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Introduction

Now there is a withdrawal of literary criticism from, so-called, klassikotsentrizma, the writers conditionally carried to the second row get to sphere of attention of philologists, usually them call fiction writers, or representatives of "second row".

Studying «creativity of such artists of a word allows to make full representation about a literary picture of time as in the centre of their attention there were those events and the phenomena modern it of the validity which have not drawn attention of"classics", quite often escaped their sight. In the products"minor"writers aspired to give an"instant"picture of a live, constantly varying life, to embody fleeting lines of current life, whereas"great"writers... Often appeared are isolated from the epoch and even are opposed it. As a result "average" and "small" talents, operatively responding to topic of the day and zhivopisuja variety of persons, employment, ways, quite often groped, opened those thematic, problem layers which later have been ploughed"by classics» [1] for working out.

the In itself fiction responding (or aspiring to respond) on literary-public trends of time, tsennostno is non-uniform. In one cases it bears in herself the originality beginning (more in sphere ideologically-thematic, rather than actually-art) [2] . At the same time in a fiction genre dynamics is carried out with bolshej intensity. Responding to inquiries of a society, it or transforms existing genre matrixes, or, using splinters old, does attempts to create the new. One of such experiences appear long-term, others become the entertaining facts from literature history.

Thus, «judgement of creativity of authors« second row », revealing of their role in literary process in the ratio with searches and finds of recognised coryphaeuses of Russian literature allows to expand not simply a circle of names and the products which before were not considered ­ istorikoliteraturnoj by a science, but also to reconsider for a long time the settled, habitual estimations and reputations of writers of" large calibre », in a new fashion to look at a problem of literary hierarchy and - is wider - interteksta» [3] .

the Bright author of the second plan is Vsevolod Sergeevich Nightingales (1849-1903). By end Õ²Õ of a century he is a known writer, moreover, one of the most popular historical authors. At it the long-term operational experience, the left seven-languid collected works, a recognition of readers.

During lifetime and before revolution Vs. Nightingales was one of the most popular fiction writers. «Statistical researches show, that prose Vs. Soloveva on a boundary XIX - XX centuries it was very popular. After the publication in magazines historical novels left the separate editions, many were republished, repeatedly there were collected works. Critics wrote, that on historical novels Soloveva in libraries and reading rooms always there was a great demand among various layers of Russian society. Under reports of two Petersburg public libraries for 1889, products Soloveva take the tenth place. Among readers of these libraries: workers, the pupils serving. On additional research of reader's interests of adult working factories and factories, books Soloveva already on the fifth position» [4] .

After 1917 name Vs. Solovyova in connection with its monarchic sights [5] and affinity to Alexander's court yard III it has been withdrawn from history
the Russian literature.

The heritage of the writer during the Soviet period was not studied, books were not printed.

the Russian classical historical novel (the basic genre in which worked Vs. Nightingales) till now it is insufficiently studied, than and research interest to creativity Vs speaks. Solovyova, fruitfully working in it and other genres in second half XIX century and on a boundary of centuries. Are not less interesting to researchers and readers of composition Vs. Soloveva, devoted to disclosing of mystical and social problems.

Now problems of creative evolution of prose Vsevoloda Soloveva in a domestic science are not studied. However the approach to studying of creative evolution already has tradition in domestic literary criticism: a number of dissertational researches is created and

the monographies devoted to studying of the given problem at various authors [6] . On supervision of one of researchers: «Strangely enough, the category« creative evolution »with reference to the writer, the poet in the literature theory really is not developed........................................................................................ The Term« the creative

evolution "(" evolution creative ») we will search in vain in KLE,« the Dictionary literaturovedcheskih terms »(M, 1974), in« Literaturovedchesky

the encyclopaedic dictionary »(M, 1987), in the newest manuals« Introduction in literary criticism »under L edition. V.Chernets (2000) and« the literature Theory »Century E Xàëèçåâà (2000).... In 1920th years J.N.Tynyanov was engaged in the Problem of creative evolution. In its article
« Literary evolution »is a question of evolution of art systems, somewhat it can be considered and at studying of the individual

7

creativity of the writer ».

creative evolution in literary criticism is understood first of all as set of factors, «both subjective, and objective», defining specificity and an orientation of that creativity, or other writer. «Such factors... Quite obvious things are: in - the first, the talent nature, internal self-determination of the position and development; secondly, a literary situation, communication with a certain direction, a current, school, the relation to tradition, contacts, influences, pushing away in a word, communication with literary process; thirdly, factors of a nonliterary order» [7] [8] .

For the analysis of prose Vsevoloda Soloveva the most actual factors, in our opinion, are a problem not only creative evolution, but also genres, and also changes of ways of art processing of a historical material in its creativity, correlation to that, or other, religious, philosophical tradition, it "vpisannost" in classical, or a fictional number of the domestic literature.

In novels and stories the writer developed developed to the beginning of its creative activity genres (historical, philosophical, bytoopisatelnyj novel types, svjatochnyj the story, a literary legend) and promoted formation of the new genres which have not received before a wide circulation (the family chronicle). The complete and system judgement of all multiplane heritage of the prose writer worrying from the end of 1980th in Russia "rebirth", opens a way to fuller and objective analysis of moral-aesthetic values of prose of the specified period.

For studying of a theme we involve the definition of a genre formulated by M.M.Bakhtin accepted in literary criticism: « The literary genre by the most nature reflects the steadiest, "eternal" tendencies of development of the literature. In a genre never-dying elements arhaiki always remain. However, this arhaika remains in it only thanks to its constant updating, so to say, osovremenivaniju. The genre always and that and not that, always also is old and new simultaneously. The genre arises and is updated at each new stage of development of the literature and in each individual product of the given genre. In it a genre life. Therefore and arhaika, remaining in a genre, not dead, but eternally live, that is capable to be updated arhaika. The genre lives the present, but always remembers the past, the beginning. A genre - the representative of creative memory in the course of literary development. For this reason the genre also is capable to provide unity and a continuity of this development » [9] .

