... But, with all this good innocence, it didn’t take much observation to see in him a person who had seen a lot and, as they say, “experienced”. He carried himself boldly, self-confidently, although without unpleasant swagger, and spoke in a pleasant bass with habit.
It all means nothing,” he began, lazily and softly letting out word by word from under his thick, upward, twisted gray mustache like a hussar. “I don’t accept what you say about the other world for suicides, that they will never say goodbye. And that there is no one to pray for them is also nothing, because there is such a person who can very easily correct their entire situation in the easiest manner.
He was asked: who is this person who knows and corrects the cases of suicides after their death?
But someone, - answered the hero-Chernorizet, - there is a priest in the Moscow diocese in one village - a grieving drunkard who was almost cut off - so he wields them.
How do you know?
And pardon me, sir, I’m not the only one who knows this, but everyone in the Moscow district knows about it, because this matter went through the most eminent Metropolitan Filaret.
There was a short pause, and someone said that all this is rather doubtful.
The Chernorizian was not in the least offended by this remark and answered:
Yes, sir, at first glance it is so, sir, it is doubtful, sir. And why is it surprising that it seems doubtful to us, when even His Eminence themselves did not believe this for a long time, and then, having received proof of this, they saw that it was impossible not to believe this, and believed it?
The passengers approached the monk with a request to tell this wonderful story, and he did not refuse this and began the following:
They narrate in such a way that it is as if one dean writes to His Eminence Vladyka, that, as if, he says so and so, this priest is a terrible drunkard, he drinks wine and is not good for the parish. And it, this report, on one essence was fair. Vladyko was ordered to send this priest to them in Moscow. They looked at him and see that this priest is really a zapivashka, and decided that there was no place for him. The popik was upset and even stopped drinking, and he is still killing himself and mourning: “What, he thinks, have I brought myself to, and what more can I do now, if not lay hands on myself? This alone, he says, is the only thing left for me: then, at least, the lord will take pity on my unfortunate family and will give the bridegroom's daughters to take my place and feed my family. That's good: so he decided to end himself urgently and determined the day for that, but only as he was a man of a good soul, he thought: “It's good; I’ll die, let’s say I die, but I’m not a beast: I’m not without a soul - where will my soul will go? And he began to grieve even more from this hour. Well, it’s good: he mourns and mourns, but Vladyka decided that he should be without a place for his drunkenness, and one day, after a meal, they lay down on the sofa with a book to rest and fell asleep. Well, it’s good: they fell asleep or just dozed off, when they suddenly see that the doors to their cell are opening. They called out: “Who is there?”, because they thought that the servant had come to report to them about someone; en, instead of a servant, they look - an old man enters, kind, kind, and his lord now learned that this is St. Sergius.
Lord and say:
“Is it you, Holy Father Sergius?”
And the servant replies:
"I, the servant of God Filaret."
The Lord is asked:
“What does your purity want from my unworthiness?”
And Saint Sergius answers:
"I want mercy."
“To whom will you command to reveal it?”
And the saint named the priest who was deprived of his place for drunkenness, and he himself retired; and the lord woke up and thought: “What is this to be considered: is it a simple dream, or a dream, or a spiritual vision?” And they began to meditate and, like a man of mind eminent in the whole world, they find that this is a simple dream, because is it sufficient that St. Sergius, a fasting and a good, strict life guardian, interceded for a weak priest, who creates life with negligence. Well, that’s good: His Eminence judged thus and left the whole matter to its natural course, as it had been begun, while they themselves spent the time as they should, and again went to bed at the proper hour. But as soon as they fell asleep again, like a vision again, and such that the great spirit of the lord plunged into even greater confusion. Can you imagine: a roar ... such a terrible roar that nothing can express it ... They gallop ... they have no number, how many knights ... they rush, all in green attire, armor and feathers, and horses that are lions, black, and in front of them is a proud stratopedarch in the same attire, and wherever he waved the dark banner, everyone jumped there, and on the banner of snakes. Vladyka does not know what this train is for, and this proud man commands: “Torment,” he says, “them: now there is no prayer book for them,” and galloped past; and behind this stratopedarch are his warriors, and behind them, like a flock of skinny spring geese, boring shadows stretched, and they all nod to the lord sadly and pitifully, and all through crying softly moan: “Let him go! He is the only one who prays for us. Vladyka, how deigned to get up, now they are sending for a drunken priest and asking: how and for whom does he pray? And the priest, due to spiritual poverty, was completely at a loss before the saint and said: “I, Vladyka, do it as it should be.” And by force his eminence achieved that he obeyed: “I’m guilty,” he says, “of one thing, that he himself, having weakness of soul and thinking from despair that better life to deprive myself, I am always on the holy proskomedia for those who died without repentance and laid hands on myself, I pray ... ”Well, then the lord realized that behind the shadows in front of him in a vision, like skinny geese, they swam, and did not want to please those demons that ahead of them they hurried with destruction, and blessed the priest: “Go,” they deigned to say, “and don’t sin against that, but for whom you prayed, pray,” and again they sent him to his place. So he, such a person, can always be useful to such people that they cannot endure life of struggle, because he will not back down from the audacity of his calling and everything will bother the creator for them, and he will have to forgive them ...
In the "cunning" (according to Leskov) capitalist time, when ""atrocity" and "savagery" grow and grow bolder, and people with non-evil hearts are completely inactive to the point of insignificance", the writer waged his struggle (in religious language -" scolding "), did his selfless work: it was important to restore the desecrated and lost ideal. The task is still fruitful, for "the goals of Christianity are eternal" (XI, 287) , as Leskov emphasized. In these ideological and aesthetic attitudes, he is closest to Gogol.
Gogol's traditions are clearly presented in Leskov's Christmas stories, which became a real creative and spiritual vocation of the writer, who breathed new life into traditional genre. “We didn’t have good Christmas stories from Gogol to Zap.<ечатленного>Angel" (XI, 401), - Leskov wrote, noting that after his story "The Sealed Angel" Christmas stories "came into fashion again, but soon became vulgar." Indeed, against the background of the "mass" seasonal and everyday Christmas fiction, Lesk's stories are an original and innovative phenomenon.
Unfortunately, Leskov's Christmas work is little known to the modern reader. For example, « fiat ruble» , "Deception", "Christ visiting a man", "Jewish somersault college" for a long time not republished. Until now, some stories (for example, "Ear without fish") remain unpublished since their first journal publication. But even today, all these works sound no less (perhaps even more) relevant, as is typical of true classics, they wake up the mind and heart, and are excellent reading not only at Christmas time, but at any time of the year.
Yes, the gist of the story "Selective Grain"(1884) goes back to the New Testament, as the title itself, and especially the epigraph from the Gospel of Matthew, unambiguously foreshadow: “As a sleeping man the enemy came, and all the weeds in the midst of the wheat” Matt.XI. 25" .
