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the Basic maintenance of the dissertation

In Introduction the dissertation theme, degree of its study are proved, problems are defined the purpose, the theoretical base and a methodological basis, are specified scientific novelty, practical value and approbation of results of research.

In chapter 1 «Some features of romantic perception of night» on a material of aesthetic judgements and works of art of romanticists (mainly the German: Novalisa, Jean Polja, J.Ejhendorfa, L.Tika, E.T.A. Hoffmann, F.Schelling, etc.) And also V.A.Zhukovskogo, N.Melgunov, V.F.Odoevsky, F.I.Tyutchev, etc. specificity of romantic perception of night, i.e. those representations born in romantic experience of night which, in our opinion, anyhow, promoted creation of its artistic image is considered. First of all, it is noticed, that all diverse palette of romantic "feeling" of night is caused by that night shows immense greatness inobytija - «a heavenly great temple on which dome wonderful sacred hieroglyphs the worlds» (Bonaventura) soar. In this "temple" the romanticist finds the higher form of knowledge - a poetic enlightenment. The poet beholds the world ideal, acting as "a Universe voice» [6]. For the romanticist in ability to behold and eulogise in a word presence of the God

In a universe to feel divinity of the nature and own soul,

7 greatness of the person reveals.

Thereupon aesthetic views of the romanticists, philosophical doctrines of Fichte and Schelling often having by the source are considered. If Fichte's philosophy allows to assert, that the person is capable to create in the "I" the images surpassing a reality, i.e. « I »act as the beginning of creation of figurativeness and as their result Schelling's philosophy says that all surpassing a reality is already concluded in the reality, and the poet minutes of inspiration begins to see clearly its essence. For romanticists night, its beauty and mysteriousness are objective, they do not depend on mood and aesthetic endowments. But in the centre all the same the person. Night, acting as a symbol of all mysterious and unknown, appears ideal area for activization of human imagination. The vision of the world transferred through imagination, a fairy tale, for the romanticist also is true. In the romantic world material and spiritual, final and infinite, natural and supernatural represent unseparable unity. In chapter 1 the accent becomes on an originality ranneromanticheskogo experiences of night, its"light"moduse as a source of magic, love and poetry.

As the second basic moment in romantic perception of night it is marked (arisen in antiquity) its correlation to the female beginning. Night in romanticism is obliged by raised poetics to the womanly nature. Love to the woman, erected by romanticists to an absolute limit as expression of mystical communication with the transcendental beginning, and the relation to the woman as to the visible phenomenon of the divine nature in an individual embodiment have created possibility universalizatsii its image in which poeticheski eternal feminity in a universe was expressed. For example, for Novalisa the principle creating unity of a universum, has the female

7В last time, leaning for V.M.Zhirmunskogo's works, researchers of romanticism even more often speak about it as about the "special" form bogopoznanija.

See, for example: Kartashova I.V., Simeons L.E.romanticism and Christianity / the Russian literature of XIX century and Christianity. M: Moscow State University Publishing house, 1997. - S.103-110; Osankina V. A. Biblejsko-evangelical tradition in an aesthetics and poetry of Russian romanticism: avtoref. dis.... Dr.s filol. Sciences. Ekaterinburg, 2001. - 34 with.

The nature - «at the world female [8]. Through the woman and connected with

It love the higher feminity is shown in the terrestrial world.

With romantic «feeling of night» in chapter 1, in the plan for the present enough the general supervision, are interfaced features of attitude of early Gogol. In particular, it is underlined an interconnection of images of night and the woman: in shape of Gogol night the properties inherent in the female nature are quite often guessed, and in the image of the woman there are associations with beauty of night.

In the second chapter «Images of night in Gogol's early creativity» on - former in a context of the European and Russian romanticism specificity of night landscapes in products of the writer is considered and movement of author's thought is traced. The first paragraph of the second chapter is devoted Gogol's the earliest products - to a poem "Italy" and idylls «Gants Kjuhelgarten». «Gants Kjuhelgarten» - Gogol's unique product which tests obvious gravitation to imitation German romanticists. At the same time the parallels drawn in the dissertation with Ludwig Tika's short story «the Love story fine Magelony and column Petera Provansky» give the chance to speak and about typological affinity of early creativity of Gogol and German romanticists.

