Vasily Kirillovich Trediakovsky is a classical transitional figure in the Russian literary tradition, and, moreover, a highly original figure. Perhaps none of the writers of the early 18th century possessed such an individualized literary style and such an original literary position as Trediakovsky, whose position in his contemporary literary process was made special due to the fact that it was, as it were, "a man without a middle." Trediakovsky sometimes strikes with his archaism, he is able to strike with the sharpness of his literary intuition.

In terms of style, Trediakovsky's lyrics are a kind of literary analogue of the linguistic situation in the first decades of the 18th century. At that time, both in the spoken and in the literary language (which was, in general, one and the same, since there was no special norm for the literary language), the greatest stylistic confusion of Russianisms, Slavicisms, barbarisms, archaic and vernacular forms reigned. The same situation is observed not only in style, but also in poetics, and in genre composition, and in the formal features of Trediakovsky's lyrics. His poetry is composed, as it were, of three heterogeneous layers - syllabic pre-reform verses, verses of Trediakovsky's individual meter (tonized syllabic thirteen-syllable, from the point of view of syllabo-tonic it was a caesured seven-foot trochee) verses of Lomonosov meters: short (three- and four-foot trochaic, iambic four-foot ), and long (Alexandrian verse). And each of these three groups of lyrics is distinguished by its genre and style properties.

One of the most important industries literary activity Trediakovsky were translations of Western European prose. Through his work, the early Russian narrative tradition was enriched by three translations. Western European novels- "Riding to the Island of Love" by Tallemand (written in 1663), "Argenida" by Barclay (1621) and "Telemachus' Wandering" by Fenelon (1699). In Trediakovsky's translations, they saw the light in 1730, 1751 and 1766, respectively.

"Ride to Love Island"

Trediakovsky's choice of Journey to the Island of Love demonstrates the young writer's acute literary sense and precise understanding of the demands of his contemporary readers. The craving for the gallant love culture of the West and the new quality of the national love life, reflected both in authorless histories and love songs of the Petrine era, became a sign of the novelty of the emotional culture of Russian society and an indicator of the process of formation of a new type of personality, generated by the era of state reforms. The encyclopedia of love situations and shades of love passion, which Talleman's novel offered in allegorical form, was perceived in Russia as a kind of concentrate of modern emotional culture and a kind of code of love behavior for a Russian person of a new cultural orientation. Since it was the only printed book of its kind and the only society romance Russian literature of the 1730s, its significance was incredibly great.

Tallemand's novel is written in the form of two letters from the hero, Thyrsis, to his friend Licida; they tell about the journey that Tirsis, accompanied by Cupid, made on the island of Love, about the meeting with the beautiful Amynta and the stormy passion that she aroused in Tirsis; about the betrayal of Aminta and the attempts of Tirsis to console himself in love with two girls at once, Phylis and Iris, about how, finally, Tirsis left the island of Love, where he knew heartache, and followed the goddess Glory. It is noteworthy that the plot of the novel develops in two literary forms at once - narrative prose and poetry: all the ups and downs of Tirsis's wanderings around the island of Love are invariably accompanied by poetic inserts.

The geography of the island of Love is closely connected with the different stages of love passion: traveling from city to city, visiting villages and castles, walking along the banks of a river or lake, climbing a mountain, the hero of the novel successively goes through all the stages of a love feeling: his journey begins from the town of Little servants, where Thyrsis dreams of Aminta and meets Cupid; the latter leads him to an Announcement, that is, a declaration of love; however, on the way they meet Reverence, who, reproaching Tyrsis for his haste, leads them to the Castle of Silence, where his daughter Precaution rules.

In the fortress of Silence, Tirsis sees Aminta, and she guesses about his love, because at this stage of love feelings, lovers are explained not by words, but by eyes and sighs.

Guessing about the love of Tirsis, Aminta retires to the cave of Cruelty, near which the stream of Love's tears (“This stream began to be // Tears of lovers' beginning” - 107) flows into Lake Despair, the last refuge of unfortunate lovers (“Having spent many days in sadness, / / They come to this in order to end their life” - 107), and Tirsis is close to throwing himself into this lake. But the maiden Pity leads Aminta out of the cave of Cruelty, and the lovers enter the castle of Sincerity, where an explanation takes place. Further, the path leads them to the castle of Direct Luxury - the apotheosis of love, where all desires come true. But from the very top high mountain, Deserts of Remembrance, Tirsis sees the unfaithful Amynta with another lover in the castle of Straight Splendor. His despair is tried to be moderated by Prezor (pride) and Eye-lovingness (coquetry); Contempt appeals to his sense of honor and dignity, and Eye-lovingness sends to the places of Impartiality and Fun, where you can love without torment. As a result, the inconsolable Tirsis, having lost Aminta, leaves the island of Love, following the goddess Glory.