Gogol's motifs are revealed by the author "to the surface" of the text. The socio-political situation is described, aphoristically expressed in "Dead Souls": "A scammer sits on a scammer and drives a scammer" . In creating satirical images, Leskov relies on the poetics of the mask, the puppet, the generalizing possibilities of which Gogol showed in his time. In the story "Nevsky Avenue" Gogol exclaimed: “Everything is a lie, everything is a dream, everything is not what it seems!”(III, 45).
Props, disguise, hiding the real face under the guise, God's likeness and image - under the "image", disguise true essence become an all-encompassing property and receive the traits of infernality, incarnate evil - under the veiled cover of darkness, it hides from the light of truth . No wonder the Orthodox Church has a negative attitude towards masks. After all, this is not a face, and even more so not a Face, but a “mask” that covers evil intentions, low thoughts and feelings - one of the signs of a “crafty tempter”. We find a similar attitude to the mask in Russian and foreign literature. So, in the novel by M.N. Zagoskin’s “Tempter”, the setting of the Christmas masquerade suggests the possibility to carry out unseemly plans on a grand scale and at the same time secretly, reminiscent of “demonic” undertakings in scale: “we will disguise ourselves, no one will recognize us, but we will intrigue the whole world» .
One of the heroines of Lesk's novel "Bypassed"(1866) at a Christmas masquerade in a noble meeting, he experiences a feeling of unaccountable fear. This is anxiety - from a premonition of the proximity of evil spirits, perhaps hidden under the cover of a mask. Anna Mikhailovna admits: “You know, I'm just ... afraid of masks.<...>they are impudent... they don't care at all... I don't like it" (3, 92).
The feeling of insecurity and horror before the mask was experienced in childhood and remembered for the rest of his life by Charles Dickens, an English novelist, most related to Russian literature, loved by both Gogol and Leskov, highly valued by both Dostoevsky and Tolstoy as writer of "unmistakable moral sense." In an autobiographical article "Christmas tree"(1850) Dickens shared with the readers of his journal " Home reading childhood memory: “When did that mask first look at me? Who was in it and why did it frighten me so much that it became a whole event in my life? Actually, it was not such a terrible mask; even she was supposed to be funny. Then why did this frozen face make such an unpleasant impression? .. Maybe the reason for this was her immobility? .. Probably, the transformation of a living face into a frozen mask gave rise in my anxious heart to an unconscious idea of \u200b\u200bthat terrible and inevitable moment when every face becomes motionless forever. And nothing could reconcile me to this... Just the memory of this frozen face, the thought that it exists, was enough for me to jump up in horror in the middle of the night, covered in sweat and shouting: “Oh, here she comes, this mask! »« . The mask made Dickens already in childhood experience the horror of foreboding death, and hence the proximity of that “enemy of the human race”, with whom destruction and non-existence are associated, who does not want salvation, resurrection and life.
In the novel "Baptism" "Summer of the Lord" I.S. Shmelyov's mask is directly associated with all the signs of a diabolism. burning "foul hari" It looks like a rite of deliverance from an unclean spirit. However, even writhing in the purifying fire, Satan resists a person’s desire for spiritual purity: the disgusting “mug” “grins, puffs out with bubbles, gets angry ... something flows from it, and suddenly flares up with a green flame.
Look, he hissed like ... - Gorkin says quietly, and we both spit into the fire.
And the mug is already trembling, turning black, sparks are running across it ... now it is golden with ashes, but you can still see holes from the eyes and mouth, fiery on gray ashes <...>"Be baptized in Christ, put on Christ"- they sing. This means that we wear the face of the Lord, and not his.
We return to the plot of Leskov's story "Selective Grain". One of his unnamed characters - a notorious swindler, "a liar and a patented villain" (7, 56) - is hiding under the guise of a "eminent gentleman." The "correct appearance" of the peasant Ivan Petrov is also deceptive. This seemingly handsome old man is an accomplice and accomplice in the criminal machinations of the “master” and “merchant”. The “man” helps these two rogues to bring to completion the scam they conceived - to sink the barge insured at the highest price, where they are simply transporting rubbish under the guise of first-class “precious wheat” (according to the gospel word - “tares”). Thus, at the heart of the narrative is a buffoonery, a prank, a deception. In this sense, "Selective Grain" correlates with another Christmas story by Leskov - "Deception"(1883). A kind of logic of "reverse" is triggered - when everything is "on the contrary", "inside out", "topsy-turvy".
Roguery with "selected grain", according to Leskov's plan, is intended to serve as proof of the idea that "our original Russian genius<...>not nonsense at all” (7, 58). Thus, the unrighteous “sociable” world with its distorted ideas about morality and morality is shown upside down, using the effect of a crooked mirror: “From such an outrageous, treacherous and generally nasty story, which would ruin any Westerner to the end, our Orthodox pot-bellied merchant came out well and even made a lot of money with it and, most importantly, he, sir, did a public cause: he many truly unfortunate people he supported, corrected and, so to speak, arranged prosperity for many ”(7, 68).
A similar paradoxical situation is presented in Leskovsky's story "Ear without fish"(1886). This "story by the way" in terms of genre characteristics is adjacent to the "Christmas stories". Leskov draws "a simple case for a Christmas pattern", designed to serve as proof that "an ear without fish" is "not at all as incongruous as it seems." Since the first publication, the story has not been republished, so let's dwell on it in more detail.
The hero of the story, bearing the name of the biblical sage - Solomon, respected in the Jewish community for wisdom and forethought, almost lost his reputation among his fellow tribesmen due to the fact that gave alms to the Russian girl Palashka for the baptism of her child, that is, he committed "a deed inconsistent with the vocation of a Jew." This "case" is resolved to everyone's pleasure, but the arrangement of "universal happiness" was not without obvious fraud. It turned out that Solomon pharisaically gave Palashka a counterfeit bill, so that she would exchange it, return the change in genuine money, and the ruble spent on the baptism of an illegitimate baby, then worked.
However, this fraudulent “deed that Solomon did rejoiced the hearts of everyone, and in this sense it should be recognized as a good deed, since it brought everyone a share of goodness and joy,” comments Leskov. - The Jews rejoiced that they had such a wise man as Solomon; Christians were touched by the kindness of Solomon and praised him for his compassion<...>Palashka considered him not only her benefactor, but the benefactor of her child.<...>and Solomon himself exchanged bad money for good money, and even took a profit, since the grateful Palashka worked for him for a ruble not for three weeks, but for the whole winter. So count how many wonderful results have turned out here! But actually a direct benefactor, in the real sense of the word, because, I must admit, there is no here either - “ear” seems to be “cooked without fish”, but still there is an ear, and the author who would tell this, I hope, would not be it is to blame that in his time this dish is prepared in such a way.