The poem plot mirror reflects the basic composite lines, characteristic for subjects of wanderings in the literature of early romanticism: the romantic hero - dreams - wanderings - self-knowledge - returning. Feature of night landscapes in Gogol's youthful products is absence in them any destructive, infernalnogo has begun, that reflects author's attitude of this period. Gogol heroes live in unity with the nature, they feel its harmony and responsiveness. Thereupon attracts attention absence of fantastic elements: miraculousness is concluded in the life of heroes proceeding in the consent with a life of the nature - it is natural, that, in turn, reflects romantic representations about interrelation of the nature and human soul.

In "Ghanaian Kjuhelgartene" night accompanies the romantic hero throughout all poem. In it loneliness of the Ghanaian, the beginning of its way and in it its end, returning to the family. It influences imagination, creates a certain sincere condition. Acceptance by the Ghanaian of the tsennostno-important, existential decisions occurs at night, in it - dramatic nature, freedom of the intimate human feelings which have been not intended for extraneous eyes. Thus, in Gogol's romantic universe night acts as one of the major ontologic categories comprising powerful conversion potential not only in respect of transformation of the validity, but also in ability to influence the person, on its heart and mood.

In the second and third paragraphs of the second chapter images of night in collections «Evenings on farm bliz Dikanki» and "Mirgorod" are analyzed. The night poetics in "Evenings" and "Mirgorod" organically combines a romantic art palette and malorossijsky national folklore. Thus all diverse art ontologija nights - "divine", "charming" (1,159), "night-miracle" (1,205), "deaf person" (1,186), "deep" (1,129), "infernal" (2,215) - can be united in the unique artistic image is the "Gogol" night which originality is covered in mysterious depths of the person of its creator.

Detailed consideration of poetics of night landscapes of Gogol allows to draw a conclusion, that they have no any "neutral" colour, on the contrary, they raznopoljarny. Using words of the author, they can be united in two categories: "divine",

"Charming" night - it always costs under the sign of light, other, "deaf", "infernal" night - under the sign of darkness. Though "infernal" Gogol names night only in "Vie", similar, sated infernalnostju spaces and ominous atmosphere of a gloom, in which events of some its products are developed (for example, «Evening on the eve of Ivan Kupaly») on the dramatic nature and tragedy enter into this category.

The second paragraph «Divine nights» is devoted the collection «Evenings on farm bliz Dikanki». "Divine" nights of "Evenings" express if to use V.M.Zhirmunskogo's formula, 11

«Romantic feeling of a life» the writer. For young Gogol emotionally-aesthetic experience of night peculiar to romantic attitude is characteristic. In representations of romanticists all universum appears as divine poetry, as a creative word of the absolute Artist, the Creator. A Gogol epithet "divine" - not the rhetorical reception serving for the greatest eminence of night beauty. For the writer presence of the God at the world naturally. Has put here, of course, not only in riches of imagination, and in the nature of human soul. On Gogol, the soul as though has a presentiment wonderful and, searching for its response in the nature, reveals to it towards. The person breaks a hidden threshold, entering in unity with the "spiritually-corporal" world round it.

Romanticists did not differentiate poetry and ecstatic conditions. They spoke about deep interrelation of lyrical pathos and mystical experiences - it is possible to transfer miracle experience adequately only a poetic diction which acts as its external, verbal expression. «The feeling of poetry» not is only a spiritual impulse, the enthusiasm demanding the expression in a word, but immeasurably bolshee - transformation, other ekzistentsija, the fact of other sensation of the world. In it valid it is learnt at the moment of inspiration when the poet-romanticist for an instant sees unseparable identity - the soul which has merged with soul of the world. Therefore landscapes of "charming nights» Gogol, as well as at early romanticists, carry panteistichesky character. Terrestrial and heavenly, real and potustoronnee are connected by the writer in one bytijnom the plan, he worries this unity in itself(himself).

