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A.Zhida's works about F.M.Dostoevsky's creativity: an anticipation of some elements of poetics of the polyphonic novel

The XX-th century beginning in France is noted by increase of interest to problems liteyoratury and the further search of ways of development of forms of the French novel.

A.I.Vladimirova sees the reason of this phenomenon in crisis of realism and naturalizyoma: «the Naturalism and its philosophical basis - positivism have ceased, appear, udovleyotvorjat minds» [247].

Vladimirova writes, that in search of possible exits from crisis to Dostoevsky's creativity the French realists, and those writers who refused from have addressed «not Realistic art, including its become outdated and uproshchyonno perceiving a difficult real life» [248].

L.N.Tokarev specifies, that creative participation in this process was accepted and Andre by the Jew: «As he understood ischerpannost traditional forms of the novel, The Jew priyoshel to the concept of" the pure novel ”, or“ the novel of ideas ”» [249]. Concerning creation of the novel of ideas of the end XIX - the XX-th century beginnings specify to N.S.Botchkarev, I.V.Suslov on opredeljajuyoshchee value of creativity of Dostoevsky: «F.M.Dostoevsky's tradition which is shown at all levels» [250] has Defining value.

Let's consider more in detail perception of creativity of Dostoevsky Zhidom. The first stayotja Andre the Jew about Dostoevsky «Dostoevsky in its correspondence» has appeared in 1908. In it he speaks about the importance of creativity of Dostoevsky not only for France, but also for all Europe: «It it, top still half hidden, a mysterious link of a chain. OtYO
Here the deep rivers from which zhazhyodu new Europeans »[251] today can satisfy originate some. Here starts to develop a theme of complexity of perception tvoryochestva Dostoevsky its contemporaries in France. Later it will return to this theme in article« Future of Europe »(1923). Here the Jew again says that on adequate vosyoprijatie the Russian literature the generation at it is not enough hope:« Generation, to koyotoromu I belong, Knew nothing that occurs abroad, and, not suffering from ignorance, was ready to glorify itself for it. Too deeply ubezhyodyonnoe, that it does not know only what the nobility and is not necessary, it saw in this ignorance gayorantiju the superiority »[252]. The Jew recollects the meeting with the young Chinese who has ranked the Russian writer those to three authorities of the European literature, koyotorye have deeply affected minds of Chineses: Ibsen, Show and Dostoevsky. And it when to Frenchmen Dostoevsky seemed« sometimes almost the Asian »[253]. Surprise of the Jew svjayozano that all three writers have already been translated into the Chinese language, and Dostoevsky was perceived in Asia as the outstanding European, and at all the Asian.

For France the Jew became the first present judge and the interpreter of creativity of Dostoevsky, appreciably explained to French and, more widely, zapadnoevroyopejskomu to the reader many subtleties of poetics, philosophy and psychology of the Russian genius. But chronologically the first response to Dostoevsky's creativity in France was glayova books Ezhena of Cupronickel de Vogjue «Le roman russe» «the Russian novel» (1886).

In article «Dostoevsky in it pereyopiske» the Jew begins a series of works with critical analysis of work Vogjue about Dostoevsky, at once having noted both merit Vogjue, and blanks in its estimation of the Russian writer.

The Jew writes, that Vogjue «has made noble gesture, having presented to France on a silver dish of the eloquence iron keys from
The Russian literature »[254]. Simultaneously the Jew notices, that Vogjue, by its own words,« covers despair when he tries to make Dostoevsky's world to clear our world (to the world of the French culture. - M. D) »[255].

According to the Jew, Vogjue sometimes exaggerated value of one and it is inadmissible indulgently responded about Dostoevsky's other products: «Vogjue ostanavlivalyosja on a"Crime and punishment ", convincing the reader, compelled to trust to it on sloyovo as almost anything else was not then it is translated, that“ by this book zakanchiyovaetsja an ascension of talent of Dostoevsky ”, then, after indulgent predyostavlenija“ the Idiot ”, spoke about“ Demons ”as about the book of" confused, badly built, often ridiculous and full apocalyptic theories ”, about“ the Diary of the writer ”as about“ the vague hymns escaping the analysis as though the analysis contradicted them ”. Did not mention neither“ the Eternal husband ”, nor about“ Notes from an underground ”» [256].

