The originality of the artistic manner of m Sholokhov. Artistic features of the novel Quiet Don

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1) consider how the language, the objective world, the world of abstract truths and judgments, the moral and psychological world of heroes are transformed according to the laws of the writer's style;

2) to bring students to the idea that the novel is an inspiring model for new generations of writers.

Teaching aids: books of the epic novel by M.A. Sholokhov “Quiet Flows the Don”, notebooks, computer, projector, electronic media with a presentation for the lesson.

Teaching methods: students' answers prepared in advance, viewing a presentation using a computer installation, working with a literary text, independent work in the classroom.

During the classes

1. Goal setting.

Today we are conducting the final lesson on the epic novel by Mikhail Alexandrovich Sholokhov “Quiet Flows the Don”. Studying this work, we considered such topics as pictures of the life of the Don Cossacks, the theme of the civil war, the theme of love and morality. We know that Sholokhov received the Nobel Prize for this work. How did he manage to create such a truly great literary work? Maybe he had special stylistic devices that allowed him to raise artistic images to unprecedented heights? This is what we will try to figure out.

2. Introductory speech of the teacher.

Slide number 2. Stylistic features of Mikhail Sholokhov (based on the epic novel “Quiet Flows the Don”)

Teacher: Why does the name of Sholokhov sound so significant and so weighty for us? Did he open a new mold? Invented a hitherto unseen system of verbal representation? Sometimes, touching the golden pages of certain great writers, we involuntarily try to find at all costs his turning point in aesthetics, an innovative discovery in style, forgetting that all the amazing innovations, too deliberately introduced into our work, almost always short-lived. True beauty is in the openness of simplicity, no matter how complex the world of the depicted is. Multi-capacity simplicity arises only from a complete merging with the destinies of his people by the inexhaustible splendor of his language, which is a true co-author of a great talent.

Slide number 3. Portrait of M.A. Sholokhov

The student reads by heart the poem by S. Vasiliev “29 years ago” (homework):

... As now, I remember very well
(This evening sunk me
right in the heart!): I was lucky -
fell into the hands of Sholokhov.
I took a little book
And though wet and cold,
But from the very first page
I couldn't tear my eyes away.
The whole block circled around,
I chose a dry entrance
And all six "Don stories"
I read it in one sitting.
Green invaded my soul
The aroma of the Don steppes,
Conquered the waves of the Don -
Take it in your hand and drink!
Believe me or don't believe me
From then on forever
Grown into the soul until death
Good Sholokhov syllable.
How do you forget the page
Where suddenly stood in front of you
These destinies, these faces
Over the blue river!

Slide number 4. Don River

Teacher: It is impossible to compare the painful dissatisfaction of the writer with anything, his pursuit of perfection, when verbs and epithets are sifted through the smallest sieve to select and select golden grains of sand, from which the harmonic body of the novel is then poured out. Beauty in art is an eternal category, and the duration of this aesthetic phenomenon is determined only by the expenditure of energy that a mercilessly demanding artist puts into hard labor.

3. Analysis of the work.

Teacher: We will now see words on the screen that are a small fraction of the special Cossack language that the author presented to us on the pages of The Quiet Flows the Don. There is no doubt about the beauty of this language when it sounds from the lips of Sholokhov's heroes.

Slide number 5. Dictionary of Cossack words

Teacher: Sholokhov's language is subordinated not to fashion, not to color for the sake of color, but to thought itself, the significance of which rejects light words. In the work, often with landscape sketches, the author uses occasionalisms and dialect words of extraordinary beauty.

Slide number 6. The peculiar language of the work

Teacher: How the writer worked on each phrase, Yuri Bondarev told at one time.

Students read the dialogue by heart (homework):

“I remember how in the days of the Stalingrad operation we walked along the liberated Kalach. I knew that these places are close to Sholokhov. I looked at the damp walls of the houses, at the black bare gardens, in which the smoke of German explosions was still melting, I looked at the whitening bank of the Don - my heart sank. I walked on the land on which it was as if I was born and raised. These places were well known to me from Sholokhov's books. Walking next to me was the gun commander, Sgt. Gloomy looking at Don, he suddenly asked:

Do you know where the writer Sholokhov is now?

Probably at the front.

Yeah. He wrote hard. They say that he sits with a fishing rod, looks at the float and does not see that he is pecking, he suddenly jumps up and ... home. Write down the word ... That's it! ... I thought over every word ...

For a long time I believed this story. Only later did it become clear to me that the secret of the widest success of Sholokhov's creations was not only brilliant craftsmanship and colossal work on style, but first and foremost in its indissoluble connection with the land and the people, in the most serious understanding of the human soul by this artist.”

Slide number 7. Writing in a notebook

Teacher: But there were also such critics who rejected Sholokhov's talent.

There are reports from students about the negative criticism given to Sholokhov's work. (Homework.)

Slide number 8. Writing in a notebook

Teacher: It should be taken into account that not only the writer owns the word, but the word itself owns the mind of a talented master, prompting him both figurative and compositional solutions, opening before the artist new, previously unseen ideas.

Slide number 9. Scheme of literary concepts. Writing in a notebook

Teacher: In order to understand the style of the writer, one must look at how the language, the objective world, the world of abstract truths and judgments, the moral and psychological world of a person are transformed according to the laws of this style.

Task: Find in the text portrait sketches of the heroes of the work.

Students read their responses from the story.

Messages from 1st student: In Sholokhov, the objective world and details are grasped vigilantly and intently, each one is, as it were, outlined by a contour separating it from the others: “Cossacks in uniforms and festive trousers; long, rustling hemlines of multi-colored skirts dusted the dust of the women, tightly pulled into painted blouses with puffed sleeves on wrinkled sleeves.

Slides No. 10 and No. 11. Military uniforms of the Cossacks. Cossack clothes

Student 2's message: For Sholokhov, the enumeration of all the objects that surround the hero of the work at the moment is also characteristic. This also applies to military equipment, and belongings of the Cossacks, up to food supplies. The objective world in the novel consists of separate details. Objects have their smells, their properties, their symbolism. They are connected with the customs of the Cossacks. For example, Natalya knitted a wedding scarf and gloves for Gregory as a gift in honor of the wedding. She also gave him an embroidered pouch as a token of love.

Teacher: And now let's talk about the features of the language, since the imprint of style is most clearly visible here. Let's see how the word controls the author, suggesting figurative solutions to him.

Slide number 12. Portrait of Natalia

Slide number 13. Portrait of Stepan

Slide number 14. Portrait of Gregory

Question to the class: What state are the heroes in at the moment?

Students analyze quotes.

Teacher: The words “clawed”, “tired”, probably, are the very transformation of speech traditions and forms that we talked about.

Answer of the 1st student: One phrase contains a lot: on the one hand, it is a portrait sketch, on the other hand, it is a thought leading us to abstract truths. Indeed, everything in a person's life changes - it leaves its mark on him. How beautifully it is said: “A long stitch, trodden by days, lay behind my shoulders.”

Student 2 answer: Sholokhov writes as follows: “Looking at Grigory with loving eyes, she thrust into his hand a soft cloth lump, melting the warmth of girlish hands.” I think all these details objective world make the work very believable, natural and interesting for readers, since not everyone knows about the life and customs of the Don Cossacks.

Teacher: What passages from works indicate the philosophical nature of thoughts, whether digressions or the statements of the heroes of the work? These words can also sound aphoristic.

Student response: Sholokhov has these lines: “The bread, poisoned by cattle, rises ...” So a person is obliged to rise and live on, no matter what. And the heroes of Sholokhov's work really needed such folk wisdom.

4. Reflection.

Teacher: What is the “Sholokhov style”? What definition would you give to this concept?

Student response: Sholokhov's style is, first of all, the truthfulness of what he depicts, as well as the exquisite simplicity that is felt in everything he writes about.

Student response: Sholokhov's style is a well-aimed, aphoristic language that feeds us all with its folk wisdom.

Student response: Probably, this is a unique originality, which, moreover, hides deep truths.

Slide number 12. Statement by A.S. Serafimovich (student reads)

5. Summing up the lesson.

Final words of the teacher: Only innovators become true heirs of traditions. To continue the traditions of classical writers means not to copy their external features, but to build a new artistic system, sensitively reacting to the movement of historical time. This is exactly what Mikhail Alexandrovich Sholokhov did while working on the work “Quiet Flows the Don”.

What do you take away from today's lesson? Has your relationship with the writer remained the same or has something changed?

Student response: I am amazed at how difficult the novel "Quiet Don" was given to the author himself, what attacks he was subjected to, including suspicion of plagiarism. But it made him even stronger.

Student's answer: One can only bow to Sholokhov's talent, admire his wonderful artistic style and his courage. I am sure that Mikhail Sholokhov became a teacher for many writers of the 20th and 21st centuries.

Teacher: Thank you guys for your attention, for working on this lesson, which made all of us a little better, cleaner, wiser. Undoubtedly, Sholokhov deserves to be read and re-read and told about him to his comrades, children and grandchildren.

6. Homework.

Write an essay on one of the given topics.

O.Ya. Alekseeva

SPECIFICITY OF ARTISTIC SPACE IN M.A. SHOLOKHOVA

The relevance of the topic chosen for this article is primarily due to the fact that the study of the early stories of M.A. Sholokhov for a long time was not given due attention. There are separate articles and a number of monographs devoted to the study of the early period of M.A. Sholokhov. The attention of their authors is focused on identifying the features of style (N. Velikaya, A. Khvatov, I. Lezhnev), ways of creating images (F. Biryukov, L. Yakimenko), motives (F. Biryukov, G. Ermolaev), type of conflict (L Yakimenko, A. Matsai, V. Gura), as well as on correlation with the novel “Quiet Flows the Don” (Priyma, V. Gura, G. Ermolaev, I. Lezhnev). An attempt was also made complex analysis short stories (S. Semenova)1.

However, in the works cited above, the stories were not studied in order to isolate the spatial structure and reveal its interaction with more complex levels of narration. In our opinion, such an approach could provide an opportunity to look at the problem of interpreting the early stories of M.A. Sholokhov from a different point of view.

As you know, the analysis of a work of art can proceed in ascending order, i.e. from studying simple elements that make up the narrative (identifying topics, motives, spatio-temporal characteristics of the text), to the study of more complex components, such as, for example, the main idea, plot, etc. Researchers mainly focus their attention on the upper layer of the work, forgetting that it is the study of the “first” level that often helps to understand the dynamics of the development of the plot, to reveal the internal structure of the work.

In the article we will try to describe the spatial characteristics of stories, to determine its semantic content and specificity.

