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«I was Russia»: Historicism of art thinking I.S. ­ The Sokolov-Mikitova in stories of 1920th years

It is impossible to consider a literary work separately from history of the country and history of literatures. Historical interpretation of product ­ is not only the analysis of history and biographies, with it connected.

Each monument of the literature is a historic fact, a part of history of the literature and the biography of the writer. D.S.Lihachev asserted [37] , that the reference to the biography and history is necessary not only for a text explanation, but also for its understanding­. It is fair in relation to the modern literature in view of ­ dynamism of cultural, historical, scientific processes XX - the XXI-st centuries.

the Reader perceives, understands the product text in historical prospect. Analyzing products I.S. The Sokolov-Mikitova, we connect ­ modern thinking, our historical consciousness to historical consciousness of the author. Besides, the picture is completed by various interpretations ­ of the text during a various epoch.

the Historicism of aesthetic perception - a realism back in creativity. Analyzing creativity of different authors, researchers see ­ a historicism in a choice the writer of history as image subject, in ­ istoriosofskih reflexions about ways of development of mankind, in the image of social conditionality of human characters and mutual relations etc. We divide the point of view which urges not to limit concept of a historicism of creativity to historical plots in products.

B.V.Tomashevsky had been conceptually designated concept «an art historicism"as"certain creative quality ­ which should not be mixed with the objective fact of the reference to ­ a historical theme, with interest to the past.« The historicism assumes understanding of historical convertibility of the validity, forward
process of public way, the conditionality reason in change of public forms » [38] .

I.S. The Sokolov-Mikitov regretfully ascertained, that it see a little one-sidedly. Really, more often researches of its creativity are declined or aside «the singer of the nature», or aside «the children's ­ writer». As to a historicism problem in its creativity, not finding ­ obvious historical plots in products of the author, researchers proclaim it «denying history», existing only in nasto - jashchem [39] . It is impossible to agree With this thesis completely.

First, the historicism is in a broad sense inherent in many products ­ I.S. The Sokolov-Mikitova irrespective of, is represented by them modern ­ to the author of event or the past. Time in them "opened": it is included in wider stream of time developing against precisely certain historical epoch. These are stories about the First World War ­ which participant ­ of events it was, collectivisations, raskulachivanii, numerous ­ literary travel and other biographic texts. A number of the facts of the creative biography of the writer testify that it undertook ­ attempts of creation of products on historical plots. For example, in made by magazine «New Russian book» ­ for 1922 it was specified to the chronicle of a literary life,­ that the fiction writer the Sokolov-Mikitov «writes ­ stories from times of tsarevitch Alexey« the Vegetable marrow the Monkey » [40] . However, having refused past images, the writer moved towards the image ­ of those events which witness it directly was.

Secondly, in products of various genres and subjects there is the certain overall picture of the past caused by historical consciousness ­ of the author. It, undoubtedly, the past and the future of the country excites, concrete ­ people, the people.

Speaking about A.S.Pushkin, B.V.Tomashevsky's historicism has come to conclusion,­ that this creative quality is peculiar to the artist not at once. It ­ appears, only when the understanding of historical convertibility of the validity, forward process of public way, causal conditionality, change of public forms » [41] comes«. This understanding is traced in creativity I.S. The Sokolov-Mikitova already in 1920th years.

In a context of historical conditionality of the represented ­ validity and a historicism of a creative method of the Sokolov-Mikitova it is necessary ­ to consider a cycle «On the warm earth», based on children's memoirs of the writer, impressions on a meeting with native places after wanderings, and also added with a retrospective view in 1950th years. The most part ­ of the stories which have entered into its definitive edition is created in the mid-twenties.

Chronologically the story for children of advanced age "Fursik" (1922), published with assistance of A.N.Tolstoy in the author's ­ collection «About Athos, about the sea, about Fursike and about other», left in ­ Paris became the first­­. In the centre of a plot a horse through which prism of sensations the rural life is shown. Time press was postponed on destiny Fursika, its transition from the owner to the owner, change of a kind of activity are accompanied by characteristic markers: « Shortly before vojnoju "," somehow on summer - already there was a war »(1; 317), etc. the Rear life all becomes gradually heavier, the certificate of a general loss from war becomes deadly illness which Fursik catches from come with front of" the sick horses who were on the last legs »(1; 317). This story is one of numerous ­ children's products of that period. In Berlin and Paris there are books« Kuzovok "," Sour cream », etc., addressed to children of younger school age. The prospective reader"Fursika"is more senior, that assumes the big emotional loading, bolshy realism.

