<<
>>

Pushkin in critical works Aldanova

Unlike the works already concentrated on studying of a Pushkin heritage in creativity by I.A.Bunin, the special researches devoted to revealing of value of A.S.Pushkin in prose of the writer-emigrant of "the first wave» M.A.Aldanova it was not spent almost.

For the first time to this theme V.Sechkarev [82] addresses. On its supervision, on frequency of a mention Pushkin (and to Gogol) in products Aldanova posesses the second place from the Russian literature (after Tolstoy and Dostoevsky); them follow Turgenev and Chekhov [83].

The first mentions of Pushkin meet in debut critical research Aldanova «Tolstoy and Rollan» (t. 1, Pg., 1915; the manuscript of 2nd volume was gone in 1918), in later edition of 1923 republished without section about Rollane and entitled by the author «Tolstoy's Riddle». Aldanov compares Pushkin and other classics to "idol" - Lev Tolstoi, but this parity - not in favour of Alexander Sergeevicha. Unlike Tolstoy, the artist, to which among «great people of the Russian literature, perhaps, The first has nothing to ignore and the poet« nothing to hide », Wrote to the chief of gendarmes Benkendorfu of the letter which it is impossible to read without feeling of humiliation and a pain. He could write"Stanzas"when bones of the hung up Decembrists have not decayed yet in a tomb It took monetary gifts from Nikolay's government I
Sang hymns which, however, did not try to give at all at least art advantage. Whether so Pushkin when wrote for eternity wrote? »[1, with. 107].

Pushkin has not entered in offered Aldanovym "table of ranks" of Russian writers of XIX century: it and Lermontov - «great poets», «however neither are perfect and nor their prosaic products» [5, kn are surprising. 6, with. 478]. The writer regrets that «main and immortal in Pushkin - its verses - to anybody, except Russian, is not accessible» [84]. To estimate Pushkin and Lermontov's poetry in transfer it is impossible.

As marks V.Sechkarev, about a duality aldanovskogo relations to genius Pushkin of speech cannot be [85]. In article about the Russian classical literature «Hundred years of Russian art prose» Aldanov names Pushkin «one of the most cheerful people who ever have visited the earth» [86].

About the direct relation to Pushkin and its heritage it is possible to learn from publicistic articles and sketches Aldanova: «Pushkin's not Published products (In connection with the congress spiritov)» ("Days", Berlin, 1925, № 807); «Pushkin on the Italian scene» («Day of Russian culture», Paris, 1926); "About" the Monument ”» ("Pushkin", Paris, 1937); and others [87].

In a sketch «Pushkin's not Published products (In connection with the congress spiritov)» Aldanov "is glad" to offer readers (and it «should not surprise especially») such "rarity", as «to nobody known» Pushkin's products (event of times of the termination in Paris the world congress spiritov). It is a question of two small stories in French. Their feature that they are not written by Pushkin, and «are dictated more recently by its spirit to the medium and according to this medium are precisely reproduced spiritom by Charles Dorino» which book the author has encountered "casually" [5, kn.

2, with. 30-32]. In the book some stories which have been written down according to the medium, among authors - Zolja, Maupassant, Renan, Balzac, Teofil Gaultier, from "foreigners" only Dickens and Pushkin contain.

Pushkin's stories are called «Adieu» and «L’histoire» ("Farewell" and «Russian history»).

Action of the first occurs in Siberia between village Mokotkin and the city of Irkutsk, in poor country isba. Is and «l’icone», and «le kvass», and «le chtchi, la soupe aux chox si appetissante» («the Russian cabbage soup, such appetizing soup from cabbage»). There is also a landscape: Irkutsk absolutely close so from a log hut “the silhouette of a mosque of the Tatar inhabitants” »is clearly visible«. The hero of the Pushkin story - «the poor, hammered peasant» Arsante Vladimirs, «a victim of an autocratic mode». The tsar declared war and has appointed rekrutsky a set. Le Pere a parle, il faut obeir («a word of the father - the law»). Arsante should throw a native log hut and favourite wife Masha. The scene of their parting «tears apart soul». Arsante jumps in the «a poor three» and «a whirlwind rushes on steppes» in the city of Irkutsk, to railway station. There it long, together with thousand others unfortunate, lays, «rasprostershis before an icon, in a station chapel (« dans la chapelle de la sale d’attente »), then« with usual Russian humility rises and sits down in the car which takes away it on death ». Maintenances of the second"Pushkin"story, too« from the Siberian life », Aldanov does not result.

