The world and heroes of Alexei Remizov (on the problem of the relationship between the worldview and poetics of the writer). The writer's outlook. Education of the personal attitude of high school students to the problems of worldview in literature lessons

1. That moral height reached by Tolstoy - a man - is the result

huge, never-ending inner work, the highest demands on oneself, a merciless analysis of one’s behavior, overcoming one’s weaknesses (ambition, vanity, inconsistency, failure to fulfill plans, manifestation of laziness, inaccuracy, Tolstoy himself points out these shortcomings.

2. Tolstoy sees the meaning of life in serving people. You cannot live for yourself alone. This is spiritual death. Take as little as possible from people and give as much as possible to people. This idea is repeatedly repeated in the writer's diaries. And the most happy years In his life, Tolstoy considered those when he devoted himself entirely to the good of people, to work in the Yasnaya Polyana school founded by him, to help the starving.

3. Tolstoy’s life credo, which he never betrayed, was unshakable: “To live honestly, one must tear, get confused, fight, make mistakes, start and quit, and start again and quit again, and always fight and lose. And peace is spiritual meanness.

4. One should correctly understand Tolstoy's teaching about non-resistance to evil by violence. “No matter what people try to free themselves from violence,” wrote L.N. Tolstoy, - one cannot be freed from it alone: ​​by violence. However, evil must be resisted by all possible means: protests, the printed word, and most importantly, good deeds.

5. Tolstoy's doctrine of morality is connected with the theory of non-resistance to evil by violence.

established self-improvement ". This theory is not a panacea for social ills. But overcoming one's weaknesses, shortcomings, cultivating in oneself more perfect human qualities, no doubt, is good both for oneself and for society.

"What to do? - ask the rulers in the same way, and subordinates, and revolutionaries, and public figures, meaning by the question “What to do?” ... it is always a question of what to do with others, but no one asks what to do with myself, ”notes Tolstoy. To begin, according to 6. Tolstoy - you need to start yourself, with the upbringing of a sense of responsibility for your deeds and actions. This is the basis moral culture person.

The theories of self-improvement were influenced by the writer's belief in man, in the endless possibilities of his mind and will.

Already in 1891, Tolstoy foresaw the collapse of the old institutions of life: “No matter how hard we try, there is still a collapse ahead ...” During the revolutionary events of 1905, Tolstoy sent a letter to a close relative of the tsar, in which he fearlessly declares: “I am a man denies and condemns all existing order and power and directly declares this. Although Tolstoy distanced himself from the revolution, he was well aware of the anti-people nature of the government and spoke sharply about its activities. And of course, the following words of Tolstoy are not called to obedience: "... now hanging, tormenting people has caused indignation, an unkind, evil feeling towards the hangers." “The death penalty in our time clearly shows that the rulers are bad, erring people and that therefore it is harmful and shameful to obey them ...”

As you can see, life made adjustments to Tolstoy's teachings. Not everything was easy with faith in God. The following entries were found in Tolstoy's diary: “At night and in the morning I found, it seems, a state of coldness that had never been before, doubts about everything, the main thing in God, in the fidelity of understanding the meaning of life” (09/02/1909);

“I saw in a dream the denial of God and also an objection to my idea of ​​a generally better order of life due to the refusal to fight” (12/24/1909). These excited notes are enough to present contradictions in Tolstoy's views. The writer did not doubt only one thing - “It is true that the meaning of the life of each individual person ... is to increase in oneself love for people and constantly do good. Do not wait for life to provide such an opportunity, but look for it.

Excerpts from the memoirs depict Tolstoy as a man of vast and versatile culture, a vivid way of thinking, his speech was inexpressibly beautiful. In dealing with people, he was cordial, unusually delicate and simple, but everyone who met him felt the power of his intellect, the scale of his personality.

Here is what Gorky remarked: “He will come out - small. And everyone will immediately become smaller than him.”

In the memory of people, Tolstoy is not only great writer but also a man of the highest morality, disinterestedness, kindness, selfless service to people.

Artistic typification and worldview of the writer

The writer, reproducing reality, artistically typing its phenomena, inevitably expresses his point of view, his likes and dislikes. Likes and dislikes of the writer, no matter how brightly individual they may be, are fundamentally determined by social conditions. The essence of every person, and consequently of the writer, “is not an abstract inherent in a separate individual. In its reality, it is the totality of all social relations.

In a class society, the artist reflects, creatively reproduces the characters and phenomena of life always from certain class positions.

M. Gorky famously said: “A writer is the eyes, ears and voice of a class. He may not be aware of this, he may deny it, but he is always and inevitably the organ of the class, its sensibilities.

The social position of the writer is manifested in one way or another in all aspects of a work of art, but most directly and directly it is expressed in the selection, evaluation and disclosure of typical human characters.

Each class is characterized by certain ideals and aspirations, goals and objectives. Expressing them, writers in their works bring to the fore certain social characters, social types.

The ideological position of the writer is manifested not only in the selection of the typical, in focusing on certain social phenomena but also in their evaluation. In accordance with his progressive or reactionary views, the writer depicts typical life phenomena either in their true essence or distorted.