«Divine night» at Gogol always costs under the sign of light. The moonlight as if translates valid in the plan of other existence, allowing to feel participation of the nature to the spiritual beginning of life. The romantic mood allows to see in the night nature, in light of month an organic combination terrestrial and unearthly, close and far, obvious and unknown. The regal image of month in an environment of stars is presented in as much as possible significant, almost sacral measurement. Light of month and star light "is lighted" by the God at creation of heavenly bodies (Быт.1, 16-18), and owing to it it -
"Divine". "Divine" night light is light of cleanliness. In the tsarstvennosti over a gloom of night it as if opens a certain positive knowledge of the Creator, reflecting properties of Its nature - vezdeprisutstvie, vsevedenie, simplicity, a whiteness, innocence, bringing with itself(himself) kind magic and a pacification. Occurrence of month in the sky «executes all world solemn light» (1,158), bearing in itself a reflexion of the Creator. This light expels darkness, all changes, spiritualises, recovers. Month and stars - symbols of Divine presence at night. Therefore Gogol uses in relation to surrounding space special tracks which urged to reflect in material realities, more likely, a spiritual order, than sensual. The early Gogol poetics of night light in many respects is guided for bible images, but the Christian element in its nights is connected to folklorno-fantastic forms.

Gogol's representations about "divine" beauty show not only marvellous landscapes of its moonlight nights. Along with them the aesthetic ideal of the writer is expressed also by female images. One of properties of female beauty in Gogol's early products are its inaccessibility and nepodvlastnost to harm. "Divinity" of night and fine shape of the woman are related, identical each other. The interrelation of images of night and the woman, their natural harmony reflect features romantic mirovidenija Gogol, its light feeling of a life, in which woman - «a wreath tvorenja», and night - a wreath of the daily cycle, the magic which has gone down on the earth full of charm and secrets.

In "Evenings" («Night before Christmas») at Gogol arises for the first time an image of Petersburg which, undoubtedly, reflects early impressions and hopes of the writer and enters into the Gogol romantic world. Though in a night city there are no wonderful phenomena, natural magic which remained somewhere out of its limits limited to "barrier", it nevertheless is allocated by own extraordinary atmosphere. The city lives the life. It is isolated from the world of the nature with natural beauty reigning in it: over Petersburg not "bleshchet" month (1,215), are not visible stars, (lifeless, artificial illumination becomes subsequently characteristic city boundaries - «the Neva prospectus»), in streets not «sparkles crystal» (1,215) snow, people do not notice

Magics of the night calling «to glorify the Christ» (1,201).peterburg itself creates for itself "magic" and glorifies itself. It - a kingdom of "this world», a kingdom of material benefits and artificial beauty. Night in it as if has lost the Christmas grace and grandeur. "Splendour" and vanity Here reign, all is got city sekuljarnym by the spirit which has replaced with self sanctity of Christian night. However, Gogol also does not mention it, having carried all city revival not by the Christmas holiday, and to any unknown case: «Then there was in any case an illumination» (1,232). Characteristic lines of night shape of Petersburg anticipate city nights in stories «Petersburg cycle».

Chronologically plots of "Evenings" and "Mirgorod" at Gogol are always taken out for limits modern to it the validity. It is remarkable, that at Gogol of history, «published pasichnikom Rudym Pankom», are told by all means more close by the night, on so-called "evenings", and say that could occur not differently as soon as in the remote past. To the writer the past - this important source of inspiration of romanticism is closer.

It is known, that the romanticism addressed to national creativity as to a certain pure source, nezamutnennomu anything prinosnym, free from logic and rationality. Romanticists found freedom of "natural" thinking of the people which have kept in the legends that perception of the world when the valid and supernatural were in indissoluble unity in folklore. In access to this source the romanticist was promoted by night time. The night subjects at Gogol approach with characteristic representation for romanticists about «gold olden time» as harmonious coexistence of the person and the world. But Gogol does an accent on wonderful which at it is closely connected with malorossijskim folklore.

