Process of creation literary work- from conception to implementation, to the final text, as well as scientific description This process is called by different names: text genesis, dynamic poetics and, more traditionally, creative history .
Biography is considered as a fact of history, and the creation of a work is considered as a fact of biography. Knowledge of the historical context helps to understand the work of the writer as a whole and appreciate the merits of this work.
In the spotlight mythological(J. and V. Grimm, M. Miller, F.I. Buslaev and others), culturally-historical(I. Ten, A.N. Pypin, N.S. Tikhonravov and others), comparative historical(T. Benfey, A.N. Veselovsky, etc.) schools remained folklore, literary tradition, and not the creative will of the author.
To understand the originality of the work, it is important to know the tradition, in particular genre. Bakhtin: “The work has its roots in the distant past. Great works of literature are prepared for centuries, in the era of their creation only the ripe fruits of a long and complex process of maturation are removed. Creative history is only a part of the genesis of the work, it should be distinguished from the much broader concept of genesis.
Interest in "personal creativity" highlights creative individuality the author and, accordingly, the history of the work he created, the sources of which could be heterogeneous, often borrowed. So, to recreate the creative history of many works of the XVIII century. it is necessary to establish literary sources and influences. The problem remains relevant in the future (for example, Pushkin "History of the village of Goryukhina").
Different literary approaches to the work, to varying degrees, recognize the need to study creative history.
An important direction to this aspect of research was given in the 19th century. psychological school in Russian literary criticism and biographical direction in the western (biographical dictionaries appear in Russia).
In the XX century. under the influence of the ideas of Z. Freud, K. Jung, many biographical studies are at the same time psychoanalytic(Of Russian writers, they especially wrote about Dostoevsky in this vein).
sociological school V.F. Pereverzeva contrasted the “simple” path from the work to the biography of the writer with the “difficult” research path “through the poetic text” to the “being” of the class and the psychology that grew on this soil. The writer portrayed various options class psychology in his work. In this context, it is natural to be indifferent to the facts of the biography, which are not of sociological interest.
According to the theory formal school, structuralism, the work is autonomous, independent of the biography of its creator. Researchers study the immanent properties of the text, leaving aside the history of its creation, the biography of the author.
In Anglo-American literary criticism, there are historical direction, representatives of which "consider the work against the background of the circumstances and facts of the life of its author and time."
In Soviet literary criticism of the 1920s, the creative history of a work as type scientific research received a detailed justification in the works of N.K. Piksanov "The New Way of Literary Science" and " creative history"Woe from the mind." He considered the reconstruction of creative history the basis of the genetic study of literature. Piksanov believes that it is not enough to rely on the data of the final text, and suggests considering other materials related to the work: written and oral auto-testimonies recorded in letters, diaries, memoirs of contemporaries, as well as plans, sketches, draft and white autographs, lists, proofreading sheets, lifetime and printed editions. The researcher must recreate the evolution of the main idea, "general constructive intentionality." It was recommended to involve both the biography of the writer, various types of comments (literary, real, historical), and to explore the evolution of the language of the work, its verse, metrics, plot, composition. Those. the researcher must inevitably touch on the fact How it is "done", and vice versa.
By the time Piksanov put forward this method (“teleogenetic method”) in domestic literary criticism there was a crisis: literature was assigned the role illustrations public life. The reaction to this debasement of art was the formal method.
Piksanov's method still had limitations: it was applied to the closest, contemporary work of the factors that influenced it.
But creative history can also be viewed in a broader context. genesis works in general, in the context historical poetics. In this case, the basis for the reconstruction of the author's creativity is an infinitely extended genealogy of the work. It's not so much about prototypes(in life and literature) , how much about archetypes. Such an approach cannot but rely on the achievements of both scientific schools 19th century (named above), and trends of the twentieth century, focused on genetic issues ( sociogenetic, psychoanalytic directions , post-structuralism, with an important question for him about intertextual connections, or intertextuality, etc.)
For Piksanov, creative history was above all text history, as well as the identification of life and literary facts that had direct influence on the writer and his work. The experience of such an interpretation is presented by him in the book “The Creative History of “Woe from Wit”. The scientist shows the history of the comedy text from legends about early editions to the first printed text. This is how it is installed canonical text plays. In the section devoted to the actual creative history of comedy, Piksanov states style dynamics during processing from book language to living speech, traces evolution of images, “the evolution of the ideological content of the play” (considers the “first outline” of the comedy, its rough draft, comments on everyday, historical realities, sets out the “composition of ideological content” according to the final text). As a result, he comes to the conclusion that the ideological concept was formed at an early stage of work, before the poet's meetings with the Decembrists.
Comparison of different editions and versions of one work, in addition, clarifies individual scenes, episodes, actions of heroes, the reasons for which are not always obvious due to the fact that the author, in the process of revision, for some reason, eliminates individual remarks, actions in a later text. .
The reconstruction of creative history is closely connected with textual criticism and necessarily relies on its data. Therefore, the question arises about the relationship and delimitation of the tasks of creative history and textual criticism, which studies the same materials. Textology, tracing the history of the formation of the text, substantiating the main text and accompanying it with the necessary real-historical commentary, presents it as sample, standard for replication. Creative history, based on the history of the text, ideally gives history of creation the entire work as a whole. When it is difficult to determine what belongs to creative history and what to textology, Piksanov suggested that the presence in a work that claims to be creative history, "at least elements of analysis and generalization," be decisive.