What phenomena of the life process the writer considers typical, how he evaluates their connection with other phenomena, what he puts forward as positive or negative, leading or secondary - this expresses his understanding of life, his ideological and aesthetic, social, class position.

The worldview of the writer determines the nature of his vision of the world and the degree of truthfulness of his artistic creations.

The more progressive the writer's worldview, the more correct his understanding of the world, the more truly and fully he is able, with an equal degree of talent and skill, to reproduce the typical characters and phenomena of reality.

The leading role of worldview in the creative process, in artistic typification confirmed by the entire history of world literature.

Everything great and truly artistic in literature has been created, as a rule, by progressive classes and writers. Everything truly aesthetic is affected in one way or another by the influence of progressive ideas, the liberation struggle of the people, the reflection of the truth of life. Thus, for example, the Western European bourgeoisie created the "miracles of art" (Marx and Engels) precisely at the time when it was progressive, when its subjective aspirations coincided to some extent with the objective course of social development. Along with other classes, representatives of the progressive and reactionary nobility took part in the creation of Russian literature. But the best works that have stood the test of time belong, as a rule, to representatives not of the reactionary, but of the progressive nobility, such as Radishchev, Griboyedov, Pushkin, Lermontov, Turgenev.

Fiction reflects the struggle of classes defending their ideas and interests.

In an antagonistic society, the class struggle has various stages and degree of development. At the highest stages, it takes on a political character and takes shape as a struggle between parties. “In a society based on the division of classes,” Lenin teaches, “the struggle between hostile classes inevitably becomes, at a certain stage of its development, a political struggle. The most integral, complete and formalized expression of the political struggle of classes is the struggle of parties.

Thus, the concept of class is not identical with the concept of party membership. Party spirit is the highest manifestation public consciousness and class struggle; it is connected with the conscious defense of the socio-political interests of one class or another. Lenin points out that party membership obliges "in any assessment of an event, one must directly and openly take the point of view of a certain social group."

At the same time, it is impossible to mechanically identify the party spirit of organizational-political, literary, journalistic and scientific activities with the party spirit. artistic creativity. Lenin warned that "the literary part of the party business of the proletariat cannot be stereotyped with other parts of the party business of the proletariat."

In artistic creativity, socio-political views are manifested in a more complex, less direct and direct way than in philosophy, political economy, history, and other social sciences.

The partisanship of a writer in any era is not necessarily connected with his organizational membership in one political party or another, as bourgeois critics abroad, hostile to us, as well as home-grown vulgarizers and simplisticists, tend to present. The party membership of the writer is determined by the nature of his political convictions.

Party membership, as a conscious defense of the socio-political interests of a certain class, manifests itself in different ways, depending on concrete historical conditions.

Thus, the revolutionary democrats perceived themselves as spokesmen for the interests of the simple working people, in particular and especially the peasantry, and called themselves representatives of the "party of the people." The party spirit of the revolutionary democrats imparted to their artistic creativity an ideological distinctness, which was expressed in the emphasized relevance of social problems that met the most important needs of the then social development, in open connection with the oppressed people, in a sharp opposition of the interests of the landlords to the interests of the peasants, in a fervent hatred for the oppressors of the people, in a direct appeal peasants to indignation, to a revolutionary uprising. But the party spirit of the revolutionary democrats was not consistent and strict. Revolutionary democrats, as well as their predecessors, are characterized by varying degrees of inconsistency in socio-political views. Chernyshevsky was a revolutionary democrat, but in his ideas about socialism and the ways of building it he remained a utopian socialist. Nekrasov, being an unstable, weak man, wavered between Chernyshevsky and the liberals, and so on.

The partisanship of different classes is not the same in the form of its expression. The exploiting classes, defending their social and political positions, which are hostile to the people, most often hypocritically hide their partisanship and act as champions of non-partisanship. That is why Lenin pointed out that "non-partisanship is a bourgeois idea." By creating parties, these classes hide their interests behind false phrases about the defense of allegedly national, general people and universal needs and requirements.

It must be said at the same time that many even progressive writers, due to the contradictory nature of their worldview, quite sincerely considered and consider themselves alien to any class, political interests, free and independent from the influences of the class struggle. Among Russian writers such were, for example, A.K. Tolstoy, Korolenko and Chekhov.

The highest form of party membership is proletarian, communist party membership. This partisanship is carried out as a direct, open and consistent defense of the socio-political interests of the working class.

The essence of the party spirit of the working class, which manifests itself in its literature, is classically revealed in Lenin's article "Party Organization and Party Literature."

“Literary work must become,” Lenin asserted in this article, “a part of the common proletarian cause, a “wheel and cog” of one single, great social-democratic mechanism, set in motion by the entire conscious vanguard of the entire working class. Literature should be integral part organized, planned, united social-democratic party work.

The working class, defending its socio-political ideas, defends the vital needs, needs and aspirations of all working people. Therefore, the working class is interested not in hiding, but in the broadest possible explanation of its political positions. In order to draw the millions of working people into the liberation movement, the working class is striving in every way to raise the socio-political consciousness of the entire working people. This is the reason why "party membership is a socialist idea." Lenin explained: "Strict partisanship has always been defended and is defended only by the Social Democracy, the party of the class-conscious proletariat."