The material selection was based on the principle of total study of M.A. Sholokhov period 1924-1927 in order to identify a number of texts in which there is a situation of crossing the border and, as a result, spatial opposition. As a result, the main corpus of the studied works consisted of the following stories: "Kolover"

(1924); "Shepherd" (1925); Food Commissar (1925); "Ilyukha" (1925); "Chairman of the Revolutionary Military Council of the Republic" (1925); "Two-husband" (1925); "Bakhchevnik" (1925); "Alien Blood" (1926); "About Kolchak, nettles and other things"

(1925); the story "Way-path" (1925); "Wind" (1927) .

The artistic world of M.A. Sholokhov is well organized and

consists of two opposing spaces: “open”, which we conventionally called “city”, and “closed” - “farm” / “village” (the so-called “class and regional isolation”). Under the opposition "open-closed" space is understood, first of all, the opposition "old-new" regime, "permeability-impenetrability", "static-dynamic", "inertness-progress". Their description is stable: “closed” is always depicted with negative connotations (“... Yesterday the land was divided: as soon as one of the poor gets a good strip, they begin to redistribute it. Again, the rich sit on the ridge.” - P, 216; “Cossacks - sowers with rich spectacles pulled their bellies tighter, decided at once and without thinking: - Give Darma bread? .. We won’t give it. built a school "- D, 365; "Now hit with both lanterns, shine in both! Just touch your woman - by the tail of you, son of a bitch, but in a dog box!" - OK, 423) 4.

Interestingly, if literary tradition 19th century the hero fled from the bustle of the world around him, sought to find solitude in order to find

true understanding of things, the meaning of life, then in the stories of M.A. Sholokhov, the situation is exactly the opposite. The hero, as in the romantic tradition, is also active, and for him “truth” is outside the everyday life surrounding him, but its spatial embodiment is no longer a “village”, but a “city”. This is due to a change in the settings of the guiding force: now the space that was originally “closed” on itself is doomed and must be destroyed by the impending progress, which is no longer possible to resist.

It should be noted that in one of the stories - "Chairman of the Revolutionary Military Council of the Republic" - the type of "enclosed" space receives a completely different semantic content. The hero, proclaiming his farm autonomous, announces a “circle of siege” (345), as if placing it in the center of the circle, blocking access to it. In this case, "isolation" has a folklore connotation, it becomes a synonym for a talisman, designed to protect the owner or the place where he lives from evil spirits.

Folklore motifs in the description and development of space are seen in two more stories - "Ilyukha" (1925) and "Wind" (1927).

In the story “Ilyukha”, one of the motivations for the hero’s movement is his unwillingness to marry the bride chosen by his parents (“It hurts like a nun: her lips are tucked up maliciously, she sighs and crosses herself, she’s exactly an old woman, she won’t miss a single mass, but by itself - like peroxide dough ", 232). The search for a different share resonates with an important compositional component of the plot of a fairy tale, in which “the crossing to another kingdom is, as it were, the axis of the tale and, at the same time, its middle. It is enough to motivate the crossing by looking for a bride, curiosity<....>in order to get the most general, still pale, uncomplicated, but still tangible framework, on the basis of which various plots are composed. So in the story "Ilyukha" "crossing" dramatically changes the fate of the hero, divides his life into two

parts: a measured and sedate life in the parental home and the beginning of a new life, full of struggle and self-improvement.

In the story “Wind”, a description of the reason (“The driver deceived him, left without waiting for the end of the congress, and Golovnin, not finding a passing cart, went on foot ...”), the circumstances under which one of the heroes of the story, Golovin, gets into the hut to a local resident (“It was getting dark quickly. The ugly outlines of oaks could be seen on the sides, behind a canopy of darkness. An hour later, already in the dark, he nailed to the lights of the farm and, tired, entered the first courtyard. A light turned yellow in the window of a small hut. He knocked .. ..") suggests the similarity of Turilin's hut with Baba Yaga's hut6. The very atmosphere surrounding him there contributes to this (“The teacher was stuffy on the cold stove. He felt that stained sluggish lice were crawling on him. They bit evil and insatiably”).

In addition to the above-mentioned dominant center-forming spaces (“city-village”), an additional subspace is introduced in the stories “Shepherd”, “Bakhchevnik”, “About Kolchak, Nettles and Others” and the story “The Path-Dorozhenka”: “steppe” - P; "melon" - B; "Makhno gang" -Pd; "stables" - OK.

At the very beginning of the stories, Grigory (“Shepherd”) and Mitka (“Bakhchevnik”) are shown passively adjacent to the Bolsheviks, while their ability to be active is outlined, but not spelled out, which gives the author the opportunity to show the characters in development. Their final formation takes place at the end of the story, when they prove their devotion to the idea through self-sacrifice (Grigory, "Shepherd") and their readiness to transcend the laws of kinship in its name (Mitka, "Bakhchevnik").

In the last two of the cases we have cited - the story "About Kolchak, nettles and other things" and the story "The Path-road" - the problem of the internal self-identification of the characters was removed from the outset, and their spatial movement is due, first of all, to the author's desire to focus

to draw the reader's attention to a facet of character that is fundamentally important for him, for example, such as moral stamina (OC) and fortitude (Pd).

Thus, the complication of the spatial structure of a work of art highlights one of the mechanisms for creating an image.

Traditionally, the opposition "city-village", in addition to the connotation "open-closed-closed", includes the concept of "own-foreign": : “native”, “warm”, “safe” - opposes the open “external” space and its signs: “alien”, “hostile”, “cold”.» . However, in the analyzed stories, the classical interpretation of this opposition breaks down. Actually, its constituent components change places: “one's own” becomes distant; "alien" - close. Wed: “Ilya, go, but don’t look at home. I see that you were infected with kumsamol, you sniffed everything with them, with the bastards, well, live as you know, but I’m no longer a decree for you ... ”- I (232); “Do you know, Red Army belly, that tomorrow we will arrest your friends?” (251) and “He vaguely guessed that Fedor wanted to leave for the Don to the Bolsheviks” - B (251); “Let's leave with us from here, spit with the Great Don Army” (272) and “Jumped out. They ran, they fell. Jacob waved his hands and shouted<...>: - Brothers! Reds! Comrades!..” - Pd (281); “Horuzhiy. Shoulder straps are new. A shaved row of sparse hair. His own: flesh from the flesh, but Pakhomych is embarrassed as a stranger ”- K (327); “Angularly haggard and turned yellow Petro. At night I heard Gavril sighing and tossing and turning in bed. I understood, after a long thought, that Peter did not live in the village. - H (499).

Another important component in the study of the spatial structure of a work is the motif of border crossing8, which directly affects the dynamics of plot development.

All of the stories presented here have a common plot (the exception is "Wind"). The narrative begins with a description of the internally active, but externally static opposition of the hero surrounding reality(“Ilyukha”, “Commissioner”, “Kolover”, “Two-husband”, “Alien blood”, “About Kolchak, nettles and other things”, “Chairman of the Revolutionary Military Council of the Republic”, the story “The Way-Dorozhenka”) or from the formation of this position ( "Shepherd", "Bakhchevnik"). Actually, the first half of the story is designed to show the formation of heroes and the motivation of actions. A detailed description of the situation, the conditions of life in which the hero finds himself, on the one hand, slows down the action: the narration seems to be stretched out. However, the incompatibility of views on the current way of life and caused by these circumstances conflict situation rejects or pushes the hero out of the family, which inevitably stimulates the activity of his actions (which is evidenced by the crossing of the border) and, as a result, leads to a swift denouement.

Depending on the "attachment" of the characters to the "open / closed" space and their ability to cross the border, they are clearly divided into two groups: the characters are "mobile" and "static". For example: “Since spring, our own farm, Nastya, has been coming to the farm. She lived in the mines, and then she took it and came, the devil closed her by the hem” - OK (422); “I myself worked day and night. I didn’t roam around the world like you!” - Pr (223); “... run away, dear, where your little eyes look!” - B (258); “... If you want to go with us - in a good hour, but no, it’s easier for a mare with a cart! .. - I’ll go, grandfather” - Pd (272).

Overcoming the border is perceived by the heroes as a rejection of inert existence, a break with the burdensome past and aspiration to the future. The motive for crossing the border in the stories of M.A. Sholokhov is clearly marked not so much by moving from one space to another, but, first of all, by the fact that the hero is faced with a choice between loved ones.

people by blood and idea. Moreover, the very concept of moral choice, which logically follows from its conditions, is removed and replaced in the stories, in accordance with the ideological setting, the definition of class belonging, which actually justifies not only the heroes’ refusal from blood ties, but also the murder of a loved one (“Food Commissar”, "Bakhchevnik").

It should be noted that this interpretation in no way removes the important ideological component of the images, moreover, in our opinion, such an analysis of the work allows us to reveal the mechanism for creating an image outside of semantic content, to check the truth / falsity of its interpretation.

The “spread” of Soviet power described in the stories is shown as the onset of a “new” order with the methodical and thorough destruction of the “old”: the concepts of traditionalism (duty, family, way of life) - its main components - are trampled and desecrated. Thus, the prospect of a gradual replacement of the old “closed” space with a new “open” one is emerging. To simplify the task, in accordance with the template settings (Bolshevik kulaks), the Cossacks are presented in the stories from a negative point of view, which forms a stable negative attitude towards it and serves as a sufficient justification, from the point of view of the ruling class, for its systematic extermination: “I pushed away my mother to the side, knocked Mitka to the floor, kicked him busily, for a long time, cruelly, until the muffled, groaning cries ceased to burst from Mitka's throat ”- B (257); “The cornet beat the old man with a whip, cursing hoarsely, curtly. The blows fell resoundingly on the hunchbacked back, crimson scars swelled, the skin burst, blood oozed in thin strips, and without a groan, lower and lower, a bloody head fell to the earthen floor. - Pd (265); “Anna swayed, screamed, wanted to catch her husband’s hand, but he, cursing hoarsely, grabbed her by the hair, but-

hit the goy with force in the stomach. Anna fell heavily to the floor, gasping for air with her open mouth, gasping for breath from a burning suffocation. And I already indifferently felt the dull pain of the beatings. - D (372). However, one should not draw hasty conclusions about the position of Sholokhov himself.

Formally imposed by the new government, the stereotyped description of the representatives of the opposite side is observed. However, if you carefully read the text (“. A month later, the Reds came. They invaded the Cossack primordial life as enemies, they turned their grandfather’s ordinary life inside out like an empty pocket” - Ch, 484), and especially in how the dispossessed kulaks argue their behavior ( "I need to be shot for my own good, for not letting me into my barn - I am a contra, and who rummages through other people's bins, an entot under the law? Rob, your strength "- Pr, 224), it will become clear that M.A. himself Sholokhov, if not completely, then partially, is on their side. As A. Khvatov writes, “the revolution abruptly changed the usual course of life, like a plow walked through the motionless virgin land of life, class traditions and divided people into two camps.”

An exception among the analyzed stories is "Wind". Here the center of gravity shifts from the political side to the moral one, which indicates a qualitatively different, non-opportunistic stage in the creation of the work.

