<<
>>

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»

Bakhtin has made definition of the polyphonic novel of Dostoevsky as «essentially new novelistic genre», in which: «the Word of the hero about and about the world as polnoyovesno, as a usual author's word; it is not subordinated to an objective image of the hero as one of its characteristics, but also does not serve as a megaphone of an author's voice.

To it belongs isyokljuchitelnaja independence in product structure, it sounds as though near to an author's word and is in a special way combined with it and with high-grade voices of other heroes» [311]. According to Bakhtin, Dostoevsky for the first time has come nearer to understanding of the basic structural feature of the novel of Dostoevsky Vyacheslav Ivanov in work «and the novel-tragedy», Dostoevsky's defined realism as based not on knowledge (objective), and on "penetration" [312].

311

To confirm another's "I" not as object and as other subject - is that, on Vjach. To Ivanov, a principle of outlook of Dostoevsky. From here the novel maintenance is katastroyofa (tragedy) otedinennogo consciousnesses. The statement (and not the statement) the stranger "I" geyoroem - a theme of products of Dostoevsky. More deeply the basic feature tvorcheyostva Dostoevsky Would understand. M.Engelgardt, having stated the understanding in work «Dostoevsky's Ideoloyogichesky novel». Engelgardt names the novel "ideological", pisateyolja «istoriografom ideas», writes, that Dostoevsky created not novels «with idea, not fiyolosofskie novels in taste XVIII centuries, but novels about idea» [313].

V.Komarovich has specified for the first time in the polyphonic nature of genre unity of the novel of Dostoevsky, having assimilated to its polyphonic piece of music, taking for a basis a fugue genre. Dostoevsky's novel, he writes, «can be assimilated hudoyozhestvennomu whole in polyphonic music: five voices of the fugue, consistently entering and developing in kontrapunkticheskom accord, remind“ golosoveyodenie ”Dostoevsky's novel» [314].

V.Shklovsky has expanded understanding dialogizma Dostoevsky's novel, rasprostrayoniv dialogicheski opposed (kontrapunkticheskie) relations and on sjuzhetyonye constructions: «Not only heroes , separate elements of subject expansion as though are in the mutual contradiction» [315].

In L.P.Grossman's work "Dostoevsky-artist" the section «composition Laws» where Grossman has underlined musical character of a composition of the novel of Dostoevsky referring to most pisateyolja became the important stage of judgement of polyphonic poetics: «Dostoevsky specified in such composite course and has spent once analoyo
giju between the constructive system and the musical theory of "transitions" or oppositions. He wrote at that time the story from three heads, various on soderzhayoniju, but internally uniform. the story is under construction on bases art kontrayopunkta. It is the different voices singing variously on one theme. “all in a life kontrapunkt, i.e. Contrast”, - one of ljubimejyoshih spoke in "Notes" Dostoevsky's composers - Glinka »316.

In the polyphonic novel, on Bakhtin, a position of the story-teller essentially other, rather than in the novel monologic: «That position from which the story is conducted, is under construction izoyobrazhenie or notification is given, should be in a new fashion focused on otnosheyoniju to this new world - to the world of full subjects, instead of objects» 317.

«Not the set of characters and destinies in the uniform objective world in the light of uniform avyotorskogo consciousnesses is developed in its products, but plurality of consciousnesses equal in rights is combined with their worlds here, keeping the neslijannost, in unity of some event» 318. Among the newest works attracts attention G.S.Prokhorov's article. Its author makes fruitful attempt of judgement of a principle of polyphonic dialogue on a material not purely art, but Dostoevsky's hudozheyostvenno-publicistic product. He speaks about «difficult diayologicheskoj, dvuhgolosoj to system in which at will of the author-creator in one word and the offer two are combined differing among themselves, but thus vzai - modopolnitelnyh visions - the Publicist and the Writer» 319.

The same independence of voices of heroes, their semantic equality with a voice avyotora about which Bakhtin speaks, we observe in creativity of the Jew. Before we priyostupim to detailed consideration of poetics of the novel of the Jew «La Porte Etroite» «the Close gate» (1909), will short stop on its other product, that on a new floor-mat -

316

342.

Grossman L.P.Dostoevsky — the artist//Dostoevsky's Creativity. M, 1959. With. 341
317

318

319

Bakhtin M.M.Problemy Dostoevsky's of poetics. 3 izd. M, 1972. With. 9.