Bourgeois critics, seeking to discredit literature socialist realism, shout that the proletarian party membership supposedly restricts the freedom of the writer and leads to sectarianism. But this is a clear slander.

Proletarian party membership, representing the socio-political views of the most advanced, consistently revolutionary class that defends the interests of all working people, is the highest expression of objectivity. This partisanship not only does not limit writers, but, on the contrary, conditions their unlimited creative freedom, no longer imaginary, but true, real. This partisanship completely frees writers from narrow-group social ties, makes them consistent spokesmen for the feelings, thoughts and aspirations of all sections of the working people, determines the complete clarity of their goals and objectives, and gives them the opportunity for a truly scientific vision and the most truthful depiction of life.

Communist party membership opens up to writers such opportunities for an objective, broad and deep view of the world that no other writers could have. literary direction preceding socialist realism. Under equal conditions of talent and skill, without which there can be no truly artistic creativity, it is the communist party spirit that ensures the creation of works that are most aesthetically perfect.

Lenin, opposing literature hypocritically free, but in fact connected with the bourgeoisie, with the exploiting classes, with really free literature, organically connected with the working class, with the working people, wrote: “This will be free literature, because it is not self-interest and not a career, but an idea socialism and sympathy for the working people will recruit more and more forces into its ranks. It will be free literature, because it will serve not the jaded heroine, not the bored and obese "top ten thousand", but the millions and tens of millions of working people who are the color of the country, its strength, its future. It will be free literature, fertilizing the last word of the revolutionary thought of mankind with the experience and lively work of the socialist proletariat, creating a constant interaction between the experience of the past (scientific socialism, which completed the development of socialism from its primitive, utopian forms) and the experience of the present (the real struggle of the worker comrades).

Lenin's dream of party, socialist, truly free literature, consistently connected with the people, has been embodied and is being embodied. best writers socialist realism.

These writers, party and non-party, are proud of their connection with the people and their Communist Party. In serving the people and its party, they draw strength and inspiration.

“We live,” wrote M. Gorky in the article “On Socialist Realism,” in happy country where there is someone to love and respect. In our country, love for a person must arise - and arises - from a feeling of surprise at his creative energy, from the mutual respect of people for their unlimited labor collective force that creates socialist forms of life, from love for the party, which is the leader of the working people of the whole country and the teacher of the proletarians. all countries."

Emphasizing his open connection with the working class, Mayakovsky exclaimed:

I am happy that I am a particle of this force, that common even tears from the eyes. It is impossible to take communion stronger and purer great feeling named - class!

The works of N. Ostrovsky arose from a passionate desire "to be something useful to his party, his class." Describing the ideological orientation of the novel "Born by the Storm", he said: "The leitmotif of my new book is devotion to the Motherland. I want the reader to feel the most beautiful of feelings while reading my book - a feeling of devotion to our great party.

The work of Gorky, Mayakovsky, Sholokhov, Fadeev, N. Ostrovsky, Fedin, Tvardovsky, Isakovsky and many other representatives of socialist realism organically merged with the popular movement led by the Communist Party. The literature of socialist realism consciously subordinated itself to the interests of Soviet state policy and became part of the cause of the struggle for communism for the whole people.

Communist party spirit pervades all the best works of Soviet literature. So, for example, the communist party spirit in M. Sholokhov's novel "Virgin Soil Upturned" is manifested in the open defense of the interests of the people, the working class and the peasantry, in the consistent assertion of the advantages of the collective economy over the individual, in showing the leading role of the Communist Party in the process of socialist restructuring of the countryside, in the correct understanding and depicting the social forces and typical characters of the post-October village, in exposing the bourgeois-kulak forces hostile to Soviet power.

The communist party spirit of the literature of socialist realism is also expressed in the fact that at each stage in the development of socialist society, literature comes up with themes, problems and ideas that effectively help the struggle of the Soviet people, the Communist Party in the implementation of the concrete historical tasks determined by this period. For example, during the Great Patriotic War the literature of socialist realism came up with themes and ideas aimed at defending the motherland, against fascism. In the post-war period, Soviet literature actively joined in the heroic struggle of the Soviet people for the restoration of the national economy destroyed by the Nazis, for further socialist construction, for the gradual transition from socialism to communism, for world peace.

Soviet writers, party and non-party, showing their communist party spirit, created wonderful works filled with genuine truthfulness, high ideology and artistry. And the higher the ideological and political level of Soviet writers, the more consciously they display communist party spirit, the more truthfully, fully, profoundly and sharply they reproduce typical characters and phenomena of both modern and past life. Convincing evidence of this are such works as “The Artamonov Case” by M. Gorky, “Chapaev” by D. Furmanov, “Iron Stream” by A. Serafimovich, “Cement” by F. Gladkov, “Love Yarovaya” by K. Trenev, “Virgin Soil Upturned” and “Quiet Flows the Don” by M. Sholokhov, “How the Steel Was Tempered” by N. Ostrovsky, “Walking Through the Torments” by A. Tolstoy, “First Joys” by K. Fedin, “Young Guard” by A. Fadeev, essays by V. Ovechkin.