In 1925 in magazine «Red nov» the story "Dust" which then has been published in the form of the separate book edition for the first time was issued­. The publication has been noted almost by criticism though, according to M.Smirnova, it is possible to consider the story as one of the best those years (1; 503). ­ Objectivity, absorption in a historical situation of the author has noted ­ subsequently and N.Rylenkov: «So the person very well knowing poslerevoljutsionnuju village» [42] could write only. The historical consciousness of the author was to the full showed in the concept of the story, aspiration to show change in a life new, poslerevoljutsionnoj villages. The basic theme - destiny of various representatives of Russian people, in variety of its ­ layers, in uneasy first decades of the XX-th century. So the problematics ­ is formulated idiologizirovannoj by criticism: « In relation to last owners all country world appears uniform and pobeditelnoj as force. But as this world is combined if to look at it from within! » [43]

Former owners of a life have appeared at new way not at affairs: the hero of the story - the son of former barin Almazov - comes back in there is no time native places to find out the opened earth on a place of the former manor of the father and muzhiks laughing at the former misters. For some ­ poslerevoljutsionnyh years of Diamonds it was transformed beyond recognition: «it has been thin, long, crumpled­» (1; 228). V.Smirnov, treating an image of the protagonist so marks a product problematics: «the story about the former, crushing, poor landowner» [44] Is tragic on a tonality. V.Lazarev also considers new such character, one of gallery of the ruined noblemen-landowners: «Such ­ images we yet did not meet in buninskih stories». And further it is noticed, that «such former landowner named peasants« the wild barin », did not drive it, willingly talked to it, laughed, called to a table» [45] .

the Important detail of a portrait of the protagonist is also the grey dust, laying dense touch on a hat, eyelashes, to a beard is a consequence of long pedestrian travel. The image of a way, the road, traditional for ­ the writer-traveller of the Sokolov-Mikitova, here is tragic and filled ­ by philosophical sense: Diamonds enters into a narration on a country road conducting from anywhere, its occurrence in village is not anticipated any data on the first poslerevoljutsionnyh years of his life. About a hardship, fallen to a lot of the offspring of noble family, the reader guesses together with heroes-muzhiks: «Uh and hudushch. Al hunger sat?» (1; 299). ­ Hronotop products of beads also it is narrow, stay of the hero without the past and the future ­ is limited by two days in village which he leaves on the same dusty road conducting in anywhere, at large. However it is available transformations which were undergone by person Almazova as a result of ­ events in village of events: « The road burnt by the sun »and roofs burning under a sunlight are replaced now by an idyllic landscape: the village,­ a field, the river, shined with the rising sun, cause a smile in the hero.

the Motive of a way reflects philosophical reconsideration by the author ­ traditional for the Russian culture, ­ value of road attractive without dependence from ­ a class accessory as new possibilities: muzhiks, representatives of the new world went "vigorously" and "sporo", even «the old man all ran forward»; to accompany Almazova, they had to slow down. Ready to the transformations, reaching for the new world, Diamonds, however, has left from ­ derevniodin, «on a roadside»; with it the rural ­ guy who «has looked to it following brightly contrasts,­ has jumped through a ditch and with young ease has run back through meadows» (1; 245).

About "transitivity" of the hero a number of other factors testifies: ­ the lordly son - the representative of the following after the left nobility of generation,­ «on gait almazovsky, and the person like not concealing» (1; 228). «Not that regretting, not that rejoicing», one of muzhiks differentiates these far at all
the blood and chronological affinity of generation: «Your father, ­ happened, rolls from station - a cloud of dust, and you here are not worse nashenskogo than a heel beat». Trampling on a dust of roads fathers were replaced by sons who ­ together with the same dust on roads are carried by a wind. But, except traditional value ­ of "a dust of times», this image gets deeper value of insignificance, negligibility and lifelessness. «Now you are a dust», - heavy, wide muzhik Sashka - relevancy, weightiness of this character intentionally giperboliziruetsja the author speaks emaciated, weak Almazovu, «the log hut is close» to it.