The rustic-good-natured tone of the narrator regarding "excellent results" cannot mislead readers. The irony about the "incongruities" and "grimace" of Russian life is obvious, so "ear without fish" in this story generously seasoned with bitterness.
The whole "Russian sociability" in faces is presented in the "short trilogy in the dream" "Selected Grain". "Three little stories" showed the three main classes of Russian life: "Barin", "Merchant", "Man". Common noun types, they don’t even have their own names. The exception in this sense is the man. However, his name - Ivan Petrov - is also a generalized collective, equivalent to everything the same: "man", "man from the people", since the names and corresponding surnames "Ivanov, Petrov, Sidorov" in the established socio-cultural space are nationally and socially marked .
Another man performs under an inverted in relation to the first name - Pyotr Ivanov. In fact, there is no difference between them - the latter organizes the peasants of his town Porosyachiy Ford to support the picaresque undertaking.
The eloquent appraisal name of this village attracts attention. It is associated with no less expressive - Skotoprigonievsk - in the novel "The Brothers Karamazov" Dostoevsky.
In addition, in the light of Leskov's creative attitudes, who attached extreme importance to naming, who loved "the nickname was on the wool", deeper connections are seen in the poetics of the toponym "Pig Ford" - with the New Testament context. Holy Scripture considers pigs as an image of carnal inertia. Beings aspiring only to earthly food (their “trough”) are not only closed to spiritual truths, are not receptive to highest values, but also pose a serious threat to a spiritualized person. Therefore, Christ forbids revealing spiritual treasures (“throwing pearls”) before swine: “do not cast your pearls before swine, lest they trample it under their feet and, turning, tear you to pieces” (Matt. 7: 6). In the episode about the “country of Gadara,” Jesus commanded demons to come out of a man possessed by an unclean spirit . “The demons went out of the man and entered into the pigs; and the herd rushed down the steep slope into the lake and drowned” (Luke 8:33).
The gospel metaphor is presented in the subtext of "Selective Grain" in a reduced form. Nosy "imps" (taking into account the toponym - "pigs") deftly found a loophole in order to avoid disastrous exposure. “Master”, “merchant” and “muzhik”, having sunk a barge with grain, achieved their rogue goal, famously slipping through all the obstacles through their “pig ford”.
The anonymous personified "estates" of "Selected Grain" are also correlated with the types of satire by Saltykov-Shchedrin. In the text of Leskov's story there is a direct reference to Shchedrin's fairy tale "The Tale of How One Man Feeded Two Generals".
Russian writers largely entrusted the task of moral transformation of social estates to the Orthodox Church, which, as Gogol wrote, “can produce an unheard-of miracle in the sight of the whole of Europe, forcing any estate, rank and position in us to enter their legitimate boundaries and limits” (6, 34).
The affinity of the talents of the two Russian classics in the story "Selected Grain" is eloquently evidenced by Leskov's numerous references to Gogol, the use of his images for a laconic characterization of his own characters, various ways of including Gogol's word in the artistic fabric of the work, and most importantly, the constant living presence of Gogol's tradition in the subtext and on the surface of the Leskovsky text. Plot situations, motives, Gogol's aphorisms, brought to perfection, Leskov uses as capacious formulas-definitions, designed for instant reader recognition and therefore capable of replacing lengthy descriptive periods.
The scam with the sale of "junk wheat" under the guise of first-class is comparable to Chichikov's adventure in the sale and purchase of "dead souls". In some ways, the background of the anti-hero in Leskov’s story is similar to the life path of the Gogol swindler: “it was just that same old friend of mine who stole knives and eyebrows in the gymnasium, and now he breeds and exposes the most amazing wheat” (7, 60) . The writer defines the character of the “rogue master” again with the help of typified Gogol’s images: “the real Nozdrevshchina repelled me in him, but it only seemed to me that he would hand me either a greyhound dog or a hurdy-gurdy at home” (7, 64 ).
Seemingly decent, but completely indefinite, “streamlined” appearance of Chichikov: “Not handsome, but not bad-looking, neither too thick nor too thin; one cannot say that he is old, but not so that he is too young ”(VI, 7), - hides the demonic essence of a werewolf, capable of putting on any mask, adapting to any situation. The same "shifters" are Leskov's satirical types. In an effort to adapt to the capitalist era - the "banking period", the nobility degrades morally, not at all embarrassed by this: "It is impossible, brother, in our century it is different: now we have nobility, but there are no peasants who protected our nobility" (7, 71) .
In the cynical deal of the "master" with the "merchant" there is also an echo of "Dead Souls", reminiscent of the bargaining between Chichikov and Sobakevich, funny and creepy at the same time. Reminiscence makes it possible to reconstruct the reader's and life experience of Lesk's "gentleman". It can be seen that he was an attentive reader of Gogol's poem and, perhaps, it was from Chichikov that he learned cheating, in which he saw " good remedy to correct their bad financial circumstances and even more bad reputation» (7, 65). "Barin" directly appeals to the experience of the Gogol swindler: ""I'll take no more than for dead souls"". The reaction of his unread "business partner" is indicative: "The merchant did not understand what was the matter, and crossed himself" (7, 70).
Orthodox piety, religious and moral traditions occupy important place in the system of values of Gogol and Leskov. So, in the above episode, the Christian feeling does not accept the oxymoron image “dead souls”, since “with God everyone is alive”. A merchant "who has not gone into the sciences" is frightened by an ominous phrase incomprehensible to him. Naturally, therefore, the replica of the listener of this amazing story: “You are talking about some passions” (7, 72).
"Passion" materializes due to the arrogant cynicism of a tripartite deal, the participants of which are "a nobleman, that is, a shameless rogue", "a merchant - a raking paw" (I, 40), as Leskov called the ruling classes in his first great story "Musk Ox"(1862), and their accomplice is a "helping peasant". This satirical "triad" in the "trilogy" "Selective grain" in the "social" section profanes the sacred principle of the trinity.
A clownish performance in three acts, played out by three conspirators, unfolds as if on a stage. Theatricality as a special property of the playful (“mummers”) image was adopted by Leskov based on Gogol's poetics. The purpose of the rogue action is to bring the fraudulent operation to its logical conclusion: “There were a lot of people on both banks, and everyone saw it, and everyone exclaimed: “Oh, you! come on!” In a word, "a misfortune happened" for no reason. The guys were oaring with all their might, Uncle Peter was sweating on the steering wheel, he was exhausted, and the merchant on the shore was all pale as death, he stood and prayed, but it didn’t help. The barge sank, and the owner took it only with humility: he crossed himself, sighed and said: “God gave, God took - wake up His holy will” (7, 77).