Really, Vogjue, for example, superficially judges about finishing all tvorcheyostvo Dostoevsky outstanding product: «I do not stop on“ Brothers KaraYOmazovyh ”. On a general recognition very few people from Russian had boldness to read up up to the end this infinite history» [257]. But the Jew is not exact, asserting, that by time vyyohoda books Vogjue almost has been translated nothing from Dostoevsky's products. In 1886 in France release of the second edition «Brothers Karamazovyh» as A.A.Dolinin who has caused the response of the French poets and playwrights Lekonta de Lilja and Vile de Lil Adana [258] marks came to the end. Much from written to Dostoevsky to this novel already has appeared in French translations. Therefore the French reader had vozmozhyonost to judge creativity of the Russian writer carelessly on response Vogjue. First, the criticism Jew Vogjue consists that Vogjue specifies to the reader only in three proizyo
Conducting: «Poor people","Notes from the dead house», a "Crime and punishment" as the most significant. Secondly, Vogjue gives «despite its obvious kind intentions, distressingly cut down, incomplete and even the deformed image of this exclusive

259 geniuses »[259].

In spite of the fact that from the moment of an exit of "the Russian novel» has passed more than 20 years, the Jew underlines, that level of perception of creativity of Dostoevsky in France has a little changed. In France 1900th the reader's circles variously concerning creativity of Dostoevsky continued to exist some, and the Jew short, but is exact hayorakterizuet them: «If and now Dostoevsky collects the readers slowly and among very limited elite if it pushes away not only the wide semiformed public, public half-serious, semibenevolent which has not reached anything, except Ibsen's dramas but which read“ Anna Kareninu ”and even“ War and peace ”, - or other, less kind public who admires“ Zarathustra ”, - neseryoyozno would be to make responsible for it the mister de Vogjue. On it there are also very difficult reasons which to us its correspondence (correspondence Dostoyoevsky will help to understand. - M. D)» [260].

Further the analysis of correspondence of Dostoevsky which comes to the end with the conclusion of the Jew characterising the writer as the person of contrasts follows: Dostoevsky in hayorakteristike the Jew «the conservative, but not traditsionalist; the monarchist, but the democrat; hriyostianin, but not the Roman Catholic; the liberal, but not“ progressist ”. Dostoevsky remains to those whom do not know how to use. Each time is in it something, than nedoyovolny» [261]. The modern researcher of creativity of Dostoevsky sees complexity of perception of Dostoevsky and in its "fantastic" sight at a reality, poyoskolku "word" fantastic ”is used by Dostoevsky for a designation of spiritual realities» [262].

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But still the Jew wrote that the reason of a problem of perception of Dostoevsky on ZaYOpade consists in complexity and many-sided nature of ideas and sights by which its products are filled. For the sake of justice it is necessary to notice, that complexity of creativity Dosyotoevsky complicated its perception not only in France, but also in the Russia: «In the end of XIX century on statistical data zemskih libraries Evgenie Andreevich Salias» [263] has appeared the most readable writer in Russia. For example, «on danyonym libraries of A.S.Pushkin in Moscow on Dostoevsky's books for a year postuyopilo 36 inquiries, and about books Saliasa of 113 inquiries» [264]. On level of reader's interest behind Saliasa, but far ahead of F.M.Dostoevsky at that time were N.V.Gogol, L.N.Tolstoy, I.S.Turgenev.

The Jew develops thought on complexity of creativity of Dostoevsky, asserting, that for perception its French reader is necessary, that the writer in detail stated only one idea: «to succeed, it is necessary to show only one idea. nedostatochyono to find the exact formula; it is necessary, that there was nothing, except it. Public should know, that it is necessary to put before each name, and does not transfer, when to it litter moz - gi» [265]. In other words, the French readers are not capable to be guided freely in variety of features of the Russian literature, and the literature in general, without presence of labels which the French criticism appropriates to the literature phenomena. For example, according to the Jew, public willingly would apprehend a label of religion of suffering: « Dostoevsky could be a success in France if the mister de Vogjue has invented “religion stradayonija” and would multiply in the portable formula the doctrine which we find in posledyonih heads of a "Crime and punishment" », - Dostoevsky's creativity does not keep within habitual formulas, -« It pereplyoskivaetsja through all edges »[266].

