stretchers and problems on their shoulders than men's shoulders, nіzh cholovіk.

The feminist writer has always been interested in the question of how society affects the human soul. She came to the conclusion that the general reality is devoid of high spiritual ideals, therefore, this causes the existence of flattery, exploitation, hypocrisy, devaluation of culture through labor. Therefore, she considered it her duty as a teacher and prophet to show the way to the restoration of the lost cynosities.

Correction of society, according to the author, had to begin with each individual person in the struggle to awaken high human feelings... That is why the main heroines of the novels appeared on a regular basis with unnatural circumstances that prevented them from truly living freely, thinking, and loving. The writer cherished the hope that in time the time would come for the final victory over the world of social absurdity.

Of course, in creativity. Georges. Sand can be distinguished many more bright and distinctive female images. She revealed with great skill inner world her heroines, described and analyzed their actions and tried to justify the reasons tragic fate women. Therefore, critics often called the writer a "psychologist of the female soul." dear to my heart people with heart of people.

... Questions for self-control:

1. What are the origins of feminist theory. Georges. Sand?

2. Why. Aurora. Dupin chose a male pseudonym for herself?

3. Which one new genre in French literature XIX developed by a writer. His essence

4. Why. Georges. Sand called herself "Spartacus among the slaves"?

5... Expand the image of a strong and independent woman using the example of the novels of the writer

The owner of a wonderful, enchanting voice (the artistic prototype is the famous singer Pauline Viardot-Garcia), Consuelo is Spanish by nationality, Italian by upbringing, gypsy by fate, embodies the theme of the artist-wanderer, the eternal traveler. K. herself, of course, is not aware of her own exceptionalism. As a girl, she looks at herself, like her fiancé Andzoletgo, with someone else's eyes. Fifteen years old, she seems almost ugly to the inattentive eye in her teenage angularity. She's only good when she sings.

She is completely devoid of coquetry and vanity. Her innate artistry and ability to hoax, play are combined in her with fundamental independence from the generally accepted image of the actress. She, despite the obvious external charm and femininity, subordinated the feminine nature to her vocation and freed herself from the captivity of the natural destiny of his wife and mother. Archetypally, K., according to the perception of others, is a nymph, devoid of guile and unconscious demonism, bright, chaste.

Adventurousness, traditional for the "travel novel," specifically forms the image of K., for whom home is the whole world. Everywhere she knows how to find something new, mysterious, inexplicable - in sunny Venice, in a gloomy castle in Bohemia, in a Prussian prison. She is the most romantic of the heroines of Georges Sand, perhaps a truly “romantic heroine for all time”, but not in a melodramatically reduced, but in a refined and spiritual sense. She is a creature of a special breed, "made" of a special substance, her reality is a magical world of fantasies, ghosts, and above all, of course, music. In this sense, she is comparable to Hoffmann's Donna Anna, who can only live on stage. In the course of the plot, due to circumstances, Consuelo is forced to take different names, but two are significant for her fate - Porpoorina and Bertino.

Porpoorina (that is, "Porpora's student") symbolizes her mission to art. Bertino ("Albert's beloved") is a woman's destiny, love and loyalty to the extraordinary person who chose her. These two hypostases fight in K. to the very end. For her, art contains true life. But the drama of the heroine Georges Sand lies in the fact that in her private life she is a “intimate” person in her own way, and it is not so easy for her to have a “road”.

Nevertheless, the movement for Consuelo, a student of the ideologue of artistic freedom, maestro Porpora and a faithful friend in the wanderings of young Joseph Haydn, is the only way of existence, and "to stop" means to "freeze" internally, which is disastrous for those like her, as any form of spiritual enslavement is disastrous. K. is the personification of the fundamental independence of the artist, for whom any framework is tight - at home, family, marriage. Only music from the very beginning, from childhood, is her kingdom. Therefore, men in her life seem to arise by accident: they just happen to be nearby. First, Andzoletto, childhood friend, colleague, groom "out of habit". Then - Albert. Twice she hesitates between calling and "normal happiness." There is no compromise in her final choice: only such a person as Albert Rudolyptadt, a mystically gifted man of spirit, can be suitable for her as a companion.

Consuelo is a symbol of democratic art, leading forward, consoling in adversity, freedom-loving. The singer cannot live in chains. Love for freedom and passion for self-sacrifice exhaust the predetermined inner world of the heroine. Passion for love does not explode her being, even in love she remains serene.

Raised on religious music, Consuelo on a short time becomes diva

first court theaters in Vienna and Berlin. But the artificiality, the falsity of semi-official art are alien to her. And, ultimately, having lost her voice, Countess Rudolstadt, together with her husband and children, making up a small wandering acting troupe, brings her art to ordinary people.

Consuelo was born in one of the corners of Spain. Her childhood years were spent in poverty. Together with her mother, she sang in the streets, earning this for a piece of bread. Once, on St. Mark's Square in Venice, she was noticed by a famous italian composer Porpora. Under the guidance of this teacher, Consuelo completed her singing education at one of the music schools.

Together with Consuelo, a large place in the novel is given to another pupil of this school - Andzoleto. From childhood they were bound by strong friendship and love.