Bakhtin M.M.Problemy Dostoevsky's of poetics. 3 izd. M, 1972. With. 7.

Prokhorov G. S. About it is composite-arhitektonicheskom the device of "predictions" in

«A diary of the writer» F. M.Dostoevsky//the Bulletin of the Tver state university. A series: "Philology". 2013. № 1. With. 282.

Rial - a material of the French literature to check up ideas Komarovicha and Grossman about likening of literary polyphonic product to product muzykalnoyogo a polyphonic genre. This product on volume is much less than novel «Close gate», therefore, on the one hand, the polyphonic structure is found out more visually. And, on the other hand, polyphony of voices-positions acts in it with more evident evidence thanks to likening of structure literary proyoizvedenija to structure of a musical polyphonic genre of the symphony. We have in viyodu the story of the Jew «La Symphonie Pastorale» «the Pastoral symphony» (1919).

At once we will notice, that «the Pastoral symphony» is published for 10 years later royomana «the Close gate». Probably, ten years' experience of reflexions and structure, upodobyolennaja to structure of the musical symphony, have helped the Jew to create small proizvedeyonie, named the story which actually has structural signs of a genre poyolifonicheskogo the novel. « The pastoral symphony »- one of the famous in France of products Andre of the Jew. There is no genre definition of the author, but critics name« the Pastoral symphony »the story [316]. Recognising proizyovedenie good luck of the Jew from the point of view of disclosing of the author's idea, some of them consider the story not too successful from the point of view of the form. Mark as though nothing defensible accelerations and delays of rate of a narration. Themes, iznayochalno minor, to the narration middle leave on the foreground. SjuYOzhet differs numerous returns to already described events [317]. In our opinion, all strangenesses noted by criticism and art features of" the Pastoral symphony »receive an exhaustive explanation after studying of its poetics from the point of view of polyphony.

Let's compare composite structure «Pastoral symphony» with strukyoturoj a musical genre of the symphony. Its first part consists of six heads. Chapter 1 has introductory character, explaining intention of the Pastor henceforth
To keep a diary. It is composite it corresponds to the introduction into structure muzyyokalnoj to the symphony. Action of following five heads develops in the fast rate corresponding to musical rate allegro. Sonatnoe allegro traditionally is located in the first part of the musical symphony. The narrative analogue of musical structure is that, that here, as well as in the musical symphony, we viyodim an exposition - a statement and development of the cores by that in literary proyoizvedenii means acquaintance of the reader almost with all heroes. There is also an action outset - the decision of the Pastor to incur care of the blind orphan, zhivyoshej almost without communication with an external world. There is theme Gertrudy and a theme of the Pastor - narrative analogues of the main and collateral party of the symphony.

There and then there is also a binding party - party of the nature, the elements, that background on which the narration develops. Traditionally in the first part of the symphony three main voices are presented the listener: two cores and one vtorostepenyonyj, as though binding two main voice: «the Logic of symphonic development in the basis is subordinated to a triad» [318]. The Same logic of development of action is observed in «the Pastoral symphony» Jew, but in language of literary criticism it be called as following to a principle of triple polyphony. Already in the first part "povesyoti" signs of the polyphonic novel are visible. The nature symbolises voice BoYOga, Gertruda - a voice of the person, a position of the Pastor justifying the passionate feeling to the blind girl, personifies a voice of the opponent of the God.

The following three heads narrating about awakening hidden sposobnoyostej of the girl, it is possible to perceive as narrative analogue razrayobotki sonatnogo allegro. As well as in a symphony genre, they include vstupiyotelnyj section - visit of the doctor of the Open-hearth furnace, telling to the Pastor about methods of training blind. Then there is a basic section - the description of slow and difficult development of abilities Gertrudy. The transitive section in which unexpected break in abilities of the girl is described Further follows. This section podgoyo
tavlivaet narrative analogue of a symphonic reprise: to push development of unusual abilities of the girl, the Pastor carries it on a concert.

