Boris Poplavsky
Apollo Bezobrazov
Oiseau enferme dans son vol, il n "a jamais connu la terre, il n" a jamais eu d "ombre.
It rained non-stop. He then moved away, then again approached the earth, he gurgled, he gently rustled; it either fell slowly like snow, or swiftly flew by in light gray waves, crowding on the shiny asphalt. He also walked on the roofs and on the eaves, and on the hollows of the roofs, he flew into the slightest jagged walls and flew for a long time to the bottom of closed courtyards, the existence of which many inhabitants of the house did not know. He walked like a man is walking across the snow, majestic and monotonous. He either descended like an out-of-fashion writer, or he flew high, high above the world, like those irrevocable years when there are still no witnesses in a person's life.
Under the awnings of the shops, a kind of closeness of wet people was created. They exchanged almost friendly glances, but the rain subsided treacherously, and they parted.
It also rained in the public gardens and over the suburbs, and where the suburb ended and the real field began, although it was somewhere incredibly far away, where, no matter how hard you try, you will never reach.
It seemed as if he was going over the whole world, that he connected all the streets and all the passers-by with his gray, salty fabric.
The horses were covered with darkened robes, and, just like in ancient Rome, beggars walked with sacks covering their heads.
In small streets, streams washed away bus tickets and tangerine peels.
But it also rained on the flags of the palaces and on the Eiffel Tower.
It seemed that the rough beauty of the universe dissolves and melts in it, as in time.
The periods of its quickening evenly repeated, it lasted and remained, and seemed to be its very fabric.
But if you look for a very long time and motionless at the wallpaper in your room or at the neighboring bluish wall on the other side of the courtyard, you suddenly realize that at some elusive moment twilight is mixed with the rain, and the world, washed out by the rain, sinks with double speed and disappears into them.
Everything changes in a room on a high floor, the pale yellow sunset lighting suddenly goes out, and it becomes almost completely dark in it.
But here again the edge of the sky is freed from the clouds, and a new white twilight illuminates the room.
Meanwhile, the clock is ticking and employees are returning from their offices, lanterns are lit far below, and their reflection appears ghostly on the ceiling.
Huge cities continue to suck in and exhale human dust. There are countless meetings of views, and always one of them is trying to win or giving up, looking down, slipping past. No one dares to approach anyone, and thousands of dreams diverge in different directions.
In the meantime, the seasons are changing, and spring is blooming on the rooftops. High, high above the street, it warms the pink squares of pipes and delicate gray metal surfaces, to which it is so good to cuddle all alone and close your eyes or, perched, read books forbidden by your parents.
High above the world in the darkness of night, snow falls on the roofs. It is barely visible at first, it accumulates, it is evenly and uniformly present. It darkens and melts. He will disappear, never seen by man.
Then, almost flush with the snow, suddenly, unexpectedly and without transitions, summer comes.
Huge and azure, it majestically opens and hangs above the flags public buildings, over the fleshy green of the boulevards and over the dust and touching tastelessness of country cottages.
But in the intervals there are still some strange days, transparent and obscure, full of clouds and voices; they somehow shine in a special way and go out for a long, long time on the pinkish plaster of small distant houses. And the trams chime in a special and drawn-out way, and the acacias smell of a heavy, sweet cadaverous smell.
How huge is the summer in the deserted cities, where everything is half-closed and people move slowly, as if in water. How beautiful and empty are the skies above them, like the skies of the rocky mountains, breathing dust and hopelessness.
Drenched in sweat, head down, almost unconscious, I descended the great river of the Parisian summer.
I unloaded the wagons, watched the speeding gears of the machines, hysterically lowered hundreds and hundreds of dirty restaurant plates into the boiling water. On Sundays I slept on the parapet of the fortification in a cheap new suit and indecent yellow boots. After that, I simply slept on the benches and during the day, when my acquaintances went to work, on their crumpled hotel beds in the depths of gray and hot tuberculosis rooms.
I shaved and combed my hair carefully, like all beggars. In libraries I read scientific books in cheap editions with idiotic underlining and marginal remarks.
I wrote poems and read them to my roommates, who drank cheap gas-green wine and sang in false voices, but with undisguised pain, Russian songs, the words of which they hardly remembered. After that, they told jokes and laughed in a cigarette haze.
I recently arrived and just left my family. I stooped, and my whole appearance wore an expression of some kind of transcendental humiliation, which I could not throw off myself like a skin disease.
I wandered around the city and among acquaintances. Immediately repenting of my arrival, but remaining, I with humiliating politeness carried on endless, languid and boring foreign conversations, interrupted by sighs and drinking tea from poorly washed dishes.
Why did they all stop brushing their teeth and walking upright, those yellow-faced people? - Apollon Bezobrazov laughed at the emigrants.
Dragging my feet, I left my relatives; dragging my thoughts, I left God, dignity and freedom; dragging days, I lived to be 24 years old.
In those years, the dress on me crumpled and settled by itself, ashes and crumbs of tobacco covered it. I rarely bathed and liked to sleep without undressing. I lived in the twilight. At dusk, I woke up on someone else's crumpled bed. He drank water from a glass that smelled of soap, and looked out into the street for a long time, puffing on the butt of a cigarette thrown by the owner.
Then I dressed, long and contritely examining the soles of my boots, turning the collar inside out, and carefully combing the parting - a special coquetry of the beggars, trying to show with these and other pitiful gestures that nothing had happened.
Then, stealthily, I went out into the street at that extraordinary hour when the huge summer dawn was still burning, not burning out, and the lanterns, already in yellow rows, like some kind of huge procession, were seeing off the dying day.
But what, in fact, happened in the metaphysical sense because a million people were deprived of several Viennese sofas of a dubious style and paintings of the Netherlands school of little-known authors, undoubtedly fake, as well as duvets and pies, from which they irresistibly tend to a heavy after-dinner sleep, similar to death from which a man rises utterly disgraced? “Isn’t it lovely,” Apollon Bezobrazov said, “and all these wrinkled and faded emigrant hats, which, like dirty gray and half-dead felt butterflies, sit on poorly combed and balding heads. And timid pink holes that either appear or disappear at the edge of a worn-out shoe (Achilles' heel), and the absence of gloves, and the gentle greasyness of ties.
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Anton Kulikov is a free verse poet, translator and researcher of Boris Poplavsky's work. It was Anton who introduced me several years ago to the works of this wonderful poet, for which I am eternally grateful to him. I am pleased to publish on my blog one of Anton's works, dedicated to Poplavsky's novel "Apollo Bezobrazov". This material has never been published before.
Anton Kulikov: Features of the structure of the novel by B.Yu. Poplavsky "Apollo Bezobrazov"
In the epigraph to Henry Miller's Tropic of Cancer, the thought of Ralph Emerson is given that a special kind of autobiography in the future will replace traditional type novel. Implicitly, this thought turned out to be prophetic of the postmodern novel. The mythologizing of autobiography, as an important element in the creation of a prose work, turned out to be inseparable from the work of many innovative writers, from V. Nabokov to Ven. Erofeev. The principle of autobiography was widely used by beatniks (A. Ginsberg, J. Kerouac, W. Burroughs, R. Brautigan).
Deeply autobiographical is the novel "Apollo Bezobrazov", written by the famous Russian émigré writer B.Yu. Poplavsky. Written at the very end of the twenties of the twentieth century, it is a borderline work, located on
junction of different cultures and artistic concepts. In addition to the principle of autobiography, the author uses the principle of fragmentation. The fragmentation of the work, as a central element of the poetics of the romantics, later turned into symbolism and surrealism. Poplavsky, whose favorite authors were both Lautreamont, idolized by the Surrealists, and Rimbaud, herald of the modern era, could not avoid their influence. Poplavsky's contemporary V.Vedle, in his response to the publication of the first chapters of the novel "Apollo Bezobrazov" in the journal "Numbers", wrote: "New chapters fantasy novel"Apollo Ugly" was partly inspired by "Arthur Gordon Pym" by Edgar Poe, but this does not mean that they are imitative, and Poplavsky's main teacher remains not Poe, but Rimbaud. Indeed, the first chapter of the novel is reminiscent of Arthur Rimbaud's prose poems from Illuminations or One Summer in Hell. The narrative unfolds according to the principle of cinema - the frame is replaced by a frame, causing hallucinogenically vivid and vivid images.
The influence of surrealism on the prose of B. Poplavsky is also obvious. The leader of the movement, André Breton, with whom Poplavsky was personally acquainted, declared: “Imagination is that which tends to become reality.” It is this imagination that is Poplavsky's demiurgical ideal, which he follows all his life. Painful states leading to insights, and dream revelations professed by surrealists, are characteristic both for Poplavsky's life and for his work. The characters of the novel often arrive in a state of sleep, daydreaming, or illness. “Then I fell asleep and had dreams. In general, we all slept a lot, and often until sunset the house was immersed in sleep. What happens to them in a dream is more important than reality. Dream and reality change places. Dreams and memories are intertwined, giving rise to a painful, and at the same time, an attractive image of divine truth. “I fall into some golden wells full of clouds, and for a long time, maybe millions of years, I fly in them, lower and lower, to other worlds, to other times…”. Such a "medium recording of a romantic visionary", as Y. Ivasco aptly remarked, is very in tune with the poetic searches of the surrealists. And it's not about automatic writing, although Poplavsky himself prepared for publication a book of poems "Automatic Poems", which was published many years after his death. The point is to understand verbal creativity as a supernatural, sacred act leading to the emancipation and liberation of the human essence, in faith in the magical ability of the word to transform the world.
