Proverbs and sayings about May HORIZONTALLY: 2. May will deceive - in ... will leave.4 ....
Anton Pavlovich Chekhov - a recognized master short story. The ability to succinctly express thoughts, which has grown from a gymnasium hobby into a real serious work with the word, has become the main distinctive feature Russian classic.
Entering literature as the author of short stories - "sketches", A.P. Chekhov in the 1880s actively collaborated with periodicals (mainly humorous magazines). Newspaper layout rules dictated certain restrictions on the number of characters. In the works that appeared on the pages of periodicals, the author was required to demonstrate the essence of artistic images in the most concise form.
In order to impartially, but at the same time clearly show life as it is, Anton Pavlovich Chekhov resorted to the use of various expressive and visual means. With their help, on just one or two pages of text, he was able to convey the diversity, and often the absurdity of the real world. The writer's favorite technique was the use of such an element as an artistic detail.
Artistic details of Chekhov in the story "Death of an official"
A detail in a work is one of the well-known ways to create an image of a character. For example, they were actively used by N.V. Gogol to characterize his heroes. This technique acquires special significance in works of a small volume, where there are no lengthy dialogues, and each word is carefully selected.
What is an art piece? This is an expressive detail, with the help of which the essence of a person, event or phenomenon is revealed. Most often, it is an object material world- it can be a thing, an item of clothing, furniture, housing, etc. Often facial expressions, gestures, manner of speech actors also become artistic details.
What is the role of artistic detail in Chekhov's prose? It is intended to give the reader a complete picture of the character. So, in the story “The Death of an Official” () with the main character, the “beautiful” clerical worker Ivan Dmitrievich Chervyakov, there was an embarrassment in the theater. The fact is that while watching the "Corneville Bells" he suddenly sneezed. The author emphasizes the commonness of the situation: they say, with whom it does not happen. To his misfortune, the official notices that he accidentally stained the bald head of the state general Brizzhalov sitting in front. And although he does not attach any importance to a random episode, Chervyakov's life from that moment turns into a nightmare. Fear of a high rank forces him to offer his deepest apologies both during the performance, and during the intermission, and the next day, for which Chervyakov specially visits the general's reception room. But assurances that the apology is accepted, and what happened is a mere trifle, do not have the proper effect on him. Chervyakov is even going to write a letter to the general, but, on reflection, he decides to turn himself in again. With his servility, the official drives Brizzhalov into a frenzy, and he, in the end, kicks out the obsessive visitor. Tired of the mental anguish tormenting him, Chervyakov returns home and dies on his couch.
In fact, officials who were on the lower rungs of the career ladder often became the heroes of the works of A.P. Chekhov. This was due primarily to the fact that this class was an extremely inert mass, leading a rather meaningless - and therefore indicative - life.
In the story "The Death of an Official", a collision of two opposite worlds is noticeable. On the one hand, in the exposition, the author seems to set us up in a bohemian way: the hero came to the theater and enjoys the performance. On the other hand, an attentive reader is immediately alarmed by a strange detail: Chervyakov, sitting in the second row, is watching the opera through binoculars. This interweaving of high impulses with low impulses is again demonstrated in a phrase that gives a complete picture of the hero’s way of thinking: “Not my boss, someone else’s, but still embarrassing.” That is, Chervyakov apologizes not so much in accordance with the rules of etiquette, but out of necessity dictated by his official position.
In the same vein, Anton Pavlovich Chekhov describes the wife of an office worker. In the story, her image appears in only three sentences. But isn’t the detail that the frightened wife calms down as soon as she realizes that Brizzhalov is a “foreign” boss not indicative?
Moreover, the comparison of the general and the official in their attitude to life suggests the differences are much deeper than the inequality of social status. The narrowness and narrowness of Chervyakov's views contrast sharply with Brizzhalov's complacency. However, there is a paradox here. For all Chervyakov’s awareness of his low place on the hierarchical ladder, he, probably without realizing it himself, believes that the general certainly cares about his modest person: “I forgot, but I myself have malice in my eyes ...”, “He doesn’t want to talk!. Angry means…”, “General, but he can’t understand!..”.
Chervyakov's inability to understand his own thoughts, to listen to the voice of reason, not fear, excessive suspicion, outward insecurity and downtroddenness - all this speaks of the character's passivity, his habit of living according to orders. In his admiration for the mighty of this world, he can in no way go beyond the framework of the position that he himself has determined. Therefore, before an audience with General Chervyakov, he specially cuts his hair and puts on a new uniform - another important feature.
He remains in the same resigned position even after death. In the last sentence of the story, Chekhov brings out the most revealing detail: “Arriving mechanically home, without taking off his uniform, he lay down on the sofa and ... died.” There is a bitter irony here: the hero, as he lived, “mechanically” and according to instructions from above, died without taking off his uniform. As you can see, the uniform is a symbol of irresistible servility generated by the bureaucratic environment.
