Garshin analysis. Early works of V. M. Garshin. general description of work

1 Biography of V.M. Garshina…………………………….……………………….3

2 Fairy tale “Attalea princeps”……………………………………………………….5

3 The Tale of the Toad and the Rose…………………………………………………….….13

4 Fairy tale “The Frog Traveler”………………………………….……..16

List of sources used……………………………………….…..18

1 Biography

Garshin Vsevolod Mikhailovich is an outstanding Russian prose writer. Contemporaries called him “the Hamlet of our days,” the “central personality” of the generation of the 80s - the era of “timelessness and reaction.”

Born on February 2, 1855 in the estate of Pleasant Dolina, Yekaterinoslav province (now Donetsk region, Ukraine) into a noble officer family. One grandfather was a landowner, the other a naval officer. Father is an officer in a cuirassier regiment. From the very early years Scenes of military life were imprinted in the boy’s mind.

As a five-year-old child, Garshin experienced a family drama that affected his health and significantly influenced his attitude and character. His mother fell in love with the teacher of the older children, P.V. Zavadsky, the organizer of a secret political society, and abandoned her family. The father complained to the police, Zavadsky was arrested and exiled to Petrozavodsk. Mother moved to St. Petersburg to visit the exile. The child became the subject of acute contention between the parents. Until 1864 he lived with his father, then his mother took him to St. Petersburg and sent him to the gymnasium. He described life in the gymnasium in these words: “From the fourth grade, I began to take part in gymnasium literature...” “The evening newspaper was published weekly. As far as I remember, my feuilletons...were a success. At the same time, under the influence of the Iliad, I composed a poem (in hexameter) of several hundred verses, in which our gymnasium life was echoed.”

In 1874, Garshin entered the Mining Institute. But literature and art interested him more than science. He begins to print, writes essays and art criticism articles. In 1877, Russia declared war on Turkey; On the very first day, Garshin enlists as a volunteer in the active army. In one of his first battles, he led the regiment into an attack and was wounded in the leg. The wound turned out to be harmless, but Garshin no longer took part in further military operations. Promoted to officer, he soon retired, spent a short time as a volunteer student at the Faculty of Philology of St. Petersburg University, and then devoted himself entirely to literary activity. Garshin quickly gained fame.

In 1883 the writer married N.M. Zolotilova, a student of women's medical courses.

The writer Vsevolod Mikhailovich Garshin has several fairy tales. The most popular among readers of primary school age are “The Tale of the Toad and the Rose” (1884) and the fairy tale “The Frog Traveler” (1887), this is the last work of the writer.

Very soon another severe depression sets in. On March 24, 1888, during one of his seizures, Vsevolod Mikhailovich Garshin committed suicide by throwing himself down a flight of stairs. The writer was buried in St. Petersburg.

Vsevolod Garshin's fairy tales are always a little sad, they are reminiscent of Andersen's sad poetic stories, his "manner of transforming pictures of real life with fantasy, without magical miracles." On lessons literary reading In elementary school, fairy tales are studied: “The Frog Traveler” and “The Tale of the Toad and the Rose.” Garshinsky fairy tales genre features closer to philosophical parables, they provide food for thought. In composition they are similar to a folk tale (there is a beginning that begins with the words: “Once upon a time ...”, and an ending).

2 Fairy tale “Attalea princeps”

At the beginning of 1876, Garshin languished under forced inaction. On March 3, 1876, Vsevolod Mikhailovich wrote the poem “Captive”. In a poetic sketch, Garshin told the story of the rebellious palm tree.

Beautiful palm tree with high top

There is a knock on the glass roof;

Glass is broken, iron is bent,

And the path to freedom is open.

And the offspring from the palm tree is a green sultan

He climbed into that hole;

Above the transparent vault, under the azure sky

He proudly looks up.

And his thirst for freedom was quenched:

He sees the expanse of heaven

And the sun caresses (cold sun!)

His emerald headdress.

Among alien nature, among strange fellows,

Among the pines, birches and firs,

He sank sadly, as if he remembered

About the sky of your homeland;

Fatherland, where nature eternally feasts,

Where warm rivers flow

Where there is neither glass nor iron bars,

Where palm trees grow in the wild.

But now he is noticed; his crime

The gardener ordered to fix it, -

And soon over the poor beautiful palm tree

The merciless knife began to shine.

The royal crown was separated from the tree,

It shook with its trunk,

And they answered in unison with noisy trepidation

Comrades, palm trees all around.

And again they sealed the path to freedom,

And glass patterned frames

Standing on the road to the cold sun

And pale alien skies.

The image of a proud palm tree imprisoned in a glass cage of a greenhouse came to his mind more than once. In the work “Attalea princeps” the same plot is developed as in the poem. But here the motif of a palm tree striving to break free sounds even sharper and more revolutionary.

“Attalea princeps” was intended for “Notes of the Fatherland”. M.E. Saltykov Shchedrin perceived it as a political allegory, full of pessimism. The editor-in-chief of the magazine was embarrassed by the tragic ending of Garshin’s work. According to Saltykov Shchedrin, it could be perceived by readers as an expression of disbelief in the revolutionary struggle. Garshin himself refused to see a political allegory in the work.

Vsevolod Mikhailovich says that he was prompted to write “Attalea princeps” by a genuine incident in the botanical garden.

“Attalea princeps” was first published in the magazine “Russian Wealth”, 1880, No. 1, p. 142 150 with the subtitle “Fairy Tale”. From the memoirs of N. S. Rusanov: “Garshin was very upset that his graceful fairy tale “Attalea Princeps” (which was published later in our artel “Russian Wealth”) was rejected by Shchedrin for its bewildered ending: the reader will not understand and will spit on All!".

In “Attalea princeps” there is no traditional beginning “once upon a time,” there is no ending “and I was there...”. This suggests that “Attalea princeps” is an author’s fairy tale, a literary one.

It should be noted that in all fairy tales, good triumphs over evil. In “Attalea princeps” there is no talk about such a concept as “good”. The only hero who shows a sense of “goodness” is “withered grass.”