The story shows the clash of two people, two types of thinking, different in class position and self-positioning. One is a representative of the intelligentsia ("city"); the other is a simple Cossack, a native farm resident (“khutor”). In the center of the story is the story of a Cossack, striking in the depth of description and the tragedy of human fate (“Give me, a kind person, fuck a piece of lard. Your swine legs have cracked my legs, you, in conscience, must give me for this. Yes, true God! I cut off a piece of lard and poured crackers into a horse sack). Caused at first by an irresistible feeling of empathy for someone else's grief, as

The attitude is replaced by indignation and disgust towards the main character: “The attitude of both the reader and teacher Turilin changes from sympathy to disgust. No matter how humiliated and offended a cripple feels, it is difficult to accept that his suffering serves as an excuse for his inhumanity.

The story shows the degradation of the human personality, the depth of the fall of which cannot be justified. This feeling is strengthened by the moral and ethical position of the author, whose spokesman is Golovin. Actually, he gives the final assessment of Turilin's actions: “The teacher suddenly dangled his legs and, twitching his swirling head, said with cold fury: “Oh, you bastard man! You bastard! ..””.

Summing up, we note that as a result of this study, it was possible to solve such tasks as describing the spatial structure of the text and identifying its specifics. Based on the analyzed stories, we tried to show one of the possible ways creating an image and its interpretation, to reveal the relationship between internal structure works and its semantic content, determine the position of the author, "see" it behind the screen of opportunistic dogmas.

1 Great N. Style originality"Don stories" by Mikhail Sholokhov // Mikhail Sholokhov: Articles and research. M., 1980. S. 87-111; Matsai A. Sketch creative program(Azure steppe) // Mikhail Sholokhov: Articles and research. M., 1980. S. 139-152; Lezhnev I. The path of M. Sholokhov. M., 1948; Khvatov A. Artistic world of Sholokhov. M., 1978. S. 8-45; Yakimenko L. Big truth // Literature and life. 1960. 28 Oct. S. 3; Ermolaev G. Mikhail Sholokhov and his work. SPb., 2000. S. 24-45; Semenova S. The world of Mikhail Sholokhov's prose. From poetics to worldview. M., 2005. S. 11-83.

2 Further, the names of the stories will be indicated in abbreviation: “Shepherd” - P; "Prodkomissar" - Pr; "Ilyukha" - And; "Kolovert" - K; "Chairman of the Revolutionary Military Council of the Republic" -PRr; "Two-husband" - D; "Bakhchevnik" - B; "Alien blood" - H; "About Kolchak, nettles and other things" - OK; "Way-path" - Pd; "Wind" - V.

3 GuraV.V. Life and work of M.A. Sholokhov. M., 1960. S. 35.

5 Propp V.Ya. The historical roots of fairy tales. SPb., 1996. S. 202.

6 Ibid. pp. 58-64.

7 Lotman Yu.M. The structure of the artistic text. M., 1973. S. 277-278.

8 “The border divides the entire text space into two mutually non-intersecting spaces.<.>The way in which a text is divided by a boundary is one of its essential characteristics. It can be a division into friends and foes, the living and the dead, the poor and the rich.” (Ibid., p. 278.).

9 Hvatov A Decree. op. S. 18.

10 Ermolaev G.S. Decree. op. S. 30.

L. Yakymenko

Already in the first stories of Sholokhov, one feature of his artistic thinking, which largely determined the originality of the style.

But the principle of epic parallelism takes on a qualitatively new character in Sholokhov's work. Enriched with the experience of the world novel, the detailing of the psychological feeling and the detailed pictures of nature are compared according to their internal aesthetic and ethical connection. On this basis, the grandiose poetic world of Sholokhov arises, in which nature, man, society are equal elements of the image.

At first, comparisons were purely external in nature, deployed according to the principle of similarity. In the first published story “The Mole” (1924), the writer tried to express the changes that occurred in the soul of a simple Cossack who became the chieftain of the gang in such a figurative comparison: “His soul has become stale, like traces of cloven bull hooves near the steppe muzga become stale in the brazier in summer” .

Sholokhov chose a comparison that was accidental and optional. Too distant, only external, was the connection between the soul of the ataman and the traces of cloven bull's hooves stale in the heat. And why bullish? Because they are bifurcated, and by this the writer tried to point out the split in the soul of the ataman?

The original "hardened soul" was not strengthened, but only illustrated by a random comparison, moreover, devoid of any emotional content.

Several years pass. Sholokhov is working on the second book of The Quiet Flows the Don. He is trying to express in an impressive picture the devastation that the war made in Gregory’s soul: “The heart has coarsened, hardened, like a salt marsh in a drought, and just as the salt marsh does not absorb water, so Gregory’s heart did not absorb pity.”

What is going on? Why, in one case, the juxtaposition, for all its seemingly figurativeness, leaves the reader indifferent, and in the other, it strains the feeling, excites with severe bitterness?

Obviously, between what is compared and what is compared, there must be a certain emotional connection. The principle of similarity does not give rise to an image. At best, it can only excite a visual representation. Parallel rows in such comparisons (human feeling - natural phenomena) must be flexibly connected by a mobile emotional-sensory connection. If the picture of nature, with its internal figurative movement, excites a feeling that enhances what is experienced by the hero, then the goal is achieved.

When Sholokhov writes: “The heart has grown coarse, hardened, like a salt marsh in a drought,” he gives not only a strong visual image, as if a visual embodiment state of mind Gregory. The very word "salt marsh" has a huge figurative, emotionally influencing power. Nothing grows on the salt marsh, all living things die. Terrible is a man whose heart has suffered such losses that can be compared with a barren, gloomy, gloomy salt marsh.

But this in itself very strong image is brought to a genuine tragedy in the second part of the comparison. What was common is given an inspirationally found final image, which, it would seem, only clarifies, concretizes, but in fact unusually strengthens and deepens the initial comparison. It was important to show how the hardening of Gregory's heart was expressed (the pain over the person was gone, pity was lost): "and just as the salt marsh does not absorb water, so Gregory's heart did not absorb pity."

Externally-objective and internally-spiritual are approaching in the very nature of manifestation, in a similar effect on imagination and feeling. United together, they act as if with a vengeance. To achieve such a result is a true art.

In "Quiet Don", telling about the aggravation of class contradictions, Sholokhov resorted to the following comparison: "In March, like buds on poplars, contradictions between Cossacks and nonresident Cossacks swelled in the villages."

The aesthetic inconsistency of such a comparison is obvious. The writer probably meant to say that the contradictions grew as rapidly as the buds swelled on the trees. But this is only one side of the described phenomenon. The writer, apparently, did not notice that the drama of class contradictions received its figurative embodiment in a natural phenomenon that arouses a feeling of joy (spring, swelling of buds on trees). An aesthetic, emotional-meaningful gap was created between what was being compared and what was being compared.

IN early story Sholokhov's "Resentment" is an image of tremendous power. After the attackers at night in the steppe took and took away the last hope - seed grain in a hungry year, “Stepan rose from the ground disheveled and terrible. Slowly swirled in the blue icy light of the moon. Athanasius, hunched over, looked at him, and stood before his eyes: last winter a wolf was shot dead in an ambush, and he, with buckshot stuck in his smashed eye socket, was just as terribly circling around the wattle fence; stood in loose snow, crouched on hind legs, was dying in a mute, voiceless death.

It was hardly possible to convey more strongly, to express all the hopelessness, despair experienced by grandfather Stepan. The image of mute, voiceless death, born in comparison with wolf death, sounded with tragic power.

The most seemingly abstract concepts that characterize various states, moods of a person are “materialized” by Sholokhov with amazing object-figurative clarity.

In the story “A Family Man,” after the death of his wife, the hero speaks of his loneliness: “I was left alone, like a sandpiper in a swamp ...” borrowing." Liza Mokhova, who was left without a mother early, “left to herself, grew up like a wild wolfberry bush in the forest.”

Nature is not indifferent to human joys and sorrows; in Sholokhov's poetics, she sensitively responds to the events of human life. But the life of nature, its phenomena are often comprehended through figurative comparisons that express the quiveringly human.

Tulips shine with "bright girlish beauty"; in the backwaters "a duckweed shone with a desired girlish smile"; water is "light as a child's tear"; “behind a rosy, cheerful, like a girl's smile, cloud ... the moon rises”; the night "in unraveled cosmos of clouds" rises over the city; the Don wave "nurses and nurses the white-tailed teals"; From last year's faded grass, the "blue, childish-clean eyes" of the flowering steppe violets look at the world.

The most abstract - thought, the process of thinking - was materialized by Sholokhov with the courage and confidence of deep knowledge, penetration into the hidden, secret, invisible.

From the first reading, it remains in a disturbed memory for life: the aged Aksinya and the fading lily of the valley, the grief of Natalya and the all-destroying thunderstorm in the steppe, the steppe scorched by fires and the devastation of Gregory...

« early spring When the snow melts and the grass that has fallen over the winter dries up, spring fires begin in the steppe. The fire, driven by the wind, flows in streams, greedily it devours the dry Arshan, takes off along the tall buds of the Tatar, glides over the brown tops of Chernobyl, spreads along the lowlands ... And after a long time it smells of bitter burning from the scorched and cracked earth in the steppe. Young grass is merrily green all around, countless larks tremble above it in the blue sky, migratory geese graze on the fodder greenery, and little bustards that have settled for the summer make their nests. And where the fires have passed, the dead, charred earth turns ominously black, the bird does not nest on it, the beast bypasses it, only the wind, winged and fast, flies over it, carries the gray ash and caustic dark dust far.

Like a steppe scorched by fires, Gregory's life became black. He lost everything that was dear to his heart. Everything was taken away from him, everything was destroyed by a ruthless death. Only the children remained. But he himself still convulsively clung to the ground, as if in fact his broken life represented some value for him and for others ... "

The epic generalization of Gregory's life appears as if by itself. The description of nature prepares what will be said about the mournful ruined life. This equivalence and relative independence of aesthetic objects is in the very essence of epic parallelism. A direct comparison: "Like the steppe scorched by fires, Gregory's life became black", prepared emotionally, has tremendous impressive power. In the visible, objective, concrete, the secret, the hidden is embodied.

Such a materialization of thought, feeling is in the very nature of Sholokhov's poetic thinking. Associative links are not built on the principle of external similarity, as was often the case in early works, they reveal, make visible the secret, significant, intimate.

Epic parallels stand out noticeably in the work. They form special emotional and stylistic nests in the novel.

Sholokhov came to literature with that powerful poetic sense of pristine beauty and wholeness of life, which spiritualizes the work of great artists.

For him, man the world were manifestations of unstoppable, perpetual motion, the stormy boiling of life. The writer saw not just pebbles or fog; his gaze revealed "a gray, broken border of pebbles kissed by waves"; “a mist was rising on its hind legs over the Don, and, spreading along the slope of the chalk mountain, it slid down into the pits like a gray headless viper.”