The author also mentions that before his death, "something came off in Chervyakov's stomach." Not in the chest, but in the stomach - thus, the torment that the reader has witnessed can hardly be called spiritual. Therefore, the detail in the stories of A.P. Chekhov becomes an exhaustive means of forming not only a social, but also a psychological portrait of a character.
Brief description of the early period of Chekhov's work
Chekhov is a master of artistic detail. The early period of his work is an example of concise presentation. Later, in a letter to his brother Alexander, he derived the famous formula: “Brevity is the sister of talent”, which can be called a hallmark of all his works. Avoiding a one-sided depiction of reality, Chekhov in his stories always intertwined the low with the high, and the comic with the dramatic. And in this he was especially helped by the use of artistic detail, since it set the reader in a certain way and made it possible to form a complete picture of the hero even within the framework of a short humorous story. Already in the early works of Anton Pavlovich Chekhov, trends can be traced that will later turn into plays and lead him to a number of recognized world classics.
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In the analysis of speech matter, not only words and sentences are relevant, but also building units of the language(phonemes, morphemes, etc.). Images are born only in text. The most important stylistic trend in art. liter-re - muting general concepts and the emergence in the mind of the reader representation.
The smallest unit of the objective world is called artistic detail. The detail belongs to metaverbal to the world of the work: “The figurative form of a cast work includes 3 sides: a system of details of subject figurativeness, a system of compositional techniques and a speech structure.” Usually details include details of everyday life, landscape, portrait, etc. detailing the objective world in literature is inevitable, this is not decoration, but the essence of the image. The writer is not able to recreate the subject in all its features, and it is the detail and their combination that “replace” the whole in the text, causing the reader to associate the author with the necessary associations. This "removal of places of incomplete certainty" Ingarden calls specification. Selecting certain details, the writer turns the objects with a certain side to the reader. The degree of detail in the image mb is motivated in the text by the spatial and/or temporal point of view of the narrator/narrator/character, etc. detail, like a "close-up" in a movie, needs " general plan". In literary criticism, a brief message about events, the total designation of objects is often called generalization. The alternation of detailing and generalization is involved in the creation rhythm Images. Their contrast is one of the stylistic dominants.
The classification of details repeats the structure of the objective world, composed of events, actions, portraits, psychological and speech characteristics, landscape, interior, etc. A.B. Esin proposed to distinguish 3 types: details plot, descriptive and psychological. The predominance of one type or another generates a corresponding style property: plot"(" Taras Bulba ")," descriptiveness» (« Dead Souls»), « psychologism" ("Crime and Punishment"). In epic works, the narrator's commentary on the words of the characters often exceeds the volume of their replicas and leads to the image of the 2nd, non-verbal dialogue. This dialogue has sign system. It is kinesics(gestures, elements of facial expressions and pantomime) and paralinguistic elements(laughter, crying, pace of speech, pauses, etc.). The details of the mb are given in opposition, but can form an ensemble.
E. S. Dobin offered his own typology based on the criterion singleness/many, and used different terms for this: Detail affects a lot. Detail tends to be singular. The difference between them is not absolute, there are also transitional forms. " alienating"(according to Shklovsky) detail, i.e. introducing dissonance into the image, has a huge cognitive value. The visibility of a detail that contrasts with the general background is facilitated by compositional techniques: repetitions, “close-ups”, retardations, etc. Repeating and acquiring additional meanings, the detail becomes motive (keynote), often grows into symbol. At first, she may surprise, but then she explains the character. The symbolic detail mb is placed in the title of the work (“Gooseberry”, “ easy breathing"). The detail (in Dobin's understanding) is closer to sign, its appearance in the text evokes the joy of recognition, arousing a stable chain of associations. Details - signs are designed for a certain horizon of the reader's expectations, for his ability to decipher this or that cultural code. More than a classic, details - signs delivers fiction.
QUESTION 47. LANDSCAPE, ITS VIEWS. SEMIOTICS OF LANDSCAPE.
Landscape is one of the components of the world of a literary work, an image of any closed space of the outside world.
With the exception of the so-called wild landscape, the description of nature usually incorporates images of things created by man. In the literary analysis of a particular landscape, all elements of the description are considered together, otherwise the integrity of the subject and its aesthetic perception will be violated.
The landscape has its own characteristics in various kinds of literature. He is best represented in drama. Because of this "economy" the symbolic load of the landscape increases. There are much more opportunities for the introduction of a landscape that performs a variety of functions (designation of the place and time of action, plot motivation, a form of psychologism, landscape as a form of the author's presence) in epic works.