Events develop in chronological order. Beautiful greenhouse made of glass and iron. Majestic columns and arches shimmered in the bright sunlight like precious stones. From the first lines, the description of the greenhouse gives a false impression of the splendor of this place.

Garshin removes the appearance of beauty. This is where the development of the action begins. The place where the most unusual plants grow is cramped: plants compete with each other for a piece of land, moisture, and light. They dream of a bright, wide expanse, a blue sky, and freedom. But glass frames squeeze their crowns, constrain them, and prevent them from fully growing and developing.

The development of action is a dispute between plants. From the conversation and the characters’ remarks, the image of each plant, their character, grows.

The sago palm is angry, irritated, arrogant, arrogant.

The pot-bellied cactus is ruddy, fresh, juicy, happy with its life, soulless.

Cinnamon hides behind the backs of other plants (“no one will rip me off”), a wrangler.

The tree fern, on the whole, is also happy with its position, but somehow faceless, not striving for anything.

And among them is the royal palm tree - lonely, but proud, freedom-loving, fearless.

Of all the plants, the reader singles out the main character. This fairy tale is named after her. Beautiful proud palm Attalea princeps. She is taller than everyone, more beautiful than everyone, smarter than everyone. They envied her, they didn’t like her, because the palm tree was not like all the inhabitants of the greenhouse.

One day, a palm tree invited all the plants to fall on the iron frames, crush the glass and break out into the long-awaited freedom. The plants, despite the fact that they grumbled all the time, abandoned the idea of ​​​​a palm tree: “An impossible dream!” they shouted. “Nonsense!... People will come with knives and axes, cut off the branches, seal up the frames, and everything will go on as before.” “I want to see the sky and the sun not through these bars and glass, and I will,” answered Attalea princeps. Palma began to fight for freedom alone. The grass was the palm tree's only friend.

The climax and denouement of “Attalea princeps” turned out to be not at all fabulous: it was deep autumn outside, light rain mixed with snow was drizzling. The palm tree, which had broken free with such difficulty, was in danger of death from the cold. This is not the freedom she dreamed of, not the sky, not the sun that she so wanted to see. Attalea princeps could not believe that this was everything she had been striving for for a long time, to which she had given her last strength. People came and, on the orders of the director, cut it down and threw it into the yard. The fight turned out to be deadly.

The images he takes develop harmoniously and organically. Describing the greenhouse, Garshin really conveys its appearance. Everything here is true, there is no fiction. Then Garshin violates the principle of strict parallelism between idea and image. If it had been sustained, then the reading of the allegory would have been only pessimistic: every struggle is doomed, it is useless and aimless. For Garshin, a polysemantic image corresponds not only to a specific socio-political idea, but also to a philosophical thought that seeks to express universal human content. This polysemy brings Garshin’s images closer to symbols, and the essence of his work is expressed not only in the correlation of ideas and images, but also in the development of images, i.e. the very plot of Garshin’s works acquires a symbolic character. An example is the diversity of comparisons and contrasts of plants. All the inhabitants of the greenhouse are prisoners, but they all remember the time when they lived in freedom. However, only the palm tree strives to escape from the greenhouse. Most plants soberly assess their position and therefore do not strive for freedom... Both sides are opposed by a small grass, it understands the palm tree, sympathizes with it, but does not have such strength. Each of the plants has its own opinion, but they are united by indignation against a common enemy. And it looks like the world of people!

Is there any connection between the palm tree’s attempt to be released into the wild and the behavior of other inhabitants who grew up in the same greenhouse? Such a connection can be seen in the fact that each of the characters is faced with a choice: whether to continue life in a place that they call “prison” or to choose freedom over captivity, which in this case means leaving the greenhouse and certain death.

Observing the attitude of the characters, including the director of the greenhouse, to the plan of the palm tree and the method of its implementation allows us to get closer to understanding the author’s point of view, which he does not express openly. How is the long-awaited victory that the palm tree won in the fight against the iron cage depicted? How did the heroine evaluate the outcome of her struggle? Why did the grass, which so sympathized with and admired her desire for freedom, die along with the palm tree? What does the phrase that concludes the whole story mean: “One of the gardeners, with a deft blow of his spade, tore out a whole armful of grass. He threw it into a basket, carried it out and threw it out into the backyard, right on top of a dead palm tree lying in the dirt and already half-buried with snow”?

The image of the greenhouse itself is also polysemantic. This is the world in which plants live; he oppresses them and at the same time gives them the opportunity to exist. The vague memory of plants about their homeland is their dream of the past. Whether or not it will happen again in the future, no one knows. Heroic attempts to break the laws of the world are wonderful, but they are based on ignorance of real life and are therefore groundless and ineffective.

Thus, Garshin opposes both overly optimistic and one-sided pessimistic concepts of the world and man. Garshin’s appeal to images and symbols most often expressed a desire to refute the unambiguous perception of life.

Some literary critics, regarding the work “Attalea princeps” as an allegorical story, spoke of political views writer. Garshin’s mother wrote about her son: “Because of his rare kindness, honesty, and justice, he could not stick to any side. And he suffered deeply for both of them...” He had a sharp mind and a sensitive, kind heart. He experienced every phenomenon of evil, tyranny and violence in the world with all the tension of his painful nerves. And the result of such experiences were beautiful realistic works that forever established his name in both Russian and world literature. All his work is imbued with deep pessimism.

Garshin was an ardent opponent of naturalistic protocolism. He strove to write concisely and economically, rather than to depict in detail the emotional aspects of human nature.

The allegorical (allegorical) form of “Attalea Princeps” gives not only political urgency, but also touches on the social and moral depths of human existence. And the symbols (no matter what Garshin says about his neutral attitude to what is happening) convey the author’s involvement not only in a specific socio-political idea, but also a philosophical thought that seeks to express the content of all human nature.

The reader is given an idea of ​​the world through the experiences of plants associated with memories of their homeland.

Confirmation of the existence of a beautiful land is the appearance in the greenhouse of a Brazilian who recognized the palm tree, called it by name and left for his homeland from the cold northern city. The transparent walls of the greenhouse, which look like “beautiful crystal” from the outside, are perceived from the inside as a cage for plant characters.

This moment becomes a turning point in the development of events, since after it the palm tree decides to break free.