We divide this understanding of a genre as poetic category. On V.V. Kozhinov's supervision the genre represents historically developed type «literary works (the novel, a poem, a ballad)» in which «the lines peculiar more or less extensive group of products of any epoch are generalised, the given nation or the literature in general» [10] . The researcher considered factors, in the set forming a genre as an is art-aesthetic reality. Among them with it are allocated, first, «an accessory to this or that sort»; in - the second, «volume and corresponding structure of products»; thirdly, «division on kinds, proceeding from a number of diverse signs - the general character of subjects (the novel household, adventurous, historical, love etc.); properties of figurativeness, composition type» [11] .

So, according to V.V. Kozhinov, the genre interpreted as type of product, is historically steady, firm

the formation which is passing in centuries. Similar thoughts are stated J.V.Stennikom: «stabilisation of the experience received in a course

art knowledge, in the form of this or that formal fixedness of expression so constantly arising, as well as overcome, - such is the steadiest function of genres » [12] .

After M.M.Bakhtin we allocate is constructive-modelling function of a genre. N.L.Lejdermanom value of genre structure is defined as creation of figurative model of the world, and a genre by it historically developing type of steady structure of product is treated as «, organizujushchej all its components in the system generating a complete image of the world which be unique can the carrier of the certain aesthetic concept of the validity and the spokesman of art true» [13] .

Academician D.S.Lihachev wrote, that the literary genre is a historical category. «Literary genres appear only at a certain stage of development of art of a word and then vary constantly and replaced. Business not only that one genres come in the stead of another and any genre is not for the literature " âå÷íûì", - business also that the principles of allocation of separate genres vary, types and character of genres, their function during this or that epoch» [14] vary.

According to N.D.Tamarchenko: «the genre category is necessary not for classification so, unfortunately, believe many (otherwise its value in poetics would be insignificant), and for adequate understanding of sense of the literary phenomena. The product accessory to a certain genre specifies on traditional, historical steady
typical aspects of its sense. But such understanding of a category has for a variety of causes appeared unpopular» [15] .

N.D.Tamarchenko wrote: «preservation of that semantic basis which is embodied in constantly reproduced structural invariante a genre is combined in history of the literature with a constant variation of this structure and, thereby, sense updating» [16] .

Observing of development of genre processes in the lyric poet of first third XIX century, V.E.Vatsuro notices, that a genre, as a matter of fact, - «the active subject of the development, living the impulses going from within, put in pawn in the most genre structure» [17] . Thus, dynamics of a genre is a difficult (dialectic) process of its restoration (returnings to a base matrix, realisation of that M.M.Bakhtin named «memory of a genre») and Therefore literary critics usually speak occurrences of changes and new fig. about specificity of a genre of a certain epoch, for example, about an English sonnet of an epoch of the Renaissance, the Russian romantic story, Byzantian agiografii or Russian svjatochnom the story of XIX century

In literary criticism there are also opposite judgements. So, J.N.Tynyanov shows a guess that the genre is not a constant, «not motionless system. To imagine a genre static system it is impossible already because the consciousness of a genre results from collision with a traditional genre (i.e. Sensation of change - at least partial - a traditional genre« new », for going its place)» [18] .

So the challenge of mutual relations within the limits of a genre steady and changeable is formed. According to N.F.Kopystjansky, the modern science offers two decisions of the given question: «Discrepancy
is caused by that the genre is treated how steady, how changeable concept. Therefore, to remove this contradiction, some scientists consider a constant so insignificant, that it in general can to be taken into consideration, and others, on the contrary, refuse historical studying of genres» [19] .

the Researcher noticed, that the reason of the revealed contradictions is covered in specificity of concept "genre"; it was offered to allocate with it in it four vzaimoperesekajushchiesja and complementary "spheres": 1) «the Genre as concept abstract, general-theoretical, meaning set and interrelation of the basic, certain and proof genre signs developing in group of products throughout long time; 2) a genre as the historical concept limited in time and in« social space »; 3) a genre as national caused form and 4) a genre as individually characteristic form. The general-theoretical concept of a genre - sphere is a unique sphere where it is possible to speak about stability, a constancy, repeatability» [20] .

So, the genre is modified, but much more slowly, and at these changes base lines, without which poem - not a poem, and an epopee - not an epopee, and the novel - not the novel remain. Thus, the author, in effect, speaks about presence some kind of fundamental principles of a genre and its concrete private (historical, individual, national) embodiments as forms of existence of this base matrix in literary process.

Studying of creativity of the artist of a word in genre aspect can give rather full and integral representation about object of research. Consideration of genres and genre processes leads the scientist-philologist to consideration of fundamental issues of creativity of the writer, both especially art, and world outlook, spiritual. Here it is possible to carry
features of art thinking, specificity of an art method of the writer, its art picture of the world, uniqueness of a creative way, vicissitudes of life and the basic vital marks.

According to S.I.Krasovsky, the category of a genre «is among few universal literaturovedcheskih categories which allow in historical time and space to observe of development of literary process, to build, formulate and estimate literature history at a certain stage. On its basis construction of the theory and literature history, let alone revealing of mobile hierarchical structure of creativity of the separate writer is possible. In a genre category three interconnected aspects, as a rule, are allocated: a genre as steady system of structurally expressed differential signs (standard aspect); a genre as set of genetic lines which are inherited by texts of the subsequent epoch from previous, a genre as« the representative of creative memory »in bahtinskom understanding (­ genetikoevoljutsionnyj aspect); Genre as the installation stated or the meant arrangement, existing in consciousness of writers and the readers, allowing to perceive products under that or other corner of sight (konventsialnyj aspect) » [21] .