Analyzing the structure of the novel "Apollo Bezobrazov", it is difficult to get rid of the reader's impression that the narrative "escapes", the plot is ephemeral, and there is no intrigue at all. Some of the writer's contemporaries blamed him for technical shortcomings and stylistic blunders. But what in 1930 might have been perceived as a shortcoming later became part of the concepts of both the “new” and the postmodern novel. The author does not set out to display the spiritual world of the characters through actions and psychologically accurately depict their portraits. The image of the hero-narrator is rather collective, he personifies a creative person humiliated in emigration. It is no coincidence that the hero throughout the novel constantly identifies himself with others, he is, as it were, deprived of his own being, dissolving in collective being, in pity, in compassion, in admiration: “My soul was looking for someone’s presence, which would finally free me from shame, from hope, from fear, and the soul found him. Thus, the heroes of the novel can be regarded as the spiritual incarnations of the author, and the novel itself can be regarded as a metaphorical canvas of his spiritual quest and evolution. At the beginning of the first chapter, the protagonist appears as a pure contemplator of the surrounding life, as a shadow of himself. This was obviously influenced by the reality of the shameful emigrant existence, which was directly familiar to the author. On a metaphorical level, the story of
the isolation of the inner world, which has not found its dialectical balance, the necessary antipode. This antipode appears with the appearance on the stage of Apollon Bezobrazov, in the first edition of the novel, it was not by chance that he was called the devil. Here the aesthetic and philosophical views of Poplavsky found their expression, considering art as a spiritual document. The content of this document is a painful and long search for God. Having become acquainted with many philosophical systems, having experienced immersion in Christian and Buddhist metaphysics, Poplavsky remained a religious eclecticist of the theosophical persuasion. At the narrative level, the meeting of the hero-narrator with Apollon Bezobrazov is the plot, as well as the nuclear center of the first storyline, which is represented by the "Parisian" chapters of the novel, and which merges with the second. From the position of composition, this technique is very traditional, but in Poplavsky's work it is not essential for the work, it does not perform an architectonic function, but is conventionally decorative, even parodic. In general, the element of parody is obvious, which conceptually places the novel within the framework of postmodernist discourse. For example, the fifth and sixth chapters, representing the second storyline, are a parody of the novel of education by J.-J. Rousseau. The composition of the novel is outwardly devoid of intrigue, which is carried out on a symbolic level, as a struggle between mental states and types of worldview. The novel mixes such genres as a prose poem, diary entries and a theological treatise. combination literary genera in the text of the novel (drama and epic), in typical for "Ulysses" by J. Joyce, is used by Poplavsky in "Apollo Bezobrazov". The culmination of the novel can be considered an episode in which Bezobrazov, a soulless stoic and sophist, pushes the former priest Robert, who has lost faith in the truth of the Christian revelation, off the cliff. Before his death, Robert calls Bezobrazov the devil. This episode, in turn, is undoubtedly full of reminiscences from the works of F. Nietzsche.
Philosophical depths of B.Yu. Poplavsky attract the attention of modern literary critics, as a prime example existential fiction. So Svetlana Semyonova in her article “Existential Consciousness in the Prose of the Russian Diaspora (Gaito Gazdanov and Boris Poplavsky)” focuses on the fact that “the tragic existential problems of the personality in its relationship with death, time, nature, with God and God-forsakenness, with absurdity and with "others" - it was really something new, a new note. This is new and relevant today. "In what<своеобразие>his [Poplavsky] unquestionably complex texts? Texts that need to be read by those who wish to comprehend the philosophical depth of the ideas that form the plot. How can one “hook the nerve” of a modern sophisticated reader-intellectual? "Soul Nudism". So the writer himself called continuous self-knowledge, self-report, not stopping at any conventions and decorum. We can be interested in literature with subtle, unostentatious psychologism, which consists not in the banal reflection of the hero, not in the ups and downs of his relationship with other characters, but in the fact that this, perhaps even nameless hero has a soul, feels something elusive, almost not perceived by others. » .
It is clear that existential problems, problems of existence, are born in the course of Everyday life each individual, in the process of unfolding individual being. The everyday world offers a balanced or, conversely, an extreme set of stereotypes of behavior and perception, never ensures complete conflict-free development of consciousness. Caught in the whirlpool of historical reality at the beginning of the 20th century, young writers in exile sought refuge, both in life and in creativity. Someone, as a character in the first part of B.Yu. Poplavsky novel "Apollo Bezobrazov" by Vasenka, were looking for something to lean on "... supposedly more than "I". And someone, like the protagonist Apollon Bezobrazov, was up to a certain point sure that he thinks “genuinely existentially ... acts in the unity of bodily, emotional and spiritual forces aimed at revealing the inner “I”. Poplavsky himself found his refuge in existentialism. He “denied thinking in a “pure” form for the inability to understand either man or the world, for turning them into his objects and analyzing their individual aspects and relationships. The problem of truly existential thinking, opposed to traditional thinking<он>brought to his literary texts,.. <но>like his hero Once again then, almost 90 years ago, he faced the problem of preserving his own existence and once again proved that it is impossible to be in society and be free from it.
From the point of view of the problems of truly existential consciousness, it seems interesting to us to analyze the image of Vera-Teresa in the novel Apollo Bezobrazov. In it, B. Yu. Poplavsky expresses Christianity, concluded in a sense of consciousness of the deep, bottomless sorrow of the world. It is this girl, in accordance with Christian ideas about the highest value - personality, as a unique inseparable trinity of spirit, soul and body, who embodies genuine religious existentialism. horse fur coat. She is a random guest at a strange ball. But it is when we get to know her for the first time that we learn the narrator's name-nickname, and it is about her that he will remember already in the guise of Oleg in the second part of the dilogy as the Eternal Feminine. She is fragile, tender and caring in a motherly way, a child at heart. Her exalted dance, seizure makes Bezobrazov be near her. And in this case, it can be compared with Lermontov's Demon, guarding the peace of Tamara, but without love.
Teresa's biography is given in retrospective terms. She is an unfortunate child who grew up in the extremes of a religious persuasion: a savage and fanatic father, an adherent of the Calvinist church; tortured Russian mother; monastery, Alpine folklore, healthy nature and Teresa's excessive faith. Father Hildenbrandt, rector of the monastery boarding school, even noticed in his notes about the stigmata of the Faith - and this is already divine chosenness. Her life is dedicated to God. “Like the new Francis of Assisi, she baptizes, if not animals, like him, then pebbles in the mountains, her heart burns with pain and compassion for the whole world, it is she who hears the voice of Jesus eternally agonizing on the cross with a call not to leave Him at the hour of death, to always be with Him where it is “coldest of all”, with those who are most hurt and worse.<По мнению С. Семёновой>, in the novel, in Teresa's diary, Poplavsky's main words are pronounced: pity and poverty. Teresa’s soul is thoroughly permeated with pity for the lower creature, for people, for all the unfortunate and forgotten and for all the proud and self-sufficient-cold, like Ugly, for God himself (“Pity. Pity. Forgive You this world, do not condemn You for it”) and ... even to the Devil (“To press Jesus to your heart is a great happiness, but to press Lucifer to your heart is even more beautiful, for Lucifer suffers deeper and is doomed to fire”)” . “To redeem Lucifer - that’s what I would like if I were Mary,” Teresa expresses the most secret insane sigh of her soul, turning for the time being, the same thirsty to straighten ugliness, love to Apollo Bezobrazov, a kind of micro-Lucifer in Poplavsky’s novel. Teresa is driven by a feeling of bitterness for the suffering of others, a desire to do well to another. For example, understanding and seeing Robert's love for herself, she is ready to give herself to him, not fully realizing the essence of what exactly and how the gardener and one of the nuns do it, “she was unusually weak and seemed seriously ill, although sometimes she got up early in an unusually joyful mood. , in a happy mood, and began to wash mirrors and clean rooms, as if the whole world wanted to be remade in a new way. With her frenetic determination, she literally makes them go to the mountains in search of Bezobrazov and Robert, anticipating the tragedy. The Christianity of Teresa, as well as Vasenka, and then Oleg from the second part of the dilogy of the novel “Home from Heaven” is based on pity for everyone and everything. On what Apollo Bezobrazov so diligently avoided, because pity, according to him, does not allow to comprehend the meaning of the world, which lies in love: “Pitying the world, you seek to quench the spirit in it, for the spirit is the beginning of all torment.” And Teresa's spirit was imbued with a "mystical heredity", which "in the monastery ... blossomed with poisonous flowers. The nuns forbade her prayers and nightly vigils, fearing for her life, for the Passion of the Lord brought her almost to fainting ... ``My God, why am I resurrected every morning? Won't You call me in the middle of a dream? ``" .
This is one of the paradigms that make up the image of Vera-Teresa in the novel space. Deep religiosity, almost holiness of the heroine. But this does not at all correspond to her external data. Already at the ball, Vassenka gives her a far from flattering characterization: “... a new face appeared and embarrassed, but at the same time natural ..., even with some kind of gloomy ease, albeit frightened ... sat down on the sofa. The forehead of this face was exorbitantly high, .. and at the top of its blond straw hair was born with a painful softness, as happens with the Scandinavians. His face was pale, and the corners of his wide mouth were drawn down with bitter sharpness under a long and straight nose, which sometimes moved nervously, without any reason. But the eyebrows moved especially strangely; thin, barely visible ... over wide, cloudy eyes, whose heavy gaze wandered contemptuously over faces and things. This head, on a thin neck, set low into broad shoulders, had a kind of childish expression, too emphasized by its gloominess and contempt. The newcomer, happy with her place on the couch, nevertheless anxiously prepared for questions and attacks. But since there weren’t any at all, her eyes, despite her fatigue, took on the expression of a happily successful prank, and she, having crossed her legs, ... and, stealthily looking around again, apparently realized that she was completely safe here. There are many contradictions in her appearance, but let us try to reduce them into one characteristic of a touchingly shy childish contempt. Then Vasenka in his memoirs will say the following about her: “My God, how defenseless Teresa was! Literally anyone could offend her on the street ... And it was clear to everyone that she would not defend herself, would not scream, would not hit the impudent. And not at all because she was so kind, no, she simply could not wake up from her stupor, put on gloves, write a letter ... Her colorless lips were strangely protruding when she spent hours looking out the window or examining the ceiling with gloomy interest. Her face often wore an almost evil expression, the corners of her mouth were disgustedly lowered, and she seemed unable to raise her huge, as if pewter eyelashes.
