Analysis of the work of F. Dostoevsky "The Diary of a Writer"

Introduction

Conclusion

Introduction

Fyodor Mikhailovich Dostoevsky is one of the most significant Russian writers and thinkers.

Dostoevsky is the most prominent representative"ontological", "reflexive" poetics, which, unlike traditional, descriptive poetics, leaves the character in a certain sense free in his relationship with the text that describes him (that is, the world for him), which is manifested in the fact that he is aware of his relationship with him and acts on the basis of him. Hence all the paradox, inconsistency and inconsistency of Dostoevsky's characters.

Dostoevsky's work is dedicated to understanding the depths of the human spirit. The writer analyzes the most hidden labyrinths of consciousness, consistently pursuing three key thoughts in almost each of his works: the idea of ​​personality as a self-contained value, inspired by God's Spirit; the idea of ​​suffering as the real background of our existence; the idea of ​​God as the highest ethical criterion and the mystical essence of universal existence.

In his works, Dostoevsky showed that morality, built on the shaky foundations of personal arbitrariness, inevitably leads to the principle: "everything is permitted," that is, to the direct denial of all morality, and hence the self-destruction of the individual.

A diary is a text intended for internal consumption, a record for oneself. These are not just notes for memory, a chronicle of current events is a way of intimate introspection, a kind of apocrypha (a non-canonical autobiography of a person that exists only for internal consumption). Dostoevsky "explodes" this idea of ​​a diary - the secret, intimate is offered for public reading. Without canceling the personal tone in the narrative, Dostoevsky gives the reader the opportunity to get acquainted with the point of view on events, which he offers. Fedor Mikhailovich combined three fundamental components in the "Diary": documentary (based on facts), artistic imagery (the desire to capture everyday life in the most generalizing emotional form) and the personal nature of the narrative, characteristic of diary entries.

On the pages of the "Diary", the author reflects on the world-historical purpose of the Russian people, on the relationship between church and state, on war and peace, on the eternal confrontation between "fathers and sons", on the place of art in the moral education of society. Political, ideological, ethical, aesthetic problems are intertwined in the “Diary of a Writer” not only at the thematic and content level, but also at the level of form, the ideological and artistic unity of the publication is being strengthened. Dostoevsky is worried about the state of modern society, the Russian family. “The modern Russian family is becoming more and more a “random family”. It is a random family that is the definition of a modern Russian family. She somehow suddenly lost her old image, somehow even suddenly, but the new one ... will she be able to create for herself a new image, desirable and satisfying to the Russian heart? Some people, even so serious, say bluntly that the Russian family now "doesn't exist at all." Of course, all this is said only about the Russian intelligent family, that is, the upper classes, not the people. But, however, the people's family - isn't it a question now too?", - he writes on the pages of his "Diary" and tries to answer the question himself.

This work is dedicated to Dostoevsky's Diary of a Writer.

The relevance of this work is predetermined by the constant interest in the work of one of the greatest writers Russia and the world - Fyodor Mikhailovich Dostoevsky. Dostoevsky's "Diary of a Writer" has not been sufficiently analyzed in modern literature, which determines the relevance of the research topic we have chosen. It should be noted that a special value in the writer's work should be considered his deep truthfulness in displaying the environment, persons, the depth of the characters' experiences and the variety of life and philosophical situations.

The purpose of our study is to form a holistic stylistic picture of the work "The Diary of a Writer" by Fyodor Mikhailovich Dostoevsky

The theoretical significance of studying the “Diary of a Writer” lies in the results of a detailed study of the relevance, themes and problems of this work for the formation of an idea about the work of Fyodor Mikhailovich Dostoevsky.

The object of this study is Dostoevsky's work "A Writer's Diary".

The subject of the study is a detailed stylistic analysis of Dostoevsky's work, "A Writer's Diary", chosen as the object of study.

1. Carefully read the "Diary of a Writer" by Fyodor Dostoevsky.

2. Conduct a lexical analysis of Dostoevsky's Diary of a Writer.

3. Conduct a morphological analysis of Dostoevsky's Diary of a Writer.

4. Conduct a syntactic analysis of Dostoevsky's Diary of a Writer.

5. Draw conclusions based on the results of the analysis carried out in the course of the work.

The sources of information for writing the work were the works of Fyodor Mikhailovich Dostoevsky, in particular, his work "The Writer's Diary", the works of other famous writers and publicists about Dostoevsky and his work, as well as periodicals and scientific publications on the issues of stylistic analysis of works, which is described in the section used literature.

Chapter 1. Lexical analysis of Dostoevsky's work "A Writer's Diary"

Consider the features of the vocabulary of Fyodor Mikhailovich Dostoevsky, which he uses in his work "A Writer's Diary".

A writer's diary clearly shows a certain level of relationship with the audience: the author does not consider his point of view final, canonical. But he strives to ensure that it, if possible, be accepted by the audience. That is why the “Diary of a Writer” is dominated not by a preaching tone, and not even a confessional one, which, it would seem, should be expected from a diary, but by a tone of oratorical speech, a tone of thinking aloud, a tone of readiness to listen and take into account other points of view.

One of the chapters of the "Diary" begins with the fact that Fyodor Mikhailovich shows a desire to visit the place of his childhood and adolescence - a small village in which he lived with his parents and about which he keeps fond memories. And then the author puts problematic issue, which attracts the reader's attention: “You have such memories and such places, and we all had them. It is curious: what will be precious in their memories of today's youth, today's children and adolescents, and will it be? The main thing is what exactly? What kind of?"

But in order to depict the problems of the last century in a modern light, the author had to resort to all the richness of Russian vocabulary, so Fyodor Dostoevsky's Diary of a Writer is replete with various tropes: epithets, metaphors, hyperbole, lexical repetitions, tautologies, comparisons, which, although they serve for different purposes, but in general help the reader to understand that main idea, the idea that the author wanted to convey to him.

Figurative narrative helps to give epithets that enhance the meaning of nouns, create expression. Selected for a certain situation in the work, they help to better imagine what is happening. I will give examples: an old Moscow acquaintance whom I rarely see, but whose opinion I deeply appreciate; small and unremarkable place; (expresses warmth of attitude towards a person, place), dear memories; holy memories (a person cherishes memories), expensive stock; curious and serious question (author's interest); modern disturbing doubts; slender and clear presentation; beautiful pictures; modern Russian family; short time; Mighty Rus' (admiration of the author); the most innocent thing; malevolent types; rumors are stupid (neglect); perfect gentleman; weak, tender, completely unformed breast of such a small child (pity); amazing fathers; very unpleasant considerations; these attempts sometimes even have an excellent beginning, but are unrestrained, unfinished, and sometimes completely ugly; cynical, embittered laziness; transitional and decaying state of society; vile intrigues and vile servility; thirsty for the souls of their pitiful children; selfish woman (aversion to images, neglect); children's "fantastic"; corrupt heart; small case; cold, picked up, offended look (compassion); good intention; heartless parents, haters of your children; deep, genuine grief; humiliating and shameful position; love for the native nest; oppressive labor; the child is cunning, secretive; a kind, ingenuous child; bitter, heavy impressions of their children's hearts; good-natured smile; favorite hero of the author; a huge talent, a significant mind and a person highly respected by intelligent Russia; bitter bewilderment; these words are old, this faith is ancient; great civilization; the future is great; wild dream; a terrible and holy thing; country of holy miracles; future peaceful victory; our favorite writers; my dear and beloved novelist; indisputable and deepest relationship; Russian genius; real conscious turn; the brightest, hardest and most undeniable evidence; the greatest world, universal and all-uniting significance; small word; age-old questions; in a dubious mental way; Moscow Barich; academic book; attached children; Russian business; old prince; the case is clear, the accusation is absurd; Slavic lands, Slavic sovereign princes; unheard-of oppression, atrocities, robberies; last year's movement; chatty people; Slavic lands; brief comic conversation; personal opinions; the opinion is absurd; reckless people; dark and completely uneducated Russian people; simple village men; holy places and all the Eastern Christians there; wicked Hagarites; Russian people; thin, cheesy people; great artist; ancient historical features; merciful heart; countless tales of countless torments; countless tales of countless torments; an honest and undeniably decent person; direct feeling; a slanderous and base nation (they convey the mood and attitude of the author to what is being described).

A significant role in the “Diary of a Writer” is played by metaphors that help to fully reveal the essence of what is happening, the characters of the characters: “left in me the deepest and most strong impression for the rest of my life and where everything is full of the dearest memories for me” (transmits the author’s unforgettable feelings); “Without the sacred and precious, carried away to life from childhood memories, a person cannot live”, “These memories can even be difficult, bitter, but after all, the suffering experienced can later turn into a shrine for the soul” (transmits the significance of childhood in everyone’s life person); “But the trouble is that there has never been an epoch in our Russian life, which would present so less data for anticipation and foreknowledge of our always mysterious future, as the present epoch”; “Then, just a little bit you inspire confidence in him with your answer and readiness to answer him, he immediately, however, again with caution, changes his curious look to a mysterious one, approaches you and asks, already lowering his voice: “Isn’t it, they say , what's special? “The weak, tender, completely unformed breast of such a small child is already accustomed to such horror”; “Amazing fathers come across in our time!” (conveys the surprise and indignation of the author); “These attempts sometimes even have a wonderful beginning, but are unrestrained, unfinished, and sometimes completely ugly”; "cynical, embittered laziness"; “The majority gets confused, loses the thread and, finally, waves its hand” (conveys the hopeless situation of society); “Without the rudiments of the positive and beautiful, a person cannot go out into life from childhood, without the rudiments of the positive and beautiful, one cannot let the generation go”; “In a word, I want to say that it was impossible to drag this Dzhunkovsky case to the criminal court”; "Children's hearts are soft"; “but hiring a teacher to teach science to children does not, of course, mean handing over the children to him, so to speak, off his shoulders in order to get rid of them and so that they no longer bother you”; “Your cordial, always evident for them care for them, your love for them would warm like a warm ray everything sown in their souls, and the fruit would come out, of course, plentiful and good”; “Finally, a kind, simple-hearted child with a straight and open heart - you will first torment, and then harden and lose his heart”; "The great eastern eagle soared over the world, sparkling with two wings on the heights of Christianity"; “This time, however, he struck me with the firmness and ardent persistence of his opinion of Anna Karenina; “Caught in a cycle of lies, people commit a crime and die irresistibly: apparently, the thought is on the most beloved and oldest of European topics” (conveys the immorality of society); “Since society is not organized normally, it is impossible to ask for an answer from human units for the consequences”; “Now that I have expressed my feelings, perhaps they will understand how the falling away of such an author, his separation from the Russian universal and great cause, and the paradoxical untruth he erected to the people in his unfortunate eighth part, published by him separately, affected me. He simply takes away from the people all their most precious things, deprives them of the main meaning of their lives. It would be incomparably more pleasant for him if our people did not rise everywhere in their hearts for their brethren suffering for the faith; “The news of these horrors also penetrated to us in Russia, to the intelligent public and, finally, to the people”; “He was at one with his king in his heart”; “This opinion is absurd, going directly against the fact, and in the mouth of the prince it is easily explained: it comes from one of the former guardians of the people”; "Clever Levin could understand much more than he did, but he was confused by the consideration that the people do not know history and geography."

To give expression, the author repeatedly refers to lexical repetitions, tautologies: “What has this new corporation, which is just beginning, however, so important in importance in the future, presented so far, and what is it able to answer? It's better not to answer that"; “Oh, of course, there will be many answers, perhaps even more than questions, answers good and evil, stupid and wise, but their main character, it seems, will be that each answer will give birth to three more new questions, and will go it's all crescendo. The result is chaos, but chaos would still be good: hasty solutions to problems are worse than chaos”; “May this perfection be accomplished, and may the suffering and perplexity of our civilization finally end!”; "living life"; “becomes more and more random family. It is a random family that is the definition of a modern Russian family”; “all this, no doubt, will give birth and has already given birth to questions”; “Most importantly, there is nothing to talk about it. Will endure. Of course, they will take it out, and they will take it out without us, and without defendants and with defendants.