It is characteristic, that Almazovu there is nothing it to oppose, he does not participate at all in dialogue, confirming associative characteristics of silence,­ serosti. The reader and will not hear its stating though any judgement. Only in a "mute" epistolary genre he will agree with ­ the label hung up ­ on it: «Me meet as the beggar. The third day one muzhik me named so: you - p y l. As it is true!» [A discharge of the author - Bekbaevoj N.R.'s comment].

A.Gorelov defines creative search and composite division ­ of the worlds by a sociohistorical background of products. The Sokolov-Mikitov «observes a rural life when in peasantry there is a struggle between novju and olden time when former forms of a life are washed away, but ­ old moral skills try to change and adapt to new social institutes when natural difficulties of creation of an unprecedented ­ society are immensely complicated by an economic and moral heritage of two exsanguinating wars» [46] .

In opposition of the worlds author's liking obviously on the party ­ of new people. In portraits of new people is obligatory to become and validity, their speech characteristics are reduced to a loud, sonorous voice and derisive ­ intonations: «how dared and directly the maid as it is confident
looked and cheerfully its brown eyes shone, Diamonds has understood, that it was young and happy» (1; 231); «- Was Vanka, and there was Ivan Semenovich, - has derisively inserted from an outer entrance hall someone's voice» (1; 239).

Opposite, the characters who still have kept former respect for representatives ­ of ruling estate, are more likely unpleasant. The drunkard concerns them the Nut with «small slezjashchimisja eyes» and calling Almazova barin Simeon regretting Almazova shepeljavyj. Except an unfriendly mention of "­ a reddish beard» the author also specifies the last, that that «has not changed almost». All is representatives of the old world, they are helpless and pity; drunk muzhik Jakush with crumbs in a beard has shed a few tears in the central scene of the story not because its barin named a dust that is why that itself is so grey and insignificant.

Doing a conclusion about an author's position, we will compare an antithesis underlying ­ the story, to A.Platonova's slogan in article «Equality in suffering» (1922): «Down with mankind-dust, long live mankind -

an organism » [47] . Stories of the Sokolov-Mikitova of this period - creative ­ reconsideration of the general tendencies.« Transitive »heroes yet do not understand it, but aspire to understand the new world, as the Diamonds, ineptly undertaken the working tool with muzhiks on a mowing. The historical process reflected ­ by the writer, A.Gorelov in a critical material« characterises Truthful ­ art: «the Curling road dust landowner Russia - Russia parasites and zahrebetnikov» [48] leaves in the past.

the Soviet criticism has met product by inconsistent responses­. On the one hand, «the best story for last years» named in the mid-twenties the story of the Sokolov-Mikitova "Dust" [49] . On the other hand, the author condemned for idealisation of an image of the former landowner. ­ The biographer of the writer V.Smirnov explains it to that «the story was beyond
the tendency of those years - primitive interpretation and Bolsheviks and their class ­ enemies» [50] . Really, got by love to near creativity of the Sokolov-Mikitova could not be entered in such frameworks. The new approach formulated in the tideway of Christian amnesty, creates ­ those conditions in which he can regret the hero really deserving ­ sympathy for the reader­­.

the story Problematics makes related it with a number of products of that time,­ the main object of supervision in which was, according to I.V.kuryshe va, antagonism spiritual ipostasej. The researcher carries Sokolov - Mikitova to the writers who have given «exact enough and deep characteristic ­ of spiritual shape and behaviour of the Russian peasants» [51] the XX-th century beginnings.

It is composite product - the story the "Son" for the first time published in magazine «New world» in 1928 has something in common with the story "Dust" a little more later. In the plot centre the same model: after ­ long absence in village there is its former inhabitant, and it is not known,­ how much alien element in the new environment it will appear. This time the author selects object of speculative experiment of the simple peasant,­ the son of the landless muzhik. Once having broken away from a habitual ­ society, he searches for a way back, however inhabitants of village will not accept it. Utopian ideas of Russian peasants about far places where the simple muzhik is well off are peculiar to the character noticed by the Sokolov-Mikitovym in a real life and is quiet. «Once there has passed on village hearing that there lives Boris somewhere away. Lives as if it is full» (1; 266).

