About the typical in realistic fiction. The world and heroes of Alexei Remizov (on the problem of the relationship between the worldview and poetics of the writer). Artistic typification and worldview of the writer

M. V. Kozmenko

The most correct, in our opinion, is the approach of the modern researcher V.A. Keldysh. In his book Russian Realism of the Early 20th Century, he writes about a group of artists whose creative method cannot be unequivocally attributed to either realism or modernism and belongs to the phenomena of an “intermediate, dual aesthetic nature” - Andreev, Remizov. In particular, the following is said about the latter: “The real-life image (in the works of Remizov. - M.K.) ... for all the sometimes mystical interpretation of it, retains a relative value in itself. And this makes it possible to separate what the writer is sent from in his work - being shaken by human suffering, painfully sorrowful, one-sided, but also reliable knowledge of the dark sides. reality, the feeling of crisis in its foundations - from that devastating decadent, mystical denial of the world to which Remizov came. "

In this work, an attempt will be made to point to a fairly integral set of mindsets, if not reconciling, then painfully conjugating both the contradictory elements of Remiz's worldview and the heterogeneous principles of his poetics.

In the early work of Remizov, two types of hero are clearly distinguished: the hero with a harmonious children's worldview, and the hero - the bearer of an "unhappy consciousness", tragic, broken and underground.

In the notes to the cycle of fairy tales "Posolon" Remizov writes about his understanding of children's consciousness: “Children have dimly attentive eyes. For them, it seems, there is not a corner in the world unfilled, everything around is teeming with lives ... Without separating sleep from wakefulness, children interfere day and night, when they are led not by their mother and nanny, but by Sleep. Every night the Sleep goes to the bed and leads them to walk to their fields to their friends. Familiar faces of games and toys live the fullest life at night, and this is reflected in the attitude of children to objects in daytime ...

For Remizov, children's consciousness is, perhaps, the only possible option for a harmonious perception of the world. Real connections have not yet been established between the real and the imaginary, between play, fairy tale and life, between sleep and reality - and the human "I" absolutely believes that it is an unalterable part of the whole and integral world. The book "Salting", in the structures of fairy tales of which elements of play and dreams are clearly visible, is focused precisely on such a worldview.

Children very often become the heroes of Remizov's film. It is important that the child's consciousness determines the typology of Remez's hero in a broader sense: a child's attitude is found (regardless of age) in the central Remez's character - a gullible eccentric, an adult child. “Almost all of his heroes are children, either real, or adults, and even old, but certainly simple-minded, and if cunning, then childish, only a child can be deceived by cunning”.

However, just as essential for Remizov is the hero with a polarly opposite attitude, the bearer of a tragically split and alienated consciousness. This second type of hero is determined by the connections between the worldview of the writer and the philosophy of Lev Shestov, a thinker who gave one of the earliest existentialist interpretations of human existence.

It is significant that in 1905, at the very beginning of Remizov's writing career, the journal Voprosy Zhizn published his sympathetic review of L. Shestov's book The Apotheosis of Groundlessness, which can be considered one of the milestone works of the philosopher. Remizov was one of the first to feel the nerve Shestov's philosophizing, found a capacious symbol that expressed the epistemological orientation of the philosophy of existence - “underground”.

In his review, the writer correctly noted that for Shestov the relevance of the “underground” situation, in which the alienated person remains, face to face with the “last questions,” is by no means connected with aestheticized solipsism in the spirit of early decadence, but with the disunity of modern people in general, generated by , ultimately, the inhumanity of society itself (the social nature interpersonal relationships in this case, of course, it is metaphized).

The underground, according to Shestov, is not a refuge for lonely genius who see other worlds, but a product of universal alienation, a spiritual "Robinsonade" of modern man. “They say that it’s impossible to define the border between“ I ”and society. Naivety! .. Loneliness, abandonment, endless, boundless sea, on which the sail has not been seen for tens of years - how few of our contemporaries live in such conditions? And aren't they Robinsons, for whom people turned into a distant memory, hardly distinguishable from a dream? " Sooner or later, according to Shchestov, a person "loses the protection of earthly laws" - and hopelessness sets in.

This turning point in the existence of personality occurs under the influence of a "blind, almost imperceptible chance." He, "a blind chance", suddenly invades the everyday life, revealing "all the meaninglessness and absurdity in the fate of an individual", and turns him to the only possible philosophy of loneliness in a situation of "being thrown away". The fates of the philosophers and artists who became the "heroes" of Shestov's works are determined by the same mechanism of "random arbitrariness." “A senseless, stupid, insignificant incident” radically changes the attitude of Nietzsche, Dostoevsky, Chekhov, and they, breaking with teachers and traditions, turn to the philosophy of tragedy, to creativity from nothing.

It is very significant that Remizov, in his review of The Apotheosis of Groundlessness, also speaks of the incident as the reason that turned Shestov towards the tragic philosophy of the underground. The same "blind accident" often invades the lives of Remez's heroes, destroys their harmonious, childish perception of the world and becomes an impetus for alienation. The fabulous harmony of being suddenly turns into a world order full of absurdity and hostile to the hero, which generates more and more "accidents". The fatal incident changes the fate and attitude to the world of the teenager Kolya Finogenov from the novel “Pond”, little Ati from the story “Princess Mymra”, a young girl from the story “Zanof”, childishly cheerful Turks from “Tie”, father Hilarion from “The Court of God” "And many others.

It is important to emphasize that blind "external" forces, revealing, under the cover of "random", a rigid determinism of individual existence, here in principle cannot be concretized as socio-historical or even as exclusively "spontaneous", "mystical", etc. Nature "Accidental" in the Remezian world is ambiguously indefinite and not meaningfully defined, or, even more precisely, is defined as an undifferentiated "something." Such an indivisibility of the elements that embrace and involve a person in their whirlpool is one of the constitutive features of the artistic consciousness at the turn of the century.

According to L.K. Dolgopolov, under the influence of both socio-historical changes and the revolutionized human ideas of natural-scientific thought, “the world began to be perceived as a unity ... Now it was not structural differences that came to the fore, but internal cohesions, connections, structural communities. Man felt himself at the mercy of natural and historical forces at the same time. And these forces themselves began to correlate with each other, merge, making up a single background against which the rebirth of Consciousness takes place. " However, the researcher continues, this general premise of the artistic self-awareness of the era in its subsequent development led to extremely opposite "models" of the individual's existence. And first of all L.K. Dolgopolov points to a variant of the perception of the world that unambiguously establishes the presence of "feedback" between a person and being. In this case, “the awareness of his full involvement in historical and social changes made it possible for the individual (be it a writer or his hero) to actively participate in the process of re-creating reality and real human relations.” someone and for some reason violated), and the movement of problems in almost all the most significant works the writer is determined precisely by the stubborn attempts of the heroes to discover at least some possibility of response, resistance to the blind and dark hostility of being.

Remizov will try to embody a similar concept of human destiny already in his very first novel "Pond" (1905), which is especially interesting because there are clearly visible structural seams and roughnesses that arise when constructing a special model of the world and the image of the hero, which was mentioned above.

The two parts of the novel strictly correspond to two stages in the existence of the protagonist, two emphatically separated from each other "hypostases" of his consciousness - the child parts).

According to critics, Remizov was the most successful in the first part of Pond, dedicated to Kolya Finogenov's childhood and adolescence, and to a large extent based on autobiographical material. The second part, which tells about the hero's entry into the "underground" (prison, exile, illness and disintegration of the spirit, crime and death), sharply differs from it. The narrative here almost all the time is turned into the soul of the hero, real events are pushed into the background in comparison with the descriptions of his dreams, delusional visions and semi-vivid memories, while the boundaries between "substance" and "appearance" are often not marked at all.

Thus, the contents of the first five chapters of the second part of "Pond" are almost entirely dreams and hallucinations, in which the consciousness of Nikolai Finogenov, imprisoned in solitary confinement, is immersed. The depiction of events in this part of the novel is less and less subordinate to the "real course of things", the logic of cause-and-effect relations; the dominant principle here is the associative-impressionistic "linkage" of the hero's feelings with the events and phenomena of reality. Therefore, in the plot of "Pond" there is an acute gap between the novel (epic) movement of the plot and the subjective-lyrical representation of events.

Andrey Bely noted this in his review: “There is no drawing in Remizov’s novel: both large strokes and details are painted with watercolors ... ". Indeed, many of the hero's actions are illogical, not motivated by external circumstances, and the movement of the plot often stops, interrupted by an internal monologue or a dream of the hero, after which the action usually resumes from a new starting point unrelated to previous events. All these phenomena, however, cannot be fully explained either by the influences of Przybyshevsky and Hamsun, or by the inexperience of the young novelist, as Andrei Bely and other reviewers of Prud do.

On closer examination, it turns out that in the overwhelming majority of cases, the portrayal of events in the novel is subordinated to their perception from the point of view of the protagonist; real events therefore become something “external”, and the clarity and consistency of their portrayal in the novel largely depends on the degree of intensity of the hero's awareness of them “from the inside”. In his first novel, A. Remizov “guesses” the essential features of the novel of the “stream of consciousness”, which, in its canonical samples (“Ulysses” by J. Joyce), takes shape almost two decades later.