The author did not stop at the use of metaphors. In the work there are hyperbole, as a kind of metaphor. They give the content even more expressiveness and significance. I will give examples: “the transitional and decaying state of society gives rise to laziness and apathy”; "such a sharp turning point in life"; "... still burning with the fire of jealousy"; “Mighty Rus', and still endured something else. Yes, and not such is its purpose and purpose, so that it turns in vain from its age-old path, and its dimensions are not the same ”; “and now I again plunged into very unpleasant considerations”; “a young man enters life alone like a finger, he did not live with his heart, his heart is in no way connected with his past, with his family, with his childhood”; “But these are still the best of children, and after all, most of them carry with them into life not only the dirt of memories, but the dirt itself, stock it up even on purpose, fill their pockets full of this dirt on the road, in order to use it later in business. and no longer with a gnash of suffering, like his parents, but with a light heart”; “Remember, too, that only for children and for their golden heads ...”; " pure in heart Levin"; “True, this man is hot”; Again, there is nothing to tease and laugh about: these words are old, this faith is long-standing, and the mere fact that this faith does not die and these words do not fall silent, but, on the contrary, grows stronger and stronger, expands its circle and acquires new adherents, new convinced figures”; “although Europe is still far from understanding him and will not believe him for a long time”; “Russia draws her sword against the Turks, but who knows, maybe she will collide with Europe - is it too early?”; “Is the innateness and naturalness of our brotherhood, which in our time comes out more and more clearly from under everything that crushed him for centuries, and despite the rubbish and dirt that meets him now, dirty and distorts his features beyond recognition?”; “From a brief conversation with him, I always take away some subtle and far-sighted word of his”; “Evil and good are determined, weighed, the sizes and degrees were determined historically by the wise men of mankind, tireless work on the human soul and the highest scientific development on the degree of the unifying force of mankind in the community”; “Reason, or something, have I reached the point that you need to love your neighbor and not strangle him?”; “Sergei Ivanovich has just thrown himself, wholly and with passion, into Slavic activity, and the committee has entrusted him with a lot.”

Next, we should turn to comparisons, to an important part of the story, since they create the most imagery. To confirm this point of view, I would like to illustrate some of them: “This idea is expressed by Pushkin not only as an indication, teaching or theory, not as a dream or prophecy, but fulfilled by him in practice, enclosed forever in his brilliant creations and proved by them” ; “He told and declared to all these peoples that the Russian genius knows them, understood them, touched them like a native”; “Instead of it, of course, we could point Europe directly to the source, that is, to Pushkin himself, as the most striking, firm and indisputable proof of the independence of the Russian genius and his right to the greatest world, universal and all-uniting significance in the future”; “Moreover, it is unlikely that people like Levin can have the final faith”; “I only want to say that these people, like Levin, no matter how long they live with the people or near the people, they will not completely become a people.”

Dostoevsky uses a rather vivid verbal series in his work. This gives the description mobility, expression. I will give a number of verbs that convey the above speech: with whom I rarely see, but whose opinion I deeply appreciate (indicates respect by the author of his acquaintance); I learned something very interesting in the process (points to the source of the information); I haven't been there for forty years and wanted to go there so many times (expresses regret); by no means do I wish them to be repeated; my interlocutor (source of information) told me; in the carriages I noticed (indicating the author's powers of observation); common people listened and asked (source of information).

Now I would like to turn to the manner of narration. It is conducted in the first person, a person who leads his Personal diary, writing down in it all your impressions of various events in society. In the text, the author very often refers to the reader, to Russian writers, to the Russian people, we see his reflections on various topics. This is where the conversational element in the story comes from. The topic is so topical for Fyodor Mikhailovich that sometimes he resorts to criticism.

Thus, we can draw the following conclusion: the lexical warehouse of the work is very diverse. The author uses simple words characteristic of the era he describes, which gives a diary of past years. A variety of paths do not make the meaning of the work incomprehensible, but, on the contrary, enhance its flavor.

We cannot assert that the work was written only in a journalistic style, since the author shares his thoughts or feelings with others, exchanges information on everyday issues in an informal setting, which indicates the use of elements of a colloquial style. Fedor Mikhailovich influences the reader's imagination and feelings, conveys his thoughts and feelings, uses all the richness of vocabulary, the possibilities of different styles, is characterized by figurativeness, emotionality, and concreteness of speech, which is characteristic of the artistic style.

Thus, Fyodor Mikhailovich Dostoevsky's "Diary of a Writer" is a work of journalistic style with elements of fiction and colloquialism. Thanks to the rich vocabulary, ironic remarks used by the author, the work becomes easy for any reader to perceive.

Dostoevsky uses epithets, hyperbole, metaphors, comparisons in order to more expressively, more clearly describe the image to which attention should be paid, which makes the work bright, expressive, and interesting.

Chapter 2

After the lexical analysis of the work chosen by us as an object, let us turn to the elements of morphological analysis.

Morphology in a broad sense is the science of forms and structure. In a narrow sense, applicable to literary works - the structure, the structure of the sentence form (words, phrases), organized in accordance with its function, material and method of formation.

Morphological analysis in linguistics is the determination of the morphological characteristics of a word, phrase, sentence. Let's turn to this definition in details.

Thus, words and morphemes belong to signs, they have their signifiers and signifiers correlated with each other. Because of this essential difference, morphological analysis, dealing with morphemes and words as two-sided units, is more complex than phonological or lexical analysis. It involves an appeal to a number of additional criteria.

The analytical approach to language (the path from linguistic means to their functions and meanings) largely involves the use of the same research procedures in relation to units of the phonological, morphological and syntactic structural levels. But there are also serious differences due to the unequal nature of units of different levels.

Thus, the units of the phonological and morphological levels are the same in the sense that they form sets of fundamentally calculable quantities.

Since Dostoevsky's speech in his work "A Writer's Diary" is rich in complex morphological constructions, it makes sense to conduct a morphological analysis of this work in order to clarify and classify certain characteristic features of morphology.

Let's start with the fact that the word and morpheme are the basic units (upper and lower) of the morphological level of the language structure. Morphology as one of the sections of grammar deals with their description.

In order to more clearly conduct a morphological analysis of the selected work, we will choose the most striking passages and characterize them by certain morphological categories.

It is now clear to everyone that with the solution of the Eastern Question, a new element will move into humanity, a new element, which until now has been passive and inert, and which, in any case, and to say the least, cannot but influence the destinies of the world extremely strongly and decisively. (this technique is often used in polemics and discussions, when a statement in the context of a sentence with the introductory words “it’s clear to everyone” makes a kind of psychological binding to the words of the speaker); this construction of the utterance determines the nature of the oppositions between words (and, accordingly, between morphemes) that underlie the systemic organization of the lexicon and morphemicon.

The history is eternal, old, old, which began much earlier than Martyn Ivanovich Luther, but according to the invariable historical laws, it is almost exactly the same story in our Stund: it is known that they are already disintegrating, arguing about letters, interpreting the Gospel at their own peril and on their own conscience, and, most importantly, from the very beginning - poor, unhappy, dark people!; (changing the word forms of adjectives and verbs (old-old, arguing-interpreting, poor-unfortunate) leads to an expansion semantic load offers). Thus, the nature of the variation of words and morphemes in speech and the relationship between variants of one word and, accordingly, between variants of one morpheme are determined.

This shtund has no future, will not spread wide, will soon stop and will probably merge with some of the dark sects of the Russian people, with some Khlystism - this most ancient sect of everything, it seems, the world, which undoubtedly has its own meaning and stores it in two ancient attributes: spinning and prophecy (the author uses a kind of transfer of significance and meaning to decorate and enrich speech); in this case, differential features appear that determine the place of words and morphemes in the corresponding systems and ensure their distinction and identification.

Despite these reasonable and intelligent voices, it still seems to me permissible and quite excusable to say something special about Danilov as well; moreover, I even think that even our intelligentsia itself would not humiliate itself so much if they took this fact more attentively; a certain impact on the functions of words in speech, the relationship between words in a sentence or phrase - a syntagmatic, or relational, meaning.

Listen, after all, you are not these cynics, you are just intelligent European people, that is, in essence, the kindest: after all, you do not deny that in the summer our people showed extraordinary fortitude in places: people left their homes and children and went to die for the faith, for the oppressed, God knows where and God knows with what means, just like the first crusaders nine centuries ago in Europe (it should be noted that this method of framing speech with repetitions serves to enhance the euphony of the sentence). This is how the phonemic and prosodic structure of the exponents of both words and morphemes is expressed.

I affirm that this was the case with all the great nations of the world, ancient and new, that it was only this faith that elevated them to the possibility, each, of having, in their own time, a huge world influence on the fate of mankind: this, no doubt, was with ancient Rome. , then it was with Rome during the Catholic time of its existence, because when France inherited the Catholic idea of ​​it, the same thing happened with France, and, for almost two centuries, France, right up to the most recent pogrom and its despondency, all the time and undoubtedly - she considered herself at the head of the world, at least morally, and at times politically, the leader of its course and the indicator of its future; (this way of pointing to the actor or speaker allows you to highlight the direction of the statement and the intonation of the speaker). In this example, one can see the use of referring word forms to some extralinguistic moment. So, for example, the value singular the name of a noun, in principle, is based on the idea of ​​the singularity of the given subject of the utterance (France).

So it is with the peoples: let there be prudent, honest and moderate peoples, calm, without any impulses, merchants and shipbuilders, living richly and with extreme neatness; well, God be with them, yet they will not go far; this will certainly come out in the middle, which will not serve mankind in any way: this energy is not in them, this great self-conceit is not in them, these three moving whales under them are not, on which all great nations stand; An indication of the nature of the structural-syntactic relations between words within a complex sentence. Such, in this case, is the meaning of the accusative case of the noun.

Do you believe (and I am with you) in universal humanity, that is, that someday, before the light of reason and consciousness, natural barriers and prejudices will fall, dividing until now the free intercourse of nations by the egoism of national demands, and that then only the peoples they will live in one spirit and harmony, like brothers, intelligently and lovingly striving for common harmony. In this example, a violation of grammatical forms is used. This is done in order to enhance the tragedy of the statement.

We greeted the advent of Rousseau and Voltaire with delight, the traveling Karamzin and I rejoiced touchingly at the convening of the "National States" in 89, and even if we later fell into despair, at the end of the first quarter of this century, together with the advanced Europeans over their lost dreams and broken ideals, our faith was still not lost, and even the Europeans themselves were consoled (in this example, the difference in gender of nouns is used to create an opposition effect). Using the classification of words within one part of speech.

And indeed: the stronger and more independently we developed in our national spirit, the stronger and closer we would respond to the European soul and, becoming related to it, would immediately become more understandable to it, then we would not turn away from us arrogantly, but would listen to us; (the use of introductory word forms allows you to change intonation within one sentence). These are properties of morphological levels that allow segmentation of speech into words and morphemes and inventory of these units in the lexicon and morphemicon.

In the composition of the Decembrists, indeed, perhaps, there were more persons in ties with the highest and richest society; but after all, there were incomparably more Decembrists than Petrashevists, among whom there were also many people in connections and in kinship with the best society, and at the same time the richest; Both of them undoubtedly belonged to the same lordly, "lordly", so to speak, society, and in this characteristic feature of the then type of political criminals, that is, the Decembrists and Petrashevists, there was absolutely no difference. A deliberate change in the form of a word to give the story more expression.

I remember that at first glance I was very struck by his appearance, his nose, his forehead; for some reason I imagined him completely different - "this terrible, this terrible critic"; By the way, I asked myself several times: what did these several hundred thousand mouths from Bulgarians, Bosniaks, Herzegovinians and others who fled from their tormentors, after being beaten and ruined, feed on in Serbia, Montenegro, Austria and anywhere else (in this case the connection between “speech” and the speaker about it, as about an object, makes the speaker an active participant in the communicative act). In this case, we see the use of a specific communicative-situational correlation. Thus, the meaning of the first person implies an indication of the speaker as an active participant in this communicative act.

Thus, it should be concluded that in his work "A Writer's Diary" Dostoevsky uses various morphological features when constructing sentences. Note that the change in the morphemic structure of the considered speech unit in this case affects various aspects of the speaker's statements. Here it should be noted the movement of thought, and the increase in tragedy or another effect, and the change in word forms to emphasize the importance of the statement.

We also note that the author quite often changes the structure of the sentence, brings introductory words, exclamations to the fore, and also uses modified word forms, which characterizes the richness of the author’s speech and the wide possibilities of operating with morphemes in the context of one sentence or statement.

In total, the work contains about 35% of nouns, 30% of verbs and verbal forms, 20% of adjectives and 15% of other significant parts. Consequently, the text has a mixed character: nominal with verbal.

Chapter 3

Syntax is a section of linguistics that studies the structure of coherent speech and includes two main parts: the doctrine of the phrase and the doctrine of the sentence.

The syntax deals with the following main questions:

* connecting words into phrases and sentences;

* consideration of types of syntactic communication;

* definition of types of phrases and sentences;

* determination of the meaning of phrases and sentences;

* connecting simple sentences into complex ones.

It is these basic questions that will be fundamental in our syntactic analysis. We will consider the most striking sentences and phrases of the analyzed work and reveal the essence of their formation and relationships.

In phrases, sentences and texts, words (more precisely, word forms) with their signifiers and signifiers are used as building material.

Performing tasks such as connecting words in speech, designing sentences and texts (detailed statements) as integral formations, dividing the text into sentences, and sentences into their components, distinguishing sentences of different communicative types, expressing the syntactic functions of the components distinguished in the sentence and their syntactically dominant or subordinate status, falls to the share of formal syntactic means.

Since the narrative style of Dostoevsky, as a great writer, is rich in an abundance of word forms and a variety of syntactic structures, it makes sense to conduct a syntactic analysis of his work "A Writer's Diary" with examples that most clearly express the essence of syntactic categories.

