The analysis showed that taste details, as a rule, characterize the feelings associated with the personal life of the characters, and are almost never included in the sphere of their social emotions. Thus, the sphere of "sensory" representation in Sholokhov's poetics is extremely wide and diverse. The detailing of sensory sensations - visual-color, sound, odor, sound, tactile - gives rise to the most complex and bizarre syntheses, a true symphony of sensations of boundless richness and spectrum. And in this special gift of his artistic worldview, Sholokhov, as a writer, in our opinion, knows no equal.
Third chapter dissertation is called Functions of a detail in various segments of the artistic world of the novel Quiet Flows the Don. It analyzes the specifics of the use of artistic micro-images in the structure of the Sholokhov landscape, everyday and battle scenes, and the speech characteristics of the characters.
AT the first section of the third chapter - "Functions of a detail in the structure of the Sholokhov landscape"– the psychologization of landscape images is considered – an important factor in the originality of the individual author's style of the writer.
Landscape details in Sholokhov's novel are the most multifunctional, they can serve as: 1) the background against which the events of the work unfold; 2) a means of psychological analysis, expression of the inner life of the characters, their emotional experiences; 3) a way of revealing philosophical and symbolic generalizations; 4) the basis for creating an individual author's picture of the world; 5) a constructive component of the composition of the work.
The “natural” is dissolved in man, the “human” in nature, and this is especially evident in the sphere of artistic detailing. The principle of "natural conformity" of psychological details- one of the dominants of the artistic style of M. A. Sholokhov.
A natural detail often serves as a plot preview of subsequent tragic events. Such "detail-omen" is an episode with a duckling, accidentally ruined by Gregory during mowing. The accidental death of a living being here is the beginning of a whole chain of accidental deaths of unwitting victims, which turn out to be an inevitable consequence of the interference of cruel social laws in the harmony of natural existence. A small, it would seem, episode casts a tragic reflection on the entire narrative, revealing an internal connection with one of the key motives of the novel - motive of tragic guilt and human responsibility for the violation of natural and social harmony.
Sholokhov cites many episodes from which Grigory's love for all living things is visible. Being at war, on the offensive, Melekhov cannot fail to notice a small bug. “Grigory shoots slowly, aims carefully and between two shots, listening to the command of the platoon, shouting out the sight, manages to carefully put a pockmarked ladybug that has crawled out onto the sleeve of his tunic. Then the attack…” (book 2, part 4, ch. 4,
with. 47). In the ardor, in the excitement of the battle, dangerously close to death, Gregory, however, manages to take care of the life of a small creature - what a significant psychological detail! However, here there is another, deeper mythopoetic plan: in Slavic pagan mythology, winged insects (bees, butterflies, especially ladybugs) are symbols of the human soul, linking heaven and earth. Rescuing God's little "messenger" in the heat of a deadly battle for many, Gregory subconsciously takes a step towards the salvation of his sinful soul. The interweaving of mythological and pagan and Christian contexts is obvious here.
The leitmotif, detail-forming images of the Don, the steppe, and the sun are of key importance in the novel. They give landscape paintings a lyrical sound, philosophical depth.
Among the "solar" details of the novel, the "black disk of the sun" is the tragic peak of the hero's spiritual wanderings, but its paradoxical "dazzling" radiance, tearing the mourning veils of the "black sky", still gives hope.
The writer created the brightest canvases depicting the beauty of nature native land. The skill of M. A. Sholokhov manifested itself, first of all, in comparisons of natural processes with the spiritual life of the characters, impressive in terms of their impact. This effect is created thanks to the thoughtful writer art details system, their impeccably built ensemble.
In second section third chapter - "The specifics of using a detail in everyday and battle scenes"- shows the functioning of various types of details in the peaceful and military episodes of the novel. The beginning of the war is predicted portent details(“dry summer smoldered”, “dry weeds burned”, “lightning fired in vain”). Often in the novel appear details-antitheses, opposing each other the harmony of the natural world and disharmony social relations: « blissful peace, silence emanated from the landscape spattered by the stingy sun. And close to the road senseless malice people were trampling about, 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 Leo Tolstoy in Sholokhov's poetics.