And further the Jew specifies: «I do not try to complicate its doctrine now; I wished to specify only, that it comprises contradictions for the western consciousness, it is not enough priyovychnogo to desire to reconcile contrast» [267].

When the Jew specifies in a habit of the western consciousness to avoid attempt primiyorenija contrasts, its point of view coincides with Dostoevsky's opinion, pisavyoshego about predilection of the French criticism for formulas in which frameworks she tries to conclude, for example, Hugo creativity.

Except the circumstances mentioned by the Jew connected with psychology western chiyotatelja and complicating western perception of creativity of Dostoevsky in France, it is necessary to specify and in quality of transfers, sometimes exact, but in other cases not quite adequate what it is possible to judge even on transfers of names of products. For example, it is unacceptable, with nayoshej the points of view, transfer of the name of the story «the Boy at the Christ on a fur-tree"as"Le Noel Russe» «Russian Christmas», very strange looks transfer of the name of the story "KrotYOkaja", made a transliteration «Krotkaia», despite possibility exact perevoyoda (the Appendix more in detail see). As a result the Jew results statement Vogjue where that formulates spiritual definition of the importance of Dostoevsky for Russian consciousness: «As said about former tsars, that they"collected"Russian earth so this master of thoughts has collected Russian heart» [268]. « And I am happy, - the Jew, - after all remarks which I have made about its work concludes, to give these noble words »[269].

Vogjue, being the secretary of the French embassy, has lived in Russia seven years, studied Russian, the literature, history. Spiritual atmosphere in which there were words Vogjue about the writer, «collected Russian heart», was generated and under the influence of that fact, that Vogjue was married to relative Michael Annenkov, the representative of the ancient sort of noble family, one of which near relations, Decembrist Ivan Annenkov, was married to Frenchwoman Jeanne Poline Gyobl. polina Gyobl has gone for
The groom to Siberia also got married there «in church of archangel Michael of a city of Chita» [270]. On christening Gyobl became Praskovej Egorovnoj Annenkovoj. Praskovja Annenkov and Natalia Fonvizin - those wives of Decembrists who have presented to Feodor Mihajlovichu Evangelie with the money stuck in its cover during its stage in Tobolsk [271].

In polemic with Vogjue the Jew expresses hope of success of the Russian writer not only at the young generation of Frenchmen requiring the new literature, but also at young generation of Europeans in general: «especially in Germany where editions of its products are multiplied» [272]. In the review of a performance premiere «Brothers Karamazovy» directed by Z.Kupo and Z.Krue (1911) Jew comes back to polemic with Vogjue, writing about easing of talent of Dostoevsky in its late products, speaking: «It was one of those redyokih geniuses who progress from product to product while the death vneyozapno will not interrupt this ascension» [273].

In article «Ten French novels, which.» (1913) Jew asserts, that France - not the country of novelists, in comparison with some other countries, including Russia: «France - the country of moralists, unique actors, composers, architects, orators. What can foreigners oppose to Montaigne, Paskalju, Bossjue, to Racine? But, on the other hand: what is Lesazh near to Fildingom or ServanYOtesom? What is abbey Prevo in comparison with Defoe? And even: what is Balzac on sravyoneniju with Dostoevsky's one book?» [274].