In Gogol's early products potustoronnie forces are harmoniously entered in bytijnyj the plan, making a world integral part. With arrival of night they are only staticized. All irreal is completely subordinated to author's imagination and supervised by it. Though "other" also possesses independence, but all its activity is included in the romantic world of the author which allocates with its lines, 14

Inherent in own vision irreal, and also to representations about it in the national environment (from comic to terrible, as, for example, in «Nights before Christmas» or in «Evening the day before...»). In «Evenings...» Presence potustoronnih characters not only gives fascination of history, but also in an especially way decks a narrative background, fills with its metaphysical depth, deducing for ordinary frameworks.

The motive of a dream is organically connected with night subjects in Gogol's products. At all variety of displays of this motive in creativity of the writer we see in them something the general. Gogol characters in a dream worry a certain revelation, receive as though «the second sight» («May night»). In an etude "Life" this motive gets the deep is religious-istoriosofsky sense. Thereupon comparison of a Gogol etude to 5th head for the first time is spent to dissertations «Hymns by the night» Novalisa. Though Gogol's world outlooks and Novalisa are deeply various, both writers through a history fabric approach to the image of event of Christmas Christ's, simultaneously oznameyonovavshego a decline old and the beginning of a new era of mankind. The Christmas theme is extremely significant both for Gogol, and for Novalisa. In Gogol's creativity this event is connected with transformation of all life and spiritual revival of the person. In the general context of views Novalisa the Christmas is prednachatie the lost Golden Age (equivalent to eternity), world and person updating.

The image of the dark "demonic" nights considered in the third paragraph «Demonic nights», shows other party romantic mirovidenija Gogol, expressing more and more becoming aggravated feeling disgarmonichnosti lives, characteristic for late romanticists. These nights are deprived light and kind magic accompanying it, in them bad forces to the person dominate. In such stories from «Evenings.» And "Mirgorod" as «Evening on the eve of Ivan Kupala», «the Terrible revenge», «the Bewitched place», "Vy", go deep reflexions of the writer over the harm nature - it mortally dangerously and vindictively. In the dissertation dynamics of its art image is traced. Since «Terrible to sweep» harm ceases to be indispensable attribute of dark nights. Keeping fantastic shape, it as if falls outside the limits the
The folklore form also appears as the essence which possibilities do not depend neither on time of days, nor from character of night. Varies and «an image of action» harms («the Bewitched place»). The power over human consciousness is necessary to Evil spirit, and it uses troubles, a bluff. Deforming perception of the validity, she forces the person to trust in phantoms, to live in constant self-deception - reflexions about these sincere processes will be deepened by Gogol in its later products.

If in Gogol's other products beauty as that was inviolable for harm in «Terrible to sweep» it loses this inviolability. The beauty perishes from harm hands, moreover it is its generation (father Kateriny - the sorcerer). Nevertheless cannot angrily pervert and enslave to itself soul Kateriny, sakralnost its internal nature remains invariable (unlike the stranger from «the Neva prospectus»), but as a result she goes mad - the beauty ceases to be harmonious unity. Destiny Kateriny as though a prelude, a prologue of the subsequent reflexions of Gogol about beauty as that.

Last paragraph of the second chapter «Night in the story"Vy"characterises a new boundary in Gogol's spiritual and creative evolution. The image of night undergoes cardinal changes, representing connection of beauty incompatible earlier and the devil beginning. Gogol has connected again together night, beauty and the woman, but already sinful bonds. The corporal beauty personifies harm, it in a literal sense - devil beauty. Being in harm power« similarity of gods »(8,145) - the female beauty - deforms connected with it related bonds beauty of night, the womanly beginning of the nature, bringing in it the devil overtone. In night the combination of beauty and demonichnosti is shown same, as well as in pannochke. Executed light and bewitching luxury, night is penetrated destructive« by music of languor "from" sweet »a sin, a pathology of dirty will. This will as if deforms night, replacing its naturalness reflexion of the essence in the phenomenon of unnatural and voluptuous images. Strange mixture in night landscapes "Vija" captivating and demonic, real and irreal, pleasure and disgust conducts to transformation valuable konnotatsy nights. Gogol's art thought moves in a direction by city nights «Petersburg

Stories ». Also the female image in parallel changes - in« Terrible to sweep »harm starts to encroach directly on beauty, the sacral nature of the woman (Katerina), as a result destroys its divinity, replaces with the maintenance (pannochka in"Vie").