The internal space of the story is complexly organized. It includes three spatial spheres, opposed to each other. The native land for plants is contrasted with the world of the greenhouse not only qualitatively, but also spatially. He is removed from her and presented in the memories of the plant characters. The “alien” space of the greenhouse for them is, in turn, opposed to the outside world and separated from it by a border. There is another enclosed space inhabited by the "excellent scientist" director of the greenhouse. He spends most of his time in “a special glass booth located inside the greenhouse.”

Each of the characters faces a choice: whether to continue life in a place they call “prison” or choose freedom over captivity, which in this case means leaving the greenhouse and death.

3 "The Tale of the Toad and the Rose"

The work is an example of a synthesis of arts based on literature: a parable about life and death is told in the plots of several impressionist paintings, striking with their distinct visuality, and in the interweaving of musical motifs. The threat of the ugly death of a rose in the mouth of a toad, who knows no other use for beauty, is canceled at the cost of another death: the rose is cut before it withers for a dying boy, to console him at the last moment. The meaning of life for the most beautiful creature is to be a comforter for the suffering.

The author has prepared a sad but beautiful fate for the rose. She brings the last joy to a dying boy. “When the rose began to fade, they put it in an old thick book and dried it, and then many years later they gave it to me. That’s why I know this whole story,” writes V.M. Garshin.

This work presents two storylines, which at the beginning of the tale develop in parallel and then intersect.

In the first story, the main character is the boy Vasya (“a boy of about seven, with big eyes and a big head on a thin body”, “he was so weak, quiet and meek...”, he is seriously ill. Vasya loved to be in the garden where he grew up rose bush. There he sat on a bench, read “about Robinsons, and wild countries, and sea robbers,” loved to watch ants, beetles, spiders, and once even “met a hedgehog.”

In the second storyline The main characters are a rose and a toad. These heroes “lived” in the flower garden, where Vasya loved to be. The rose blossomed on a fine May morning, the dew leaving a few drops on its petals. Rose was definitely crying. She spread around her a “subtle and fresh scent” that was “her words, tears and prayer.” In the garden, the rose was “the most beautiful creature,” she watched the butterflies and bees, listened to the nightingale singing and felt happy.

An old fat toad was sitting between the roots of a bush. She smelled roses and was worried. One day she saw a flower with her “evil and ugly eyes” and she liked it. The toad expressed his feelings with the words: “I will eat you,” which frightened the flower. ...One day the toad almost managed to grab a rose, but Vasya’s sister came to the rescue (the boy asked her to bring a flower, smelled it and fell silent forever).

Rosa felt that “she was cut off for a reason.” The girl kissed the rose, a tear fell from her cheek onto the flower, and this was “the best incident in the rose’s life.” She was happy that she had not lived her life in vain, that she had brought joy to the unfortunate boy.

Good deeds and deeds are never forgotten; they remain in the memory of other people for many years. This is not just a tale of a toad and a rose, as stated in the title, but about life and moral values. The conflict between beauty and ugliness, good and evil is resolved in an unconventional way. The author claims that in death, in its very act, there is a guarantee of immortality or oblivion. The rose is “sacrificed,” and this makes it even more beautiful and grants it immortality in human memory.

The toad and the rose represent two opposites: the terrible and the beautiful. The lazy and disgusting toad with her hatred of everything high and beautiful, and the rose as the embodiment of good and joy, are an example of the eternal struggle between two opposites - good and evil.

We see this from the way the author selects epithets to describe each heroine. Everything beautiful, sublime, and spiritual is associated with a rose. The toad personifies the manifestation of base human qualities: laziness, stupidity, greed, rage.

According to the author of the fairy tale, evil will never be able to defeat good, and beauty, both external and internal, will save our world filled with various human shortcomings. Despite the fact that at the end of the work both the rose and the flower-loving boy die, their departure evokes at least sad and slightly bright feelings in readers, since they both loved beauty.

In addition, the death of the flower brought the last joy to the dying child; it brightened up the last minutes of his life. And the rose herself was glad that she died doing good; most of all, she was afraid of accepting death from the vile toad, who hated her with all her guts. And for this alone we can be grateful to the beautiful and noble flower.

Thus, this fairy tale teaches us to strive for the beautiful and good, to ignore and avoid evil in all its manifestations, to be beautiful not only on the outside, but, above all, in the soul.

4 "Frog Traveler"

The fairy tale “The Frog Traveler” was published in the children's magazine “Rodnik” in 1887 with drawings by the artist M.E. Malysheva. This was the writer's last work. “There is something significant in that,” writes modern researcher G.A. Byaly that Garshin’s last words were addressed to children and that his last work is light and carefree. Compared to Garshin’s other works, sad and disturbing, this fairy tale is like living evidence that the joy of life never disappears, that “the light shines in the darkness.” Garshin always thought and felt this way.” The fairy tale was known to the writer from a collection of ancient Indian tales and from a fable by the famous French fabulist La Fontaine. But in these works, instead of a frog, a turtle goes on a journey, instead of ducks it is carried by swans, and, having released a twig, it falls and is broken to death.

There is no such cruel ending in “The Frog Traveler”; the author was kinder to his heroine. The fairy tale tells about an amazing incident that happened to one frog; she invented an unusual way of transportation and flew south, but did not reach the beautiful land because she was too boastful. She really wanted to tell everyone how incredibly smart she was. And the one who considers himself the smartest, and also loves to “chat” about it to everyone, will certainly be punished for bragging.

This instructive story is written lively, cheerfully, and with humor, so that little listeners and readers will forever remember the boastful frog. This is Garshin's only funny fairy tale, although it also combines comedy with drama. The author used the technique of imperceptibly “immersing” the reader from the real world into the world of fairy tales (which is also typical for Andersen). Thanks to this, one can believe in the story of the frog’s flight, “taking it for a rare curiosity of nature.” Later, the panorama is shown through the eyes of a frog forced to hang in an awkward position. It is not fairy-tale people from the earth who marvel at how ducks carry a frog. These details make the fairy-tale narrative even more convincing.