As we see, contrary to Dostoevsky's quoted by us in 1 th head of the dissertation the opinion, not giving overweight to value of own creativity before Balzac's creativity, the Jew resolutely gives a superiority palm tree to the Russian writer. We agree with a conclusion of the Jew not because we hold the party of the Russian genius on priyochine national pride and solidarity, but for the objective reason of display Dostoevsky's by creativity of conscientiousness of the Russian spiritual soil formulated by it as ability of the Russian person to «the world responsiveness». And one of forms of the world responsiveness we consider tendency of heroes of Dostoevsky to spiritual poyoisku, named in XIX century as God-seeking. As to the poetic form duyohovnogo search for expression of so difficult spiritual substance Dostoevsky creates the unique author's method which has generated the phenomenon «polyphonic royomana Dostoevsky», described by M.M.Bakhtin.

Giessen A.I. In depth of the Siberian ores... M, 1982. With. 300.

Gide A. Dostoievski d’apres sa correspondance. Paris, Gaillimard. 1981. P. 47.

Gide A. «Les freres Karamazov»//Dostoievski par Andre Gide: Articles et causeries. Paris,

But in what the Jew Dostoevsky's superiority over Balzac sees? During this period, comparing Dostoevsky with Balzac in "Leaves" (1911), the Jew specifies in basic difference of their art methods: Dostoevsky «never reduced the world to the theory, Never allowed to narrow itself by teoretizirovanija. Balzac constantly searched for the theory of passions; to it has very much carried, that it has not found it» [275]. In «ZapisYOkah to Anzhel» (1924) Jew results one more, very important from the point of view of poetics, the reason of the preferences, speaking about presence or absence in the novel of an author's estimation, an author's position: «the Grief to books in which there are conclusions, they at first more all likes public. But in 20 years conclusions will crush the book» [276].

Considering moralizatorstvo typical for the French literary tradition, he wished to change this position, believing exemplary Dostoevsky's deprived of direct author's conclusions and imposing of the author's point of view not only the reader the creativity, but also to own literary hero. Irrespective of Bakhtin, approximately in the same vreyomja, the Jew comes to idea of independence of a voice-position of the hero from an author's voice - of a position, the author's point of view. The same thought, but in the developed kind, in some decades G.K.ShChennikov states, making comments Bakhtin's on ideas: «Dostoyoevsky M.Bakhtin's Polyphony in treatment has acted not only as the special form of the organisation huyodozhestvennogo a material as the author, but also as the aesthetic position representing

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P. 86.

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277 basic refusal of the writer of open expression of author's idea »[277].

The question of the new form of the organisation of an art material in the future novel very much interested the Jew. In «the Foreword to“ Colours of harm ”» (1917) Baudelaire Zhid razmyshyoljaet about the literary work form as reflexion of complexity of soul of the modern person, and also about necessity of search of these forms, he writes: «the Form is the reason of existence of a work of art, it that public notices only hired later. The form is a secret of product» [278]. The paradoxical statement of the Jew about the form as to the reason of existence of product, in our opinion, is specified by the following phrase: «the Form is a secret of product». In other words, the form specifies on zhanyorovuju essence of a work of art. How much the understanding the Jew of value of the form of product has something in common from the unknown person to it M.M.Bakhtin's formulation: « The art form correctly understood, does not make out already ready and najdenyonoe the maintenance, and for the first time allows to find and see it »[279]. Our perusal of words of the Jew about the form proves to be true further its words told in the same place, about complexity cheyolovecheskoj souls:« To us repeat, that in the person there is nothing new. Probably. But it is not open yet and that is in the person. I am convinced, that it is necessary more many otkryyoty, and that frameworks of old psychology will soon seem artificial and having become outdated - mi »[280]. The Jew speaks here about diversity of the human nature guessed by Baudelaire after for Dostoevsky: in each person there is« other force, force centripetal and simultaneously destroying with which help the person tries to be divided, rasyopylit itself »[281]. And further:« Baudelaire has a presentiment of this fact so accurately, as well as Dostoyoevsky, for example. But I cannot read without a shiver Words from it (Baudelaire. - M. D) a personal diary: “ In each person and always there are two simultaneous (all interest of a phrase consists in this word) an impulse: one - to the God, another - to the Satan ”» [282]. Here for the first time in works of the Jew about Dostoevsky's creativity there is the theme of internal dialogue connected with the art nature of the polyphonic novel which later the Jew will develop in reflexions about three striations of soul. Arises long before bases of the theory of the polyphonic novel created by Bakhtin [283] and before opening of a principle of triple polyphony to Ivanov [284].