In our everyday speech, we have long ceased to feel the metaphorical, figurative sense many words and expressions. But after all, probably, the one who saw that spring streams were running, or the one who first said: it snowed, was a true poet. In modern speech, these and many similar expressions have become familiar, have lost their figurative content, they simply fix for us, name certain phenomena.

Sholokhov, on the other hand, sees everything around him with that primordial freshness of perception, without which art is unthinkable. For him, the beginning of the snowfall evokes a picturesque dynamic picture of how the wind “predatoryly swooped down on a white-feathered cloud (as a falcon, having overtaken, beats a swan with a sharply curved chest), and white feathers, flakes, flew onto the subdued earth, swaying undulatingly, covered the farm, crossed paths , steppe, human and animal footprints...”.

Sholokhov, in his figurative comparisons, comes from the poetic thinking of the people. After all, the wind is really, like a bird, it is said "winged". The writer quite often applies precisely this definition to the wind: “it was bitter and spiritual, this winged steppe wind,” etc.

About the wind, it is said: “it flew from afar”, “the wind decreased, fell on the lingering rosehip bush”. “The wind rising on its wings, having rested during the night ...” Sholokhov, comparing the wind with a falcon, and a white-feathered cloud with a swan, does not come from a purely external resemblance or from a really observed picture; the origins of his figurativeness - in an unusually accurate, spiritually poetic sense of the deepest poetic possibilities of the language.

About the wind, Sholokhov will say “wet-lipped”; dry wind "with searching hot lips kissed Aksinya's bare, full calves and neck."

True poetry, perhaps, consists in the ability to see innumerable manifestations of life everywhere, in the ability to spiritualize and warm everything with human feeling.

Of course, in the examples given, Sholokhov proceeded from what lives in the poetic consciousness of the people, which was defined by the word "anthropomorphism" (humanization of natural phenomena) as one of the features of the poetics of folklore. In this sense, art, as it were, returns us to the "childhood of mankind", it allows us to see, as it were, anew, seemingly familiar and known.

But Sholokhov is a writer of the 20th century. Deep psychologism, detailing human feeling, conquered by the modern novel, combined with his naive-primordial-fresh, I would say, poetic perception of the environment and gave us what we call "Sholokhov's imagery."

Impressive power, the secret of it (imagery) and in the deep direct connection of the writer with the labor practice of the people. Sholokhov looks at the world through the eyes of a person who not only observes, but also creates, changes the environment, feels nature as something intimate, close, dear. And he sees in it the source of eternally creative life. The writer's gaze is the intent, interested, wisely inquisitive gaze of a plowman, hunter, warrior, fisherman...

Here is one of the descriptions of the rain: “A slanting rain with hail, belted with a colorful rainbow sash, fell down from the bright white hem of the cloud and cut the earth.” So a person could see, for whom it was customary, how women from the hem pour grain to chickens, for whom the sash was not something unusual and exotic - they were girded to make it more dexterous to work.

In Sholokhov's poetics, the most heterogeneous phenomena "intimately" come together: domestic-everyday and external-natural. “The black sky was streaked with shooting stars. She fell alone, and then a fleecy trail brightened for a long time, like on a horse's croup after a blow of a whip. The similarity association is supported by the initial epithet "black" (sky), the verb "slashed". A horse can also be a crow; she is slashed with a whip. This creates a semantic basis for the deployment of the image.

Sholokhov, on the other hand, will see how in the sky "a damaged spotty moon suddenly burst out from behind the crest of a cloud, for several seconds, shining with yellow scales, dived like a crucian in flowing cloudy waves ...". I don’t know if one has to be a fisherman in order to see it like that, but a person who has never experienced fishing luck in his life cannot create such a visible, impressive picture.

Poetry working life powerfully captures and captivates in the works of Sholokhov, not only in direct descriptions of working people, it also penetrates into the pictures of nature, giving them amazing brilliance and emotional intensity.

Lightning did not just flash in the sky, it, like a plowman-worker, “obliquely plowed a swollen black-earth-black cloud ... Vigorous rain sowing began to crush the grass.” After sunset: “In the west, a plot of sky burnt by sunset was still crimson” (the word “plot” is usually used when talking about some part of arable land).

The bold, unusual use of the verb "plow" when applied to lightning is justified by the figurative content of the entire description. Yes, lightning can open a cloud that was not just black, but, like the earth, “black-earth-black”. Such a double definition gives poetic authenticity and semantic integrity to the unexpected assimilation of lightning to a plowman.

In Sholokhov's novels, the wind often also works, "masters". From the initial everyday expression "hosted" - this is what they say about strong wind who has done trouble - a picture of an autocratic, "working" wind arises.

“On Khriston’s threshing floor, a poorly made stack of wheat straw was ruffled, the wind, biting through, knocked out its top, knocked down a thin pole, and suddenly, picking up a golden haul of straw, as if on a file, carried it over the base, twirled it over the street and, generously sprinkling an empty road, threw a bristling heap on the roof of Stepan Astakhov's hut.

The initial figurative impulse of everyday speech usage was realized by Sholokhov in a detailed metaphorical description, in which everything is animated, connected with the everyday work of a peasant.

Because if the wind "masters", then it can be compared with the owner-worker. “On the threshing floor, having crossed over the wattle fence, the wind came in, housekeeping.” A metaphorical nest arises in which all verbs of action are connected with each other by the unity of figurative juxtaposition. What happens is what can conditionally be called the plot development of the metaphor. “He (the wind. - L. Ya.) brought straw scattered near the gate to the stack, hammered it into the manholes arranged by dogs, combed the disheveled corners of the stack, where the straw did not lie so tightly, swept dry snow from the top.”

And only then, pulling the reader out of this metaphorical world, destroying the connection he himself created - the wind-worker, - the writer will say: "The wind was big, strong, cold." We find ourselves in the reality of everyday life: Yakov Lukich Ostrovnov is standing near a stack of straw, and for him, of course, the wind is only big, strong, cold.

But we have seen much more! We were interested in colorful world, which opened with such figurative power the most seemingly unexpected connections that exist between man and nature.

The wind can be likened to a "heavenly" shepherd. And in such a comparison, Sholokhov has not only semantic, but also emotional justification conditioned by time, the place of action. Mikhail Koshevoy, grazing herds of horses in the deaf virgin steppe, “rolling on the grass, thoughtlessly watched how, grazing by the wind, shoals of clouds covered with frosty linen wander across the sky.”

At first glance, the metaphor unfolds here according to the principle of transfer (shoals of horses are shoals of clouds; on the ground they are grazed by man, in the sky they are grazed by the wind, as a single image in its manifestations).

But even here there is a “repulsion” from the initial, “root”, poetic manifestation of unrevealed connections. Usually common: the wind "drives" the clouds - contains the "grain" of the image. It is easy to build a series: the shepherd drives the flock, the wind drives the clouds, but then the wind, like a shepherd, can drive the clouds, which, reinforcing such a transfer of meaning through the mode of action, turn into shoals of clouds.

As a rule, Sholokhov's metaphor, based on the deep possibilities of language, reveals a huge wealth of real, vital connections.

Everything surrounding the peasant farmer, all the everyday life and poetry of the Cossack working life were close, familiar, native for Sholokhov from childhood. And if, for example, Sun. Ivanov in one of his stories of the 1920s writes: “Like a red bream, the moon, called the Cossack sun, floated over the steppe - if for him the moon was called the Cossack sun by someone, then Sholokhov would simply say:“ The month is the Cossack sun , darkening with a damaged sidewall, shone sparingly, white. For him, "moon" and "Cossack sun" are poetic synonyms, absorbed from early childhood.

This synonymy, revealing all the figurative possibilities that were contained in the everyday expression "the month is the Cossack sun", Sholokhov with grace and reliability brings to the extreme metaphorization, to the direct assimilation of the month to a young Cossack: "A young yellow-whiskered month Cossacked between the clouds."

One image leads to another. In Sholokhov's novels, as it were, through metaphorical series are created, connected by a flexible, mobile figurative unity.

In this case, the primary synonymic "cell" is quite easily detected. It is often based on an everyday metaphorical expression, associated with a “running”, familiar folklore or colloquial trope.

The artist "explodes" this frozen semantic "core", it begins to live, as if to divide before our eyes. More and more semantic rows bud off from it, and then an amazing wealth of hitherto hidden connections, figurative associations is revealed.

Associative links in this kind of rows do not arise outward sign similarities, they lead to the depths of consciousness, to the origins of human thinking, revealing its strength and beauty.

About the month, Sholokhov will say: “Over the loan, in the black inaccessible sky, having shrunk, a young month walked.”

Of course, it is only about the young month that one can say “having writhed”. But the definition itself, as well as the verb "went" when applied to the month, could only arise on the basis of complex associative relationships: the month - the Cossack sun - the young yellow-whiskered Cossack, etc. Only then can one see not a lunar trail, but a "fiery sinuous stitch, obliquely trodden by the moon.

The strength of Sholokhov's images is in their emotional and semantic richness. There is nothing exotic or ostentatious about them. With the help of the familiar, what was before the eyes of his heroes, Sholokhov often switched the narrative from the private to the generalized poetic, philosophical, and ethical plan.

IN recent books"The Quiet Flows the Don" stands out, gaining strength sad, warmed by the warmth of human participation, the motif of a fleeting life. It sounds now in the author's digressions, now in the reflections of the characters. And in the mouths of Sholokhov's heroes - ordinary people, Cossacks-workers - one of the highest, restless and eternal themes of philosophical lyrics acquires an exciting originality. Subject concreteness is combined with genuine depth and poetic generalization.

Grishak's aged grandfather will say with that sublime sadness of experience that is worthy of a real poet: "Life flashed like a flash of summer, and it is gone." Grey-haired before his time, aged early, Grigory will say with a sigh: "Life flies like a frisky horse." Without losing what belonged to a certain social environment, its way of life, way of thinking, etc., the image in Sholokhov's works acquired a general poetic expressiveness. The comparison of Pantelei Prokofievich with a rider who lost control of his horse possessed not only pictorial power, but also that objectivity and concreteness of representation that captures us so much in realistic art. The writer, it seemed, imperceptibly went from the particular, the singular to the generalizations of the global meaning. The backbone of the horse turned into a “swaying backbone of life”, on which Pantelei Prokofievich dangled limply, having lost both his former power in the family and his former confidence in his strength and the rights of the owner during the years of the revolution. A purely visual image turned into a philosophical-epic generalization.

The "exit" to the universal is accomplished in Sholokhov's poetics and through symbolic images saturated with philosophical and aesthetic content.

One of them is the image of a green stem, a flowering ear, a grain field.

In the descriptions of a grain field or a green stalk, greedily reaching for the sun, warmth, Sholokhov sounds one of the most exalted themes organically inherent in all his poetics - the theme of life-affirmation.