The Serbian assembly, which met last month in Belgrade for a moment (one and a half hours, as they wrote in the newspapers), just to decide: "Make peace or not?" - this assembly, as you hear, showed not at all such a hastily peace-loving the mood that was expected of her, taking into consideration the circumstances; (combining phrases with both adjectives and unions) In this case, we see the use of various ways of combining elementary phrases into more complex ones.

With such a suffering, in the first days of my school, boy, back in the summer, reading about them, I involuntarily compared the Serbian recruit-self-mutilator - otherwise I could not explain his unfortunate, unreasoning, animal almost desire to drop the gun and run faster with the same feeling. home, the only difference is that with this desire, an incredible, phenomenal, as it were, stupidity was announced (an obvious change in the order of words in order to enhance the impression). Before us is the use of another universal syntactic means - changing the order of words (their arrangement), and in more complex constructions, the order of sentences. The order of words in sentences is characterized by a tendency to direct juxtaposition of components related to each other, that is, their positional proximity, adjacency to each other.

If the right of the Turks to rip off the skin from the backs of the rayi is restricted, then it is necessary to start a war, and start a war - now Russia will come forward, which means that such a complication of the war may come in which the war will embrace the whole world; then say goodbye to production, and the proletarian will go into the street, and the proletarian is dangerous in the street, because in the speeches to the chambers it is already mentioned directly and frankly, aloud to the whole world, that the proletarian is dangerous, that the proletarian is restless, that the proletarian listens to socialism. (It should be noted that this method is significantly more effective than using a distant location, since the sentence is emotionally filled with turns of speech).

In principle, the arrangement of words should correspond to the movement of thought. In this case, one speaks of an objective word order, which performs a kind of iconic function (first, what is initial in the description of this state of affairs is called).

Here is the opinion of Europe (solution, maybe); here are the interests of civilization, and - let them be damned again! ... and all the more so damned that the aberration of minds (and mainly Russians) is undeniable (in this case we see a change in intonation in the components of one sentence, such an order accurately conveys movement of thought) and in an interrogative sentence (general question) verbal predicate precedes the subject: No, seriously: what about the welfare that is achieved at the cost of unrighteousness and flaying? What is true for a person as a person, then let it remain true for the whole nation; This word order determines the presence of inversion, due to the need to distinguish between communicative types of sentences. In this declarative sentence, direct word order is common, with the subject in the initial position.

How could they allow this rough black mass, recently a serf, and now drunk on vodka, to know and be sure that her purpose is to serve Christ, and her tsar is the preservation of Christ's faith and the liberation of Orthodoxy (in this example, the word " How” acts as a binder, and determines the intonation, expresses the surprise of the author); In this case, the use of the promotion to the initial position of the word, which serves to link the sentence with the pretext, is manifested.

Do you think - a German pastor who worked on the shtunda in our country, or a visiting European, a correspondent of a political newspaper, or an educated high-ranking Jew from those who do not believe in God and of whom suddenly we now have so many bred, or, finally, someone one of those Russians who have settled abroad, who imagine Russia and its people only in the form of a drunken woman, with a damask in their hands? (in this example, we see an indication of the object of the action and the subject); in this sentence, we see the use of putting into the initial position the component of the utterance used as the topic (for example, the topic of the utterance in this case is an indication of the actor).

If you start writing the history of this world tribe, you can immediately find a hundred thousand of the same and more biggest facts, so that one or two superfluous facts will not add anything special, but what is curious about this: it is curious that as soon as you - whether in a dispute or just in a moment of your own reflection - as soon as you need a certificate about a Jew and his affairs, - then don’t go to libraries to read, don’t rummage through old books or your own old marks, don’t toil, don’t search, don’t strain, and without leaving your seat, without even rising from your chair, stretch out only your hand to whatever you want the first one lying near you newspaper and look on the second or third page: you will certainly find something about the Jews, and you will certainly find something that interests you, certainly the most characteristic and certainly the same thing - that is, all the same feats! (use of adjectives to enhance intonation) Use of structural schemes for constructing elementary phrases.

Do not the former, still remaining from serf times, and undesirable restrictions on the complete freedom of choice of residence for the Russian commoner, which the government has long drawn attention to, continue to this day? (Obvious emotional expression of regret). The presence of the speaker's expression of his emotions (in this case, the unusual arrangement of words is supported by emphatic stress.

Therefore, it’s not for nothing that the Jews reign everywhere on the stock exchanges, it’s not for nothing that they move capital, it’s not for nothing that they are the rulers of credit and not without reason, I repeat, they are the rulers of all international politics, and what will happen next is, of course, known to the Jews themselves : their kingdom draws near, their full kingdom! (an attempt to convey to the reader the hidden motivation of the hero). The need to express an additional value is visible.

On the contrary, materialism sets in, a blind, carnivorous thirst for personal material security, a thirst for personal accumulation of money by all means - that's all that is recognized as the highest goal, for the rational, for freedom, instead of Christian idea salvation only through the closest moral and fraternal unity of people. (change of intonation in the context of one sentence). In this case, we observe the most universal syntactic means - intonation. In a formal sense, it is the presence of intonation that distinguishes a sentence and a text as communicative units from a phrase. It ensures the unity of communicative formations with all its components (primarily melodic and dynamic components).

Then I would like, but a little longer, to write about some of the letters I received during the entire period of publication of the Diary, and especially anonymous ones; With a subtle feeling and mind, an artist can take a lot in one shuffling of the roles of all these poor objects and household utensils in a poor hut, and this amusing shuffling will immediately scratch your heart; Expression of attribute relationships. In a given sentence, if there are several objects, the one that is more closely related to the verb (usually the object of the addressee) can be separated from it by other objects.

There is an instinctive presentiment, but disbelief continues: “Russia! But how can she, how dare she? Is she ready? Are you ready internally, morally, not only materially? It's Europe, it's easy to say Europe! And Russia, what is Russia? And for such a step? (the relationship of objects and subjects in interrogative and affirmative form); An expression of the relationship between an action and its object or circumstance.

But we must be prepared for anything, and what if we assume even the worst, even the most impossibly worst outcome for the war that has now begun, then although we will endure a lot of bad old grief, already tired to death, but the colossus will still not be shaken and early whether it's too late, but he will take everything that is his; (refers to compound sentences of the work). Using syntactic addition to build a sentence as a whole.

But our wise men also seized on the other side of the matter: they preach about philanthropy, about humanity, they mourn over the shed blood, that we will become even more brutal and defiled in the war and even more distant from internal prosperity, from the right path, from science (filling the sentence in this way contributes to a strong connection and, in fact, the impossibility of removing parts from the context). In this case, auxiliary words (conjunctions and allied words, particles, prepositions and postpositions, copulas) are used as a formal way of expressing syntactic links and functions. In these examples, close to positional adjacency is syntactic addition, used to create subordinate structures, in which roots (or stems) are freely connected

And since the plan of "Pan-Slavism" by its colossal nature can undoubtedly frighten Europe, then, according to the law of self-preservation alone, Europe undoubtedly has the right to stop us, in the same way, however, that we also have the right to go forward, not stopping at all in front of its fear and being guided by , in our movement, only political foresight and prudence; (this method of drafting a proposal allows you to clearly define the main components). In this case, the subordinate word is before the dominant one, which determines the use of preposition.

And where did their whole civilization go then: the most learned and enlightened of all nations rushed to another, just as learned and enlightened, and, taking advantage of the opportunity, bit it like a wild beast, drank its blood, squeezed juice out of it in the form of billions of tributes and chopped off she has a whole side in the form of two, the best provinces; (As you can see, the postposition is used both to enhance the effect and to state the facts). Here the author uses postposition - the subordinate word follows the dominant one.

Only art maintains a higher life in society and awakens souls that fall asleep during periods of long peace; Such a war strengthens every soul with the consciousness of self-sacrifice, and the spirit of the whole nation with the consciousness of mutual solidarity and unity of all the members that make up the nation; Application of elementary propositional schemes for constructing sentences.

And in general, it can be said that if a society is unhealthy and infected, then even such a good deed as a long peace, instead of benefiting society, turns to its detriment - this can generally be applied even to the whole of Europe (this example characterizes the principle of propositional binding through use of prepositions). The use of ways of chaining elementary propositions into complex, complex propositional structures.

The different nature of emotions expressed by linguistic means determines the presence of different types of acts and, accordingly, different pragmatic types of sentences that provide certain social needs of those who communicate.

Unlike phonology, morphology and lexicology, syntax does not deal with reproducible linguistic units, but with constructive units that are built anew each time, in each separate speech act.

Binding to the communicative-pragmatic context is most inherent in the text as a complete sign with relative communicative completeness. The pragmatic properties of the text make it possible to qualify it not just as a closed sequence of sentences, but as a closed sequence of speech acts.

A characteristic feature of Dostoevsky's Diary of a Writer is the author's use of one-part sentences. Thus, the author tries to express his opinions in a special, unobtrusive pace in order to bring clarity and transparency to the text: Thought and efficient work in this sense is a big hindrance; I am a funny person; It was on a dark, darkest evening that can be; Went up to my fifth floor; Nearby, in another room, behind a partition - a real sodom; And now they bury me in the ground.

Thus, having analyzed the most significant sections of the work “A Writer's Diary” from the point of view of syntax, it should be concluded that the author uses various syntactic means very widely and diversely. To combine both simple sentences into complex ones, and to connect phrases, the author uses prepositions, conjunctions, adjectives, as well as the intonation of the statement.

The work is filled with complex sentences, however, along with this fact, we also come across a lot of one-part sentences. In general, the work "A Writer's Diary" from the point of view of syntax is well-built and quite diverse and multifaceted, which indicates high level author's professionalism.

Conclusion

In this work, the work of Fyodor Mikhailovich Dostoevsky "The Writer's Diary" was characterized, a stylistic analysis was carried out, including a lexical, morphological and syntactic analysis of this work.

Tropes characteristic of the work were singled out in the vocabulary, examples from the text were given.

In the section of morphology, the morphemes of the work and the characteristic aspects of morphological analysis are characterized.

The parsing section provides the most common syntactic structures of speech and their use in the work with examples.

"The Diary of a Writer" by Fyodor Mikhailovich Dostoevsky is a work written in a journalistic style with elements of colloquial and artistic. It is characterized by logic, emotionality, appraisal, appeal. The information that the writer offers is not intended for a narrow circle of critics, but for the general public, and the impact is directed not only to the mind of the reader, but also to the feelings.

Elements of conversational and artistic styles serve for direct communication, when the author shares his thoughts or feelings with others, uses all the richness of vocabulary, which gives the "Diary" figurativeness, emotionality, and the author's speech - concreteness.

In conclusion, it should be said that the work we are analyzing is full of stylistic features that we revealed as a result of the analysis; "A Writer's Diary" is a deep and at the same time understandable work for the reader, which takes us into the writer's world, makes us experience everything that happens in his life with him, allows us to comprehend and analyze a whole segment of the life of our country at that time as a whole, and the attitude of Fyodor Mikhailovich Dostoevsky to these events in particular.

On the pages of the "Diary", the author reflects on the world-historical purpose of the Russian people, on the relationship between church and state, on war and peace, on the eternal confrontation between "fathers and sons", on the place of art in the moral education of society. Political, ideological, ethical, aesthetic problems are intertwined in the “Diary of a Writer” not only at the thematic and content level, but also at the level of form, the ideological and artistic unity of the publication is being strengthened.

Fedor Mikhailovich combined three fundamental components in the Diary: documentary (based on facts), artistic imagery (the desire to capture everyday life in the most generalized emotional form) and the personal nature of the narrative, characteristic of diary entries.

Thus, it should be concluded that all the tasks set in the introduction were solved in full.

List of used literature

1. Kovalenko V.A. General morphology: an introduction to the problematics. - M., 2002 - 376 p.

2. Nikitskaya A.M. Syntax. Linguistic encyclopedic Dictionary, - M., 1999 - 311 p.

3. Kostruba B.N. Vocabulary and lexical categories. - M., 2001 - 297 p.

4. Danilyuk V.A. Morphological dictionary of the Russian language - M., 2001 - 572 p.

5. Rosenthal D.E. Dictionary of linguistic terms. - Sp-B, 2001 - 469 p.

6. V. A. Vinogradov, N. V. Vasil’eva, and A. M. Shakhnarovich, Russ. Brief dictionary of linguistic terms. M., Russian language, 1995. - 175 p.

7. Rosenthal D.E., Telenkova M.A. Dictionary-reference book of linguistic terms. Ed. 2nd. M.: Education, 2006. - 543 p.

8. Dostoevsky F.M. "A Writer's Diary"

F.M. Dostoevsky in his "Diary of a Writer" occasionally printed short stories: "Christ's boy on the Christmas tree", "Man Marey", "Centennial", "Dream of a funny man", "Meek", its main content was journalistic articles, as well as essays, feuilletons, memoirs suitable for the moment.