Unlike the lordly son Almazova falling under a category of the superfluous person, Boris in village wait; the author, on the contrary, allocates with its ­ right to accept or reject the wife and children representing for it the old world. For example, the wife tries to understand cold, discharged, «as if ­ pig-iron», Boris. He prefers to waste time and money on cheerful
the widow and the fan to drink matchmaker Egor. Nevertheless, the conflict is developed ­ not on psychological, and at social level, opposition of the hero to a society. It speaks that «the village has been executed contradictions,­ passions, struggles. The debt of the writer consisted in revealing true tendencies of time» [52] .

the Author not by hearsay familiar with described realities, ­ provides the truthful ­ resolution of conflict in the given historical scenery,­ and at the given reason, practical level is unique­. Perceiving the person, living with any other life as a stranger, ­ representatives of a rustic cathedral do not give in to arrangements to allocate to the landless ­ peasant "manor". Having buried the father, that is that only thing, that really held it in these places, Boris again leaves village, and the problem of the superfluous person remains actual.

transformation hronotopa products Is remarkable. In the first edition of the story existing time frameworks do not possess semantic depth: «Deep in winter, under the Christmas, there has quite unexpectedly arrived on village the son of landless muzhik Obroski Boris». We will compare to the correction brought for the publication of the story in the book «On the warm earth­» 1954. The past becomes an important detail of an exposition: «during heavy last times - deep in winter - there has quite unexpectedly arrived to deaf our Smolensk village the son of landless muzhik Obroski, is unknown the vanishing Boris» (1; 266).

story Action is transferred to the concrete historical situation ­ noted by several capacious markers. Behind heavy ­ years for ­ the Russian village, «the hungriest time was possible Donne [to wife Boris - Bekbaevoj N.R.'s comment] to worry one». And further: «that year when negadanno ­ prikatil Boris, the village has already come up from a trouble» (1; 266). In process of sharpening ­ of literary skill, the Sokolov-Mikitov comes to understanding
importance of background of the character which, nevertheless, is given through a prism ­ of representatives of this environment now alien for the hero. The author results various hearings about Boris's past, but underlines them efemernost and insignificance. «Spoke, spoke, and anybody plainly did not know, - ­ the story-teller concludes­. - and also know-know on village, to whom before business» (1; 275) - so Boris's heterogeneity is underlined.

The hero has no past, except the "wild" children's years spent ­ in village «in a fragmentary shirt, with the face smeared with the earth» (1; 273) etc. Only in early years of a life of the hero still actually that for following generations becomes memory national. The author illustrates ­ division of estates in a pre-revolutionary society. In an episode with visitors of rich ­ landowner Boris has been impressed and bewitched unexpectedly accessible though and for short term, image of the officer and the elegant mistress and «as volchonok, looked after the leaving. To beautiful crew» (1; 274). The second example - arrival on wedding Obroskinoj of sister «in a city dress and colour tapes», with gifts of "a dark origin». Contact with an external world, with its bright party will transform then Boris into the adventurer,­ the selector of the best life. As a whole it is possible to draw a conclusion that the character ­ breaks away from a society in view of discrepancy of base values, such as work, work on the earth on the one hand and possibilities, easy money with another.

It is possible to draw a parallel between the character of the story "Son" Obroskoj and CHugunkom from the story «Day of the owner» (For the first time under the name «Master's day» in magazine «Red field» in 1926). Just as Obrosku, the drunkard and ohalnika CHugunka «on village bivali nesmetno also could not kill» (1; 326). Unites characters and that fact, that the death of each ­ of them becomes the culmination of product and allows to highlight certain lines of protagonists. We will compare a certain expiation synovej Boris's fault, attempt to pay off for the absence («Boris buried the father solemnly. In church bore Obrosku as the prince.» (1; 282)) and feeling
fault and disappointment which the landowner in relation to ­ the muzhik («for the first time tests ­ Now the forgotten promise. It was remembered to Dmitry Stepanovichu, and it became for some reason awkward, exact have convicted it in dirty in public» and further: «He has looked back is guilty.» «The Case with CHugunkom has definitively poisoned day» (1; 327)). Sjuzhetno-composite similarity is expressed and in a portrait of characters: «small, chugunno dark blue» Obroska, «red and pity» ­ CHugunok with the turned black person. Death of the small person here - the indicator of public moods in concrete sociohistorical conditions­.

the Critical material under the story «Day of the owner» about mutual relations ­ of the landowner with muzhiks is naturally engaged from the ideological point of view. M.Smirnov compares the story to a fragment about death of the woodcutter on merchant lesoseke from the story "Elen". The plot of two compared scenes coincides, also it is impossible to disagree with ­ a parallel spent by the researcher ­ between system of characters of the story (lesopromyshlennyk Dmitry Gagarin, forester Tit, his wife Aksinja) and to lead (senior Hludov, forester Frol, his wife Marja).