Knowledge of the creative history of a work is the most important criterion for the objectivity of reading and a guideline in the multitude of interpretations with which the work “acquires” in the course of its functioning. In the work of the author on the work, his intentionality, creative will, that aspect literary activity which actively influences the reader.
Exploring creative history classical works that have stood the test of time is the most important task of literary criticism. The older the monument of literature, the less reliable evidence about it and its author, the more hypothetical its creative history. When studying works medieval literatures, in particular Old Russian, in most cases anonymous and created in accordance with the established genre and stylistic canons, the data textology. Borrowing, variation, repetition of the same plots, characters, verbal formulas, etc. was the norm in the era traditionalism.
For the creative history of works realistic literature important information about protoplots And prototypes heroes. For example, it is known that true incidents underlie the plots of Dubrovsky by Pushkin, Gogol's The Government Inspector, Turgenev's Rudin, and Dostoevsky's Possessed.
Many have a creative history. lyrical miniatures. There are cases when they underwent significant changes in preparation not only for the first, but also for later editions. These changes could contribute to the most complete and vivid embodiment of the author's intentions, but could, on the contrary, obscure them under the pressure of various circumstances (censorship, editing, cardinal changes in the mind of the poet himself). For example, the editorial participation of I.S. Turgenev in some editions of the poems of his poet friends F.I. Tyutchev (1854) and A.A. Feta (1856) distorted the texts to a large extent, so it is necessary to refer to earlier, copyright editions expressing the musical, emotional nature of Fet's lyrics, the originality of Tyutchev's versification.
The possibility and necessity of taking into account all factors in the creative history depends on the specific features of the work under study. There are a number of difficulties associated with the terminological fuzziness of concepts. influence», « resemblance».
For various reasons, the creative story is not always established by direct documentation (as in the case of the comedy Woe from Wit). It happens that design the artist is nurtured in the head and poured onto paper immediately in the final version (for example, Blok's "The Stranger"). But most major works It has rich history text, revisions, variants, printing (Turgenev - "form lists": conditional biographies of his heroes, detailed plans for novels).
To understand the author's intention of a work, the facts of its external history may be important: the history of reprints, the intervention of censorship, editors, reviews of the author and professional writers, connection with the biography of the writer, etc.
(“Introduction to Literary Studies” edited by L.V. Chernets. In my opinion, the lecture about the creative history of the production was exactly according to the textbook, even the examples are the same).
Additions on the external history of the work from the lectures.
Previously, works were first published in parts in different magazines. Publication in a particular journal helps to understand the intentions of the author (each journal has its own editorial board with its own position).
Of great importance is the reaction of contemporaries immediately after publication. “Contemporaries very well feel the unwritten rules characteristic of this era”, they feel innovation, but often react negatively (for example, Pushkin’s Ruslan and Lyudmila - the poem used to be heroic, on a topic important for the state, Chekhov's stories - they believed that they were anti-artistic). Every piece has a reputation. It is the task of the history of literature to trace the formation of this reputation. It is important to understand why some writer was not accepted, and someone was overestimated. Often writers were not accepted because they were ahead of their time, they wrote the way they would write after them. Sometimes - the reverse picture: oblivion of the once popular writer. For example, in the 30s and 40s. 19th century Bulgarin was very popular. As a rule, such authors belong to mass literature (it is believed that mass literature appeared in Russia in the 17th century, when the genre of the novel was very popular).
Style
One of the main features of Goncharov's style is the change of image plans - points of view, as well as their interaction and synthesis.
IN " Ordinary history» the author used many options psychological point vision. This fully applies to the main character. The image of the external plan of the image of Alexander Aduev is represented by the following methods: objective, non-judgmental narration; objective evaluative narrative; the position of the hero is clarified in his statements; the external plan of the hero is revealed by the "all-seeing" narrator; direct speech; portrait descriptions. The inner plan of the image of Alexander Aduev includes: the author's presentation using verbs internal state(thought, felt, sensed); internal monologues; indirect and direct speech. Plans of representation in the novel are characterized by diversity, a multitude of relationships, which determines the composition of the novel.
The next essential feature of Goncharov's style is the rhythm of the narration. The rhythm of "Ordinary History" is set by the confrontation between St. Petersburg and the provinces. The pace of life in the capital is emphasized tense, strictly measured, based on rational goal-setting and bound by linear time. Pace provincial life in Grachi it is slowed down, low-event, as it is connected with cyclic time. At the level of narration, dialogues with the author's word alternate rhythmically.
You can see the relationship between the character of the hero and his speech. The speech of Petr Ivanovich Aduev is distinguished by a neutral or ironic intonation, a measured pace, a clear, logically verified syntax, which corresponds to the type of his personality. Alexander's speech is replete with emotionally expressive intonation, bookish rhetoric, an abundance literary quotations, at an accelerated pace, ornate syntactic constructions.
ROMAN OBLOMOV
The history of the creation and publication of the novel "Oblomov" is exhaustively recreated by L. S. Geiro. The idea of Goncharov's trilogy arose in 1845 - 1846. In the spring of 1849, "Oblomov's Dream" - "overture" - was published. The materials published by the researcher indicate that by the autumn of 1849, sketches for the first part had been made. Further work did not advance for eight years. Goncharov expressed a desire to publish the completed fragment, but there was no talk of continuing.
By original intention the novel has been defined as "physiology". The object of analysis was to be not so much the type of couch potato landowner as the phenomenon that gave rise to it. The future work was to be called "Oblomovshchina". The author intended to develop the narrative from the general to the particular.