Yes, Teresa at the ball immediately became for Vasenka that saving “sacred vest” into which he had to cry out all his tears, “and if they don’t pour out, they will boil in him and shine with cruelty in his eyes.” She somehow inspired the drunken action of the ball with herself: “In fact, no one even thought where Teresa came from ... In the drunken noise she was already her own person ... Exhausted and absent, at first she seemed to accept everything that was happening in her empty heart ... desperate and uncorrupted, resolute to the point of naivety, was in her - immediately from one extreme to another - mood. Having drunk, Teresa went to dance. Okhmelev, almost with everyone, jokingly, drinks on brotherhood and kisses, only somehow so childishly, she turns her cheek herself, so that almost everyone is ashamed to kiss her ... and it seems that now, under her leadership, the ball is like a blizzard , break out somewhere and never stop. But with all this euphoria of insane delight, the narrator Vasenka points out to us: “The devil, apparently, following everything that was happening, cleared a place for me near her” [Ibid., p. 78]. Such a comment is not accidental, and the appearance of Teresa herself to the ball is anticipated by another seemingly strange phrase in the same chapter 4: “... and the concierge managed to get drunk, and she ... hugs Dr. Faust, who ... reads the dawn at the bottom of Paris Jerusalem `` Apocalypse of Teresa'" [Ibid., p. 76]. It is known that Boris Poplavsky himself planned to write not a dilogy, but a triptych, one of the parts of which was to be the novel "Teresa's Apocalypse". But who is to be meant by Dr. Faust? Well, isn't it Bezobrazova? After all, it is no coincidence that the narrator already directly calls him, who patronizes Teresa at the moment of her exalted fit in the dance, an unclean force: “Apollo Bezobrazov raises her from the ground, .. lowers her to the sofa and serves a lemon, no one knows where (probably directly from hell) taken ". “The evil spirit, sitting comfortably on the windowsill, calmly guarded her awakening. Finally, Tereza got up… and since the evil spirit found no reason to intervene, she again, exhausted, sank down on the sagging sofa” [Ibid., p. 86].
The image of Teresa is formed, as we see, from the description of family conflicts in her childhood, from her portrait characteristics and from those descriptive psychological comments in the novel space that other characters give about her. The “I” of the heroine herself sounds only in Teresa’s Diary and in her rare dialogues with the abbe Racroc, Robert Lecornu, Zeus and Apollo Bezobrazov.
In the house in which Tikhon Bogomilov served as a watchman, and where the whole wonderful company was hiding from the police at “that unforgettable time” [Ibid., p. 139], “Teresa fit right under the roof in the servants’ room… And the swallows hibernated in neighboring rooms with broken windows” [Ibid., p. 140], “... Teresa feeds the pigeons, and they, like white living letters, fly around her and sit on her arms and shoulders. She laughs, changes her voice like a child, sentences, caressing them, stretches her lips, tilts her head to one side ... In the evening Teresa feeds the mice” [Ibid., p. 145]. Teresa herself writes about herself in her diaries: “I am so alone among those whom I cannot help, and those who do not want my help” [Ibid., p. 182], “everyone is doing something ... only Vasenka and I are not doing anything, we are all looking somewhere, he complains, but I am silent ... Today I was making lemon jelly, joking with Tikhon” [Ibid.], “So I live, every day in the morning I decide to work, finally work, work today. I pray, I wash, I go downstairs. Yes! Today! .. I suddenly feel so bad, so sad, or somehow it doesn’t feel like it at all. Meanwhile, time goes by... and there is no strength to live” [Ibid., p. 184].
But for all the touching and seemingly defenseless Tereza, like Bezobrazov, is the central figure of this group. In chapter 11, which probably most fully reveals the essence of these strange relationships of random people in a random company, Vasenka gives an interesting comment: “... some special mystical luminary stood over us ... would be a special choir of Greek tragedy, moving in an unknown direction, but not a round Ionic, but a quadrangular Spartan choir, in the corners of which, with legendary calmness and fidelity to themselves, the high enigmatic figures of Apollo Bezobrazov and Teresa marched. Vasenka also notes that between Bezobrazov and Teresa “gradually strange relations were established; they, without saying a word, seemed to be in a conspiracy, or in general it always turned out that it was as if Apollo Bezobrazov with everyone, but with each one individually, was in a conspiracy ... as if he absolutely already knows everything ... And he, indeed, everything knew. He knew so much, but he did not understand anything, because he did not recognize” [Ibid., p. 143]. But Teresa not only knew, foresaw, saw, but with all her soul she tried to save, prevent, lead away from the danger, the absurdity of ugliness. No, he didn't stop smiling; it all seemed to him a whim and a metaphysical dispute.
Bezobrazov, voices tell me to leave, how He left you, but who will protect you from another? Or are you the other one? Who then will protect Zeus and this poor in spirit? My God, Bezobrazov, you can’t die like that!” [Ibid., p. 173].
In this regard, the following aspect becomes curious in the novel. So, Bezobrazov, for the sake of philosophical fun, depicted the results of his thoughts in “curious symbolic figures, like medieval Tarot cards. Teresa cards<по его мнению>- this is "Isis" and "The Hanged Man". Let us turn to the symbolic interpretation of Tarot cards, which are a "synthesis of the ancient human knowledge encoded in mystical formulas". Isis, or the Popess, or the High Priestess is the second card in the major arcana of the Tarot. “Prophesy in the realm of Reason. This symbolic figure personifies Divine wisdom. The occult meaning of the card is knowledge. The main divinatory meaning: occult mystery, mystical knowledge, mystery, confusion, vagueness of perspectives. The meaning of the reversed card: clarity, revealing the hidden, revealing the truth, awareness of the unknown” [Ibid., p. 395]. The Hanged Man is the twelfth card of the Major Arcana. The Hanged Man prophesies in the sphere of the Soul. To reach the heights of philosophy, a person must turn his way of life upside down, lose his own meaning. The occult meaning of the card is violent death. The main divinatory meaning of the card: prudence, prudence, foreboding, prophecy” [Ibid., p. 402]. All this mystical meaning is concentrated in one short phrase of the reflective Vasenka about Teresa: she looked as if she was “a thousand years old, and we are ten”.
But Teresa's sacred wisdom does not free her from the woeful remarks of other characters in the novel. So, for example, Averroes “sincerely admired her and once said to her one of his best phrases ... The conversation had stopped for some time, but he was still in that daze, into which the phenomena of unheard-of nobility plunge a well-mannered person. Then he suddenly said: “The best thing is for you to die”” [Ibid., p. 158]. Or a dialogue with Tikhon:
“You are sick, and not a tenant in the world.
What, will I die soon, Tikhon Ivanovich?
No, why? No. Your heart is sick as a whore. You need to take care. Here are pies, jelly to do. You are a grief-silent woman; laugh, have more fun. And so you will all be released without a prayer” [Ibid., p. 183].
The religious philosophy of Vera-Teresa, her moral guidelines, if you like, asceticism are encoded in her still childhood dialogue with Father Hildenbrandt:
“Tell me, father, are angels unhappy?
No, they are happy.
Do animals become angels?
Don't know.
I love cows more than angels.
Why?
Because flies eat them.
The abbot shakes his head sadly, looking at Teresa with the air of a doctor who divines the signs of perniciousness, then he plunges into work, laying dried herbs in jars.
Father Hildenbrandt, what is this herb for?
She is against blindness.
And I would like to be blind.
Why fool?
Because stones are blind.
Shut up, quail.
I am not a quail.
And who are you?
I am Teresa, the star of hell.
The abbot fiddled with her hand angrily.
I was told this is a black stone near the round valley.
And what else?
Nothing else, but like this: "Terezochka, star of the underworld, open my eyes." - "I can't." - "Then go blind."
I won't let you into the mountains again.
No, Father Hildenbrandt.
I won't let you.
And who will baptize the stones?”
The narrator already points out to us, through the image of the abbot, Teresa’s spiritual unusualness, and Father Robert, a young church modernist who despises heresies, like her father, who later lost his mind, driven himself to a frenzy in his forbidden love for her, wishes to protect her both from God and from the Devil. Her, living absolutely in accordance with her transcendental worldview.
K. Isupov in his article "Francis of Assisi in the Memory of Russian Literary and Philosophical Culture" analyzes in detail the reasons for addressing the name of Francis of Assisi in the era of the Silver Age. “Inner foolishness is a typological feature of Russian mentality; it is on this soil that Francis meets the understanding of people national culture- as ecclesiastical, taksvetskoy ". The author quotes N. O. Arsenyev and points out that against the fashionable “literary “ecstaticism”, aestheticizing hysterics, they created a kind of “immunity” ... “Flowers” of Francis of Assisi” [Ibid., p. 79]. Here is an interesting definition of hysteria. Can it be used with Teresa? Certainly not! Her faith is sincere! After all, Vassenka comes to the conclusion in his memoirs: “So we lived, all the same and each in his own way defending himself from life. Ugly - thinking, Zeus - contempt, I - sadness. And of course, Teresa, who defended herself with prayer, found it more and more difficult and painful to live. For emigrants, the personality of Francis of Assisi becomes a kind of behavioral guideline. And, of course, this topic could not but affect the work of Boris Poplavsky, who both “aestheticized”, and philosophized, and tried to be above the problems of emigrant life, and brought them into his works. His novel “Apollo Bezobrazov”, and the dilogy as a whole, are original in that they present images that, in search of their own true existence, plunge into obsessive religiosity even for themselves, or, on the contrary, flee from God, from themselves, from life. These are Apollo Bezobrazov, Oleg from the second part of the dilogy. Here they just practice foolishness, as "anti-behavior externalized in chains and other attributes of practical asceticism." Teresa, on the other hand, embodies “spiritual foolishness” as a marginal point of view on the possibilities of “common sense” and self-evident truth for all. This is the point of view of a child, a peasant” [Ibid.].