The Christmas "genre task" involves showing human unity, spiritual unity. Leskov, on the other hand, proposed a kind of "dystopia". Unity, "universality" of "actors" and "spectators" is achieved on an anti-Christian, crafty basis. In this Jesuit improvisation, “the most sincere and lively people were” (7, 77). The inspired game is worldly explainable: the fire-burnt peasants, who “need to build and fix the temple”, not relying on the help of the authorities, prefer a deal with scammers, seeing a specific practical benefit for themselves. Of course, the deceived insurance company suffered, but the national feeling was not hurt: after all, accident insurance is, with folk point vision, "German invention" (7, 78).
Light and shadows are intricately intertwined in the poetics of the story; motives of the game, laughter and crying, joy and fear, punishment for sin and the gospel "super-hope" for redemption and salvation by the grace of God. The motifs of a miracle, salvation, gift inherent in the Christmas genre, embodied in the traditional " happy ending”:“ the whole village was rebuilt, and all the poor and the homeless covered themselves and ate, and God’s temple was corrected. Everyone became well, and everyone healed praising and thanking the Lord, and no one, not a single person was left at a loss - and no one was upset<...>No harm done!<...>The master, the merchant, the people, that is, the peasants - all just profited ”(7, 78).
The "logic of the absurd" of Russian reality turns common sense into nonsense and vice versa. Russian life in Once again surprises such a strange and unthinkable, at first glance, dish as “ear without fish”.
If the righteous heroes of Leskov profess the ideals of true Christianity, then for the anti-heroes-werewolfs, religion is only an external ritual, a Pharisaic cover for the essence of Antichrist. "All Christ-sellers" ( VI, 97), - this thought is summed up in "Dead Souls".
So, before the deliberately fraudulent operation to send a barge with garbage under the guise of "selected grain", a "prayer service with water blessing" was served. Merchant - "of real simple true Russian people<...>terribly rich and donates everything to the temple, ”quotes Scripture freely,“ but on occasion, do not mind and go on a spree ”(7, 63) - almost a double of Ilya Fedoseevich from Leskov’s story "Chertogon" ("Christmas Eve at the Hypochondriac's", 1879).
Moral corruption has engulfed all strata of Russian society. Even the representative of the people - "muzhik" Ivan Petrov, seemingly "a Christian of the most genuine Moscow letter", who on Saturdays "went to the bathhouse, and on Sundays prayed diligent and polite<...>brought gifts and sacrifices to the temple” (7, 74), while preserving outward piety, in fact long ago renounced the truth of Christ. About such bigots and hypocrites, Jesus says in the Gospel: “Now you Pharisees cleanse the outside of the cup and dish, but your insides are full of robbery and deceit” (Luke 11:39). Adapting to the spirit of universal selfishness and venality, The “muzhik” builds for himself a corresponding concept of life, crookedly covered by Scripture: “today, friend, few people live in truth, but all out of resentment”, “in the Scriptures of the apostles it is said:“ The whole world is laid in sin ”- you can’t wash everything, but perhaps a little”, “The Lord washed away sin with a flood, but it has come again” (7, 75).
If the “muzhik” and “merchant” still occasionally refer to sacred texts, then it is indicative that in the lexicon of the “master” - “Christ-seller” there are no biblical sayings at all . "Barin" defiantly renounces God and is not ashamed to admit it. In the religious and moral context of the story, this satirical anti-hero and there is the same "enemy" who sowed "tares in the midst of wheat" both literally and metaphorically.
In a clear, simple and at the same time thoughtful gospel parable the whole story of good and evil is presented about wheat and tares. “Diligently examining ourselves and others,” the author of the Christian Reading magazine reflected, “we are both in ourselves and outside ourselves - everywhere we find evil next to good, hatred next to love, bestial attachment to the earth next to the high soaring of the spirit to heaven<...> This truth is also confirmed by the History of the Bible. Next to the righteous Abel lives Cain<...>next to the chosen disciples of our Lord is Judas the traitor.
The motif of "selective grain" is one of the leading ones in the New Testament: “the seed is the word of God” (Luke 8:11). In the Gospel of John (John 12:24), Christ speaks about Himself in the words of the parable of the grain of wheat, the metaphor of which reveals the idea of self-sacrificing love. In the Gospel of Luke, the Lord likens the Kingdom of God to the images of mustard seed and leaven (Luke 13: 18-29), where all “workers of iniquity” cannot enter, including those who thieves, treacherously (came at night, took advantage of ignorance - “sleep” of people) spoiled the “selected grain” with rubbish, "all the weeds in the midst of the wheat." This is the “evil enemy” of the human race, from which the Jesus prayer “Our Father” asks to protect people: "and lead us not into temptation, but deliver us from the evil one"(Luke 11:4). The gospel parable teaches this: “The field is the world, the good seed are the sons of the Kingdom, and the tares are the sons of the evil one” (Matthew 13:38).
The artistic originality of "Selected Grain" is formed in an alloy of gospel, lyrical-epic and satirical principles. At the same time, the word of eternal truth, the commandment, the New Testament is dominant. A quote from the Gospel chosen as an epigraph: “As a sleeping man the enemy came, and all the weeds in the midst of the wheat” Matt. XI . 25" (7, 57) - becomes the leitmotif of the work, sets its main tone and ultimately determines the sacred and semantic-aesthetic essence of a complexly organized narrative, which is composed of several interacting stylistic layers (author-narrator, characters, narrator, listeners).
The Christian and epic versatility of Leskov's story does not exclude, but suggests the lyrical aspiration of the author, who is aware of how light and dark sides life, good and evil, "wheat" and "tares" - both in everyday life and in the human soul. The lyrical introduction to the story "in a dream", that is, in the borderline state between sleep and reality, is the author's New Year's thoughts.
Experiencing a special temporal borderline of Christmas and New Year, thrill connection with time - momentary and eternal - in tune with words of welcome Gogol to the New Year - 1834: “A great solemn moment. God! How waves of various feelings merged and crowded around her. No, this is not a dream. It is that fatal irresistible line between memory and hope. There is no longer a memory, it is already rushing, hope is already overpowering it ... My past rustles at my feet, the unsolved future brightens above me through the fog ”(X, 16).
Literary criticism noted the conventionality of the Christmas and New Year confinement of Leskovsky Christmas stories. However, the Christmas beginning in them is not only not superficial, but vice versa - it creates a kind of undercurrent, the inner plan of the narrative is lyrical and generalized symbolic. So, the author's lyrical "overture" to the "New Year's" "trilogy in the dream" is by no means a formally external genre binding. In the story, which (like some others) in the original publication was not Yuletide, the first and only "New Year's" fragment of the text sets the necessary tone for Leskov's "artistic sermon" of the Christian ideal.
The leading idea of the Christmas worldview - "Christ is born before the fallen to restore the image", that is, to bring redemption to a person who has become stagnant in evil, who has dropped the image and likeness of God in himself. From a person on this path, a considerable spiritual effort is also required - deep repentance for sins, “holy dissatisfaction” with oneself. “God forbid you to know peace and contentment with yourself and those around you, - Leskov instructed his adopted son B.M. Bubnov, - and let “holy discontent” torment and torment you” (XI, 515).