All horrors of Gogol stories from "Evenings", as a rule, exist and are created in a gloom of "impenetrable" night. And only "Vy" transfers all fears from night darkness to space «poured by light» a temple (2,216). In it "Vy" it is allocated from a number of "terrible" products of Gogol: harm is not caused by light exposure degree. « Vy »reflects Gogol's internal disharmony, comprehension by the writer vseproniknovennosti and totality of harm. In the dissertation the assumption is come out, that Gogol here closely comes nearer to a threshold of those spiritual changes which as a result will lead to its understanding of a being of religion as original force before which light powerlessly any harm. The fantastic genre form"Vija"reflects Gogol's reflexions about a human soul, its susceptibility to the harm, the harm and reveals deep shifts in outlook of the writer. More brightly they will be shown in others Gogol's product -« the Neva prospectus "and" the Portrait ». If for the image of dead soul pannochki Gogol uses a fantastic image of harm - a witch in an image of the Stranger from« the Neva prospectus »any more there will be no fantastic metaphor. Harm will appear as a spiritual substance, it really and does not require terrible fantastic doubles. Gogol will refuse the folklore form of its image. To it the writer will be induced by own experience which will show, that harm roots in a shower of the person.

"Divine" and "demonic" nights express two modusa Gogol's combining traditions of early and late romanticism art world.

In the third chapter «Semantics and poetics of city night» are considered Gogol's devoted to realities of a city life the products. In the first paragraph "Space" of dead souls ”» it is shown, that in stories «Petersburg cycle» night, merging with image of Petersburg, its chaotic life and artificial illumination, gets grotesque character and bears in itself konnotatsii a deceit, a temptation, devil delusion, becoming a source of spiritual deadlock and 17

 destructions of heroes. These nights are deprived month, its light does not get into the dark environment of a city («the Neva prospectus»).

In stories «Petersburg cycle» light of month has character already far from the "divine" properties. Two editions considered and compared in work to lead "Portrait" (edition "Arabesok" and edition of 1842) show evolution of poetics of a moonlight. In the first edition valuable konnotatsii a moonlight depend on the one who perceives it. If «interfering in a lonely bedroom» the poet-romanticist the moonlight «brings infantile charming light slumbers over its headboard... Directs at it musical dreams» (3,409) in relation to Tchertkov the moonlight bares a terrible supernatural essence of the portrait got by it and clears up in the artist thirst of gold and glory. In edition of 1842 Gogol leaves behind a moonlight only oppressive and demonic influence.

The city has created also own forms of the night validity: "lamps" replace month, mysterious beauty of the night nature - the shined show-windows in which that «dare to show at light of day» (3,14) is exposed on sale. « Lifeless »light of lanterns has infernalnye properties and thereof bears with itself of troubles and lie, creating atmosphere, tempting for a nayward of human soul. Night as a source of miracles and inspiration loses the reality, gets subjective character and in the former status lives only in souls of the"escaped"romanticists. Representation feeding romantic thought on the world as harmonious coexistence material and spiritual, breaks up. Noumenalnaja the component disappears from intraworld space and becomes area aloof. If during the early period the world for the romanticist could, according to N.Berkovskogo,"razvoplotitsja"[9] ', to open"soul"now there is as though« a closing of doors », okamenenie its phenomenal part, the validity becomes"disgusting"(PSS, 3,27).