In the process of work, Goncharov felt that the "lazy image of Oblomov" is a phenomenon not only social order that he absorbs "little by little the elementary properties of a Russian person", i.e., the problem develops into an archetypal one. It sounds in full in Oblomov's Dream, later called "the overture of the whole novel." It is quite obvious that the "physiological" framework for the author turned out to be narrow. "Oblomov's Dream" determined the leitmotif of the entire symphony. The "type" hero had to become the "idealist" hero.
But the search for a path to such a metamorphosis dragged on painfully, Goncharov already believed that there was no need to continue the novel. In 1857 he went to Marienbad to the waters, where he felt a surge of creative energy and the old hopelessly frozen idea was transformed into a new one in seven weeks. Three parts of the novel were written. The author takes his hero out of a dusty apartment into the space of ideal love. The text was gradually freed from the signs of the style " natural school". After all, by the end of the 50s. this direction no longer determined the literary process.
In 1859, the novel "Oblomov" was published in the magazine " Domestic notes". Critics gave mixed reviews to the work. An attempt at an archetypal interpretation of the image of Oblomov is made in their articles by A. V. Druzhinin and A. A. Grigoriev. A narrow social, ideological interpretation of the image is given by N. A. Dobrolyubov and D. I. Pisarev. Dobrolyubov in his article draws attention to social status hero, on his "three hundred Zakharov", which contribute to the development of laziness and passivity. However, the most important thing escapes the attention of critics - the complex and contradictory life of the spirit of Ilya Ilyich Oblomov.
The famous historian V. O. Klyuchevsky gives the following interpretation of Oblomovism: “Oblomov’s mood or life outlook, personal or mass, is characterized by three dominant features: this is 1) moral relations an aesthetic element, to replace the idea of duty with a tendency to enjoyment, to exchange the commandment of truth for institute dreams of muslin happiness; 2) idle killing of time for lazy and careless inventing social theories torn off from any reality, from the actual conditions, of any historically established and reasonably conceivable community; and 3) as a well-deserved punishment for both of these sinful features, the loss of hunting ..., with complete weakness of the will and with a neurasthenic aversion to work, activity, but with the preservation of purity of heart and nobility of spirit, protected by idleness and lack of will.
Literary criticism of the twentieth century. continued to interpret the novel in the spirit of Pisarev-Dobrolyubov.
Modern researchers propose to consider the concept of Oblomov's image as an archetypal image in the classical, Jungian, sense of the word. This tradition goes back to the first critical responses to Goncharov's novel, when the concept of an archetype was not yet connected with Jung's experience. The connection between the image of Oblomov and the world of folklore, mythology, the Russian Middle Ages is obvious, and, perhaps, Goncharov himself unconsciously turned to these traditions.
The creative history of the work is the process of creating a literary work from conception to implementation, to the final text, as well as a scientific description of this process. IN modern literary criticism the creative history of the work is also called the genesis of the text, dynamic poetics. Knowledge of the creative history of a work is the most important criterion for the objectivity of reading and a guideline in the multitude of interpretations with which the work “acquires” in the course of its functioning. The older the monument of literature, the less reliable evidence about it and its author, the more hypothetical the creative history of the work. When studying the works of medieval literature, in particular, Old Russian, in most cases anonymous and created in accordance with the established genre and stylistic canons, textual data are invaluable help; hence the importance of a thorough study of the manuscript, lists, variants, editions of monuments.
As a type of scientific research, the creative history of the work was substantiated in the 1920s by N.K. Piksanov who considered it necessary to consider such materials related to the work as written and oral auto-testimonies recorded in letters, diaries, memoirs of contemporaries, as well as plans, sketches, draft and white autographs, lists, proof sheets, lifetime and printed editions. By comparing the initial and subsequent lists that reflect the progress of work on the work, it is possible to recreate the evolution of the main idea, the "general constructive intention". The possibility and necessity of taking into account all factors in the creative history of a work depends on the specific features of the text being studied. There are a number of difficulties associated with the terminological vagueness of the concepts of "influence", "similarity". The issue related to prototypes and proto-plots, and, as Piksanov pointed out, is solved unambiguously: if there are no direct author's evidence about prototypes, this issue is excluded from the creative history of the work. At the same time, it can be central to studies seeking to establish the prototypes of well-known literary characters using indirect data. For various reasons, the creative history of a work is not always established by direct documentation. It happens that the artist's idea is hatched in the head and poured onto paper immediately in the final version. So, according to P.N.
The study of the creative history of the pasto work is connected with textual criticism and relies on its data, so the question arises about their relationship and differentiation. Textology, tracing the history of the formation of the text, substantiating the main one and accompanying it with the necessary real-historical commentary, presents it as a model, a standard for replication. The creative history of the work, based on the history of the text, ideally gives the history of the creation of the entire work as a whole. It is sometimes difficult to determine what belongs to the creative history of a work, and what to textual criticism, attribution, and linguistic style. Piksanov considered decisive here the presence in the work, which claims to be the creative history of the work, elements of analysis and generalization. Textological data and description of manuscripts are not included in it, but serve as source material for it. Piksanov's "teleogenetic method" involved studying, first of all, the nearest, contemporary work factors that influenced it. But the creative history of the work can be viewed in a broader context. historical poetics. In this case, the basis for the reconstruction of the author's intention is the infinitely extended genealogy of the work; we are talking not so much about prototypes (in life and literature), but about archetypes. Such an approach cannot but rely on the achievements of both the scientific schools of the 19th century and the trends of the 20th century, focused on genetic problems, issues of intertextual relations, or intertextuality, etc.