In this way, different stages love feelings experienced by Tirsis on the island of Love are embodied in different geographical locations, and the characters of the novel - Reverence, Pity, Annoyance, Honor and Shame, Doom, Despiser, Cupid - are allegorical embodiments of love emotions. Consistently meeting with Tirsis and becoming his temporary companions, these characters symbolize in their figures the consistent development of love passion - from the birth of love to its end. In Talleman's text, the ideal, conceptual reality of emotional spiritual life is recreated with the help of plastic incarnations of an abstract concept in an allegorical landscape (rock, cave, lake, stream) or an allegorical figure of a character whose character is determined by the concept that he embodies (Reverence, Precaution, Pity, coquetry, etc.). Thus, Talleman's novel operates on the same levels of reality - ideological, or emotionally conceptual, and material, plastic, from which the the whole picture world in the aesthetic consciousness of the XVIII century.

Another reason that determined the success of the novel "Riding to Love Island" was the emphasized focus of its plot in the world of private and intimate human experiences, which perfectly corresponded to the heightened personal feeling characteristic of mass cultural consciousness. early XVIII in. However, even here we can observe the duality characteristic of the era: despite the fact that love as such is a purely personal and individual feeling, it is also a universal, universal human feeling.

Peculiar literary form novel "Riding to the Island of Love", written in prose and poetry, could not fail to attract the attention of the Russian writer and Russian readers. The double lyrical epic reproduction of the plot of "Journey to the Island of Love" in the epic description of Tirsis's wanderings through the material space of a fictional island and in the lyrical poetic outpouring of love emotions, which together create a picture of the hero's spiritual evolution - all this gave volume to the novel's picture of the world, uniting the descriptive plastic and expressive-ideal aspects of the literary world image. So, in the new Russian literature, a prototype of the future model of the novel narrative appears, combining two essential genre-forming features of the novel epic - the epic of wanderings and the epic of spiritual evolution. And since the plot of the novel is entirely concentrated in the field of private emotional life of a person, then we can say that Trediakovsky's translation offers Russian literature a kind of original genre model of the novel "education of feelings".

"Tilemakhida"

Undertaken by Trediakovsky in the 1760s. the verse translation of François Fénelon's prose novel The Travels of Telemachus offers a very different genre modification novel, both in the original and in translation. François Salignac de la Motte Fénelon, in his novel The Wanderings of Telemachus, outlined his pedagogical concept and his views on the nature of the monarchy and its social purpose. It was in Fenelon's novel that the ideal of an enlightened, law-abiding monarchy found its artistic embodiment.

The plot of "The Travels of Telemachus" goes back to 1-4 songs of Homer's poem "The Odyssey", which tells how the son of Odysseus, Telemachus, went to look for his father. Fenelon significantly expanded the geography of Telemachus' wanderings, forcing him to visit all the countries of the ancient Mediterranean, including Phoenicia and Egypt. Fenelon needed this expansion of geography for a specific purpose: in this way he led his hero through acquaintance with all systems state government- from absolute monarchy and tyranny to a commercial republic. As a result of the life experience and observations that the journey gave him, as well as as a result of the instructions of the goddess of wisdom, Pallas Athena, who took the form of Mentor's teacher, Telemachus returns to his island of Ithaca as an enlightened monarch. Clothing his political and educational treatise in the images and plot of the ancient epic, Fenelon followed the tradition of the genre of the state-political novel, which prescribed to teach, amusing.

For Trediakovsky, there were thus two attractive aspects in Fenelon's novel - ideological (the concept of an enlightened monarchy) and aesthetic (the plot connection with the Homeric epic

The second, no less important ideological leitmotif of Tilemakhida is the need to educate and enlighten the future ruler. All the adventures and encounters that await Telemachus in his wanderings in search of Odysseus invariably pursue the same goal: to give a life lesson, an opportunity to own experience comprehend error and truth, sorrow and joy so that the future monarch could understand universal feelings. This parallel effect on the feelings and mind of Telemachus is achieved as a result of the life experience he gains on the journey, and the assimilation of the moral rules taught by the wise instructions of his companion and leader Mentor-Athena Pallas, who leads her pupil to the ultimate goal of the journey; and this goal is not only finding a father, but also the formation of the personality of Telemachus as a future ideal monarch.