The writer himself experienced the same "vexation of the spirit". He inflicted on himself, like Gogol, the strictest lynching. In Selected Grain, Leskov admitted: “The teachers of piety inspire to check their conscience every evening. I do not do this, but at the end of the past year, the pious advice of the mentors comes to mind, and I begin to check myself. I do it right away whole year, but on the other hand, every time I am neatly dissatisfied with myself ”(7, 57).
These lyrical meditations, the desire to understand one's own soul, to cleanse oneself internally on the eve of the New Year naturally lead the author to anxious thoughts about the fate of the people and modern Russia, where Christian ideal replaced by huckstering, an atmosphere of general venality.
It is important to note that, tormented by the pre-New Year summing up the results of his life, the author of the “trilogy in not sleeping. This means that a person who is awake in spirit will no longer be able to get close enemy, which was "sleeping person" in the gospel epigraph, which determined the unique artistic solution of Leskov's story, the text of which allows us to restore the synchronous New Testament and literary - Gogol - context.
“The world inside out” by Leskov is fraught with the most unexpected transformations. So, in the Christmas story "Journey with a Nihilist"(1882) the "nihilist" turns out to be a prosecutor, the deacon - a "demon". A hint of the possibility of such a werewolf is in Gogol's story "Christmas Eve". It is enough to recall the expressive plastic drawing of the same type of behavior of Solokha's suitors - devil and devil- on Christmas Eve.
In "Journey with a Nihilist", as in the story "Selective Grain", "Christmas Eve in the Carriage" is presented, only here the Christmas incident unfolds with the direct participation of all passengers. As it follows according to the laws of the Christmas genre, Leskov at the beginning of the story creates a cozy atmosphere of communication, close (in this case, in literally) a circle of people who, by the will of fate, are united on Christmas night in a passenger train car.
However, this is not a traditional touchingly joyful Christmas unity of spiritually close people, but an ironically rethought, travesty unity. All passengers focused on the thought of their suspicious fellow traveler, who was suspected of a "nihilist" (in the current: oppositionist, radical, extremist).
The deacon confused and misled everyone. He instilled in the passengers distrust, dissension, unreasonable hatred for the fellow traveler. But when the curious situation was clarified, this “diabolos” (translated as a separator) suddenly and mysteriously disappeared.
The motives of "disguise", doubleness, demonism are associated with darkness, gloom. The fate of this "pseudo-deacon" is night, darkness, and he hides with the onset of the Nativity of Christ at the first rays of light, as it should be evil spirits. The finale of the story suggests the following metaphysical motivation for the incomprehensible disappearance: “But everyone looked around in vain:“ where did he go ? ”- the deacon was no longer there; he disappeared<...>even without a candle. She, however, was not needed, because it was already dawn in the sky and in the city they rang for Christmas morning ”(7, 175).
A parallel is found in Gogol's "The Night Before Christmas": "the devil, to whom the last night was left to stagger white light and learn sins good people. Tomorrow, with the first bells for matins, he will run without looking back, tail between his legs, to his lair ”(1, 202).
The "world inside out" motif is combined with the concept of Russian life - a life of paradoxes, metamorphoses, "surprises and surprises" - as it is presented in Leskov's work. We, in Rus', "every step is a surprise, and, moreover, the worst"(III, 383), - the writer stated in a story with a characteristic title "Laughter and grief"(1871). As a convincing argument, the “Gogolian text” is organically woven into the context of Leskov’s story - plot situations, motives, images: “everyone can be flogged on the street like locksmith Poshlepkin and non-commissioned officer’s wife and report to the auditor that you flogged yourself ... and it will come off as if it dries up on a dog, better than it dried up in the old days” (III, 562).
Leskov perceives modern world through the prism of Gogol's ageless literary heritage: “It’s scary, you know, it’s not scary, but everything, as Gogol said, “the shaking is felt”(III, 560). Thus, the appeal to the socio-philosophical, moral and aesthetic precepts of Gogol is an important organizing element of Leskov's concept of Russian life, which is based on Gogol's view of its "strangeness". IN "Dead Souls" the classic noted that “what is the strangest thing that can only happen in Rus'”(VI, 70).
Alla Anatolyevna Novikova-Stroganova , doctor of philological sciences, professor
Orel city
NOTES
Leskov N.S. Sobr. cit.: In 11 volumes - M.: GIHL, 1956 - 1958. - V. 11. - S. 477. Further references to this edition are given in the text with the volume designation in Roman numerals, pages - in Arabic.
Leskov N.S. Sobr. Works: In 12 volumes - M.: Pravda, 1989. - Vol. 7. - P. 57. Further references to this edition are given in the text with the designation of the volume and page in Arabic numerals.
Menshikov M.O. Artistic preaching (XI volume of works by N.S. Leskov) // Menshikov M.O. Critical essays: Digest of articles. - St. Petersburg, 1899.
Nikolai Semenovich Leskov
The text is printed according to the edition:
Leskov N. S. Sobr. cit.: In 6 volumes. Moscow: Pravda, 1973.
Foreword
Nikolai Semenovich Leskov was born on February 4, 1831 in the Oryol province. “Our family, in fact, comes from the clergy…. My grandfather, priest Dimitry Leskov, and his father, grandfather and great-grandfather were all priests in the village of Leski. From this village of Leski came our family name - the Leskovs.
However, the writer's father, Semyon Dmitrievich, after graduating from the seminary, decided not to continue family tradition, for which his grandfather kicked him out of the house (the features of his grandfather will appear in the main character of the novel "Soboryane", Archpriest Savely Tuberozov). Having chosen the career of a judicial officer, Semyon Dmitrievich remained an honest, disinterested man all his life, in the service he was distinguished by “the firmness of his convictions, because of which he made a lot of enemies for himself,” and rose to the rank of collegiate assessor, which gave the right to hereditary nobility.
Leskov noted in his autobiography: “I have had religiosity since childhood, and, moreover, quite happy, that is, one that early in me began to reconcile faith with reason. I think I owe a lot to my father here too. Mother was also religious, but in a purely ecclesiastical way - she read akathists at home and served prayers every first day and observed what consequences this had in the circumstances of life. Her father did not prevent her from believing as she wanted, but he himself rarely went to church and did not perform any rituals, except for confession and Holy Communion ... He was undoubtedly a believer and a Christian, but if he were taken to be examined according to Filaret's catechism, it would hardly be possible recognize him as Orthodox.
He recalled his first meeting with great literature as follows: “In the countryside, I lived in complete freedom, which I used as I wanted. Peasant children were my peers, with whom I lived and lived soul to soul. I knew the life of the common people down to the smallest detail, and down to the smallest nuances I understood how it was treated from the big manor house, from our “small chicken house”, from the inn and from the popovka. And therefore, when I happened to read I. S. Turgenev’s “Notes of a Hunter” for the first time, I trembled all over from the truth of ideas and immediately understood what is called art.