Bakhtin. M.M.Problemy Dostoevsky's of poetics. M, 1972. With. 76.

Gide A. Preface aux «Fleurs du Mal»//Gide A. Incidences. Paris, 1924. P. 168.

Gide A. Preface aux «Fleurs du Mal»//Gide A. Incidences. Paris, 1924. P. 168.

Thereby, the difficult (polyphonic) form of the novel specifies in its genre essence which corresponds to complexity of course of mental processes of the hero.

After the First World War a new wave of interest to Dostoevsky at the Jew svjayozana with its reflexions about ways of development of the future European culture and literatuyory. For the Jew the role of France in this process is defining. In article «RazYOmyshlenija about Germany» (1919) it writes: «But if we enter during a new era - who can assert, what chapter 1 of this new book will not be French, or this book will not be French?» [285]. In same article he brings up a question about national and inyodividualnom an originality in the literature: «the Most individual product it what contains more all self-renunciation. And at last, that most it is deep natsioyonalnoe, most ethnically independent, and also the most human is that can mention the national beginning most deeply. Whether there is something more Spanish, neyozheli Cervantes, more Italian, rather than Dante. More Russian, rather than Dostoevyosky, also what is more human, rather than they?» [286].

In the same 1919 in "Leaves" he tries to solve the nature «moral reyoformy». Along with religious reformers the Jew names two writers, Russo to France and Dostoevsky in Russia: «a Variety of positions, imposing of the various

Moral values conduct to that the reformer begins work on their reduction in conformity with each other, aspiring to new balance »[287].

Here its intuition again concerns a principle of polyphony which is naiboyolee the suitable literary form for expression of idea of spiritual search, True search, Paul Florensky speaks about the polyphonic which nature of revealing: «the True is intuition which is demonstrable, i.e. diskursivna. To be diskursivnoj, the intuition should be not blind, not is stupid-limited, and uhodjashcheju in infinity, - intuition, so to say, speaking, reasonable Diskursivnaja the intuition should soyoderzhat in itself the synthesised infinite series of the substantiations» [288].

Diskursivnoj - means, discussed, polifonichnoj.

In 1921, by century from the date of Dostoevsky's birth, the Jew lectures in «the Old Dovecot», theatre on the Montmartre which has become some kind of a staff of writers - modernistov and the centre of spread of knowledge about creativity of Dostoevsky. In this lekyotsii he speaks about that novelty which Dostoevsky introduces in poetics of a genre of the novel: « Having regained consciousness from its books even if our reason also refuses to realise completely them, - we feel, that it has just mentioned any mysterious point, which priyonadlezhit our original life. And I think, that we will find here a cause of a failure neyokotoryh minds from genius Dostoevsky for the sake of the western culture.vo all ours zapadyonoj to the literature, here again I speak not only about the French literature, - the novel, behind very rare exception, is engaged only in relations between people, relations sensual or intellectual, family, social, class, - but niyokogda, almost never, relations of the individual with myself or good luck which at Dostoevsky face to all others »[289].

In this reflexion of the Jew, speaking Bakhtin's to terms, the nature of the western novel and the polyphonic nature of the novel Dostoyoevsky comes to light monologicheyoskaja, as a rule. Comparing the western novel with Dostoevsky's novel, the Jew again intuitively comes nearer to the description of a principle of triple polyphony. It reveals three aspects dialogizma at Dostoevsky: 1) relations the person - other person, 2) relations cheloyoveka with itself (with a voice of the opponent), 3) relations of the person good luck.

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The Jew mentions again in this lecture such feature of products Dostoevyosky, as the internal dialogue sated with a problematics of spiritual search, svojstyovennyj to poetics of the polyphonic novel: «the Internal life here is more important, rather than otyonoshenija people among themselves. Whether you think, that the secret consists in it and Dostoyoevsky, doing it simultaneously so great and important for one and so nevyyonosimym for many other things» [290]. The internal life, a soul life makes that the Jew names "chasms", and he quotes article (1922) of editor-in-chief NRF of Jacque RiveYora about two various approaches of the writer to their studying: «It can reproduce weigh their gloom, or, having described them to reduce their depth for the reader. Or it it is careful ohranjayoet these chasms, or investigates them» [291].