The tale is not very long, and the language of presentation is simple and colorful. The invaluable experience of the Frog shows how sometimes it is dangerous to be boastful. And how important it is not to give in to some of your negative character traits and momentary desires. The frog initially knew that the success of the event she brilliantly invented depended entirely on the silence of the ducks and herself. But when everyone around them began to admire the intelligence of ducks, which was not true, she could not bear it. She screamed the truth at the top of her lungs, but no one heard her. The result is the same life, but in another similar to the native one, a swamp and endless boastful croaking about one’s intelligence.

It is interesting that Garshin initially shows us the Frog as very dependent on the opinions of others:

“... it was delightfully pleasant, so pleasant that she almost croaked, but, fortunately, she remembered that it was already autumn and that frogs don’t croak in the fall - that’s what spring is for - and that, having croaked, she could drop her frog dignity."

Thus, V.M. Garshin gave fairy tales a special meaning and charm. His tales are unlike any others. The words “civil confession” are most applicable to them. The fairy tales are so close to the writer’s own structure of thoughts and feelings that they seem to have become his civil confession to the reader. The writer expresses his innermost thoughts in them.

List of sources used

N.S. Rusanov, “At home”. Memoirs, vol. 1, M. 1931.

Fairy tales of Russian writers / Introduction, article, compilation, and commentary. V. P. Anikina; Il. and designed A. Arkhipova.- M.: Det. lit., 1982.- 687 p.

Arzamastseva I.N. Children's literature. M., 2005.

Library of world literature for children. Fairy tales of Russian writers. M., 1980.

Danovsky A.V. Children's literature. Reader. M., 1978.

Kudryashev N.I. The relationship between teaching methods in literature lessons. M.,

Mikhailovsky N.K. Literary critical articles. M., 1957.

Samosyuk G.F. The moral world of Vsevolod Garshin // Literature at school. 1992. No. 56. P. 13.

Control

Literature and library science

The writing style cannot be confused with anyone else's. Always an accurate expression of thought, designation of facts without unnecessary metaphors and an all-consuming sadness that runs through every fairy tale or story with dramatic tension. Both adults and children like to read fairy tales; everyone will find meaning in them.

Kirov Regional State Educational Autonomous

institution of secondary vocational education

"Oryol College of Pedagogy and Professional Technologies"

Test

MDK.01.03 “Children’s literature with a workshop on expressive reading”

Topic No. 9: “Features of V. Garshin’s creative style in the works included children's reading»

Orlov, 2015

1. 
   Introduction

1.1. Biography

Vsevolod Mikhailovich Garshin Russian writer, poet, art critic February 14 (1855) - April 5 (1888)

Garshin V.M. is from an old noble family. Born into a military family. From childhood, his mother instilled in her son a love of literature. Vsevolod learned very quickly and was developed beyond his years. Perhaps that is why he often took everything that happened to heart.

In 1864 studied at the gymnasium 1874 graduated and entered the Mining Institute, but did not graduate. His studies were interrupted by the war with the Turks. He volunteered for the active army, was wounded in the leg: after retiring, he devoted himself to literary activity. Garshin has established himself as a talented art critic.

Vsevolod Mikhailovich master of the short story.

1. 
   Features of V.M. Garshin’s creative style in works included in children’s reading.

The writing style cannot be confused with anyone else's. Always an accurate expression of thought, designation of facts without unnecessary metaphors and an all-consuming sadness that runs through every fairy tale or story with dramatic tension. Both adults and children like to read fairy tales; everyone will find meaning in them. The composition of his stories is surprisingly complete, lacking action. Most of his works are written in the form of diaries, letters, and confessions. Quantity characters very limited. His work is characterized by precision of observation and definite expression of thought. Simple designation of objects and facts. A short, polished phrase for example: “It’s hot.” The sun is burning. The wounded man opens his eyes and sees bushes, a high sky..."

The theme of art and its role in the life of society occupies a special place in the writer’s work. He could not depict the big outside world, but the narrow “his own.” He knew how to keenly feel and artistically embody social evil. That is why many of Garshin’s works bear the imprint of deep sorrow. He was burdened by the injustice of modern life; the mournful tone of his work was a form of protest against a social structure based on callousness and violence. And this determined all the features of his artistic style.

All the works of fiction he wrote fit into one volume, but what he created became firmly established in the classics of Russian literature. Garshin's work was highly appreciated by his literary peers of the older generation. His works have been translated into all major European languages. Garshin's artistic gift and his passion for fantastic imagery were especially clearly manifested in the fairy tales he created. Although in them Garshin remains true to his creative principle depictions of life from a tragic perspective. Such is the tale about the futility of knowledge of the enormous and complex world human existence through “common sense” (That which did not exist). The plot of “The Tale of the Toad and the Rose” forms a complex interweaving of two oppositional structures: the images of a beautiful flower and a disgusting toad intending to “devour” it are parallel to the tragic confrontation between a sick boy and death approaching him.

In 1880 shocked death penalty a young revolutionary, Garshin became mentally ill and was placed in a mental hospital. March 19 (31), 1888 After a painful night, he left his apartment, went down the floor below and threw himself down the stairs. Without regaining consciousness in the Red Cross hospital on April 24 (April 5), 1888, Garshin died.

It is characteristic that Garshin ended his short journey in literature a funny fairy tale for children "Frog Traveler".Tragedy is the dominant feature of Garshin's work. The only exception is “The Frog Traveler,” full of love for life and sparkling with humor. Ducks and frogs, inhabitants of the swamp, in this fairy tale are completely real creatures, which does not prevent them from being fairy-tale characters. The most remarkable thing is that the fantastic journey of the frog reveals in it a purely human character - the type of an ambitious dreamer. The technique of doubling the fantastic image is also interesting in this tale: the funny story here is composed not only by the author, but also by the frog. Having fallen through her own fault from heaven into a dirty pond, she begins to tell its inhabitants the story she composed about “how she thought all her life and finally invented a new, unusual way of traveling on ducks; how she had her own ducks that carried her wherever she wanted, how she visited the beautiful south...” He abandoned the cruel end, his heroine remains alive. He has fun writing about frogs and ducks, infusing the fairy-tale plot with quiet and subtle humor. It is significant that Garshin’s last words were addressed to children against the backdrop of other sad and disturbing works; this fairy tale is like living evidence that the joy of life never disappears, that “the light shines in the darkness.”