In the lyrics, the landscape is emphatically expressive, often symbolic: psychological parallelism, personifications, metaphors and other tropes are widely used.
Depending on the subject, or the texture of the description, landscapes are distinguished between rural and urban, or urban (“Notre Dame Cathedral” by V. Hugo), steppe (“Taras Bulba” by N.V. Gogol, “Steppe” by A.P. Chekhov), forest (“Notes of a hunter”, “Journey to Polissya” by I.S. Turgenev), sea (“Mirror of the Seas” by J. Conrad, “Moby Dick” by J. Meckville), mountain (its discovery is associated with the names of Dante and especially Zh .-J. Rousseau), northern and southern, exotic, the contrasting background for which is the flora and fauna of the author's native land (this is typical for the genre of ancient Russian "walking", in general, the literature of "travels": "Frigate" Pallada "" I.A. Goncharov), etc.
Depending on the literary direction, 3 types of landscape are distinguished: ideal, dull, stormy landscape.
Of all the varieties of landscape, the ideal landscape, which took shape back in ancient literature- from Homer, Theocritus, Virgil, Ovid, and then for many centuries developed in the literature of the Middle Ages and the Renaissance.
The elements of an ideal landscape, as it was formed in ancient and medieval European literature, can be considered the following: 1) a soft breeze, blowing, not stinging, bringing pleasant smells; 2) an eternal source, a cool stream that quenches thirst; 3) flowers covering the ground with a wide carpet; 4) trees spread out in a wide tent, giving shade; 5) birds singing on the branches.
Perhaps the most concise list of idyllic landscape motifs in their parodic interpretation is given by Pushkin in his message To Delvig. The very writing of "rhymes" already presupposes the presence in them of an "ideal nature", as if inseparable from the essence of the poetic:
"Confess," we were told,
You write poetry;
Can't you see them?
You depicted in them
Of course, streams
Of course, cornflower,
Forest, breeze,
Lambs and flowers..."
Characterized by diminutive suffixes attached to each word of an ideal landscape - "idyllema". Pushkin lists all the main elements of the landscape in an extremely laconic manner: flowers, streams, a breeze, a forest, a herd - only birds are missing, but instead of them - lambs.
The most important and stable element of an ideal landscape is its reflection in the water. If all other features of the landscape are consistent with the needs of human feelings, then through the reflection in the water, nature is consistent with itself, acquires full value, self-sufficiency.
In the ideal landscapes of Zhukovsky, Pushkin, Baratynsky, we find this self-doubling as a sign of mature beauty:
And in the bosom of the waters, as through glass,
(V. Zhukovsky. "There is heaven
and the waters are clear!"
My Zakharovo; it
With fences in the wavy river,
With a bridge and a shady grove
The mirror of the waters is reflected.
(A. Pushkin. "Message to Yudin")
What a fresh dubrov
Looking from the shore
In her cheerful glass!
(E. Baratynsky. "Excerpt")
In the 18th century, the ideal landscape was significant in itself, as a poetic representation of nature, which had previously not been included at all in the system of aesthetic values of Russian literature. Therefore, for Lomonosov, Derzhavin, Karamzin, this landscape had artistic value in itself, as a poeticization of that part of reality that was not previously considered poetic in medieval literature: as a sign of mastering the ancient, pan-European art of landscape. TO early XIX century, this general artistic task has already been completed, therefore, in Zhukovsky, Pushkin, Baratynsky, Tyutchev, Nekrasov, the ideal landscape conflicts with the real state of the world as something imaginary, incorporeal, distant, or even offensive in relation to the difficult, ugly, suffering human life.
The dull landscape came into poetry with the era of sentimentalism. Otherwise, this landscape can be called elegiac - it is closely connected with the complex of those sad and dreamy motifs that make up the genre feature of the elegy. A dull landscape occupies, as it were, an intermediate place between an ideal (light, peaceful) and a stormy landscape. There is no clear daylight, green carpets, full of flowers, on the contrary, everything is immersed in silence, resting in a dream. It is no coincidence that the cemetery theme runs through many dull landscapes: Zhukovsky's "Rural Cemetery", Batyushkov's "On the Ruins of a Castle in Sweden", Milonov's "Despondency", Pushkin's "Osgar". Sadness in the soul of the lyrical hero is transformed into a system of landscape details:
Special hour of the day: evening, night or special season - autumn, which is determined by the distance from the sun, the source of life.
Impenetrability to sight and hearing, a kind of veil covering perception: fog and silence.
Moonlight, bizarre, mysterious, eerie, pale luminary of the realm of the dead: "The moon looks thoughtfully through thin vapor", "only a month through the fog the crimson face will set", "a sad moon quietly ran through the pale clouds", "the moon makes its way through the wavy mists" - the reflected light, moreover, scattered by the fog, pours sadness on the soul.