Further the reprise which narrative conformity at the Jew is visiting of a concert by the Pastor and Gertrudoj follows. In a symphonic reprise the collateral musical part becomes main. For product of the Jew it means, that narrative analogue of collateral party, or nature "voice", becomes the main thing for Gertrudy, for the first time heard classical music. Henceforth the nature is that ideal to which it compares everything that hears and on what reflects. The "voice" of the nature sounding in the musical symphony, stanoyovitsja for the blind girl a voice of the God. Its moral position (a voice cheloveyoka) is combined with a voice of the God. This merge concludes its result spiritual poisyoka, the answer to inquiries of her soul, expressed is composite. Its image is formed on the basis of idea of a meeting fine with beauty - ethics with an aesthetics, so blizyokoj to an image of prince Myshkin which lips Dostoevsky has expressed idea spasiyotelnosti forces of spiritual beauty: «the World will be rescued by beauty».

Six chapters of the second part «Pastoral symphony» of the Jew differ medyolennym a narration course that corresponds to musical rate of an adagio. The maintenance of heads are long walks and conversations of the Pastor with the girl and its employment by music. The priest realises the passionate feelings to Gertrude, but carefully hides them under a piety mask.

Seven chapters of the third part which describe the events which have occurred pochyoti year later after events of the first and second parts, are povestvovatelyonym analogue of a scherzo. In first three chapters of the third part development of feelings of heroes occurs in fast rate. The basic author's reception here - kontrapunktiyocheskoe opposition in the field of personal qualities, appearance and characters of characters. Bright contrast spiritual both physical beauty GerYOtrudy and scarcity of a spiritual life of daughters and the wife of the Pastor represent, limitation and wretchedness of their feelings. Last four chapters of the third part on precipitancy of development of action sootnosimy with the symphony ending.

In these heads of event develop in all accruing rate - a crescendo: the appeared hope of sight returning, departure Gertrudy to Lausanne on opeyoratsiju, sight restoration, returning in village, a celebratory dinner, neyoozhidannoe suicide Gertrudy, outwardly nothing provoked. All it is described extremely avariciously, without details and details, as the main thing in the ending - not an outer side of events. By analogy to laws of construction of the musical symphony through final chapters of a literary work there pass all themes mentioned in the story, and each of them finds the permission in posledyonem conversation Gertrudy with the Pastor.

As Bakhtin writes: «polifonicheskijroman all entirely dialogichen. Between all elements of novelistic structure exist dialogical otnoshe - nija» [319]. In product of the Jew, like Dostoevsky's polyphonic novel, besides heroes in dialogical relations there are structure elements tekyosta. If in the musical symphony the first and second parts (sonatnoe allegro are opposed and adagios) on rate, that, accordingly, in «Pastoral simyofonii» the Jew the first and second parts too are opposed on rate of development of action. Parties of various voices of the symphony are opposed, as well goyolosa-positions of heroes of a narration of the Jew are opposed in their dialogues and internal monologue. Thus, the composition to lead the Jew in all it chasyotjah is similar to structure of a piece of music of a genre of the symphony.

Such "coincidence" actually is a consequence unique avtoryoskogo of reception of likening of zhanrovo-composite system of a literary work to structure of a musical genre of the symphony. And this uniqueness polyonostju removes all bewilderment of the critics, stated in relation to the form «Pastoral symphony» Andre the Jew. We believe, that zhanrovo-composite features to lead «Pastoral symphony» testify about prinadlezhnoyosti the given product to a genre of the polyphonic novel.

323

Our supervision over composite structure «Pastoral simfoyonii» the Jew confirm thought Komarovicha on likening of the polyphonic novel to a polyphonic piece of music. These supervision also confirm Grossman's idea that at the heart of a composition of the novel Dostoevyosky the principle of two or several meeting stories can lay, koyotorye contrastly supplement each other and are connected by a polyphony principle. In «the Pastoral symphony» it, conditionally, two stories - about the Pastor and Gertrude. In other words, on a material of supervision over poetics to "lead" the Jew «PasYOtoralnaja the symphony» we come to conclusion, that at the heart of this literary work the structure of a polyphonic piece of music of a genre of the symphony, connected with a principle of triple polyphony lays. A principle hu -

324 dozhestvennogo kontrapunkta «the different voices singing variously on one theme»,

Described by Grossman on a material of products of Dostoevsky, it is used by the Jew. And the method of Dostoevsky described by Grossman of "a meeting of two or three stories» corresponds to a musical principle of the symphony, as: «a symphony Basis was tryohchastnyj a cycle of the Neapolitan type» [320 [321].