In the opening chapter of the novel “They Fought for the Motherland”, which tells about the family drama experienced by the agronomist Nikolai Streltsov, like a short victorious splash of the ever-triumphant ocean of life, there was a description of the first green stalk of spring grass: “... On the same day, in the morning, when the sun rose, on a loamy hillock, not far from the house where Streltsov lived, the first feather of the first blade of grass broke out of the ground. Its sharp pale green awl pierced the stale fabric of a maple leaf brought in from nowhere in autumn and immediately drooped under the excessive weight of a raindrop that fell on it. But soon the south wind passed down, the obsolete maple leaf crumbled into wet dust, a drop trembled, rolled down to the ground, and immediately, all quivering, rose, straightened a blade of grass - a lonely, miserable, inconspicuous on the vast earth, but stubbornly and greedily reaching for the eternal source life, towards the sun.

The grain ear for Sholokhov is a symbol of life. It is the work of generations. It is the key to the future. As long as the field is growing, man will live. A trampled field is the most terrible misfortune that can fall on a person. In Sholokhov's poetics, it becomes a symbol of misfortune.

The grief of Aksinya, abandoned by Gregory, evokes a picture of an eared field, beaten out, beaten out by cattle.

The misfortune that befell the Melekhov family during the civil war is expressed in a dramatic figurative comparison with the storm that passed over the wheat plot.

Creating pictures of the imperialist war, Sholokhov more than once retains mournful, sorrowful attention on the trampled, abandoned fields: “Ten steps away from them, the unharvested, lost grain was agitated. The ears of corn, emasculated by the wind, hunched and rustled mournfully”; “The ripened bread was trampled by the cavalry, traces of sharp-spiked horseshoes lay in the fields, as if hail had drummed all over Galicia.”

A strong comparison of traces from sharp-spiked horseshoes with the consequences of hail arose not only because of the external similarity. For the writer, there was an internal dynamic connection between the insane element of war, which destroys all life, and blind natural disasters.

War is a crime. It destroys human lives, does not pardon even ripened bread - a gift from the earth and the sun. It forcibly breaks one of the most decisive ties between man and nature, destroys the grain field - man's labor, the condition of his life.

Here, the eyes of the harvester Zvyagintsev (“They fought for the Motherland”) appeared to be a dead, burnt wheat ear: “It was an ear of wheat “melyanopus”, faceted and dense, bursting from the inside with heavy grain. His black mustache was burned, his shirt on the grain burst under the hot breath of the flame, and all of him - disfigured by fire and miserable - was thoroughly saturated with the sharp smell of smoke.

And Zvyagintsev walks along the road for a long time, “swallowing involuntary sighs, with dry eyes looking attentively in the twilight light of the night around, at the coal-black fields burned by the enemy, sometimes he plucked an ear of wheat or barley that had miraculously survived somewhere near the side of the road, thinking about how much and in vain the people's good is now dying and what a ruthless war the German is waging on all living things.

The land of Sholokhov enters the poetic world as a mother-nurse, in a surprisingly intimate sense of attention, comprehension of the innermost... The beauty of the eternally life-giving forces.

He will look and see how “the steppe, blooming, washed by rains, marvelously painted under the sun! She was now, like a young, breastfeeding mother - unusually beautiful, hushed up, a little tired and all shining with a beautiful, happy and pure motherhood smile.

The origins of Sholokhov's imagery are not only in the multi-colored world of nature - in labor practice, in everyday life; the whole emotional sphere of human life is involved by the writer in the figurative structure of his works.

The metaphorical richness of his language is inexhaustible. As if a downpour broke through, in which every drop is colored by the sun. It is as if the people themselves, with their age-old aesthetic experience, with their sense of beauty, proportion, and universal connections, spoke in Sholokhov's novels.

Keywords: Mikhail Sholokhov, criticism of the work of Mikhail Sholokhov, criticism of the works of Mikhail Sholokhov, analysis of the works of Mikhail Sholokhov, download criticism, download analysis, free download, Russian literature of the 20th century, Nobel Prize in Literature

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Thesis - 480 rubles, shipping 10 minutes 24 hours a day, seven days a week and holidays

Trofimova Polina Viktorovna The originality of the artistic detail in the novel by M.A. Sholokhova "Quiet Flows the Don": dissertation... candidate of philological sciences: 10.01.01 / Trofimova Polina Viktorovna; [Place of protection: Mosk. state humanitarian. un-t im. M.A. Sholokhov].- Moscow, 2009.- 184 p.: ill. RSL OD, 61 10-10/11

Introduction

CHAPTER 1. The sphere of portrait and psychological detailing in M.A. Sholokhov's novel "Quiet Flows the Don" 15

1.1. Detail as a subject of literary study 15

1.2. Poetics portrait detail in the novel Quiet Flows the Don 23

1.3. "Zoomorphic" detail in the structure of the character's image 32

1.4. "Phytomorphic" (plant) detail as a "sign" of the character 41

1.5. Opposition "male-female" in the context of psychological analysis 45

1.6. "Childish" beginning as an element of character 47

CHAPTER 2

2.1. Visual detail 58

2.2 Sound detail 66

2.3. Decorative detail.72

2.4. Tactile detail.82

2.5. Taste detail 86

CHAPTER 3 Functions of a detail in various segments of the artistic world of the novel "The Quiet Don" 94

3.1. Detail functions in the structure of Sholokhov's landscape 94

3.2. The specifics of using a detail in everyday and battle scenes.115

3.3. Detail as a structural element speech characteristics characters.130

3.4. The role of detail in creating artistic subtext.140

3.6. Compositional functions of a detail in the novel "Quiet Flows the Don" .153

Conclusion 159

List of references 165

Introduction to work

The art of Shochokhov’s detail delights everyone who comes into contact with the artistic world of the epic novel Quiet Flows the Don. It is no coincidence that the writer himself claimed that his the main task in the process of working on this work was to “be able to generalize and rework, select the most significant” in life material so that “each episode and each detail bear your load"

As one of key lessons his chief literary teacher-LN Tolstoy - M A Sholokhov drew his conviction that the emotional and aesthetic impact on readers "is only achieved and to the extent that the artist finds infinitesimal moments from which a work of art is made"

At the same time, it should be noted that in the presence of outstanding achievements of modern shoe studies in understanding the writer's work and the novel "Quiet Flows the Don" as a whole, the sphere of artistic micropoetics of the work, the ideological and aesthetic functions of the microimage in relation to the individual author's picture of the world have not been studied enough.

In this regard, the relevance of the research topic is due to the objective scientific need for a close study of one of the most important style-forming factors in the creative practice of M.A. Sholokhov - the art of artistic detailing, its role in the system of figurative means of the writer, its multidimensional, cross-cutting and multi-level application in the poetics of the epic novel. Quiet Don

Basic purpose dissertation work is to study the originality of the sphere of artistic detailing in the poetics of the novel, typological characteristics and features of the functioning of the part on different levels artistic whole, its role in the formation of Sholokhov's concept of the world and man

This goal defines specific tasks dissertations

Determination of the essence of an artistic detail as a conceptually significant micro-image and a means of artistic nuance in the individual author's picture of the writer's world,

Construction of a typology of artistic details in relation to Sholokhov's poetics on the basis of their inclusion in the sphere of subject and (or) sensory depiction,

2 Tolstoy LN Poly collection Op. V 90 vol. T 30 S 128

consideration (through the prism of detail) of the poetics of sensation, perception and sensory representation as a means of conveying the internal state of the characters in Sholokhov's novel, including at the level of psychological overtones,

discovery of Sholokhov's ways of including details in the structure of the narrative,

consideration of the ideological-figurative and compositional-constructive functions of a detail in the structure of the artistic whole,

Analysis of the innovative discoveries of M. A. Sholokhov in the field of art
detailing in relation to the problem of continuity of the traditions of Russian classics

The choice of the subject of the dissertation - the sphere of artistic detailing in the epic novel by M. A. Sholokhov "Quiet Flows the Don" as an aesthetic reality - is due to the following factors

Insufficient knowledge of the micropoetics of the novel with the dominant
attention to the work as a whole,

the specifics of the genre of the epic novel, which allows us to talk about specific, artistically recreated microfragments of the national picture of the world in their author's vision

object studies are the principles and methods of artistic detailing inherent creative manner M A Sholokhova In our opinion, it is this sphere of the artistic world of the work that is able to a large extent to reveal the ideological and aesthetic uniqueness of the author's intention and the originality of his poetics

Sources research The tasks of the dissertation work are solved on the material of all sources available to the author, related With the life and work of M A Sholokhov This is, first of all, the text of the novel Quiet Flows the Don itself, as well as numerous literary, biographical, and documentary sources

Theoretical basis of this work were the achievements in the field of shalochology by the works of VV Gura, KI Priyma, LG Yakimenko, FG Biryukov, AI Khvatov, AF Britikov, VM Tamakhin, VV Petelin, VO Osipov, VA Chalmaeva, Yu G Kruglova, G. S. Ermolaeva, S. N. Semanova, S. G. Semenova, N. V. Kornienko, N. D. Kotovchikhina, Yu. A. Dvoryashina, D. V. Polya, and other scientists For analysis theoretical aspects works of M.M. Bakhtin, G.N. Pospelov, V.E. Khalizeva, A.P. Chudakov, L.V. Chernets, E.A. humanitarian university named after M.A. Sholokhov, as "Dictionary

M.A. Sholokhov’s language” edited by Professor, Doctor of Philology E.I. Dibrova

The methodological base of the study is based on the use of methods of system-typological and historical-literary analysis. The specificity of the topic involves a combination holistic analysis novel by M. A. Sholokhov "Quiet Flows the Don" with elements of text microanalysis at the level of artistic detail

The scientific novelty of the work lies in the fact that it is the first special dissertation research devoted to system analysis poetics of artistic detail novel "Quiet Flows the Don" and its functions in the structure of the artistic and aesthetic whole. Also, the novelty of the dissertation work is determined by the fact that for the first time the text of Sholokhov's novel is analyzed with the involvement of experience and achievements modern science in the field of psychology of sensations, the concepts of "sound", "smell", "color", "taste", "touch" are presented as aesthetic categories of Sholokhov's artistic thinking, the system-complex analysis of which allows us to reveal the features of Sholokhov's psychologism in a new perspective, to discover in its structure previously unexplored sphere of artistic subtext

The practical significance of the results of the study lies in the fact that the dissertation materials can be used in the practice of teaching Russian literature at school and university, in the creation of Sholokhov dictionaries and encyclopedias. and other writers

Provisions for defense

1 The sphere of artistic detail in M. A. Sholokhov's novel "Quiet Flows the Don"
is an original aesthetic phenomenon that clearly reflects the specifics of
unique artistic style and originality of the individual-author's picture
writer's world

2 Artistic detail in the poetics of Sholokhov's novel is multifunctional
it acts as a microfragment of the national picture of the world, conceptually
significant micro-image, realizing the diversity of artistic meanings
works, serves as a means of individualization of the image of the character, a way
author's assessment what is happening, a constructive component of the artistic
the whole

3 The typology of details proposed in the dissertation is associated with two main
components of the artistic fabric of the novel - the spheres of subject-shaped and

sensory-sensory depiction The first criterion gives grounds to classify a portrait, landscape, everyday, psychological, speech variety of a detail, and the second - to single out a visual, sound, odor, tactile, taste detail

The principle of artistic synesthesia, inherent in the poetics of the writer, is associated with the specifics of the picture of the world he creates, its sensually objectified character, realized in the richness and interpenetration of various sensations. In almost every fragment of the novel, an impressive “stream of details” or “ensemble of details” is created.