Dostoevsky's literary activity was associated with "longing for the current", in other words, with a deep interest in contemporary events, characteristic phenomena, expressive details of the reality surrounding him. Observing all the nuances of the development of "living life", he followed with unflagging attention the reflection of its manifestations in Russian and foreign periodicals. According to eyewitnesses, the writer daily looked through newspapers and magazines "to the last letter", trying to catch in the rich variety of significant and small facts their inner unity, socio-psychological foundations, spiritual and moral essence, philosophical and historical meaning.

Such a need was dictated not only by the originality of Dostoevsky's novels, in which eternal themes and topical problems, world issues and recognizable details of everyday life, high artistry and sharp publicism organically fused. The writer has always had a passionate desire to speak directly with the reader, to directly influence the course of social development, to make an immediate contribution to the improvement of relations between people. Even in the magazines Vremya and Epoch published by him together with his brother in the 1860s, his separate artistic and journalistic essays and feuilletons were published.

However, Dostoevsky intended to publish first the sole journal "Zapisnaya Kniga", and then - "something like a newspaper". These plans were partially realized in 1873, when in the journal edited by him at that time, Prince V.P. Meshchersky's "Citizen", the first chapters of the "Diary of a Writer" began to be published. But the given framework of the weekly and dependence on the publisher to some extent limited both the thematic focus of Dostoevsky's articles and their ideological content. And it is quite natural that he strove for greater freedom in covering the “abyss of topics” that worried him, for an uninhibited conversation with readers directly on his own behalf, without resorting to the services of editorial and publishing intermediaries.

From 1876 to 1881 (with a two-year break, busy with work on The Brothers Karamazov), Dostoevsky published The Diary of a Writer as an independent publication, which, as a rule, came out once a month in separate issues, from one and a half to two sheets (sixteen pages each). in the sheet) each. In a pre-notifying announcement that appeared in the St. Petersburg newspapers, he explained: "It will be a diary in the literal sense of the word, a report on the impressions really survived each month, a report on what was seen, heard and read." Dostoevsky. Collected works in 15 volumes. L.: Science. Leningrad branch, 1991. T. 10.

However, "A Writer's Diary" is not a multi-colored photograph and not a kaleidoscope of colorful facts and non-overlapping themes that constantly replace each other. It has its own laws that are of paramount importance. And no matter what the author starts talking about - be it animal protection society or literary types, a tortured soldier or a kind nanny, the puppet behavior of diplomats or the playful manners of lawyers, the bloody reality of terrorist actions or utopian dreams of a "golden age" - his thought always enriches the current facts by deep associations and analogies, includes them in the main directions of development of culture and civilization, history and ideology, social contradictions and ideological disagreements. Moreover, when covering such heterogeneous topics on an extremely concrete and at the same time universal level, Dostoevsky organically combined various styles and genres, strict logic and artistic images, "naive nakedness of a different thought" and specific dialogic constructions, which made it possible to convey the entire complexity and multidimensionality of the problematics under consideration.

In this issue itself, he sought to determine its ethical essence, as well as "to find and indicate, if possible, our national and popular point of view." According to Dostoevsky, every phenomenon of modern reality should be viewed through the prism of the experience of the past, which does not cease to influence the present through certain traditions. And the more significant the national, historical and universal understanding of topical current tasks, the more convincing their current solution.

Such work, which seems unbearable in our time and the entire editorial board, completely captured Dostoevsky and demanded from him an enormous exertion of physical and spiritual strength. After all, he alone had to collect material, carefully prepare it, compose, clarify, manage to publish it on time, meeting the given volume. Extreme conscientiousness forced Dostoevsky to rewrite drafts several times, to calculate the number of printed lines and pages himself. Fearing for the fate of the manuscripts, he handed them over to the printing house personally or passed them on through his wife, an indispensable assistant who actively participated in the preparation of the Writer's Diary and in its distribution. After each release, according to an eyewitness, Dostoevsky "rested his soul and body for several days ... enjoying success ...". F.B. Tarasov F.M. Dostoevsky. "A Writer's Diary". (1873. 1876-1877. 1880-1881.), M., 2006.

Dostoevsky's journalism provides a rare and expressive, but, unfortunately, insufficiently learned lesson in a multilateral and predictive understanding of contemporary reality. Perhaps more than any of the Russian writers, he peered intently into this reality, when in post-reform Russia "decomposing life" and "life re-forming" were combined, when "everything was upside down for a thousand years."

The writer was extremely puzzled by the fact that in the era of "disorder" and "great segregation" there arises "a bunch of questions, a terrible mass of new ones that have never been, until now unheard of among the people." However, the complexity of the "now moment" was aggravated in his view by the fact that "each answer will give birth to three more new questions, and it will all go crescendo. As a result, chaos, but chaos would still be good: hasty solutions to problems are worse than chaos." Worse, because they do not cure social diseases, but only drive them deeper. No better are straightforward decisions that suffer from militant one-sidedness. As the writer notes, among the "old men" and conservatives, so among the "young" and liberals, "gloomy dullards arose, foreheads frowned and pointed, and the weight is straight and straight, everything is in a straight line and at one point."

Dostoevsky also revealed the indistinguishability of truth, based on sincere lies, in the unbridled optimism of modern progressives, who pinned their hopes on the successes of culture and civilization as they moved towards universal brotherhood. However, with an unbiased view, it turns out that as a result of civilization, people acquired "short ideas and hairdressing development ... cynicism of thought due to its shortness, insignificant, petty forms", cultivated only in new prejudices, new habits and new clothes.

or even cancel information conveyed by lexical or grammatical means. As a rhythm, it is formed by all linguistic means and has an impact on the implementation of the pronunciation features of units of the lower levels. The units of the intonation system are a necessary component in the selection of the content of a foreign language pronunciation.

Communicative inadequacy of pronunciation skills means a failure in the implementation of the communicative or pragmatic function of speech. The main reason for the communicative inadequacy of the skills being formed is the orientation of teaching foreign language pronunciation to formal signs. It can be argued that teaching foreign pronunciation cannot be limited to exercises in the normative voicing of foreign phrases. Foreign language pronunciation skills are an integral part of the pragmatic and strategic aspects of speech ability, their formation requires wider contexts and a greater variety of accompanying intellectual actions than those that the teacher deals with in the classroom. Formation of communicatively adequate IP skills capable of functioning in speech as tools

speech strategies cannot outstrip the formation of speech strategies themselves. The priority of one of the aspects of foreign language speech ability can lead to an imbalance in the entire structure of educational activity. IP training should ensure the formation of pronunciation skills within the framework of the harmonious development of all aspects of speech ability.

Literature

1. Mirolyubov, A.A. Methods of teaching foreign languages: traditions and modernity / A.A. Mirolyubov. -M., 2010.

2. Exemplary programs for academic subjects. Foreign language. 5 - 9 grades. - M., 2010.

3. Passov, E.I. Communicative method of teaching foreign speaking / E.I. Passov. - M., 1991.

4. Repnikova, L.N. The method of selecting intonation material for teaching speaking and reading aloud in the course of the second foreign language: autoref. dis. cand. ped. Sciences / L.N. Repnikov. - M., 1988.

5. Sokolova, M.A. Practical Phonetics in English/ M.A. Sokolova, K.P. Gintovt. - M., 2001.

6. Kelly, Gerald How to teach pronunciation / Gerald Kelly. - London, 2004.

G.S. Prokhorov

EVENT IN THE WORLD OF A WRITER'S DIARY F.M. DOSTOYEVSKY

This article is devoted to the study of aesthetic eventfulness in the world of F.M. Dostoevsky on the example of his journalistic fragment "Foma Danilov, the tortured Russian hero". We show how F.M. Dostoevsky consistently transforms a real, historical fact into an aesthetic event. The author departs from the actually known and constructs around the hero a "situation of uncertainty", the moment the hero chooses his own destiny. Next to the historical sequence of facts, its aesthetic variation arises, constructed by the author.

F.M. Dostoevsky, "Diary of a Writer", artistic journalism, event.

The article is dedicated to the study of aesthetic events in F.M. Dostoevsky's “Writer's diary” on the example of his journalistic fragment “Foma Danilov, the tormented Russian hero”. The author shows how Dostoevsky transforms a real historic fact into the aesthetic event. The author goes from the famous and constructs "the situation of uncertainty" around the hero, the moment of hero’s choice of his own fate. Aesthetic variation, designed by the author appears next to the historical sequence of facts.

F.M. Dostoevsky, Writer's diary, art journalism, event.

For almost centennial history The study has developed a tradition according to which the inner core of the "Diary of a Writer" is a historical fact: "The fact and the document become the basis of Dostoevsky's creative thought, which was clearly manifested in one of his most original creations -" The Diary of a Writer "". According to this tradition, the personal impressions of F.M. Dostoevsky, caused by the writer's collision with the historical reality surrounding him. These impressions were classified, generalized and, ultimately, molded into an individual concept of Ros-

those of the 1870s, characteristic of the writer: ““ Centenary ”,“ Muzhik Marey ”- artistic illustrations of thoughts about the people and their ideals; "Christ's boy on the Christmas tree" - inserted by Dostoevsky in his journalistic treatise on city, homeless children and their upbringing ",. And therefore O.F. Miller, V.F. Pereverzev, V.A. Desnitsky, V.S. Nechaeva, D.V. Grishin, T.V. Zakharov, etc., showed how the personal socio-political views of F.M. Dostoevsky: “I will not talk here about the endless contradictions of the Diary, which reflected his<Достоевско-

th> uncertainty and hesitation on this<Россия и Запад>check.<...>. It will suffice to note the cardinal contradiction that pervades all of his journalistic activity. The reader should already have noticed that Dostoevsky's negative attitude towards the West is not absolute. In moments, he comes to enthusiastic admiration for him, , , , , , . In this regular approximation of the “Diary of a Writer” to a conceptual and descriptive phenomenon, the problem of the artistic and publicistic boundary and the significance of plot events for describing this boundary becomes important.

A historical fact, a theoretical concept - phenomena that are fundamentally non-eventful; “non-eventful” - in the meaning shown by M.M. Bakhtin, for example, in his early work “On the Philosophy of Action”: “The theoretical world is obtained in a fundamental abstraction from the fact of my only being and moral sense this fact, “as if I were not there” ... ". In this aspect, both the historical fact and any theoretical concept are opposed to the plot, which, in fact, is fundamentally eventful, being a direct series of actions that reveal the active presence of the individual in the world: “...aesthetic being is closer to the actual unity of being-life than theoretical world, which is why the temptation of aestheticism is so convincing. It is possible to live in aesthetic being,1 and they do, but others live, and not I...” . Solving the problem of the documentary nature of the "Diary of a Writer" (and more broadly - the problem of the documentary nature of the so-called artistic and journalistic formations), it is necessary to find out how "journalistic" fragments of the "Diary of a Writer" (and similar works) are eventful.

To illustrate the problem and how to solve it, let us turn to such a fragment of the "Diary of a Writer" as "Foma Danilov, the Tortured Russian Hero" (3rd part of the January issue for 1877). In the first approximation, this fragment is quite consistent with the genre canon of the essay, worked out by the theory of journalism. Of course, journalism considers the essay and the feuilleton close to it as artistic and journalistic genres, as forms to which the concept of “double jurisdiction” is applicable. Nevertheless, the artistry of such phenomena, from the point of view of the theory of journalism and journalism, lies in the “packaging”: “The feuilleton does not cease to be a feuilleton thanks to

1 “Naive realism is close to the truth, because it does not build theories, its practice could be formulated: we live and act<в>the real world, and the world of our thought is its reflection, which has a technical value, the real world only reflects a thought, but it itself is not conceived in its being, but is, and we ourselves, with all our thoughts and their content, are in it, we live in it and we die."

literary processing of the fact. This processing gives the fact volume, visibility, makes it visual, convincing for the reader. The artistry of an essay or feuilleton is rather not genuine artistry, but picturesqueness, which in no way undermines the empirical status of the reflected events. The essay describes real facts; no matter how beautiful the essay is, it, unlike works of art, never gives rise to another reality, another world: “The task of the feuilletonist is much broader: he must not only describe any event, but give it his own interpretation. At the same time, the interpretation of a fact in the form of artistic images has the same right to exist as its interpretation in the form of direct authorial assessments. Of course, a feuilletonist cannot go beyond the limits of the fact. Therefore, the subject of the essay is not a character, but a person taken from real life: “The essayist is looking for a person directly in life who embodies the main typical features of his time. Anyone can become the hero of the essay: a journalist, an economist, a politician, an actor, a cook, a production worker, etc.<очее>, one who is a clear representative of his environment ".