So, trying to explain the complexity of the image of our heroine, we can say that the role of Teresa in this "Greek choir" is to show the path to enlightenment through overcoming one's own doubts, the ability to listen to one's feelings. Teresa's inner world is a subtle difference - between indifference and self-forgetfulness, faith, trust, this feeling of frozen time, being outside the game of life - at one's own will and forced at the same time. B. Poplavsky certainly embodied in it the features of the asceticism of Francis of Assisi, who found "his niche in the mental space of Russian religiosity, Russian philosophizing and the Russian way of life", syncretic with his idea of true existence.
Bibliography
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2. Poplavsky B. Yu. Collected works: in 3 volumes. M .: Consent, 2000. T. 2. Apollo Bezobrazov. Home from heaven 464s.
3. Semyonova S. Existential consciousness in the prose of the Russian abroad (Gaito Gazdanov and Boris Poplavsky) // Questions of Literature. 2000. S. 67-101
4. Shakirova M. R. Boris Poplavsky: relevance out of time // Writer. Critic. Journal: Sat. scientific works. Saratov: Science Center "Science". 2007. S. 135-139
5. Sheinina E. Ya. Encyclopedia of symbols. Moscow: AST Publishing House LLC; Kharkov: Torsing LLC, 2003, 591 p.
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Razinkova Irina Egorovna The poetics of the novel by B.Yu. Poplavsky "Apollo Bezobrazov" in the context of the prose of Russian emigration at the turn of the 1920s - 1930s: dissertation ... candidate of philological sciences: 10.01.01 / Razinkova Irina Egorovna; [Place of protection: Voronezh. state un-t].- Voronezh, 2009.- 174 p.: ill. RSL OD, 61 09-10/803
Introduction
Chapter 1. The Spiritual Atmosphere of Emigrant Literature of the Late 1920s-1930s 16
1.1 Understanding the “situation of emigration” by writers of the “younger generation” 16
1.2 Artistic Reality as a Territory of "Emigrant" Meanings (Nabokov and the Writers of the "Paris Note") 42
Chapter 2 Boris Poplavsky's novel "Apollo Bezobrazov": between symbolism and postmodernism 60
2. 1 The structure of the novel "Apollo Bezobrazov": the opposition of "reality" and "realities". Autocommunicative principle building text 60
2. 2 Elements of the Gothic topos in the poetics of the novel 75
2. 3 Deformations of the “heritage” of Russian symbolism. The categories of "earth" and "heaven" as structure-forming in the composition of the novel 89
Chapter 3 Poetics of the "surreal" in the novel "Apollo Bezobrazov" 101
3.1 Irrealization of the chronotope of Paris 101
3.2 "Emptiness" as the center of the system of characters in the novel. The hero's consciousness is a space for aesthetic play 111
3.3 The leitmotifs of "water" and "dust" are part of the structure of "interworld" in the novel 124
Conclusion 142
List of used literature 145
Introduction to work
In modern literary criticism, since the 1990s, the period of the first wave of Russian emigration of the 20th century has been studied in detail in relation to the "older" generation of writers. Compared with them, the work of “young” authors who ended up in exile while still teenagers and whose worldview was formed abroad is generally less studied. The only exceptions are, perhaps, the works of the currently recognized master V. Nabokov, the research interest in them only increases every year.
In recent years, the degree of study of the work of writers of the "younger generation" of the first wave of emigration has increased. The study of texts has become relevant in the light of the problem of the “situation of emigration” itself, that is, the “threshold”, “transition”, “border”. Therefore, it should be noted that the work of Boris Yulianovich Poplavsky, one of the most talented representatives of the "literary youth", the leading poet of the "Parisian note", is actively studied in today's Russian and foreign literary criticism.
In general, in the culture of the turn of the XX - XXI centuries. the relevance of the analysis of situations of transition as such has become aggravated. In modern humanities there was a need to comprehend and identify similar phenomena in the past history and their impact on artistic processes, including literary creativity. Works on the study of "transition" as a problem of history, psychology, philosophy, art, culture, devoted to the study of transitional mentality in the literary process, are collected, for example, in the collection "Art in a situation of changing cycles: Interdisciplinary aspects of the study of artistic culture in transitional processes" (Art in situation, 2002). N. A. Yastrebova, S. T. Vayman, A. A. Pelipenko, N. A. Khrenov, O. A. Krivtsun and other authors express their points of view as a problem
artistic transition, and on the trends of the artistic consciousness of the 20th century.
When characterizing transitivity, the authors of the articles distinguish the following signs this multi-valued phenomenon: the transition as a change in pictures of the world and, accordingly, changes in the perception of space and time; activation of myth and archetype in transitional situations; the cult of creativity in transitional epochs; discovery of the logic of "eternal return"; eschatological experience of history; activation of a marginal type personality; crisis of collective identity.
The works of N. A. Khrenov, K. V. Sokolov, E. V. Saiko, I. G. Yakovenko analyze the methodological aspects of studying culture in a situation of transition. The concept of transition is interpreted by scientists as multi-valued and is considered in cultural, sociological, historical aspects.
A. E. Makhov, N. A. Yastrebova, V. S. Turchin, S. S. Vaneyan, M. N. Boyko, O. A. Krivtsun, A. T. Tevosyan explore the transition as a subject of understanding the theory and history of art . Articles by I. V. Kondakov, S. T. Vayman, A. P. Davydov, V. S. Zhidkov, A. A. Pelipenko and others are devoted to the specifics of transitivity in Russian culture.
I. P. Smirnov’s monograph “The Artistic Meaning and Evolution of Poetic Systems” (Moscow, 1977) is also devoted to the problems of transition in art, in which the author builds a semiotic concept of changing literary systems.
In the context of the relevance of the problem of transition, in our work the phenomenon of the first Russian emigration is considered as a factor that determines the artistic thinking of the "borderland" and influences the poetics of the text. For the study, the monograph by E. V. Tikhomirova “Prose of the Russian Diaspora and Russia in the Postmodern Situation” (M., 2000) is of particular importance. The literary critic discusses the specifics of the conditions of creativity in emigration at the level of poetics, believes
"emigrant" quality not only of fate, but also of texts, and also reveals the "chronotope" of "otherworldliness" in many authors.
The prose of the younger generation of émigré writers of the first wave, and
specifically B. Poplavsky, seems to us the most interesting from the point of view
view of identifying the features of artistic thinking in conditions
"transition", "boundary". Finding in n/el^-space
(extraterritoriality), on the border of "one's own" and "foreign" literary traditions, has become a feature of emigre discourse and the structure of texts.
The context we have chosen - the prose of the literary youth of the first wave of emigration - is represented by the works of V. Nabokov-Sirin, G. Gazdanov, Y. Felzen, G. Evangulov, S. Sharshun, E. Bakunina, M. Ageev, V. Varshavsky, V. Yanovsky , N. Berberova. In modern literary criticism, in relation to the writers of interest to us, the term “unnoticed generation” has spread in connection with the title of the book by V. Varshavsky “The Unnoticed Generation”, published in New York in 1956. In the memoir-research genre, the author tries to recreate the collective image of the generation, to which he considers himself.
The time of the "unnoticed generation" in literary studies is usually limited from the mid-1920s to the early 1940s, and Paris is considered the place where young authors declared themselves most clearly, although the literary communities of Berlin, Harbin, and Prague also participated in cultural life. Russian abroad. At the same time, researchers, comprehending the phenomenon of "unnoticed", often narrow the circle of analyzed writers to the authors of the magazine "Numbers" and representatives of the "Paris Note". It is in the poetics of the works of these young emigrants that the “transitional” artistic consciousness was embodied, which is of interest for our dissertation work. It should be noted that the works of V. Nabokov and G. Gazdanov of the 1920s - 1930s are also classified by researchers as literary heritage younger generation.
An analysis of the prose of the younger generation at the turn of the 1920s - 1930s, in our opinion, is the most productive for describing the poetics of emigrant texts and the influence of the borderline “emigration situation” on it, since at that time the most significant (in the sense of poetic structure) ) works.
The dissertation research analyzes some features of the poetics of emigrant texts and their embodiment in B. Poplavsky's novel "Apollo Bezobrazov". The transitional nature of the prose of the Russian emigration at the turn of the 1920s - 1930s is studied in the work on the example of the poetics of the "surreal" in the novel by one of the brightest writers of the younger generation.
The novel "Apollo Bezobrazov" was created in the period 1926 - 1932. Separate chapters were published in the Parisian magazine "Numbers" (No. 2-3, 1930; No. 5, 1931; No. 10, 1934) and in the publication "Meetings", but the full text of the novel was not published during the life of the writer.