In space of city night of the woman appear as «a special sort of a being"with"thick lips and cheeks, nashchekaturennymi
Blush »(3,15).v to the Stranger from« the Neva prospectus »the beauty is spiritually dead. The interconnected images of night and the woman reflect evolution of outlook of Gogol. In stories« Petersburg cycle »night and the woman become ravnoobmanchivymi. As the demon lights lamps to deform night and to show all in not present light, and the woman is plunged into abyss of a sin by the same devil essence. Just as in"Vie", in« the Neva prospectus »Gogol connects together the hero, the woman, beauty, night. But on the first place sin"charm", and the beauty hidden in shape lie and a deceit acts not. Piskareva the emptiness hidden in the fine girl, mertvost terrifies her souls. Communication of night and the woman is caused by the spirit of darkness combining in the power two related natures.

In «the Neva prospectus» loss of belief inherent in romanticists by Gogol in transformation of the world by force of the beauty bearing with self love and good is clearly visible. For the author a certain desperate position in which it has appeared together with the characters was created. Crisis of romantic ideals attracts behind itself outlook crisis. The writer could not find a way in the middle of 1830 th years yet and means to transformation of the heroes. But he searched for them. Realising dissociation of beauty physical and moral, Gogol concentrates on strengthening of motive of beauty moral. This process, apparently, is the general and natural for romanticism - Gogol's creative evolution reflects, originally repeats the history of the romantic movement which have been especially brightly expressed in Germany [10]. In consciousness of late romanticists occurs raspadenie final and infinite, amplify tragedy of attitude and together «thirst to hear music of the soul released from harm» [11]. Along with reflexion of these processes in stories «Petersburg cycle» the sociohistorical aspect extremely becomes aggravated: the spirit of the big bourgeois city, defects of a modern civilisation strengthen its propensity to a sin in the person. Harm becomes a reality of the modern validity. More and more

Becoming complicated experience of studying of human soul leads the writer of thought, that in the reigning world harm the person is guilty also.

The second paragraph of the third chapter is called «Before a dawn» and is devoted a poem «Dead souls». Gogol's aspiration to find a way out from a tragical spiritual condition especially brightly is reflected by the interconnected images of road, night and a beginning dawn in XI head «Dead souls». Detailed consideration of these images, and also the general movement of a fragment of 11 heads allows to assert, that in the "curtailed" kind the symbolical sense of all product here is expressed: from a dream - to awakening, from spiritual darkness and omertvenija - to inspiration and revival. At the same time Gogol specifies in the means, capable to give to everyone possibility to pass from darkness to light. It is Church and that the higher nadmirnaja the true which keeper it is. Gogol's painful reflexions over "twilight" of the Russian validity force it to be set with special intensity the permission of a question on the human person which it is made responsible for forms and spirit of this validity, that finally defines all further development of its creativity.

In the fourth chapter «Darkness and light. Night as a spiritual category» Gogol images of night are considered in aspect of a moral condition of the person. Taking into consideration romantic representation about relationship of the nature and human soul, in the dissertation becomes attempt to comprehend them as isomorphic images. From the point of view of romanticists, they are connected by indissoluble internal communication, that, hence, creates possibility for display of their qualities one in other. If the poetic image of the nature can carry antropomorfichesky character also the inner world of the person can be represented by means of the natural phenomena. Soul and the natural phenomena act at Gogol as metaphorically connected images.

As night, undoubtedly, one of Gogol's steady artistic images, that, in our opinion, an image gloomy, got by harm, gloomy nights in its late creativity becomes to isomorphic spiritual realities. Gogol admitted: «to Invent koshemarov — I also has not invented, koshemary these pressed my own soul: that was in a shower it and left» (8,297).noch gets 20

Symbolical character, receives new semantics and directly corresponds the writer already with internal space of the person, metaphorically expressing his soul condition: «.pochti at everyone night and darkness around» (14,87). The great value thus is extreme had that spiritual influence which has rendered on Gogol studying to them svjatootecheskih creations. In this connection late Gogol's judgements are considered in wide comparison to statements of sacred fathers: prep. Makariy Egipetskogo, prep. Nikodima Svjatogortsa, svt. Ignatija Bryanchaninov. Night of soul for Gogol is spiritual darkness, a sinful condition of human heart. Gogol speaks about self-blinding of the person which in this condition is not capable to see anything, except those "values" which he for itself(himself) and creates.