Such a person from life, to whose experience F.M. Dostoevsky refers as an argument in his own dispute with the “cynics and the wise” of the 1870s, it seems that one can and should see Foma Danilov: “... listen, gentlemen, do you know how this obscure unknown Turkestan battalion of soldiers appears to me? Yes, it is, so to speak,

The emblem of Russia, all of Russia, all of our people's Russia, the true image of her ... ". The expressive means used here (for example, the introductory rhetorical question “No, listen, gentlemen, you know, as it seems to me ...”) - fits well into the essay canon.

However, in the plot space of the Writer's Diary, the author refers to the life of Foma Danilov not as a fact, on the basis of which it is easy to formulate a successful and necessary argument for a publicist in his socio-political dispute. The author refers to the life of Foma Danilov as a direct, personal, unique authentic human existence. The journalistic genre of the essay rather plays the role of the “primary genre” here, on the basis of which aesthetic categories unusual for the essay are formed: a literary hero, a plot, an inner world arises.

The central situation of the fragment and its main events are built - and this is genuinely important - in the zone of the unknown: there were no witnesses to the death of Foma Danilov. The author specifically focuses the attention of readers on the absence of witnesses, introducing even a somewhat dubious2 phrase: “I think that

2 The consolation felt by the saint of antiquity from the thought that his death would serve as an example and attract believers is doubtful, since such a thought contains

other great martyrs, even from the first Christian centuries, were nevertheless partly comforted and relieved, accepting their torments, with the conviction that their death would serve as an example for the timid and wavering, and would draw even greater ones to Christ. For Thomas, even this great consolation could not be: who knows, he was alone among the tormentors.

Despite the absence of witnesses, the author of the fragment knows everything about the subject of the image, down to the smallest movements of the soul of Foma Danilov, up to the latter’s inner speech: “He was still young, somewhere he has a young wife and daughter, he will never now he won’t see them, but let him: “wherever I am, I won’t act against my conscience and I will accept torment”, - truly the truth is for truth, and not for beauty. Where are such personal deep details known to F.M. Dostoevsky? And they are F.M. Dostoevsky is not known at all: they are generated by him - somewhere in the textual space of the fragment, the essayist turns into an omniscient narrator. Next to the historical figure of the soldier Foma Danilov, tortured in Turkestan, there is a variation created by the author-creator of the hero.

Just as in a work of art the author-creator “completes” the hero, in the fragment under consideration, F.M. Dostoevsky creatively frames a person's life. As in works of art, the technique that organizes aesthetic completion is the selection of those life events that fall into the reader's horizons, and their "replenishment" by the author. The author could have focused on the circumstances of the captivity, on the inability of the state to protect the life of its subject and soldier, on life in captivity, on the agony of death. However, he concentrates the narrator strictly on one single line - the moment of choosing martyrdom. The narrator shows the circumstances that oppose such a choice: personal (wife, daughter, own youth), the opportunity to quietly, without publicity, portray humility and avoid death (“I will accept Islam for show, I won’t do temptation, no one will see, then I will pray , life is great, I’ll donate to the church, I’ll do good deeds ".1 Finally, the narrator does not conceal the hero's lack of churchness: "... at one time he was not averse to taking a walk, drinking, maybe he didn’t even pray very much, although, of course, God always remembered ". All these circumstances replenished by the author-creator form a different

lives in himself an assessment of his life as a saint and, therefore, leads him into the temptation of pride. Wed “Realizing his holiness, he<человек святой жизни>thereby forfeited all his merits<...>: sin conquered, the crafty serpent befogged the fighter with pride ".

1 It is important that the opportunity to formally accept other people's norms, and subsequently abandon them if circumstances are successful, is a real alternative to the choice of Foma Danilov. This is the path that N.S. the Enchanted Wanderer chose around the same years. Leskova: "... he took two wives again, but did not accept any more, because if there are a lot of women, even though they are Tatars, they quarrel, filthy, and they must be constantly taught."

a reality in which and only in which martyrdom is in no way the result of a random coincidence of circumstances, but only a true event in the life-being of the hero - “the transfer of a character across the border of the semantic field”. In this event and the choice accompanying the event, Foma Danilov finds his full embodiment, despite life's accidents: “And suddenly they tell him to change his faith, and not that - martyrdom. At the same time, we must remember what these torments are, these Asian torments! Before him is the khan himself, who promises him his mercy, and Danilov perfectly understands that his refusal will certainly irritate the khan, irritate the pride of the Kipchaks with “that dares, they say, a Christian dog to despise Islam so much.” But, despite everything that awaits him, this inconspicuous Russian man takes the most severe torment and dies, surprising the torturers. Before us is a clear focus of the narrator not on the formulation of a certain “lesson” arising from the historical situation common sense, but on the recreation in the event of a living eventfulness, a deeply personal choice, a personal act, in which it is true: “... the only being-event is no longer conceived, but is, really and hopelessly accomplished through me and others<...>. Unique uniqueness cannot be conceived, but only participatively experienced.

Contrary to the genre tradition of the essay, F.M. Dostoevsky enters into historical fact and ... "embroiders" the latter. The writer draws the very empirically unknown moment at which the hero, who is in a situation of choice, appears before the reader. Thus, the author returns eventfulness to a historical, abstract fact. This is a re-creation of a moment not of history (Historie), but of a living, current being (Geschichte), in which both heroes and people live, in which they make a decision. The historical moment turns into an aesthetic object, however, into an aesthetic object closely connected with being, "caught" in being itself. In the light of the face (cf.:) of Foma Danilov (even if he is only one, and he, obviously from history, is not alone), general judgments are comically untenable: “... our people<считают>albeit good-natured and even very mentally capable, but still a dark elemental mass, without consciousness, completely devoted to vices and prejudices, and almost entirely ugly. Such a concept is not broken by an opposite concept (no, concepts can build arguments and counterarguments ad infinitum - and the “Diary of a Writer” knows such a situation of “argument” very well), it is broken against the bodily truth of the face of Foma Danilov recreated by the author. If indeed a simple person is able to consciously sacrifice himself for the sake of his ideals and find his true face in this active self-sacrifice, then some negligible trifle becomes the hero’s ignorance of the very words such as “sacrifice”, “face”, “ideal”: “Oh, of course, we are more educated than him, but what we, however, teach him - that's the trouble! Of course, I'm not talking about crafts, not about technology, not about mathematical knowledge - this is why the Germans are visiting for hire

they will teach if we don’t teach, no, but what are we?” . "Cultural words" and people like him are not spoken by Foma Danilov, but are effectively approved (though, in order to see this effective statement, the writer's replenishing and final view is needed).

Thus, The Writer's Diary does not reflect a one-way movement from historical fact to the author's concept, pictorially expressed. Its plot is a radical movement into the depths of a single, "ready" case. The author “embroiders” what happened, revives its participants and invites the reader to be present again and again at the moment of choice, once made by the hero and irreversible in his immediate, human life-being. The author wraps the time axis; he consistently draws the reader to the eventfulness, to the fact that in real life a person asserts himself by his actions, and, performing them, inevitably pays with his life. This moment of the returned event subsequently turns into an aesthetic object that returns to the conceptual-stencil world

completeness and makes you think about what the world around us is in its “final” essence: “... trace another, even not at all so bright at first glance, fact of real life - and if only you are able and have eyes you will find in it a depth that Shakespeare does not have. But after all, that's the whole question: in whose eyes and who is in power? After all, not only in order to create and write works of art, but also in order to only notice the fact, one also needs an artist in his own way.

Literature

1. Antonova, V.I. Artistic and journalistic genres in newspaper periodicals / V.I. Antonova. - Saransk, 2003.

2. Bakhtin, M.M. To the philosophy of the act // M.M. Bakhtin Collected. cit.: in 7 volumes / ed. S.G. Bocharova, N.I. Nikolaev. - M., 2003. - T. 1.

3. Bakhtin, M.M. The problem of speech genres // M.M. Bakhtin Collected. cit.: in 7 volumes / ed. S.G. Bocharova, L.A. Go-Gotishvili. - M., 1997. - T. 5.

4. Grishin, D.V. Diary of the writer F.M. Dostoevsky / D.V. Grishin. - Melbourne, 1966.

5. Desnitsky, V.A. Journalism and literature in the "Diary of a writer" F.M. Dostoevsky // V. [A.] Desnitsky literary themes. - L.; M., 1933.

6. Dmitrieva, L.S. On the genre originality of the “Diary of a Writer” by F.M. Dostoevsky: (on the problem of journal typology) // Moscow University Bulletin: Journalism Series. - M., 1969. - No. 6. - P. 25 - 35.

7. Dolinin, A.S. The last novels of Dostoevsky / A.S. Dolinin. - M.; L., 1964.

8. Dostoevsky, F.M. Writer's diary for 1876 // F.M. Dostoevsky Complete collection. op. - St. Petersburg, 1911. - T. 20.

9. Dostoevsky, F.M. Writer's diary for 1877 // F.M. Dostoevsky Complete Works. - St. Petersburg, 1895. - T. 11. - Part 1.

10. Zhurbina E.I. A story with two plots: On journalistic prose / E.I. Zhurbina. - M., 1979.

11. Zakharova, T.V. "Diary of a Writer" F.M. Dostoevsky as a documentary work / T.V. Zakharova // On fiction and documentary literature. - Ivanovo, 1972.

12. Karsavin, L.P. About personality / L.P. Karsavin // Commentationes ordinis philologorum universitati Lituanaelibi, Vol. III. - Kaunas, 1929.

13. Karsavin, L.P. Fundamentals of medieval religiosity in the XII-XIII centuries, mainly in Italy / L.P. Karsavin. - Prague, 1915.

14. Kroichik, L.E. Modern newspaper feuilleton / L.E. Kreuchik. - Voronezh, 1975.

15. Leskov, N.S. The Enchanted Wanderer // N.S. Leskov Sobr. cit.: in 12 volumes - M., 1989. - T. 2.

16. Lotman, Yu.M. The structure of the literary text / Yu.M. Lotman. - M., 1970.

17. Lyubyatinskaya, U.S. Historical views of [F.M.] Dostoevsky: based on the material of the “Diary of a Writer” by F.M. Dostoevsky: dis. ... cand. ist. Sciences / U.S. Lyubyatinskaya. - M., 2006.

18. Miller, O.F. Russian writers after Gogol / O.F. Miller. - Part 1. - St. Petersburg, 1886.

19. Mutovkin, A.A. Genres in the arsenal of journalism: in

2 hours. Part 2: Fiction and journalistic genres / A.A. Mutovkin. - Omsk, 2006.

20. Pereverzev, V.F. Creativity of Dostoevsky: Critical essay / V.F. Pereverzev. - M., 1912.

21. Cherepahov, M.S. Problems of the theory of journalism / M. S. Cherepahov. - M., 1971.

UDC 821.161.1.09

G.G. Ramazanova

V.G. BELINSKY ABOUT THE WORKS OF WRITERS OF THE "SECOND RANGE" OF THE END OF THE 30'S (BY THE MATERIALS OF REVIEWS "MOSCOW OBSERVER")

The article analyzes the bibliographic reviews by V.G. Belinsky, published in the journal "Moscow Observer" in 1838 - 1839, which had never before become the subject of a separate consideration. Collaboration with the magazine fell on a special period of Belinsky's spiritual biography, which is called the period of "reconciliation with reality." The special outlook of the critic at that time largely determined the perspective of understanding the works of writers of the “second row”.

The prose of the writers of the "second row" P. Smirnovsky, P. Kamensky, V. Vladislaviev, the poetry of E. Burnet, A. Polezhaev.

Although the author of the "Diary" occasionally published short stories in it ("The Boy at Christ on the Christmas Tree", "The Man Marey", "The Centenary", "The Dream of a Ridiculous Man", "The Gentle One"), its main content was made up of journalistic articles, as well as essays , feuilletons, memoirs suitable for the moment. Dostoevsky's literary activity was associated with "longing for the current", in other words, with a deep interest in contemporary events, characteristic phenomena, expressive details of the reality surrounding him. Observing all the nuances of the development of "living life", he followed with unflagging attention the reflection of its manifestations in Russian and foreign periodicals. According to eyewitnesses, the writer daily looked through newspapers and magazines "to the last letter", trying to catch in the rich variety of significant and small facts their inner unity, socio-psychological foundations, spiritual and moral essence, philosophical and historical meaning.

Such a need was dictated not only by the originality of Dostoevsky's novels, in which eternal themes and topical problems, world issues and recognizable details of everyday life, high artistry and sharp publicism organically fused. The writer has always had a passionate desire to speak directly with the reader, to directly influence the course of social development, to make an immediate contribution to the improvement of relations between people. Even in the magazines Vremya and Epoch published by him together with his brother in the 1860s, his separate artistic and journalistic essays and feuilletons were published.

However, Dostoevsky intended to publish first the sole journal "Zapisnaya Kniga", and then - "something like a newspaper". These plans were partially realized in 1873. when in the journal of Prince V.P. Meshchersky's "Citizen", the first chapters of the "Diary of a Writer" began to be published. But the given framework of the weekly and dependence on the publisher to some extent limited both the thematic focus of Dostoevsky's articles and their ideological content. And it is quite natural that he strove for greater freedom in covering the “abyss of topics” that worried him, for an uninhibited conversation with readers directly on his own behalf, without resorting to the services of editorial and publishing intermediaries.