Critical reviews of the novel were already actively expressed by the writer's contemporaries. It should be noted that in the emigrant environment Poplavsky was famous, first of all, as a poet. However, G. Adamovich suggested that Poplavsky was destined to express himself more fully in prose, and not in verse. W. Weidle called the novel "fantastic" and revealed allusions to the work of E. Poe and A. Rimbaud. D. Merezhkovsky, after the publication of the last, 28th chapter of Apollo Bezobrazov in No. 5 of Chisel, angrily announced that he had given this issue of the magazine a chapter from his new work Jesus the Unknown, where it “appeared next to dirty blasphemy decadent novel by Poplavsky” (Poplavsky, 2000, p. 432).
Basically, the work and personality of Poplavsky were appreciated by his contemporaries after his death. Works by G. Gazdanov, N. Berdyaev, V. Khodasevich, G. Struve, G. Ivanov, Yu. Ivask, V. Varshavsky. Yu. Terapiano, A. Bakhrakh, N. Berberova, I. Odoevtseva, A. Sedykh, N. Tatishchev and others are collected in the book “Boris
Poplavsky in the assessments and memoirs of his contemporaries. These predominantly memoir essays do not contain a deep analysis of the writer's prose, however, they capture biographical features and provide much for understanding Poplavsky's personality.
Already classic studies of the Russian emigration of the first wave were the books of G. Struve "Russian Literature in Exile" (M. - Paris, 1996), M. Raev "Russia Abroad: The History of the Culture of Russian Emigration 1919 - 1939" (M., 1994), D. Glad “Conversations in exile. Russian Literary Abroad" (M., 1991), O. Mikhailova "Literature of the Russian Abroad" (M., 1995), A. Sokolov "The Fate of the Russian Literary Emigration of the 1920s" (M., 1991), a collection of articles edited by N. Poltoratsky "Russian Literature in Emigration" (Pittsburgh, 1972).
In the last decade, reviews and collections of articles on Russian emigration have appeared: V. Agenosov "Literature of the Russian Diaspora (1918 - 1996)" (M., 1998), O. Demidova "Metamorphoses in Exile: Literary Life of the Russian Diaspora" (St. Petersburg, 2003 ), T. Buslakova “Literature of the Russian Diaspora. Course of lectures” (M., 2003), E. Menegaldo “Russians in Paris. 1919 - 1939 "(M., 2007), B. Nosik" Russian secrets of Paris "(St. Petersburg, 2000), A. Martynov" Literary and philosophical problems Russian emigration (collection of articles) "(M., 2005), collections" Russian Diaspora - spiritual and cultural phenomenon. Proceedings of the International Scientific Conference (M. 3 2003), Russian Culture of the 20th Century at Home and in Emigration: Names. Problems. Facts”, “Russian Abroad: An Invitation to Dialogue” (Kaliningrad, 2004), a collection of scientific papers compiled by L. A. Smirnova “Essays on the Literature of the Russian Diaspora” (M., 2000), tutorial in two parts "Literature of the Russian Abroad ("First Wave" of Emigration: 1920 - 1940)" edited by A. I. Smirnova. (Volgograd, 2004), the three-volume "Literary Encyclopedia of the Russian Diaspora" (M., 2002) and other works. Not in line with traditional studies of the first Russian emigration, A. Azov’s monograph “The Problem of Theoretical Modeling
Self-Consciousness of an Artist in Exile: Russian Emigration of the "First Wave" (Azov, 1996). The author examines the experience of emigration on the basis of a theoretical model of interpretation of the act of creation of the world in Jewish religious hermeneutics, the mystical teaching of the Lurianic Kabbalah.
The work of the "younger" generation of émigré writers, including Boris Poplavsky, is considered in these books mainly as an overview. Over the past five years, more conceptual studies of the Russian emigration of the first wave have appeared. For example, dissertations by N. Letayeva “Young emigre literature of the 1930s: prose on the pages of the journal Numbers” (Moscow, 2003), A. Kokhanova “The moral experience of the Russian emigration of the first wave: an aspect of freedom” (St. Petersburg, 2003 ). In the work of M. Nemtsev “Stylistic Techniques of Cinematography in the Literature of the Russian Abroad of the First Wave” (M., 2004), the researcher examines emigrant texts from the point of view of the evolution of a realistic view of the world, the development of the aesthetics of modernism and analyzes the stylistic techniques that artists actively borrow from related arts . T. Marchenko in his doctoral dissertation “Prose of the Russian Abroad in the 1920s-1940s. in European critical reflection: the Nobel aspect” (M., 2008) formulates the “compensatory principle”, according to which the literature of the 20th century was able to express in its emigre formation those moral and artistic quests that were impossible in Soviet literature.
For our work great importance has a monograph by I. Kaspe "The Art of Absence: The Unnoticed Generation of Russian Literature" (Moscow, 2005). I. Kaspe analyzes how the “unnoticed” model was created in emigration, reveals creative attitudes, popular behavioral strategies, value preferences, ways of self-presentation of the “younger” generation of writers of the first wave of emigration. The dominant literary trend among literary youth was
9 "Parisian note", with which all the younger generation of authors can be identified.
The study of the works and biography of Boris Poplavsky in the 80s of the XX century began foreign researchers. In the introduction to the first volume of the collection of poems of the writer (1980), published in Berkeley, S. Karlinsky and A. Olcott placed their articles (S. Karlinsky "The Alien Comet", A. Olcott "Poplavskij's Life"), in which they noted In 1981, E. Menegaldo defended her doctoral dissertation in Paris, the materials of which were partially published in Literary Review (No. 2, 1996) and other journals, The Universe of Boris Poplavsky" (St. Petersburg, 2007). E. Menegaldo examines the poems of the collections "Flags" and "Snow Hour", using the approach to the text proposed by the French philosopher G. Bachelard, which allowed her to identify a network of associations related to the four natural elements. The researcher also notes the influence of the tradition of symbolism on Poplavsky's poems.
In 1990, in the book "Russian Emigre Literature in the Twentieth Century Studies and Texts: Russian poetry and criticism in Paris from 1920 to 1940" (Leuxenhoff Publishing), A. Gibson also analyzes exclusively the writer's poetry (article "Poplavskij "s Poetry").
In 1991, the American Slavists V. Kreid and I. Savelyev prepared the novel Apollo Bezobrazov for publication for the Moscow magazine Yunost. However, the chapter on the ball of Russian emigrants was not included in this edition. The novel ended with "The Diary of Apollo Bezobrazov", which Poplavsky did not include in the latest edition of the work.
In 1993, Louis Allen published two novels by the writer Apollo Ugly and Home from Heaven. In the introductory article “Home from heaven. On the fate and prose of Boris Poplavsky" Allen called the works "intellectual prose".
In Russia, A. Bogoslovsky is considered the first researcher of Poplavsky's work. In the article "The Seeker of Spiritual Freedom" ("New World", 1993, No. 9), he notes that in "Apollo Bezobrazov" the title character and the narrator are, in fact, doubles. This feature, according to the literary critic, conveys Poplavsky's inner struggle "in search of spiritual liberation."
In 1992, A. Bogoslovsky published the novel "Apollo Bezobrazov" in the "New Journal" (No. 187, 188, 189, New York). The work was prepared for publication by a literary critic using a photocopy latest edition novel, which he received from Natalia Stolyarova, who knew Poplavsky closely in 1931 - 1934, shortly before her death in 1984. The New Journal notes discrepancies both with the Moscow publication of 1991 and with the edition prepared by L. Allen . Our study is based on the text of the novel, prepared for publication by A. Bogoslovsky and E. Menegaldo and published in 2000 in the second volume of the three-volume collected works of the writer.
A. Bogoslovsky and E. Menegaldo in 1996 prepared for publication and accompanied with literary and biographical comments a book about Poplavsky "Unpublished: Diaries, articles, poems, letters" (M., 1996).
The study of Poplavsky's work in today's literary criticism is characterized by the following features. Like the writer's contemporaries, who noted the influence on the poems and novels of the writer A. Blok, A. Rimbaud, E. Poe, C. Baudelaire and other authors, literary critics today also often use the materials of Poplavsky's work in comparative works with other authors.
The studies in which the writer's works, including the novel “Apollo Bezobrazov” that interests us, are analyzed in the light of the influence of foreign (French) traditions, include O. Brunner's articles “Boris Poplavsky's Surrealistic Paris. "Apollo Bezobrazov" and "Parisian Peasant" by Louis Aragon" (Brunner, 2005), T. Buslakova
11 "Russian and French Landmarks in the Historical and Literary Concept of B. Yu. Poplavsky" (Buslakov, 2002), V. Khazan "On Some Subtexts of French Literature in the Works of Emigrant Writers (B. Poplavsky and A. Jarry)" (Khazan, 2005) , John M. Kopper "The "Sun" s Way" of Poplavskii and Ibsen" (Kopper, 2001) and others. A modern researcher of the first Russian emigration, a scientist at the University of Toronto L. Livak in his book "How it Was Done in Paris" , the article "The Surrealist Compromise of Boris Poplavsky" (New-York, 2003) considers Poplavsky's work mainly from the point of view of the influence of surrealist aesthetics.
Many works of scientists are devoted to a comparative analysis of Poplavsky's works with the prose of Russian authors. M. Galkina's studies “The Techniques of Dostoevsky's Poetics in the Fiction of Boris Poplavsky” refer to the influence on the writer's work of the classics of Russian literature, where the connection between the images of Bezobrazov and Stavrogin is analyzed; N. Osipova "Gogol in the semiotic field of poetry of the Russian emigration" and others.