In The Quiet Don, attention is not focused on the description of exploits, heroism, military courage, rapture in battle, which is typical for the works of other writers about the war. For Sholokhov, something else is important: how war affects a person, what happens in the soul of a person who has seen the war and participated in it. The isolation of this particular aspect of the theme makes it possible to feel the peculiarities of Sholokhov's psychologism in the depiction of the war.
The writer says that everyone understands and experiences the events in their own way, they do not leave anyone indifferent. The author, following the characters, feels "monstrous nonsense"War" - just as L. N. Tolstoy perceived the war as "the most repugnant event to human nature and all human nature."
The heroes of the novel see with bitterness how peaceful fields with ripened bread become a place of bloody battles: how “the cavalry trampled the ripened bread”, how a hundred “crumples bread with iron horseshoes”, how “a black marching column unfolded in a chain between brown, unharvested rolls of mowed bread” , as "the first shrapnel covered the rows of unharvested wheat". Reception "gradations of details", their arrangement according to the degree of intensification of emotional intensity, creates the impression of a destructive procession of hostile elements and forces of war across the fields and expanses of Russia.
The war tramples on the most important - agricultural - hypostasis of Cossack life, and therefore image of unharvested loaves becomes the most important keynote symbolic detail expressing author's verdict on war.
No less expressive are other metaphors of war, symbol details, based on the Orthodox and folklore attitude to the war: "land crucified with many hooves", "field of death".
"Tree Blood" "lacerated wounds" trees, "seeds of war" in the human soul and gray overcoat blood» people are all significant landscape-psychological details-symbols, acquiring a generalizing philosophical meaning in Sholokhov's narrative. The brightest detail-forming factor serve as metaphorical "nests" associated with images birds and trees- eternal symbols of life and death.
Sholokhov rejects violent death, contrasting death with a wise life-giving nature, eternal life. When Likhachev was “chased” to be executed, he, “passing by a deadly white birch, smiled with liveliness, stood up, stretched himself up and tore off a branch with his healthy hand. On her brown buds were already swelling with sweet March juice; promised their subtle, barely distinct aroma of spring blossoming, life repeating itself under the circle of the sun. Likhachev put plump kidneys in his mouth. He chewed them, looked with misty eyes at the brightened trees moving away from the frost, and smiled with the corner of his shaved lips. With black bud petals on his lips, he died... "(book 3, part 6, ch. 31, pp. 203-204). Spring "petals of buds" on the freezing lips of a dying hero are the key detail-symbol, revealing the madness and horror of inhuman war, which contrasts so sharply with the harmonious life of the natural world.
In the scene of Kotlyarov's execution, one again draws attention to a psychological detail that is significant for the entire scene, giving the hero sentenced to death the last consolation, a genuine “moment of truth”.
It is no coincidence that Kotlyarov will see in his last hour “a frosty-white cover of limestone dust on the Don road, the spurs of the chalk mountains that have risen in a blue vision in the distance, and above them, above the flowing stirrup of the ridged Don, in the immense majestic blue of the sky, in the most inaccessible height - little cloud. Inspired by the wind, with sparkling, white as a sail, over the top, it swiftly sailed to the north, and in the distant bend of the Don his opal shadow was reflected” (book 3, part 6, ch. 55, pp. 350-351). This bright cloud, like a human soul flying off into another, better world, gives the hero the last joy of touching the soul of nature itself.
Here, as in the scene of Likhachev's brutal execution, the writer uses expressive compositional techniques of "anticipation" and contrast with a special emotional and psychological content - motive for saying goodbye to life. He gives his heroes the last opportunity to enjoy the beauty of their native land, breathe in the smells Don nature, and the reader - at these moments of the ultimate tension of the action of the novel - with all his strength to feel the unnaturalness of human enmity for all living things.
Third section third chapter called "Detail as a Structural Element of Characters' Speech Characteristics". The originality of the characters in the novel, something new in their psychology, which appears under the influence of historical events and everyday life, is deeply revealed by Sholokhov in their speech. Role extra-verbal (extra-verbal) details, expressed in facial expressions, gestures, gait, movements of characters, is especially large in the situation of the so-called "second", "non-verbal" dialogue.