From 1876 to 1881 (with a two-year break, busy with work on The Brothers Karamazov), Dostoevsky published The Diary of a Writer as an independent publication, which, as a rule, came out once a month in separate issues, from one and a half to two sheets (sixteen pages each). in the sheet) each. In a pre-notifying announcement that appeared in the St. Petersburg newspapers, he explained: "It will be a diary in the literal sense of the word, a report on the impressions really survived each month, a report on what was seen, heard and read."

Indeed, on its pages the author starts a biased conversation, interspersed with personal reminiscences, about various things and outwardly seemingly completely uncontiguous spheres - about foreign and domestic policy, agrarian relations and land ownership, the development of industry and trade, scientific discoveries and military actions. The attention of the writer is attracted by railway accidents, lawsuits, the infatuation of the intelligentsia with spiritualism, the spread of suicides among young people. He is worried about the collapse of family ties, the gap between different classes, the triumph of the "golden bag", the epidemic of drunkenness. distortion of the Russian language and many other sensitive issues. The reader opens up the broadest historical panorama of post-reform Russia: eminent dignitaries and unrooted philistines, bankrupt landlords and prosperous lawyers, conservatives and liberals, former Petrashevites and emerging anarchists, humble peasants and self-satisfied bourgeois. The reader also gets acquainted with the author's unusual judgments about the personality and work of Pushkin, Nekrasov, Tolstoy...

However, "A Writer's Diary" is not a multi-colored photograph and not a kaleidoscope of colorful facts and non-overlapping themes that constantly replace each other. It has its own laws that are of paramount importance. And no matter what the author of the "Diary" starts talking about - whether it is a society for the protection of animals or literary types, a tortured soldier or a kind nanny, the puppet behavior of diplomats or the playful manners of lawyers, the bloody reality of terrorist actions or utopian dreams of a "golden age" - his thought always enriches the current facts with deep associations and analogies, includes them in the main directions of development of culture and civilization, history and ideology, social contradictions and ideological disagreements. Moreover, when covering such heterogeneous topics on an extremely concrete and at the same time universal level, Dostoevsky organically combined various styles and genres, strict logic and artistic images, "naive nakedness of a different thought" and specific dialogic constructions, which made it possible to convey the entire complexity and multidimensionality of the problematics under consideration. In this issue itself, he sought to determine its ethical essence, as well as "to find and indicate, if possible, our national and popular point of view." According to Dostoevsky, every phenomenon of modern reality should be viewed through the prism of the experience of the past, which does not cease to influence the present through certain traditions. And the more significant the national, historical and universal understanding of topical current tasks, the more convincing their current solution.

Such work, which seems unbearable in our time and the entire editorial board, completely captured Dostoevsky and demanded from him an enormous exertion of physical and spiritual strength. After all, he alone had to collect material, carefully prepare it, compose, clarify, manage to publish it on time, meeting the given volume. Extreme conscientiousness forced Dostoevsky to rewrite drafts several times, to calculate the number of printed lines and pages himself. Fearing for the fate of the manuscripts, he handed them over to the printing house personally or passed them on through his wife, an indispensable assistant who actively participated in the preparation of the Writer's Diary and in its distribution. After each release, according to an eyewitness, Dostoevsky "rested his soul and body for several days ... enjoying success ...".

Reading the "Diary of a Writer" today, one never ceases to be surprised, perhaps, by the most important thing in it, that even after a hundred years, many of the author's conclusions are not only burningly relevant, but also vital in a conscientious, deep and truly realistic verification of the moral content of those or other tasks and compliance with the means chosen for their implementation. And there is hardly any doubt that they will remain relevant for a long time, although reality is changing a lot and will unrecognizably change in the future.

It seems that the secret of the undying significance of unusual and unusual journalism for us lies not so much in its accuracy and sharpness, but in the wise penetration into the very core of the problems under consideration, as well as in the unity that is found in the extremely diverse content. Therefore, outlining the thematic circle of Dostoevsky's journalism with its pain and anxiety, it is extremely important to single out the guiding ideas in it, revealing the inner logic of the sometimes invisible connection of dissimilar facts, events, phenomena, revealing common roots certain "sick" issues of life and suggesting ways to solve them.

Dostoevsky's journalism gives a rare and expressive, but unfortunately. an insufficiently learned lesson of a multilateral and predictive understanding of contemporary reality. Perhaps more than any of the Russian writers, he peered intently into this reality, when in post-reform Russia "decomposing life" and "life re-forming" were combined, when "everything was upside down for a thousand years."

The writer was extremely puzzled by the fact that in the era of "disorder" and "great segregation" there arises "a bunch of questions, a terrible mass of new ones that have never been, until now unheard of among the people." However, the complexity of the "now moment" was aggravated in his view by the fact that "each answer will give rise to three more new questions, and all this will go crescendo. As a result, chaos, but chaos would still be good: hasty solutions to problems are worse than chaos" (I, 25, 174). Worse, because they do not cure social diseases, but only drive them deeper. No better are straightforward decisions that suffer from militant one-sidedness. As the writer notes, among the "old men" and conservatives, so among the "young" and liberals, "gloomy dullards arose;

Being a principled opponent of hasty and straightforward decisions, Dostoevsky carefully studied the current phenomena in this "most vague, most inconvenient, most transitional and most fatal moment, perhaps, of the entire history of the Russian people" in the light of great ideas, world issues, all historical experience, capturing the basic properties of human nature. Describing his own journalistic methodology, he spoke of the need to give "an account of the event not so much as news, but about what of it (the event) will remain for us more permanent, more connected with the general, with the whole idea." In his opinion, it is impossible to "isolate the case" and deprive it of "the right to be considered in connection with the general whole."

In Dostoevsky's view, the ideals of the emerging consumer civilization are far from harmless for the moral state of the individual and the direction of historical development, since they strengthen "obese egoism" in a person, make him incapable of sacrificial love, and condone the formation of a hedonistic understanding of life that divides people. And then "the feeling of elegance turns into a thirst for capricious excesses and abnormalities. Voluptuousness develops terribly. Voluptuousness will give birth to cruelty and cowardice ... Cruelty will give birth to an intensified, too cowardly concern for self-sufficiency. This cowardly concern for self-sufficiency always, in a long world, in the end turns in some kind of panic fear for oneself, communicates to all strata of society, gives rise to a terrible thirst for the accumulation and acquisition of money... Faith is lost in the solidarity of people, in their brotherhood, in the help of society, the thesis is loudly proclaimed: "Everyone is for himself and for himself." "Everyone retires and isolates himself. Selfishness kills generosity" (I, 25, 101).

A deep understanding of such non-trivial causal relationships and indirect patterns of social development allowed Dostoevsky, even in the bud, to reveal the moral half-heartedness of various newly minted ideals, or rather, idols that do not eradicate, but only otherwise direct and thereby complicate the eternal vices of people, adapting to them. Such idols or "unclarified ideals" in the system of his reflections can also be called "unholy shrines." He wrote that he could not live without shrines, but still he would like shrines at least a little more sacred, isn’t it worth worshiping us? slogans of freedom, equality and fraternity, leading in practice to the triumph of mediocrity and the money bag.A sense of such shifters, when lies are hidden behind speeches about the truth, fraud is behind the claim to truth and common sense, villainy is behind the desire for a feat, etc. ., he was extraordinary, and he constantly stripped the gilding off apparently noble formulations, exposed in them not always realized deep motives, which were not included in the field of view of "sages of cast-iron ideas" and "frantic straightforwardness".

Therefore, in Dostoevsky's journalism, critical consideration of the social consciousness reputations of various kinds of figures, whose originality lies not in the high spiritual and moral state of their souls, but in a privileged social position, in the achievements of the mind and talent. Before the conditional best people, as he called them, they bow as 6s under compulsion, by virtue of their social-caste authority, which changes its forms with the restructuring of specific historical circumstances. The writer observed just one of these changes, when the former conditional people "seemed to have removed the patronage of authority, as if their officialdom was destroyed" (princely, boyar, noble) and their place was taken by professional politicians, scientists, money dealers ... He noted with concern that never in Russia had the new convention - the "golden bag" - been considered the highest on earth, that "it had never ascended to such a place and with such significance as in our last time," when the worship of money and acquisition captures all spheres of life, and when, under the auspices of this new conventionality, industrialists and merchants acquire the greatest authority. lawyers, etc. "the best people." Dostoevsky believed that nothing could be more corrupt than such worship, and with apprehension he discovered everywhere its corrupting effect: “Recently, it has begun to become terribly for the people: who does he consider to be his best people ... Lawyer, banker, intelligentsia.” (Unpublished Dostoevsky. Notebooks and notebooks 1860 - 1881, p. 587).

According to his observation, figures of science, art and education were increasingly referred to the “best people”: “We finally decided that this new and “better” person is simply an enlightened person, a “man” of science and without the previous prejudices” (I. 23.156). But this opinion is difficult to accept for a very simple reason: "an educated person is not always an honest person," and "science does not yet guarantee valor in a person."

Dostoevsky considered the contradiction between education and morality to be among the most important in modern times and constantly noted it. “Or do you think,” he addressed those who saw a panacea for all ills in raising education, “that knowledge, “science”, school information (even university ones) already completely shape the soul of a young man, that with the receipt of a diploma he immediately acquires an unshakable talisman to learn the truth once and for all and avoid temptations, passions and vices? According to him, originality scientific activity, requiring, it would seem, selflessness and generosity, nevertheless reveals the "baseness of the moral inquiry, moral feeling," which does not contribute to the spiritual enlightenment and mental health of a person. Hence the natural appearance of highly educated and cunning monsters with a polysyllabic thirst for intrigue and power, as well as such questions, for example: "But how many of the scientists will resist the plague of the world? False honor, pride, voluptuousness will seize them too. passion, like envy: it is rude and vulgar, but it will penetrate into the very noble soul scientist. He, too, will want to participate in the general splendor, in brilliance... On the contrary, if he wants fame, then quackery will appear in science, the pursuit of effect, and most of all, utilitarianism, because it will also want wealth. In art it is the same: the same pursuit of effect, of some refinement. Simple, clear, generous and healthy ideas will no longer be in fashion: something much more urgent will be needed: the artificiality of passions will be needed" (I, 22, 124).

In an era of all sorts of mixtures and complex combinations, insidious idols and duality of behavior, Dostoevsky attached particular importance to spiritual sobriety, the difficult ability to separate the wheat from the chaff, the ability to recognize even in the origins the vicious movements of "nature", often deeply hidden under the cover of the most decent forms of unconscious egoistic hypocrisy, prestigious activities or even philanthropic ideas.

According to Dostoevsky, times have come when the problems of honest untruth or sincere lies, that is, the unconscious substitution of real values ​​for imaginary ones, an unaccountably shortened, ill-conceived attitude to various issues of life, arise with all acuteness and seriousness. As a result, people lose the ability to notice that the ideal of the beautiful and lofty has been obscured, that the concept of good and evil is being distorted and distorted, that normality is constantly being replaced by conventionality, that simplicity and naturalness are perishing, suppressed by the constantly accumulating lies. Thus, the naive acceptance by the conditional best people of their conditionality for something unconditional, self-identification with the role played in society gives their behavior an involuntary shade of deceptive acting. A kind of "internal theater" is created in their soul, supporting the naturalness of the external pattern of the role being played and masking the vices, which significantly increases the mutual misunderstanding of representatives of different estates and groups of society. The negative value of the game of nobility, when the brilliant appearance of the behavior of secular people, government officials, writers, artists is combined with the "incompleteness" of their souls, and a "steel padlock of good form" hangs over the heart and mind, the writer saw that instead of the real " beauty of people" creates a false "beauty of rules", which not only masks vices, but also imperceptibly darkens the simplicity of the soul and "eats" its true virtues. Indeed, according to some special law, "the letter and the form of the rules" imperceptibly hide the "sincerity of the content", which hinders the self-improvement of a person, strengthens his "incompleteness".

Even in talent, the writer often found the inevitable possibility of excessive "responsiveness" and "playfulness", which again involuntarily lulls the conscience, deviates from the truth, and removes from philanthropy. For example, a fascination with a red word or a high style gradually shallows the mind and coarsens the soul of a magnanimous writer or lawyer. Instead of a heart, such a figure begins to beat "a piece of something official, and now he, once for all, rents, for all future emergencies, a store of conditional phrases, catchphrases, feelings, thoughts, gestures and views, everything, of course, according to the latest liberal fashion, and then for a long time, for life, plunges into peace and bliss" (I, 23, 12).