Moreover, except two works of art, Pushkin has given to Charles Dorino also political interview. He «bitterly complained of spinelessness of Russian people with its invariable“ Nitchevo ”, vybranil landowners, the tsar and clergy, has sworn even at sect of Russian nihilists and German sotsial - democracy», and has in summary stated «hot liking» to spiritism. Presence "stepp" and "tshi" do not leave at Aldanova doubts that the story was dictated by Pushkin (the author-deceiver, possibly, «would guide the inquiry, - when there lived Pushkin», but has considered it excessive: «will descend and with the railway») [5, kn. 2, with. 33]. The data confirming or denying authorship of Pushkin, except words most Aldanova, us it was revealed not. It is possible to assume, that the stories "not published" by the classic and the interviews offered the reader in a translation from French, - unique attempt of imitation Aldanova Pushkin.

In creativity Aldanov repeatedly addresses to history of duel of Pushkin with Dantes. For the first time he speaks about it in article «Pushkin on the Italian
To scene »and to show level of knowledge of the poet in the West - at least, level of 1920th years [88], - chooses the joke form. In day of celebration of memory of Pushkin Aldanov pays attention of readers to the Italian drama"Pushkin"of poet Petro Kossa from a Milan series of the selected drama products« Florilegio Dramatico ». The drama by verses,« at times sonorous enough »is written, the epigraph is taken from"Evgenie Onegina". Action occurs in 1837. It is remarkable, that it is a question of« known enough poet »and about« very interesting book »: in it surprising, at times in the comical image peripetias of a life of Pushkin and its characters incorporate. The play comes to the end Delwig's with fair remark that« "Natalia's" Gangerovoj female vanity »has deprived its Russia of" the greatest poet »[89].

Aldanov names a drama «an amusing symptom of glory of Pushkin»: the told joke to a certain extent characterises level of knowledge of the Russian poet in the West (at least, level of 1920th) [90]. Any discrepancy to true: distortion of the biographic facts (duel history), surnames and names ("Gangerova" instead of "Goncharov", "Irena" instead of "Arina" and others) etc. Could not leave indifferent Aldanova, aspiring in all that concerns history, strictly to follow documents.

About «the terrible letter», written by Pushkin to baron Gekkerenu on the eve of a duel, Aldanovu has reminded in the literary relation historical letter Emilja Zolja to the president of the French republic under the name "J'accuse" («I accuse») - «hardly probable not the best product Zolja» on force and energy of style (a sketch "Pikar", 1934). That the politician could write the similar message, is convinced Aldanov, it would be necessary for it to possess Pushkin's abilities and Zolja - a combination «mad temperament with the big power over a word» [5, kn. 2, with. 358]. Thus, the biographic fact from Pushkin's life, time and again resulted Aldanovym in publicism and art creativity, "was useful" to it by comparison of force of talent
The Russian poet and the French writer. It gives an appreciation unique on force of influence Pushkin "word".

In a documentary-historical sketch «Dantes's French career» (1937) Written on the basis of done independently razyskany on different sources, including under the French newspapers of the middle of XIX century, Aldanov tries to restore a true image Dantes, trying thus to remain unbiassed. Quoting obituaries from the French newspapers "Figaro" and "Tan" for 1895 in which it was informed, that died baron Dantes «has killed sixty years ago on duel of well-known Russian poet Pushkin» [5, kn. 2, with. 332], Aldanov it is surprised by that the informed newspaper, having reminded circumstances of murder of Pushkin, almost has told nothing about a role played by Dantes in the French history. The author makes convincing, thin observations about use of the loud glory of murderer Pushkin by Dantes in political career. We learn, that, it appears, fatal duel for the Russian literature «has not too damaged Dantes's secular and public reputation». Aldanov does not approach to Dantes with already in advance developed relation, but develops it during the analysis. The more considerably a conclusion made it regardless to murder of Pushkin: «It was not the villain, but the impudent, courageous, ambitious egoist, not before much stopping in search of benefit and pleasures». Aldanov treated Pushkin's collision with Dantes as the contradiction between the representative of culture and a civilisation product, between the person of spirit and selfish mediocrity [91 [92]. "Life of the party" within 60 years, «the cheerful person», Dantes, believes Aldanov, could tell after Pushkin: «We

93 we will lose our youth - together with a life road ».

In a sketch «Young years of princess Matildy» (1937) Aldanov, arguing on what possibilities «to leave in people» have appeared in Russia at Peter I, in a year of century from the date of Pushkin's death recollects the poet who was proud of "the 600-year-old nobility». But Pushkin «hardly probable very much thought», that
Makes «“ misalliance ”», marrying on the great-granddaughter «the Kaluga petty bourgeois Goncharov who was engaged in petty trade» [5, kn. 2, with. 286]. One more fact from Pushkin's biography is resulted Aldanovym in a historical sketch, most likely, is associative: after all the poet is the same founder of an image of Petersburg, as well as the first All-Russia emperor - its builder.

Quite often Aldanov in articles and sketches quotes Pushkin's products, not specifying, the citation whence is taken.