The Jew polemicheski makes comments on idea Riviera: «Chasms are studied by the French school while some foreign novelists, especially Dostoevsky, uvayozhajut and protect their gloom» [292]. Vladimirova this position of the Jew and Riviera criticises, considering, that «Dostoevsky aspired to display all complexity of human psychology to study the person in the products, instead of to force the reader reyoshat a certain psychological puzzle» [293].

Thereby it adjoins a position of studying of the chasms, peculiar, according to the Jew, the French school of the novel. In our opinion, Vladimirova does not consider on - lifonichnosti consciousness of heroes of Dostoevsky, not keeping within frameworks traditsionyo
Ache psychology. Polyphony presence, we believe, and creates that sensation of chasms about which the Jew writes.

For century from the date of Dostoevsky Zhid's birth has dated also a cycle from six lekyotsy, read by it also in a hall «Old Dovecot». In the first lecture of a cycle it in brief retells the biography of the writer, sending to «to Notes from the dead house» (the name it translates as «the House dead»), namely to words of the protagonist about zhizyonennoj the purposes: «Without any purpose and aspiration to it any does not live the person is live. Having lost the purpose and hope, the person from melancholy addresses quite often in a monster» [294].

Among events of a life of Dostoevsky Zhid especially stops on the period of its stay in penal servitude as during this period Dostoevsky's religious-philosophical sights receive especially strong impulse for the development: «This belittling, refusal of, supposes coexistence in Dostoevsky's shower absolutely protivopoyolozhnyh feelings, whence there are improbable riches of contradictions, which borjutyosja in it» [295]. Attracts attention expression «improbable riches protivoreyochy», specifying in that psychological basis from which there is a polyphony. The Jew considers as one of properties of Russian soul «fast transition with one feeling to feeling absolutely opposite» [296]. At Dostoevsky's many heroes, he speaks, it is possible to observe as though two opposite characters, and «as we see, to both is

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chaetsja to be shown simultaneously »[297].

Arguing on complexity of characters of heroes of Dostoevsky, the Jew is again risen to bases of poetics of the polyphonic novel. Here that the Jew about three layers, or strayotah writes souls: «It seems, Dostoevsky establishes or simply recognises existence in a human soul of various layers - something like geological striations. I distinguish three layers, three areas in characters of its novels: intellectual, alien to soul, otkuyo
Yes the worst temptations, nevertheless, proceed. It here, according to Dostoevsky, are concealed a demonic, destructive element The second layer - area of passions There is more deeply a laying area which these passions do not mention... It is that obyolast in which there lives prince Myshkin »[298]. Three strata the structures of soul described ZHiYOdom, functionally correspond to three voices-positions of a principle triple poyolifonii Ivanov erected by it to agrafe of the Christ, quoted in Introduction, about two or three collected for the sake of It.« So, in Dostoevsky's creativity sootvetstvenyono to quantity of positions we have interaction either two, or three forces. Behind each of them there is a God, the person, or the enemy of the person and the "opponent" of the God sowing in the person about opinion »[299]. At this level of comprehension of poetics of Dostoevsky Zhid becomes literayoturovedom, capable to tell a new word in the theory of a genre of the novel.

The representation about three dramaticheski the connected areas of soul the Jew podtveryozhdaet the analysis of three products of Dostoevsky: "Idiot", «the Eternal husband"and"Notes from an underground». He considers as top of creativity of the Russian writer «Notes from podpoyolja"."In this product, - the Jew speaks, - we enter with it into intelligence area» while in «the Eternal husband» «we remain in the field of passions» [300]. As to "Idiot" in this novel as it is already shown above, the soul of the protagonist stays in area which passions do not mention. The Jew continues to develop idea of three areas of soul in the fifth lecture. He assumes presence of communications and drama relations between soul striations: «These three layers are not divided absolutely not and at all have no accurate borders. They constantly adjoin» [301]. At level of area of passions «dramas» which cannot «stir up the depths of soul» [302] are played. « Nevertheless, we will see in Dostoevsky's novels, that the intellectual element sometimes enters in sopriyokosnovenie with a deep layer. This deep layer at all a hell as a hobby. On the contrary, it is heavens. A hell, on Dostoevsky, it opposite, the top layer, intelligence area.