The gap between the real-life material and the conventionally metaphysical problematics, which determined the ideological and aesthetic amorphousness of the novel "Pond", is deeply symptomatic. It is significant that Remizov, trying to reunite two dissimilar planes and therefore subordinating the narrative perspective to the point of view of the hero (as a result of which the picture of reality turned out to be entirely refracted through the prism of the underground consciousness), consistently refuses to correct the distorted image of reality, which would reflect the author's own assessment of the causes of what is hidden in the world evil. Such a rigid interconnection between the image of the world and the consciousness of the hero, which in the future will become one of the defining moments of Remizov's poetics, was a specific constructive and artistic reflection of the writer's pessimistic world outlook.

With much greater clarity, Remiz's concept of human destiny will be embodied in the novel "The Clock" (1908), since here the writer will find an artistically capacious and adequate image of time. The novel takes place in a watch workshop, but the clock and all related realities lose their material nature and become symbols of the hopelessness of human destiny. For the heroes of the novel, clocks are blind servants of time, into the power of which man is given up from birth; the clock, in its "run once and for all," cannot stop, cannot fail to strike the intended blow, "they do not know the time."

Time makes the existence of heroes meaningless: it makes the past irreversible (this motive determines in the novel the fate of Nelidov with his characteristic complex of guilt for the past) and prepares all new "accidents" in the future (in the fourth chapter of the third part of the novel, an ominous image of an invisible sharper, "appointed for each person by fate itself ”). The present of a person is poisoned by the "petty demon" of the time, by the power of momentary vanity. "Time is running. Time will not wait, "- this is how the" sentry voices "whisper to the heroine of the novel, Christina. “Do you know what time is? After all, it is as if a person had fallen on the terrible teeth of the wheel of time, or simply on the teeth of the "hour wheel." The wheel is inexorable, it will not let go, it will take it and pull it, it will tick in your ear, remind you every second, it will put a little singing nest in your heart, it will sing its own song. And everywhere there is one song with you, and always with you one song, and you will not hide from this song anywhere: there is no time! once! once!"

At the same time, time in "Hours" is characterized as a deeply personal category, which is especially clearly manifested in the storyline of Katya, a terminally ill schoolgirl. Katya's small wristwatch becomes an image that concentrates both the girl's doom and her resignation to the inevitable, which is emphasized by the motive of the heroine's consciousness merging with “her own” qualitatively special temporal rhythm. “Katya listened to her watch, and it seemed to her that she could, by the slightly intelligible sounds, by the slightly dawning voices of the hour, she could get into some kind of depth where everything is visible. The watch will take her. The watch will take her. The watch will take her to her watch palace, where you can see everything. " The moment when Katya's watch stops, turns out to be that last feature of the heroine's self-awareness, after which only complete detachment is possible: although Katya is still alive, inwardly she is already “on the other side” of time and being.

Her brother, Kostya Klochkov, on the contrary, is trying to change his fate, to conquer the very time, which in his half-childish, half-underground consciousness (already in the "Hours" such fusion is already possible!) Is directly identified with the large cathedral clock. The whole life of a provincial town is built on this clock, and for Kostya - the whole universe. “Not a man, not a beast - time with its clock owns life and sends days and nights, everything from it - all the torments and torments of life. And he will kill time - damn it! - will kill him with his watch and free himself, the whole earth and the whole world. " Kostya bears upon himself the truly messianic burden of freeing the whole world from the power of time, “chance,” and fate. He destroys the large cathedral clock. And this metaphysical rebellion of a teenager does not remain unpunished: having crushed time in his mind, Kostya thereby encroached on the essential principle of his personality. And therefore, freedom from time turns for him into the timeless darkness of madness.

The revolt of Kostya Klochkov makes us recall Lev Shestov once again, his tragic search for a break in the chain of “laws of nature”, attempts at any cost to break through the “wall” and find at least a meager guarantee of the “salvation” of an individual from the inevitable finiteness of existence. However, Shestov, at least in the pre-revolutionary period of his work, did not directly connect the tragedy of human fate with the category of time. Remiz's concept of time-fate anticipates the later understanding of existential time as a qualitative, final and unique category, which is the fundamental principle of existence, as a “horizon of being” that gives it meaning and turns out to be “the very original structure human consciousness". According to Heidegger, man “can do everything only within the limits of his own time ... for time is being, and above being ... man is not master, he is only his shepherd. A person's time is his destiny, which is not given to him to transgress. "

The figurative concept of the time of fate will express with even greater certainty “the closed nature of Remiz's world, the exclusive dependence of its dimensions on the social and value outlook of the heroes acting in it. Here, to a minimum, there is an author who must determine the "beginnings and ends" and make a final judgment over reality. Remizov's heroes are in no way capable of breaking through the barrier of alienation that separates them, or rising above the circumstances that enslaved their fate and consciousness. Therefore, nothing (and no one) speaks in "Hours" about the real possibilities of rearranging this absurd and "wrong" in its very foundations of the world. Beginning with the novel "The Clock", the motif of an individual rebellion, knowingly doomed to defeat, of a tragic self-affirmation of an individual in a borderline situation in different versions will appear again and again in Remizov's works. Reminiscent's interpretation of the image of Judas is indicative in this respect. In "The Tragedy of Judas, Prince of Iscariot" Remizov uses the plot contamination of the stories of Judas and Oedipus, characteristic of the folk tradition. Remizovsky Judas-Oedipus, having learned that he is an involuntary parricide and incest, decides to take upon himself an even more terrible conscious crime and to take upon himself the inevitable eternal damnation that follows him, since his betrayal is a necessary step to the feat of Christ and the final the triumph of his truth. Thus, among the constants of the artistic world of Remizov, the category of choice is affirmed, and in forms that are extremely close to those that would later be characteristic of the works of Sartre, Anuille and Faulkner.

Keywords: Alexey Remizov, criticism of the work of Alexei Remizov, criticism of the works of Alexei Remizov, analysis of the works of Alexei Remizov, download criticism, download analysis, free download, Russian literature of the 20th century

Fostering the personal attitude of high school students to the problems of worldview in literature lessons

Berestovitskaya S.E., Ph.D. n.
teacher of Russian language and literature
gymnasium No. 205, St. Petersburg,
Methodist of the Scientific and Methodological Center

“The worldview, which consists in the absence of any worldview, is the worst possible… such a worldview undermines not only spiritual life, but also the foundations of the life of human society in general,” wrote the philosopher Albert Schweitzer. - Vocation of every human being is to develop his own thinking worldview, to become a true personality. "

By worldview problems, we mean problems associated with a person's attitude to yourself (Who am I? What am I? What am I supposed to be? What is my place in the world? What is the meaning of my life?) to another person (which is reflected in the problems of duty, conscience, honor, love, friendship, etc .; the national problem, the problem of patriotism, etc.), to the world (How does the world work? What is Good and what is Evil? How to relate to Nature? What is considered beautiful and what is ugly? Etc.), to god (Does God exist? What is he like? How to relate to him? What awaits a person after death? Is a person free? Etc.).

Give students an idea of ​​how

· What is the worldview;

· What ideological problems has been and is being posed by mankind;

How they are solved by science, art, religion, philosophy,

to awaken in them the need for philosophizing - this, in our opinion, is the education of a personal attitude to the problems of the worldview.

Techniques and methods of work in a literature lesson that implement dialogue approach to teaching the subject, help to actualize the problems of worldview in the minds of students. We have identified both methods and methods that have long been known in methodological science and widely used in pedagogical practice, and those that have not yet found wide application in school literature teaching, and therefore require scientific substantiation.

Dialogue type	Traditional techniques and working methods	Experimental techniques and methods
Dialogue like human	Heuristic conversation; Discussion problematic issue; Problematic situation; Dispute, etc.	Creative works, directed on disclosure student personality, creating a situation Determination of the ethical category.
a writer,	Analytical reading; Oral verbal Painting; Writing-reflection about the work; Workshop, etc.	Creative work is thinking Creative work, connecting personal Essay about the poet; Creative work in the genre of imitation.
Dialogue of ideas	Comparison of opinions writers, poets, critics.	Drafting comparative tables, formation on their the basis of their view to the problem that speaks out orally, in mini-essay or creative work
Dialogue of cultures	Pupils' reports; Research work; Selection of illustrations; Musical, Picturesque associations to the work, etc.	Creative test
Human dialogue With myself (reflection)	Poem; Pages from the diary, etc.	all specified types

Let us show how the dialogue approach permeates the teaching of literature, using the example of lessons in the 9th grade.

1. Dialogue as human communication (student and teacher, students with each other)

Along with the traditional methods of organizing a dialogue in a literature lesson (heuristic conversation, discussion of a problematic issue, a dispute, etc.), we use a system of creative work specifically aimed at revealing the student's personality, creating a communication situation that actualizes attention to the personality of another person:

Happy memory.

How childhood leaves ...

The person to whom I am grateful.

My mom's favorite poem.

Portrait of a neighbor on a desk, etc.