One of the most important functions of a detail in the novel “Quiet Flows the Don” is sign-symbolic. Thus, the olfactory segment of the novel, which is richest in sensory associations, allows us to speak of odorous details as signs of war and peaceful labor on earth, the “native” and “foreign” world, signs of “character zones" of heroes and heroines of the novel, the specifics of their personal relationships

6 The hierarchy of sensations, realized through a system of details, is
organic part of the writer's emotional-value system Taste, smell, color,
the sound and tangibility of the world are in the view of the author and the characters of the novel
peculiar aesthetic categories capable of bearing in different situations not
only figurative, but also moral, ethical, psychological, philosophical load

7 The innovation of Sholokhov the artist is manifested not only in the content
semantic content of the micro-image, but also in the ways of including the details in the structure
narration - such as prelude, repetition, parallelization, gradation Hence
so diverse and artistically impressive in his novel are the details
omen, details-parallels, details-roll calls, details-antitheses, details-
leitmotifs So, for example, expressive details repeated in specifics
images of unharvested bread, "dead field", "scorched earth" becomes in the course of
narratives with conceptually significant leitmotif details-symbols,
expressing the author's verdict on war

8 The sphere of artistic detailing is determined by mental specificity
Cossacks, the dual nature of the Cossack as a warrior and a farmer, his organic
connection with the natural world, with the "power of the earth", with subsistence farming. Hence -
the original sound of "zoomorphic" ("animal", "wolf", "bovine") and
"phytomorphic" (plant) details-characteristics in the images of heroes and heroines
novel

9 The art of Sholokhov's detail is inseparable from the traditions of Russian classics
the poetics of LN Tolstoy is associated with Sholokhov's principle of the dominant portrait detail
(“playing” with all shades of feelings “black eyes” and “calling lips” Aksinya, “black
game eyes" and "kite" nose of Gregory, "longing look" and "large,
crushed by the work of the hands "of Natalia," written arches of the eyebrows "and" curly gait "
Daria, etc.), a model of a dynamic, moving psychologized portrait,
associated with the "dialectic of the soul" character

10 A significant role in the poetics of Sholokhov’s psychologism is played by the sphere
subconscious, the motives of the behavior of characters most often have an impulsive
instinctive character Hence the special role of extraverbal (mimic-gestural and
subtext) details testifying to Shochokhov's susceptibility to Chekhov's
the poetics of the "undercurrent" and its further development in line with the expressive
psychological dynamics Expressive psychologism is one of the most important
artistic discoveries of M A Sholokhov in the novel "Quiet Flows the Don", conditional, including
including a variety of means of artistic detailing

Approbation of the work The dissertation research was tested at international, interuniversity conferences 2005-2009. The main provisions of the dissertation were presented at the International Conference dedicated to the 100th anniversary of the birth of M.A. Russian literary criticism at the present stage" (Moscow State Pedagogical University named after M.A. Sholokhov, 2006), International Scientific Conference "Yesenin Encyclopedia of Concepts, Problems, Prospects" (Moscow - Ryazan - Konstantinov

d), VII International Sholokhov Conference (MSGU named after M.A. Sholokhov,

d), All-Russian Scientific and Practical Conference "Kaluga on the Literary Map of Russia" (Kaluga State University named after K. E. Tsiolkovsky, 2007), International Scientific Conference "Poetics and Problems of Yesenin's Creativity in the Context of the Yesenin Encyclopedia" (Moscow - Ryazan - Konstantinovo, 2008 d), IX International Sholokhov Conference (Moscow State University named after M.A. Sholokhov, 2009), at meetings of the Department of Russian Literature of Moscow State University named after M.A. Sholokhov

The structure of the dissertation The dissertation consists of an introduction, three chapters, a conclusion and a list of references.

"Zoomorphic" detail in the structure of the character's image

In the course of work on the text of the novel, M.A. Sholokhov, we came to the conclusion that it contains special kind details, with the help of which the author compares the character with one or another representative of the animal world. In the framework of our study, we call such a detail a zoomorphic detail. Its active use is motivated by various factors: the proximity of the heroes of the novel to nature, the natural way of life, everyday communication with domestic animals, hunting for wild animals.

As a result of careful observation of the text of The Quiet Flows the Don, we have identified some features of the use of zoomorphic details. Special interest represent numerous "wolf" associations. According to E.I. Markova, the "wolf" beginning is characteristic of all Cossacks and Cossacks in the "Quiet Don", while representatives of other classes do not have it. The wolf is a kind of link between the two worlds: people and animals.

Most often, Sholokhov uses the image of a wolf (biryuk) in order to emphasize certain traits in character: “However, you are mean, boy ... - the talkative guest smiled good-naturedly, turning to Mishatka. - Well, why are you looking like a wolf cub? Come here, let's talk heartily about your rooster" (book 4, part 7, ch. 4, p. 38) or in the character's appearance: "Barring like a wolf's teeth, Gregory threw a pitchfork. Petro fell on his hands, and the pitchfork, flying over him, entered the flint-dry earth an inch, trembling, calling ”(book 1, part 1, ch. 17, p. 82). Sholokhov shows that the "wolf" (generally "animal") beginning is intensified in his heroes as a result of the bitterness of people during the war.

Grigory Melekhov is most often compared with the wolf in The Quiet Don. “How will he grab the Mauser! He turned white all over, grinned like a wolf, and his mouth was full of teeth, at least a hundred. I am a horse under the belly and move away from it. He didn’t kill for a little, that’s what a devil!” (book 4, part 8, ch. 1, p. 303).

In the first battle, Gregory sees the bestial nature in the people fighting around him, compares them with a pack of wolves (biryuks): “The people have become worse than biryuks. Malice is all around” (book 1, part 3, ch. 10, p. 302).

Melekhov also notices the features of a wolf in himself. "I've been playing for a long time, lad, and now my voice has dried up and life has cut off my songs. I'm going to visit someone else's wife on a visit, without a corner, without a place to live, like a gully wolf ..." thought Grigory, walking with uniform fatigue, laughing bitterly at his outlandishly developed life ”(book 1, part 3, ch. 24, p. 391). And one more thing: “If I had been more literate, maybe I wouldn’t have been sitting here with you on the island, like a biryuk, cut off by a flood,” he finished with regret clearly sounded in his voice ”(book 4, part 8, ch.. 14, p. 442). “Grigory threw her in his arms with a jerk – this is how a wolf throws a slaughtered sheep to his ridge, – getting tangled in the flaps of an open zipun, panting, he went” (book 1, part 1, ch. 9, p. 52).

In seemingly hopeless situations, the hero feels like a driven wolf. “Everything was decided and weighed in the languid days when he hid like a beast in a dungeon lair and, like an animal, guarded every sound and voice outside. It was as if there were no days of searching for the truth, vacillations, transitions and heavy internal struggle behind him.

Those days were seen as a shadow from a cloud, and now his searches seemed to him futile and empty. What was there to think about? Why did the soul rush about, like a wolf flagged on a roundup, in search of a way out, in resolving contradictions? (book 3, part 6, ch. 28, p. 194).

The surrounding people also see the features of a biryuk in Melekhov. Faithful Prokhor and he is sometimes afraid of Gregory: “Yes, how he yells at me ... A true biryuk in human skin!” (book 3, part 6, ch. 62, p. 403).

“Grigoriy had fireflies playing in the narrowed slits of his eyes. He laughed, pawing his sides with his hands soaked in kerosene. And just as unexpectedly he broke off laughter, clattering his teeth like a wolf ”(book 3, part 6, ch. 19, p. 146). Natalya, who is in love with Grigory, sees “wolf” in the appearance of her future husband, and this detail, which she herself is not yet aware of, alarms the reader, serves as an alarm signal: “Natalya saw him off. Under the canopy of the barn, where Grishkin was feeding near the manger, saddled with a brand new elegant saddle, she darted her hand into her bosom and, blushing, looking at Grigory with loving eyes, thrust into his hand a soft cloth lump, melting the warmth of her girlish breasts. Accepting the gift, Gregory blinded her with the whiteness of his wolf teeth ... ”(book 1, part 1, ch. 19, p. 96). The sister, who has not seen Gregory for a long time, is amazed at the changes that have taken place with him: “Oh, you have grown old, little brother! Dunyashka said regretfully. “Some kind of gray has become like a biryuk” (book 4, part 7, ch. 8, p. 66).

Even Ilyinichna notices the resemblance of her beloved son to a wolf: “Lord! Yes, you, Grishenka, come to your senses! You've got to get out, look, what kind of children are growing up, and the entih, ruined by you, also, I suppose, have children left ... Well, how is it possible? In your childhood, how affectionate and desirable you were, but at the same time you live with knitted eyebrows. Look, your heart has gone like a wolf's... Listen to your mother, Grishenka! You are also not charmed, and there is a dashing man’s checker on your neck ... ”(book 3, part 6, ch. 51, p. 327). In part, the image of the biryuk is associated with the motive of loneliness, opposition to society. Gregory, like his grandfather once, leaves home. Prokofy Melekhov did not please the family and neighbors by choosing a "stranger" as his wife. “From that time on, he was rarely seen in the farm, he did not even go to the Maidan. He lived in his kuren, on the outskirts of the Don, as a biryuk ”(book 1, part 1, ch. 1, p. 10). Gregory leaves his father's hut because he fell in love with his neighbor's wife. In Yagodnoye, Grigory also lives the life of a biryuk.

In addition to loneliness, the wolf, animal nature also characterizes some of the character's inherent features of character, external momentary manifestations of his forced cruelty: “For Aksinya! For me! For Aksinya! Isho you for Aksinya! For me! The whip whistled. The blows were soft. Then, with his fists, he dumped him on a hard tussock road and rolled him on the ground, beating him brutally, with the heels of his soldiers' boots. Obessilev, got into the cab, whooped and, ruining the trotter's strength, turned the horse to the bait" (book 1, part 3, ch. 24, p. 397).