A picture of dilapidation, withering, smoldering, ruins - whether it be the ruins of a castle near Batyushkov, rural cemetery at Zhukovsky, "overgrown with a row of graves" at Milonov, the decrepit skeleton of the bridge or the decayed arbor at Baratynsky ("Desolation").
Images of northern nature, where the Ossian tradition led Russian poets. The north is part of the world, corresponding to the night as part of the day or autumn, winter as the seasons, which is why the gloomy dull landscape includes details of northern nature, primarily such characteristic, easily recognizable ones as moss and rocks ("mossy strongholds with granite teeth", " on a rock overgrown with wet moss", "where there is only moss, gray on gravestones", "above a hard, mossy rock").
In contrast to the ideal landscape, the components of a formidable, or stormy, poetic landscape are shifted from their usual place. Rivers, clouds, trees - everything is torn beyond its limit with an obsessively violent, destructive force.
We find the brightest examples of a stormy landscape in Zhukovsky ("The Twelve Sleeping Maidens", "The Swimmer"), Batyushkov ("The Dream of the Warriors", "The Dream"), Pushkin ("Crash", "Demons").
Signs of a stormy landscape:
Sound sign: noise, roar, roar, whistle, thunder, howl, so different from the silence and soft rustle of an ideal landscape ("huge moans", "breathed with a whistle, howl, roar", "massive waves rushed with a roar", "Wind it makes noise and whistles in the grove", "the storm roared, the rain roared", "the eagles scream above me and the forest grumbles", "the forest roars", "and the sound of water, and the whirlwind howl", "where the wind is noisy, a thunderstorm roars").
Black haze, dusk - "everything is dressed in black haze", "the abyss in the darkness before me."
The wind is raging, gusty, sweeping away everything in its path: "and the winds raged in the wilds."
Waves, abysses - boiling, roaring - "swirl, foam and howl among the wilds of snow and hills."
Dense forest or piles of rocks. At the same time, the waves beat against the rocks (“crushing against the gloomy rocks, the shafts rustle and foam”), the wind breaks the trees (“cedars fell upside down”, “like a whirlwind digging fields, breaking forests”).
Trembling, trembling of the universe, unsteadiness, collapse of all supports: "the earth, like Pontus (sea), shakes", "oak forests and fields tremble", "flinty Lebanon crackled". The motif of "the abyss", failure is stable: "here the abyss boiled furiously", "and in the abyss of the storm there are piles of rocks."
It is in a stormy landscape that the sound palette of poetry reaches its greatest diversity:
A storm covers the sky with mist,
Whirlwinds of snow twisting;
Like a beast, she will howl
He will cry like a child...
(A. Pushkin. "Winter Evening")
Moreover, if through an ideal landscape the image of God is revealed to the lyrical subject (N. Karamzin, M. Lermontov), then the stormy personifies demonic forces that cloud the air, blow up the snow with a whirlwind. A stormy landscape combined with a demonic theme is also found in Pushkin's Possessed.
Semiotics of the landscape. Different kinds landscapes are semiotized in the literary process. There is an accumulation of landscape codes, whole symbolic "funds" of descriptions of nature are created - the subject of study of historical poetics. Constituting the wealth of literature, they at the same time pose a danger to the writer who is looking for his own path, his own images and words.
When analyzing a landscape in a literary work, it is very important to be able to see the traces of one or another tradition, which the author follows consciously or unwittingly, in unconscious imitation of styles that were in use.
Just as a large mosaic picture is made up of pieces of a mosaic, a spacious integrity of literary character, narrative and description is made up of artistic details, individual images. This comparison, if lame, is only in the sense that the “mechanical” principle of addition (a whole from “pieces”) is still noticeable in the mosaic composition and the boundaries of the parts are easily noticeable. Meanwhile, in a verbal work of art, small details in the composition of a large figurative whole are connected by an organic connection, naturally “flow” into each other, so that only a keen “gazing” allows us to notice the outlines of individual microstructures.
And one more condition is required for the aesthetic perception of a detail: one must appreciate the characteristic and individual in reality, the fullness and lively play of life, even in its small manifestations. A detail, of course, is a detail in the picture of the whole, but not every detail is a detail, but only that which is saturated with the energy of individual vision. In what the indifferent gaze glides past, the keen eye of the artist sees not only a manifestation of the infinite diversity of life (after all, we cease to feel it over the years), but also such details in which a thing, a phenomenon, a character sometimes turns to us with its most essential side. .
Obviously, this requires not only the gift of special observation, not only a special sharpness of external vision, but the insight and power of internal vision, a heightened sensitivity of the soul. That is why we perceive a correctly and accurately found detail as a small discovery (especially in poetry), which gives rise to delight, as if the naive and blissfully clairvoyant "vision" of childhood has suddenly returned to us.