As a result ideological novel, translated by Trediakovsky, became the same shock to the foundations - but this time not moral, but political - as for the 1730s. was a translation love story"Ride to Love Island". And if the love affair brought Trediakovsky trouble on the part of the ministers of the church, then "Tilemakhida" caused the displeasure of Empress Catherine II, the real reason which was the politically inconvenient content of "Tilemakhida": the apology of the lawful monarchy sounded especially sharp in the case of Catherine II, who occupied the Russian throne in the most illegal way.

Another aspect of Trediakovsky's translation - aesthetic - is no less important in the future development of Russian literature. Here, of paramount importance is the fact that Trediakovsky translated Fenelon's prose novel into verse, and, moreover, in a completely original meter, developed by him himself - a syllabic-tonic analogue of the Homeric hexameter.

From the point of view of syllabic tonics, the six-foot dactyl has become such an analogue: the structure of the dactylic foot, consisting of one stressed and two unstressed syllables, as closely as possible in a language with a different accentology, conveys the rhythm of the alternation of long and short sounds in ancient hexameters. Thus, from the novel of Fenelon, Trediakovsky tried to make something like an ancient epic, referring to the primary sources of Fenelon's imitation - the Iliad, the Odyssey and the Aeneid. Hence the characteristic change in the title of the translation: the novel title "The Wanderings of Telemachus" is opposed by the Homeric and epic one: "Tilemakhida", formed by analogy with the names of ancient epic poems.

How important this task seemed to Trediakovsky himself, and what fundamental meaning he attached to his hexameters, is evidenced by the beginning of the Tilemakhida, a traditional component of any epic, the so-called "sentence" - the designation of the main subject of the narrative - and "calling" - an appeal to the muse for inspiration .

And, dressing the narrative of the wanderings of Telemachus in Homeric hexameters, Trediakovsky consistently sought to reproduce the characteristic signs of precisely Homeric epic style. One of the main such signs was the so-called compound epithets, formed from two different roots and conveying a complex combined feature. Trediakovsky's translation is saturated with similar epithets: "the many-pernicious sea", "the loving son", "the loud-voiced lyricist", "womanly beauty", "hard work", "sharp stones", "radiant day" - all this creates the basis of a special, Homeric style in Russian poetry.

Translating Fenelon's prose in hexameters, Trediakovsky, in fact, combined a whole prose genre - romance - with verse, and his "Tilemakhida" is, in fact, the first Russian novel in verse, the prototype of the genre model of the poetic novel, brilliantly implemented by Pushkin in "Eugene Onegin ". And if, from the point of view of its formal and poetic features, "Tilemakhida" lies at the origins of the Russian poetic Homeric tradition, then as a genre form it offers precisely the novel model: an educational novel, a travel novel, an ideological and political novel - all this was realized by the later Russian novel. traditional genre perspectives of "Tilemakhida".

Trediakovsky, in his tireless genre experiments, managed for the first time to express some features of national aesthetic thinking in terms of understanding the nature and characteristics of the novel genre, if only because he was, firstly, an encyclopedically educated philologist, and secondly, a Russian writer . And the fact that Trediakovsky's novelistic experiences are so widely associated with the further evolution of the Russian epic is their main historical and literary significance.

TRANSLATION OF THE NOVEL "RIDING TO LOVE ISLAND"

AS A PROGRAM WORK OF THE FIRST PERIOD OF V.K. TREDIAKOVSKY

L.V. ARHAROVA, Department of the Russian Language

Vasily Kirillovich Trediakovsky made a great contribution to the development of the Russian language and literature. His literary activity was highly appreciated by A.S. Pushkin.

Inspired by Peter's transformations, Trediakovsky is actively developing his linguistic program. At the same time, he is guided by a lofty civic idea - the inclusion of the Russian language and literature in European culture.