These works solve several pedagogical problems:

· Pupils reveal their character traits, personal preferences, interests, hobbies, sometimes write about psychological problems arising in their lives, which makes it possible for the teacher to better understand his students;

· Getting acquainted with the work of comrades, they begin to better understand the mood, thoughts, feelings of each other, because, as S.L. Rubinstein, "One of the essential parameters by which a person is measured is the attitude towards another person ...".

For one of the generalizing lessons on the topic "Literary Directions", students were given the task: to bring their photographs or photographs of their loved ones, in which you can see specific traits portraits of classicism, sentimentalism and romanticism. Then the students had to choose the photo they liked the most and describe it using the artistic style of the direction to which the chosen portrait is close. This style is reflected even in the titles of the works, all of them are emotionally colored: “Sweet pretender”, “Little adult boy”, “Azure calm”, “Smile, sparkle of eyes, tulips”, “The most intimate ...”, “Autumn looks at you ... "," Little Paradise "," Tunisian Sentimentalism "," My Mom ", etc.

The ninth-graders did not just describe the portrait, but tried to capture its mood, to penetrate into the inner world of the person captured in the photograph:

“... In the eyes of Polina - a deep and mysterious thoughtfulness. There is a slight, barely noticeable smile on her lips, it even seems that she is not there, but if you look closely at her simple facial features, she is immediately noticeable ... This portrait expresses the real life beauty of a person. Although the photo is black and white, it immediately becomes clear that this person is very bright inside: he will succeed in life and he will achieve everything he wants ”(Vanya R.).

This feature is noteworthy: when describing the portraits of their classmates, the students tried to see the best in them, even slightly embellish both externally and internally, inspiring amateur photographs with their feelings and attitude:

“Plump clouds descended to the ground, and above them - the azure sky. In the background are calm, unhurried ships. Anya is shown in the foreground. She put her hand on the side of the ship so calmly and confidently, as if this was not the first time she had been on it. The wind blows her hair unhurriedly. There is a restrained smile on his face. Her blouse merges with the azure color of the sky. It seems to me that after this picture was taken, Anya was left alone on the deck, sitting down on a bench. She was thinking about something of her own, about something personal ”(Anton F.).

When the papers were read in class, a warm, friendly atmosphere of interested attention to each other arose.

Analysis of the works showed that

Knowledge about literary directions x became deeply meaningful, personal for ninth-graders;

The students were able to see the inner world of another person behind the external image;

The work aroused interest in the subtlest emotional experiences, personal characteristics of seemingly familiar people;

The idea of ​​the uniqueness and uniqueness of each person became a personal discovery for the ninth-graders, which many of them said when discussing their works.

Interest in peers, their problems, experiences is characteristic of adolescence. It is much more difficult to help ninth graders think about abstract philosophical problems. Despite the fact that the desire to comprehend the world, the solution of moral issues is also characteristic of this age, it takes serious efforts of the teacher so that the need for philosophizing can be realized in the lesson.

We begin the dialogue about ethical, philosophical categories in a literature lesson by defining these categories. Ninth graders are invited to write their article in an explanatory dictionary, which would explain the meaning of the words conscience, justice, morality, love, etc., depending on the topic of the lesson. Trying to explain the meaning of a word, the student, perhaps for the first time, seriously ponders both the content of the concept and his attitude to it. Of course, such an assignment should organically fit into the context of the lesson. So, studying the work of Guy Valery Catullus, ninth-graders reflected on the nature of the feelings that the poet feels for his beloved. Love or passion? How is love different from passion? The students tried to define these concepts. In the lesson, everyone read their definition. Then we turned to an explanatory dictionary and - again to poetry. The bitter passion of the ancient Roman poet brought the modern schoolchild closer to the mystery of love, helped to philosophically comprehend this concept. Several students had a short essay instead of a definition. Here is one of them:

Sand. Hot sand, hard, on which you walk somewhere and hope that now - just around that corner - everything will be over, and what remains will be fine. But you go, you go, and nothing is perfect. And only sand, hot and hard, like passion. He gives off his heat to his legs, and he himself demands something in return. And you walk, tired, it’s hot and painful, and you want to put your feet in cool water, you want the breeze to blow - you want love, not passion, all-consuming like sand ... (Alexandra R.).

We see that the student is trying to sort out her feelings. Since a girl is emotional by nature, she has an associative-figurative type of thinking, instead of a direct answer to the question ("How is love different from passion?"), She mentally draws a series of pictures that seem to be linked into a small film, where thoughts, feelings, sensations are transformed into a visible image - a video sequence. Thus, reflection generates creativity.

In this case, the reason for reflection was the poetry of Catullus, then the students turned to personal experience (by the age of 15, boys and girls already have experience, if not feelings, then reflections on love) and then, after reading the works in the classroom, a dialogue took place, during which discussed the "eternal" problem of love and passion.

The students recalled the love of Romeo and Juliet, Peter Grinev and Masha Mironova, as well as the attitude towards Masha Shvabrin, Antigone's love for her brother and Phaedra's passion for Hippolytus. Having written and then read the work, each internally already joined the discussion and even if he did not speak at the lesson, he closely followed the performances of his classmates. Most of them came to the following conclusions:

Passion, "all-consuming like sand", absorbs, takes away, demands for itself, is directed at itself, passion is insane and painful, there is only you in it, your desire and pain, it can kill and destroy, because it is not controlled by the will.

Love is directed at another, it gives, it is "a light cool breeze in the heat", "light and harmony."

However, the following opinions were also voiced:

- It's boring to live without passion!

- It is impossible to think about something else all the time!

Got a question:

- And what to do if you feel not love for a person, but passion, and suffer, like Phaedra?

At the end of the lesson, ninth graders asked the teacher for their opinion. We shared our thoughts on this topic, talked about how love and passion are understood in Christianity, cited excerpts from the articles of Vl. Solovyov, V. Rozanova, however, they noticed that this is only our vision of the problem, our beliefs for a given period of time, which can change, since "eternal" problems are therefore eternal, because they do not lend themselves to an unambiguous solution and at the same time do not allow us to forget about yourself.

A dialogue about worldview problems does not end with their solution, but awakens reflection, a desire to return to the problem on a different basis.

This methodological technique can be used in the study of any topic in order to actualize its ideological potential. Depending on the educational goals of the lesson, the mood of the students (it must be taken into account), the degree of trust in the teacher's relationship with the class, the teacher chooses those philosophical categories, the definition of which will lead to an ideological dialogue.

So, when studying the friendly, love, freedom-loving lyrics of A.S. Pushkin at the beginning of each topic, before talking about what friendship, love was for the poet, as he understood freedom, the students gave their own definition of these concepts. At the end of the study of the topic, they again turned to these definitions, changed something in them, supplemented them. We focused the attention of the students on the fact that Pushkin's attitude to friendship, freedom, and other philosophical categories changed throughout his life, became deeper, and acquired new shades over the years. This happens in the life of every person, if he does not stop in his spiritual development. For many, the first meaningful definition of the most important ethical categories was the beginning of the creation of their own philosophy of life, about which, over the years, the graduates said: “We would so much like to sit at a literature lesson again, talk about the meaning of life, argue”; “I think the more time passes, the more often we will remember how we discussed together what love, honor, real friendship... Literature lessons taught us a deeper understanding life values, awakened our souls. "

Pupils show their personal attitude to the categories of conscience, duty, justice, mercy, good and evil, inspiration and creativity in that, firstly, they give their own definition of these categories, which already contains this attitude, and secondly By engaging in a discussion, getting to know the opinions of classmates, teachers, learn to defend their point of view or correct it. Such work prepares a dialogue with a literary text, in which students can already highlight the worldview problems posed by the author.

2. Dialogue with the writer

Such well-known techniques as analytical reading, posing problem questions, oral verbal drawing, etc., help to enter into a dialogue with the text in a literature lesson.

We offer ninth-graders such a type of work as creating an essay about a poet. The work immediately sets the student up for a dialogue with the author, stimulates interest in the problems of the author's worldview.

We choose 10-15 of the most striking poems, read them in the lesson or give the students the task to compose a composition, which they perform themselves; the task is written on the board:

1. Write down the brightest, memorable, favorite lines.

2. Write down words that often appear in poetry.

3. What does the poet write about, what problems do he care about?

4. What feelings and thoughts do these verses give you?

5. What kind of poetry is it? Pick up epithets.

6. What can be said about the character and fate of the poet from his poems?

7. Musical associations.

8. Color associations.

9. Literary associations.

10. Did you like the poetry? How?

We have highlighted in italics questions that focus the student's attention on how to artistic creation reflected the poet's view of the world.

Ninth graders read their notes, record interesting thoughts of classmates. Further, the teacher briefly talks about the fate of the poet so that students can be convinced of the correctness or error of their guesses. The result of the lesson is paperwork, reflecting the impression of the recited verses. You need to call it a line from a poem, which, according to the student, reveals something very important in the work of the poet under study.

Let us analyze the works that were the result of the first acquaintance with the poems of ancient Greek poets.