So, for example, from correspondence Aldanova from V.N.Muromtsevoj-Buninoj we learn, that once in the absence of instructions on a source of citing the journalist P.Pilsky in the Riga newspaper "Today" in the response on the book of articles has rebuked the writer and it has appeared is not right: «... The Response kind, comes to an end words:“ And on the sun there are stains. These are specks ”. A stain that at me in article about the madam the Steel is expression“ Ladies were repaired ”, and it can seem derivative of a word“ repairing ”! Is me has amused: Pilsky has not noticed, that here at me not my words, and the citation from the fourth page Pushkin“ Roslavleva ”!!! Very much I am proud of that the stain on my sun has appeared belonging to Pushkin...» (The letter from September, 12th, 1934) [93]. Even

The acute, authoritative critic could not "learn" Pushkin "word" in text Aldanova, than that was very proud.

In "Roslavleve" Pushkin has written about the relation of Russian society to the French writer of the madam de the Steel, spring of 1812 running in Russia. Aldanov devotes it a sketch «Korinna in Russia» (1933-1934) where he not simply tells history of travel of the madam across Russia, quoting Pushkin, but also specifies some details of its trip and impressions. Appreciation Aldanovym of the book of the madam de the Steel «Ten years' exile» in which she expected a way of development of the Russian literature, in many respects coincides with the Pushkin.

In a sketch from an epoch of XVIII century «Paul Stroganov's Youth» (1935) there are associations with the novel in verses "Evgenie Onegin". If at Pushkin the Frenchman poor »was engaged in education Onegina«, "joking" learning the boy in sketch Aldanova of columns Alexander Sergeevich Stroganov entirely gives education of son Paul to serious tutor Zhilberu Romm. On
JU.M.Lotman's to remark, the Frenchman-tutor was a characteristic figure of house education in XIX century, but, as well as the Frenchman-teacher, seldom seriously concerned the duties. The known mathematician, jakobinets Romm in a role of tutor P.A.Stroganov was "rarity" [94 [95]. Aldanov that in house Stroganovyh the Frenchman «was in any way for roles of monsieur Trike» pays attention of the reader and brought up the boy «in the spirit of Russo, being guided by principles“ Emilja ”», embodying Russo's ideas in the conditions of Ekaterina's Petersburg [5, kn. 2, with. 13]. Aldanov shows knowledge of history of creation of the novel: in Kishinev where there has been begun work on the text, Pushkin has gone through Russo's hobby and has anew re-read it

96

The basic products. In the historical composition comparison of really existing person with Pushkin Trike is necessary Aldanovu to underline the importance of the role played by the Frenchman in education of the Russian statesman.

In a sketch days of the French revolution «Zigett in days of terror» (1939) Aldanov recollects victualer Garma and its son-in-law Veri, «which name meets at Pushkin», and on memory results, not naming a source, the citation from "Evgenie Onegina's" sixth chapter: «“ That [96] each morning at Veri - On credit to drain bottles three. ”» [5, kn. 2, with. 221]. The consciousness of that gastronomic abundance in a restaurant and house food (at one epicure «in the revolution beginning moved by a dinner sixty dishes»), is accessible in France in days of terror not only «to people rich», but also «average bourgeoisie», causes bitter exclamation Aldanova: «Is not present, at us hunger was worse!» (He speaks about hunger of the first years of the Russian revolution). In the historical sketch written on the eve of war, examples from the Russian classics urged to remind about possible for the simple person tragical consequences of chaos created in the modern world.

2.2.

<< | >>
A source: Zhiltsova Elena Aleksandrovna. the RUSSIAN CLASSICAL LITERATURE In I.A.BUNIN'S PERCEPTION And M. And. ALDANOVA. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Great Novgorod - 2013. 2013

More on topic Pushkin in critical works Aldanova:

  1. Chapter 1. A.S.Pushkin in I.A.Bunin and M.A.Aldanova's critical and creative works
  2. A.S.Pushkin in I.A.Bunin's literary-critical works
  3. Dostoevsky in literary-critical works Aldanova
  4. § 2. «At us Pushkin has begun everything, all kinds of poetry and prose»: Pushkin's heritage in interpretation Aldanova
  5. Pushkin in creativity Aldanova
  6. Dostoevsky in works of art Aldanova
  7. Chapter 3. F.M.Dostoevsky as object of literary-critical and art creativity of I.A.Bunin and M.A.Aldanova
  8. Gogol in perception Aldanova
  9. § 1. «And in a head less Pushkin did not come to be...»:
  10. A.S.Pushkin in I.A.Bunin's creative heritage
  11. foreword Aldanova to Bunin's book «About Chekhov»
  12. the prepotent philosophical basis of a moral problematics of Pushkin.
  13. A.P.Chekhov's creativity in M.A.Aldanova's products
  14. the Chapter III. Pushkin's art polemic with romanticism
  15. Chapter 2. N.V.Gogol in I.A.Bunin and M.A.Aldanova's estimations
  16. § 2. «The writer it was, of course, incomparable»: Gogol in creativity Aldanova