The fact that this requires a special ability, which is the most important component of artistic talent, is convinced by the recognition of the great artists of the word. Ivan Bunin wrote that nature gave him a special gift of “tenfold” vision and “tenfold hearing”.
Afanasy Fet in his memoirs admits that he consciously exercised in himself the powers of observation originally bestowed upon him, taking lonely walks, in which there was always food for her. The life of nature in its small, semi-observable manifestations, some kind of bustle of ants dragging a blade of grass or something of the same kind, were endlessly entertaining for him, riveted his attention for a long time.
Behind all this lies the ability for deep contemplation, peculiar only to an artist (whether it is a painter, a poet, or a prose writer). This is a special, cognizing contemplation, in which, according to A.F. Losev, there is no longer a subject and an object taken in their separation, but there is, as it were, a “marriage” fusion of both, born of love(only on it is any true knowledge attached). This is "disinterested" contemplation, free from the predatory desires of the will - the eternal source of suffering. That is why, according to Schopenhauer, the poet is the "clear eye of the universe."
Artistic detail in lyrics
V lyric poem a detail or a chain of details are often reference points of the image. Sometimes such details carry special associative possibilities, pushing our imagination, prompting it to "finish" the fullness of the lyrical situation, outlined only by cursory strokes. Its objective and psychological perspective is expanding before our very eyes, receding into the mysterious depths of life. And now, sometimes, the whole fate of a person with its hidden tragedy flashes before our mind's eye.
A lyrical image is sometimes born in the bosom of one brightly individual detail. There is still nothing, no pattern of rhythm, no vague prototype of the composition, only an indistinctly sounding "musical" wave torments the poet's imagination, and already a living detail of being flashed in this fog with a bright light, closing in itself the outer world and the inner world. The movement of lyrical thought sometimes begins with it, other details are adjusted to it, the expression contained in them spills over the entire lyrical image. But even if such a detail is just a stroke of the “external” picture (a lyrical landscape, for example), even here it contains a poetic surprise that refreshes our perception of the world.
Such a detail sometimes enters indelibly into our sense of life, so that our very attitude to it is no longer conceivable without these poetic discoveries. It is unthinkable, for example, our perception of a pre-storm without Tyutchev's details: “Greening fields Greener before a thunderstorm”, “Hotter than roses fragrance. The voice of the dragonfly is louder. The fact is that in these details the sharpness of Tyutchev's poetic vision was not simply imprinted. In them, if you like, a certain real law of the phenomenon emerges: the awakening before a thunderstorm of the implicit, muffled in the usual sound and flowering of nature, some “selected” sounds and “selected” colors that accompany its “fateful minutes”.
Artistic detail at Ryleev and Pushkin
A detail directed into the inner world is especially eloquent when it contains a laconic image of some instantaneous movement, in which, as if involuntarily, an integral image of the soul emerges. Pushkin was delighted with Ryley's lines in the poem "Voynarovsky":
Mazepa smiled bitterly,
Lying silent on the grass
And wrapped himself in a wide cloak.
The external gesture of the hero here is more eloquent than many descriptions. The artistic echo of this detail is echoed in Pushkin's depiction of Napoleon in the poem "Hero":
He fades motionless.
Cloaked with a combat cloak ...
Unlike Ryleyev, Pushkin sharpens the contrast between immobility and Napoleon's soul-burning need for action. The battle cloak of the leader, tormented by the torture of peace, is a detail that strikes with its tragic depth.
Artistic detail at Turgenev's ("On the Eve")
In prose, such an artistic detail, rooted in an instantaneous psychological gesture, can flicker in the composition of a fairly spacious description, marking a strong emotional outburst in the development of experience, tantamount to a mental crisis. In the novel "On the Eve", Turgenev portrays Elena's growing impatience in anticipation of the last meeting with Insarov. Everything that happens to her in this scene happens as if by inertia. She does not find a place for herself, taking up one thing, then another, and does everything as if automatically. Turgenev depicts this all-consuming impatience of the soul, for which everything familiar would have lost its meaning, forcing rhythmic-intonational means of influencing the reader. Elena begins to eagerly rush time, and the rhythm of Turgenev's speech reflects this pulsation of the empty, traceless flow of time. At this moment, a sharp decline occurs in the soul of the heroine. The strength of this decline is equal to the strength of expectation. Turgenev does not further reveal the train of thought of the heroine, he focuses only on external manifestations the storm that broke out in her soul. After this impotence, following the river of tears, a decision suddenly ripens in Elena, a strong-willed impulse, the essence of which is not yet clear to herself. And here, in a rich psychological context, there is an external gesture, a detail symbolizing the transformation of the soul: “She suddenly got up and sat down: something strange was happening in her: her face changed, her moist eyes dried up and shone by themselves, her eyebrows moved, her lips shrank."