"The freedom-loving god Ares, I am a faithful servant,

Also, the sweet gift of the Muses is well known to me "

Archilochus is a warrior. Since childhood, he was haunted by need. He is accustomed to swallowing the dust of the roads of foreign countries, enemy chariots, accustomed to bear death and run away from it. It was wars and privations that made him a poet and gave him wisdom, shaped his personality, his sharp mind. Only the faces of death made him love life: “We are alive. The share of the fallen is worse than the share. " He is not attached to war, he is not cruel at all, he can enjoy the wonderful side of life. But his profession is to be rude and merciless to enemies and offenders, he is a warrior - and this gives him the right to "repay the terrible ones who have done me evil" with evil. His poetry is the poetry of a warrior, it is coarse, truthful, it castigates human vices. His poems are battle ranks.

(Petrov Alexander)

"It doesn't seem difficult for me to touch the sky ..."

... She had a gift from nature: she saw the bright side in everything. Love for life, beauty of the human soul, harmony - this is what Sappho wrote about. What a contrast between the dramatic works of Homer, where it is full of death and blood, the work of Archilochus, where passion coexists with bitter irony and sarcasm, and the joyful, almost airy poems of Sappho! I agree that severity is needed, reality is needed, but sometimes this severity and reality becomes too much! After all, revenge and death, war and slavery - all this is so terrible and disgusting that one wants to leave this world. Get away, at least for a while, from deception and vice, from heartlessness and cruelty to where there is only light and joy, kindness and affection. Into the world created by Sappho.

(Lyasheva Marina)

Working on the creation of an essay, ninth-graders are trying to penetrate into the artistic world of the poet, to comprehend his worldview, to understand his origins. The fate of the hired warrior, according to Alexander Petrov, determined the view of the world of the poet Archilochus. "Faithful servant of the god Ares" and in poetry remains a warrior. The young man does not express his attitude to the work of Archilochus - he is trying to understand the inner world of the poet-warrior, expressed in the excerpts from his poems that have come down to us through the millennia. On the contrary, in the work of Marina Lyasheva, we see, first of all, an attitude towards the poems of the ancient Greek poetess. And it is the attitude to the world, light, light, harmonious, that most of all attracts the girl in Sappho's poems. We set ourselves the task of helping ninth-graders to see his view of the world in the poet's verses, to involve them in thinking about what determines the poet's worldview, why these themes inspire him, and then how a person can generally relate to the world and what kind of view the world is closer to them.

The transition from literary problems to universal human problems is always associated with the actualization of the personal experience of students. So, after reading and discussing the ode, G.R. Derzhavin's "God" ninth-graders were given the task to reflect in writing on the poet's words: "I am a king - I am a slave - I am a worm - I am God."

Interpreting poetic thought, the student relied on personal experience: the experience of analyzing the characters and actions of people, literary heroes, experience of reflection. At the same time, if there was no such experience, the work prompted analysis and reflection. Philosophical problem "What is a man?" and why he is simultaneously a "slave", "king", "worm" and "God" made you think about the question: "What am I, after all, I am a man?" Have there been situations in my life when I showed myself as a "worm" and "slave"? These questions were not posed by the teacher, but arose in the minds of the students when they wrote a work or participated in a discussion. Thus, ninth graders involuntarily turned to introspection.

The reading and discussion of the papers led to a discussion about the nature of man.

- A man is a king when he does not have power over the people, but over his feelings, actions, thoughts. A person is a slave not when he is under the rule of someone, but when he does not control himself, he is a slave to laziness, envy, anger.

- Man is the king of himself. He is free to command himself and do with himself what he wants. On the other hand, he is his slave. A slave to his desires and whims. Only people who are very strong in spirit can resist themselves.

- Man is a worm. He's pathetic. Circumstances dictate them. On the other hand, he is God. After all, you can do yourself and your destiny with your own hands.

- A worm is one who spoils not himself, but other people, and commits meanness. It interferes with life. A real worm spoils fruits and plants. And the man-worm spoils people. Man-God is the one who helps people, protects them, saves them.

Arguing their thoughts, the students gave examples from life, literature, cinema. Gradually, the majority of the class joined the discussion. One of the ninth-graders drew attention to the fact that Derzhavin, when listing the hypostases of a person, is not commas, but dashes. Why?

- Probably, the poet wanted to emphasize something with this. The dash seems to connect these concepts with one line.

- Derzhavin talks about different possibilities of one person. He can become both a "worm" and a "God".

- And sometimes a person can be both good and bad at the same time. In some ways he can be like a "slave" or "worm", and in some way like a "king" or "God". For example…

We finished the lesson with the words of F.M. Dostoevsky: "Man is a secret ..." Pushkin, and think about why the director took Derzhavin's line, which was devoted to the discussion, as an epigraph to the film. Thus, the reflection on the ideological problem does not come to an end in principle.

The problems of happiness, the meaning of life, love, attitude to the Motherland, nature, art run through all Russian literature. And each time, turning to them, the student grows as a person.

Creative work in the genre of imitation is another opportunity to personally reveal and enter into a dialogue with the studied work, author, literary direction. The student masters the aesthetic form, putting his own content into it. Creative works, which are based on this technique, there are a lot: this is an imitation of a genre (write a fairy tale, song, ode, sonnet, etc.), a literary movement (a letter in the style of sentimentalism, a poem in the style of romanticism), the style of the author, a work (write a poem about modern life in the style of the poem "Who Lives Well in Russia", continue the description of nature in the style of Gogol, Turgenev, finish a sentence of love in the style of Bunin or Kuprin, etc.). Working on imitation, the student passes through himself both the author's ideas and the author's style, learns to look at the world through the eyes of another person, at the same time remaining himself.

Before giving the assignment to write an imitation, it is necessary to prepare the student for such work. The first is to carry out a stylistic analysis of the text that will need to be imitated. Highlight and explain the special features of the style of the era, literary movement or author. Secondly, to teach how to find them in the text. Then practice in recognizing the texts of the studied literary direction or author. And only after that we gave the task to write an imitation. After studying the poems of the ancient Greek poet Theognis, the ninth-grader wrote her hexameters:

The worst thing, friend, is not to lose life, but honor.

Few think so, but he is truly right.

The one who will give a hand to the enemy drowning in the sea,

They will call him a fool, but he is a man with a soul.

My friend, remember, we just don't look like a beast,

That we can protect ourselves with firm prohibitions.

(Anastasia S.).

The girl expressed in these verses very important worldview ideas: that honor is more important than life, compassion for enemies, that a person is obliged to limit himself to the framework of the moral law if he does not want to become a beast, and that people who live according to higher moral laws are not understood and rejected. Ideas expressed in verse became a topic for discussion. Ninth graders recalled literary heroes who acted according to these principles. Not everyone agreed with the thoughts expressed in the verses of a classmate. So much the better: the conversation in the literature class should be frank. At the end of the lesson, we asked the students to answer the poems of a classmate with their hexameters.

A sonnet about love - after reading the sonnets of Petrarch and Shakespeare, a prose poem - after studying Turgenev, "One Day of My Childhood" - after passing Tolstoy's story "Childhood" - these works are linked in the minds of high school students classical works with modern life- their lives, human and national problems with their personal human problems... Thus, a dialogue with a literary text, organized as a problematic discussion of it, an oral or written response to one of the problems posed by the author, the creation of an essay about a poet or imitation of a work, author, literary direction inevitably leads the student to comprehend the problems of the worldview.

3. Dialogue of ideas

“In literature lessons, we see (and should help students see this!) That all our writers painfully think about one thing, in different ways, naturally, solving this or that problem, but constantly keeping each other in mind,” writes I. WITH. Gracheva. The same worldview problems are posed and solved in different ways in the literature. Artists can develop each other's ideas and can enter into sharp controversy. Already in the 9th grade, we begin to work on the cross-cutting themes of Russian literature: attitude to the Motherland, the purpose of the poet and poetry, the meaning of life, etc. In order for young people to have their own answers to worldview questions, we introduce them to the possible options for these solutions, we draw attention to the fact that humanity is constantly looking for answers, therefore, there can be no simple and unambiguous solutions.

Considering a problem that is being solved in the work of many writers and poets, we draw up a table with quotes and short conclusions.

So, in the first quarter of the 9th grade, students get acquainted with the work of three poets who wrote mainly about love. These are the ancient Greek poetess Sappho, the ancient Roman poet Guy Valery Catullus and the poet early Renaissance Francesca Petrarca. Three poets - three different images love. Reflecting on their differences, ninth-graders fill out the table, find the necessary quotes.