Bakhtin speaks about historical and cultural and historico-literary soil on which basis arises much and the polyphonic principle of poetics of the novel Dosyotoevsky develops, more often referring to antique genres sokraticheskogo dialogue and Menippo - howl satires. But that national basis from which there are antique genres, to it only nayozvana, but is not analyzed. The principle of triple polyphony of Ivanov meets this lack, restoring a missing link of the chain invisibly connecting creativity of Dostoevsky with creativity of the Jew through the phenomenon of a national rumour. Ivanov finds out and in detail describes polyphony sources in a national rumour: «At Dostoevsky the rumour becomes soil (potentiality) of polyphony. Already in the first novel it is possible to observe vozyodejstvie a rumour on epistolary style of messages Makara Devushkina and Cook Good -
syolovoj. Their correspondence substantially leans against rumours, hearings, daily molv the Petersburg streets, court yard and apartments »[322].

Rather considerable part of the novel of the Jew «Close Gate» is made by correspondence of protagonists - young men, ZHeroma Palise and Alisy Bjukolen. Comparing poyoetiku an epistolary genre of the Jew with the novel «Poor people» of Dostoevsky, it is possible viyodet, that in correspondence Makara Devushkina and Cook Dobroselovoj discussion prochitanyonyh books takes not such important place as the rumour renders on their themes pereyopiski considerably bolshee influence though conversations about the literature also are present. To a rumour of the Petersburg drawing rooms and streets of the novel of Dostoevsky there corresponds "rumour" of "voices" of authors read by heroes of the Jew of books. With specification, that "rumour" at the Jew develops that part of a rumour of Dostoevsky which is connected with retelling Devushkinym of manuscripts of neighbour Ratazjaeva and read by it and Varenkoj books. In other words, obsuzhyodenie books as one of sources of a rumour at Dostoevsky at the Jew will be transformed in glavyonyj a source of the third voice-position (a voice-position of the God).

Correspondence ZHeroma and Alisy is as though discharged of the world of daily occurrence and tshchayotelno is preserved by authors against intrusion of gossips and a rumour. Moreover, at contact with notorious public opinion heroes feel every time smjayotenie, a fright, and their relations, and without that uneasy, for a long time go wrong. OlitsetvoYOreniem opinions of crowd in the novel there is aunt Plante. "Voice-position" (Bakhtin) Plante corresponds to a role of "the registrar of a rumour» (Ivanov) [323] Havre societies. Its "voice" which has incorporated all "voices" of a rumour, becomes the third voice trialoga of which intrusion into their dialogue two young ljuyodej in every way try to get rid: «There is no, nevertheless a main thing, than we were weighed, so it is the silliest role of the groom imposed to us and brides, that narochitostju from which all associates hurried up to leave and leave us alone» [324].

"Voice-position" of aunt Plante is unacceptable for heroes because of it nazojyolivoj oformlennosti. But in the novel «Close gate» there is another, comprehensible for ZHeYOroma and Alisy the form of this voice. It willingly joins them in dialogue - this voice ozyovuchivaetsja in their correspondence. Its soil are those impressions of the read books which they exchange, polemizing with each other and with authors of books. In rezultayote the dialogical form of the epistolary novel turns to the polyphonic. VozniYOkaet trialog in which voices of authors of the books read by heroes merge in the third voice, equal in rights with voices of heroes, becoming their spokesmen unexpressed prjayomo each other hopes as the direct reference or asking seems delikatyonym loving immodest or impossible. N.V. CHernova, investigating an image of the heroine with the book as the through motive in Dostoevsky's creativity, underlines importance sovmestyonyh readings of heroes of Dostoevsky, defining them as "extremely significant" [325].

Heroes of the Jew read books together, being in separation, they re-read them, obyorashchaja attention to marks each other. Discussing read, they sound the positions. Position ZHeroma consists that it can be happy only with Alisoj. Position Alisy which has arisen under the influence of sermons of pastor Vote and dissolute poyovedenija of her mother, fluctuates between the consent with position ZHeroma and representation about home life as inevitably sinful. After all mother Alisy accepted the ljubovniyokov on eyes of its small children. Next day after runaway of mother Alisy from the house with the lover pastor Vote has used during the sermon the evangelical citation «podvizajtes to enter through a close gate», sunk down in soul Alisy which has decided, that the happiness for it is possible only in afterlife. The novel name «Close vrayota» reflects idea of is false understood sanctity, idea of the spiritual search directed on a false way. This idea is discussed in dialogues of protagonists, in them «voices - positions».