However the basic idea of the story is reduced by M.Smirnovym to Dmitry Stepanovicha's ability «to use heavy work of the muzhiks knocked down by need» in a counterbalance to "a difficult share of the deserted country family» (1; 508) - as in the head «On the stranger good» from the story "Elen". In the given context ­ it is necessary to pay attention to much more many-sided problematics ­ of the story.

First of all, Dmitry Stepanovicha's psychological portrait contradicts this sight. He/she is the enterprising person who has found the approach to the former, inept owner of grounds, and «the former owner, so quickly the new was how much weak and far from business has appropriated business» (1; 324). The characteristic, history of the hero is given from the point of view of the muzhiks appreciating ­ efficiency of the owner. Activity as Gagarin's main line illustrates set of details: it goes one, without the driver, jokes much, the portrait its poppy ­
simalno is short and capacious («the Owner was large, blush and is healthy»). A lot of attention is given to friendly relations of the owner with muzhiks, almost related communication with family Tita: «With godfather Titom it was on« you », spoke simple muzhichimi words, and they looked against each other understanding, winking eyes» (1; 324).

Thus, the narration in the first part of the story devoted to way in the described society, reflects the business, economic approach - it is not so important, which representatives of layers of the people. In this sense the first second part narrating about death of the woodcutter is parallel. In the centre of the second part it is not so much dramatic nature of human  destruction, how many utilitarian approach to death: «It is known, will die», «That in vain to pound. ­ Kormitego children will not become!» (1; 327). ­ Dmitry Stepanovich becomes the only thing who emotionally ­ reacts to  destruction CHugunka.

Thus, it is represented not absolutely true ­ to rank heroes of the Sokolov-Mikitova as especially negative or ­ positive characters categorically­­. Its art method is directed, first of all, on understanding of people, representation of human essence in all its ­ variety.

In 1920 - 1930 the writer also creates a number of products in which centre there is a person, relations between people. The historical context directly influences development of the person of the heroine of the story "Ava" (1928). The history of suicide of the girl of Ava Gorodtsovoj is entered In an outline of scenes of everyday life, the chronicle of a usual life of a female grammar school. ­ Terrible opening becomes the reason­: its hotly favourite father, «so Ava» was proud of honesty and which cleanliness before girlfriends, it has appeared the traitor and served in imperial ohranke, that is co-operated with department of police of the Ministry of Internal Affairs of Russian empire, knowing political investigation. Style and a tragical plot, no less than the central image, ­ have something in common with classical products of the Russian literature. However in
these historical frameworks the plot has found special value, the story has been noted ­ by the Soviet criticism as successful [53] .

the Occurred events are rather unexpected: teachers Gorodtsova ­ considered "unusual" and respectfully bowed, and Ava from the first class was the most in time grammar-school girl. It is interesting, that very soon tragical events are dissolved in a life: «And all this history, one of set gone through others, the city has forgotten for ever and strongly, absolutely how for ever and many other things is strongly forgotten» (1; 263). In 1950th years ­ have been edited the majority of products of the considered period. The Sokolov-Mikitov displaces focus from the main heroine from the story "Ava", ­ having entitled its "Grammar-school girl" for the publication in the book «On the warm earth» in 1954. However later, in 1959, the former name comes back in ­ two-volume "Compositions" of the writer. But there is lawful a judgement, that destiny of Ava inseparably linked with a society life.

For this reason the chronology of the story is under construction not on the periods of a life of family Gorodtsovyh or a grammar school, and on wartime events. Small town in which there are events, it is not becomes simple independent ­"character" of product but as though is on special to the account at the story-teller­. The first part of the story is entirely devoted its portrait and history: «the City is insignificant, very green, dreven and drevjan.», «During former times ­ the city was nice for strong life-bytem.», «from gold life-bytja ­ there was a memoirs and ashes.» (1; 246). Nevertheless, history of Ava and some dramatic episodes from a life of other grammar-school girls contrast ­ with traditional - with love - the description of a city and people occupying it. On supervision of contemporaries, the author hesitated unusual to itself ostrosjuzhetnosti of the story [54] .