Nikolai Semenovich first followed in the footsteps of his father - at the age of 16 he went to work in the Oryol court chamber. Two years later, he was transferred to Kyiv, where he attended lectures at the university as a volunteer, studied the Polish language, participated in a religious and philosophical student circle, and even became interested in icon painting. After leaving the service, Leskov began working in the company of his aunt's husband, A. Ya. Shkott (Scott), Shkott and Wilkens. On official business, he had to travel a lot around the Russian Empire. Later he would write: “I think that I know the Russian person in his very depths, and I do not put myself in any merit for this. I did not study the people by talking with St. Petersburg cabbies, but I grew up among the people ... "
After the company closed, Leskov moved to St. Petersburg. There it began writing career. In 1863, his first stories "The Life of a Woman" and "The Musk Ox" were published. They were soon followed by "Lady Macbeth of the Mtsensk District" and "The Warrior". Already in these early works appeared unique fairy tale style writer. The most expressive embodiment of Leskovsky's "tale" was in the story "The Sealed Angel", where echoes of ancient Russian "walking" and legends about miraculous icons are heard.
By the time of the creation of the novel "Soboryane" (1872), according to Maxim Gorky, "Leskov's literary work. becomes a vivid painting or, rather, an icon painting. The creation of a gallery of bright positive characters was continued by the writer in a collection of short stories published under common name"The Righteous" ("The Figure", "The Man on the Clock", "The Non-Deadly Golovan", etc.) As critics later noted, Lesk's righteous are united by "straightforwardness, fearlessness, heightened conscience, inability to come to terms with evil."
According to the memoirs of the writer's son, Andrei Nikolaevich Leskov, Nikolai Semenovich believed that, creating cycles about "Russian antiques", he was fulfilling Gogol's testament from "Selected passages from correspondence with friends": "Exalt in solemn hymn inconspicuous worker. In the preface to the first of these stories, Odnodum, the writer explained their appearance in this way: “It is terrible and intolerable ... to see one “rubbish” in the Russian soul, which has become the main subject new literature, And. I went to seek the righteous."
In this “search for the righteous,” Nikolai Semenovich repeatedly turned to plots from the Prologue. "Prologue" is the name of a collection of Christian parables that came to us from Byzantium and was supplemented with new stories during Ancient Rus'. The writer outlined many of the stories from the Prologue in literary XIX century, and besides, he himself created many plots that can rightly be called the "Modern Prologue". Each of these works reveals to the reader how the Lord, through His Providence, sometimes through difficult trials, leads people to salvation and understanding of the gospel truth.
In the last years of his life, Nikolai Semenovich became a close friend of Leo Nikolayevich Tolstoy, which was reflected both in his work and in his attitude to Orthodox Church. However, unlike Tolstoy, Leskov remained an Orthodox Christian until the end of his life.
Nikolai Semenovich Leskov died on March 5, 1895 from an asthma attack that tormented him for the last five years of his life. He was buried at the Volkovo Cemetery in St. Petersburg.
Evgeny Yuferev
Sealed angel
It was about Christmas time, on the eve of Vasiliev evening.
Test on the work of N.S. Leskov. Grade 10
1 .In which city did N.S. Leskov study?
1) Eagle 2) Moscow 3) Kyiv
2. Where did N.S. Leskov serve before he decided to devote his life to literary creativity?
1) in the Ministry of Finance 2) in the Kyiv Treasury Chamber 3) in the Ministry of Public Education
3. In what work did N.S. Leskov polemize with A.N. Ostrovsky’s “Thunderstorm”?
1) “Lady Macbeth of the Mtsensk District” 2) “Nowhere” 3) “The Tale of the Tula Oblique Lefty and the Steel Flea”
4. In what part of N.S. Leskov's story "The Enchanted Wanderer" is the story told on behalf of Ivan Flyagin?
1) introduction 2) main part 3) conclusion
5. What was the name of the cycle of works in which N.S. Leskov included the story "The Enchanted Wanderer"?
1) " Christmas stories» 2) "Notes of an Unknown" 3) "Righteous"
6. What work of N.S. Leskov said: “I felt unbearably creepy at times, my hair stood on end, I froze at the slightest rustle ... These were difficult minutes that I will never forget.”
1) "The Enchanted Wanderer" 2)“The Tale of the Tula Oblique Lefty and the Steel Flea” 3) “Lady Macbeth of the Mtsensk District”
7. Suicide of Katerina Lvovna
Nothing has changed; 2) made Sergei repent; 3) causes sympathy of others
8. In "Lady Macbeth of the Mtsensk District" several plot twists. What connections are related to this work, indicate incorrect:
1) Exposure, trial, punishment; 2) exposure, awareness of guilt by the heroes; 3) The tragic denouement of Katerina Lvovna's love
9. In the description of the state of the heroes after the murder of Katerina Lvovna's husband, insert names instead of questions
" Lips? trembled, and ... .. had a fever. Do? only the mouth was cold"
Sergey; 2) Katerina Lvovna 3) Zinovy Izmailov
10. About whom in question in every passage?
And in the morning he (who?) died, and just as the rats died in his barns.
“He (who?) rushed terribly, like a beast, bit his (whose?) throat with his teeth.
“(Who?) rushed at (whom?), like a strong pike on a soft raft, and both no longer showed up”
Zinovy Borisovich; 2) Sonnet; 3) Boris Timofeevich; 4) Katerina Lvovna
11. Who was the main character of the story "The Enchanted Wanderer" in prophetic dreams and visions?
1) mother; 2) Ivan the Forerunner; 3) Old monk
12. What features did Leskov consider characteristic of a simple Russian person and embodied in the character of the protagonist Ivan Flyagina? Specify excess.
prudence
passion of nature
sense of honor
craving for boasting
naive sincerity
Accurate adherence to church orders and rules
Patriotism
Bravery
passive patience
fatalism - belief in fate
"good-natured" cruelty
Propensity to drink
Conscientiousness, honesty
industriousness
Folk religiosity, which is not characterized by complete condemnation and rejection of sinners
Ignorance
Unselfishness
Test on the creativity of N.S. Leskov Answer form:
Name ________________________________ class __________________ date ____________________
1
2
3
4
5
6
7
8
9
10
11
12
3
2
1
2
3
3
1
2
1-Sergey;
2-Katerina Lvovna.
1-Boris Timofeevich
2-Zinoviy Borisovich,
Sergey
3. Katerina Lvovna, Sonetka
3
1,4,6,9,
In the previous lesson, the students were given the following task:
Find in the text of "The Enchanted Wanderer" the dialogues and monologues of the protagonist, the words of the narrator.
Think about the features of the speech of Ivan Flyagin and the narrator.
Target:
- To give students an idea of the tale form of storytelling.