To this end, in 1730, immediately after returning from abroad, he published a translation of the novel by the French writer Paul Talman "Riding to the Island of Love". In the preface, he essentially outlined his language program: 1) the rejection of the Church Slavonic literary tradition; 2) orientation to colloquial speech. He addresses the readers, explaining why he translated the novel not in the Church Slavonic language, but in "simple speech." Offering his concept of a new Russian literary language, Trediakovsky takes as a model French, not taking into account the specifics of the language situation in Russia, which leads to the impossibility of implementing this program, and ultimately to its abandonment. Trediakovsky, with his inherent energy, is again working on the creation of a new language program, which is fundamentally different from the first. During the years of literary and scientific activity, he experienced both ups and downs.

The translation of the novel "Riding to the Island of Love" is a programmatic work of the first period of Trediakovsky's work. Using the example of text analysis, let's consider whether the author succeeded in fulfilling his program of "purification" of the new literary language.

"Riding to the Island of Love" - ​​a gallant-allegorical novel - is prose text with poetic inserts of love content.

So, the statement "about the almost simplest Russian word" can only apply to the prose of the translation. And in poetry, Slavicisms are used without restriction. Consider the phonetic features of the translation of the novel "Riding to Love Island". First of all, this concerns the use of:

1. Old Church Slavonic dissenting

■ Through myself, the beautiful shore of that ...

Only no one listens to his voice,

The trees and all the flowers in regret are seen ...

2. Saving the initial e:

And being one with enemies, they are deadly ...

When beauty is one...

3. The initial combinations of ra-, u- in place of the East Slavic Great Danes, lo-.

Uses his power indiscriminately...

It is in vain that someone, being apart ...

Mind. what to have eyes are alive, perspicacious ...

4. Alternating sst:

These caves are dedicated to the age of love...

Hosh. so that she does not exist in my heart ...

All in admiration, my heart saw itself ...

5. Alternating railway with d:

The eyes spoke, the heart that suffers inwardly...

Stop pleasing...

I knew to win the hearts of all are invincible ...

1. The pronunciation of e under stress at the end of a word before a hard consonant like! o, yo:

After some time I found

The chicks are very stinky...

Many called it Shogolst-

2. Writing w in place of sch:

Shastia repairing the sky is all dependent ...

Stop complaining about bad things. my voice...

3. The use of full vowels:

All roads are free...

Finally, it will come to us to die, perhaps...

Stop resisting the extreme heat...

4. Initial combinations tso;, doi in place of Old Slavonic ra-. Yes-.

All the luxuries here are many...

The luxury of every great enemy ...

5. Russian spelling in prefixes: ... And in order to /?

1. Prefixes from; (ISU.

I have expelled from my memory All my Phyllis now ...

Everyone mark their joy ...

2. Participles in -ush. -yash.

And in the hands of the lover sighs with love...

And you can't live for an hour in the world without them...

Adhering to that land, there is only one dear God ...

3. Endings in -shi for verbs 2n. units hours; 2Ш For indefinite verbs:

Can't I soften you at my death? ...

Start your life from now on love...

4. In the early 30s. Trediakovsky uses the instrumental plural in

Y as a poetic license: from the barbarians, from the elders.

All there houses are decorated with flowers...

And being one with enemies, they are mortal ...

5. Forms of nouns of the middle gender gender. n. pl. hours with flexion -mi:

With a loud voice of those walking and courteous speeches ...

Ah! my soul is torn by passions without success...

Examples of East Slavic influence at the morphological level can be given:

1. Russian version of inflections of adjectives m.r.:

Her eyes imyut zrak slow ...

Making a very pleasant noise ...

2. An analysis of the texts shows that for Trediakovsky, the variation of the endings -oh/-th was not associated with the opposition of Church Slavonic and Russian. He excludes short adjectives from among the Slavicisms and classifies them as natural features Russian language:

He gives the law, and soon for revenge ...

With speeches courteous ...

Through their sad songs and unspoken...

3. Absence and at the end of the stem of nouns and adjectives:

And at will, that you can do everything ...

Like remorse, boredom, sadness and adversity...

Considering the Old Slavonic features that manifested themselves in spelling, the following point can be distinguished:

1. Preservation and at the end of the stem of nouns and adjectives. In “A New and Brief Way ...” Trediakovsky allowed the following spelling: “From names ending in u, the descriptive in a verse can end in one only and without 1. So, instead of about exclamations, you can write: about exclamation”.

The trees and all the flowers in regret are seen ...