"Childish" beginning as an element of character

In the Russian literary tradition, "childhood" initially symbolized purity, chastity, naive openness to the world - qualities inherent in the best heroes of Russian classics: Natasha Rostova, Pierre Bezukhov, Prince Myshkin. In Sholokhov's novel, his characters are often compared to children. Moreover, the likening of an adult character to a child is observed both in portrait and psychological descriptions. Paradoxical as it may seem, the motif of "childishness" is correlated in the novel with the image of Grigory Melekhov in a particularly consistent way. A courageous, sometimes recklessly brave warrior, he is often childishly sensitive to the cruelties of war: “The loss of blood made him sick, and he cried like a child, gnawed at the grass that was fresh in the dew, so as not to lose consciousness. He got up near the overturned charging box, stood for a long time, swaying, then went ”(book 1, part 3, ch. 20, p. 364).

In another episode, Gregory feels like a baby: “Gregory trembled more than horses, felt that he was as weak on his feet now as infant"(book 1, part 2, ch. 17, p. 197).

One cannot but agree with the opinion that such comparisons "figuratively indicate the duality of the character of Gregory, who, like a child, deeply experiences events, is open to the world ..., honest and at the same time unbridled in passions" .

Sometimes this childish beginning is noticed in Gregory and the people around him. So, at different times, Kopylov and Izvarin reproachfully notice the boyish behavior of Melekhov: “You are fooling, Grigory Panteleevich! How are you acting like a boy? - Are you assigned to me as an educator? Grigory snapped” (book 4, part 7, ch. 10, p. 97); “You, my dear, are like a newborn ...” (book 2, part 5, chapter 2, p. 197).

The "childish" beginning reveals in Gregory the most best features his character. “Suddenly, in the character of Gregory, curiosity and interest in everything that was happening in the farm and on the farm, previously unusual for him, appeared. Everything in life took on some new, hidden meaning for him, everything attracted attention. He looked at the world that had reappeared to him with a little surprised eyes, and for a long time a simple-hearted, childish smile did not leave his lips, strangely changing the stern appearance of his face, the expression of animal eyes, softening the hard folds in the corners of his mouth ”(book 4, part 7, ch. 25, pp. 233-234).

Melekhov himself with surprise notices in himself the features of a child. “Grigory always, faced with the enemy, being in close proximity to him, experienced the same acute feeling of great, insatiable curiosity for the Red Army, for these Russian soldiers, with whom he needed to fight for some reason. It was as if that naive-childish feeling that was born in the first days of the four-year war, when near Leshniuv from the mound for the first time he watched the bustle of the Austro-Hungarian troops and convoys ”(book 3, part 6, ch. 9, p.85). In the difficult moments of the first battle, the people around him appear to Melekhov as children. “He threw the reins and, not knowing why, went up to the Austrian soldier he had hacked to death. He was lying there, by the playful lace of the lattice fence, his dirty brown palm outstretched, as if for alms. Gregory looked him in the face. It seemed to him small, almost childish, despite the drooping mustache and exhausted - whether by suffering, or by the former joyless life - a crooked severe mouth ”(book 1, part 3, ch. 5, p. 277). Here, the “childish” face of the first enemy killed by Melekhov is a symbol of the fragility of human life, a mute reproach of Grigory’s conscience, and in fact it is also a very important not so much portrait as a psychological detail that characterizes the alienness to Melekhov of the goals of a war incomprehensible to him. Sholokhov repeatedly emphasizes the naivety of Melekhov's illusions about the possibility of escaping the war: “It was also hard and bitter to think about this. All this was not so easy. All life was not at all as simple as it seemed to him recently. In stupid, childish naivete, he assumed that it was enough to return home, change his overcoat to a zipun, and everything would go as written: no one would say a word to him, no one would reproach him, everything would work out by itself, and he would live and live as a peaceful grain grower and exemplary family man. No, it doesn’t just look like that in reality ”(book 4, part 8, ch. 7, pp. 367-368).

Childish traits that express the best properties of human nature are also inherent in other heroes of The Quiet Flows the Don. So, grandfather Sashka, the groom of the Listnitskys, is compared with the child: “In his youth, Sashka was a coachman, but at the end of his life, losing his strength and eyesight, he switched to grooms. Short, all in green gray hair (grey hair even grew on his arms), with a nose flattened out by a checker's blow in childhood, he always smiled with a blue childish smile, blinking at his surroundings with simple-hearted, red-folded eyes ”(book 1, part 1). 2, chapter 14, p. 182).

Children's properties are also inherent in the appearance of Aksinya. Rejoicing in life after the receding illness, the heroine resembles a child: “The world appeared before her in a different, miraculously renewed and seductive way. With shining eyes, she excitedly looked around, childishly sorting through the folds of the dress ”(book 4, part 8, ch. 1, p. 291). Life sophistication, the experience of passions and suffering are bizarrely combined in the heroine of the novel with a childishly stubborn faith in the power of her love for Gregory: up to the time of will, - the dams tore: night, all to the ground, Aksinya struggled in a silent cry, biting her hands in tears so as not to wake the child, to calm the cry and kill the physical pain of moral pain. She cried out excess tears in diapers, thinking in her childish naivety: “Grishka’s child, he must feel in his heart how longing for him” ”(book 1, part 3, ch. 19, p. 361).

The "childish" factor in the psychology of an adult is one of the interesting psychological phenomena that finds an original embodiment in the poetics of Sholokhov's detail and clearly indicates the author's positive attitude towards his hero.

tactile detail

From the point of view of the psychology of sensations, tactile sensitivity is divided into four main types: pain, heat, cold, touch. All of these types of sensations are widely represented in Sholokhov's novel. The heroes touch the surrounding objects, each other, feel unbearable pain, freeze, they are thrown into a fever from being close to their loved ones, from hatred for the enemy, etc. The author deliberately uses some signs of touch as signs of the relationship between the characters of the novel. Let us dwell on the "tactile" details that characterize the main characters.

Meetings between Grigory and Aksinya are almost always accompanied by a trembling of the characters. Let us recall the episode in which Grigory sees Aksinya and Stepan sleeping: “Coolness puts a tight, trembling spring into Grigory. Body in prickly goosebumps. After three thresholds, he runs up to the Astakhovs on the echoing porch. The door is not locked. In the kitchen, Stepan is sleeping on a spread floor, with his wife's head under his arm.

In the thinned darkness, Grigory sees Aksinya's shirt fluffed up above the knees, birch-white, shamelessly spread legs. He looks for a second, feeling how he dries in his mouth and his head swells in an iron ringing ”(book 1, part 1, ch. 3, p. 24)

During joint fishing, the feelings of the characters gradually come out. Their mutual attraction is obvious to the reader. Now Aksinya is trembling. The heroes begin to feel each other keenly, the trembling from one is transferred to the other. “Grigory steps with stiff legs. Aksinya is trembling so that Grigory feels her trembling through the delirium ”(book 1, part 1, ch. 4, p. 34).

Aksinya's trembling is often transmitted to Grigory. Gregory is silent. Aksinya gazes mournfully at his handsome, cartilaginous nose, at his shadow-covered eyes, at his mute lips... And suddenly a stream of feeling breaks the dam of restraint: Aksinya furiously kisses his face, neck, arms, and the coarse curly black growth on his chest. At intervals, panting, whispers, and Gregory feels her trembling” (book 1, part 1, ch. 12, pp. 60-61). "Trembling" as a leitmotif of their love experiences pervades all narratives from beginning to end.

In the scene preceding their first intimacy, the heroine trembles again. Aksinya's trembling is caused by fear, excitement, partly by impatience.

“A gray wrapped figure broke away from the cart and slowly zigzagged towards Grigory. Before reaching two or three steps, she stopped. Aksinya. She. Gregory's heart doubled in a hollow and pounding way; crouching, he stepped forward, throwing back the half of the zipun, pressed the obedient, blazing with heat, to him. Her legs were bent at the knees, she was trembling all over, shaking, calling her teeth. With a jerk, Grigory threw her into his arms - the way a wolf throws a slaughtered sheep to his ridge - entangling in the skirts of an open zipun, panting, he went ”(book 1, part 1, ch. 9, p. 52).

Meetings of lovers continue for more than a day, but they cannot get rid of the trembling. True, the nature of trembling can now be completely different. Let us turn to the episode in which the characters discuss the imminent arrival of Stepan. This event, obviously, excites Aksinya to a greater extent. In this sense, Gregory does not share the experiences of his beloved, does not feel her "trembling". “Darkness is also thickening in the upper room, Stepanov’s sergeant’s stripes are fading on the Cossack uniform hanging by the window, and in the gray stagnant impenetrability, Grigory does not see how Aksinya’s shoulders are shaking with a slight tremor and on the pillow silently bouncing her head clenched by her hands” (book 1, part 1). 1, chapter 12, page 61). The heroine's hands tremble even at the moment of the story about the beatings inflicted by Stepan. “- You don’t know what? .. Beats every day! .. Sucks out blood! .. And you are good too ... He messed up like a dog, and to the side ... All of you ... - She fastened the buttons with trembling fingers and frightened - was she not offended - she looked at Grigory who turned away ... ”(book 1, part 1, ch. 16, p. 79). Separately, we turn to the hands of the heroes. It should be noted that for lovers, “roughened”, “unyielding to affection”, “hard” hands of each other are nicer than all others.

“Grigory lies on Aksinya’s bare cool arm and looks at the ceiling at the chain of coils. Aksinya with her other hand, her fingers rough from work, sorts through curls as hard as horsehair on Grigory’s thrown back head” (book 1, part 1, ch. 12, p. 59). And one more thing: “Aksinya grabs Grishka’s unyielding hands, callous to caresses, presses them to her chest, to her cold, lifeless cheeks…” (ibid., p. 60).

Let us note, as a significant artistic detail, that the hands of the spouses “disliked” for Aksinya and Grigory, Sholokhov characterizes in the same way - rough. “From that day, an invisible dead man took root in the Astakhovsky kuren. Aksinya walked on tiptoe, spoke in a whisper, but in her eyes, sprinkled with the ashes of fear, the ember left over from the fire Grishka had lit was barely perceptibly smoldering. Looking at her, Stepan felt it rather than saw it. Suffered. At night, when a herd of flies fell asleep in the kitchen above the fire and Aksinya, trembling with her lips, made a bed, Stepan beat her, covering her mouth with a black rough palm ”(book 1, part 1, ch. 16, p. 75).

“Holding Natalya’s rough, large hand in his hand, Grigory went out onto the porch. Someone put a cap on his head ... It smelled of a warm wormwood breeze from the south. There was a breath of coolness from the steppe” (book 1, part 1, ch. 22, p. 103). The so-called "temperature" sensations of "warmth" - "cold" are of great importance in the relations of the characters. For the irresistible love affair Gregory and Aksinya are characterized by their rather hot manifestations. Let's look at some examples.