In our research we adhere bahtinskogo to understanding of a genre. As in prose Vs. Soloveva the novel was a leading genre (including its historical version), we will consider further specificity of this genre. It is considered to be the ancestor of theoretical studying of a novelistic genre G.Gegel. In Russia its literary-aesthetic ideas were developed in the creativity by V.G.Belinsky who has given to philosophical abstraction more concrete literary-aesthetic maintenance.

In second half XIX century A.N.Veselovsky, developing positions with reference to the novel, wrote: «the main interest is concentrated, as in the past
time, not on event, and on participation which accepted in it that, or other person, on their motives and promptings, on their internal struggle, in a word, on all that world of the person which has been opened by new progress of history» [22] . At the same time the person of the hero «assumes, first of all, consciousness, consciousness of the feature and contrast to other individuals, the separate role in the general cultural environment» [23] .

In modern scientific literary criticism the problem of a genre of the novel and its versions is one of the most actual. V.V. Kozhinov defines the novel as «the epic form in which the narration is concentrated to destiny of the separate person in the course of its formation and the development, developed in art time and space, sufficient for transfer« the organisations »persons. the novel represents the individual and public form as rather independent, not settling and not absorbing each other, and in it defining feature of its genre maintenance» [24] consists.

According to A.J.Esalnek, generalising supervision concerning the novel nature, made both Russian, and the European literary critics, were reduced to the following idea: the novel as a genre associates «with interest to the person and its consciousness, which differs from such majority of members of surrounding society, and consequently conceals in itself the internal latent or external appreciable disputed beginnings if to compare it with mood of a society as a whole» [25] .

In XX century teoretiko-literary studying of the novel has proceeded. Various aspects of poetics and typology of this genre have been developed in V.Zhirmunskogo, M.Kuznetsova, V.Kozhinov, A.Tchitcherin, V.Dneprova, G.Pospelov, E.Meletinskogo, M.Andreeva, D.Zatonskogo, N.Tamarchenko, M.Sokoljanskogo, V.Nedzvetskogo, A.Esalnek's works, etc.

A.J.Esalnek marks: «the Variety of approaches and the received results allows to notice something the general that cannot be avoided in reflexions about the novel. This general consists in belief about interrelation of the novel and the person, about dependence of structure of the novel on perception and understanding the artist of the hero as persons» [26] . Its basic typological quality which defines many other things consists in it.

Definition of specificity of the historical novel as genre is among questions at issue of history and the literature theory. In works 1930-h - 1960th of M.Serebrjanskogo, R.Messer, G.Lenoblja, S.Petrov, J.Andreeva devoted to studying of stages of development of the Soviet historical novel, the ideologically-thematic and aesthetic originality of products is considered.

On S.Petrov's supervision, the bibliography in 1960th «in the field of development of Russian historical novel Õ²Õ century totals very much a small amount of works, and 30th seldom beyond the historical novel» [27] . In monographic works of 1970-h-1980th S.M.Petrov, I.T.Izotov, A.I.Pautkina, G.V.Makarovskoj, L.P.Aleksandrovoj, I.P.Varfolomeyev, L.M.Chmyhova, etc. the historical novel of the Soviet period is investigated as independent genre structure (in particular, stages of formation of the theory of the historical novel are traced, are generalised and systematised zhanroobrazujushchie signs), and also separate aspects of poetics of the historical novel are studied, questions of its typology and classification are considered, tendencies of development of a genre come to light.

Experience of the domestic historical novel (including the historical novel of Russian abroad) in all riches of innovative searches is systematised and involved in sphere of istoriko-theoretical judgement in
the works which have appeared in 1990th of V.Yudin, N.ShChedrinoj, O.Oktjabrskoj, etc. the fund of the researches devoted to the historical novel, thanks to articles published in last decades in scientific collections and periodicals Has replenished: A.Pautkina, A.Filatovoj, A.Gulygi, Hotimsky, S.Kormilova, etc.

the Genre of the historical novel in particular as well as the novel genre in general, «in literary criticism causes the greatest number of different interpretations. The literature on the historical novel is extensive enough. However in the majority of researches including devoted to genre poetics, the problem invarianta is not put at all. Usually all questions dare on limited enough material, and the basic accent becomes on the analysis of art interpretation of the historical event taken as a principle of product, or an artistic image of the historical person who has served by a prototype of the main character. Thus, despite prevalence of a word-combination the historical novel in the scientific literature, as its term to consider the concept which is designated by it is impossible, as vaguely, there is no standard representation about genre structure of the historical novel, that is the definition has no accurate, fixed in the theory to the definition literature» [28] .

Presence and distribution of such judgements specifies not only in an urgency of theoretical working out of problems of a historical genre, but also that polemic about methods of knowledge of the past in a science and art gets the increasing sharpness in working out of theoretical problems, not last place among them is occupied with questions on a measure and character of fiction in genre differentiation of historical Romance philology. According to supervision of modern researchers, a doubtless objective sign of the historical novel is presence in it of images real
historical persons and the image of sign historical events, or daily occurrence, characteristic for the past epoch.

Special statement is demanded by a question on a past and present parity in the historical novel which «operates with two dejstvitelnostjami. The present reveals in the past, last« sprouts »in the present, thus author's vision plays a paramount role. It also serves as an original tuning fork in development of the genre maintenance forming the concept of product» [29] .

it is essential to definition of a genre of the historical novel, that the writer «understands the validity represented by it as become by history» [30] . A subject of the historical novel usually is the past understood «as the certain epoch which has come to the end in the development» [31] .