Don't think about your misfortune...

At the same time, there are also East Slavic features in the text at the spelling level:

1. Consolidated spelling not with verbs.

If only death did not blow you away! ...

Sei ls, and everything can not be without pity? ...

The luxury of every great enemy ...

Lexical features of the translation of the novel "Riding to the Island of Love".

Speaking in general against Slavicisms, Trediakovsky recognizes the possibility of their use in poetic speech. This principle is actually put into practice already in the translation “Riding to the Island of Love”: stylistically neutral Slavic words are used without restriction in poetic inserts. This freedom applies not only to non-vowel forms, but also to all those pairs where the correlation was not supported by formal characteristics (eye - eye, finger - finger, forehead - forehead, etc.)

Thus, in “Riding to the Island of Love” there is no opposition at all between lexical Russianisms and Slavicisms that do not differ in formal characteristics. Both those and others are equally found in verse and prose. The eye, the forehead, the finger do not act as a poetic license. but as a normal element of the dictionary, not related to genetic parameters. Wed for example, eye 28, eye 2.9, 35*. 75. 120* and eyes 31,100,120, eyes 32* (Trediakovsky 1730; page numbers are given after examples, examples from a poetic text are indicated with an asterisk), cf. still here: index finger 29, mouth 100, forehead 75. In verse, Slavic vocabulary is used without restrictions, even predominantly before Russian (n / r, with numerous uses of the eye-eye, the eye, eyes are missing; with a pair of mouth-lips); perhaps, the restriction on the use of "low" and "rough" vocabulary affects. The lines from the second elegy are indicative:

Her eyes are bright, the colors are heavenly,

There was no feature in the face that was not unrealistic;

Round brow, so that he could, move into it

Mind given from heaven and spread.

Scarlet on the lips very softness adorned,

And pearl teeth in her did not interfere with seeing;

More than sholku, those hands are pleasing with softness.

All her fingers to have with gold adamant

Her breasts are wearing pure diamonds. (Trediakovsky, 1735, 56/1963, 401-402).

Trediakovsky's aristocratic Gallic chivalry is replaced by rude Russian vulgarity. The obvious focus is on folklore tradition. The translator does not just translate from language to language, but seeks to “translate” his readers into the circle of ideas that are more familiar to them. Wed: “I didn’t hesitate to run ... at a grunt (trot).” French belles - transmitted as red girls. Courtisans are like handsome fellows; une personne like a boyart.

Lots of expressive language:

In that mourned state, I sighed, I breathed the very Jealousy, which is very bad and very without-tyina ...

But I found this coldness so vile and unreasonable that I could not stop with it ...

There is a lot of boredom everywhere, which is the essence of a great giant of age, the women are very stinking. The examples given indicate that Trediakovsky refused not to use Slavicisms (they are in translation in poetic speech), but from the Slavic type book language as a system of artistic and visual means. The practical implementation of the program outlined by Trediakovsky in the preface was hampered by the influence of the Church Slavonic literary tradition and the absence of a social or local dialect as a literary model. Thus, the call to focus on colloquial speech had no real basis.

Three centuries later, creative asceticism and the fate of the first Russian professor and academician Vasily Kirillovich Trediakovsky, the son of an Astrakhan priest, stirred up his native Astrakhan. These days, his anniversary is widely celebrated in his homeland, where he received his first education - "he studied with the Roman monks living there."

Vasily Kirillovich Trediakovsky belonged to the circle of people awakened by the Petrine reforms. The son of an Astrakhan priest, he, like Lomonosov, seized with a thirst for knowledge, left his parental home, studied at the Slavic-Greek-Latin Academy, and then abroad at the Sorbonne. Simultaneously with Lomonosov, he was awarded the title of professor of the Academy of Sciences.

As a poet, he was eclipsed during his lifetime by Lomonosov and Sumarokov. But as a theoretician and experimental writer who opens up new paths in Russian literature, Trediakovsky deserves the most serious attention. “His philological and grammatical research,” Pushkin wrote, “is very remarkable. He had a broader understanding of Russian versification than Lomonosov and Sumarokov ... In general, the study of Trediakovsky is more useful than the study of our other old writers.”