This is the peak of the most complex mental process, and in depicting a sharp and seemingly unforeseen fracture of the soul, Turgenev accurately and subtly maintains the logic of character. After all, his Elena is a strong-willed and active nature, and the effective warehouse of her character eventually takes its toll. As before, as if automatically, not yet conscious of her act, but driven by an irresistible force, which is the call of the will, she rushes to the goal, which reminds of itself almost instinctively, almost subconsciously. And this goal is to see Insarov at all costs.
Such extremely saturated psychological details Turgenev rarely places in the image, but large. The excessive, in his opinion, psychological detailing of Leo Tolstoy clearly did not suit him.
Artistic detail at Gogol
In the history of literature there are artists who are keenly attentive to the life of things, to the attributes of the objective world that surrounds human existence. Such were Gogol and Goncharov. With rare insight, Gogol anticipated the threat of the total reification of man, the sign of the coming civilization, in which man is no longer so much the creator and master of things as their slave and thoughtless consumer. In Gogol, an objective, material detail sometimes becomes, as it were, an “index” of the soul and replaces it without a trace. In its pictorial function, it is a “mirror” in which the character is reflected. Under these conditions, a special stake is placed on substantive detail: for Gogol, it is the most important means of depicting the world and man. There is no trace of Pushkin's restraint in handling the detail. Gogol's detailing is demonstratively abundant: things crowd human space here and crowd it so much that there is no longer a sense of the spaciousness of life. However, Gogol's characters, inseparably merged with this reified reality, no longer yearn for this expanse. Life for them forever obscured being.
"Ship" of Gogol's plot in " dead souls ah”, for example, floats in the middle of a vast “ocean” of things. The material world here is either thickened or somewhat sparse, but in any case so vast that in this respect Gogol is hardly comparable to any of the Russian classics. The same dense material environment surrounds (even earlier) the characters of Mirgorod and Petersburg Tales. Where there is an abundance of subject details, the specificity of each individual weakens somewhat, but it is precisely the totality of things that acquires special pictorial power - a system of mirrors in which the dead face of the character is reflected. In the emptiness of existence, the thing acquires a fatal irrational power over Gogol's heroes. She (the thing) claims to be a hero in Gogol, sometimes falling into the energy center of the plot, becoming the source of his movement (the gun in The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich, a carriage, an overcoat). The material world is that "crust of the earth" which, in Gogol's words, crushed " high purpose man" (words spoken by Gogol during his studies at the Nizhyn gymnasium).
Artistic detail at Goncharov's ("Oblomov")
A material detail lives a different life in I. Goncharov's novel Oblomov. The object environment here is both denser and more spacious than anywhere else in Goncharov's work, and in the depiction of things here, Gogol's artistic lessons are too clearly felt. But here, and in all its obviousness, Goncharov's unique attitude to real artistic detail comes through. The connection between the subject and the character in Goncharov is warmer and more intimate. Oblomov's robe, which has its own plot story, symbolically objectifying the spiritual movement of the hero, his milestones and stages, this robe, of course, is shrouded in comic expression, but neither the tragedy that accompanies it, nor the grotesque quirkiness in the spirit of Gogol is not in sight here.
The comic radiated by this detail is smiling and sad, it is completely devoid of satirical poison, just as the author's attitude towards the hero has nothing to do with any kind of exposure. Oblomov's affection for a dressing gown is almost a reflex and characterizes not only Oblomov's laziness, but also the need for breadth and space, even if in everyday manifestations of both. After all, it is important to understand that this is a dressing gown “without a hint of Europe,” and, at the risk of falling into comic seriousness, one can still say that it marks an aversion to any regulation and purely external goodness, elevated to a cult, but at the same time, of course. and the excesses of Eastern quietism, the captivity of contemplation that suppresses the will. Finally, Goncharov's detailing reflects the author's attraction to a solid way of life, to the traditional foundations of Russian life, eroded by the caricaturally absurd and predatory passions of the time, the foam and scum of nihilism. That is why the objective world of Grandmother Berezhkova's "noble nest" in "The Cliff" is fanned with the poetry of Russian life, permeated with the warm glow of kindred love for the whole world.