Dostoevsky also revealed the indistinguishability of truth, based on sincere lies, in the unbridled optimism of modern progressives, who pinned their hopes on the successes of culture and civilization as they moved towards universal brotherhood. However, with an unbiased view, it turns out that as a result of civilization, people acquired "short ideas and hairdressing development ... cynicism of thought due to its shortness, insignificant, petty forms", cultivated only in new prejudices, new habits and new clothes.

In addition, the bourgeois civilization that had gained strength gave rise to processes that did not encourage a deep spiritual culture that would transform the entire structure of the spiritual world of a person and the egoistic incentives for his behavior and would stop periodic wars.

On the contrary, according to implicit laws, progress and "humanity", which do not have a sufficient spiritual foundation and a clear moral content, threaten to turn into and turn into regression and barbarism. For example, external achievement of the noble goal of equality of people does not ennoble them internally. After all, "what is equality in the current educated world? Jealous observation of each other, arrogance and envy ..." And no treaties can prevent wars if such a state persists human souls, the visible or invisible rivalry of which gives rise to ever new material interests and, accordingly, requires an increase in the variety of all kinds of seizures. As a result, the peaceful time of industrial and other bloodless revolutions, if it does not contribute to the transformation of the egocentric principles of human activity, but, on the contrary, creates a breeding ground for them, it itself causes the need for war, "takes it out of itself as a miserable consequence." Therefore, Dostoevsky believed, it is necessary to soberly and, so to speak, pre-evaluate certain prospects for the “progress of things”, constantly ask yourself: “What is good and what is better ... In our time, the questions are: is good good?” Reflecting on these questions, he noted in the "Diary of a Writer": "It is clear and understandable to the point that evil is hidden in humanity deeper than socialist doctors suggest, that in no structure of society you can avoid evil, that the human soul will remain the same as abnormality and sin come from itself and that, finally, the laws of the human spirit are still so unknown, so unknown to science, so indefinite and so mysterious that there are no and cannot be any healers, or even final judges ... "(I, 25, 201).

Revealing the complex spiritual world of man, the many different movements of his free will, Dostoevsky discovered that all of them, despite the unequal content and different spheres of action, are usually directed towards self-preservation, domination and enjoyment. Both in everyday, office, love relationships of people, and in all-encompassing principles and ideas, the natural proudly egoistic and aggressively hedonistic properties of human nature, if their "naturalness" is not suppressed and is not subordinated to the highest ideal really rooted in being, lead potentially and really to self-exaltation of heterogeneous personalities, to their disunity and enmity. And it is not by education, not by outward culture and secular gloss, not by scientific and technical achievements, but only by the "excitement of higher interests" aspiring to eternal ideas, to absolute joy, that one can rebuild the deep structure of egoistic thinking.

Without "great moral thought", i.e. without Christian faith, Dostoevsky believed, normal development, a harmonious mind and the viability of an individual, a state, and all mankind are impossible, since only in it a person comprehends "all his rational purpose on earth" and realizes in himself "a human face". Without gaining semantic completeness and height, human existence turns out to be unnatural and absurd, its connections with various manifestations of life become thinner, and life itself results in distortions and disasters. That is why the writer was so worried about his time, when with progressive speed an indifferent and even nihilistic attitude towards higher ideas human existence as "nonsense" and "rhymes".

But it was precisely in the loss of age-old ideals, the highest meaning, the highest goal of life, in the disappearance of the “higher types” around Dostoevsky, that he found the root cause of the latent overflow of a nihilistic atmosphere, when “something is in the air full of materialism and skepticism; the adoration of gratuitous gain, enjoyment without labor ; every deceit, every villainy is committed in cold blood; they kill in order to take at least a ruble out of their pocket. I know that there was a lot of bad things before, but now it has undoubtedly multiplied tenfold. 22, 31).

"Why are we rubbish?" - Dostoevsky asked, delving into these unconscious teachings and unaccountable beliefs, and answered: "There is nothing great." In the absence of ideas about the greatness and non-randomness of human life on earth, he discovered the roots of the interdependent spiritual diseases of his age.

In the popular belief in eternal light, Dostoevsky found the basis for real enlightenment, without which the "great work of love" is impossible. The meaning of true enlightenment is expressed, in his opinion, at the very root of this concept, there is "a spiritual light that illuminates the soul, enlightens the heart, directs the mind, prompts him the way of life." Such enlightenment distinguishes, in his opinion, the conditional best people from the unconditional, who are known not by social-caste affiliation, not by intelligence, education, wealth, etc., but by the presence of spiritual light in their souls, well-being of the heart, higher moral development and influence. He referred to such people the righteous from time immemorial, widespread in Rus', in whom "the need to be, first of all, fair and seek only the truth" is clearly expressed. shrines of the people. not science and privileges, the writer noted, indicate the best people. "The best person, according to the people's idea, is the one who did not bow before the material temptation ... loves the truth and, when necessary, rises to serve it, leaving home and family and sacrificing his life" (I, 23, 161).

With a general look at the writer's journalism, one can trace the relationship of those properties that make up the "noble material", are included in the "aesthetics of the soul" of the unconditional best people who have received true enlightenment and are able to become brothers to others. Righteousness, truthfulness, deep mind. loftiness, nobility, justice, honesty, true self-worth, selflessness, a sense of duty and responsibility, gullibility, openness, sincerity, innocence, modesty. the ability to forgive, organicity and integrity of the worldview, inner goodness and chastity - these spiritual and spiritual features, indicating an inner victory over the egocentric principles of the unrighteous system of life, determine individuals before whom they "voluntarily and freely bow themselves, honoring their true valor", before whom bow "cordially and undoubtedly."

Dostoevsky believed that not only "the beginning of everything" is personal self-improvement, but also the continuation of everything and the outcome. It embraces, builds and preserves the organism of the nationality, and it is the only one, since the ideal of a civil system, taking shape historically, is exclusively the result of "the moral self-improvement of units, it begins with it ... it has been so from time immemorial and will remain forever and ever" (I, 26, 165).

Thus, the true prosperity of society in various fields is inextricably linked with the internal moral well-being of its citizens. Speaking, for example, about the possible change and improvement of bureaucratic activity, Dostoevsky emphasizes that the opposition to the bureaucracy misses the target: "They don't see the main step ... The essence is in the education of a moral sense." Without taking into account this essence, the constant reduction of staff leads, however, to the fact that the staff, as it were, increases in a paradoxical way. Officials, simulating in no way defined moral activity, are trying to limit themselves to cosmetic changes. without changing anything in essence and arguing to himself: "... we'd better somehow improve ourselves there, clean up, well, introduce something new, more, so to speak, progressive, corresponding to the spirit of the age, well, there we will become somehow - something more virtuous or something..." As a result, the people liberated from serfdom do not have independence and spiritual support, since in the zemstvo, community, jury and other democratic forms of society "it is drawn to something similar to the authorities." Auditors are appointed, commissions are set up, allocating subcommittees from themselves. Meticulous observers, the writer notes, calculated that “the people now, at this moment, have almost two dozen commanding ranks, specially assigned to them, standing over them, protecting and guarding them. , and here are twenty more pieces of special ones! Freedom of movement is exactly like that of a fly that has fallen into a plate of molasses. But this is not only harmful from a moral, but also from a financial point of view, that is, such freedom of movement "(I, 27, 17).

The absence of a “main step” weakens, according to Dostoevsky, the various economic reforms that are being carried out right now, “suddenly and quite even somehow suddenly, sometimes even in no way at all by an unexpected instruction from the authorities”, to improve the current reality, to increase the state budget, pay off debts, overcome deficits. However, with such haste, only the “temporary, material surface” is achieved, only the existing is reproduced in a slightly updated form. These "mechanical soothing consolations" do not lead to a "really civil, moral-civilian" order and preserve the general atmosphere for those who sharpen their teeth on the treasury and public property, who turn "into pocket industrialists, others into permitted ones, and others to cover up will not legally become themselves." Moral and civil disorder, with palliative economic prosperity, corrupts the consciousness of those who observe it and strengthens social disorder. “Another simpleton looks around him and suddenly concludes that one deceived a kulak and a world-eater to live, that everything is being done for them, so I’ll become a kulak too, and he will. that poverty has overcome, but because lawlessness is sickening. What is there to do? Here is fate "(I, 27, 17).

To overcome this fate, it is necessary, Dostoevsky argued, to direct attention "into a certain depth, into which, in truth, hitherto they have never looked, because they were looking for depth on the surface." We need "a turn of our heads and views in a completely different direction than before ... Some of our principles should be completely changed, the flies should be pulled out of the molasses and set free." It is necessary, he believed, to forget at least for a small part about momentary needs, no matter how urgent they may seem, and focus on "healing the roots", in other words, on creating conditions for the preservation of folk traditions and ideals, for the development of genuine enlightenment, for the formation of unconditional the best people. Then there will be hope for a conciliar resolution of disagreements between various strata of society, "a general democratic mood and the general consent of all Russian people, starting from the very top." Then the current reality, with its urgent tasks, financial and economic problems, can change not only cosmetically, but radically, since it itself will obey the new principle and "enter into its meaning and spirit, and will certainly change for the better." Then morality will also get out of the destructive control of the economy, which (and with it science, crafts, technology) under its influence will become more reasonable and humane, since the needs of people will also become reasonable and humane.

According to Dostoevsky, among the new principles, one should firmly grasp that one cannot artificially adjust history and arrange a vaudeville (sometimes cruel and tragic) out of it, that all, even sound, innovations are not carried out in an instant, and their success is determined by "preliminary culture" , enrichment with the results of the spiritual labor of many previous generations.

We must remember and not forget, Dostoevsky emphasized, that the true fruitful result of any business depends not on the correct monetary calculation and not on the activity of the mythical "new man", whom no one has seen anywhere and whose "new morality" is not amenable to rational understanding, but on a golden reserve of noble human material, constantly created by spiritual traditions growing from ancient roots and uninterrupted. “For example, you can set up schools with money, but you won’t make teachers now. A teacher is a delicate thing; a folk, national teacher has been developed for centuries, kept by traditions, countless experience. scientists; and what? - all the same, you won’t make people. What is it that he is a scientist, if he doesn’t understand things? He, for example, will learn pedagogy and will teach pedagogy excellently from the department, but still he won’t become a teacher. People, people - that's the most important thing. People are even more valuable than money. You can't buy people in any market, and with no money, because they are not bought or sold, but again, they are only made for centuries; well, centuries take time, years like twenty-five or thirty, even in our country, where centuries have long been worthless. independent life nation, by its age-old long-suffering labor - in a word, is formed by the entire historical life of the country "(Dostoevsky F.M. Writer's Diary. M., 1989, p. 30).

Dostoevsky had no doubt that moral principles are the basis of everything, including the well-being of the state, although at first glance it seems dependent on won battles or ingenious policies.

For a worthy and long life nations and states, the writer believed, it is necessary to sacredly keep high ideals, because "as soon as after times and centuries (because there is also a law here, unknown to us) its spiritual ideal began to loosen and weaken in a given nationality, so the nationality immediately began to fall. , and at the same time, the whole civil charter fell, and all those civil ideals that had time to take shape in it faded ... Therefore, civil ideals are always directly and organically connected with moral ideals, and most importantly, that undoubtedly only one of them and They never come out by themselves, because, being, they have only the goal of satisfying the moral aspiration of a given nationality, as and insofar as this moral aspiration has developed in it "(I, 26, 166).

Consequently, the policy of honor and generosity, which is subject to "moral striving" and which should not be exchanged for hasty profits, is "not only the highest, but perhaps the most profitable policy for a great nation, precisely because it is great. The politics of the current practicality and incessant throwing oneself to where it is more profitable, where it is more urgent, exposes a trifle, the internal impotence of the state, a bitter situation... The diplomatic mind, the mind of practical and urgent profit has always been lower than truth and honor, and truth and honor have always ended up always triumphing. And if they didn’t end up that way, they will end up that way, because that’s how people always and eternally wanted and want” (I, 23, 66).

According to Dostoevsky's logic, the principles of "sanctity of the current benefit" and "spitting on honor and conscience, just to pluck tufts of wool" can temporarily give certain material results. But they also give rise to aggressive wars, spiritually corrupt nations and eventually destroy them. And vice versa. Faith in eternal (rather than conditionally beneficial) ideals gives politics a spiritual meaning, supports the moral health and greatness of the nation. In this case, wars, if they are forced, are exclusively liberating in nature and pursue only "a great and just goal worthy of a great nation."

It was in the context of a morally sound policy that Dostoevsky considered in his Diary Russia's disinterested aid to the struggle of the Balkan Slavs against the Turkish yoke. According to the writer, the true benefit of the Russian state lies in always acting honestly, even making a mathematically obvious disadvantage and sacrifice, so as not to violate justice.