Garshin's excellent personal qualities are fully embodied in his work. This, perhaps, is the key to the inexhaustible interest of many generations of readers in this remarkable artist of words.

It can be stated with absolute certainty that the impetus for writing each work was the shock experienced by the author himself. Not excitement or grief, but shock, which is why every letter cost the writer “a drop of blood.” At the same time, Garshin, according to Yu. Aikhenvald, “did not breathe anything sick or restless into his works, did not frighten anyone, did not show neurasthenia in himself, did not infect others with it...”.

Many critics wrote that Garshin depicted the struggle not with evil, but with an illusion or metaphor of evil, showing the heroic madness of his character. However, in contrast to those who build illusions that he is the ruler of the world, who has the right to decide the destinies of others, the hero of the story died with the belief that evil can be defeated. Garshin himself belonged to this category.

1. 
   Analysis of fairy tales

3.1 Analysis of the fairy tale by V.M. Garshin “The Frog - the Traveler”

1. Frog Traveler
2. About animals
3. How will we get you? “You don’t have wings,” the duck exclaimed.

The frog was breathless with fear.

1. About the adventures of a frog and a frog, who once decided to go with the ducks to the beautiful south. The ducks carried it on a twig, but the frog croaked and fell down, fortunately ending up not on the road, but in the swamp. There she began to tell all sorts of tall tales to the other frogs.
2. Frog determined, inquisitive, cheerful, boastful. Ducks are friendly,
3. A very good and instructive tale. Bragging leads to not very good consequences. Bring up positive traits: respectful attitude towards each other, self-esteem, not to be arrogant and not to brag. You have to be modest and meaningful.

3.2. Analysis of the fairy tale by V.M. Garshin “The Tale of the Toad and the Rose”

1. The Tale of the Toad and the Rose
2. About animals (household)
3. And the hedgehog, frightened, pulled his prickly fur coat over his forehead and turned into a ball. The ant delicately touches the thin tubes protruding from the back of the aphids. The dung beetle is fussily and diligently dragging its ball somewhere. The spider guards the flies like a lizard. The toad could barely breathe, swelling its dirty gray warty and sticky sides.
4. The tale of the toad and the rose, embodying good and evil, is a sad, touching story. The toad and the rose lived in the same abandoned flower garden. I used to play in the garden a little boy, but now that the rose had bloomed, he lay in bed and died. The nasty toad hunted at night and lay among the flowers during the day. The smell of the beautiful rose irritated her, and she decided to eat it. Rose was very afraid of her, because she did not want to die such a death. And at that moment, when she had almost reached the flower, the boy’s sister came up to cut a rose to give it to the sick child. The girl threw away the insidious toad. The boy, having inhaled the aroma of the flower, died. The rose stood at his coffin, and then it was dried. Rose helped the boy, she made him happy.
5. Toad terrible, lazy, gluttonous, cruel, insensitive

Rose kind, beautiful

Boy soft-hearted

Sister is kind

1. This short fairy tale teaches us to strive for the beautiful and good, to avoid evil in all its manifestations, to be beautiful not only on the outside, but, above all, in the soul.

1. 
   Conclusion

In his works, Garshin depicted significant and acute conflicts of our time. His workwas “restless”, passionate, militant. He depicted the hardship of the people, the horrors of bloody wars, the glorification of the heroism of freedom fighters, the spirit of pity and compassion permeates all his work. The significance is that he knew how to acutely feel and artistically embody social evil.

1. 
   Bibliography

1. garshin. lit-info.ru›review/garshin/005/415.ht
2. people.su›26484
3. tunnel.ru›ZhZL
4. Abramov.Ya. "In memory of V.M. Garshin."
5. Arsenyev.Ya. V.M.Garshin and his work.

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	UNIX file system. Some of the basic principles of UNIX are: representation of all objects, including devices, as files; interaction with file systems of various types, including NFS. Network file system NF...
8784.		Firewall (firewall)	59 KB
	Firewall Another popular method of protecting networks is the use of a firewall (firewall). The ITU or firewall (translated into German as Firewall) filters IP packets to protect the internal information environment...
8785.		SLIP and PPP protocols	62 KB
	SLIP and PPP protocols. The SLIP and PPP protocols are used as link layer protocols for remote access. The SLIP protocol (SerialLineIP) is one of the oldest (1984) protocols in the TCP/IP stack, used to connect to a computer...
8786.		Course objectives. Classification of computer networks	68 KB
	Course objectives. Classification of computer networks The term network will be understood as a communication system with many sources and/or recipients of messages. The places where signal paths in a network branch or end are called network nodes...
8787.		Computer network security	64.5 KB
	Computer network security. The security of computer networks (information systems) is a complex problem that can be solved using systemic methods. This means that no, even the most advanced methods of protection, can guarantee security...
8788.		IP Security (IPSec)	66 KB
	IPSec IP-Security (IPSec) is a set of network layer protocols for secure data exchange in TCP/IP networks. The current version dates back to the fall of 1998. Two operating modes are allowed - transport and tunnel. First mode x...
8789.		Access Methods	73.5 KB
	Access methods An important aspect of network structures is the methods of access to the network environment, i.e. principles used by computers to access network resources. The main methods of accessing the network environment are based on the logical topology of the network. Definition method...
8790.		Technologies for wired telephone channels	80 KB
	Technologies for wired telephone channels. Wired channels of public telephone networks are usually divided into dedicated channels (2 or 4 wires), the physical connection through which is permanent and is not destroyed upon completion of the session, and switching...

(*38) Among the outstanding Russian writers of the last quarter of the 19th century, connected in their ideological development with the general democratic movement, Vsevolod Garshin occupies a special place. His creative activity lasted only ten years. It began in 1877 - with the creation of the story "Four Days" - and was suddenly interrupted at the beginning of 1888 by the tragic death of the writer.

Unlike the older democratic writers of his generation - Mamin-Sibiryak, Korolenko - who had already developed certain social beliefs at the beginning of their artistic work, Garshin experienced intense ideological quests and the deep moral dissatisfaction associated with them throughout his short creative life. In this respect he had some similarities with his younger contemporary, Chekhov.