One more tragical story about people and relations between them - "Blind men" (1926). Process of creation and the publication of a sketch of a life sle ­
pyh musicians is indicative from the point of view of creative judgement Soko - lovym-Mikitovym problems of difficult human relations. We will compare the ending of the first and second edition of the story. Initially story, entitled ­"Gloom", has a tragical outcome. The young singer, blind since a birth,­ kills the beloved with jealousy of its able to see past. To the love of two blind epithets "deaf person" and ­"bezumnostrashnaja" are applied,­ close to a crime - art feature of the story ­ is that the made destitute hero causes in the reader not pity, and fear.

In the second edition prepared for an exit of "the Selected products­» 1950, the Sokolov-Mikitov refuses a tragic outcome. The love of blind men is characterised by the story-teller as touching, «mysterious ­ and incomprehensible» (1; 293). The highlighted literary search speaks ­ basically hostility of the writer to gloomy colour, ocherneniju the validity needlessly [55] . So in some decades ­ after a writing of the first version of the story cruelty gives way mazhornosti­. Adhering to the maximum objectivity in the description of gone through, often dramatic, historical events, the Sokolov-Mikitov avoids ­ excessive tragedy of art fiction.

In some cases time, historical memory becomes not a background, and a description subject, and in something and the hero of product. By the considered period the story of "Road" for the first time published in magazine «New world» in 1929 and later included in the collection «On the warm earth­» belongs­. The major note concerning this time in creativity of Sokolov - Mikitova is resulted by Tchernyshev: «This 1929 - year of great demolition ­ of bases of independent managing of peasants on the earth, ­ accompanied severe mass raskulachivaniem and references of the most zealous and strong country families, - has very painfully responded on
creativity of the Sokolov-Mikitova. It has lost the rural hero - ­ the muzhik, the owner-farmer» [56] .

the Researcher notices, that process ­ of collectivisation occurring at this time ­ does not find the response in creativity of the writer. On the one hand, such policy of the state contradicted its sights - accordingly, approve it in the prose the Sokolov-Mikitov could not. On the other hand, ­ the criticism of collectivisation also did not become the decision since, according to the researcher,­ the Sokolov-Mikitov «remained the unique supporter with not quite reliable literary earnings», to lose which did not presume­. One more prospective reason of ignoring of collectivisation - «old passion to the travel which have given, besides, a new source ­ of reception of a literary material».

Anyhow, ­ not events and not people, and reflexion about the past, destinies of habitual places and things become an image subject in the "Road" story­. A plot basis is the movement, consistently replaced ­ scenery of roads and crossroads, the rivers, a monastery. It is the story - travel, and it is not so much in spatial, how many in speculative ­ sense. Travel casts over the story-teller of thought on historical memory of certain places: «How many pictures, the events, the forgotten destinies, histories ­ revive these places familiar since the childhood, road! (1; 304)»

the Vector of thought directed to the past, originates in the present is a situation of moving from one city in other, unknown destination­. There are no concrete instructions on the purpose or the terms, any reference points, except time of day. In turn, time reference points in the past ­ are as much as possible indistinct more often («in vague years», "serf" [time - Bekbaevoj N.R.'s comment]), are replaced with the universal formula "is no time"­.

the Story-teller recollects the events of the recent past illustrating ­ the national relation to an archetype of road is a mention of terrible stories about travellers who could be heard in the childhood ­ to the hero; the road stores memory national: «I Remember, how mother as we hurried was devoutly christened, happened, horses, passing a place fanned by memory of old tragical death» (1; 303). On a place of the former house of noble family mix up ancient, «slyshannye there is no time» memoirs on mistress Penchihe and the facts of the recent past about volost board, the foreman Fe - tisyche. Time category is so relative, as that, and another, ­ mixing up in memory, it seems «far, almost fantastic». Speculative travel is covered by XIX century (manor Baryshnikovyh), XVIII century (­ general Apraksin), XVI-XVII centuries (the Boldinsky monastery).