Artistic detail at Chekhov
A different attitude to the subject detail in artistic styles tending to small narrative forms. It is clear that on this artistic basis, detail is not treated as extravagantly as in a great epic. “He never has superfluous details,” L. N. Tolstoy said about A. P. Chekhov (according to A. V. Goldenweiser), “every one is either necessary or beautiful.” The laconicism and concentration of meaning in Chekhov's subject detail are such that the detail is capable of replacing a spacious description in him. In this sense, Treplev’s words about Trigorin’s manner (“The Seagull”): “The neck of a broken bottle glistens on the dam and the shadow of the mill wheel blackens - that’s Moonlight night ready...” are close to Chekhov’s handling of the detail. But it would be reckless to perceive them as an unconditional rule, as a principle of Chekhov's style, excluding deviations. Suffice it to recall the spacious landscape descriptions in The House with a Mezzanine, in The Black Monk, in The Student, etc., and it becomes clear that the range of deviations from Trigorin's "canon" is very extensive. A detailed description, seemingly risky in terms of compression and concentration of forms, is easily and organically combined in Chekhov with the symbolization of a detail, as the composition of the story “Student” convinces of this. Against the backdrop of a fairly spacious landscape description here, a detail stands out weightily and large, pulling the "lines of force" of the whole to itself - the "bonfire". Pushing the hero's imagination, resurrecting in his memory the episode of the gospel night in the Garden of Gethsemane, this detail connects the temporal layers of the image, throwing a bridge from the past to the present.
ARTISTIC DETAILS - a trace element of an image (landscape, interior, portrait, depicted things, action, behavior, deed, etc.), having greater value to express content than other trace elements. The figurative world of a work (see: Content and Form) is detailed to varying degrees. So, Pushkin's prose is extremely sparingly detailed, the main attention is paid to action. “At that moment, the rebels ran up to us and broke into the fortress. The drum is silent; the garrison abandoned their guns; I was knocked down, but I got up and, together with the rebels, entered the fortress "- that's practically the entire description of the assault in" Captain's daughter". Lermontov's prose is much more detailed. In it, even real details reveal mainly the characters and psychology of the characters (for example, Grushnitsky's thick soldier's overcoat, the Persian carpet bought by Pechorin to spite Princess Mary). Gogol's details are more focused on everyday life. Food means a lot: the menu of "Dead Souls" is much more abundant than the menu of "A Hero of Our Time" - in proportion to the attention that the characters give it here and there. Gogol is more attentive to the interiors, portraits, clothes of his heroes. Very thorough in detail I.A. Goncharov, I.S. Turgenev.
F.M. Dostoevsky, even more than Lermontov, focused on the psychological experiences of the characters, prefers relatively few, but catchy, expressive details. Such, for example, are the too conspicuous old round hat or Raskolnikov's bloody sock. L.N. Tolstoy in such a voluminous work as "War and Peace" uses leitmotifs - details that repeat and vary in different places in the text, which "fasten" images interrupted by other figurative planes. So, in the guise of Natasha and Princess Mary, the eyes repeatedly stand out, and in the guise of Helen - bare shoulders and an unchanging smile. Dolokhov is often impudent. In Kutuzov, infirmity is emphasized more than once, even in the first volume, i.e. in 1805, when he was not too old (a rare hyperbole in Tolstoy, however, implicit), in Alexander I - love for all kinds of effects, in Napoleon - self-confidence and posturing.
Detailed contrast with details (in plural) - lengthy static descriptions. A.P. Chekhov is a master of detail (Khryukin’s finger bitten by a dog, Ochumelov’s overcoat in Chameleon, Belikov’s “cases”, Dmitry Ionych Startsev’s changing complexion and manner of speaking, the natural adaptability of the “darling” to the interests of those to whom she gives all her attention), but he the enemy of details, he, as it were, writes, like impressionist artists, with short strokes, which, however, add up to a single expressive picture. At the same time, Chekhov does not load every detail with a direct meaningful function, which creates the impression of complete freedom of his manner: Chervyakov's surname in "The Death of an Official" is significant, "speaking", but his first and middle name are ordinary, random - Ivan Dmitrich; in the finale of The Student, Ivan Velikopolsky thought about the episode with the Apostle Peter at the fire, about the truth and beauty that guided human life then and in general at all times - he thought, “when he crossed the river by ferry and then, climbing the mountain, looked at his native village ... ”- the place where important thoughts and feelings come to him does not have a decisive influence on them.
But in the main, an artistic detail is directly significant, something “stands” behind it. The hero of "Clean Monday" I.A. Bunina, not knowing that his beloved will disappear in a day, leave the world, immediately notices that she is dressed in all black. They wander around the Novodevichy cemetery, the hero looks with tenderness at the traces “that new black boots left in the snow,” she suddenly turned around, feeling this:
It's true how you love me! she said with quiet bewilderment, shaking her head. Everything is important here: both the repeated reference to the color black and the definition, which becomes an epithet, are “new” (it was customary to bury the dead in everything new, and the heroine is preparing to bury herself alive and finally walks around the cemetery); the feelings and premonitions of both are aggravated, but he just loves, and she is embraced by a complex of complex emotions, among which love is not the main thing, hence the bewilderment at his feeling and shaking her head, which means, in particular, disagreement with him, the impossibility for her to be like him .