			Petrarch
Joy or anguish brings love?	Love is light "… with me, as long as I love sunlight, glad, inseparable. "	Love is torment suffering. Love-hate: "And I hate her and I love…"	light flour: "Oh sweet the pain of memories. "
The poet's love - sublime worship or earthly passion?	Love and earthly, and heavenly: “I don’t think difficult up to the sky touch ... "; “And the soul still does not And there is no kiss on the lips "	Earthly passion: "Now it is split You cracked it jokingly, Lesbia, passion and sadness They broke my heart ... "	Ideal Sublime love: “I fell to her footsteps in verse, Heart heat filling sounds And with myself was in separation: Himself - on the ground, and thoughts are in the clouds. "
What is the image (beloved)?	Sweetheart is better everyone on earth: “And for me on black the earth is more beautiful than all only beloved. "	Beloved is earthly sinful, vicious “Through her fault it has dried up heart…"	Beloved - Unattainable Deity: “… Equal on earth Madonna, a miracle - Mortals in the midst ... "

We return to this table, getting acquainted with Shakespeare's sonnets, love lyrics by Byron, Zhukovsky, Pushkin, Lermontov, it can be continued in grades 10-11. At 15-16 years old, love is a magic word. “But the school,” writes I.S. Gracheva, - does not help the young to meet love at least minimally prepared internally ... Young people expect only joy from love, extraordinary incinerating happiness. They miraculously, with our help, however, passed the torment of love, past its traps, its slavery. " In order to create your own idea of ​​love or another ethical category, you need to know what content other people, in particular, poets and writers, put into this concept. This gives the young person the opportunity to engage in the dialogue of ideas himself, to express his views on the problem orally or in writing.

4. Dialogue of cultures

“To discover your own face, that is, find your life purpose, you need to face other people, with a different, unusual way of life, - wrote the Russian philosopher, teacher S.I. Hesse. - Through comparison with others, we come to the realization of our personal property. Deep comprehension of the native language, native culture ... is possible only through acquaintance with a foreign language, a foreign culture ... ". Unfortunately, the Russian culture of the 18th, 19th and most of the 20th centuries is a foreign culture for our students - people of the 21st century. A separately taken literary work cannot be comprehended outside the cultural context, a holistic view of the cultural era and at the same time detailed analysis a work of art makes it possible to imagine how the main ideas of the time were reflected in it (in its form, content). Therefore, we pay great attention to interdisciplinary connections:

· Russian literature - Russian language;

Old Russian literature - Russian literature XVIII—XX centuries;

Russian literature - foreign literature:

literature - music - painting - architecture - theater;

literature - philosophy - religion.

It is important that the idea of ​​the determining influence of the social worldview on culture was personally perceived by the students. Considering the main ideas, ideals, expressed in the art of a certain time, the student again turns to worldview problems. In order for the dialogue of cultures to be personally perceived by the student, he needs

· To put oneself in the place of a person of another time, living in the atmosphere of another era, to feel this time;

· “Translate” the content of the work into the language of one's culture, see the relevance of the problems posed by the author for his time, their universal significance;

· To comprehend the aesthetic form of the work, its nonrandomness, organic connection with the content;

· To feel the charm of the ancient language and style, to enjoy their peculiar beauty;

• get a creative impulse, try to write about your own, imitating the style of a foreign era;

· To realize the unity of culture, through immersion in a different culture, to better understand oneself, one's time.

This form of lesson, as a creative test, gives the student the opportunity to realize all the selected conditions.

Grade 9 is a very important period in the literary education of a student. The student gets acquainted with cultural eras and trends, from antiquity to realism. Creative immersion in the cultural atmosphere of the era helps to navigate this complex material. In the creative test, students "present" their knowledge in a creative form, and, in accordance with the idea of ​​personality-oriented education, everyone chooses the form that is closer and more interesting to him.

Let's give an example. Creative test “Classicism. Sentimentalism. Romanticism "completed the theme" Literary Directions ". The ninth-graders got acquainted with the main features of classicism, sentimentalism, romanticism, not only in literature, but also in architecture, painting, music, learned about stylistic features these literary trends, their ideas, conflict, genres, heroes. Foreign classicism was presented by one of J.B. Moliere, Russian classicism - the work of M.V. Lomonosov, G.R. Derzhavin, D.I. Fonvizin. From the works of sentimentalism, the story of N.M. Karamzin " Poor Lisa". D.-G. Byron gave an idea of ​​foreign romanticism, K.F. Ryleev and V.A. Zhukovsky - about Russian romanticism. "Southern Poems" by A.S. Pushkin, the poems "Mtsyri" and "The Demon" by Lermontov, studied earlier, were also mentioned in the lessons on romanticism. Based on all this studied material, the students began to prepare for the test.

The class was divided into three groups (according to the number of presented literary directions). The lesson took place in the form of presentation in groups creative assignments... The teacher only started and finished the lesson, i.e. created an emotional mood and carried out reflection at the end.

The epigraph to the lesson was the words of S.I. Gessen: “Human education is a journey. This is a journey in the land of the spirit, in the world of human culture ... The goal of education is to become familiar with the world common human culture. "

A month before the creative test, the students received the following assignments.

1.Take a segment of the video: the first group - "Petersburg classicism", the second group - "Petersburg sentimentalism", the third group - "Petersburg romanticism". Then a short video was edited, the script of which was discussed in detail with the students. The poems of 18th century poets about our city were accompanied by a video sequence of ceremonial St. Petersburg - the city center, then - a sentimental walk through Pavlovsky Park with a volume of Richardson, and then - a lonely wandering around the city, a sad look at the panorama of the Gulf of Finland. This assignment helped ninth graders understand that we live in a city where the culture of the past merges with the culture of the present, where art can help us immerse ourselves in the state of mind that we are striving for at the moment.

2.Take a photographic portrait in the style of your literary movement... This task once again drew students to painting of classicism, sentimentalism, romanticism, made it possible to see how a person is represented in portraits different directions... What is emphasized in his facial expression, clothes, what accessories the artist chooses, whether the background of the painting is random. The ninth-graders (especially girls) really liked this task, they diligently chose outfits, did their hairstyles, thus, as it were, trying on a bygone era.

3.Prepare a mini-composition (4-5 minutes) by verse: the first group - D.-G. Byron, the second group - K.F. Ryleeva, the third group - V.A. Zhukovsky. Poems in a mini-composition should be united by one theme or chosen according to some other principle, which should be reflected in the title. It is advisable to choose music for the poems and think over the direction of your performance. Interestingly, all the groups have chosen one theme - the theme of love. And then we were able to pay attention to how differently a person is revealed not only within the framework of different literary directions, but even within the framework of one literary direction, moreover, one topic.

4.To put on a small excerpt from the work of "his" literary direction. The students chose excerpts from the comedy by Zh.B. Moliere "Don Juan", stories by N.A. Karamzin's "Natalia, the Boyar's Daughter" and the dramas by M.Yu. Lermontov's "Masquerade" (all three works are non-programmed). Before the ninth-graders showed the prepared scenes, one of the students (this was an individual task), having studied the repertoire of Moscow and St. Petersburg theaters, told which works of literary trends of interest to us are on the modern stage, and made conclusions about why these works have chosen contemporary directors, what problems urgent for us were posed by their authors.

5.To write a work - imitation in the style of classicism, sentimentalism, romanticism(by groups).

True art always evokes a creative response. Of course, not everyone can write a witty parody or a serious ode, but a few quatrains, stylization letter or miniature are available to almost everyone. In addition, creative credit assumes the distribution of tasks between all members of the group, i.e. everyone chooses what he likes best, what he does best.

In the lesson, ninth-graders clearly saw how they enter into a dialogue different kinds arts: architecture, music, painting, literature, theater - how the culture of the present and the vulgar interacts in a single space, and how the dialogue of cultures takes place in our minds.

At the end of the creative test, we turned to the students with questions: “ End XVIII - early XIX century - a time when all three literary movements existed at the same time. Imagine yourself as a poet, writer or artist of this time. In what direction would you work? " Most of the respondents chose sentimentalism. Classicism frightened off with "rules", romanticism - with tragedy. Modern young men and women have chosen a feeling: sincerity, tenderness, cordiality, however, rejecting excessive tearfulness and sugaryness.

To the question: “What gave you, people of the XXI century, acquaintance with classicism, sentimentalism, romanticism? What thoughts, ideas, images did you find interesting, remembered, became a part of your inner world? " ninth graders answered the following:

- I pondered for a long time about the conflict of feeling and duty. What's more important?

- The thought that “the heart of a person decides his destiny” was remembered, I internally agree with it.

- The philosophy of romanticism seemed interesting. However, I realized that you cannot challenge the whole world, this will not change the world, but only lead to personal tragedy.

- Somehow I suddenly realized that the culture of the past helps to better understand ourselves in the present and in general our time.

The pupils' answers testified that interest in worldview problems for many had become stable. The teachers present at the creative test - the chairmen of the methodological associations of the district schools - noted how freely the ninth-graders discussed serious philosophical problems.

In conclusion, I would like to quote the words of the Russian philosopher V.S. Solovyov on the importance of a person's worldview orientations: “... are certainly necessary for life of human beliefs and views of a higher order, that is, such that would resolve the essential questions of the mind, questions about the truth of existence, about the meaning of ... phenomena, and at the same time would satisfy the highest requirements of the will, setting an unconditional goal for will, defining the supreme norm of activity, giving the inner content of all life. "

References

Gessen S.I. Foundations of pedagogy. Introduction to Applied Philosophy. - M .: "School-Press", 1995.

Rubinstein S.L. Problems of general psychology. Moscow: Nauka, 1973

V.S. Soloviev A few words about the real problem of philosophy. // Works in two volumes. Vol. 1. M., 1989.