The connection of Poplavsky's work with the traditions of the Silver Age is discovered by V. Toporov. Exploring the "psychophysiological" component of Mandelstam's poetry, he points out that this structure is also found in B. Poplavsky's poetry (Toporov, 1995). S. Roman’s dissertation “Ways of Embodiment of Religious and Philosophical Experiences in the Poetry of Andrei Bely and B. Yu. Poplavsky” (Orekhovo-Zuyevo, 2007) compares the works of two authors from the point of view of the development in them of the symbolism of female images, the image of the “soul of the universe”, the evolution of the symbol of Eternal Femininity, the solution of the conflict between the "earthly" and "heavenly". Interesting is the work of O. Latyshko "The Romance in a Frock Coat" by Boris Poplavsky (Latyshko, 2002), in which "Apollo Bezobrazov" is classified as a symbolist novel. The author of the article discovers direct parallels in the construction of the texts of Poplavsky and Bryusov "The Fiery Angel". In the dissertation research by N. Prokhorova “The concept of “life creation” in
12 the artistic picture of the world by B. Yu. Poplavsky” (Saransk, 2007) reveals the connection between the symbolist life-creating concept and the writer’s work.
From the point of view of the connection of creativity with the philosophy of existentialism, the reference in relation to Poplavsky is the name of his contemporary G. Gazdanov. Comparison of the works of the authors is devoted to the dissertation research by V. Zherdeva "Existential motives in the work of writers of the "Unnoticed Generation" of Russian emigration: B. Poplavsky, G. Gazdanov" (Zherdeva, 1999), the work of S. Semenova "Existential consciousness in the prose of the Russian abroad" (Semenova C, 2000). In some works, Poplavsky's work is associated with his other contemporaries. For example, N. Sirotkin finds parallels with the style of V. Mayakovsky. Poetic variations of Christian motifs in the lyrics of V. Nabokov and B. Poplavsky are analyzed by A. Vakhovskaya (Vakhovskaya, 1999). Stylistic intersections in the prose of both authors are also explored by A. Ledenev in the article “The Metaphor of “Life as a Dream” in the Novels of B. Poplavsky and V. Nabokov” (Ledenev, 2002). The proximity of the style of B. Poplavsky and K. Vaginov is noted by T. Buslakova (Buslakova, Ї999). Of contemporary authors, the work of Poplavsky, according to N.V. Barkovskaya, can be comparable with the poetry of Boris Ryzhy.
The dissertations of O. Latyshko “The model of the world in the novel by B. Yu. Poplavsky “Apollo Bezobrazov”” (Moscow, 1998), N. Andreeva (specialty “philosophy”) “Features of culture of the 20th century in the novel of Boris Poplavsky "Apollo Bezobrazov" (M., 2000), works by E. Menegaldo "The prose of Boris Poplavsky, or" a novel with painting "" (Menegaldo, 2005), I. Kaspe "Orientation on rough terrain: the strange prose of Boris Poplavsky" ( Kaspe, 2001), articles by N. Gryakalova "Travesty and Tragedy: The Literary Ghosts of Boris Poplavsky" (Gryakalova, 2008),
13 reading the novel by B. Poplavsky)” (1997), as well as studies by M. Galkina, N. Barkovskaya, S. Semenova, M. Shakirova and others.
Scientific novelty work is that from a new angle in the novel by B. Poplavsky "Apollo Bezobrazov" the deformation of the worldview of Russian symbolism is traced (replacement of "two-world" by "inter-world"). For the first time, B. Poplavsky's prose is considered as an intermediate "link" between symbolism and only emerging artistic thinking postmodernism. Scientific novelty also lies in the fact that for the first time a comparative study of the prose of B. Poplavsky and V. Nabokov was carried out from the point of view of the poetics of the "unreal".
Work structure: the dissertation consists of an introduction, 3 chapters, a conclusion and a bibliographic list, which includes 313 titles.
Research material: B. Poplavsky's novel "Apollo Bezobrazov", drafts, diaries, articles, letters of the writer, included in the book "Unpublished: Diaries, Articles, Poems, Letters" (M., 19966), as well as memoirs and critical works of contemporary emigrants. To outline the main features and techniques for creating artistic reality by the younger generation of emigration, the analysis involved the works of V. Nabokov - the novel "Feat" and the story "The Return of Chorba".
object research is the phenomenon of "transition" in the prose of the young generation of the first wave of Russian emigration at the turn of the 1920s - 1930s.
Subject research was the poetics of "unreal" in B. Poplavsky's novel "Apollo Bezobrazov".
Target work - to explore the poetics of B. Poplavsky's novel "Apollo Bezobrazov" from the point of view of identifying transitional features inherent in the artistic search for prose of the "young" generation of writers of the first wave of Russian emigration at the turn of the 1920s - 1930s.
Tasks, solved in the dissertation work to achieve the goal:
reveal the originality of the artistic comprehension of the "emigration situation" by the writers of the "young" generation of Russian emigration of the first wave;
to determine the features of the poetics of the “unreal” presented in the novel “Apollo the Ugly” and to trace how the features of the “unreal” penetrate all the structural levels of the work;
reveal the "transitional nature" of B. Poplavsky's novel "Apollo Bezobrazov" from modernism to postmodernism;
to analyze the novel by B. Poplavsky from the point of view of the influence on the structure of the text of the poetics of the symbolist novel, surrealism, elements of the Gothic chronotope;
5) outline the main features and methods of creating emigrant
texts of the 1920s - 1930s on the example of comparing the prose of two bright,
generation figures - Boris Poplavsky and Vladimir Nabokov.
Provisions for defense:
The "situation of emigration", characterized by the artist's stay in the extraterritorial cultural and ontological "l*&g-space", influenced the poetics of the texts of young emigrant writers of the first wave.
The autocommunicative model of constructing a text in the structure of B. Poplavsky's novel "Apollo Bezobrazov" is connected both with the direction of the emigrant discourse of the 1920s - 1930s as a whole (interest in the problem of self-identification, the dominance of the motive of alienation, being in "interspace", etc.), and with the aesthetic views of Boris Poplavsky, the peculiarities of his personality.
3. The novel by B. Poplavsky is a transitional artistic system,
as open as possible to possible interpretations: from symbolist,
post-symbolist and surrealist aesthetics to postmodernism.
4. In B. Poplavsky's novel, features of the artistic mythologization of space and time (the chronotope of the "surreal"), the creation of the territory of the "interworld", elements of the "poetics of wandering" of the heroes and the "Gothic topos", the presence of leitmotifs of "water", "dust" were found. The categories of "earth" and "sky" are structure-forming in the novel. All these artistic units form a common, characteristic for all levels of this work of Poplavsky, the poetics of the "surreal".
Methodology and research methods.
The dissertation research used the principles
structural, semiotic, biographical, comparative
historical methods.
The theoretical basis of our study is the work of literary critics Yu. M. Lotman, M. M. Bakhtin, V. N. Toporov, B. A. Uspensky, L. G. Andreev, Yu. , V. Zalomkina, M. N. Lipovetsky, N. F. Shveibelman, S. P. Ilyeva, S. T. Vayman, I. P. Smirnov, culturologists N. A. Khrenova, K. B. Sokolova, V. S. Zhidkov, I. G. Yakovenko^ anthropologist V. Turner.
Practical significance.
The method of studying the novel by B. Poplavsky "Apollo Bezobrazov" from the point of view of creating in it a special poetics of the "surreal" will allow similarly studying other texts of emigrant writers, which will expand and deepen literary knowledge about the heritage of the Russian emigration of the first wave. The dissertation research can be used in the practice of university studies of the literature of the Russian diaspora: "when preparing and reading a lecture course on the history of Russian literature of the 20th century, in conducting seminars on the problems of literature of the Russian diaspora of the first wave, in developing a special course on the work of émigré writers of the specified period.
Understanding the “situation of emigration” by writers of the “younger generation”
The 1917 revolution split Russian literature into "here" and "there". However, the question “one or two literatures?” in connection with the work of émigré writers, today it has been resolved in literary criticism in favor of the unity, and not the disunity of Russian culture.
The dispersion captured all continents, but several centers played a particularly important role in the formation and development of Russian literature abroad and culture in general: Paris, Berlin, Prague, Belgrade, Warsaw, Sofia, Constantinople and "Russian China" - the cities of Harbin and Shanghai. The first two European capitals turned out to be the most important for Russian culture. In this chapter, we will analyze the literary process in the French capital and, in part, in the German one.
Within the literary emigration there were groups and formations that developed various aesthetic concepts. However, for all the diversity of literary and artistic life, researchers quite clearly divide the generation of the first wave of Russian emigration into “older” and “younger”. Our work is of interest to the younger generation, a prominent representative of which was Boris Poplavsky.
The "senior" emigrants (I. Bunin, M. Tsvetaeva, V. Khodasevich, B. Zaitsev, D. Merezhkovsky, A. Remizov, G. Ivanov, etc.) left their homeland at a more or less mature age, many of them already recognized writers - in their work, the themes of the lost Russian culture and way of life, nostalgia, the search for "eternal Russia" within the limits of foreign space sound most acute. The “younger” generation (B. Poplavsky, V. Sirin, G. Gazdanov, V. Varshavsky, S. Sharshun, Yu. Felzen, E. Bakunina, M. Ageev and others) found themselves in even more difficult spiritual conditions. Not having time to absorb the traditions and culture at home and finding themselves in foreign countries that met them by no means friendly, the "children of emigration" found themselves in a cultural inter-space. This is the position "between" the lost homeland, which did not even exist on the map in the form in which they remembered it (the USSR instead of the Russian Empire), and a new foreign reality. Such a status was perceived as ontologically significant and was comprehended by many (G. Gazdanov, Yu. Felzen, etc.) in an existential sense.
The spiritual atmosphere in exile in the late 1920s - 1930s determined the nature of the texts of the "younger" writers of the first wave. Before proceeding to the analysis of the spatio-temporal organization and genre and style features of Boris Poplavsky's Apollon Bezobrazov, it is necessary to turn to the literary environment in which the author lived and worked, as well as to identify the main "general cultural" ideas that worried young Russian emigrants in Paris and manifested in their concept literary creativity.