The role of details in "Vasily Terkin" AT is very great. Tvardovsky, stories by A.I. Solzhenitsyn's "One Day in the Life of Ivan Denisovich" and "Matryona's Dvor", "military" and "village" prose: at the front, in the camp, in a poor village, there are few things, each is valued. In "Farewell to Matera" V.G. Rasputin, everything that the inhabitants of the island to be flooded got used to during their long, almost non-stop life on it, was seen, as it were, for the last time.
In the story of V.M. Shukshin “Cut off” to the old woman Agafya Zhuravleva came to visit the son and his wife in a taxi, both candidates of science. “Agafie brought an electric samovar, a colorful dressing gown and wooden spoons.” The nature of the gifts, completely unnecessary to the village old woman, indicates that the candidate philological sciences now he is very far from the world of his childhood and youth, he has ceased to understand and feel it. He and his wife are by no means bad people, but the malicious Gleb Kapustin “cut off” the candidate, albeit demagogically, but, as the peasants believe, thoroughly. Out of ignorance, the peasants admire the “cunning” Gleb and still do not like him, since he is cruel. Gleb is rather a negative character, Konstantin Zhuravlev is rather positive, innocently injured in the general opinion, but the details in the exposition of the story already indicate that this is partly not accidental.
Let's start with the properties of the depicted world. The depicted world in a work of art means that conditionally similar to the real world picture of reality that the writer draws: people, things, nature, actions, experiences, etc.
In a work of art, a model of the real world is created, as it were. This model in the works of each writer is unique; the depicted worlds in different works of art are extremely diverse and can be more or less similar to the real world.
But in any case, it should be remembered that before us is an artistic reality created by the writer, which is not identical to the primary reality.
The picture of the depicted world is made up of individual artistic details. By artistic detail we will understand the smallest pictorial or expressive artistic detail: an element of a landscape or portrait, a separate thing, an act, a psychological movement, etc.
Being an element of the artistic whole, the detail itself is the smallest image, a micro-image. At the same time, the detail almost always forms part of a larger image; it is formed by details, folding into “blocks”: for example, the habit of not waving your arms when walking, dark eyebrows and mustaches with fair hair, eyes that did not laugh - all these micro-images add up to a “block” of a larger image - a portrait of Pechorin, which , in turn, merges into an even larger image - a holistic image of a person.
For ease of analysis, artistic details can be divided into several groups. First of all, external and psychological details stand out. External details, as it is easy to guess from their name, draw us the external, objective existence of people, their appearance and habitat.
External details, in turn, are divided into portrait, landscape and real. Psychological details paint us inner world of a person, these are separate spiritual movements: thoughts, feelings, experiences, desires, etc.
External and psychological details are not separated by an impenetrable boundary. So, an external detail becomes psychological if it conveys, expresses certain mental movements (in this case we are talking about a psychological portrait) or is included in the course of the hero’s thoughts and experiences (for example, a real ax and the image of this ax in Raskolnikov’s mental life).
By the nature of the artistic impact, details-details and details-symbols are distinguished. Details act in mass, describing an object or phenomenon from all conceivable sides, a symbolic detail is single, trying to grasp the essence of the phenomenon at once, highlighting the main thing in it.
In this regard, the modern literary critic E. Dobin proposes to separate details and details, believing that the detail is artistically higher than the detail. However, this is hardly the case. Both the principle of using artistic details are equivalent, each of them is good in its place.
Here, for example, is the use of detail-detail in the description of the interior in Plyushkin's house: “At the bureau ... lay a lot of all sorts of things: a bunch of finely written pieces of paper, covered with a green marble press with an egg on top, some old book bound in leather with a red edge , lemon, all dried up, no more than hazelnut, a broken armchair arm, a glass with some kind of liquid and three flies, covered with a letter, a piece of sealing wax, a piece of a rag raised somewhere, two feathers stained with ink, dried up, as in consumption, a toothpick, completely yellowed.
Here Gogol needs just a lot of details in order to reinforce the impression of senseless stinginess, pettiness and wretchedness of the hero's life.
Detail-detail also creates a special persuasiveness in the descriptions of the objective world. With the help of detail-details, complex psychological states are also transmitted, here this principle of using a detail is indispensable.
The symbolic detail has its advantages, it is convenient to express the general impression of an object or phenomenon in it, with its help the general psychological tone is well captured. The detail-symbol often conveys with great clarity the author's attitude to the depicted - such, for example, is Oblomov's dressing gown in Goncharov's novel.
Let us now turn to a concrete consideration of the varieties of artistic details.
Esin A.B. Principles and methods of analysis of a literary work. - M., 1998