Schweitzer A. Culture and Ethics. M., 1973

Change the "lens", gentlemen ...

The perception of the surrounding world, the existing reality, is different for everyone. Some claim to be beautiful, others grin and shrug their shoulders, preferring to remain silent. And, nevertheless, everyone has their own perception and the same does not exist. To be precise, then, there is no right or wrong worldview, there is an assessment of life reality, built on personal experience.

Evaluating certain events, life situations, people are convinced that they are evaluating actually, objectively and impartially. In fact, this is not so, in this they manifest worldview problems... A person perceives the world as he sees it through his own lens of his past experience, views and beliefs. Exactly personal experience is the very lens through which people evaluate and create their lives. Yes, they are doing it! According to unshakable laws, a person is the creator of his life. What he is internally convinced of is a kind of magnet that attracts new trials, various circumstances. Everything that happens due to attraction is viewed through its own lens, that is, in the obstacles on life path It is not the world that is “to blame”, but what is inherent in us. When the lens changes, the world around the person changes.

What's really going on ... who is "to blame"?

Everything that surrounds us is formed from energy vibrations, all physical reality is energy vibrations of different frequencies. This is physics and it is not fair to deny it. A person's thinking is also vibrations, or rather, the thoughts themselves. The brighter the vision of the situation, which is comprehended, the faster it will be imprinted in our subconsciousness. The speed of getting into the subconscious is influenced by the frequency of the same thoughts, sensuality, emotionality. The subconscious, in turn, like a "sponge", absorbs and, at the moment when a sufficient amount of "mental" energy is collected, it crystallizes into beliefs and begins to vibrate inside a person. The vibration of beliefs in the subconscious attracts circumstances, people, various situations that fully correspond to our thoughts and determine our further lens.

Thoughts are not just beliefs and attitudes toward something specific. These are the same real vibrations, like the table we sit at, like the walls that we see in front of us. They are the main creative force in the life of every person. And have a powerful influence on the formation life situations... But the most amazing thing is that a person has complete control over them, but, often, pays scanty attention to his thoughts.

Changing the level of thinking ... or what to do?

Before giving up certain beliefs, they should be subjected to careful analysis. It is necessary to evaluate the truth of thinking from the position: what influence does this or that belief have on life? What events did it cause, and what consequences were formed as a result.

Focus and choose the area of ​​your life that excites you the most. It can be money, health, personal relationships. Realistically evaluate, even through your own lens, the place in life that has the most problem situations. Write the thoughts that most often arise when you have to solve certain issues in this area. These can be short installations, snippets of phrases, personal conclusions from the most striking events, 10 positions in total. At the time of this writing, do not think about the truthfulness or truthfulness of a belief. The purpose of the assignment is to assess the impact of beliefs, not how well they correspond to the truth. Before you begin evaluating your written phrases, tune in internally. Much will depend on honesty, the desire to correct the situation, change your world and attract positive things into it. You don't need to show this list to anyone, much less ask for advice. This is a work with personal perception, so you only need to listen to yourself!

Select one of the entries in any order. Read it carefully, slowly, several times. Listen to your inner state as you read it. What emotions does it evoke? What events pop up in my memory? What desire is arising at the present moment? Ask yourself the question: How well does this setup serve me? What good has she brought to my life? What did you teach me? What was done afterwards? And so you need to work out with each phrase. It may not be possible to cover the entire list the first time. It is necessary to return to it after some time. Some statements will have to be rethought several times. Be prepared for the fact that not all beliefs will evoke positive emotions. At those points where resistance is felt, negative emotions appear, put an X.

As the work progresses through the list, it becomes clear that not all mental attitudes work for the good. Return to those marked with a cross, "live" mentally again, evaluate from all sides. Ask yourself: Do all people hold the same opinion? Are there those who do not think so and how do they live today? What can happen if you don't think so? Answering these questions with utmost honesty and thoroughness, it will become clear that many live without such "conventions." Their lives are much more pleasant and richer. They smile more often, causing others to smile. It was these people who most often came to the rescue in difficult times. And living without such convictions, they feel safe, more confident than others.

Before deciding how necessary this or that attitude is for later life, think about how many people are there who are ready to change other people's beliefs? How many are those who are ready to change their life attitudes for the sake of someone? There are no such people. Everyone changes for himself, for himself, while changing his world, his lens of views. Whether a person will completely abandon beliefs or seek a replacement is not important. It is important that such work on oneself will require discipline, self-confidence, great internal efforts and time. But this is negligible in comparison with what will be received in return - the world painted with other "colors". Change the lens of views, ... gentlemen.

Copyright © 2013 Byankin Alexey

At the turn of the 19th and 20th centuries, mysticism and occultism became an immediate component of the spiritual life of a certain part of Russian society (this includes, first of all, the artistic intelligentsia and Russian philosophers). This phenomenon was caused by a spiritual, ethnic crisis that coincided with a number of economic shocks. In this atmosphere, what had been established for centuries collapsed, human consciousness was rebuilt.

Naturally, the reaction of contemporaries to what was happening was not unambiguous: delight gave way to despair, and the feeling of striving for the future - incredible nostalgia for the past. But the most important thing was that man did not always find a place for himself in the renewing world. Often it was this position that gave rise to mystical quests. Their essence was expressed in the individual's attempts to retire, to isolate himself from the world, alien and incomprehensible. As A. Dorofeev noted: “At the turn of the century, a fateful time of troubles comes in Russia. Wars. Executions. Revolutions. Riots.

And mystical views and occult sciences are encouraged at such a time. Everyone is trying to look beyond some surreal line. "

On the other hand, the very scope of the transformations taking place at the turn of the century seemed mystical, sent down by higher powers. As a result, in literary works related to this stage, reality is usually combined with mysticism (a clear example of this is A. Blok's poem "The Twelve").

It should also be noted that the mystics tried to see the mystical in science. And science itself helped in this with its discoveries in the field of studying such phenomena as the atom, electricity, radioactivity. According to the well-known figure in the field of domestic occult philosophy of the early 20th century D. Strandden, "modern science. Has come close to the theories of alchemy

1 Dorofeev A. Preface. // Sologub F. Blood drops. Selected Prose. -M .: Centurion Interpraks, 1992. - S. 2. kov ".2 His opinion was based on the fact that the seekers of the" philosopher's stone "already knew such concepts as" material atom "," ether "(correlated with the radioactive background Earth) and "energy currents".

Mysticism penetrated into spiritual life in other ways. Back in the 80-90s of the 19th century, an extraordinary flowering of such a science as Egyptology began. S. Klyuchnikov describes this fact as follows: ". Interest in spiritual culture has flared up in Russia Ancient egypt... This was expressed in the successes of academic Egyptology, and in the growing gravitation towards ancient knowledge, myths and samples of "Kem-land" on the part of the artistic intelligentsia, and in the attempts of Russian occult philosophers to penetrate the depths of hermetic wisdom. Examples of such an occult approach include the activities of the Russian astrological school at the beginning of the 20th century and, above all, the work of the astrologer Zapryagaev, books by domestic thinkers and practitioners of esotericism Moebius (although Mobius was not a domestic thinker -E. S.), Uspensky, finally, Vl. Shmakov. In his works "The Sacred Book of Thoth. Arcana Tarot" and "Pneumatology" Shmakov quotes in detail the sayings of Hermes, setting out 22 arcana (principles, secrets), according to which, according to the teachings of the ancient Egyptian sage, the universe is arranged. "

At the same time, close attention is paid to other esoteric teachings, which was expressed in a new surge of interest in the mystical knowledge of the ancient Greeks (Pythagoreans, in particular), Israelis, myst Ancient India etc.

The rather important role of mystical knowledge in the spiritual life at the turn of the 19th and 20th centuries was also evidenced by the fact that a large number works on the history and philosophy of mysticism. Among them, you can

2Stranden D. Hermeticism. Intimate philosophy of the Egyptians. - SPb., 1914. - S. 6. Further, "Strandden D." with indication of pages.

3 Klyuchnikov S. Light of Egypt. // Stranden D. Hermeticism. - SPb., 1914. - P. 6. call "The Philosophy of Mysticism" by Karl du-Prel4, as well as the works of PD Uspensky, in which the author created his own doctrine. The works of E. Schure5, D. Strandden were descriptive and considered the features of the ancient mysteries: Hermetic, Orphic, Brahmanical, Delphic, Eleusinian, Christian, etc. his writings he considered general views ancient mystics, expressed in various mysteries, as well as a mystical picture of the development of the world. Thus, in works on mysticism at the turn of the 19th and 20th centuries, one can find the author's own interpretation of ancient doctrines.

The greatest interest in mysticism in Russian literature was shown by the Symbolists: D. Merezhkovsky, V. Bryusov, A. Blok, A. Bely, etc. For them mysticism became a "magic crystal" through the prism of which the artist looks at the world. That is why the picture of the world in symbolist art is half-mystical, half-real.