Communist party spirit is the leading principle of socialist realism, which determines its success. That is why all statements against this principle, direct or veiled, that appear in the foreign press are, in fact, directed against the method, theory and practice of socialist realism.

There are writers who defend the socio-political interests of their class openly and directly. The most striking example of this is the representatives of socialist realism.

There are writers who defend the socio-political interests of their class, hiding behind hypocritical phrases about non-partisanship. This is how reactionary bourgeois writers act.

But there are writers whose work often conflicts with their socio-political views.

Some critics and literary scholars perceive the writer's worldview too simplistic. The worldview of the writer is a complex unity of political, philosophical, economic, historical and other views. The worldview is not only complex, but often very contradictory. It has both strengths and weaknesses. And these contradictions, the strengths and weaknesses of the writer's worldview, inevitably manifest themselves in his work.

The writer's worldview is all the time more or less directly influenced by the social conditions, life connections and facts that the writer encounters. While the weaknesses of his worldview limit the creativity of the artist, the strengths have a beneficial and positive effect, contribute to the truthful reproduction of reality. Reality, the objective logic of its facts, often introduces into the writer's work trends that contradict his socio-political views. There are numerous examples in the history of literature when the objective meaning of works to some extent does not coincide with the subjective intentions of their authors. Marx, in a letter to M.M. Kovalevsky, points out: “... it is necessary for a writer to distinguish between what an author actually gives and what he gives only in his own imagination. This is true even for philosophical systems: thus, two completely different things - what Spinoza considered the cornerstone in his system, and what actually constitutes this cornerstone. An example of this kind is Balzac, whose socio-political views and practice of artistic creativity are in obvious contradiction. According to his socio-political views, Balzac was a defender of the reactionary nobility, but with all this, “his satire has never been sharper, his irony more bitter than when he forced to act precisely those people with whom he most sympathized - aristocrats and aristocrats. The only people about whom he always speaks with undisguised admiration are his most ardent political opponents, the Republicans ... ".

Thoughts that the iron logic of life, objective facts imperiously interfere in the creative process, correct and change the original author's intentions, were repeatedly expressed by the creators themselves works of art.

So, M. Gorky, in contrast to vulgar sociologists, argued that "the breadth of observations, the richness of everyday experience often arm the artist with a force that overcomes his personal attitude to facts, his subjectivism."

L. Tolstoy, in a conversation with N. Rusanov, said: “In general, my heroes and heroines sometimes do things that I would not want: they do what they should do in real life and as it happens in real life, and not what I want.

The presence of writers with contradictory worldviews, writers whose work is more or less in conflict with their socio-political views, serves as convincing evidence of the fallacy of the assertion that the problem of typicality is always a political problem and that the typical is the main sphere of manifestation of party spirit.

Indeed, can the statement about typicality as an “always political” problem be guiding in the study of the work of such complex, contradictory in their worldview writers as Turgenev, Goncharov, Dostoevsky, A.K. Tolstoy, Y. Polonsky, Leskov, L.N. .Tolstoy? What can this situation lead to when elucidating the work of writers like Maikov, Fet, Tyutchev?

Simplifying, impoverishing and distorting their creative image, we will be forced to characterize Turgenev only as a noble liberal, Goncharov - only as a bourgeois liberal, Fet - only as a noble reactionary, Dostoevsky of the post-reform period - as an exponent of petty-bourgeois reaction, etc. But their work clearly does not fit into the vulgar sociological schemes just mentioned.

Text essay:

Maxim Gorky, a famous Russian writer, reflects on the problem of worldview in his work.

The author, in the first person, writes about a person whose worldview did not coincide with the worldview of the "crowd". When he said that he would buy books if he were rich, Kapendyukhin turned away from him in annoyance. People wanted changes, but no one did anything, and if they did happen, then there were always those who were dissatisfied.

The author believes that people are not able to positively assess deeds that are unusual for them, even good ones. As an example, consider the deed committed by the main character and his friend Paul. Friends who washed the dying Davydov were ridiculed, as if they had done something shameful.

I can't help but agree with the author modern society like a herd. If a dissident appears in him, then everyone else does not understand him, and this results in a more deplorable result. If a person does not understand, he will consider it wrong.

Let us turn to the work "Doctor Who", which was written on the series of the same name by many authors. The protagonist book is so smart that they became afraid of him and wanted to lock him up in a pandorica (a magic box that cannot be opened), despite the fact that he did only good.

AT real life worldviews are also different. Atheism is the clearest example. People who deny the existence of God cause bewilderment among believers, despite the fact that no one knows the truth. Someone believes, someone does not, you should not make conflicts out of this.

In conclusion, it is worth noting that you should not be equal to the crowd, you need to reasonably evaluate the actions of each member of society.