The main tasks of the history of literature
Literature is a process of its own historical patterns; the sum of all written works;
mechanism of social memory.
Tasks: 1) study of a separate work of art; 2) an attempt to comprehend the entire lit. tv-va.
(1) (separate pr-e) - a) collecting and systematizing all the facts, connected. with this pr-th (this requires knowledge of the era). the principle of historicism. The ability to step back from modernity, broad erudition. b) the study of the biography of the writer (chronicle of life and TV-va; critical biographical essay)). c) study of the work itself (creative history of the project)
(2) - a) study certain period tv-va writer / the creative path of the writer as a whole, b) the history of def. period in the development of literature, c) build a history national literature(For example, "History of Literature" in 10 volumes - 1950s, in 4 volumes - 1980s), d) construction of the history of world literature; folklorists have found repetitive different peoples motives and plots => the question arose - are there any general patterns in the development of literature and folklore, e) comparative literary criticism (comparative studies), f) literature is understood as a reflection of social processes.
Often the history of literature is described as the history of literary movements (lit. For example, start from the 17th century): Baroque - classicism - sentimentalism (Rousseau, Karamzin) - romanticism - realism (40s of the 19th century) - symbolism (beginning of the 20th century .; Rambo, Blok) - avant-garde (futurism and acmeism) - socialist realism - postmodernism (in Hebrew from the 60s, in Russia - from the 80s).
Internal causes, patterns of development of liters (the sequence of directions is not random, it obeys internal laws). The writer depends on many factors - genre, style, language, social factors, external influence.
1) biographical method (pr-e is analyzed through the biography of the writer and the biological method (lit-ra develops as a living organism - birth ... death) - 1st half. 19th century, 2) Darwin's theory (theory natural selection) . Literature develops from homogeneity to heterogeneity. First - the unity of words, dance, music ... Then the arts begin to develop separately. Formalists - - the principle of lit. evolution is a struggle. "Swing Theory". There is no continuous progress. Literary trends alternate (realism resembles classicism), literary era strives to be like a "grandfather", and not like a "father" - the 2nd sex. 19th century, 3) sociological method. He borrows his metaphors and models from sociology. At the heart of every formation is the economy. Art is a "superstructure" (determines the level of development of society).
From mythology and folklore - to psychological novels realism: Over time, a person gets to know the world better. Creativity is an intuitive process. 18th century - folklore as the fruit of ignorance, 19th century - writers turn to the archaic layers of folk culture (Zhukovsky, Pushkin, Gogol, Afanasyev's collection of fairy tales). Every gain comes with a loss. New tricks in literary direction- peculiar " technical progress". Any pr-e is unique; it cannot be faked or repeated even by the author himself.
Creative history of the work
The process of creating lit. pr-i - from the idea to the embodiment, to the final text, as well as the scientific writing of this text is called differently: the genesis of the text, dynamic poetics, creative history. Biography as a fact of history, and the creation of pr-I as a fact of biography. Knowledge of historical context helps to understand the writer's TV as a whole and evaluate the merits of this project. In the center of attention is the mythological, cultural-historical, comparative-historical. schools remained folklore lit. tradition, not creativity. the will of the author. (To understand the pr-i, it is important to know the tradition, in particular, the genre). Creative. history is part of genesis. Interest in personal TV-woo puts forward creative. the individuality of the author and the history of the creation of his project. So to create creative. history pr-th must be set letters. sources and influences. Important gave direction to this aspect in the 19th century. psychological school in Russia literary critic. and biographical direction in the western (appearance of biographical dictionaries). Biographical There are also psychoanalytic studies. Sociological school (Pereverzev) - difficult. research path through the poetic. text to the being of the class and to psychology. Indifference to the facts of the biography. Formal school - pr-e yavl. independent of the biography of the writer. Historical. direction (in American literature) - pr-e through the prism of the facts of the author's life and time. Piksanov (Soviet Literature of the 1920s) will offer to consider other materials related to. to the text: auto-testimonies (diaries and letters), sketches, drafts. Recreation of the evolution of the main idea. Attracting the evolution of language pr-i (metrics, plot, composition) - teleogenetic method (note - "The creative history of" Woe from Wit "" Crisis; literature was assigned the role of illustrating social life, the reaction to such belittling is a formal method. Consideration creative history in a broader sense – in the context of historical poetics (talking about archetypes). analysis and generalization). Knowledge of TV. history is the most important criterion for the objectivity of reading and a guideline in many interpretations. The study of TV. histories of the classical. Pr. history of the pr-th realistic literature, data on the proto-plots and prototypes of the characters are important. Many lyrical miniatures have TV history (note - Turgenev's editorial participation in the publication of some. poems by Tyutchev and Fet). It happens that the idea is hatched in the head of the author and suddenly pours out onto paper immediately (“stranger”), it happens the other way around - with Turgenev. To understand the intent, m.b. the facts of his appearance are important. stories - censorship interventions, printing fragments of text in magazines, reprints, reviews (Derzhavin himself spoke about his projects). Great importance has the reaction of contemporaries immediately after publication. Each pr-I have a reputation, to trace the formation of this reputation is the task of the history of literature. Understanding why someone was underestimated, someone - on the contrary. Often writers did not realize that they were ahead of their time. And vice versa - oblivion of the once popular writer (Bulgarin - 30-40s of the 19th century)
Tasks of Literary Theory
Theory of literature - academic. discipline. connection with history. The history of literature offers an interpretation of the text; pr-e can be interpreted based on the theory of literature. 2 ways of research: 1) inductive (most), 2) deductive. Where it is impossible to test everything on concrete material, science approaches philosophy. The theory is close to scientific. the ideal of objectivity (excluded value judgments). Tasks are varied.