A.A.Karpov writes, that «concrete forms of an existing of motive“ book sozyonanija ”are rather various. Its structure develops of three basic elements entering difficult relations among themselves: the character-literature-external world» [326]. In one of letters Alisa quotes a quatrain of Racine from presented ZHeroYOmom books, and these are the same verses which are written on the Christmas card very long time ago also presented ZHeromom and it is careful hranimoj:

Impulse, me attracting to the God,

Most poorly terrestrial passions.

Those are doomed who help

In a hardship search at people [327].

Book consciousness Alisy is that, that she tries to support the position verses of Racine, which maintenance («an impulse to the God above terrestrial passions») is not connected at all with its representation about indispensable sinfulness of home life. Consciousness Alisy makes that in philosophy is called as gamble with the text. GoYOlos Racine which corresponds to a voice-position of the God, Alisa interprets in protiyovopolozhnom sense - as a voice-position of the opponent of the Lord of the God. It istolkovayonie is perverted by sense of verses of Racine, adjusting under the result of its understanding of virtue necessary to it.

Such interpretation is data attempt trialoga to dialogue, and dialogue, in turn, to a monologue as another's position at all does not suit the heroine. Because of aspiration Alisy to refuse participation in trialoge and dialogue the poetics royomana «the Close gate» becomes complicated. That part of soul of the heroine which follows "instructions" of the opponent of the Lord of the God, consistently reduces dialogue with ZHeromom. At first deyovushka refuses meetings with the young man, then stops correspondence, further it disappears from ZHeroma in lonely board. There all thoughts Alisa trusts a diary on which pages continues to strengthen the monologic position. Its monologic position is contradicted by a voice of other part of her soul (strata, on the Jew)
- Voice of the God. Attempt Alisy to refuse dialogue only changes the dialogue form. Instead of the external there is the internal dialogue reflected in pages of a diary: «I starayojus to operate reasonably, but during the moment of fulfilment of an act all reasonable dovoyody which induced me to action, suddenly disappear, or seem me mad - I any more do not trust them... What for arguments force me to avoid it? I it any more veyorju... And, however I continue to avoid it is with grief in a shower and not in forces to understand, poyochemu so I arrive. My God! And if ZHeromu and me to go to You together, helping each other? But is not present! The road which you, My God, bequeathed us, is narrow - so is narrow, that dvoyoim not to pass on it side by side» [328].

Arguments which force Alisu to avoid ZHeroma, are prompted by "opponent", they strengthen in her soul the arrogance connected with representations about sanctity, ostensibly neyosovmestimoj with a marriage: «But, alas, virtue sees to me only as soprotivleyonie love. And unless I for virtue will dare to accept the most natural ustremleyonie my heart!» [329]. But, on Montaigne: «the finest movements of our soul are the least intense and its most natural movements» [330]. Behind words Alisy about virtue with which the natural aspiration of its heart is incompatible, again ugadyyovaetsja a voice of the opponent of the Lord of the God. It makes the increasing impact on its position up to a condition which will appear incompatible with a life. Alisa will die in vozrasyote thirty one years. Her sister Zhjuletta will write ZHeromu, that Alisa «died away in teyochenie several months, not suffering from any certain illness» [331].

However the love voice nevertheless breaks through the reasonings connected with chteniyoem of philosophical products. In one of last letters ZHeromu Alisa piyoshet: «that we corresponded, that were together, we have settled all most chisyotoe, that was available in pleasure which our love could give us. And I involuntarily voskliyotsaju after Orsino from“ the Twelfth night ":" enough! Will suffice! Here there is no still recently former pleasure ”more. Farewell, my friend» [332].

332

333

334

N.JA.