In 1730, Trediakovsky published a translation of the gallant-allegorical novel by the French writer Paul Talman under the title "Riding to the Island of Love". It was one of the examples of a love story. The text of the work is prosaic, with numerous poetic inserts of love and even erotic character. experiences actors- Tirsis and Amyntas - clothed in allegorical form. Each of their feelings corresponds to the conditional place names of the "Island of Love": "cave of cruelty", "castle of direct luxury", etc. Along with the real ones, conditional characters such as "Pity", "Sincerity", "Eye-lovingness", i.e. coquetry . In European literature of the 30s of the XVIII century. P. Talman's novel was an anachronism, but in Russia it was a great success.

The great merit of Trediakovsky before Russian poetry, not only contemporary to him, but also subsequent, was the reform of versification that he carried out. Its principles were outlined by him in 1735 in the treatise "A new and short way to compose Russian verses". Before Trediakovsky, only the syllabic took place in Russian poetry (from Latin word syllaba - syllable), that is, a versification in which poets did not pay attention to quality, that is, stress and unstressed syllables, but followed only an equal number of syllables in rhyming verses. Rhyme in most cases was feminine, inherited from Polish poetry, under the influence of which the Russian syllabic arose. The main drawback of the syllabic was the fuzziness of the manifestation of rhythm, as a result of which, as Trediakovsky wrote, syllabic verses "are more decent ... to be called prose, going by a certain number" (p. 366). Trediakovsky replaced the syllabic system of versification with a syllabic-tonic one, or, in his terminology, "tonic", from the word "tone", that is, an accent, a stressed syllable.

Trediakovsky did not invent this new system. It already existed in a number of European literatures, including German, with which Trediakovsky was well acquainted. But Russian poetry was dominated by the syllabic. The question was which of the two systems existing in European literature to give preference to - syllabic or syllabo-tonic, and Trediakovsky, unlike his predecessors and contemporaries, chose syllabo-tonic. New system differed from the old rhythmic organization of the verse. Rhythm (in Trediakovsky - "fall", from the French word cadence) is created by the correct alternation of stressed and unstressed syllables, occasionally complicated by pyrrhias (a foot consisting of two unstressed syllables) and spondei (a foot of two stressed syllables). The unit of rhythm is the foot, i.e., the combination of one stressed with one unstressed syllable (Trediakovsky recognized only two-syllable feet).

When creating a new type of versification, Trediakovsky sought to proceed from the peculiarities of the Russian language. “The method of composing verses,” he wrote, “is very different according to the difference in languages.”

The significance of the reform carried out by Trediakovsky can hardly be overestimated. He was the first in our literature to draw attention to the enormous role played by rhythm in versification, which, in his words, is the "soul and life" of poetry. The treatise on Russian versification echoes another theoretical work Trediakovsky - "On the ancient, middle and new Russian poem" (1755). This was the first attempt to present the history of Russian poetry since ancient times.

On March 5-6, Astrakhan University hosted an international scientific conference "V.K. Trediakovsky and Russian literature of the 18th - 20th centuries", which brought together the color of philological and historical thought high school. So introductory remarks the Rector of the University, Doctor of Economics, Professor A.P. Lunev. With reports on plenary session doctors philological sciences G.G. Isaev and G.G. Glinin from Astrakhan, T.A. Alpatov and A.M. Bulanov from Volgograd. The sections discussed continuity and innovation in creative system Trediakovsky, his legacy in Russian literature and the traditions of Christian culture in his work. The participants of the conference applauded Alla Sidorenko's television film "Forerunner", in which the author talentedly and sincerely tells about our great fellow countryman. This trilogy is shown on the Lotos TV channel during the anniversary days.
On Wednesday, the Department of Culture, Art and Cinema, the Astrakhan branch of the Writers' Union of Russia invited Astrakhan residents to the local history museum for a literary and musical evening dedicated to the 300th anniversary of the birth of the founder of Russian poetry and literature. Candles burned in candelabra, music and poetry sounded. The gallery of outstanding Astrakhan residents celebrated its first anniversary - and it was the anniversary of Trediakovsky. The laureates of the V.K. Trediakovsky, philologists, musicians, artists. Deputy Head of Administration Astrakhan region I.V. Rodnenko presented the diploma of the laureate to the writer Mikhail Kononenko for the book "With love and reverence". And the evening opened with stage improvisation to the poems of Yuri Shcherbakov, where the young Peter the Great meets in Astrakhan with a student of the Latin school Vasily Trediakovsky and admonishes him on the literary feat that our fellow countryman was to accomplish.