WORLD Text (specific author, folklore text, a whole genre with the same internal structure)
(things, objects;
society, human psychology)
Reader ( a common person, target groups, general. image of the reader).
Text: Objective (formal) theories. How thin is built. pr-tion. Aristotle: construction ancient tragedy and epic poem. Russian Formalism (1916, St. Petersburg), Moscow Linguistic Circle (Shklovsky, Tynyanov, Tomashevsky). In the Stalin era it was forbidden. In the 60s. formalist ideas => structuralism (Lotman, Uspensky, Ivanov, Toporov...). Literary criticism of the twentieth century. based on linguistic methods.
Reader In: Affective Theories. How a work of art affects (reaction of the reader). Psychology. Aristotle - "catharsis" the impact of tragedy. Further - along the path of normativity (the writer is prescribed how he should write and how to influence). Poetics => rhetoric (the art of persuasion). XIX-XX centuries - began to study the real reaction real reader. Does each person read differently or is there something in common? Is there a single meaning of the text that any reader perceives? Emotional reaction or intellectual? Is there a single correct interpretation of the text? Psychology of perception (cognitive sciences).
World. realistic theories. WHAT reflects thin. pr-tion? (reflection, reproduction of the phenomena of the world, with elements of fiction, fiction) In any project, the objective laws of reality are reflected. From the position of a sociologist - in 1st place social processes, aesthetic theories - in the 1st place is fiction, the thoughts of the author. HOW reflects the world of thin. pr-tion?
With the help of language. Exists language picture peace. The world is divided by language. The word is ambiguous. How objectively can you express? Philosophy of language.
The process of creating a literary work from conception to implementation, to the final text, as well as the scientific description of this process, is called differently: the genesis of the text, the dynamic poetics of the self, more traditional, creative history. The work of the author on the work reveals his premeditation, creative will, that aspect of literary activity that actively influences the reader 1 . Knowledge of the creative history of a work is the most important criterion for the objectivity of reading and a guideline in the multitude of interpretations that a work “acquires” in the course of its functioning (of course, if the work does not turn out to be “one day”). Exploring creative history classical works that have stood the test of time is the most important task of literary criticism (in particular, one of the obligatory and responsible goals of commentary in academic editions of the classics).
The older the monument of literature, the less reliable evidence about it and its author, the more hypothetical its creative history. In this case, “a certain persuasiveness can be given to the hypothesis by the presentation<...>its numerous confirmations, analogies with the phenomena of other cultures” 1 . When studying the works of medieval literature, in particular Old Russian, in most cases anonymous and created in accordance with the established genre and stylistic canons, the data are invaluable. textology; hence the importance of a thorough study of the manuscript, lists, variants, editions of monuments. Borrowing, variation, repetition of the plots themselves, characters, verbal formulas, etc. was the norm of creativity in the era traditionalism. The motley pedigree of works (the study of which goes beyond the reconstruction of the actual creative history) is the subject of numerous studies of literary schools of the XDC century, focused primarily on issues of a broadly understood genesis works and the evolution of literature. Regardless of whether the work was ultimately built to a myth, a historical event or a legend, some kind of “wandering”, migrating plot, the focus is on mythological(J. and V. Grimm, M. Miller, F.I. Buslaev and others), cultural and historical (I. Ten, A.N. Pypin, N.S. Tikhonravov and others), comparative historical,(T. Benfey, A.N. Veselovsky and others) schools remained folklore, literary tradition, not the creative will of the author. As A.N. Veselovsky, the task of his "historical poetics" was "to determine the role and boundaries of tradition in the process of personal creativity" 2 . It was "tradition" that was studied by other medieval scholars.
Interest in "personal initiative" (and not in "tradition" as such) brings to the fore creative individuality the author and, accordingly, the history of the work he created, the sources of which could be very heterogeneous and often borrowed. So, to recreate the creative history of many works of Russian literature XVIII V. (“Riding to the Island of Love” by V.K. Trediakovsky, some plays by V.I. Lukin, Empress Catherine II, fables by A.P. Sumarokov, I.I. Khemnitser, etc.) literary sources and influences.
The problem remains relevant in the future. The controversy over the “History of the village of Goryukhin” by A.S. Pushkin. N.N. Strakhov claimed that parody on the "History of the Russian State" N.M. Karamzin. The statement was refuted by N.I. Chernyaev (1909), who stated that Pushkin's parody was not directed against Karamzin, but against historiographers with such methods of presentation that the poet did not like (for example, NA Polevoy). V.V. Sipovsky, on the other hand, shed light on the meaning of Pushkin's story in a new way, suggesting that its source is not historical, but literary - satire. German writer G. V. Rabener, translated into Russian in 1764 under the title “Reduction made from the chronicle of the village of Kverlek-vich” 1 . And the establishment of the literary sources of the poem "Ruslan and Lyudmila" showed that it used common in pseudo-folk literary tales(M.D. Chulkov, V.A. Levshin, M.I. Popov and others) plot moves and motifs, in this sense the poem is “solid common place» 2 . However, Pushkin's talent, his innovation (the combination of the genre of the poem with elements of parody, the author's irony as a technique not only stylistic, but also compositional), virtuosity in verse ensured her great reader success.