By means of reception traditional for the story-travel the author enters the main symbol of product - a live embodiment of time and the history in the name of the grey-haired high old man who meets to the story-teller on a way, namely in monastery park. Like this old man who «knows everything, has gone through three generations of the died out misters, well remembers serf», but still sharp-sightedly looks and it is tenacious holds the rubbed off crutch, national ­ memory carefully stores memoirs on the past.

the Historicism as creative quality of prose of the Sokolov-Mikitova of 1920th years can be illustrated by elements of poetics of these products­. The details entered by the Sokolov-Mikitovym in the text of the story, transfer dual perception of time - real objects are frequently perceived ­ less aloud, than the revived memoirs. In particular, it is ­ poetics ekfrasisa. We adhere classical, enough to wide definition ekfrasisa, offered known American semioti - a clod James Heffernanom: «Ekfrasis is verbal reprezentatsija ­ visual reprezentatsii» [57] .

Described visual reprezentatsiej in stories of Sokolov - Mikitova there are subjects graphic and neizobrazitelnogo­. The Ekfrastichesky description is applied to manor in ­ the "road" story­. The letter found the story-teller in manor, is used up «by intricate ancient handwriting on a grey dense paper» (1; 307). However, despite physical oshchutimost and fullness, it becomes not than other, as a vestige alien, «forever buried» the world; whereas poetic pages, at all convention and efemernosti, are a life symbol. Deadness once rich manor is transferred through a number tsveto - and light images: «dark, dimly gleaming portraits» (1; 306), «windows pylny and mutny», «the faded photos». As accompaniment to this sad picture «the dead silence» serves, that in a complex with visions opens an author's position concerning the left ­ epoch.

Here we carry the description of photos from the story "Dust". Ekfra - sis opens a theme of a combination old and new in village: «on new, yet to the wall which has not given cracks with acted teardrops of pitch ancient photos without frameworks hung: misters in wide light trousers, with the shaken up ­ dense hairdresses - may be, ancestors Almazova which taken from ­ a domonical album and has been hung out on a rustic wall for joy» (1; 230). The subject neizobrazitelnogo ­ - architecture - and actually painting becomes the reviewer ekfrasisa simultaneously­. So, in the story "Ava" the building description in which there was a female grammar school, and ­ portrait of A.S.Pushkin simultaneously hanging in a gymnasia hall is given­. In aggregate ­ both reviewers create gloomy sensation. The house left "heavy", «with tjazheloju kollonadoju","with such thick walls though from a gun beat». Pushkin, to be exact representation of townspeople about it, becomes the face of this gloomy house: « In a portrait there was something heavy as if looked from a gold frame at numbers of grammar-school girls.... Any shaggy and gloomy gostinodvorets »(1; 247).

to Illustrate a historicism of author's thinking it is necessary also on some considerable products of later period. The remote past, its communication with the present - a subject of reflexions of the storyteller ­ in the story "Barrows" (1965). «This original travel to the past, meditations of the author about history of the people and its present, about marks of its historical way» [58] . Time frameworks - from moving of Slavs after ­ which there were in "our corner of the world" green barrows, to a present situation.

Analyzing the story in whole, its style, categories of time, eternity, the past, it is necessary to compare the given text to products of classics of the Russian literature: in Bunin's filosofsko-poetic world an illustration of these concepts is the miniature «Muravsky shljah». Time and space here create sensation of history: «Summer evening, a coachman's three, ­ infinite deserted bolshak. Many deserted roads and fields in Russia, but such deficiency, such silence to look» [59] .

It is comparable also with a poem in I.S.Turgeneva's prose "village": «Last day June; on one thousand versts around Russia - a native land» [60] . Knowingly so zhanrovo these products though at Bunin in the centre the image of road, ways, at Turgeneva is village are similar, the Sokolov-Mikitova will have both that, and another - entered in a landscape: bolshak, ancient sites of ancient settlement, the river, wood. In Bunin's miniature present is one instant which fades and ­ incorporates to eternity, that was «in olden time», «there is more than thousand years» back. The Same it is readable and at the Sokolov-Mikitova: in any present situation ­ of time is narrated that was «during for a long time forgotten times». In view of bolshej ­ informativnosti and time reference points at the Sokolov-Mikitova are more various: «older times», «recently, shortly before revolution­», «last memorable years».