- Identify the main functions of the tale in the "Enchanted Wanderer".
- Skill Development independent work students.
During the classes
I. The word of the teacher. Leskov called his story "The Enchanted Wanderer" a story. Maybe he's right, The Enchanted Wanderer is a story about life, and if by and large- a story about life. Of all the varieties of prose - from a short story to an epic - a tale is closest to lyricism, to poetry. Skaz is a genre of epic based on folk legends and traditions. The narration in it is conducted on behalf of the narrator, a person with a special character and style of speech.
The fairy-tale form is a double portrait: a narrator and an author, a skilful narration, where the confessional and play principles help each other, one might say, help each other out.
Literary critics believe that the skaz form is perhaps the most difficult form of speaking, the language of the people must be known thoroughly, from the inside, organically. Leskov argued: "People just need to know their own life, without studying it, and live by it." So, living with her, Leskov knew the Russian language. Knew her not apart from folk life but in blood connection with her, as a powerful expression of her. Nikolai Semyonovich Leskov walked the earth like an enchanted wanderer, although in his lifetime he had seen so much disastrous, bitter, terrible, even terrible.
II. Working with text on homework material (checking homework):
(during the survey and reading excerpts from the story "The Enchanted Wanderer", students come to the conclusion that the narrator and the hero have "their own voices." Giving Ivan Flyagin the floor, the author imitates the character's colloquial speech. This phenomenon is called styling. E this type of work allows the teacher to logically proceed to the presentation theoretical material, forming in students an idea of what a skaz form of narration is.)
The word of the teacher (students write in notebooks on literature).
The concept of skaz is used in two senses:
- the genre of the work;
- form of storytelling.
skaz as a genre- it is "a form of fiction, built mainly as a monologue narrative using the characteristic features of colloquial-narrative speech" .
In this case the function of the tale is genre-forming.
The tale form of narration is one of several stylistic layers in a work, the genre of which is a broader education than a tale (for example, a novel, a story).
In a work with a tale form of narration, as a rule, a "two-voiced narration arises, which correlates the author and the narrator, is stylized as an oral, theatrical improvised monologue of a person, suggesting a sympathetically inclined audience" .
Common features literary tale (genre) and narrative tale form are the setting for the reproduction of oral speech (stylizations), the use of colloquial speech techniques, monologue narration.
The reader perceives the skaz form of narration as an orientation to someone else's speech, while in a literary tale the reader does not have such a feeling. An illusion is created that the narrator is the author of the work. In a text with a tale form of narration, the author is not identified with the narrator, "the narrator appears as an object of the author's research."
In a work with a fairy tale form of narration, a "sketch situation" is created, there is an indication of the presence of a listener who asks questions, makes comments, inserts remarks, that is, the image of the listener is also created in the work. This distinguishes such a work with a tale form from a literary tale, where the listener, as a rule, is an abstract, supposed figure.
III. Analysis plan of the tale form of narration in the story "The Enchanted Wanderer":
- Genre "The Enchanted Wanderer"
- Compositional plot structure.
- Narrator's speech.
- Narrator's speech.
- Functions of a tale.
"The Enchanted Wanderer" is a story with a fantastic form of narration. There are several stylistic layers in this work, but the tale form of narration is predominant. The introduction and conclusion are written on behalf of the narrator. His speech differs from the speech of the narrator, as literary form from literary unformed. For example:
You, however, do not rely on my words in this, because after all, I rarely go to the service.
Why is this?
My work does not allow me to do this.
Are you a hieromonk or a hierodeacon?
No, I'm still just in the cassock.
Yet, after all, this already means that you are a monk, don’t you?
N... Yes, sir; In general, it is so revered.
The tale in The Enchanted Wanderer does not act as a genre-forming factor. It is present as a form of narration necessary for the author to create the image of the hero-narrator.
What do you think the composition of the piece is? How does the tale form of narration affect the composition of the work?
The tale form of narration determines the composition and plot in the work. The story is structured simply: an introduction - an exposition in which the reader gets acquainted with the scene ("we sailed on Lake Ladoga"), with the characters; the main part is Flyagin's story about life; The story ends with a brief conclusion on behalf of the narrator. But this simplicity is dictated by the requirements of the tale form of narration. In the introduction, listeners and readers get to know one of the fellow travelers, who will become the narrator. The exposition motivates the hero's story about his own life. The purpose of the introduction and conclusion is to recreate the real situation in which the hero's monologue unfolded. Thanks to the introduction and conclusion, inserted dialogues, a connection arises between the narrator and the listener, without which the tale is unthinkable.
The plot of the story is built as a process of storytelling, in which there are relations between the storytellers and listeners. Actually, the hero's story has its own plot, which is a series of stories from the storyteller's life that quickly replace each other.
The composition and plot are organized in such a way as to draw the reader's attention to the image of the hero-narrator.
How does Leskov draw attention to his hero? Find a portrait of the hero.. What is his unusual, strange?
(“This was a new passenger who, unnoticed by any of us, landed from Kontsevets. Until now he was silent, and no one paid any attention to him, but now everyone looked at him, and, probably, everyone wondered how he could still go unnoticed.He was a man of enormous stature, with a swarthy open face and thick, wavy, lead-coloured hair: his gray cast so strangely. He was dressed in a novice cassock with a wide monastic belt belt and a high black cloth cap. Whether he was a novice or a tonsured monk - it was impossible to guess, because the monks of the Ladoga Islands, not only when traveling, but also on the islands themselves, do not always wear kamilavkas, and in rural simplicity they confine themselves to caps. This new companion of ours, who later turned out to be extremely interesting person, in appearance could be given with small years for fifty; but he was in the full sense of the word a hero, and, moreover, typical. Innocent. A good Russian hero, reminiscent of grandfather Ilya Muromets in the beautiful picture of Vereshchagin and in the poem of Count A.K. Tolstoy. It seemed that he would not walk in a cassock, but would sit on a “chubar” and ride in bast shoes through the forest and lazily sniff how “dark forest smells of tar and strawberries.”
But, with all this good innocence, it did not take much observation to see in him a man who had seen a lot and what is called "experienced." He carried himself boldly, self-confidently, although without unpleasant swagger, and spoke in a pleasant bass with habit.)
Conclusion: The focus on the unusual, original appearance of the hero-narrator is supported by the special "typology" of the hero. Ivan Severyanych Flyagin visibly embodies the image of the Russian hero, as he has developed in art, the direct author's word indicates the connection of the image with folklore (epics about Ilya Muromets), painting (Vereshchagin's painting) and literary stylization of epics (A.K. Tolstoy's poem), and at the same time, another dimension was introduced, which is obligatory for a tale - factuality (both the narrator and the narrator reproduce what really happened). This alignment predetermines the multi-layeredness of the artistic text, the special "synthetic" forms in which the deep meaning of the narrative as a whole is realized - at the author's level.