In this regard, special attention is paid to psychologically rich speech characteristics characters. The writer characterizes spiritual movements through speech, through communication with others. Dialogues are especially expressive and, in particular, such a type as duel dialogue. This is especially indicative in the dialogues of the two main characters, two rivals - Aksinya Astakhova and Natalia Korshunova.
The emotion of Sholokhov's heroes is so effective, dynamic, plastic that sometimes it seems that this sphere of Sholokhov's artistic depiction was influenced by silent film aesthetic. The writer conveys the "inner" world in relief, through its external dynamic manifestations.
Feelings, the internal state of both women are shown with the help of replicas, postures, expressive mimic details. Aksinya defends her right to Gregory, to love, to happiness. The author comments on it emotional condition across posture and gesture(“stood in the middle of the room, put her hands in her apron”), d movement(“I came close”) facial expressions("clenched her teeth") sight("peered into the face of the enemy", "looked with stormy hatred"), intonation, tone of voice("she asked insinuatingly, almost in a whisper", "laughed caustically", "sneered", "poured overboiled slag of words").
In the scene of Melekhov Sr.'s explanation with married Aksinya (regarding her relationship with an unmarried son) through a condensed gradation of details the dynamism of the expressive movements of the interlocutors, preceding their statements, intensifies: Pantelei Prokofievich “damn it into the gate”, “thrown the cat on the bench”. Aksinya behaves in the same way: “narrowing her eyes”, “grimacing and baring her teeth”, “burned him with the fire of her black eyes”, “sprinkled words”. There is clearly inherent in Sholokhov expressive psychological dynamics.
In other battle scenes, Sholokhov, with the help of extraverbal mimic details with stunning artistic power conveys a terrible grimace of war expressing bestiality, dehumanization of a person who kills his own kind. At this moment, both of them are similar to each other, like mirror doubles. Still alive, they are already reminiscent of the dead: bestial grin, crooked convulsions and a “terrible haze” of faces disfigured by hatred, “drooping jaws” and eyes “squeezed out” from horror from their sockets.
AT the fourth section of the third chapter - "The role of detail in creating artistic subtext" - it is noted that a special role in the structure of Sholokhov's psychologism is played by subtext detail, which in the dissertation means a micro-image bearing a hidden, different from direct meaning utterances meaning that is recovered on the basis of the context.
The question of M. A. Sholokhov's use of the method of subtext in the domestic sholokhovology is polemical. Most researchers agree that there is no subtext as such in the novel The Quiet Flows the Don, since its characters have a “direct language of passions”.
An in-depth analysis of the artistic structure of the novel "The Quiet Flows the Flows the Don" shows that psychological situations in which emotional tension is hidden, not expressed by the speech context, are quite common in M. A. Sholokhov. The psychological content of such episodes is asymmetrical to their speech design. The direct meaning of the text does not coincide with its hidden, implicit emotional and psychological content, which, as a rule, is deeper and more dramatic. This allows us to speak with all confidence about the tradition of Chekhov's "undercurrent", about the poetics of psychological subtext in the system of artistic techniques for creating an image in M. A. Sholokhov's novel "Quiet Flows the Don", which is expressed with the help of subtext details.
AT fifth section – "Detail as a way author's assessment» - it is shown that Sholokhov's detail functions both in the sphere of objective and in the sphere of subjective context. The author's comments are based on the techniques of artistic detailing, and in the structure of the author's narration, metaphorical details, details-parallels, details-antitheses, details-associations. So, reflections on how hard it is for Aksinya's soul after the news of Grigory's wedding are preceded by the author's digression in the form of a detailed metaphor-parable with an abundance of expressive details and details. “Holy-leaved green wheat rises, grows ... Out of nowhere, a herd of cattle wandered into the bread: they digged, pounded heavy ears into the arable land. Where they were lying around - circles of flattened bread ... wild and bitter look"(book 1, part 1, ch. 20, p. 96). And then the author again continues to reflect on the invincibility of the all-conquering thirst for life and love: “ The bread, poisoned by cattle, rises. From the dew, from the sun, a stalk driven into the ground rises; bends first, like a man who has overstrained himself with an unbearable weight, then straightens up, raises his head, and the day shines for him in the same way, and the same wind shakes ..."(book 1, part 1, ch. 20, p. 96).