The appeal of writers and poets to ancient and modern mystical teachings revived long-forgotten concepts in the field of spiritual knowledge. First of all, the very word "mysticism" (gr. Mystika - "mysterious rites") meant "belief in the divine, in the mysterious, supernatural world and in the possibility of direct communication with it." Identical values

4 Du-Prel K. Philosophy of mysticism or the Duality of the human being. - Kiev, 1911.

5 Shure E. The Great Initiates. An outline of the esotericism of religions. - Kaluga, 1914. Further "Shure E." With the indication of pages.

6 See R. Steiner. From the annals of the world. - M .: Spiritual knowledge, 1914. Further "Steiner R. From the chronicle" with the indication of the pages.

Steiner R. Occult Studies. - M .: Spiritual knowledge, 1916. Further "Steiner R. Occult Studies" with the indication of the pages.

Steiner R. Christianity as a mystical fact and the mysteries of antiquity. - Yerevan: Noah, 1991. Further "Steiner R. Christianity" with the indication of the pages.

7 Ozhegov S. I., Shvedova N. Yu. Explanatory Dictionary of the Russian Language. - M .: Az, 1994. - p. 351. The concept of "mysticism" possessed it. Naturally, the adherents of mysticism considered themselves "mystics", that is, "people inclined to mysticism, to O religious-mystical contemplation."

It should also be noted that in mysticism the esoteric core was considered, constituting the level of inner (true) teaching, accessible to few. In this regard, at the turn of the century, the idea of ​​"mystery" - a mystical action, which "in ancient Greece, ancient Rome and the countries of the ancient East "was understood as" a secret ceremony in honor of the gods, a sacrament in which only initiates could participate. " It was not for nothing that initiation itself was understood as “elevation to some rank, dignity with the observance of certain rituals.” 10 In various ancient mysteries, there were a different number of degrees of initiation. Usually the highest of them was considered “the fourth degree ", after entering which the initiate could be called" Teacher "or" Hierophant. "All the main initiates who were on the lower levels were considered" adepts ", that is, mystics who had not attained the highest perfection and, as a result, had not mastered the innermost knowledge. To the ancient world the "Great Initiates" were known: Rama, Krishna, Hermes, Moses, Orpheus, Pythagoras, Plato, Jesus. The teachings of each of them were revealed in the mysteries of antiquity (Brahmanical, Egyptian (Hermetic), Israelite, Dionysian, Delphic, Eleusinian).

These teachings, indeed, can be combined under one general

9 Concise vocabulary foreign words. Compiled by S. M. Lokshina. - M .: Sov. encyclopedia, 1971.-S. 188-189.

10 Ozhegov S. I., Shvedova N. Yu. Explanatory Dictionary of the Russian Language. - M .: Az, 1994.- S. 557. the name - "the mysteries of antiquity" - since all of them, despite the place and time of origin, pursued the same goals. First of all, the mystics believed that in the sacred rite and in the observance of the requirements of the cult, the truth would be revealed. This truth was understood as a mystical touch to the Divine with his soul (the soaring of the soul to the spirit, and then to God), or merging with the divine substance in a state of ecstasy, nirvana, lethargic sleep, or drug intoxication. Thus, the meaning of earthly existence and the "hidden god" of the mysteries were comprehended. Exclusively all the mysteries regarded it as "inexpressible" (that is, something that cannot be said about), "Origin", calling it "First". This God was inscribed with the names of the "Supreme Divine Essence", "All-One", etc.

It was with the "Origin" that the cosmogonic ideas of the ancient mystics were associated (gr. Kosmogonia - "the origin of the world"). The "Supreme Divine Essence" was considered the starting point in the development of the Universe. This same "hidden God" created universal laws: he was subject to life and death, good and evil, spirit and matter (although, most often, the Divine spiritualized matter, and the demiurge turned out to be its creator).

This terminology, in its artistic interpretation, determined the mystical coloration literary works... This feature was noted by E. Schure: “Never striving for spiritual life, for invisible worlds, fashionable direction, was not more serious and more sincere. This striving is revealed in dreary searches, in tragic doubts, in deep melancholy, up to the blasphemy of our decadent poets. Never has the human soul experienced a deeper feeling of insignificance and unreality of earthly life, never did it strive more ardently for the invisible, for the otherworldly, while maintaining at the same time the inability to believe. " Sologub (F.K. Teternikov (1863

11 Shure E. - S. 12.

Reality never delighted Sologub. In relation to her, he took the position of an objective observer. However, the writer did not seek to create the image of a "country full of storms" 12, because he was much more attracted by the world of his own dreams. Sologub's attitude to this world, the way to penetrate it and its laws are mystical in nature. One can fully agree with the thought of A. S. Dolinin that “Sologub should be recognized as the most detached from life as a writer, more and more deeply than anyone who has broken with“ objects of the objective world. ” poetics. In his major novels "The Little Devil" and "The Created Legend" the author refers to such concepts as "secret knowledge", "truth", "secret god", which were an integral part of esoteric teachings. Some facts included in the works of Sologub, such as knowledge of "world energy", "material atom", etc. indicate the artist's acquaintance with the most ancient alchemical works. In the novel "The Legend being Created" Sologub creates two of his own mysteries, calling them "the mysteries of death" (chapter "Queen Ortrud") . And this, deyst

V * u ъ vitelno, two acts, composed according to the type of the ancient mysteries. In this and his other works, Sologub constantly turns to the wisdom of esoteric teachings, restoring their individual elements.

Moreover, Sologub thinks of human life as a "mystery": creatively world play once and for all, so we have no choice, no freedom, there is not even a cute acting gag, because it is included in the text of the world mystery (my italics E.S.) somehow unknown

12 Sologub F. The Created Legend. - M .: Sovremennik, 1991. - P.564. my censor; and the world that we cognize is nothing but a marvelous-looking decoration, and behind it is behind-the-scenes sloppiness and dirt. We play, as best we can, the role prompted to us, the actors and at the same time the audience, alternately applauding each other or booing each other. " Sologub here appears not as a playwright, but as a mystic, a person who is inclined towards mysticism, towards a religious and mystical perception of the world.

However, despite all the evidence of Sologub's inclination to mysticism, contemporaries perceived him only as a writer - a philosopher. An authoritative person, a person who, perhaps, knew and understood Sologub better than anyone, A. Chebotarevskaya wrote the following about him: “Let's look at him as a poet-thinker.” 15 Moreover, PS Vladimirov, making a resume to his article "F. Sologub and his novel" The Little Demon "noted:" This is Sologub's philosophy in our opinion. " a kind of philosophy - the deification of one's I and the attraction to evil. "17 And, finally, Sologub himself declares himself:" I philosophize like a poet. "

All these indications are not unfounded, since in the work of Sologub we can find a lot of allusions from the philosophy of A. Schopenhauer, F.

13 Dolinin A.S. Otreshenny (To the psychology of creativity of F. Sologub). // Dolinin A.S. Dostoevsky and others. - M .: Hood. lit., 1989 .-- S.419-420.

14 Sologub F. Theater of One Will. // Theatre. A book about the new theater. Sat. articles. -SPb .: Rosehip, 1908. - S. 187-188. Further "Sologub F. Theater" with the indication of the pages.

15 Chebotarevskaya A. "Created" creativity. // Sologub F. Star Mair. - M .: Letopis, 1998. - P.268.

16 Vladimirov P. S. F. Sologub and his novel "The Little Devil". // About Fyodor Sologub. Criticism. Articles and notes. Compiled by A. Chebotarevskaya. - SPb .: Rosehip, 1911.-S.318.

17 Poyarkov N. Poet of Evil and Devil. // Poyarkov N. Poets of our days. - M., 1907.-P.151.

18 Sologub F. Theater. - S. 184.

Nietzsche, I. Kant and N. Fedorov.

So, Sologub argues with Schopenhauer about the concept of "will". The writer contrasts Schopenhauer's "will to live" with the "One world-kind will of the world", the will of the "I", raised over the world.

F. Nietzsche in his writings formed the idea of ​​"Dionysian", "eternal return", "superman", which Sologub very successfully plays in his works (in particular, in the novels "The Little Demon" and "The Created Legend"). The Dionysian becomes for the artist a state in which the divine revelation is cognized. "Eternal return" hastens with a return from the spheres of the higher transcendental being to the earthly world. And the world of the superman, according to Sologub, is possible on Earth, but already exists on "Oil", in wonderful world dreams.

A special place in the work of Sologub is occupied by the concept of "I", the premises of which can be easily found in the philosophy of I. Kant. Just like Kant, Sologub thinks "I" is self-sufficient and effective. But apart from everything else, Sologub imparts creativity to the "I". His "I" is capable of creating worlds, and therefore it is the "I-creative".

And, finally, of the Russian philosophers, N. Fedorov was closest to Sologub. His idea of ​​the deification of the dead and their inhabiting other planets was comprehended by Sologub in the novel "The Legend Made".

We tend to consider F. Sologub, first of all, as an artist, since even his "philosophy" is an understanding of life, inclined to mysticism.

The problem of Sologub's mysticism still remains "open", since a detailed comprehensive study of it in literary criticism has not yet been undertaken. Although, separate, scattered works devoted to the mystical aspect of the writer's work still exist.