Text by Maxim Gorky:

(l) In the days of winter blizzards, when the whole earth, everything on earth - houses, trees - shook, howled, cried, boredom poured into the workshop in a wave, heavy as lead, crushed people. killing all living things in them.
(2) Sober, Kapendyukhin tirelessly mocked Sitanov, ridiculing his passion for poetry and his unhappy romance, unsuccessfully arousing jealousy. (3) Sitanov listened to the Cossack's mockery silently, harmlessly, and sometimes even laughed himself along with Kapendyukhin.
(4) They slept side by side and at night talked for a long time in a whisper about something.
(5) These conversations haunted me: I wanted to know what people could talk about in a friendly way, so unlike one another. (6) But, when I approached them, the Cossack grumbled:
- What do you want?
(7) And Sitanov definitely didn’t see me.
(8) But one day they called me, and the Cossack asked:
- Maksimych, if you were rich, what would you do?
- (9) I would buy books.
- (10) What else?
- (11) I don't know.
- (12) Eh, - Kapendyukhin turned away from me with annoyance, and Sitanov calmly said:
- You see - no one knows, neither old nor small! (13) I tell you: wealth in itself is useless! (l4)Everything needs some application...
(15) I asked:
- What are you talking about?
- (16) Reluctance to sleep, so we are talking, - the Cossack answered.
(17) Later, listening to their conversations, I learned that they talk at night about the same things that people like to talk about during the day: about God, truth, happiness, about the stupidity and cunning of women, about the greed of the rich and about that all life is confused, incomprehensible.
(18) I always listened to these conversations with greed, they worried me, I liked that almost all people say the same way: life is bad, we must live better! (19) But I saw that the desire to live better does not oblige to anything, does not change anything in the life of the workshop, in the relationship of masters to each other. (20) All these speeches, illuminating life before me, opened up behind it some kind of dull emptiness, and in this emptiness, like specks in the water of a pond in the wind, people swim stupidly and irritably, the very ones who say,
that such a crush is senseless and offends them.
(21) Arguing much and willingly, they always judged someone, repented, boasted, and, stirring up evil quarrels over trifles, strongly offended each other. (22) They tried to guess what would happen to them after death, and at the threshold of the workshop, where there was a tub for slops, the floorboard was rotten, from under the floor into this damp, rotten, wet hole it was cold, the smell of sour earth, from this cold feet; Pavel and I plugged this hole with hay and rags. (23) It was often said that the floorboard needed to be changed, and the hole
it became wider, during the days of blizzards, it came out of it like from a pipe, people caught a cold, coughed. (24) The tin turner of the window squealed disgustingly, they scolded him obscenely, and when I smeared it with oil, Zhikharev, listening, said:
- The window does not squeal, and - it became boring ...
(25) Coming from the bath, they lay down in dusty and dirty beds - dirt and bad smells did not resent anyone at all. (26) There were a lot of crappy little things that interfered with life, they could be easily limed, but no one did this.
(27) Often said:
- No one pities people, neither God, nor themselves ...
(28) But when we, Pavel and I, washed the dying Davidov, eaten away by dirt and insects, they laughed at us, took off our shirts, inviting us to search them, called bath attendants and generally mocked us as if we had done something shameful and very funny.

He used every opportunity to oppose his work to Pushkin's. They called this “the polemic between Nekrasov and Pushkin,” and in their articles they abundantly cited such works by Nekrasov, which, at a superficial glance, could indeed be considered anti-Pushkin. But only on the surface.
For the first time, this controversy was outlined with sufficient clarity in Nekrasov's poem "Muse" (1851).
Born in the family of the Polish aristocrat Apollon Kozhenovsky, a romantic poet, a follower of A. Mickiewicz. The first idea about English literature Conrad received in childhood from his parents' translations of W. Shakespeare's plays. A contradictory attitude towards Russia was formed in him if their family, with the participation of his father in the national liberation movement, was subjected to administrative expulsion to Vologda in 1863
In 1874, the young man unexpectedly left the Krakow gymnasium and moved to Marseille, where he got hired as a sailor. In 1878, Conrad tried to kill himself.
In the novel by A. I. Solzhenitsyn "In the First Circle", rich in reflections on the appointment of the writer in Russia, we find frequent reviews on the topic of interest to us. These reviews belong both to the narrator himself and to characters close to him in spirit. One of the episodes of the novel (chapter sixty-two) dedicates our frank "male conversation" to two in-laws: the "famous" Soviet writer Nikolai Galakhov and Soviet diplomat Innokenty Volodin.
And it seemed that this would be the beginning of immortality ... "Now (during the novel action) or.

Worldview of the era | Size: 21 kb. | Volume: 14 pages | Price: 0 UAH| Added: 03/28/2010 | Seller code: 0 |
For many countries Western Europe The 15th century was a turning point in their development. A new era was coming - the era of the collapse of the feudal system and the emergence of bourgeois social relations, which destroyed the feudal isolation of economic relations, their limitations and demanded space for further development productive forces. Only now, in fact, were the foundations laid for the late development of large-scale production. The Diary of a Writer, who writes almost entirely himself, requires gigantic labor, but he still publishes two novels: A Teenager and The Brothers Karamazov, which he considers his masterpiece. Doesn't make mistakes. In this main work, he again returns to the main themes of his work. Opening the book, the reader finds himself in a chaotic world where the real is intertwined with.
The phantoms that live in those twilight regions do not need food or sleep, and that they close their eyes to rest, they are immediately seized by dreams.
The annual turnover of rural life in our country until recently (and in some places still, albeit in fragments) amounted to very
interesting is the system of rituals and services: prayers, magical acts and meals - victims, which the old Ukrainian
maintained and managed their relationship to the pre-other world: to those forces that are ruled, to their own
human environment and to those descended generations, to whom he has planted his true.