The writer’s ideological and moral quests first emerged with particular force in connection with the outbreak of the Russian-Turkish War of 1877 and were reflected in a short cycle of his war stories. They were written based on personal impressions (*39) of Garshin. Leaving his student studies, he voluntarily went to the front as a simple soldier to take part in the war for the liberation of the fraternal Bulgarian people from centuries-old Turkish enslavement.

The decision to go to war was not easy for the future writer. It led him to deep emotional and mental unrest. Garshin was fundamentally against war, considering it an immoral matter. But he was outraged by the atrocities of the Turks against the defenseless Bulgarian and Serbian populations. And most importantly, he sought to share all the difficult trials of the war with ordinary soldiers, with Russian peasants dressed in greatcoats. At the same time, he had to defend his intentions to differently-minded representatives of democratic youth. They considered such an intention immoral; in their opinion, people who voluntarily participate in the war contribute to military victory and the strengthening of the Russian autocracy, which brutally oppressed the peasantry and its defenders in their own country. “You, therefore, find it immoral that I would live the life of a Russian soldier and help him in the fight... Would it really be more moral to sit with folded arms while this soldier would die for us!..” Garshin said indignantly.

He was soon wounded in the battles. Then he wrote his first war story, “Four Days,” in which he depicted the long torment of a seriously wounded soldier left without help on the battlefield. The story immediately brought literary fame to the young writer. In his second war story, “Coward,” Garshin reproduced his deep doubts and hesitations before deciding to go to war. And then followed the short story “From the Memoirs of Private Ivanov,” which describes the hardships of long military marches, the relationship between soldiers and officers, and unsuccessful bloody clashes with a strong enemy.

But Garshin’s difficult search for a path in life was associated not only with military events. He was tormented by the deep ideological discord that wide circles of the Russian democratic intelligentsia experienced during the years of the collapse of the populist movement and increasing government repression. Although Garshin, even before the war, wrote a journalistic essay against zemstvo liberals who despise the people, he, unlike Gleb Uspensky and Korolenko, did not know the life of the village well and, as an artist, was not deeply affected by its contradictions. He also did not have that (*40) spontaneous hostility towards the tsarist bureaucracy, towards the philistine life of officials, which the early Chekhov expressed in his best satirical stories. Garshin was primarily interested in the life of the urban intelligentsia and the contradictions of their moral and everyday interests. This is reflected in his best works.

A significant place among them is occupied by the depiction of ideological quests among painters and critics who evaluate their work. In this environment, the clash between two views on art continued, and at the end of the 70s even intensified. Some recognized in it only the task of reproducing the beautiful in life, serving beauty, far from any public interests. Others - and among them was a large group of "Itinerant" painters led by I. E. Repin and critic V. V. Stasov - argued that art cannot have a self-sufficient meaning and must serve life, which it can reflect in its works the strongest social contradictions, ideals and aspirations of the disadvantaged masses and their defenders.

Garshin, while still a student, was keenly interested in modern painting and the struggle of opinions about its content and tasks. During this time and later he published a number of articles about art exhibitions. In them, calling himself a “man of the crowd,” he supported the main direction of the art of the “Wanderers”, highly appreciated the paintings of V. I. Surikov and V. D. Polenov on historical subjects, but also praised landscapes, if nature was depicted in them in an original way, not according to the template, “without academic corset and lacing.”

The writer expressed his attitude to the main trends of contemporary Russian painting much more deeply and powerfully in one of his best stories - “Artists” (1879). The story is built on a sharp antithesis of the characters of two fictional characters: Dedov and Ryabinin. Both of them are “students” of the Academy of Arts, both paint from life in the same “class,” both are talented and can dream of a medal and of continuing their creative work abroad for four years “at public expense.” But their understanding of the meaning of their art and art in general is the opposite. And through this contrast, the writer reveals something more important with great accuracy and psychological depth.

(*41) A year before Garshin fought for the liberation of Bulgaria, the dying Nekrasov, in the last chapter of the poem “Who Lives Well in Rus',” in one of Grisha Dobrosklonov’s songs, posed a question - fatal for all thinking commoners starting their lives then. This is the question of which of the “two paths” possible “In the midst of the world below / For a free heart”, you need to choose. “One is spacious/The road is rough”, along which “a huge,/Greedy crowd/is walking toward temptation...” “The other is narrow/The road is honest/Only go/Only souls that are strong,/loving/To fight, to work./ For the bypassed,/for the oppressed..."

Nekrasovsky's path was clear to Grisha. The heroes of Garshin’s story were just choosing him. But in the sphere of art, the antithesis of their choice was immediately revealed by the writer quite clearly. Dedov is looking only for beautiful “nature” for his paintings; by his “calling” he is a landscape painter. When he was boating along the seaside and wanted to paint his hired oarsman, a simple “guy,” in colors, he became interested not in his working life, but only in the “beautiful, hot tones of the red paper illuminated by the setting sun” of his shirt.

Imagining the painting “May Morning” (“The water in the pond sways slightly, the willows bowed their branches on it... the clouds turned pink...”), Dedov thinks: “This is art, it tunes a person to be quiet, meek.” thoughtfulness softens the soul." He believes that “art... does not tolerate being reduced to serving some low and foggy ideas,” that this whole masculine streak in art is pure monstrosity. Who needs these notorious Repin "Barge Haulers"?

But this recognition of beautiful, “pure art” does not in the least prevent Dedov from thinking about his career as an artist and about the profitable sale of paintings. (“Yesterday I exhibited a painting, and today they already asked about the price. I won’t give it away for less than 300.”) And in general he thinks: “You just need to be more direct about the matter; while you are painting a picture, you are an artist, a creator; once it is painted, you are a tradesman, and The more deftly you manage your business, the better." And Dedov has no discord with the rich and well-fed “public” who buy his beautiful landscapes.