“She felt warm and pleasant when Grishka's black eyes caressed her heavily and frantically” (book 1, part 1, ch. 7, p. 43).

Sholokhov's heroes really often “feel rather than see” each other, feeling both “cold” and “heat”: “I saw and felt how the yoke turned cold under my hands and the blood showered whiskey with heat” (book 1, part 1, ch. 16, p. 76). Not only "trembling" nor "heat" is a constant leitmotif of the meetings between Grigory and Aksinya. As a key "tactile" detail, he accompanies all episodes of the novel, telling about their truly "burning" passion.

The specifics of using a detail in everyday and battle scenes

During the twentieth century, Russia experienced several terrible wars that killed millions of people. Many destinies were broken: mothers lost sons, children became orphans, women became widows. The wars were different. The most terrible - Civil - the war of Russians with Russians, brother with brother, son with father. In most works Soviet literature this war was presented as a heroic feat of the working people in the fight against the whites. Such are the “Don stories” by M.A. Sholokhov, written at a time when the passions associated with the events described had not subsided yet. But even in them the drama of the nationwide split is already shown in full force. In the novel "Quiet Flows the Don" the recreation of the psychological atmosphere civil war qualitatively different. The war in the novel "Quiet Flows the Don" appears in all its complexity and drama. This is the tragedy of the whole nation and the individual individually. The trouble will affect every person, irreversible changes will occur in the soul of everyone.

The great merit of M.A. Sholokhov as a writer-psychologist lies, in our opinion, in the fact that he described not only military events, but (and this comes to the fore in the novel) those changes that occur in a person’s soul in the process of his participation in the war. “The eventfulness, the multifaceted image of the war in its battles and mass scenes are combined with the display individual person at war. And not " little man", and personalities from the people, in all its truth moral quest, in the unity of the individual and the socio-historical. The era itself is expressed in the psychological and dramatic depth of complex human characters, conflicts and contradictions,” V.V. Gura.

The writer in the depiction of the war uses various types of landscape and psychological details. The beginning of the war is predicted by omen-details (“dry summer smoldered”, “dry weeds burned”, “lightning fired in vain”). Often in the novel there are antithetical details that oppose each other the harmony of the natural world and disharmony. social relations: “Dry leaves rustled on corn buds. Behind the hilly plain, the spurs of the mountains gleamed blue. Near the village, red cows roamed the pastures. The wind whipped frosty dust behind the copse. Sleepy and peaceful was a dull October day; blissful peace, silence emanated from the landscape spattered by the stingy sun. And not far from the road, people were trampling around in stupid anger, preparing to poison the rain-fed, seeded, fat land with their blood” (book 2, part 4, ch. 22, p. 185). This opposition of the phenomena of the natural and social world is one of the most fruitful lessons of L.N. Tolstoy in the poetics of Sholokhov.

In describing nature during military events, Sholokhov widely uses the method of anthropomorphism, which allows him to create an image of a suffering land that is undergoing severe trials, impressive in its artistic scale. There are many examples of this kind. “Where the battles were going on, shells blew up the gloomy face of the earth with smallpox: rusted in it, longing for human blood, fragments of iron and steel. At night, beyond the horizon, handy scarlet glows stretched to the sky, villages, towns, towns blazed with lightning. In August, when the fruits ripen and the bread ripens, the sky unsmilingly gray, rare fine days were tormented by steamy heat ”(book 1, part 3, ch. 10, p. 298). With the help of expressive “humanized” details, the writer recreates here not just a landscape, but a kind of “portrait” of the face of the earth and sky, captured by the destructive elements of war.

The earth and sky are personalized here, acquiring the features of anthropomorphic phenomena - like Uranus and Gaia in ancient mythology. And further: “In the gardens, a leaf turned fat yellow, from a cutting it was filled with a dying crimson, and from a distance it looked like the trees were in torn wounds and were bleeding with tree blood” (book 1, part 3, ch. 10, p. 298). In "Quiet Don" we can also observe examples of reverse metaphors - likening a person to nature ("each in his own way nurtured and grew the seeds sown by the war"). “Tree blood”, “dying crimson” of foliage in gardens, “torn wounds” of trees, “seeds of war” in a person’s soul – all these are significant landscape and psychological details-symbols that acquire a general philosophical meaning in Sholokhov’s narrative. The most striking detail-forming factor is the metaphorical "nests" associated with the images of a bird and a tree - the eternal symbols of life and death.

Often in landscapes, the writer builds various symbolic parallels. For example: the “death knell” of a funeral mournfully sounds the autumn dying of nature. Let's go back to this episode. “And what is the use of this ringing? They will only irritate people's hearts and make them once again remember death. And everything reminds of her in the fall even without it: the falling leaf, and the villages of geese flying with a cry in the blue sky, and the dead grass…” (book 4, part 7, ch. 24, p. 230). The detail-forming symbol in the novel is the image of the wind as a sign of the destructive elements of the revolution and the Civil War. According to the observations of the researchers, “the result of the era of wars and revolutions is the symbolic landscape of the dry wind in the spring of 1920 ...”, where “the wind symbolizes the destruction brought by wars, revolutions, uprisings” .

The image of the “dead land”, scorched by dry wind, is also deeply symbolic: it also recreates the tragic consequences of the fratricidal war through the image of nature. Recall this episode: “The earth dried up, the grasses stopped growing, and the zastrugi went through the chill. The soil was weathered every hour, and on the fields of the Tatarsky farm there were almost no people to be seen. A few ancient old men remained in the whole farm, the Cossacks, unable to work, frostbite and sick, returned from the retreat, only women and teenagers worked in the field. The wind whipped pollen across the depopulated farm, banged the shutters of the huts, stirred up the straw on the roofs of the sheds. “We will be without bread this year,” the old people said, “only women in the fields, and even then they sow through three yards. But a dead land will not give birth ... ”(book 4, part 8, chapter 1, p. 300).

Of great importance in the structure of the narrative and chronological details. So at the beginning of the third part of the novel, the date appears for the first time: “In March 1914 ...” This is a significant chronological detail in the work: historical date separate peace from war. Rumors about her went around the farms: “The war will overtake ...”, “There will be no war, you can see by the harvest”, “But how is the war?”, “War, uncle!” The news of her caught the Cossacks at their usual work - they mowed down the corn (book 1, part 3, ch. 4, pp. 256, 258, 260). The Melekhovs saw: a horse was walking with a “catchy name”; the rider, jumping up, shouted: “Scream!” (book 1, part 3, ch. 3, p. 255). Disturbing news gathered a crowd in the square “One word in a diverse crowd: mobilization” ... The writer twice puts the word “War ...” in a separate line “War!” (book 1, part 3, ch. 3, p. 256). Pronounced with different intonation, it makes the reader think about the meaning of what is happening. This word echoes the remark of the railwayman, who looked into the car, where “Petro Melekhov was steaming with the other thirty Cossacks”: “- You are my dear beef! – and shook his head reproachfully for a long time” (book 1, part 3, ch. 4, p. 259).

Artistic originality of Mikhail Sholokhov's novel "Quiet Flows the Don".

The language of the novel "Quiet Flows the Don" by Mikhail Sholokhov is extraordinary. It cannot be said that Sholokhov discovered something new in Russian literature, but in general - in terms of the totality of signs - his prose stands out among the general mass of works of that time. Let's look at some details specific to the novel.
The first thing that attracts attention is dialect vocabulary and vernacular. They are used not only to denote everyday realities ("Maidan", "baz", "kuren", "zhalmerka", etc.), but much wider: both the characters' replicas and the author's descriptions are partially stated in the dialect ("gutarili about him on the farm is wonderful ... "). In addition, the expressiveness of the text is significantly increased due to the frequent (two or three times per page) appearance of emotional morphological derivatives: "impassable", "clawed", "overshadow". Such a predilection for dialectisms can be dictated both by the origin of Sholokhov himself, and by his desire to more fully immerse the reader in the world of the Don Cossacks.
The next feature of the Quiet Flows the Don style is its high metaphor. Moreover, metaphors are poorly organized or unselected: they do not line up in a semantic series, associations are local, fractional in nature. Landscapes, pictures of natural phenomena are especially loaded with metaphors. The heterogeneity of the figurative series can be shown by the example of a description of a thunderstorm that unfolds within a page and a half: first, "the first grains of rain sowed the earth burdened by external heat", then "thunder burst over the roof itself, fragments rolled over the Don", and, finally, "rain scratched the shutters ". As a result, the impression of the dynamics of the process is achieved, but the images are not built by analogy, they are situational, they belong to each specific phrase. With all this, Sholokhov's metaphors are very original, some of them would do honor to a great poet. Many are now worn out by imitations ("sagebrush gray", "under the slope of the years that were slipping"), but at that time it was a new trend. The explanation for the above may be the youth and inexperience of a talented writer at first and his unwillingness to change the established style later.
Overloaded with metaphors - in contrast - combines transparency and simplicity of syntax. The text is written in short sentences, mostly simple ones. When some actions are described, each phase has its own proposal. A striking example is the following passage: “Before light, an old man was brought home. He mumbled plaintively, rummaged through the room with his eyes, looking for Aksinya, who had hidden. Blood was rolling from his severed ear onto the pillow. In the evening he died. People were told that the drunk fell from the cart and crashed " . Short sentences keep the reader on their toes and keep them on their toes. Occasionally appear adverbial phrases: Without them, the text would be too dry. Uncomplicated sentences, perhaps at the subconscious level, once again emphasize the simplicity of the customs of the Cossacks. This is also confirmed by the fact that the degree of complexity of the syntax depends on the theme of the episode. Usually, complication occurs in chapters with a pronounced lyrical tone, while simple syntactic constructions are more often present in pictorial chapters.
Another feature of the language of the "Quiet Don" is the comparison of man with animals, not only in physical but also in spiritual terms. It's about not just about direct comparisons ("Stepan walked downhill, like a horse that carried a rider"), but also about the detailing of descriptions, when the reader gets the impression of similarity with the beast, simply from the image of the action: "when Grigory turns his head, sticking his nose into Aksinya's armpit", "Aksinya, waving everything with her large, full body In addition, the comparisons with animals available in the novel are not empty. When it is written “this is how a wolf throws a slaughtered sheep on its ridge”, the characters really behave like this, moving in accordance with the habits of the animals mentioned. Such comparisons are sometimes shown gradually , and sometimes the obvious closeness of the characters and nature, which for Sholokhov is a symbol of the continuation of life.
The study of the originality of the language of Mikhail Sholokhov in the novel "Quiet Don" can be devoted to more than one book. But even the features listed above are enough to draw conclusions about the features that distinguish the work of the writer and possible reasons their appearance.
In the novel "Quiet Don" we see how the close interweaving of the writer's true talent, the peculiarities of the folk language of southern Russia and the mores of the Cossacks formed a vibrant and colorful world that remains in the reader's memory for a long time.