At the turn of the 19th and 20th centuries, mysticism and occultism became a direct component of the spiritual life of a certain part of Russian society (first of all, the artistic intelligentsia and Russian philosophers can be attributed to it). This phenomenon was due to a spiritual, ethnic crisis, which coincided with a number of economic upheavals. In this atmosphere, the human consciousness, which had been established for centuries, collapsed, and the human consciousness was rebuilt.

Naturally, the reaction of contemporaries to what was happening was not unequivocal: delight was replaced by despair, and a sense of aspiration to 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 situation that gave rise to mystical quests. Their essence was expressed in the attempts of the individual to retire, to isolate himself from the world, alien and incomprehensible. As A. Dorofeev noted: “At the turn of the century, a fatal time of troubles sets in in Russia. Wars. Executions. Revolutions. Riots.

And at such a time mystical views, occult sciences are encouraged. Everyone is trying to see beyond some unrealistic line."1

On the other hand, the very scope of the transformations that took 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. Blok's poem "The Twelve" can serve as a good example of this).

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 D. Stranden, a well-known figure in the field of domestic occult philosophy of the early 20th century, "modern science has come close to the theories of alchemy

1 Dorofeev A. Foreword. // Sologub F. Drops of blood. 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 the spiritual life in other ways as well. Back in the 80-90s of the 19th century, an extraordinary flowering of such a science as Egyptology began. S. Klyuchnikov describes this fact in the following way: ". interest in spiritual culture has flared up in Russia ancient egypt. This was expressed both in the successes of academic Egyptology, and in the increased attraction to ancient knowledge, myths and samples of the "Kem-Earth" on the part of the artistic intelligentsia, and in the attempts of Russian occult philosophers to penetrate into the depths of hermetic wisdom. Examples of such an occult approach include the activities of the Russian astrological school of the early 20th century and, above all, the work of the astrologer Zapryagaev, the books of domestic thinkers and practitioners of Mobius esotericism (although Mobius was not a domestic thinker - E. S.), Uspensky, and finally, Vl. Shmakov. In his works "The Holy Book of Thoth. Arcana Tarot" and "Pneumatology" Shmakov quotes in detail the sayings of Hermes, outlining 22 arcana (principles, secrets), according to which, according to the teachings of the ancient Egyptian sage, the universe is arranged. "3

At the same time, close attention is drawn to other esoteric teachings, which resulted in a new surge of interest in the mystical knowledge of the ancient Greeks (Pythagoreans, in particular), Israelis, mysts ancient india etc.

Oh enough important role mystical knowledge in the spiritual life of the turn of the 19th-20th centuries was also evidenced by the fact of the appearance of an unusual a large number works on the history and philosophy of mysticism. Among them, you can

2 Stranden D. Hermetism. Secret philosophy of the Egyptians. - SPb., 1914. - S. 6. Further "Stranden D." with page references.

3 Klyuchnikov S. Light of Egypt. //Stranden D. Hermeticism. - St. Petersburg, 1914. - P. 6. call "Philosophy of mysticism" by Charles du Prel4, as well as the works of P. D. Uspensky, in which the author created his own teaching. The works of E. Schure5, D. Stranden were of a descriptive nature and considered the features of the ancient mysteries: Hermetic, Orphic, Brahminical, Delphic, Eleusinian, Christian, etc. in his writings, he considered general ideas ancient mystics, expressed in various mysteries, as well as mystical picture 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 and others. For them, mysticism has become a "magic crystal" through which the artist looks at the world. That is why the picture of the world in symbolist art is semi-mystical, semi-real.

The appeal of writers and poets to ancient and modern mystical teachings has resurrected 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 value

4 Du-Prel K. Philosophy of mysticism or Duality of a human being. - Kyiv, 1911.

5 Shure E. Great initiates. Essay on the esotericism of religions. - Kaluga, 1914. Further "Schure E." With page references.

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

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

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

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 prone to mysticism, to religious-mystical contemplation."

It should also be noted that in mysticism, the esoteric core was considered, which constitutes the level of the inner (true) teaching, accessible to a few. In this regard, at the turn of the century, the idea of ​​\u200b\u200b"mystery" was recreated - a mystical action that "in ancient greece, ancient rome and the countries of the ancient East" was understood as "a secret rite in honor of the gods, a sacrament in which only initiates could participate." to him from above after a series of trials (rites or initiations). It is not for nothing that initiation itself was understood as "ascension to some rank, dignity with the observance of certain rituals."10 In various ancient mysteries, there were a different number of degrees of initiation. degree", after entering into which the initiate could be called "Teacher" or "Hierophant". All the main initiates who were on the lower levels were considered "adepts", that is, mysts who did not reach the highest perfection and, as a result, did not master the secret knowledge. to the ancient world"Great Initiates" were known: Rama, Krishna, Hermes, Moses, Orpheus, Pythagoras, Plato, Jesus. The teaching of each of them was revealed in the mysteries of antiquity (Brahmanic, Egyptian (Hermetic), Israeli, Dionysian, Delphic, Eleusinian).