Ryabinin understands the relationship of art to life in a completely different way. He has compassion for the lives of ordinary people. (*42) He loves the “crush and noise” of the embankment, looks with interest at the “day laborers dragging coolies, turning gates and winches,” and he “learned to draw a working man.” He works with pleasure, for him the picture is “the world in which you live and to which you are responsible,” and he does not think about money either before or after its creation. But he doubts the significance of his artistic activity and does not want to “serve exclusively the stupid curiosity of the crowd... and the vanity of some rich stomach on legs,” who can buy his painting, “written not with a brush and paints, but with nerves and blood... ".

Already with all this, Ryabinin sharply opposes Dedov. But before us are only expositions of their characters, and from them follows Garshin’s antithesis of the paths his heroes followed in their lives. For Dedov it is an intoxicating success, for Ryabinin it is a tragic breakdown. His interest in the “working man” soon moved from the work of “day laborers turning gates and winches” on the embankment to the kind of work that dooms a person to a quick and certain death. The same Dedov - he, by the author's will, had previously worked at the plant as an engineer - told Ryabinin about the "wood grouse workers", riveters, and then showed him one of them holding a bolt from inside the "boiler". “He sat bent over in a ball in the corner of the cauldron and exposed his chest to the blows of the hammer.”

Ryabinin was so amazed and excited by what he saw that he “stopped going to the academy” and quickly painted a picture depicting a “grouse” during his work. It was not for nothing that the artist had previously thought about his “responsibility” to the “world” that he undertook to depict. For him, his new painting is “ripe pain,” after which he “will have nothing left to paint.” “I called you... from a dark cauldron,” he thinks, mentally turning to his creation, “so that you would terrify this clean, sleek, hateful crowd with your appearance... Look at these tailcoats and training pants... Strike them in the hearts. .. Kill their peace like you killed mine..."

And then Garshin creates in his plot an episode full of even deeper and more terrible psychologism. New picture Ryabinina was sold, and he received money for her, for which, “at the request of his comrades,” he arranged a “feast” for them. After it, he fell ill with a serious nervous illness, and in a delusional nightmare, the plot of his painting acquired for him (*43) a broad, symbolic meaning. He hears the blows of a hammer on the cast iron of a “huge cauldron”, then he finds himself “in a huge, gloomy factory”, hears “a frantic scream and frantic blows”, sees a “strange, ugly creature” that is “writhing on the ground” under the blows of “a whole crowd ", and among her his "acquaintances with frenzied faces" ... And then he experiences a split personality: in the "pale, distorted, terrible face" of the one being beaten, Ryabinin recognizes his "own face" and at the same time he himself "swings a hammer" , to inflict a “furious blow” on himself... After many days of unconsciousness, the artist woke up in the hospital and realized that “there was still a whole life ahead”, which he now wanted to “turn in his own way...”.

And now the story quickly comes to a denouement. Grandfathers got a big gold medal"for his "May Morning" and leaves abroad. Ryabinin about him: "Satisfied and inexpressibly happy; his face shines like a butter pancake.” And Ryabinin left the academy and “passed the exam for the teachers’ seminary.” Dedov about him: “Yes, he will be lost, he will die in the village. Well, isn’t this a crazy person?” And the author from himself: “This time Dedov was right: Ryabinin really did not succeed. But more on that later.

It is clear which of the two life “paths” outlined in Grisha Dobrosklonov’s song each of Garshin’s heroes took. Dedov, perhaps, will continue to be very talented in painting beautiful landscapes and “trading” them, “cleverly conducting this “business.” And Ryabinin? Why didn’t he go “to battle, to work,” as Nekrasov’s hero called for, but only to work - to the hard and thankless work of a village teacher? Why did he not “succeed” in it? And why did the author, postponing the answer to this question for an indefinite period, never return to it?

Because, of course, Garshin, like many Russian commoners with spontaneous democratic aspirations, was at an ideological “crossroads” in the 1880s, during the defeat of populism, and could not reach any definite awareness of the prospects for Russian national life .

But at the same time, Garshin’s denial of Dedov’s “spacious” and “roady” road and his complete recognition of Ryabinin’s “close, honest” road is easily felt by every thoughtful reader of “Artists”. And the painful nightmare experienced by Ryabinin, which is the culmination (*44) of the internal conflict of the story, is not a depiction of madness, it is a symbol of the deepest tragic duality of the Russian democratic intelligentsia in its attitude towards the people.

She sees his suffering with horror and is ready to experience it with him. But she is also aware that, by her position in society, she herself belongs to those privileged layers that oppress the people. That is why, in delirium, Ryabinin inflicts a “furious blow” on himself in the face. And just as, going to war, Garshin sought to help ordinary soldiers, distracting himself from the fact that this war could help the Russian autocracy, so now in his story Ryabinin goes to the village to educate the people, sharing with them the hardships of “labor,” distracting himself from “ battle" - from the political struggle of his time.

That's why it's so short best story Garshin, and there are so few events and characters in it, and there are no portraits of them and their past. But there are so many images of psychological experiences in it, especially of the main character, Ryabinin, experiences that reveal his doubts and hesitations.

To reveal the experiences of the heroes, Garshin found a successful composition of the story: its entire text consists of individual notes from each hero about himself and his fellow artist. There are only 11 of them, Dedov has 6 short ones, Ryabinin has 5 much longer ones.

Korolenko was wrong to consider this “parallel alternation of two diaries” to be a “primitive technique.” Korolenko himself, who depicted life in stories with a much wider scope, did not, of course, use this technique. For Garshin, this technique was fully consistent with the content of his story, which was focused not on external incidents, but on the emotional impressions, thoughts, and experiences of the characters, especially Ryabinin. Given the brevity of the story, this makes its content full of “lyricism,” although the story remains, in essence, quite epic. In this regard, Garshin walked, of course, completely in his own way, along the same internal path as Chekhov in his stories of the 1890s - early 1900s.

But later the writer was no longer satisfied short stories(he had others: “Meeting”, “Incident”, “Night”...). “For me,” he wrote, “the time has passed... some poetry in prose, which I have hitherto (*45) been doing... it is necessary to depict not one’s own, but the big outside world.” Such aspirations led him to create the story “Nadezhda Nikolaevna” (1885). Among the main characters in it, artists are again in the foreground, but still it more deeply captures the “big outside world” - Russian life in the 1880s.