I.K.mountain in the monography about G.Senkevich's creativity allocates following signs of the historical novel: «First, the past which prescription is defined every time particularly can be object of the image in the historical novel only. Secondly, this past should reveal in its time conditionality, or, in other words, in its originality. Thirdly, the originality of the represented should be defined through its relation to the present not in sphere of reader's perception (as it happens, for example, at reading of former authors about their time), and in author's ideologically-creative aspect of differentiation past from the present. And, at last, differentiation not only in respect of concepts, but also in respect of distinction of emotions of the modern person with experiences of its ancestors» [32] .

As a basic genre dominant of the historical novel, after N.M.ShChedrinoj, we allocate «in it valid, with a support for the documents, the existence of persons fixed in history and the events represented in the novel, presence of a distance at time on purpose to take lessons for the present, a historicism as a philosophical basis of a genre, and also presence in product of historical colour, historical details» [33] .

the Special role in the historical novel is played by fiction. Art fiction is always caused by a subject and the creativity purposes, the ideological maintenance of a work of art. It is always clear, substantial, motivirovan and does not contradict the art truth. On V.E.Halizeva's supervision, fiction in the literature shows often imperceptible domyslivanie «historical sources, or vital prototypes Sphere of application of fiction - separate components of the form of product (coincidence of circumstances; unique-individual lines of characters and their behaviour, household details and their combinations), but not the general principles formoobrazovanija» [34] .

fiction finds Special specificity in products of historical character. According to V.I.Tjupy, «zapechatlenie in a literary work, or painting, the historical person is not simple reproduction, and creation of its analogue allocated with the semiotics importance and conceptual sense. If we deal with aesthetic activity, instead of with craft imitation of shape or the biography facts, under a name of the real historical figure. The human person invented by the author - valuable kazhimost (image) of its historical prototype is found out. The person of the hero appears substitutsiej (replacement) of a primary reality of the historical person -
a reality secondary, mentally created and emotional otrefleksirovannoj» [35] .

Remaining true histories as a whole, the writer can recede from the details which do not have historical importance. Fiction of that could and should be actually, pursues the art aim, differently "revives" live "voices" of an epoch. The writer cannot avoid the personal relation to comprehended events. Transition to the present is felt in most moduse past images, in a choice and processing of the facts, details, the historical concept of the artist which through a prism of social and moral experience of time estimates a recreated epoch.

the Attention to the past usually becomes more active in critical and rubezhnye the periods. As is known, since 1812, in Russia heightened interest to the past of Fatherland with which Russian historical science yet could not satisfy was observed. According to V.O.Kljuchevskogo, the historiography went independently, being guided by own academic reasons: « To make integral and distinct representation about all course of our historical life the more difficultly to the reader, that in our literature, short of manuals, hitherto there is no detailed program statement of events of the Russian history finished at least to half of the past century » [36] . To satisfy this cultural requirement for a certain measure the literature could. Writers addressed to past with a view of studying of laws of social development, extraction of timeless lessons and judgement of the present. To a historical genre addressed P.A.Melnikov-Pechersky, A.F.Pisemsky, etc.

In 70th of XIX century the historical genre worried a new strip of lifting. In connection with serfdom falling there is a revaluation of the past and
the present, between the past and modern known parallels are looked through. The big success and a recognition receive E.A.Saliasa's books de Turnemira, D.L.Mordovtseva, N.I.Kostomarov, G.P.Danilevsky.

The place in this number has occupied Vsevolod Sergeevich Nightingales. However the criticism tried not to notice its products or stated about them sharp judgements. For example, A.M.Skabichevsky in the review of Russian literary life of the end of XIX century gives to the novelist of all some lines, naming its representative of "the basten historical novel» [37] .

At the same time K.R.Petrov in article devoted Solovevu, telling about cooperation of the writer in "Field" where its many products were printed, confirmed: «the Loud success which has fallen to here lot Soloveva, undoubtedly, promoted popularity and strong position of magazine» [38] much. Happened, that the same critic stated opposite opinions about creativity Vsevoloda Soloveva. For example, K.D.Medvedsky in article «One of ours Walter Skottov» characterised creations Vs. Soloveva so: «all is equally colourless, languid, antihudozhestvenno and it is rather doubtful from the historical point of view» [39] . And in a year of death of the writer the critic, is closer by then got acquainted with it and its creativity, in the obituary with sympathy wrote: «Nightingales has fairly served the native literature» [40] .

In 1875 Vs. S.Solovev becomes the employee of well-known "Field" and does not leave it within 12 years. On pages of this most popular Russian magazine in 1876 there is its first historical novel «Knjazhna Ostrozhsky» the history of mutual relations of Orthodoxy and a Catholicism on Volhynia in XVI century became which theme is possible, interest to this problem has been predetermined by the Polish roots of the writer.

the Critic and readers have met product with huge interest. Then Vsevolod Nightingales has understood, that the historical novel - its calling. Next year the writer publishes the second historical novel «Young emperor» (about Peter II) and the ideological story about events of Russian-Turkish war «Russian crusaders». Gradually young writer found the increasing and big confidence of the forces. In 1878 novels «the Captain grenadierial roty», "Tsar-maiden" and "Delusion" have been written and published. In the early eighties products in which mystical problems were considered have been created also: collections «Svjatochnye stories» and «the Caucasian legends», and also historical both socially - psychological stories and sketches.

In 1880th its central product - «the Chronicle of four generations» is created. The author has finished pentalogiju about aristocratic family Gorbatovyh in short term, in a year under the novel: "Sergey Gorbatov" - 1881, "Volterjanets" - 1882, «the Old house» - 1883, "Exile" - 1884, «the Last Gorbatovy» - 1885 In these products the writer has recreated a life and customs of Russian nobility throughout 90 years: from Catherine the Great epoch before Alexander's reign III.