The image of the hero is created not only with the help of a description of the appearance, but also with the help of the speech characteristics of the hero. What is the speech of the hero, what is the author of the story focusing on? Is speech the main means of creating an image in a tale?
The main means of creating the image of the narrator is his speech. It reflects the worldview and worldview of the hero, his character, social position, cultural development, etc. For fairy tale speech, oral colloquial intonation is characteristic, which is expressed in the construction of phrases, the use of special figurative and expressive means, professional terms, vernacular, etc. For example: " ... and it, this report was justified in one essence. Vladyka ordered that this priest be sent to them in Moscow. They looked at him and saw that this priest really was a drunkard, and decided that there was no place for him, Popik was upset and even stop drinking."
In Flyagin's speech there are few comparisons, metaphors, epithets, they do not differ in brightness, most often they are brief, but at the same time they exactly correspond to the hero's worldview. They show the artistry of the hero, the subtlety of his nature, the ability to perceive beauty, because artistic paths characterize not only the subject itself, but also the one who speaks about it. Indicative in this respect is Flyagin's story about the gypsy Grusha; “And between all this public, a gypsy walks like this ... you can’t even describe her as a woman, but as if like a bright snake, she moves on her tail and bends all over, and from her black eyes it burns with fire<...>eyelashes, by God, these are such eyelashes, long, long, black, and as if they are alive in themselves, and like some birds move ... ". The soul of the hero is shocked by the wonderful art of Pear. Describing her, he manifests himself as an artist , an aesthetically sensitive person. Ordinary paths were used by the hero with unusual aptness: "Shadows in front of him in a vision, like skinny geese, floated", "stars are hung in the sky like lamps, and at the bottom the darkness is so thick that it is as if someone is fumbling around in it and touches ". Such examples reflect Flyagin's everyday impressions, his life experience, possession of folk vocabulary.
In a combination of simplicity and beauty - a special flavor of the speech of the hero-narrator. For simple expressions, for in simple words- the wonderful world of Flyagin, the world as the hero sees it.
With the help of what and how is the image of the narrator in the tale revealed?
The image of the narrator is also revealed through his attitude to other characters, about whom he also narrates. All actors the reader perceives through the subjective attitude of the narrator towards them, which is manifested in the tone of the story, in the choice artistic means through direct or indirect characterization. For example, a story about the owner, whose hero is nursing a child (Polish woman). There is no detailed description here, but Flyagin's subjective opinion about this character is revealed in the following words: "My master, his father, from Poles was an official, and never, scoundrel. was not at home."
Sometimes the narrator reproduces the characteristic features of the speech of the characters, imitates their intonation, but in general, one speech element dominates the work.
What is the role of the landscape in revealing I. Flyagin's worldview?
The vivid features of Flyagin's worldview are carried by the landscape ("... melancholy was done. Especially in the evenings, or even in the middle of the day the weather is good, it's hot, it's quiet in the camp, all the Tatars fall into the tents from the heat and sleep ... Sultry look, cruel; space - there is no edge; grass, rampage; white feather grass, fluffy, like a silver sea, worries, and carries the smell in the breeze: it smells like a sheep, and the sun douses, burns, and the steppe, as if a painful life, nowhere is an end in sight, and here the depth of anguish there is no bottom ... You yourself do not know where, and suddenly a monastery or a temple appears in front of you, and you remember the baptized land and cry.
Or it was even worse on the salt marshes just above the Caspian Sea: the sun glows, bakes, and shines in the salt marshes, and the sea sparkles .... Where the steppe is more feathery, it is still more joyful; there, at least along the ridges, in some places, sage sometimes turns gray or small rolyn and thyme are full of whiteness, but here it’s all just brilliance ... There, somewhere, a fire will burn on the grass, - vanity will rise: bustards fly, bustards, steppe sandpipers, and hunting will start on them. We ride these tudaks, or in the local way, drokhvs, on horseback and pinpoint them with long whips; and there, look, you yourself must run away from the fire with your horses ... All this is entertainment. And then the strawberries will plant again on the old pallet; different birds will fly at her, more and more such a trifle, and a chirp will start in the air ... And then somewhere else you will meet a bush: meadowsweet, wild peach or chiliznik ... And when at sunrise the fog settles like dew, as if it smells of coolness , and smells come from the plant ... ")
How through this landscape painting Is the emotional state of the hero and his worldview conveyed?
Students response:
Bright features of the subjective perception of the world are carried by the landscape in works with a tale form of narration. Descriptions of nature here not only reflect the emotional state of the hero-narrator, but also reveal his worldview.
IN this description the emotional state of the hero is conveyed: his deep longing for his homeland, the desire to return home. It is also important that the landscape also reveals main feature world outlook of the hero - religiosity.
In the above passage, attention is drawn to the intonation, calculated on the sympathetic attention of the listeners, which is also a feature of the fairy tale narration. people. Without love for the motherland, there is no real human character. The one who loves native land, sees her beauty in any trifles, feels great interest in all her "manifestations". Ivan Severyanovich is just such a person, and this love helps him verbally accurately express his feelings, mood, aspirations in a landscape description.
Word of the teacher: The condition of the skaz form of narration is the illusion of independence of the hero-narrator. With the help of the technique of distinguishing between the speech of the narrator and the narrator, the author creates this appearance of independence. The narrator's speech is literary correct, and his image is devoid of pronounced individual traits. The position of the narrator is expressed indirectly: primarily through the choice of the hero-narrator. Flyagin's speech, focused on oral conversation, is unique and, therefore, the image of the narrator is clearly individualized.
The narrator expresses himself in the word, through which his complex inner world is revealed.
The functions of the tale are:
- In the individualization of the character of the hero;
- in his typification.
Ivan Severyanych Flyagin. - a Russian person, the style of his speech, artistic coloring are inextricably linked with the aesthetic thinking of the people, with folk aesthetics, worldview. His speech testifies to the constant spiritual connection with the spiritual life of the people. "The tale in the story "The Enchanted Wanderer" is a means of embodying in the image of national consciousness and self-awareness, the character of the hero" .
(When studying the story "The Enchanted Wanderer", you can organize a viewing of the film of the same name, based on the work of Leskov in 1990 (scriptwriters I. Poplavskaya and V. Solovyov, director I. Poshgavskaya, composer K. Volkov). The main success of the film is A. Mikhailov as Flyagin.
The film takes into account the specifics of Leskov's story: the dynamic development of the action, the amazing adventures of the wanderer, unexpected and even "fabulous".
The authors of the film managed to convey another feature of Leskov's prose: his appeal to the tale form of narration. The elusive charm of the Leskian word is difficult to recreate on the screen, but the filmmakers succeeded: the voice of the narrator sounds behind the scenes.
By watching and discussing the film, you can complete the study of the story "The Enchanted Wanderer".)