These teachings, indeed, can be combined under one common

9 Concise Dictionary foreign words. Comp. S. M. Lokshina. - M.: Sov. encyclopedia, 1971.-p. 188-189.

10 Ozhegov S. I., Shvedova N. Yu. Explanatory dictionary of the Russian language. - M.: Az, 1994.-S. 557. with the name - "mysteries of antiquity", - since all of them, regardless of the place and time of occurrence, 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 one's soul (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 considered it as the "inexpressible" (that is, what cannot be said), the "Primary", calling it the "First". This God was given the names of the "Supreme Divine Essence", "All-One", etc.

The cosmogonic ideas of the ancient mysts (gr. kosmogonia - "origin of the world") were connected with the "Primary Beginning". The "Supreme Divine Essence" was considered the starting point in the development of the Universe. The same "hidden God" created universal laws: life and death, good and evil, spirit and matter were subject to him (although, most often, the Deity spiritualized matter, and the demiurge turned out to be its creator).

This terminology in its artistic comprehension determined the mystical coloring literary works. This feature was noted by E. Schure: "Never the desire for spiritual life, for invisible worlds, expelled by the materialistic theories of scientists and fashion trend, 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 more deep feeling the insignificance and unreality of earthly life, she never aspired more ardently towards the invisible, the otherworldly, while at the same time maintaining her inability to believe. (1863

11 Schure E. - S. 12.

Reality never aroused delight in 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 saturated with storms"12, because he was much more attracted to the world of his own dreams. Sologub's attitude to this world, the way of penetrating into it and its laws are mystical in nature. One can fully agree with the idea of ​​A. S. Dolinin that “Sologub should be recognized as the most detached writer from life, more and more deeply than anyone who broke with the “objects of the objective world.”13 The obviousness of this statement is confirmed when referring to Sologub’s poetics. In his major novels "Small Demon" and "A Created Legend" the author refers to such concepts as "secret knowledge", "truth", "hidden god", which were an integral part of esoteric teachings. Some of the facts included in the works of Sologub, such as knowledge of the "world energy", "material atom", etc. indicate the artist's acquaintance with the most ancient alchemical works. In the novel "Legend in Creation" Sologub creates two of his own mysteries, calling them "mysteries of death" (chapter "Queen Ortrud") And this, deyst

V* u Significantly, two acts composed according to the type of 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": "And, as a rule, we do not know that there is no original will of ours, that our every movement and every word is prompted and even foreseen long ago in the demonic creative plan world game once and for all, so we have no choice, no freedom, 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. Created legend. - M.: Sovremennik, 1991. - S.564. my censor; and the world that we know is nothing but a marvelous-looking decoration, and behind it backstage slovenliness and dirt. We play, as best we can, the role suggested to us, the actors and at the same time the spectators, alternately applauding each other or booing each other. Sologub here appears not as a playwright, but as a mystic, a person who is prone to mysticism, to a religious and mystical perception of the world.

However, despite all the evidence of Sologub's inclination to mysticism, his contemporaries perceived him only as a writer-philosopher. An authoritative person, a person who probably 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, P. S. Vladimirov, making a summary to his article “F. Sologub and his novel “The Petty Demon” noted: “This is our opinion of Sologub’s philosophy.”16 N. Poyarkov also says the same thing, revealing the essence of Sologub’s worldview: a kind of philosophy - the deification of one's Self and attraction to evil."17 And, finally, Sologub himself declares himself: "I philosophize like a poet."18

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. Retired (On the Psychology of F. Sologub's Creativity). // 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 theatre. Sat. articles. - St. Petersburg: Rosehip, 1908. - S. 187-188. Further "Sologub F. Theatre" with indication of pages.

15 Chebotarevskaya A. "Created" creativity. // Sologub F. Zvezda Mair. - M.: Chronicle, 1998. - S.268.

16 Vladimirov P. S. F. Sologub and his novel "The Little Demon".// About Fyodor Sologub. Criticism. Articles and notes. Comp. A. Chebotarevskaya. - St. Petersburg: Rosehip, 1911.-S.318.

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

18 Sologub F. Theatre. - S. 184.

Nietzsche, I. Kant and N. Fedorov.

So, Sologub argues with Schopenhauer about the concept of "will". Schopenhauer's "will to live" the writer opposes the "United world-rode will," the will of the "I", risen above the world.

F. Nietzsche in his writings formed the idea of ​​"Dionysian", "eternal return", "superman", which Sologub very successfully beats in his works (in particular, in the novels "The Petty Demon" and "The Created Legend"). The Dionysian becomes for the artist a state in which divine revelation is known. "Eternal return" hurries the 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 beautiful 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 of the "I" as self-sufficient and effective. But besides everything else, Sologub imparts creative ability to the "I". His "I" is able to create worlds, and therefore it is "I-creative".