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Through all books passes Intelligence depreciation. Almost unconscious »[303]. The French translation« Notes from an underground »« Spirit of an underground »as well as possible sootvetyostvuet to treatment the Jew of intelligence, on Dostoevsky, as infernal sphere of soul of the person.

Andre the Jew was not the first opener of triple structure of soul. In XIX century the founder of a psychological direction in Russian literary criticism academician D.N.ovsjaniko wrote about «the present mental synthesis lichnoyosti», consisting of three parts: «conceiving, feeling and“ the higher ”, synthesising the two first through religious and moral feeling» [304]. Essentially that the Jew, showing uncommon literaturovedcheskuju intuition, has formulated the nayobljudenie irrespective of Ovsjaniko-Kulikovsky.

Alternative to intelligence, according to the Jew, at Dostoevsky that condition of good fortune in which there can be its heroes not in the future afterlife, and in moyoment narrations about them is. For example, Alyosha Karamazov and prince Myshkin. «The Hristianyosky doctrine, kakovaja contains in the Gospel, is known to us, Frenchmen, only through Catholic church... But Dostoevsky considers, that receives lectures of the Christ directly through the Gospel that not accepted at all by Catholics» [305]. Under the Catholics who are not accepting direct lecture of the Christ through the Gospel, the Jew means konyokretnogo the person - the poet and the philosopher of Field Klodelja close to NRF. With Klodelem the Jew consisted in polemic concerning understanding of an image of the Christ at Dostoevsky in "poemke" Ivan Karamazov about the Great Inquisitor. Klodel confirmed the following: « Without clear dogma and without authoritativeness for its maintenance we have come to France to silly reliyogioznosti Lamartina or to Russia - to rough socialism G orkogo »[306].

Sofi Ollive makes comments on this polemic as follows: «Klodelju the image of the Christ presented by Dostoevsky because he saw in it“ the false Christ ”, come to resist to Church has not liked. Klodel has preferred the Great Inquisitor who seemed it a being sincerely believing And olitsetvoyorjavshim church, the imperious keeper of dogma» [307]. Ollive comes to conclusion, that the Jew could not convince Klodelja as was not the Catholic: «In a word, there is an opposition between Protestant Christianity of the Jew, Catholic KlodeYOlja and orthodox at Dostoevsky» [308].

If to lay aside disputable reckoning of sights of the Jew to Protestant and difficult system of outlook of Dostoevsky which, and the Jew here the rights, is wider dogmayoticheskogo than church understanding of Orthodoxy in the pure rest we have much more exact understanding the Jew of an image of the Christ and an image of the great inquisitor at Dostoyoevsky, rather than dogmatically Catholic understanding Klodelja. However, as for the period of course of polemic the Jew and Klodel had at the order of the theory poyolifonicheskogo no novel to come to the permission of a question it it was difficult not only for the ideological reasons, but also because of various levels of perception of poetics of Dostoevsky. The presensation the Jew of polyphonic structure of soul of the hero, and, hence, and polyphonic structure of the novel of Dostoevsky (though it directly does not blab out the Jew) goes back to its deep perusal of the Gospel, to Trialogu which as to one of sources, on Ivanov, there ascends Dostoevsky's polyphony: « No, Dostoevsky conducts us not to anarchy, and only to the Gospel »[309], - the Jew summarises. Here again the Jew, as well as in the novel« Close Gate », comes back to idea Paskalja about the god:« Only the Gospel will result in It »[310].

Conclusions on section 2.1.