History showed Dostoevsky that Russia is strong "by the idea bequeathed to it by a number of centuries," by the "integrity and spiritual indivisibility" of a people capable of manifesting the greatest will for the sake of a feat of generosity in a time of severe trials. Having reached "the last line, that is, when there is nowhere else to go," the Russian people overcame fatal strife and severe suffering thanks to the "unity of our national spirit," without which politics, science, technology, and weapons would be helpless. The writer urged to preserve this unity in every possible way, not only in crisis moments of history, but also in Everyday life and not to exchange "great thoughts" for third-rate considerations. After all, only then is faith awakened and maintained in the hearts of people in the high destiny of Russia, "faith in the sanctity of one's ideals, faith in the power of one's love and a thirst for serving humanity - no. such faith is a guarantee of the highest life of nations ..." (I, 25, 19).

Dostoevsky found the pledges of such a life in the pinnacle of achievements of Russian literature, which "in the best representatives your own, and above all our intelligentsia, note this to yourself. bowed before folk truth, recognized the ideals of the people as truly beautiful, "which determined its historical significance. This significance manifested itself primarily, in his opinion, in Pushkin's work, which, along with artistic perfection, was distinguished by "worldwide responsiveness", genuine national identity and philosophical and psychological depth. He evaluates in the same way. for example, Leo Tolstoy's novel "Anna Karenina": "If we have literary works of such power of thought and execution, then why can't we subsequently have our own science, and our own economic, social decisions, why Europe denies us independence, in our own word, - this is a question that is born of itself. It is impossible to assume the ridiculous idea that nature has endowed us with only literary abilities. Everything else is a matter of history, circumstances, conditions of the time "(I, 25, 202).

In general, it should be emphasized that in his journalistic articles the writer considers questions of literature, like all others, in the moral dominant, inextricably linked with the social and pressing problems of life. Art represents for him a kind of clot of human activity, not only reflecting the typical processes in society in a concentrated manner, but also illuminating them with a high spiritual light. “Art, that is, true art, develops precisely because during a long peace that it runs counter to the burdensome and vicious lulling of souls, and, on the contrary, with its creations, always in these periods, appeals to the ideal, gives rise to protest and indignation, excites society and often makes people suffer, thirsting to wake up and get out of the fetid pit" (I, 25, 102).

It would seem that with such a formulation of the question, literature "with a direction" should come to the fore, exposing vices and indicating ways to correct them. However, according to Dostoevsky, the artist should not "pull out of himself with painful convulsions a theme that satisfies the general, uniform, liberal and social opinion," but should be given the opportunity to pour out and develop the images naturally begging from the soul. After all, “any work of art without a preconceived direction, filled solely out of artistic need, and even an extraneous plot, not at all hinting at anything “directive” ... will turn out to be much more useful for its own purposes ... in a truly artistic work, even if it talked about other worlds, there cannot be no true direction and right thought. Such works, distinguished by natural truthfulness and just as unconstrained morality, in which the writer gives freedom to his feelings and "his idea (ideal)" and thereby enhances the fullness of aesthetic reality, Dostoevsky called the literature of beauty and contrasted it with the literature of deeds and the literature of complete negation, shackled by their own predetermined and biased and not having a "positive ideal in the lining." The literature of the case is full of obscure and confused searches, since "the case has not yet been elucidated, only a dream." As for purely accusatory literature, it is completely devoid of any creative beginning, capable of inciting hatred and revenge, "needed by those who do not know what to hold on to, how to be and whom to believe ... A positive ideal hinders them (the authors of nihilistic works. - B.T.) vice, and the negative does not oblige to anything.

Without reflecting "directly" and "directly" topical events and facts of reality, the literature of beauty nevertheless creates images that absorb the most essential features of current life. Tatyana Larina and Evgeny Onegin of Pushkin, Pirogov and Khlestakov of Gogol, Potugin of Turgenev, Vlas Nekrasova, Levin of Tolstoy become peculiar symbols in Dostoevsky's articles, helping him to analyze spiritual state society and tendencies of the historical process. He deeply appreciated such expressive types and regretted that shallow literature was losing the ability to create them. “There are many things that our modern and current fiction has not yet touched upon, a lot has been completely overlooked and terribly behind ... Even in a historical novel, maybe because it hit because it lost the meaning of the current one.” Dostoevsky believed that a talent at least equal to Gogol's was needed in order to identify and generalize, for example, the type of anonymous scolder with his exorbitant conceit and hidden self-disrespect, or the type of mediocre and conceited ignoramus who imagines himself to be a great figure and an unsurpassed genius. “Another advanced and instructive gentleman will sit in front of you and begin to say: no ends, no beginnings, everything is knocked down and rolled into a ball. He talks for an hour and a half and, most importantly, it’s so sweet and smooth, like a bird sings. You ask yourself what he is: smart or some other? - and you can’t decide. Every word, it would seem, is understandable and clear, but on the whole you can’t make out anything. Whether the chicken will continue to be taught eggs, or the chicken will still sit on the eggs - you won’t make out anything, you see only that the eloquent hen, instead of eggs, carries game. You will bulge your eyes in the end, you have a dope in your head. This is a new type, recently born; fiction has not yet touched upon him ... "

The artistic generalization of the socio-psychological reasons for the appearance of such talkers, fooling the minds of large masses of people and clouding the course of life, is all the more important because it simultaneously turns out to be one of the ways to overcome their influence, to understand true values. In literature, as in any other activity, Dostoevsky sought to single out the main and significant for understanding the nature of man and the history he creates. Only convexly denoting the sprouts of evil in the core inner world, a person can direct his attention and strength to their eradication, prevent their organic growth and spread, find and destroy bridges between the egoistic properties of "nature" and false ideas, prevent the devaluation of such lofty concepts as ideal, freedom, brotherhood.

In Dostoevsky's view, the choice of the path of all mankind is inseparable from the self-determination of an individual. After all, the line separating good and evil runs “not somewhere beyond the sea”, “not in things”, “not outside of you”, but through everything human hearts through every heart. And the journalism of the great Russian writer invites the reader to look deeper into his soul and unprejudicedly look at his affairs in order to determine where the forces we spend are directed - whether they go to "self-shortening", turning a person into a "bestial image of a slave" or "self-lengthening" , the restoration of the "image of the human" in man.

Weeding out the weeds from one's own soul, discovering the "deeply hidden" power of love, which "is in each of us", any person thereby contributes to the victory over the "old animal" and the cultivation of "truly new people", displaces cosmic evil from the universe, participates in resolution of the future destinies of mankind. And Dostoevsky saw nothing fantastic in this. It is only necessary to remember well, he emphasized, that “one person can be strong”, that in his thoughts and actions there are “countless branches hidden from us” and that “everything is like an ocean, everything flows and touches, you touch in one place, in another the end of the world is given."

Bibliography

diary writer humanity journalistic

1. For the preparation of this work, materials from the site http://www.portal-slovo.ru/ were used.

We offer you a detailed analysis of the "Diary of a Writer".

History of creation

In the history of Dostoevsky's activities as a publicist, The Diary of a Writer was a continuation of the magazines that Dostoevsky published in the first half of the 60s, together with his older brother, Vremenya (1861-1863) and Epoch (1864-1865). However, even during the period of work on these journals (in which he also played a leading role during the life of his elder brother), Dostoevsky conceives periodical of a different type, where he would play the role of not only the editor, but also the sole author of all the materials published in it. Having outlined a plan for such a publication in 1864 in one of his workbooks (20, 180-181), Dostoevsky returned to this plan during the period of writing The Idiot and Possessed. Finally, in 1873, having agreed, at the suggestion of a descendant (by mother) of the historian Karamzin, who was close to the court of Prince V.P. Meshchersky (who actively acted as a novelist and publicist of a conservative direction), to become the editor of his "magazine-newspaper" for a year " Citizen,” Dostoevsky took advantage of this to place sixteen issues of the Writer’s Diary for 1873 in Citizen. Later, in 1876-1877, he resumed the publication of the Diary, modifying its form and content: the Diary of 1873 occupied only a part of the Citizen's book and, in its genre, approached the genre of an essay or feuilleton. In 1876-1877, the author transforms it into an independent publication.

Form

The study of Dostoevsky's notebooks indicates that the form of the future "Diary of a Writer" was prepared by a long experience of working on these notebooks, during which Dostoevsky's idea about the unique features of the genre of his "Diary" was born. Turning systematically to notebooks and notebooks since 1861, Dostoevsky used them simultaneously for three different - and at the same time interrelated purposes. On the one hand, leafing through the pages of newspapers and magazines, he carefully noted in them the facts of political, judicial-legal and everyday, everyday chronicles, for outside which his eye of a great artist and psychologist guessed the reflection of those disturbing him, although hidden from the eyes of most of his contemporaries, historical processes which seemed to him decisive for the present and future of Russia and all modern mankind. On the other hand, reflections on these processes were cast on the pages of his notebooks either in the form of detailed philosophical and journalistic reasoning and sketches, or in the form of angry and sarcastic, aphoristically honed formulas, which he used right there in articles, novels and short stories. And finally, on the same pages where he registered for himself the facts and arguments he had extracted from newspapers and magazines, which shocked his imagination and evoked in him either sarcastic responses or pages of his own philosophical and political reflections, he next developed plans for future artistic creatures. Moreover, the very birth of their idea was often stimulated by the same current newspaper chronicle or the same political, literary and public speeches that he recorded and to which he responded in workbooks. It was enough to merge all these three types of records into a certain literary unity, possessing external harmony and integrity, and to design it not to serve as a support for one's own creative process, but for wide public reading and discussion, so that in the author's head a prototype of that synthetic, unusual genre for the Dostoevsky era, which was the "Diary of a Writer", struck the then Russian reader with its novelty and won him a huge success.

The closeness of the genre of The Writer's Diary to the genre of his workbooks was recognized by the author himself. It is no coincidence that, back in the 1960s, when he was considering the form of the future Diary of a Writer, he originally wanted to call it Zapisnaya Kniga (20, 180-184), and it was not until the 1970s that Dostoevsky formulated the name under which The Diary writer" went down in history.

Content

As Dostoevsky's workbooks testify, he took the work on the "Diary" no less seriously and responsibly than the work on his own. works of art. Systematically looking through Russian and foreign newspapers (of the latter, primarily Independence Beige), Dostoevsky first briefly noted the issues of magazines and newspapers that attracted his attention, sometimes accompanying this entry with a brief description of the facts to which he considered it necessary to respond in the Diary. , and then made a plan for the next issue, or grouping its chapters around one main topic (Russian children, spiritualism, Russian lawsuits of the 70s, events of the Serbian-Turkish and Russian-Turkish wars, the growth and causes of suicide among young people, Pushkin's anniversary 1880, the actions of Russian troops in Central Asia and the future role of Russia in Asia), or skillfully combining articles on several different topical topics in it.

After a number of preliminary preparations and working out the main shock phrases and thematic complexes, Dostoevsky dictated the text of the corresponding issue to his wife, and then subjected it to a new stylistic polishing. The most important - final - part of the work fell on the last days of the month, immediately before the presentation of the next issue of the "Diary" to the censor and its submission to the press. Along with political issues and judicial chronicles, Dostoevsky's Diary of a Writer absorbed the author's direct life impressions, memoirs and autobiographical materials, as well as an exposition of his political and religious credo. Moreover, live impressions were sometimes transformed into stories and novels (“Bobok”, “Christ's Boy on the Christmas Tree”, “Man Marley”, “Centennial”, “Meek”, “Dream of a Ridiculous Man”, etc.). At the same time, they were saturated with deep philosophical content and freely combined realistic and fantastic motifs.

The author also gave a significant place in the "Diary" magazine controversy and answers to numerous letters to him from readers of the Diary. Moreover, Dostoevsky's thought develops not only in the artistic, but also in the journalistic part of the "Diary" according to artistic laws, creating a chain of deep and exciting images-generalizations. A significant part of the "Diary" is structured in the form of a dispute between the author and his "paradoxical" companion, who often acts as the alter ego of the writer himself. In general, it can be described as a book of questions, not answers. Trying to give his own positive answer to the painful questions of life, the author himself constantly feels the vulnerability of the answers given and, returning again and again to the same problems and phenomena, tries to look at them from a new perspective, correcting and supplementing his previous reflections and conclusions. As a result, his thought forms, as it were, a series of endlessly repeating spiral circles leading into the future.

The deep charm of many chapters of the Diary is given by the brilliant assessments contained in them of the work of Pushkin, Lermontov, Gogol, Nekrasov, Schiller, George Sand, Tolstoy's Anna Karenina. Referring to Cervantes' Don Quixote, Dostoevsky not only expresses his admiration for this immortal book, but also supplements it with a story about another adventure of the hero (although he claims at the same time that he is only retelling Cervantes' story). In the original interpretation of Dostoevsky, many characters of Russian and foreign writers are resurrected in the Diary. This is how this wonderful book was gradually created and grew, representing a kind of encyclopedia of Russian and Western European life and culture of the 19th century, rooted in their historical past and discussing their future destinies and prospects in the form of a lively conversation with the reader, illuminated by the author sometimes extremely subjectively, and sometimes with surprising , which also strikes today's reader with historical insight.