historical development, destiny of a place Is traced. Characters in these scenery - traditionally divided by the Sokolov-Mikitovym and another's. On the one hand, it is the people, different wandering tribes, ­ rural muzhiks, landowners, with another - oppressors-Lithuanians and Poles, and also ­ not concretised «foreign people». At Bunin the same protivopo - opposition: «Here on us in olden time infinite Tatars went». The Same reference point - times of the tataro-Mongolian invasion - is met and in ­ the introductory chapter of the second book «Arsenyev's Life":" Ravens live on some ­ honeycombs of years, and. Can be, this raven lived at Tatars ». Similarity of a miniature« Muravsky shljah »and the story"Barrows"with this fragment undoubtedly: they are connected by« the poetry of the forgotten big roads departing in ­ the legends Russian olden time ». The story of the father about Mamae, about Tatars amazes young ­ Arsenyev, forces to reflect about« communications with the past far, the general, reminding our participation in this general ». The Same motives ­ meet in poems« At the crossroads "," the Feather grass », in a sketch"Epitafija".

In the end of the story "Barrows" the Sokolov-Mikitov regretfully ­ ascertains desolation and ruin in these places. A landscape on which we can "read" the sad events which have occurred here once, it is possible to compare to a fragment from A.P.Chekhov's "Steppe" where the author tells about how it is sad and melancholy to understand that the steppe is lonely that «its riches and inspiration perish for nothing» [61] . Again it edinomyslie proves to be true stilisticheski: for example, at Chekhov the sky «is immense deep and boundless», and also "languid". At the Sokolov-Mikitova it «quiet, high». Besides, ­ the general here is wide use of epithets landscape execution as a whole in green tones.

In this regret appearing both in a narration, and in descriptions, - the certificate of, how to the author not indifferently last, present and future this edge. "Steppe" is a narration about the childhood, formation of the person,
to a meeting with the nature, and in all events, characters and scenery - ­ a surprising historical insight of the author. A historical insight ­ of the Sokolov-Mikitova - in a landscape and in knowledge of the simple person of ­ the propast, based that he sees around.

Analyzing stories "Barrows" and "Roads", A.Zhehov so characterises ­ their semantic loading: «the Main objective of these products - the people - the original creator of national history and national culture» [62] . ­ Really, that fact, that the writer ignores concrete historical characters in favour of the generalised image of the people, says that neither ­ conquerors, nor governors have not made such contribution to culture and history of Russia, what contribution has brought the people.

the Art historicism - the integral quality of "small" prose I.S. The Sokolov-Mikitova, despite lacking historical characters and plots. Under the remark of the critic-contemporary, cycles of its stories and its story unite in «an original literary epopee» about development of Russia and the Russian person during difficult domestic history. [63]

1.3.

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A source: Bekbaeva Nadezhda Romanovna. "Small" prose I.S. The Sokolov-Mikitova: a problematics and poetics. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Tver - 2014. 2014

More on topic «I was Russia»: Historicism of art thinking I.S. ­ The Sokolov-Mikitova in stories of 1920th years:

  1. the nature Concept in tall stories I.S. Sokolov - Mikitova of 1940-1970th years
  2. «Notes of the war correspondent»: war and peace problems in ­ stories and sketches I.S. The Sokolov-Mikitova of 1910th years
  3. the Concept of the nature and Russian national character in travelling sketches I.S. The Sokolov-Mikitova of 1930-1960th years
  4. "Voyages": a sight at Russia from the party in stories and sketches of 1920-1930th years
  5. 3.1. Literary sights I.S. The Sokolov-Mikitova and a problem of traditions in its creativity
  6. Russian folklore and «rural prose» in creative consciousness I.S. The Sokolov-Mikitova
  7. the nature World in products I.S. The Sokolov-Mikitova for children
  8. Pedagogical views and the childhood world in creativity I.S. The Sokolov-Mikitova: a Utopia "Source-city"
  9. Chapter 2. The person and the nature in "small" prose I.S. The Sokolov-Mikitova
  10. Chapter 3. Literary-aesthetic and moral-philosophical problems in "small" prose I.S. The Sokolov-Mikitova
  11. 1.3. Mutual relations between the Russian Socialist Federal Soviet Republic and the Mongolian National Republic in 1920th years