335

Before death Alisa wishes to burn the diary - last attempt to get rid of dialogue, even the internal. But after fluctuations it bequeaths to send diary ZHeYOromu. Thereby the dialogical principle including a voice - a position of the God as the God granted to the person a free will, and dialogue ZHeroma with Alisoj is restored has proceeded behind a side of a life of the heroine. The novel comes to the end with phrase ZHjuletty, formalyono turned to ZHeromu as two of them are in a room of dead Alisy. Actually words of sister of the late heroine are turned to all world of people, including, to its died sister: «Well-with, it is time to wake up.» These words express a position of the God as position Alisy admits erroneous them as a position of the person, poyogruzhyonnogo in a spiritual dream. The fact of early death of the heroine reflects a position otvergnuyotogo Alisoj voices of the God: the false ideal results the heroine on a way of spiritual search to deadlock. Here we see the same subject outcome which we observe at Dostoevsky in a number of its novels. If hero Dostoevsky is not capable to hear a voice of the God (not sposoyoben to spiritual awakening) its destiny comes to the end tragically: «nahozhyodenie the third“ voices ”(Dissenters) the tragic element of life, and nenahozhdenie privoyodit to death (Nastasja Filippovna removes, Nikolay Stavrogin) or sincere illnesses (Ivan Karamazov)» [333]. As we see, the destiny of the heroine of the novel «Close gate» has something in common with destinies of heroes of Dostoevsky, and creative experience of the Jew - with creative experience Dostoyoevsky.

In 4th lecture read in the Old Dovecot by century from the date of a birth Dosyotoevsky, the Jew actually addresses to a polyphony problem in products Dosyotoevsky. It begins this lecture with a reasoning on a duality and discrepancy of characters of many heroes of Dostoevsky, two "I" speak about presence in a shower of some of them: «And if these characters were shown serially, all would go well, but we have seen, that they can simultaneously prove. We open in each of them, and especially in female characters, an uneasy presentiment of the nepostojanst - va» [334]. In image Alisy the Jew just represents this inconstancy. Even more brightly vyyorazhennuju it will give line of inconstancy to character of the main heroine to lead «Izabelle» "Izabel" (1912).

336

337

In 5th lecture the Jew develops idea mnogoslojnosti persons of characters Dostoyoevsky, connected with psychological soil of polyphony, marking a close connection of three souls mentioned above layers-striations: «These three layers are not divided, they at all have no accurate borders. Between them there is a constant interosculation» [335]. It otyomechaet, that top, an intellectual level of soul of character Dostoevsky sometimes konyotaktiruet with deep area. This bottom, deeply latent area lichnoyosti, he entirely devotes the next lecture: « This deep area - completely not sincere hell; on the contrary, it is heavens. According to Dostoevsky, the hell is top area, intelligence area. Through all books if only we read them an attentive sight, we will ascertain let not regular, but almost involuntary obesyotsenivanie reason: evangelical depreciation of reason. For it the reason is just that that is opposed to kingdom Bozhiju is individualised, eternal zhizyoni, to that pleasure out of time which is reached only by refusal of the individuyoalnosti, for the sake of immersing in sensation of an infinite generality »[336].

Spiritual experience of Christian monks-isihastov understands reason as mind, sveyodyonnyj in heart. S.S.Averintsev writes: «the Christianity has developed the most detailed and most complicated physiology of a pray isihasty perceive the God breath and heart; they“ reduce mind ”in a breast and heart» [337]. This "warm" tradition is displayed by Dostoevsky in the creativity as its art of a word arises on the basis of whole smother, instead of on the basis of its separate parts. But spiritually whole it is done by""heart", that is love and compassion. As writes V.V. Vejdle:« In art there is not only reason, but also a soul; whole in it inexplicably precedes parts; isyokusstvo there is a live integrity Only from love art »342 is born.

338

339

340

341

The idea of data of mind in heart was close to the French thinkers, first of all, Blezu Paskalju to which philosophy showed interest and Dostoevsky, and the Jew. In svoyoih "Thoughts" Paskal exclaims: «the knowledge of the God is However far from love to It!» [338], and further addresses to a question of comprehension of the God: «Here that there is a belief - the God learnt by heart, instead of reason» [339]. Paskal considered, that the main property of heart - intuitive knowledge which surpasses knowledge rational. Therefore «only those to whom the God has given knowledge of through heart, are blissful and truly convinced of Its life» [340]. However poyoznavshie the God heart are not extremely numerous, therefore the philosopher has developed the whole system of belief of the person, named it «acceptance art», that is art to accept heart knowledge of the God.