Artistic details are used in the author's comments, reminiscent of proverbs, aphorisms, parables. Sholokhov accompanies the return of the Cossacks from the front in the autumn of 1917 with the following reasoning: The graves are overgrown with grass, pain is overgrown with prescription. The wind licked the traces of the departed - time will lick the blood pain, and the memory of those who did not wait for their relatives and will not wait, because short human life and not many of us are destined to trample grass…!” (book 2, part 5, ch. 1, p. 192).
The function of detail is most effective in the author's generalizations, which in form resemble a parable, because the parable model is built from the concrete to the abstract, from the particular to the general, from individual observation to reflection on the eternal. And here, an expressive, well-found parallel detail (a man is a stalk, deceived love is a dead field, human grief is a scorched earth, etc.) serves as a starting point for deep life generalizations, moral assessments, and philosophical associations.
AT the sixth section of the third chapter - "The compositional functions of the detail in the novel" Quiet Don "- it is noted that the detail in Sholokhov's narrative performs not only figurative and expressive, but also compositional functions, serves constructive component artistic structure of the novel. This becomes possible due to the specifics of the principle of its construction. An analysis of the architectonics of the novel, which reflects the principle of a "measured" course of life, shows that the writer actively uses the possibilities of artistic detailing to fix the beginning, development and completion of each conventionally singled out "microfragment" in the flow of events. This gives grounds to designate three compositional functions of the part: “preceding”, “accompanying”, “closing”.
It is also important that one or the other way of including details in the structure of the narrative. The dissertation highlights four such methods: prepending, repeating, parallelization, and gradation. The technique of a consistently “repeating” detail is widely used, for example, in portrait descriptions of heroes, designed to emphasize the memorable features of their external appearance.
Acquiring a key, symbolic interpretation, repeat details turn into keynote details, and sometimes in symbol details. Of course, the leitmotif image of the sun is symbolic in the epic novel. It “rejoices” along with the characters, “sads”, “angry” and even sadly “smiles”: “It grinned like a widow bloodless sun” (book 1, part 3, ch. 16, p. 348) in the scene preceding the receipt of false news of Grigory’s death by the relatives.
The creation of the most perfect epic novel in the 20th century, in which “life is depicted in the forms of life itself, a panorama of events and persons,” is the creative feat of Sholokhov, an artist of a new era. It is impossible to overestimate it.
Mikhail Sholokhov showed a whole system of interconnected heroes who acquired a biography, developed bright and new life sensations in themselves, a whole range of tragic thoughts about their homeland, about home, family, precisely in the era of revolutions. Traditional " small man”, even such as Pantelei Prokofievich or his quiet life partner Ilyinichna, found the strength to actively resist the whirlwinds of history, to fight for his idea of \u200b\u200blife. Sholokhov's novel is the story of the most difficult moral ascents of Ilyinichna the mother, Aksinya, as a loving woman, ready to share the fate of her beloved in everything, Dunyashka, who almost motherly pities her brother. Even Prokhor Zykov, the orderly of Grigory Melekhov, who for a long time comically repeats the tragic path of his commander, at the end of the story found the completion of fate, human significance. A remarkable victory for Sholokhov as a realist was that all his fictional characters - the same Natalya Melekhova, Aksinya, and even more so Grigory - turned out to be on the whole much richer, more interesting, "biographical" than real heroes (Kornilov, Kaledin, Krasnov, etc.) .