For the creative history of works of realistic literature, based more on real facts, life observations of writers, data on protoplots And prototypes heroes. For example, it is known that true incidents underlie the plots of Dubrovsky by Pushkin, The Inspector General by N.V. Gogol, "Rudina" by I.S. Turgenev, "Demons" by F.M. Dostoevsky. Accuracy and caution are necessary in ascertaining vital sources; an adequate understanding of the author's intention largely depends on this. So, in " literary memoirs» P.V. Annenkov called "the first thought ... of the wonderful story" of Gogol's "Overcoat" an anecdote about a poor official who acquired a gun with economy and tireless work and lost it on the very first hunt, fell ill from shock and was brought back to life only thanks to the care of his comrades who gave him new gun 3 . However, this testimony of the memoirist, who heard the story at the same time as Gogol, is disputed by modern literary critics: the story was conceived by the writer back in St. Petersburg, before his departure abroad, original name her: “The Tale of an Official Stealing an Overcoat”. A version that represents the author's concept of something different from the traditional reading 1 .
Prototypes and Protoplots epic And dramatic works invariably arouse wide interest 2 . The significance of "dynamic poetics" for understanding large epic canvases, which have a lot of draft versions and editions, such as "War and Peace", "Anna Karenina", "The Brothers Karamazov" is obvious. However, they also have a creative history lyrical miniatures*. There are cases when they underwent significant changes in preparation not only for the first, but also for later editions. These changes could contribute to the most complete and vivid embodiment of the author's intentions, but, on the contrary, could obscure them under the pressure of various circumstances (censorship, editing, cardinal changes in the poet's worldview, etc.). For example, the editorial participation of I.S. Turgenev in some editions of the poems of his poet friends F.I. Tyutchev (1854), A.A. Feta (1856) distorted them to a large extent, so it is necessary to refer to the earlier ones, copyright editions lyrical works, more fully expressing the musical, emotional nature of Fet's lyrics, the originality of Tyutchev's versification 3.
As a type of scientific research, the creative history of the work was substantiated by N.K. Piksanov in the works "The New Path of Literary Science" and "The Creative History of "Woe from Wit"" 4 . Considering the creation of creative history as the basis for the genetic study of literature, Piksanov emphasized: “Any aesthetic element, any form or construction can be scientifically realized most sensitively, subtly, and only truly only in a complete study of their origin, maturation and completion” (p. 18). Literary critics of various schools and trends mainly relied on the data of the final text. Piksanov considers them insufficient for the reconstruction of artistic "teleology". He proposes to consider all materials related to the work: auto-testimonies, written and oral, recorded in letters, diaries, memoirs of contemporaries, as well as plans, sketches, draft and white autographs, lists, proof sheets, lifetime printed editions. Comparing the initial and subsequent records, reflecting the progress of work on the work, the researcher must establish teleology small stylistic units, to recreate the evolution of the main idea, “general constructive intentionality” (p. 21). These are the main, but not the only criteria for creating a creative story.
The methodology of creative history, according to Piksanov, should combine the techniques of the "old" literary criticism, i.e., the cultural-historical school, with the methodology of the "new", formal approach. In fact, it was about combining the historical and cultural interpretation of literature with a formal aesthetic analysis: it was recommended to involve both the biography of the writer, various types of comments (literary, real, historical), and to explore the evolution of the language of the work, its verse, metrics, plot, composition - In other words, the researcher, answering the question about how this work must inevitably touch upon the How it is "done", and vice versa.
Promotion by Piksanov of a new, "teleogenetic" method in the 20s of the XX century. was explained by the fact that by that time there had been a crisis in Russian literary criticism: the absolutization of the cultural-historical method led to the fact that literature was assigned exclusively the role of illustration public life. The reaction to such a belittling of art, which supposedly has official significance, was a formal aesthetic analysis. Using the achievements of the "old" and "new" methods, as Piksanov believed, should lead to the best result. In addition, "the true genesis of poetic phenomena" can ensure the use of the sociological method, understood "correctly" (p. 14).
Thus, creative history was theoretically understood very broadly, and its creation involved the use of a variety of methodological tools, appeal to different aspects of creativity. “Everything that intrudes into creativity between the idea that has arisen and the closure of works has the immediate right to be included in creative history” (p. 68).
Piksanov's "teleogenetic" method involved the study, first of all, of the closest, contemporary factors that influenced the product. But creative history can also be viewed in a broader context. genesis works in general, in the context historical poetics. In this case, the basis for the reconstruction of the author's creativity turns out to be an infinitely extended genealogy of the work, it is no longer so much about prototypes (in life and literature, for example: Gogol's heroes in M.A. Bulgakov's Adventures of Chichikov), but about archetypes. Accordingly, such an approach cannot but rely on the achievements of both scientific schools of the 19th century. (named above), and trends of the XX century, focused on genetic issues (sociogenetic, psychoanalytic, postmodernism, with an important question for him about intertextual connections, or intertextuality etc.) 1 . Of course, in order to understand the originality of a work, one must know the tradition, in particular the genre tradition. As emphasized by M.M. Bakhtin, who considered genres to be the “main character” of literature, “the work has its roots in the distant past. Great works of literature have been prepared for centuries; in the era of their creation, only the ripe fruits of a long and complex process of maturation are removed. (Obviously, the consonance of Bakhtin's thoughts, the very interests and searches of Veselovsky, with his exceptional attention to "tradition".) Creative history is only Part the genesis of the work, the work of the author on this text is preceded by the work of Time on many of its elements, on the genre as a kind of integrity. But the creative history of a work must be distinguished from the much broader concept of its genesis.