When Consuelo was eighteen years old, Count Dzustignani, owner of the San Samuele Theater, heard her sing in the church and invited her to the first role. This same Dzustignani was the patron saint of Andzoleto, whom he also invited to the main male roles.

But unlike Consuelo, Andzoleto was lazy and his success was less brilliant than that of his beloved. He was vain, like all artists, and therefore began to seek the protection of the singer Corilla, who had fallen out of favor, and therefore embittered. “And she took Andzoleto's heart from me, and she quickly taught him how to insult and hurt mine. One evening Maestro Porpora - and he always rebelled against our love, because, in his opinion, a woman, in order to become a great artist, must remain alien to any desire of the heart, to any manifestation of passion - so Maestro Porpora helped me discover Andzoleto's betrayal. And the next evening Count Dzustignani himself declared his love to me, which I had never expected and which deeply offended me. Andzoleto pretended to be jealous of me, as if he believed that I had yielded to the Count ... He simply wanted to break up with me. At night I ran away from home and came to my teacher. This person knows how to make decisions quickly, and he taught me to do what was decided just as quickly. He gave me letters of recommendation, small amount money, explained the route of travel, put it in a gondola, took it outside the city, and at dawn I went to Bohemia alone. "

There, in the castle of the Giants, Consuelo met Count Albert Rudolstadt and his father Christian. These faces are playing important role in the development of the plot. Consuelo enchants with his straightforwardness, cordiality of all the inhabitants of the castle, but especially Albert, a rebellious nature, withdrawn, engulfed in melancholy.

Acquaintance with Albert Rudolstadt does not turn into a banal love affair. True to his convictions, Consuelo cannot accept the love of a noble aristocrat. Only years later, passing unblemished difficult path life and artistic pursuits, Consuelo will meet again with Albert and together with him will realize the dream of an artist who brings his art to the people.

"A novel about the vocation of an artist" - this is how Academician A.I. Beletsky, having caught main essence central images of dilogy. Indeed, in this novel, Georges Sand asserted the preaching role of art, designed to unite humanity.

Many heroes of the novel are associated with music, but the bearers of genuine art are Consuelo, Haydn, Albert Rudolstadt.

An aristocrat by birth, Albert is entirely on the side of the social lower classes. The artistry inherent in his nature makes him akin to the heroine. Just like Consuelo, he perfectly understands music, gives great importance its effect on listeners. The most valuable to him is the music that has arisen in the folk environment. It is the unpretentious Czech folk melodies performed by Count Albert that Consuelo likes to listen to.

Other characters treat art differently: Andzoleto seeks fame and money, Corilla also craves fame, and her vanity knows no bounds. Therefore, only Consuelo was able to achieve the highest goal in her art: to excite high feelings in listeners, to comfort them and lead them forward.

Conclusion

Georges Sand's work is closely connected with the 19th century. Throughout its literary activity she directly and directly participated in the political and public life country. Every major stormy event French history evoked a response in her work, and each novel was a response to one or another problem of concern to society.

Hundreds of works that are difficult to count and classify, dozens of critical articles, journalistic, philosophical and aesthetic articles, the courage to solve the most difficult issues, from which many contemporary writers hid in their "objective" and "dispassionate" art, the enormous potential of thought and emotion contained in in her countless heroes, the lofty "truth" for which she sought, without fear of condemnation and without regard to the "rules", made her one of the greatest writers of the era.

In the images of her heroes and heroines, Georges Sand strove to embody the features of morally impeccable, purposeful people. But sometimes the world is her positive characters permeated with idealization. At that moment, it was “idealization that was the only sure and reliable weapon. Of course, later it could and did lead to new mistakes; but at the moment when Georges Sand exposed her as a lawyer and a woman's shield, all other weapons were invalid. "

For the first time, Georges Sand links a woman's personal freedom with the general problem of social liberation.

Fully supporting the idea of ​​the family, J. Sand at the same time condemns those who think of marriage as a union of unequals; under such conditions, retrogrades can make him hateful and humiliating.

The reputation of a fighter for the liberation of a woman has created many friends for her in all circles of society, but even more enemies. The romance charm with which her heroines were filled has seduced more than one woman's heart by his preaching of freedom. Shake the family in the 30s of the XIX century. In the midst of reaction, such a free attitude towards the instinct of marriage meant to strike a blow at one of the basic foundations of the bourgeois order.

Bibliography

1. Georges Sand. Indiana; Valentine; She and he. - Kharkov, 1992 .-- P. 6.

2. Annenskaya A.N. Georges Sand / Rabelais. Moliere, Voltaire. Hugo. Georges Sand. Zola: Biogr. Narratives. - Chelyabinsk., 1998.

3. Belinsky V.G. Selected letters: In 2 - t. / M., - 1957.

4. Evnina E.M. Georges Sand // History French literature: In 2-t., Vol. 2. - M., 1956.

5. History foreign literature XIX century / ed. N.M. Mikhalskaya. - M., 1991.

6. Foreign history Literature XIX century / ed. ON. Solovyov. - M., 2000.

7. Lileeva I. Georges Sand (1804–1876) http://www.russofile.ru

8. Maurois A. Georges Sand / M., 1968.