In 1888 together with P.P.Gnedichem Vs. Nightingales were based by an illustrated magazine the "North" conceived as popular, purely Russian edition, pursuing the patriotic, literary and art aims. Here the writer printed the reflexions about spiritism. In the same periodical it has been published also its mystical dilogija - novels "Magicians" (1888) and «Great Rozenkrejtser» (1889). In the same place there were «Imperial embassy» (1890), «the Groom of a tsarevna» (1891), stories and sketches - «Happy day», "He met his match" (east legend), «Adventures petimetra» (old byl),
autobiographical notes «From books of my life» and historical "jokes" - «Peter the Great in Paris», and also some poems [41] .

In 90th years Vs. Nightingales has written two products on topic of the day: the novel «Malicious whirlwinds» (1893), about emptiness ideological searches tolstovtsev both revolutionaries, and the neoterminated product «chasm Flowers» (1895­ 1896), about penetration into Russia nitssheanstva. The author could not finish it because its health has been definitively undermined. After 1896 the writer was engaged only in reprinting of former products.

S.A.Vasileva has opened doubtless affinity of heritage Vs. Soloveva to a fiction and a mass culture. Really, the novelist did not concern a cohort of outstanding writers, whose creativity became top of the Russian literature of end Õ²Õ century the Big role on formation of its reputation constant cooperation in "Field" has played. This magazine was positioned as the edition for the average, undemanding reader, many its platform - conscious discharge from struggle of various literary parties and groupings did not arrange, aspiration to keep an independent, independent position.

After S.A.Vasilevoj we carry it to the category of writers - of fiction writers. Products Vs. Soloveva have got popularity at the mass Russian reader both in HEH century, and on a boundary of millenia. In this connection we would like to recollect the statement of its contemporary: «we do not deny, that such reading raised historical curiosity from which it is not far to scientific interest to history. Cultural influence Vsevoloda Soloveva in this sense considerably» [42] .

So, critics and researchers marked as the leader intentsii in prose Vsevoloda Soloveva its installation more on satisfaction of informative interest to the past of Russia and the European countries, than on the permission timeless obshchegumanitarnyh and philosophical problems.

we will specially notice, that "informative" specificity solovevskih books and their demand at wide (if not to tell mass) the reader testifies to an accessory of its creations to the fiction which has actively developed in the Russian literature of XIX century, along with classics of the world value. During the further analysis of art features and a problematics of its novels we give reason for this position. At the same time it is necessary for us to consider representation about a fiction, developed in modern literary criticism.

According to A.M.Grachevoj, «the fiction is a full link of the Russian literature. It wisely scoops themes, ideas, artistic touches, both from high, and from parkway literature. But, in turn, itself becomes« the donor »for other literary striations» [43] . Till now accurately semantics of terms "fiction" and "fiction" is not established. Their exact differentiation will be, probably, «after complete studying and differentiation of considerable number of the art phenomena designated by them» [44] .

Usually dictionaries register three word meanings "fiction": 1) fiction (unlike documentary, scientific), 2) «easy reading» (unlike serious) [45] . The first value is neutral, the second has negative colouring - it is connected with complete differentiation of the literature, with distribution of books on levels, on numbers. According to A.N.Andreeva, classics and the paraliterature - «is two extreme poles. Between them - a spectrum from infinite variants, in different degree
guided on spiritual, or the spiritless beginning» [46] . In 90th HH century thanks to JU.M.Lotman, I.A.Gurvich, V.E.Halizeva, N.L.Vershininoj's efforts and other researchers have been undertaken the first attempts of the analysis of this phenomenon. In domestic literary criticism the concept of "literary numbers» as nadzhanrovyh and nadnapravlencheskih layers of art literature is fixed, each of which differs a complex of signs [47] . In «the literature Theory» V.E.Halizeva is not present the term "numbers", but there is a section «Literary hierarchies and reputations», including paragraphs «High literature», «the Literary classics», "Popular literature", "Fiction" [48] (it really hierarchy, reputations - something less steady and more subjective).

it is quite natural, after all the term "fiction" still completely was not included into a scientific turn and is used nowadays in different values: in a broad sense - fiction (we will notice, that nowadays it is possible to consider such value of this word obsolete), in narrower - narrative prose. At times «the fiction is considered as a popular literature link, and even identified with it» [49] . Nevertheless it is more lawful to consider it in quality of "middle space of the literature» [50] .

We, after A.M.Grachevoj, under a fiction understand art prose, «the focused on extensive enough, so-called, democratic audience that causes specificity of its ideological and aesthetic functions. The fiction occupies an intermediate link between the high literature (classics) and
the literature parkway» [51] . On I.A.Gurvich's supervision: «in the literature of the second plan overweight is received quite often by the historical, household, ethnographic painting limiting understanding of the person by its role existence and behaviour» while at the large artist «as a solving indicator serves chelovekovedchesky image potential» [52] .

it is necessary to notice specially, that in other displays novels about «affairs of bygone days» are beyond actually historical specificity, concerning timeless problems. So in Thomas Manna's novel «Joseph and his brothers is given to" household and welfare sphere of a life «so much place and attention, how many it is necessary to keep sensation of the validity of an event in the novel. The main thing for the writer - is spiritual human life, and its God-sends describes rather in detail, leaning and on own guesses, and on the data received from modern anthropology and history of a primitive society» [53] (it is allocated by me - E.N.).

the Fiction responding (or aspiring to respond) on literary-public trends of time, «tsennostno is non-uniform. In one cases it bears in herself the originality beginning (more in sphere ideologically-thematic, rather than actually-art). In others - it appears on advantage (and even completely) podrazhatelnoj» [54] . Quite naturally, that this layer of literature «evolves, progresses, and current production of two adjacent epoch can show a dissimilarity of subject forms, language designs. But the dissimilarity, besides, group, at level of the average writer, also opens in it not growth of the personal beginning, and universal perfection of the writing, the technics of the letter» [55] .