The enrichment of biographies, the creation of the great destinies of the former "little people" became possible due to many circumstances. First of all, a special "labyrinth of links" (JI. N. Tolstoy), that is, the influence of one hero on another, their rapprochement and repulsion, similarity or contrast. After all, a novel is not just a large space, an abundance of characters, a long time of action. The author of the novel, on the one hand, must introduce new characters, and on the other hand, remove the existing ones from the stage, move them somewhere. But the reader should not "forget" them, should wait for a meeting with them. And, being surprised, to recognize them, although to each new appearance of a familiar hero - follow only Grigory in his youth, Grigory after an illness, Grigory during a sad meeting with Aksinya, telling her "Hello, Aksinya, dear!" - the new version of the portrait also corresponds , type of speech, system of gestures. Think for a moment: what an amazing cycle of meetings and partings with the heroes created by Sholokhov in the novel, how the lines of the fates of the heroes are intertwined! Meetings, separations, losses have the deepest causal relationship...
Of course, P. Palievsky is right when he speaks of the global significance of The Quiet Don, that “the general atmosphere of life and its pressure ... in Sholokhov is much harsher than usual in the classics of world literature”, that this is “fierce realism”, that “before us a kind of special sobriety, not that sobriety that is without a dream, but sobriety in a dream, a rush to the fullness of strength.
In The Quiet Don, it is sometimes difficult to separate the author's speech and the voices of the characters, lyrical digressions, descriptions (of the sun, steppe, sky) and leisurely self-explanations of the characters, the element of everyday writing. Sholokhov multiplies the foresight of the heroes, enriches their perception of the world. Of course, entire fragments of landscape lyrics are marked by the presence of the author's voice.
“In the sky, filled with blue, the golden cup of the new moon stood askew, the stars trembled, enchanted silence wove”; “a low, tortured voice sounded dull,” etc. Quite unexpectedly, in the narrative about the Cossacks, there is a comparison of the battlefield, a killed horse (or rather, its legs) with a “headless chapel” and all subsequent verbal colors: “... on a horse a sheaf of rays fell in a circle, and the leg with densely attached wool bloomed irresistibly, like some wonderful, leafless branch, adorned with orange blossom. Such landscapes sometimes seem attached to the action, autonomous. Ho, on the other hand, the element of folk speech, folklore, Don songs so powerfully invades the sound of the author's voice that there is a special polyphony, the interaction of voices: "the stirrup of the Don" (and not "the rapids"); “between mossy blocks” (and not “between”); “Dunyashka ... burned through the base” (i.e., ran quickly); "from the cattle base" (and not "cattle"); “living” (and not “living”), etc. All this says, as F. G. Biryukov noted, that “in choosing the word, Sholokhov relies on exceptional knowledge vernacular».
We have already characterized the style of Sholokhov's writing as realistic. With the utmost accuracy, extraordinary attention to detail, Sholokhov tells about the life of his heroes, about a difficult and contradictory time.
The writer was very fond of the word "everyday writing". Sholokhov paints everyday life, in his artistic style one can clearly feel the craving for objectivity, the materiality of the depicted, the “little things of everyday life”, which, according to the writer, are part of the most serious conflicts and connections of the surrounding reality. In the “everyday” manifestations of human nature, the writer was looking for what is characteristic of people of that difficult era, believing that there are no “small feelings”, “small deeds”, that only through showing what seems insignificant, insignificant, through demonstrating thousands of possible aspects of the real, thousands of points of vision grows the true fullness of the one.
Sholokhov's realism is called psychological. The writer is extremely attentive to the interconnections of feeling and action, to the “material” expression of the inner state of a person – through gestures, deeds, actions. Sholokhov is not inclined to "dig" into the souls of his heroes, he "forces" them to act, to actively intervene in the surrounding life, through his deeds revealing both his attitude to the world and individual character traits. This is a great danger for the artist. He doomed himself to work, when with extraordinary meticulousness it is necessary to weigh every act, gesture, word of a character, always correlating it with the integrity of character, with the internal logic of his development. But this also had a huge advantage: an action, an act, is often more convincing and intelligible than any psychological description and commentary, and therefore Sholokhov's word involuntarily turned out to be addressed to the most mass readership.
The language of Sholokhov's epic is extremely plastic and objective. It harmoniously combines colloquial, colloquial, folklore forms language and literary speech.