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

We are inclined to consider F. Sologub, first of all, as an artist, since even his "philosophy" is a comprehension of being, prone 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, disparate works devoted to the mystical aspect of the writer's work still exist.

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

The mysticism of F. Sologub". Here Arsky described the mysticism of the artist as "the mysticism of contemplation."19 Arsky sees Sologub's work precisely as a kind of mystical act: "You feel how the poet looks with his eyes into the eyes of his own personal inner existence, from which he strangely separated , remaining only looking, reflecting." And further: "To separate from oneself and look from the height of one clear contemplation at one's living self" - no one could achieve this Buddhist detachment from the experience of this stop of the continuous flow of life to such an extent. and look at it, flowing beside it, beyond creation and soul, like Fedor Sologub."21

And finally, Sologub Arsky also defines the goal of earthly existence as the goal of the mystic: “But the life of this poet’s work is significant because he did not seek renunciation itself, not Nirvana itself, but comprehension in these pure and absolutely calm reflections. In his image he connects this flow and the immobility above it, and, therefore, its pattern is 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. Yu. I. Guskov considers the influence of the teachings of the Gnostics on the work of F. Sologub on the example of his novel "The Petty Demon": "... one can detect the influence of the ideas and cosmology of the Gnostics. As you know, the Gnostics emphasized the idea of ​​the spatial discreteness of the divine (in the Gnostic Valentin, three gods correspond to three spheres their habitats: Ogdoad - the higher spheres, Ebdomad - the kingdom of Yahweh, the Earth is under the jurisdiction

19 Arsky (Abramovich N. Ya.) Mysticism F. Sologub. // Literary calendar- almanac. Comp. O. Norwegian. - Pb., 1908. ■ P. 75. Further "Arsky" with indication of pages.

21 Ibid. devil, "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 about the artistic space of the novel.

I. Yu. Simacheva rightly points out the typological proximity of the mystical ideas of F. Sologub and the German mystical 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 over the limits pure art, seeks to transform the world by the effort of creative will. In this art, a 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 clear 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 confuses the dates somewhat. 1913 was the year of the founding of the anthroposophical society, and not 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 that transform it. "24. Our further references to the works of E. Schure (1914), R Steiner 1914, 1916), D. Stranden (1914), when considering the works of F. Sologub "Small Demon" (1905) and "Created Legend" (1907 - 1913), at first glance, are not fully justified, since they were published later than the works themselves were published. But in our appeal to them, we are based on the typological similarity of some of Sologub's ideas (about

22 Ibid. - P.75-76.

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

24 Simacheva I.Yu. Reality and dream in F. Sologub's novel "Created Legend".//Russian literary journal. - No. 5-6, 1994. - S. 121-2. secret knowledge", alchemical experiments over time, etc.) with certain provisions of mystical teachings. However, none of the literary critics has so far identified 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, the real world (everyday earthly existence) and other existence are necessarily present. Basically, in Sologub, there is a transformation of other being, which in its most complete form is represented by two worlds: the infernal world and the highest transcendental reality. In the worlds of Sologub, the presence of a force responsible for the world is obligatory. Thus, within real world"Christ" becomes such a force, in the infernal world the "princess" ("Small demon"), and then Ortrud ("Legend being created"), etc. the world - Radiant, above the highest transcendental reality - Mair. The idea of ​​a multi-world universe was also inherent in mysticism, and therefore Sologub's cosmogonic search is fundamentally mystical.

Considering all the above, 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 numerous "blank spots" that exist due to the lack of research into mysticism in the work of F. Sologub.

This means that the relevance of the dissertation under review 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 "Small Demon" and "Created Legend".

2. Determining the type of Sologub's hero, as a hero - "initiate", possessing secret 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. Clarification of the basic principles of constructing artistic cosmogonic models in F. Sologub's novels "Small Demon" and "A Created Legend", the reasons for their transformation, as well as the laws by which the author's worlds exist.

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

1. Determine the main sources on the basis of which the mystical views of F. Sologub were formed.

2. Correlate Sologub's prose with ancient mystical texts and their interpretations. Determine the connection of the writer's works with the works of contemporary mystics (Carl du Prel, E. Schure, R. Steiner, etc.) and separate philosophical teachings close to him. Reveal the features of Sologub'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 undertaken analysis, the objects of comparison are works of art (the novels by F. Sologub "The Petty Demon" and "The Created Legend") and texts of ancient mysteries (hermetic, gnostic, etc.), as well as their interpretations. "Common places" are revealed in the prose of F. Sologub and in the treatises of mystics of the turn of the 19th-20th centuries (C. du Prel, R. Steiner, etc.). Separate aspects of F. Sologub's prose and some ideas of philosophers of the German and Russian philosophical schools are compared.

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

The scientific novelty of this dissertation lies, first of all, in the fact that for the first time it considers the esoteric level of the novels "Small Demon" and "The Created Legend".

For the first time, an unconventional approach to the analysis of Sologub's prose was developed through a comparison of individual elements of the narrative with elements of ancient mysteries (hence, the understanding of the plot lines of the studied 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 determine the structure of our work. The dissertation consists of introduction, 3 chapters and conclusion; provided with a list of references, consisting of 146 titles.