As a matter of fact, the system of rationalist Paskalja pursues the same aim, as an expert isihastov, that is mind data in heart. But method Paskalja is based not on spiritual practice, and on rationalism philosophy. One of its main ideas is that, that correctly and logically organised thought reaches heart of the person and orgayonichno is easier, is naturally perceived by it. The Way of a correct arrangement of a material for its perception other person Paskal names ability «to hit the mark a ball». It compares writers to players in a ball. A ball in game for all the general, that is different authors can try to inform to the reader the same idea. However «vyigrayoet the one who is better than others hits the mark a ball» [341], that is presents idea most successfully. Paskal specifies in leading value of a composition of product; the one who preyouspeet in composite construction, in the best way will inform the idea to chitayotelja. The Jew has well remembered these words of the great philosopher, and the most successful prakti -

342

Vejdle V.V. Umiranie of art//Consciousness of the European culture of XX century M,

1991. WITH. 276-277.

cheskim the novel «Close Gate» of which composition it will be a question in section 2.3 became an embodiment of its management, in our opinion.

In the French language of concept "reason" and "thinking" are designated by one sloyovom «raison». Therefore when the Jew speaks about reason, in Dostoevsky's understanding protivoyopostavlennom to kingdom Bozhiju it is necessary to understand so that is a question of reason, otorvanyonom from the warm sphere, separated from feeling of love and compassion. In Russian such reason is called as thinking is so-called «head mind». It is that «not the main mind» about which speaks Aglaja to prince Myshkin, putting much more above it, Myshkin, «the main mind».

Similar expression is used by the Jew, putting it in lips Alisy, accusing ZHeroma in «head love». However «head love» as an illness, it is amazed itself Alisa. ZHerom, describes the feeling to it as display of all whole the duyoshi: «If I love you in every way the soul as, tell to me, I will distinguish, what goes from mind, and what from heart?» [347]. In Dostoevsky's novel "Idiot" concerning harmony of reason and heart mother of maidens Epanchinyh Lizaveta prokofevna expresses: «Not usyomehajsja, Aglaja, I do not contradict myself: the silly woman with heart and without mind same unfortunate, as well as the silly woman with mind without heart» [348]. Lizaveta prokofevna sees harmony of mind and heart in duyoshe Myshkin and marks harmony infringement in a shower of daughter Aglai, «silly women with mind without heart». Simultaneously «the silly woman with heart without mind» naming itself.

The Jew in image Alisy reproduces type of the heroine «mind without heart», and in image ZHjuletty - type «hearts without mind», coinciding with image Nastasi Filippovny. If Alisa does not dare to marry for favourite and, tries to give out for it ZHjulettu that arrives in accuracy the same as Nastasja Filippovna. The unexpected culmination konkyolava in the novel "Idiot" leaving Lambskin with Rogozhinym becomes which, sootvetstyovuet the culmination konklava in the novel «Close gate» unexpected announcement ZHjuletty of the decision to marry the elderly person not their circle begins which.

In already mentioned 5th lecture the Jew also pays attention of listeners on razyoryv with a reality, expressed in subjective sensation of disappearance of time (on our understanding, this sensation of eternity), peculiar Dostoevsky's to heroes. He notices, that Dostoevsky's characters do not test fear before similar neyovolnymi displays of deep area of the person. On the contrary, «infinite optimism» [349] contrary to all vital disorders is peculiar to them. In quality illjustyoratsii the Jew results conversation Stavrogina and Kirillov from the novel "Demons": « You became veyorovat during the future eternal life? - Is not present, not in future eternal, and in the local eternal. There are minutes, you reach about one minutes, and time suddenly stops and will be eternal. - you hope to reach about such minute? - Yes. Is hardly presently probably, - too without any irony Nikolay Vsevolodovich, slowly and as though thoughtfully has responded. - Angela Apocalypse swears, that time any more will not be. - I know. It very much there veryono, distinctly and precisely. When all person of happiness will reach, time any more buyodet because it is not necessary. Very true thought »[350].

The Jew not priemlet expectations of the happiness carried for limits of a terrestrial life. It divides belief of heroes of Dostoevsky, and with them and the writer, in happiness possibility here and now, worried as sensation contrary to all external circumstances. Kirillov speaks: «the Person is unhappy because does not know, that it is happy; only therefore. It is everything, all! Who learns, immediately becomes now happy, in a minute» [351]. On KiYOrillovu, spiritual search comes to the end while the person learns, that is happy, having found out the God in itself. The Jew compares in the lecture Kirillov's expression "in a minute" with evangelical expression «and nowadays»: «I am shaken each time when I re-read the Gospel, by persistence from which infinite number of times these words repeat: nowadays”. Certainly, Dostoevsky also has been shaken by it: that pleasure, the condition of pleasure promised by the Christ, can be reached immediately, if
The human soul itself will renounce itself. And nowadays... The Eternal life - not that (at least, not only that), that concerns the future and if we do not comprehend it here, is not present niyokakoj hope, that we will ever manage it to reach »[352].