the fiction Devoted in the basic socially-psychological aspects has got popularity at a diverse reader's circle and became "nutrient medium" for formation of classics which, making a start from it, has overcome corresponding to "an average number» conceptual and poetic incompleteness. In the dissertation we differentiate a fiction and the popular literature. As last we understand after P.A.Nikolaevym, M.V.Stroganov we understand: « .tsennostnyj the "bottom" of literary hierarchy often rejected as the pseudo-literature. Quite often as the popular literature understand all works of art of any cultural-historical period or a literary direction which are considered as a background of topmost achievements of writers of the first row. In this sense the popular literature approaches with estimated concept epigonstvo. Products epigonskoj and the popular literature carry out in many respects similar - fixing, shablonizirujushchuju - function; they are distinguished by aesthetic secondariness, nevyjavlennost the individually-author's beginning. The popular literature poetics is strictly regulated, represents a warehouse of ready narrative blocks and obkatannyh style cliches. Possessing high degree of standardization, its zhanrovo-thematic versions are based upon strictly set subject schemes and consist of repeating motives, in slightly changed kind wandering of one product in another » [56] . On M.A.Litovskoj's supervision, the popular literature, «bordering on a fiction, directly influences development - including« high »- arts» [57] .

History of a question and degree of a level of scrutiny of a problem. In details the course of life and a creative heritage of the writer have been considered in articles
pre-revolutionary critics: P.Bykova [58] , A.Izmaylov [59] and N.Ljubavina [60] . Authors marked the basic marks of the biography of the writer, literary interests, have analysed some aspects of a problematics and poetics of its products. «The full collected works» Vsevoloda Soloveva in 42 microvolumes were issued in Petrograd in 1917 with P.Bykova and A.Izmaylov's comments. Since then up to recent time in Russia name Vsevoloda Soloveva was not mentioned. In domestic dictionaries, a reference media of former decades, excepting a small note in «the Short literary encyclopaedia» (M, 1962), the novelist will not mention at all.

On a boundary of 80-h-90th HH century of book Vs. Soloveva "have returned" to the Russian reader. Their reprinting usually was anticipated short (and frequently superficial) the forewords which authors used P.Bykova and A.Izmaylov's articles. In these publications of the leader intentsiej there was, first, a representation "unfairly forgotten" [61] the writer to modern admirers of the Russian classical literature and, in - the second, branch of a name of the prose writer from names and a heritage of its more well-known relatives [62] (the father, outstanding historian S.M.Soloveva, the brother, philosopher Vl. S.Soloveva, sisters, the poetess and children's writer P.S.Solovevoj and the nephew, the poet, the translator and seminary student S.M.soloveva, subsequently the Greco-catholic priest of island Sergija) [63] and of some less known namesakes.

the separate products which have Left in 1994-1996 of the novelist are anticipated by introductory sketches of the doctor of historical sciences
A.N.Saharova [64] , in which scientific as the historian (and partly as the literary critic), has considered some parties of subjects and a problematics solovevskih historical novels. More detailed character is carried by A.A.Revjakinoj's article about Vs. Soloveve [65] , placed in the second volume of the biographic and bibliographic directory «Russian writers of XIX century» (M, 1996.).

Art specificity solovevskih novels is partially shined in I.A.Gurvich's work «the Fiction in the Russian literature of XIX century» [66] . In 1999 at the Kolomna state pedagogical institute A.V.Leksinoj's master's thesis «historical prose Vsevoloda Soloveva is protected: the problematics and poetics» in which separate aspects of the biography and a creative way of the writer are presented, are considered related communications and cultural contacts, separate aspects of a problematics and to a lesser degree poetics of products are analysed.

In «the Big Encyclopedia of Russian people. Sacred Russia» (T. 4. «The Russian literature»), published in 2004 in Moscow in scientific research institute «History of Russian civilisation» almost literally produblirovana a note about Vsevolode Soloveve, published in 1962 in «the Short literary encyclopaedia». New materials in this edition it is not presented.

In 2008 we at the Moscow regional state university had been protected the master's thesis on a theme «Novels Vsevoloda Soloveva: the judgement of history, genre poetics» in which some aspects of a problematics and poetics of historical novels Vsevoloda Soloveva have been considered only, are partially mentioned questions of a source study of its prose. The art originality of its stories and stories, specificity and evolution of its socially-psychological prose an originality of perception it of mysticism, essence of the family chronicle as special type of novelistic prose in that research were not shined.

In 2008 in Dnepropetrovsk national university was on a speciality 10.01.02 - «ðîñ³éñüêà ë³òåðàòóðà» Vorovoj Tatyana Petrovny's master's thesis «Äèëîã³ÿ Vs is protected. Solovjova " Âîëõâû" that " Great ðîçåíêðåéöåð" at ñîö³îêóëüòóðíîìó êîíòåêñò³ epohi» in which the given products are treated from okkultno-magic positions, for their analysis treatises of third-rate mystics of XX century are involved, the spiritual biography of the writer thus is completely ignored, but external, its social party reveals. Characteristics of the writer by relatives and contemporaries, its publicism devoted to the analysis of parapsychological and mystical phenomena, and also very important for formation Vs are not considered. Solovyova as person and the writer the fact long okormlenija at sacred just John Kronshtadtskogo.

As a result the author of research comes to fallacies, that Vsevolod Nightingales was the adherent, the apologist and the distributor of occult doctrines and doctrines. We cannot agree with the given statements and consequently in the work in detail we open spiritual and creative evolution of the writer, we mark the orthodox outlook reflected as in mystical dilogii (novels "Magicians" and «Great Rozenkrejtsr»), and in its other products written on historical, socially-psychological and religious-mystical themes.

A.J.Sorochan's Tver literary critics [67] and S.A.Vasileva [68] in theses for a doctor's degree and monographies investigated the nature of art method Vs. Soloveva, moral, istoriosofskuju and a gender problematics.