Candidate of Philological Sciences V. Gvozdey, laureates of his prize named after Vasily Makeev from Volgograd, Larisa Kachinskaya, Yuri Shcherbakov, Boris Sverdlov spoke about Trediakovsky, who asked a rhetorical question: "Will they remember us in 300 years?" Let's wait and see, the hall reacted.

Kant on Trediakovsky's poems "Vivat, Russia" sounded in a soulful performance chamber choir"Face" under the artistic direction of the Honored Artist of Russia S. Komyakov, and the Honored Artist of Russia L. Vlasenko addressed the audience with a proposal to find in the archives musical notation musical works written by Trediakovsky. The program of the evening was attended by the male chamber choir of the Philharmonic under the direction of L. Egorov, the ensemble "Ars nova" under the direction of E. Belinskaya. Of course, V. Babakhanyan's flute sounded.
The refrain was the beautiful lines of Trediakovsky:
I'll start on the flute, poems are sad,
In vain to Russia through distant countries.
And three centuries later, his poems echoed in the heart with love for Russia.

Prepared by Elena Kiseleva

Russian history literature XVIII century Lebedeva O. B.

Translations of Western European prose. "Riding to the Island of Love" as a genre prototype of the novel "education of feelings"

Another important branch of Trediakovsky's literary activity was the translation of Western European prose. His works and the early Russian narrative tradition were enriched by three translations of Western European novels - Tallemand's "Ride to the Island of Love" (written in 1663), Barclay's "Argenida" (1621) and Fenelon's "Telemachus' Wandering" (1699). In Trediakovsky's translations, they saw the light in 1730, 1751 and 1766, respectively. These dates at first glance indicate that Trediakovsky is hopelessly archaic in his literary predilections: the gap between the time of the creation of the text and the time of its translation into Russian is on average about a century, and at the time when Trediakovsky translated "Ride to the Island of Love" , all of Europe was read out by Lesage's adventurous and picaresque novel Gilles Blas, and the author of another famous novel- the family chronicle "The Story of Tom Jones, the Foundling" Henry Fielding just made his debut as a writer. However, this archaism of Trediakovsky's literary predilections is only apparent. In all three cases, his choice is strictly motivated by the peculiarities of the national literary process.

Despite its seeming archaism, Trediakovsky's choice of Journey to the Island of Love demonstrates the young writer's acute literary sense and an accurate understanding of the needs of his contemporary readers. Just as the navy and merchant fleet were a symbol of all the novelty of Russian statehood, politics and economics, the craving for the gallant love culture of the West and the new quality of the national love life, reflected both in authorless histories and in the love songs of the Petrine era, became a sign of novelty emotional culture of Russian society and an indicator of the process of formation of a new type of personality, generated by the era of state reforms. The encyclopedia of love situations and shades of love passion, which Talleman's novel offered in allegorical form, was perceived in Russia as a kind of concentrate of modern emotional culture and a kind of code of love behavior for a Russian person of a new cultural orientation. Since it was the only printed book of its kind and the only secular novel of Russian literature in the 1730s, its significance was incredibly great; as Yu. M. Lotman noted, “Riding to the Island of Love” became “The Only Novel”.

Tallemand's novel is written in the form of two letters from the hero, Thyrsis, to his friend Licida; they tell about the journey that Tirsis, accompanied by Cupid, made on the island of Love, about the meeting with the beautiful Amynta and the stormy passion that she aroused in Tirsis; about the betrayal of Aminta and the attempts of Tirsis to console himself in love with two girls at once, Phylis and Iris, about how, finally, Tirsis left the island of Love, where he knew heartache, and followed the goddess Glory. It is noteworthy that the plot of the novel develops in two literary forms at once - narrative prose and poetry: all the ups and downs of Tirsis's wanderings around the island of Love are invariably accompanied by poetic inserts.

The geography of the island of Love is closely connected with the different stages of love passion: traveling from city to city, visiting villages and castles, walking along the banks of a river or lake, climbing a mountain, the hero of the novel successively goes through all the stages of a love feeling: his journey begins from the town of Little servants, where Thyrsis dreams of Aminta and meets Cupid; the latter leads him to an Announcement, that is, a declaration of love; however, on the way they meet Reverence, who, reproaching Tirsis for his haste, leads them to the Castle of Silence, where his daughter Precaution rules:

Sey what you see is so important

Named from all Reverence;

His mother is love;

Father is Love itself ‹…›

This one, what do you see, another, ‹…›

Dragai's precaution (103).