Attracts attention the statement of the Jew that, on Dostoevsky, soyostojanie pleasure can be reached only in that case, «if soul itself otreyochyotsja from itself». Such "self-renunciation" corresponds to Buddhist disappearance (unichyotozheniju?) souls in a nirvana. The Jew just also speaks about presence of Buddhist influences on Dostoevsky's philosophy: «” the Human comedy "Balzac was born from contact of the Gospel to Latin spirit; Dostoevsky's Russian comedy - from contact of the Gospel to the Buddhism, from the Asian spirit» 353.

We cannot agree with presence of "a Buddhist trace» in creativity and filoyosofii Dostoevsky who understood evangelical expression «and nowadays» not in sense of refusal of soul from itself. For Dostoevsky «and nowadays» means refusal of that part duyoshi in which socialisation process has generated egoistical "I". Refusal of "I" does not mean refusal of soul of, of its divine nature. For example, if RasYOkolnikov renunciation with all the heart, and an incorrect direction of its efforts follows an egoistical part of the soul, it at all. Speech about error of soul, about its finding on a way withdrawing the hero aside from following to the moral law of a life. Speaking Baudelaire's above resulted in the citation of the Jew to the words, the Satan in shower Raskolnikova has temporarily overcome the God. Concerning a deviation of soul from a way to the God with the Jew Alain - Furne who considered dispersed, that the condition of pleasure more all is peculiar to a children's soul (more in detail in section 3.1).

Conclusions on section 2.2.

Polyphony of novel Andre of the Jew «the Close gate» is found out in vzaimodejstyovii voices-positions of two protagonists with which dialogue the voice - a position of the national rumour personified by the third character interferes, and then, through motive of "book consciousness» the voice-position of this or that author of the books read by heroes which authority, on subjective representation of the hero confirms its personal position is involved.

Gide A. Conferences du Vieux-Colombier. Paris, Gaillimard. 1981. P. 148.

Gide A. Conferences du Vieux-Colombier. Paris, Gaillimard. 1981. P. 107.

353

The voice-position of the God at means of motive of book consciousness in perception of the hero can appear in the pure kind.

It also can be perceived through book consciousness in the perverted kind, javyoljajas actually by a voice-position of the opponent of the God.

In the first case is perception ZHeroma, in the second - Alisy.

2.3.

<< | >>
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 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»:

  1. poetics hronotopa in A.Zhida's novel «Close gate»: experience Dostoyoevsky and an author's originality
  2. poetics konklava in A.Zhida's novel «Close gate»: experience Dostoyoevsky and an author's originality
  3. a principle of triple polyphony in Alain-Furne novel «Big Moln»
  4. A.Zhida's works about F.M.Dostoevsky's creativity: an anticipation of some elements of poetics of the polyphonic novel
  5. influence of composite composition of a chain of an ionomer on membrane morphology. A case of a regular structure of a chain
  6. § 2. A principle of conscientiousness and its parity with a principle of social function of the contract and a balance principle in treaty obligations in the conventional law of the countries of Latin America
  7. § 1. The Close corporation in the USA
  8. the story «Old-world landowners»
  9. the Christian doctrine about the state. Symphonic relations of Church and the State.
  10. environment the Principle of a source and a repatriation principle in legal regulation of the income taxation
  11. § 3. A fault principle as a principle konstitutsionno-legal Responsibility of participants of elections
  12. «what unforgettable lines! As they marvellously sound for me...» (The Story «Old-world landowners»)
  13. poetics and mifopoetika: terminological explications
  14. stability Research rutenijsoderzhashchego a composite
  15. poetics konklava in Alain-Furne novel «Big Moln»: Dostoevsky's experience and an author's originality
  16. 2.9 Combinations of schemes imposing, in front - behind, above - below, is close - FAR and INDEPENDENT MOVEMENT
  17. the Ukrainian theme. The story «Taras Potatoes»
  18. a role of a status principle - a principle of compulsion of normative acts of Bank of Russia in legal maintenance of its financial activity
  19. poetics of texts