For Piksanov, who has priority in substantiating a new type of research, the creative history was, first of all, text history, as well as life and literary facts who had direct influence on the writer and his work. The experience of such a study is presented by Piksanov in his already mentioned book "The Creative History of "Woe from Wit"". Scientist shows text history comedies - from legends about early editions and the subsequent change of editions to the first printed text. This is how the final text of the play is established. In the section devoted to the actual creative history of comedy, Piksanov states the dynamics of style in the course of revisions from book language to live speech, traces the history of images, the "evolution of the ideological content" of the play. Taking into account the revisions preceding the final text “deepens the psychological and everyday understanding” of Sophia’s character (p. 232), which caused conflicting assessments among contemporaries: Griboyedov initially intended to combine superficial sensitivity in her character with a deep, real feeling. According to Piksanov, the playwright did not always succeed in this.
In the script of the play, which has remained unchanged throughout the entire creative history of the work, Piksanov discovers the loss of the "central verse" from the final text. Chatsky threatens Sophia: “Oh! The past will not pass you in vain!” This threat - main motive subsequent actions of the heroine: trying to prevent the publicity of her own failures, she declares Chatsky a madman who cannot be trusted. The omission of this verse "obscured one of the essential moments of the stage scheme" (p. 288). It remains unclear what caused Sophia's anger and evil trick.
The “ideological evolution” is also studied in the same way: the “first outline” of the comedy, its “rough draft” is considered, everyday, historical realities are commented, the “ideological composition” of the play is described according to the final text. The scientist states that the poet’s idea was formed at an early stage of his work, before his meetings with the Decembrists, the theme of serfdom was mentioned in the comedy only twice in Chatsky’s monologue “Who are the judges?”, “There is no place at all for philosophical themes” (p. 304) . The independence of the ideological composition of "Woe from Wit" from censorship is emphasized: political statements in the early and final texts were either softened or aggravated, but not a single ideological motive was lost in the final text. The general direction of the “ideological evolution” is from concrete, everyday to symbolization, generalization.
The appearance in the final text of a new line compared to previous editions, the elimination of part of the text by the author, the correction or replacement of one word with another - these are special signs of development, transformation of the intention, crystallization of the author's idea. Comparing the final text of A. Griboedov's "Woe from Wit" with the museum's autograph of the play, Piksanov, in particular, discovers a discrepancy: Chatsky's phrase "I wish you to doze in ignorance, shastly ..." in the early version sounded more sharply: "In noble arrogance I wish you to be happy...” This gives the scientist a reason to conclude that the author’s original intention was to express his indignation against the old nobility and to carry this motive throughout the play. Comparison of two verses from the preliminary editions of Chatsky's monologue (d. III), where only Moscow is mentioned:
Moscow is a capital place in Russia... ...And in the same Moscow...
and verses from the final text, where Petersburg is also named:
Moscow and St. Petersburg in all of Russia then ... And in St. Petersburg and in Moscow ...
Is for a scientist one of the arguments confirming the idea of evolution ideological concept poet, about the movement of his creative thought from specifics to generalization, from the image of one Moscow to the picture of all of Russia, the “motherland”.
Comparison of different editions and versions of one work, in addition, clarifies individual scenes, episodes, actions of heroes, the reasons for which are not always obvious due to the fact that the author, in the process of revision, for some reason, eliminates individual remarks, actions in a later text. . Piksanov gives such an example. In "Eugene Onegin" (ch. 5, stanza XXX) Tatyana
<...>darkening eyes
Does not raise: bursts violently
There is a passionate heat in her; she is stuffy, bad;
<...>already ready
Poor thing to faint;
But will and reason power
They overcame.
The next stanza describes Onegin's impressions:
Tragi-nervous phenomena, Girlish swoons, tears For a long time Eugene could not stand<...>weirdo<...>Was already angry.
The hero's reaction seems not entirely motivated, especially given the subsequent events in the novel (quarrel, duel and death of Lensky). Meanwhile, there is a draft version of this episode, where the meeting of Tatiana and Onegin takes place more dramatically: Tatiana
Tears from the eyes They want to pour out: suddenly the poor thing fainted, embarrassed, They carry her out, fussing, The crowd of guests babbled, Everyone looks at Onegin, And everyone blames him in their souls.
This option clarifies both the mention of "tragynervical" phenomena, and Onegin's irritation and anger.
Piksanov's generalizing research on the creative history of "Woe from Wit" was preceded by many works that were close in terms of the problems studied: "History of Creation" dead souls" M. Markovsky (1902), articles by R.I. Ivanov-Razumnik about the novel "Eugene Onegin" (1909), "Etudes on Ostrovsky" by N.P. Kashin (1913), "Missed stanzas of "Onegin"" by M.L Hoffman (1922), P. N. Medvedev's book "Dramas and poems of Al. Blok. From the history of their creation "(1928). These works for Piksanov are prerequisites, "only materials for creative history, but not it itself" (with 24. Pixan's concept of a new type of research was perceived ambiguously, it was criticized a lot, pointing to "vulnerabilities" 1. As a result, creative history began to be understood more widely, and this literary genre became very popular. Thus, already in 1966, the index works on the creative history of L. Tolstoy's works contained more than 300 positions 2 .