Until recently the historical novel of second half XIX century in details was not studied in philology. A.J.Sorochan investigating
various forms reprezentatsii of history in art prose, besides other types of a historical fiction has allocated and, so-called, «kvaziistorichesky the novel», according to its concept, in it the place «occupies literary representation about history» [69] .

In products of such type it is a question «not so much of history, how many about its secondary embodiment - an embodiment in the literature... Substitution of history by the literature is made constantly» [70] . So, "kvaziistorichesky" the author uses the term for the characteristic of such prose in which the history leans against the literature, rather the reverse. The offered approach opens new possibilities for the analysis of historical products, for revealing in them of actually historical maintenance (the problem of a parity art and documentary is traditional for such genre, real historic facts and author's fiction, literary tendentiousness), for definition typical for a fiction "oliteraturennogo" perceptions as present, and the past, for consideration of a place and a role of so-called literary stamps in the general system of this or that prosaic text.

Creativity Vs. Soloveva the researcher carries to kvaziistoricheskomu to the novel; in the thesis for a doctor's degree it has given the general review of historical prose, however concrete aspects of separate texts of the writer interesting us have not been analysed.

S.A.Vasileva in dissertational research «Creativity Vs. Soloveva and popular literature problems» (2009), a number of articles and monographies «Publishing activity Vs. S.Soloveva» (2007) and «Fiction Vs. S.Soloveva» (2009) has considered various aspects of a heritage of the writer: its lessons «to tsars and the people», specificity of judgement of monarchic statehood, treatment of the person and acts
Russian and European monarchs, understanding of a freemasonry, rozenkrejtserstva and dekabrizma as erroneous phenomena of culture, an originality of interaction of the novelist with readers and its basic directions ­ zhurnalnoizdatelskoj activity.

problems of creative evolution of prose Vs However are now insufficiently deeply disassembled. Soloveva, parities of the fact and fiction, prototypes, influences on creativity Vs. Soloveva previous literary, philosophical and spiritual tradition, genre specificity and an art originality of novels, aksiologicheskie and moral aspects of its heritage.

the work Urgency is defined by that in it creativity of the writer is studied, the many-sided literary and which cultural heritage is of interest in itself, together with that through its creativity the phenomena and the processes occurring in the literature of the end of XIX century are comprehended, ways of transformation of a documentary material in art and daily occurrence displays in literature, ways reprezentatsii historic figures, formation and dynamics of genre forms are defined.

Scientific novelty of the dissertation is caused by that, first, in it the complete analysis of all prose of the investigated author in its creative evolution and genre variety for the first time is undertaken. Secondly, for the first time the originality of such genre of prose as the family chronicle is proved and its specificity in creativity Vs is analyzed. Soloveva, the originality of its historical, philosophical and socially-psychological novels, stories and svjatochnyh stories is opened. Thirdly, for the first time in a domestic science interaction Vs is analysed. Soloveva with a heritage of his father. Fourthly, for the first time complete evolution of a mystical theme in prose and publicism of the writer, passed a way about a worship for supernatural phenomena to their critical

dethronements in the spirit of svjatootecheskoj is presented theological tradition. Fifthly, the originality of religious-philosophical sights of the writer is opened.

art prose Vs became Object of studying. Solovyova 70 - the beginnings of 90th of XIX century in which the writer, using various art means, has reflected the understanding of the separate parties of historical process: the istoriko-ideological novel «Knjazhna Ostrozhsky» (1876), istoriko-psychological products «Young emperor» (1877) and «the Captain grenadierial roty» (1878), ­ istorikobytopisatelnye "Tsar-maiden" (1878), «the Kasimovsky bride» (1879), «the Groom of a tsarevna» (1891) and «Imperial embassy» (1890); based on a diverse historical material filosofsko-mystical dilogija: "Magicians" (1888) and «Great Rozenkrejtser» (1889), and also stories and to lead, first of all, collections «Svjatochnye stories"and"the Caucasian legends». We in detail consider the novel-pentalogiju «Kronika four generations», created in the middle and second half 80th XIX century consisting of following parts: « Sergey Gorbatov "," Volterjanets "," the Old house "," the Exile "," the Last Gorbatovy », and others ­ sotsialnopsihologicheskie products of the investigated author (novels« Delusion "," Malicious whirlwinds "," chasm Flowers »to lead« Board "," Russian crusaders »).

Out of sight of research there are poetry, memuaristika, sketches, publicism of the fiction writer both its literary-critical and philosophical articles, except materials in which judgement Vs is given. Solovevym mystical phenomena.

the dissertation Purpose consists according to creative evolution of prose Vs. Soloveva. The author of the dissertation does not apply for the exhaustive analysis of all aspects of poetics of novels and stories of the selected author, in work those phenomena of prose Vs are considered mainly. Soloveva which are most representative for a creative method of the writer and are reproduced throughout all creativity as key 31

the art means as much as possible adequate to author's perception of history and the present.

the Object in view causes the primary goals of research:

First to consider creative evolution of prose Vsevoloda Soloveva, including changes of its approaches to the past image, dynamics of genre forms of novels and stories from the first novel «Knjazhna Ostrozhsky» (1876) before the products created on boundary XIX-XX of centuries.

the V-second, to open genre essence of the novel-family of the chronicle (with attraction of a wide material of the Russian and world literature) and to analyse sources, genre specificity and a problemno-thematic originality of the novel-pentalogii «Chronicle of four generations».

Thirdly to study evolution of approaches to the history image in creativity Vs. Soloveva, in detail to consider a parity of its novels with S.M.Soloveva's historical compositions; to reveal a genre originality of prose Vs. Solovyova, including experience of creation of the istoriko-ideological novel («Knjazhna Ostrozhsky»), historico-philosophical (mystical dilogija) and the socially-philosophical novel («chasm Flowers»). To open a parity in creativity Vsevoloda Soloveva of classical and fictional tendencies, art and documentary has begun.