In the fortress of Silence, Tirsis sees Aminta, and she guesses about his love, because at this stage of love feelings, lovers are explained not by words, but by eyes and sighs:

In this fortress everyone uses

In a mute language, but everyone knows about everything:

For even without words he always broadcasts,

But what is in the heart, he reveals everything (106).

Guessing about the love of Tirsis, Aminta retires to the cave of Cruelty, near which the stream of Love Tears ("This stream began to be // Tears of lovers' beginning" - 107) flows into Lake Despair, the last refuge of unfortunate lovers ("Having spent many days in sorrow, / / They come to this in order to end their life” - 107), and Tirsis is close to throwing himself into this lake. But the maiden Pity leads Aminta out of the cave of Cruelty, and the lovers enter the castle of Sincerity, where an explanation takes place. Further, the path leads them to the castle of Direct Luxury - the apotheosis of love, where all desires come true. But from the top of the highest mountain, the Desert of Remembrance, Tirsis sees the unfaithful Amynta with another lover in the castle of Straight Splendor. His despair is tried to be moderated by Prezor (pride) and Eye-lovingness (coquetry); Contempt appeals to his sense of honor and dignity, and Eye-lovingness sends to the places of Impartiality and Fun, where you can love without torment. As a result, the inconsolable Tirsis, having lost Aminta, leaves the island of Love, following the goddess Glory:

Do not say, my heart, it is necessary that Glory

More than a thousand Phyllis have obtained the rights ‹…›

You will win with this change: Glory is more red,

Rather than a hundred Aminth, Iris, Silvius and everyone is clear (123).

Thus, different stages of the love feeling experienced by Tirsis on the island of Love are embodied in different geographical points, and the characters of the novel - Reverence, Pity, Annoyance, Honor and Shame, Doom, Despiser, Cupid - are allegorical embodiments of love emotions. Consistently meeting with Tirsis and becoming his temporary companions, these characters symbolize in their figures the consistent development of love passion - from the birth of love to its end. In Talleman's text, the ideal, conceptual reality of emotional spiritual life is recreated with the help of plastic incarnations of an abstract concept in an allegorical landscape (rock, cave, lake, stream) or an allegorical figure of a character whose character is determined by the concept that he embodies (Reverence, Precaution, Pity, coquetry, etc.). Thus, Tallemand's novel operates on the same levels of reality - ideological, or emotionally conceptual, and material, plastic, from which a holistic picture of the world was formed in the aesthetic consciousness of the 18th century.

Another reason that determined the success of the novel "Riding to Love Island" was the emphasized concentration of its plot in the world of private and intimate human experiences, which perfectly corresponded to the heightened personal feeling characteristic of the mass cultural consciousness of the early 18th century. However, here we can also observe the duality characteristic of the era: despite the fact that love as such is a purely personal and individual feeling, it is also a universal, universal feeling:

Where every man goes in due time.

Old and young, princes and subjects,

In order to see this island, they wanted to be strange ‹…›

A different dry path "odes leads, also water,

And from all countries there is free entry to this island (101).

Therefore, no matter how paradoxical it may seem at first glance, it is through the culture of love feeling, with all its particularity and intimacy, that a person is not only able to realize himself as an individual personality, but is also able to identify himself with any other person - and this already means that he rises to high social passions.

Finally, the peculiar literary form of the novel "Riding to the Island of Love", written in prose and verse, also could not fail to attract the attention of the Russian writer and Russian readers. The double lyrical epic reproduction of the plot of “Journey to the Island of Love” in the epic description of Tirsis’s wanderings through the material space of the fictional island and in the lyrical poetic outpouring of love emotions, which together create a picture of the hero’s spiritual evolution, all this gave volume to the novel’s picture of the world, which united the descriptive plastic and expressive-ideal aspects of the literary world image. So, in the new Russian literature, a prototype of the future model of the novel narrative appears, combining two essential genre-forming features of the novel epic - the epic of wanderings and the epic of spiritual evolution. And since the plot of the novel is entirely concentrated in the field of the private emotional life of a person, it can be said that Trediakovsky's translation offers Russian literature a kind of original genre model of the novel "education of feelings."