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The Jew in the works about Dostoevsky's creativity has anticipated such sushchestvenyonye elements of poetics of the polyphonic novel as internal dialogue, mnozhestvenyonost the voices-positions, reduced to three voices-positions by a principle of triple polyphony. He has characterised type of hero Dostoevsky as the person with difficult psiyohicheskoj the organisation and has described soul of hero Dostoevsky as three-compound psihicheyoskuju structures. The Jew has specified, that parts of this structure are among themselves in "drayomaticheskih", that is dialogical, relations.

Supervision of the Jew about triple structure of soul has arisen irrespective of already available description of the same triple mental basis of the soul, made Ovyosjaniko-Kulikovsky.

Rather important that fact is represented, that Andre the Jew has felt polifoyonicheskuju the nature of the novel of Dostoevsky.

Important and that work of the Jew on creation of the new novelistic form internally svjayozana with type of hero Dostoevsky - the type intended by the nature for duhovyonogo of search.

2.2.

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A source: DUBINSKAYA Margarita Viktorovna. F.M.DOSTOEVSKY'S POLYPHONIC NOVEL And CREATIVITY of FRENCH WRITERS-MODERNISTOV ANDRE of the JEW And ALAIN-FURNE. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Tver - 2016. 2016

More on topic A.Zhida's works about F.M.Dostoevsky's creativity: an anticipation of some elements of poetics of the polyphonic novel:

  1. influences of the French literature on some aspects of poetics of the polyphonic novel of F.M.Dostoevsky
  2. DUBINSKY Margarita Viktorovna. F.M.DOSTOEVSKY'S POLYPHONIC NOVEL And CREATIVITY of FRENCH WRITERS-MODERNISTOV ANDRE of the JEW And ALAIN-FURNE. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Tver - 2016, 2016
  3. Dubinsky Margarita Viktorovna. POLYPHONIC NOVEL F. M.DOSTOEVSKY And CREATIVITY of FRENCH WRITERS-MODERNISTOV ANDRE of the JEW And ALAIN-FURNE. The dissertation AUTHOR'S ABSTRACT on competition of a scientific degree of a Cand.Phil.Sci. Tver - 2016, 2016
  4. poetics konklava in A.Zhida's novel «Close gate»: experience Dostoyoevsky and an author's originality
  5. poetics hronotopa in A.Zhida's novel «Close gate»: experience Dostoyoevsky and an author's originality
  6. a principle of triple polyphony in poetics of the novel of A.Zhida «the Close gate» and in symphonic composite structure of its story «Pastoral symphony»
  7. CHAPTER 3. POLYPHONIC POETICS OF THE NOVEL OF ALAIN-FURNE «BIG MJULY I»
  8. the person and Dostoevsky's creativity in Bunin's estimations
  9. an image of Petersburg of Dostoevsky in Bunin's creativity
  10. Dostoevsky in literary-critical works Aldanova
  11. Dostoevsky in works of art Aldanova
  12. poetics konklava in Alain-Furne novel «Big Moln»: Dostoevsky's experience and an author's originality
  13. experience of transfer of F.M.Dostoevsky of novel O de Balzac "Evgenie GranYode" as one of initial impulses of creative process of creation poetiyoki the polyphonic novel
  14. poetics hronotopa in Alain-Furne novel «Big Moln»: Dostoevsky's experience and an author's originality
  15. CHAPTER 2. PERCEPTION OF CREATIVITY OF F.M.DOSTOEVSKY ANDRE THE JEW: THE LITERARY CRITICISM, LITERARY CRITICISM, LITERARY CREATIVITY
  16. the speech characteristic of the French-speaking hero-Westerner in F.M.Dostoevsky's novel "Demons": about influence Russian-French bilingvizma on poyoetiku the polyphonic novel
  17. Chapter 3. F.M.Dostoevsky as object of literary-critical and art creativity of I.A.Bunin and M.A.Aldanova
  18. § 2. «.ne I love this person though I admire with the great writer»: the person and Dostoevsky's creativity in heritage Aldanova
  19. § 1. «Yes, I wish to tell, that Dostoevsky the bad writer»: Bunin and Dostoevsky