As you know, Poplavsky was a frequenter of the Montparnasse cafes, where at night the most important issues of culture, literature, and religion were heatedly discussed. The conversations were around modern discoveries, the latest research in the field of philosophy, theology, painting, art in general and, of course, literary creativity. "Stream of consciousness", "automatic writing", "human document" - these and other modernist techniques were actively mastered by foreign writers of the 1910s - 1920s. M. Proust, D. Joyce, A. Rimbaud, E. Poe, Lautreamont, C. Baudelaire were Poplavsky's favorite writers. From them he borrowed the technique of writing.
Researcher M. Raev in the famous work “Russia Abroad. The history of the culture of the Russian emigration 1919 - 1939" writes: "The younger generation of emigrant writers turned out to be more receptive to new trends that emerged both in Soviet and Western literature, ... they discovered big interest to such manifestations of the human psyche that cannot be explained from strictly materialistic, naturalistic and rationalistic positions. They were influenced by Proust and Kafka and felt, perhaps even more strongly than their older generation, the influence of the spiritual quests of the avant-garde and modernists of the 10s and 20s. Young prose writers, whose debut took place in exile, for example, Sirin (V. Nabokov), Y. Felzen, B. Poplavsky, V. Yanovsky more or less adhered to this orientation” (Raev, 1994, pp. 145-146).
The experience of Russian symbolism is also important for Poplavsky - the idea of life-creation, understanding the process of creativity as theurgy, the opposition of the Dionysian and Apollonian principles in the world, the opposition of "heaven" and "earth".
Without knowing what ideas of the beginning of the century were most in demand by the minds of literary youth in exile, including B. Poplavsky as a bright representative of it, it is impossible to penetrate into the writer's creative laboratory, and specifically into the structure of the novel "Apollo Bezobrazov".
According to the general recognition of Poplavsky's contemporaries, he was the leading poet of such a literary phenomenon as the "Parisian note" of the Russian emigration. It was Poplavsky who described the group of young writers in this way (in the article “On the mystical atmosphere of young literature in emigration”, published in 1930 in the journal “Numbers” No. 2-3), mainly the authors of the émigré magazine “Numbers”, published in Paris. In the works of these writers there were similar moods of tragedy, separation from national roots, understood as an ontological catastrophe, motives of alienation, being thrown out of life in Russia and rejection in a foreign land, and other topics that we will further describe in more detail.
Regarding the definition of the “Parisian note”, modern researchers of the Russian diaspora formed the opinion that this literary phenomenon undoubtedly existed and united a group of writers with a similar artistic worldview. But to recognize the concept of “Parisian note”, according to the researcher S. A. Shvabrin, “settled, generally recognized, is problematic. For example, G. Struve refused to single out such a trend in foreign literature in general, each time resorting to synonyms like "Parisian circle", "young Parisian poets"" (Shvabrin, 1999, p. 36).
It is no coincidence that this emigrant "circle" was formed from the authors of the Parisian magazine "Numbers". The most significant publications of the first wave of emigration were the newspapers Latest News, Vozrozhdeniye, Obshchee Delo, Dni, Rossiya, Rossiya i Slavyanstvo, Novoye Vremya, as well as the journals Sovremennye Zapiski, Coming Russia”, “Russian Thought”. Many of them published on their pages the works of young emigrant writers, but for the most part they were guided by the work of writers of the older generation.
Artistic Reality as a Territory of "Emigrant" Meanings (Nabokov and the Writers of the "Parisian Note")
In order to outline the main features and methods of creating artistic reality by the younger generation of emigration, we consider it more productive to use not the entire layer of texts. Our observations in this chapter are based on a comparison of two prominent figures of the "young generation" - Boris Poplavsky and Vladimir Nabokov. A comparison of two different literary strategies, in our opinion, will make it possible to more accurately determine the generational characteristics of emigre texts of the 1920s and 1930s.
Nabokov's attitude towards the writers of the "Paris Note" was sharply critical. In turn, the "Monparnassians" reciprocated. G. Adamovich, G. Ivanov, K. Mochulsky denied the artist's skill in reviews of the work of today's great classic and considered his works an imitation of German and French models. The cult of simplicity of language, mystical understanding of many life processes, apocalyptic motives, fascination with religious and philosophical problems, in which the proximity of most writers of the “Parisian note” to the “Green Lamp” 3. N. Gippius and D. S. Merezhkovsky, were alien to Nabokov. Always standing, as it were, apart from all émigré writers' associations, Nabokov was sickened by the collectivist spirit of Montparnasse literature. “The common path, whatever it may be, is bad in the sense of art precisely because it is common”, - this is how Nabokov expressed his point of view on the search for “young” Parisian literature (Shvabrin, 1999, p. 38).
S. A. Shvabrin in the article “Controversy between Vladimir Nabokov and the writers of the “Paris Note”” notes: “Nabokov’s prose bore the indelible stamp of intense stylistic searches, revealed a desire to improve poetics, visual means of verbal creativity. The conscious rejection of formal brilliance by most writers of the Parisian note, the proclamation of the primacy of "human content" over any aesthetic experiments, could not but arouse polemical enthusiasm in Nabokov, the desire to defend his own views on the nature and purpose of art. Vladimir Nabokov's dispute with the "Parisian note" was basically a classic example of literary controversy, each time exposing the very dialectic of the literary process" (Shvabrin, 1999, p. 39).
However, the researcher does not consider the participants in this controversy to be absolute antagonists and makes an assumption that is of interest for our study: “Nabokov’s intuition of the transcendent, manifested in the author’s image of the “other world”, which marks the ideal hypostasis of being in his individual picture of the world, is the main theme of the artist’s work, which can (and should!) be compared with the mystical searches of his contemporaries. Doesn’t the assumption have the right to exist that would allow the researcher to proceed from the fact that the spiritual quest of the “young” Parisian literature and Nabokov’s “otherworldliness”, going back to a common source - the ideological principles of the art of the Russian Silver Age, differ in the choice of means, while remaining true not subject to any devaluation of the ideological dominant?!” (Shvabrin, 1999, p. 39).
In our opinion, this conclusion is undoubtedly correct. The appeal of both Nabokov and the “Parisians” to the “most important thing” in being was stylistically associated with a rethinking of the traditions of the Silver Age. The general desire to preserve the seemingly decaying principles of human existence, the inviolability of the very foundations of being (“to write about the most important”) is realized in the work of both Nabokov and the most talented representative of the “Paris school” Poplavsky. The commonality of the creative impulse is expressed in the prose of both writers in a special structure of the artistic world, namely, in the poetics of the "surreal". More in connection with the work of Poplavsky, it will be investigated by us later. The features of Nabokov's "unreal" chronotope are the focus of V. Alexandrov's study "Nabokov and the Otherworld" (Aleksandrov, 1999).
Thus, the prose of both writers is of interest for comparison from the point of view of revealing the poetics of the "unreal" in the artistic worlds of Nabokov and Poplavsky.
The constructions "hero", "character", "reader" are rethought in the literature of the beginning of the 20th century. Young emigre authors in their artistic searches followed the trends in the European novel - they mastered in their works those transformations that the understanding of the personality undergoes. The interwar years are a period of experiments with understanding the character, the author, the "I" in the work, with narrative optics, it is the ideas about a person that are at the center of those literary events that will later be called the "crisis of traditional storytelling". In the emigrant cultural community, all these themes are articulated. In reviews, surveys, essays, it is the “hero” that displaces the problems of “composition”, “plot”, “style”, “details” - all those “techniques” that emigre writers are not interested in talking about. "Hero more interesting than the novel”- the title of the unpublished book by Sergei Sharshun quite accurately characterizes the situation.
The hero is so closed in on his inner world that sometimes he does not even assume the presence of an “other” and cannot look at himself through the eyes of another. In the novel "Home from Heaven" the hero of Boris Poplavsky argues: "Who am I? Not "who", but "what. Where are my boundaries? They are not there, you know, in deep loneliness, on the other side of borrowed disguises, a person remains not with himself, but with nothing, not even with everyone. ... Following the disappearance of thousands of women and thousands of spectators, you yourself disappear, two empty mirrors cannot distinguish themselves from each other ... Where are you now?" (Poplavsky, 2000, p. 310). The problem of "I" and "other" is also relevant for Nabokov's work (the novel "Spy", the story "Horror", etc.).
The "inner" hero exists only in the space of his own consciousness, and he draws the sources of self-reflection from the author's memory. Critics-contemporaries saw in the novels of the "Chistsy" an autobiographical narrative. The boundary between the author and the hero is blurred.
The structure of the novel "Apollo Bezobrazov": the opposition of "reality" and "realities". Autocommunicative principle of text construction
As you know, Poplavsky became famous among the emigrants primarily as a lyricist. Later, the writer turned to the epic genre of literature to big genre- a novel. In our opinion, the attraction not to small forms (short story, short story or story), but to the novel, is due to both Poplavsky's worldview and the historical and literary situation.
M. Bakhtin wrote that the novel is the only emerging and still "unfinished" genre. “The rest of the genres are like genres, that is, as some kind of solid molds for casting artistic experience,” the literary critic noted (Bakhtin, 1975, p. 447). And only the novel has no "canon". The novel comes into contact with the elements of the unfinished present, which does not allow this genre to freeze. The object of it artistic image is "unprepared and fluid modernity". The plasticity of the novel is also due to the fact that it is “a genre that is forever searching, forever exploring itself and revising all its established forms” (Bakhtin, 1975, p. 482).