The writer is unusually sensitive to popular word, uses it with great skill as a source material for the construction of the artistic world of his work. “Ways” (instead of a path), rust (instead of rust), azhnik (instead of already), burn through (instead of rushing), very fast (instead of quickly), gutarim (instead of talking), etc. - the use of all these words contributed to the transfer of the special color and elements of the folk language, the approximation of the speech of the characters to the speech of their real prototypes.
The writer knows how to spiritualize the inanimate: he has a haze - fluid, the stars tremble, the mountain hums, silence is woven, pebbles are kissed by waves, and the plantain trampled by horse hooves is living.
Sholokhov’s color scheme is expressive: “hot-red huge shield of the month”, “ploughing silvery from snow”, “silky green, all in tears of frozen dew” life, which “feeds ... on the life-giving black blood” of black soil and “waits for spring, the sun to get up, breaking the melted cobweb-thin diamond crust to lush green in May. No less important role in the artistic world of the novel is played by sound writing: “a raven will fly by, with a whistle cutting the air with its wings, dropping a throaty moaning scream. The wind will carry his cry far away, and for a long time and sadly it will sound over the steppe, like an accidentally touched bass string in silence at night”, “it’s about to bend the poplars to the ground with a whirlwind, it will blaze with a dry, crackling rumble of thunder and will go to crush and mangle the white forest over Don", "Prokofy, with a shaking head and a fixed gaze, wrapped a squeaking lump in a sheepskin coat - a prematurely born child", "near a sunken elm, in bare arms, two sagans simultaneously jumped out, a third, smaller one, screwing into the air, persistently over and over again fought at the Yar.
The world in the image of Sholokhov is rich in smells: from his room, he “smells of stale clothes and, for some reason, aniseed apples”; “the kizichnyak smells thickly of dry manure, rotted straw, hay,” and “a gentle, exciting smell” flows from Aksinya’s wet hair. In the imagination of Gregory, the unthinkable, the mysterious, is born, and he says to Aksinya: “Your hair smells like a drunkard. You know, a kind of white flower.
Sholokhov knows how to speak brightly, colorfully, and rememberingly; the page has already been turned, and the image created by the writer continues to stand before my eyes: Aksinya “wrapped herself around Grigory like hops around an oak”, “somewhere a deep, cool, pasture blue shone with a curly herd of white clouds”, “rosehip bushes stood, as if embraced flame, and the red berries in their sparse foliage burned like fiery tongues”, “between the clouds a young yellow-whiskered moon cossed”. Until the end of the novel, we will not forget how the fresh morning breeze tore the black mourning scarf from Natalya's hands when she last time escorted Gregory, and our hearts will involuntarily shrink every time we remember this.
The last volume has been put aside, and for a long time we will not be able to forget Grigory, who buried Aksinya, above whom the black disk of the sun shines in the sky. We will sympathize, empathize with our beloved hero. That's the law artistic creativity- bright, colorful images have a lasting, purposeful aesthetic impact on the reader.
Alekseeva Olesya Yaroslavovna 2007O.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 early stories 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 to analyze the stories in a complex way (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 artwork can go in ascending order, i.e. from the study of 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 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 this article, we will try to describe spatial characteristic 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 they divided the land: 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, initially “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, like 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 confrontation of the hero of the surrounding reality (“Ilyukha”, “Commissioner”, “Kolover”, “Two-husband”, “Alien blood”, “About Kolchak, nettles and other things”, “Chairman Revolutionary Military Council of the Republic”, the story “The Path-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. And the very concept 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 affiliation, 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.
Described in the stories "spread" Soviet power it is shown as the onset of the "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 down 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 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 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, good man, a piece of lard. Your pig legs have cracked my legs, you honestly have to give me for it.” cut off and poured crackers into a horse bag"). 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 unexpectedly 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 creation of an image and its interpretation, reveal the relationship between the internal structure of the work and its semantic content, determine the position of the author, "see" it behind the screen of opportunistic dogmas.
1 Velikaya N. Stylistic originality of Mikhail Sholokhov's "Don Tales" // Mikhail Sholokhov: Articles and Research. M., 1980. S. 87-111; Matsai A. Sketch of the 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. Structure 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.