Fourthly, to investigate specificity istoriko-psychological («Young emperor», «Captain grenadierial roty») and ­ istorikobytoopisatelnogo («Groom of a tsarevna», «Kasimovsky bride», «Tsar - maiden») types of the novel and to analyse experience of the novelist in creation of the novelistic cycle conditionally called within the limits of the dissertation «teremnym a triptych» («the Groom of a tsarevna», «the Kasimovsky bride», "Tsar-maiden").

Fifthly to investigate a parity of historical products Vsevoloda Soloveva with Valterskottovsky type of the historical novel.

Sixthly to analyse genre specificity and ­ problemnotematicheskuju evolution of prose Vsevoloda Soloveva devoted

to judgement of mystical and socially-psychological aspects of life to open in this connection a religious-philosophical position of the author.

research Structure. The dissertation consists of the introduction, three heads and the conclusion. In introduction the theme urgency, its scientific novelty is proved, the purposes and research problems are defined. In chapter 1 the historical prose (novels and to lead) writer from the point of view of their creative evolution and genre specificity is analyzed. In the second - an originality of the novel-family of the chronicle in the world literature and experience Vsevoloda Solovyova in creation of products of this genre (the novel - pentalogija «the Chronicle of four generations»). In the third - the products of the writer devoted to the analysis of mystical phenomena.

In connection with the novel analysis «Chronicle of four generations» we specially notice, that the special place in solovevskoj to publicism was occupied with reflexions about nobility, its role and a place in society and culture system. The prose writer opened this theme from the different parties in the articles leaving in magazine "North" in 1889-1891 Considering outlook Vs. Soloveva, it is necessary to notice, that frequently its judgements reflected the general tendencies of outlook of conservative-minded Russian intelligency of those years.

Proceeding from diverse problems of the dissertation investigating the various parties of spiritual culture, as a methodological basis works, both scientific philologists, and philosophers and seminary students are involved. We lean on literaturovedcheskie M.M.Bakhtin, A.F.Losev, V.V. Proppa's researches, N.A.Berdjaeva, B.V.Vysheslavtsev's philosophical works, Vl. Soloveva, theological - sacred prepodobnomuchenitsy mothers Maria Kuzminoj-Karavaevoj (Skobtsovoj), a prelate of the Feofana-hermit, sacred John Paul II, work of modern scientists: M.G.Altshuller, A.N.Andreeva, F.B.Beshukovoj, S.A.Vasilevoj, N.L.Vershininoj, E.G.vodolazkina, A.V.Gulygi, A.M.Grachevoj, R.Grzhibkovoj, I.A.Gurvich, L.E.Ljapinoj, S.M.Ljapinoj, E.A.Majmina, Molchanovoj N.A, A.V.

Nazarovoj, A.J.Sorochana, V.I.Tjupy, Century E Xàëèçåâà, L.V.Chernets, S.V.Sheshunovoj, N.M.ShChedrinoj, A.J.Esalnek and others.

the Subject of scientific research makes difficult unity istoriosofskogo and genologicheskogo the aspects deepening representation about an aesthetic originality of products Vs. Soloveva.

In work the immanent analysis is combined with the contextual research of a material assuming revealing of communications of product with external it vnehudozhestvenno-vnetekstovymi by the facts (the biography of the writer, its outlook, participation of this or that cultural or spiritual tradition etc.). Studying of art creativity of the writer in unity of the above-stated approaches - a necessary condition of comprehension of the purposes and problems of heritage Vs. Soloveva which novelistic creativity is analyzed on a joint of teoretiko-literary and cultural urological approaches against philosophical, historical and spiritual searches of an epoch in relation to which the writer took of own position.

In the sights at historical process the novelist was close to views of the father, outstanding historian S.M.Soloveva which considered evoljutsionno-reformatory process more preferable, than revolutionary explosions and shocks, a role of the person and a Christian role in history (unlike L.N.Tolstoy) considered as the defining factor. Being the sincere monarchist (that appears from its some articles) and moderate right traditsionalistom, the prose writer in the majority of the products has considered a private life and political activity of Russian and European monarchs, since Ivan's epoch IV and Sigizmunda II to the first quarter of XIX century

creativity Vs. Nightingales has meaningly devoted to the permission of three problems:

1. Education of broad masses of readers for the purpose of their acquaintance with the little-known facts of Russian history;

2. The analysis of the separate phenomena modern to it a sociopolitical life of Russia;

3. Studying of genesis and development of the West European mysticism and its influence on a spiritual condition of a society with the subsequent judgement from positions of orthodox belief.

On supervision of historian A.N.Saharova, in products Vs. Nightingales are confirmed as though N.M.Karamzin's with thought that «Russian history, the destiny of its heroes is full of entertaining. In her there are such subject turns which will be not not invented by any novelist. It took plots from a life, and they got ostroprikljuchenchesky character» [71] .

Comprehensive investigation of creative evolution of one of known historical writers of second half XIX century Vs. Soloveva continues to remain for today the important problem. Despite an abundance of reprintings of products and presence of some the publications devoted to creativity of the writer, it requires in deep, thorough ­ istorikoliteraturnom and theoretical studying, and also research within the limits of comparative-historical and rather-typological approaches a wide context of Russian and European spiritual culture.

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A source: Nikolsky Evgenie Vladimirovich. Prose Vsevoloda Soloveva: problems of creative evolution. The dissertation on competition of a scientific degree of the Doctor of Philology. Tver - 2014. 2014

More on topic Introduction:

  1. in introduction
  2. INTRODUCTION
  3. INTRODUCTION
  4. 10.1. Introduction
  5. INTRODUCTION
  6. approbation and introduction of results.
  7. Introduction
  8. Introduction
  9. INTRODUCTION
  10. INTRODUCTION
  11. Introduction
  12. Introduction
  13. INTRODUCTION