Artistic comprehension of being as eternally becoming, mutating is characteristic of all the work of Boris Poplavsky: In order to capture eternal change, art must be at the same time non-art, Poplavsky believed, whose creative guide was the “human document”. “Is it necessary to strive to “enter” literature, is it not necessary to rather want to “come out” of literature?” the writer asks in Notes on Poetry (Poplavsky, 19966, p. 251). And he answers: “You need to write something outside of literature. This achieves, creates not a work, but a poetic document - a feeling of a living fabric of lyrical experience that does not lend itself to the hands. Here there is not a static theme, but a dynamic state, ... and therefore the display turns and changes, like a living fabric of time ”(Poplavsky, 1996, p. 251).
What Poplavsky wrote about poetry is also true for his prose. Researchers note lyricism in both novels of the writer. For example, V. Volsky in his work “Between Nietzsche and Poe” (Volsky, 20036) calls Poplavsky’s novels a great prose poem, where a certain “discreteness between internal and external, subjective and objective” is assumed.
From the lyrics, the writer's prose borrows an attitude towards subjectivity (the study of one's own, "home" is more important than objective reality), associativity. Poplavsky rhythmizes prose, and also introduces blank verse into novels. Particularly poetic is the chapter of Apollon Bezobrazov about the ball of Russian emigrants. One of the parts of this chapter is a dramatic episode built on the rhythmic remarks of the participants ("Voices from Music", "Vera", "Apollo Bezobrazov", "Sinners"). For example, Vera says: “Sounds are born in the world, the sun carries them into the abyss. Here, in a robe of dust, the music of death lives. Who will wake them up, who will destroy them. I will leave with them, I will die with them” (Poplavsky, 2000, p. 84).
Setting on fragmentation, associativity, subjectivity, external eventlessness is general trend modernist novel of the 20th century, to which we include Poplavsky's novel. "Apollo Bezobrazov" is a modernist text, which reveals both the features of the European novel of the beginning of the century and the Russian symbolist novel.
In his article "About ...", partly devoted to the work of D. Joyce, Poplavsky contrasts the Irish writer with those classics who sought to "describe wonderful cases of life and all sorts of important events." Joyce, according to the writer, managed to touch the reality of being, to create "an intense sense of reality" (Poplavsky, 19966, p. 274), to discover "the majestic chaos of the human soul" (Poplavsky, 19966, p. 276). “All together,” Poplavsky writes about Ulysses, “creates an absolutely stunning document, something so real, so alive, so diverse and so truthful that it seems to us that if there was a need to send to Mars or even somewhere to hell on Easter cakes are the only example of terrestrial life or, after the destruction of European civilization, the only book to keep as a keepsake, in order to give an idea of it, lost through the centuries or space, it would be necessary, perhaps, to leave Joyce’s Ulysses” (Poplavsky, 19966, p. 274- 275).
Many works are devoted to the type literary hero modernism, but general opinion, basically, boils down to the fact that “he is deprived of stability and stability” (Stroev, 2002, p. 524). “Now the Europeans are thrown out of their biographies, like balls from billiard pockets,” O. Mandelstam wrote in his article “The End of the Novel” (1922). “The modern novel immediately lost its plot, that is, the personality acting in its own time, and psychology, since it no longer justifies any actions” (Mandelstam, 1990, p. 204). A.F. Stroev in his work “Hero - character - system of actors” writes that “the theory of relativity has taught us to think that the world is endless, incomprehensible and ambiguous. A person can judge not about objective reality, but only about his own perception of it. The rejection of positivism and of God equally destroyed the harmonious picture of the universe, deprived being of purpose. Freudianism showed the complex dual nature of human consciousness, the hidden irrational motivation of actions” (Stroev, 2002, p. 524).
N. Yu. Gryakalova, the author of the monograph "Modern Man: Biography - Reflection - Writing" (Gryakalova, 2008), considers the construct given in the title as a special cultural and anthropological type in the paradigm of its literary and life-creating realizations. The world of the modernist novel is devoid of integrity, rationality, orderliness, is constantly in the making, the hero of this space is, first of all, reflective. Poplavsky also had similar ideas about the world.
Modernism in the context of the first wave of Russian emigration undergoes certain modifications that only enhance some of the qualitative characteristics of this artistic method. For the émigré prose of the 1930s and the work of Boris Poplavsky, in our opinion, the construction of the text according to the autocommunicative principle is typical.
Yu. M. Lotman distinguishes two directions of message transmission in the cultural space. The most typical case is the direction "I - OH", where "I" is the subject of information transfer and its owner, "HE" is the object, the addressee. In this communicative model, it is assumed that before the beginning of the communication act, a certain message is known to “me” and not known to “he”.
Another direction in the transfer of communication Lotman calls "I - I". In this model, the subject sends a message to itself. At the same time, the researcher is interested in the case when the system "I - I" performs not a mnemonic, but a different cultural function. These are all those cases when a person turns to himself, in particular, those diary entries that are made not for the purpose of remembering certain information, but for understanding internal state writing, understanding, which without writing does not occur.
Irrealization of the chronotope of Paris
In this chapter of the study, we will analyze the poetics of the "surreal" in Ioplavsky's novel "Apollo Bezobrazov", reveal its features and make an attempt to trace how the features of the "surreal" penetrate all the structural levels of the novel.
Of interest is the spatio-temporal structure of the first chapter of the novel "Apollo Bezobrazov". It sets the "coordinate system" in which the characters will continue to exist.
The chapter opens with an epigraph in French from Paul Eluard, one of Poplavsky's favorite writers: "Like a bird closed in its flight, it never touched the ground, never cast its shadow on it." In the statement, one can single out some space-time categories that are important for the first chapter and the entire novel, which form oppositions: “closure - openness”, “flight - fall”, “earth - sky”, “shadow - light”, the pronoun “never” in In this case, it can be equated in meaning with the word "always", that is, "eternally", and, thus, "eternal" is opposed to "temporary". In the sentence, the “above-ground” existence of the subject (“he”) is compared with the flight of a bird - and in this chapter the hero “I” (whose name, by the way, the reader will learn towards the end of the novel) will meet the same “mysterious”, “strange”, “ surreal" character, whose existence is marked by "isolation".
The story begins with a panoramic description of Paris, the city crowd, in which the reader will soon see the hero-narrator of the novel: "I".
In general, the "Parisian text" in the history of literature exists along with the "texts" of other cities and has a range of established ideas and associations. It should be noted that V. N. Toporov introduced the term "Petersburg text" and defined it as an artistic realization of the image of the city, and this definition can, by analogy, be extended to "Parisian", "Moscow", "London", "Dublin" and other texts ( see Toporov VN Myth Ritual Symbol Image: Research in the field of mythopoetic: Selected / VN Toporov - M.: Progress, 1995. - 624 p.).
“Text”, in this case, we define, following B. Uspensky, as any “semantically organized sequence of signs” (Uspensky, 2000, p. 15). "Urban text" is also a sequence of signs, semantically organized by their belonging to a given phenomenon (city).
Researcher L. V. Syrovatko, by analogy with the “Petersburg story”, identifies a special genre variety “Paris novel” in the prose of the Russian abroad of the first wave and refers to it some works by V. Nabokov, G. Gazdanov, B. Poplavsky and others (Syrovatko, 2000 ). According to the literary critic, the main feature is “ Parisian romance' is a special type central hero- this is a person "from the outskirts", a marginal, a loner, a stranger in the metropolis, because initially he belonged to a completely different, more ancient and natural type of civilization (for example, at Gazdanov and Nabokov - a Russian estate). The cross-cutting motif of the “Parisian novel” is connected with this space that has disappeared forever - the metaphor of the “lost home”. Paris is perceived as a machine with gear people. L. V. Syrovatko notes: “There is no return to ancestral, natural life, but outwardly a festive world” new civilization”turns to the hero inside out ... It is no coincidence that when describing Paris ... both Gazdanov and Poplavsky single out clochards in particular. "Wanderer", "traveler" in life, "stranger", "stranger" in the metropolis, biographically and metaphysically homeless, keenly aware of the inevitability of non-existence, the hero of the "Parisian novel" tries to overcome the resulting emptiness by complicity in the approaching death of others, uniting him with other people , co-dying” (Syrovatko, 2000, p. 90-91). The features of the “Paris story” listed by L. V. Syrovatko correlate with the broader concept of the “Parisian text”.
However, not all researchers unequivocally assess the significance of the Parisian text for Russian writers in comparison with other urban texts. N. E. Mednis, noting the presence in the culture of St. Petersburg, Moscow, Roman, Florentine and other texts, believes that “certain internal intentions” are not enough for the “germination of the Parisian text” (Mednis, 1999, p. 132). At the same time, the literary critic admits that “some artists feel Paris precisely in terms of text” (Mednis, 1999, p. 146). N. E. Mednis finds an example of such a perception of the French capital in N. Berberova’s memoirs “My Cursive”. The attitude of the writer towards Paris contains “all the semiotic prerequisites for the formation of her own Parisian text, in which the city is able to realize the potential of otherness” (Mednis, 1999, p. 214). “Paris is not a city,” writes N. Berberova. - Paris is an image, a sign, a symbol of France, her today and her yesterday, an image of her history, her geography and her hidden essence. This city is saturated with meaning more than London, Madrid, Stockholm and Moscow, almost the same as St. Petersburg and Rome ... it speaks of the future, of the past, it is overloaded with overtones of the present, heavy, rich, dense aura of today. Whether we love it or hate it, we cannot avoid it. It is a circle of associations in which a person exists, being himself a circle of associations” (Berberova, 1999, p. 331).
For our research, it is of interest to Boris Poplavsky's transformation of the domestic and foreign literary tradition of the "Parisian text" and the creation of his own space of Paris - the "emigrant" topos.