Among these works, monographs on major classical works, where creative history is considered in the fullness of its elements: background, language and style, heroes and their prototypes, influences and traditions, plot, composition, ideological content, folklore, real, historical, literary and other sources. Such, for example, are the studies of E.E. Zaidenshnur "War and Peace" L.N. Tolstoy. The Creation of a Great Book” (1966), V.A. Zhdanov "Creative history of "Anna Karenina", Materials and observations" (1957), "The work of L.N. Tolstoy over the manuscripts of "War and Peace" "N.S. Rodionova (as part of the Yasnaya Polyana collection of 1955). Conditionally dividing the creative process into the work of the author on the images of the characters, language, "script", composition, etc., literary critics trace the main stages in the development of each element of the creative story. So, R.P. Matorina in the article "From the creative history of the images of Ostrovsky's Thunderstorm" proves the change in the author's interpretation of the character of the heroine by fixing on handwritten sources amendments related mainly to the images of Katerina and Boris 1 .
The possibility and necessity of taking into account all factors in the creative history depends on the specific features of the work under study. There are a number of difficulties associated with the terminological vagueness of the concepts of "influence", "similarity". In addition, the reflection of socio-political reality in literature is rather conditionally determined. Issues related to prototypes and protoplots, as Piksanov pointed out, are resolved unambiguously: if there are no direct author's evidence of prototypes, this issue is excluded from the creative history. this work. At the same time, it can become the main one for many studies seeking to establish authentic prototypes well-known literary heroes, using data indirectly confirming one or another hypothesis.
For various reasons, the creative history of works of art is not always established by direct documentation (as, for example, in the case of the comedy Woe from Wit). Sometimes the researcher does not have plans, drafts, etc. at his disposal, since the idea was hatched by the artist in his head and poured out on paper immediately in the final version. So, according to P.N. Medvedev, Blok's "Stranger", whose draft was left almost without revision, "has no history" 1 . V. Garshin wrote about his fairy tale “What Wasn't There”: “It was all ready, in my head, and I wrote it as if it was taken from dictation” 2 . Yet most major works of art have a rich history of text, revisions, variants, and printing. This applies to the works of Turgenev, who used to compile "formular lists" - conditional biographies of his heroes, detailed plans for novels (see, for example, preparatory materials for the novels "Fathers and Sons", "Nov" - Full collection of works: V 12 t. M., 1981. T. 7; 1982. T. 9).
To understand the author's intention of a work, the facts of its external history may be important. So, having no manuscripts of Turgenev's story "Ghosts", Piksanov recreates its creative history - "long, difficult and strange", relying only on the facts of its printing from 1864 to 1884. 3 Turgenev was going to give the work to the "Russian Messenger", but quarreled with its editor M.N. Katkov, never wrote what was promised, stretching out for three years. He promised the story to Dostoevsky's magazine Vremya, slowly finishing it until the magazine was closed. The story was finished in June 1863 and in 1864 it was published in a new magazine published by the Dostoevskys, Epoch (No. 1-2). Analyzing "Ghosts", Piksanov establishes the biographical basis of the story, finds reminiscences of the author's personal experiences by comparing self-assessments of the work (sharply negative) with Turgenev's statements in letters to fellow writers. Comparing the original text with the reprints, the researcher comes to the conclusion that the difference between them is insignificant. The fact that the apologetic preface was removed by Turgenev and has not appeared in reprints since 1865 is regarded as evidence that the author appreciated his story highly in his soul, and it is characteristic of Turgenev’s figurative and philosophical thinking: “The soul of the play was pessimistic thoughts about life and death<...>leitmotif passing through all his work” 4 .
The "external" history of creation, i.e., the history of reprints of the work, interference of censorship 5 , reviews of the author and professional writers about it, connection with the biography of the writer, is one way or another considered in all major literary studies devoted to creative way writers, interpretation of their works.
The study of creative history is closely related to textology and invariably relies on its data. Therefore, the question arises about the relationship and delimitation of the tasks of creative history and textual criticism, which studies the same materials. Textology, relying on the listed documents, traces the history of the formation of the text and substantiates main text, accompanying it with the necessary real-historical commentary, presents it as a model, a standard for replication. Creative history, based on the history of the text, ideally gives history of creation works in general.
It is sometimes difficult to determine what belongs to creative history and what to textual criticism, attribution, and linguistic style. Piksanov considered the presence of "at least elements of analysis and generalization" in a literary work that claims to be a creative history as decisive.
Textological information and description of manuscripts are not included in the creative history, but serve as the source material for its creation. Textual publications are becoming more and more as new materials are discovered - handwritten versions, drafts. So, in the 30s, novels by I.A. Goncharov "Oblomov" and "Cliff" (Kharkov, 1927) with the application of unpublished versions, with previously unknown chapters. These are separate books (for example, “Description of the manuscripts of M. Gorky”, M., 1948), and special sections in the academic Complete Works of L. Tolstoy, A. Chekhov, M. Gorky, I. Turgenev and others.
One of the most significant works in our days is the publication of draft manuscripts of the epic Soviet literature"Quiet Don" M.A. Sholokhov 2 . These are manuscripts kept in the Manuscript Department of the Pushkin House (f. 814). The purpose of their publication is not only deciphering and introducing new material into scientific circulation. The main thing is that it makes it possible to follow through numerous author's notes, remarks and inserts "the evolution of the author's intention, the author himself" 3 , whose editing is associated with key images, scenes, episodes, landscape descriptions. Observations on the author's editing, the publishers believe, make it possible "to trace the birth of Sholokhov's unforgettable pages, to better understand the features of the plot, composition, to feel the subtle nuances that often slip away when reading, so necessary for an objective interpretation of the work" 1 . The published draft manuscripts of The Quiet Flows the Don, together with other known materials, should serve as the basis for the reconstruction of the creative history of the novel.