In 1908, Arsky (Abramovich N. Ya.) Devoted a whole article to the study of the mystical aspect of the artist's work under the title:

F. Sologub's mysticism. "Here Arsky characterized the artist's mysticism as" the mysticism of contemplation. " , remaining only just looking, reflecting. "And further:" Separate from oneself and look from the height of only clear contemplation at one's living - I "- no one to such an extent could achieve this Buddhist detachment from the experience of this cessation of the continuous flow of life , and look at her, flowing beside, beyond creation and soul, like Fedor Sologub. "

And, finally, Arsky also defines the goal of earthly existence as the goal of the myst: "But the life of this poet's creativity is so significant that he was not looking for renunciation itself, not for Nirvana itself, but for comprehension in these pure and absolutely calm reflections. connects this current and the immobility that is above it, and, therefore, his drawing - the more real, the more mystical. "22

However, Arsky's understanding of the mysticism of Sologub exists in a very abstract form, without relying on specific works.

Yu. I. Guskov approaches the study of Sologub's mysticism much more thoroughly. I. Guskov examines the influence of the teachings of the Gnostics on the work of F. Sologub on the example of his novel "The Little Devil": "The influence of the ideas and cosmology of the Gnostics can be found. their habitats: Ogdoad - the higher realms, Ebdomad - the kingdom of Yahweh, the Earth is under the jurisdiction

19 Arskiy (Abramovich N. Ya.) F. Sologub's mysticism. // Literary calendar- almanac. Compiled by O. Norwegian. - Pb., 1908. ■ S. 75. Further "Arsky" with the indication of pages.

21 Ibid. the devil, "the prince of this world") in the process of emanation, his ultimate unknowability. This is one of the first manifestations of the "closed" world. "- this is how the researcher thinks the artistic space of the novel.

I. Yu. Simacheva quite rightly points to the typological closeness of the mystical ideas of F. Sologub and the German mystic philosopher R. Steiner, whose follower, as the researcher points out, was A. Bely. She notes: "Fyodor Sologub was convinced that" the art of our days seeks to step beyond the boundaries of pure art, seeks to transform the world by the effort of creative will. In this art, the desire for a different life is given, and therefore the artist is a preacher of the future. But he preaches not dogmatically, but only with a distinct expression and self-affirmation of his inner self. Self-affirmation of the personality is the beginning of striving for a better future. " . (S. 35-62). - S. 60).

The poet came to this conclusion on his own, long before the appearance of the teachings of R. Steiner in 1913 (although the researcher here somewhat confuses the dates. 1913 was the year of the founding of the Anthroposophical Society, and not of the teachings of R. Steiner - E.S.). Meanwhile, just like the German mystic philosopher, Fyodor Sologub wanted to find in the depths of the soul an inexhaustible source of forces transforming it. "24. Our further references to the works of E. Schure (1914), R. Steiner 1914, 1916), D. Strandden (1914) when considering the works of F. Sologub "The Little Devil" (1905) and "The Legend Made" (1907 - 1913), at first glance, are not entirely justified, since they were published later than the works themselves were published. in our appeal to them, we are based on the typological similarity of some of Sologub's ideas (about

22 Ibid. - S. 75-76.

23 Guskov Yu. I. Parallels of the "second reality" (F. Sologub and F. Kafka). // Mosk. bulletin, - M., 1995. - No. 2, p.211.

24 Simacheva I. Yu. Reality and Dream in F. Sologub's novel "The Created Legend" .// Russian Literary Journal. - No. 5-6.1994. - S. 121-2. secret knowledge ", alchemical experiments with time, etc.) with certain provisions of mystical teachings. Nevertheless, none of the literary scholars have yet revealed a certain range of sources of F. Sologub's mysticism, considering only individual influences.

Artistic cosmogony occupies a special place in Sologub's "mysticism". The writer presents the Universe as a dynamic model, which he transforms from two-part to three-part. Sologub has his own idea of ​​the many-worlds. In his Universe there is necessarily a real world (everyday earthly existence) and other being. Basically, Sologub undergoes a transformation of otherness, which in its most complete form is represented by two worlds: the infernal world and the highest transcendental reality. In the worlds of Sologub, there must be a force responsible for the world. Thus, within the real world, such a force becomes "Christ", in the infernal world "princess" ("Little demon"), and then Ortruda ("Created legend"), etc. Also, over each of the worlds its own Sun is raised: above reality - the Sun, above the infernal world - Radiant, above the highest transcendental reality - Mair. The idea of ​​a multi-world Universe was inherent in mysticism, and therefore Sologub's cosmogonic search is mystical at its core.

Considering all that has been said, we come to the conclusion that the problem of mysticism, which occupied such a significant place in the work of all Russian Symbolists, is practically not reflected in literary criticism. Our work is aimed at eliminating the numerous "white spots" that exist due to the lack of study of mysticism in the works of F. Sologub.

This means that the relevance of the reviewed dissertation is due to the need to analyze the mystical aspect of the work of F. Sologub, as one of the Symbolist writers, and the task of comprehending creative heritage artist.

Thus, the objectives of this dissertation are:

1. Comprehensive consideration of mystical elements in the prose works of F. Sologub "The Little Devil" and "The Legend Created".

2. Determination of the type of Sologub's hero, as a hero - "initiate" who owns intimate knowledge about the world, in order to establish a special kind of connection between man and the world in the work of F. Sologub.

3. Elucidation of the basic principles of constructing artistic cosmogonic models in F. Sologub's novels "The Little Devil" and "The Legend Created", the reasons for their transformation, as well as the laws by which the author's worlds exist.

Based on these goals, the dissertation sets the following tasks:

1. Identify the main sources on the basis of which F. Sologub's mystical views were formed.

2. To correlate Sologub's prose with the mystical texts of antiquity and their interpretations. Determine the connection between the writer's works with the works of contemporary mystics (Karl du Prel, E. Schure, R. Steiner, etc.) and individual philosophical teachings close to him. Reveal the features of Sologubov's mysticism.

3. To form an idea of ​​the artistic cosmogony of F. Sologub as the most significant part of his mystical ideas.

4. Outline the prospects for further research related to the mystical aspect of the work of Russian writers at the turn of the 19th and 20th centuries.

The tasks formulated above determine the use of the following types of analysis:

1. The main thing for this work is the historical and literary approach.

2. Comparative analysis. In the analysis undertaken, the objects of comparison are works of fiction (the novels of F. Sologub "The Little Devil" and "The Created Legend") and the texts of the ancient mysteries (Hermetic, Gnostic, etc.), as well as their interpretation. Revealed "common places" in the prose of F. Sologub and in the treatises of mystics at the turn of the 19th and 20th centuries (K. du-Prel, R. Steiner, etc.). Some aspects of F. Sologub's prose and some ideas of the philosophers of the German and Russian philosophical schools are compared.

3. Intertextual analysis Application of this method made it possible to analyze the "prototypes" of artistic universes in the study of communication works of art with sources on mysticism (for example, the ratio of the vertical model of the universe in the Gnostics and in Sologub in the "mystery of the flesh" by Lyudmila Rutilova).

The scientific novelty of this dissertation consists, first of all, in the fact that it is the first to consider the esoteric level of the novels "The Little Devil" and "The Created Legend".

For the first time, an unconventional approach to the analysis of Sologub's prose was developed by comparing individual elements of the narrative with elements of the ancient mysteries (hence, the understanding of the plot lines of the investigated works as "mysteries").

It was this approach that made it possible to speak of the complex artistic cosmogony of F. Sologub as an integral part of his work.

The tasks set define the structure of our work. The dissertation consists of an introduction, 3 chapters and a conclusion; supplied with a list of used literature, consisting of 146 titles.

The writer Maxim Gorky reflects in his work about the polarity of views on the world. In the first person, the author describes a person with a worldview that differs from the point of view of the "crowd".

Indicative is the episode of Kapendyukhin's perception of the narrator's words that if he were rich, he would certainly buy books. The Cossack, who asked the question, turned away from him with annoyance. People always dream of changes for the better, but when the majority does nothing for this.

When changes do begin, there are many skeptics who condemn the actions of others.

Gorky believes that people are not able to perceive acts that are unfamiliar to them positively, even clearly good ones. An example of this is the act of the protagonist and his friend. Together with Pavel, the narrator washed the dying Davydov, but those around him made fun of the assistants, as if they had done something shameful.

I think the author is right in his vision of the problem of worldview. Society, unfortunately, is like a herd; it rejects dissent. Deprived of critical thinking, people always consider other views to be wrong, which leads to disastrous results.

You can turn to the work "Doctor Who", the protagonist of which stands out for his intelligence. This extraordinary quality is perceived as a threat, they even wanted to hide it in a magic box, from which there is no way out.

Attention!
If you notice an error or typo, select the text and press Ctrl + Enter.
Thus, you will be of invaluable benefit to the project and other readers.

Thank you for the attention.

.

Useful material on the topic

• The problem of historical memory according to Stroganov's text (Once a century, in the most difficult and desperate days, when grief leaves no room for hope)