The spiritual condition of Gogol characters is reflected in the world surrounding them. In «Dead souls» the nature of estates is identical to souls of owners. That is the moral shape of the person acts as the principle creating defined bytijnye the forms.

In the dissertation the assumption is come out, that the image of light, "divine" nights, can be comprehended as another bytijnyj modus, isomorphic to a spiritual condition of the person. In Gogol's late creativity this image refracted through religious consciousness was reflected in representation about fine, clarified over a human shower. Light theme gets in creativity of the writer paramount value, acting as a synonym of categories,

Belonging to spiritually-divine sphere. The darkness of "demonic" night was reflected in spiritual darkness, therefore and banish it spiritual divine light can only. Light "divine" nights and the changed human person as spiritually-corporal the nature are united by one theme - light theme.

At the same time reflexions of Gogol developing in a religious key about the clarified human person keep communication with idea «the fine person», the born culture of romanticism. In a channel antropotsentricheskih views of early romanticists the idea of "the fine person» assumed far-reaching prospects. In romanticism it was a question of the "Person", opening in all completeness the godlike essence. However, "maturing", the romanticism should realise 21

Objectivity of harm. Romantic creativity starts to divide terrestrial and heavenly and simultaneously to search for new ways to their rapprochement. Thereupon «religious renunciation» (V.M.Zhirmunsky) and Christian idea about moral transformation of the person get for romanticists paramount value. I.V.Kartashova in one of the works has come out with the assumption (which we join also), that at all distinction mirosozertsany German romanticists and Gogol in their movement to religious consciousness, in passionate searches of spiritual rescue «any general and very important law of evolution of filosofsko-moral and art consciousness of a romantic epoch» [12] opens. More and more going deep religious experience will force Gogol to look more religiously at the former representations about the person. The thought of the writer becomes more "mature". Gogol comes to understanding of necessity of constant introspection and a self-estimation as major conditions of religious growth. From this point of view the beauty of the person for Gogol is not its natural quality, but directly is connected with presence at it of the God.

Unlike natural "grace" of soul whom all people have far not, light found in a religious life, possesses other nature and other qualities, and it stjazhanie inseparably linked with a life in Church. With its help the person can correctly learn the soul and distortion of the nature. Worthy light there is the one who could see all degree of own "darkness" in depths of the soul, povrezhdennosti, discrepancies to the higher ideal of the Person.

In the paradoxical image the darkness at Gogol appears a light source. It is necessary to see at first own darkness to ask about light. But also the concept about spiritual darkness can give exclusively knowledge of light. For Gogol this light is concluded in the person of the Christ. Only It netvarnyj light can change a human soul. Divine light appears as Beauty absolute, as Beauty of the Person (in Christianity the God is the Person, and beauty - one of His names). The person, opening itself
For divine light which changes «dark night» souls, becomes involved to this light, assimilates to the God and sees in own image - Pervoobraz. Thus the person acts as the artist concerning itself. The beauty in the person is a moral maintenance the changed divine good fortune of the human person. Thus, bogoupodoblenie it is possible to understand as the highest form of "Art".

In the Conclusion works are summed up. The analysis of a phenomenon of night was spent by us in a context of key thought for the dissertation, that Gogol's creative and religious evolution is closely connected with evolution of a romantic world view. After V.M.Zhirmunskim we see the special form of knowledge of the God and the person in romanticism. Dynamics of an image of the night considered in the dissertation, begun in a romantic channel, in late creativity leads Gogol to the statement of orthodox values.

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A source: Stanichuk Igor Anatolevich. the Phenomenon of night in N.V.Gogol's creativity. The dissertation author's abstract on competition of a scientific degree of a Cand.Phil.Sci. Tver - 2014. 2014

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