This life was very difficult and complex. In the moral consciousness of society, which was then languishing under the sharply increased yoke of autocratic power, two directly opposite passions were reflected, but leading, each in its own way, to the idea of ​​self-sacrifice. Some supporters of the revolutionary movement - "People's Will" - disappointed by the failure to incite mass uprisings among the peasantry, turned to terror - to armed attempts on the lives of representatives of the ruling circles (the tsar, ministers, governors). This path of struggle was false and fruitless, but the people who followed it believed in the possibility of success, selflessly gave all their strength to this struggle and died on the gallows. The experiences of such people are perfectly conveyed in the novel “Andrei Kozhukhov,” written by the former terrorist S. M. Stepnyak-Kravchinsky.

And other circles of the Russian intelligentsia fell under the influence of the anti-church moralistic-religious ideas of Leo Tolstoy, reflecting the mood of the patriarchal strata of the peasantry - preaching moral self-improvement and selfless non-resistance to evil through violence. At the same time, intense ideological and theoretical work was going on among the most mentally active part of the Russian intelligentsia - the question was discussed whether it was necessary and desirable for Russia, like the advanced countries of the West, to embark on the path of bourgeois development and whether it had already embarked on this path.

Garshin was not a revolutionary and was not interested in theoretical problems, but he was not alien to the influence of Tolstoy’s moral propaganda. With the plot of the story “Nadezhda Nikolaevna”, with great artistic tact, unnoticed by censorship, he responded in his own way to all these ideological demands of the “big world” of our time.

The two heroes of this story, the artists Lopatin and Gelfreich, respond to such requests with plans for their large paintings, which they hatch with great passion (*46). Lopatin planned to portray Charlotte Corday, the girl who killed one of the leaders of the French Revolution, Marat, and then laid her head on the guillotine. She, too, at one time took the wrong path of terror. But Lopatin is not thinking about this, but about the moral tragedy of this girl, whose fate is similar to Sophia Perovskaya, who participated in the murder of Tsar Alexander II.

For Lopatin, Charlotte Corday is a “French heroine”, “a girl - a fanatic of goodness”. In the already painted picture, she stands “at full height” and “looks” at him “with her sad gaze, as if sensing execution”; “a lace cape... sets off her delicate neck, along which tomorrow a bloody line will pass...” Such a character was quite understandable to a thoughtful reader of the 80s, and in such awareness, this reader could not help but see the moral recognition of people, albeit tactically lost, but heroically giving their lives for the liberation of the people.

Lopatin’s friend, the artist Gelfreich, had a completely different idea for the painting. Like Dedov in the story “Artists,” he paints pictures to earn money - he depicts cats of different colors and in different poses, but, unlike Dedov, he has no interests in career or profit. And most importantly, he cherishes the idea of ​​a big picture: the epic Russian hero Ilya Muromets, unjustly punished by the Kyiv prince Vladimir, sits in a deep cellar and reads the Gospel, which was sent to him by “Princess Evprakseyushka”.

In the “Sermon on the Mount” of Jesus, Elijah finds such a terrible moral teaching: “If you are struck on the right cheek, turn your left” (in other words, patiently endure evil and do not resist evil with violence!). And the hero, who has courageously defended his native country from enemies all his life, is perplexed: “How is this so, Lord? It’s good if they hit me, but if they hurt a woman or a child... or a filthy guy comes and starts robbing and killing... Don’t touch ?Leave him to rob and kill? No, Lord, I can’t obey you! I’ll get on my horse, take a spear and go to fight. your name, for I don’t understand your wisdom...” Garshin’s hero doesn’t say a word about L. Tolstoy, but thoughtful readers understood that the idea of ​​his painting was a protest against passive moral reconciliation with social evil.

Both of these heroes of the story pose the most difficult moral (*47) questions of their time, but they pose them not theoretically, not in reasoning, but through the subjects of their paintings, artistically. And both of them are simple people, not morally corrupt, sincere, passionate about their creative ideas and not imposing anything on anyone.

In the story, Garshin contrasted the character of the artists with the character of the publicist Bessonov, who is capable of giving “entire lectures on foreign and domestic policy” to his acquaintances and arguing about “whether capitalism is developing in Russia or not...”.

What Bessonov’s views are on all such issues is of no interest to either his artist friends or the author himself. He is interested in something else - the rationality and selfishness of Bessonov’s character. Semyon Gelfreich speaks clearly and sharply about both. “This man,” he says to Andrei Lopatin, “has all the drawers and compartments in his head; he will pull out one, take out a ticket, read what is written there, and act like that.” Or: “Oh, what a callous, selfish... and envious heart this man has.” In both of these respects, Bessonov is a direct antithesis to the artists, especially to Lopatin, the main character of the story, who strives to portray Charlotte Corday.

But in order to reveal the antithesis of characters in an epic work, the writer needs to create a conflict between the heroes who embody these characters. Garshin did just that. He boldly and originally developed in the story such a difficult social and moral conflict that could only interest a person with deep democratic convictions. This conflict - for the first time in Russian literature - was outlined many years before by N. A. Nekrasov in an early poem:

Dostoevsky depicted a similar conflict in the relationship between Raskolnikov and Sonya Marmeladova (“Crime and Punishment”).

But in Nekrasov, in order to bring a woman’s (*48) “fallen soul” “out of the darkness of error,” “ardent words of conviction” were needed from the person who loved her. In Dostoevsky, Sonya herself helps Raskolnikov’s “fallen soul” to emerge “from the darkness of error” and, out of love for him, goes with him to hard labor. For Garshin, the experiences of a woman “entangled in vice” are also decisive. Before meeting Lopatin, the heroine of the story, Nadezhda Nikolaevna, led a dissolute lifestyle and was a victim of the base passion of Bessonov, who sometimes descended “from his selfish activities and arrogant life to revelry.”

The artist’s acquaintance with this woman occurs because before that he had been looking in vain for a model to depict Charlotte Corday, and at the very first meeting he saw in Nadya’s face what he had in mind. She agreed to pose for him, and the next morning, when, having changed into the prepared suit, she stood in her place, “her face reflected everything that Lopatin dreamed of for his painting,” “there was determination and melancholy, pride and fear, love and hate".

Lopatin did not seek to address the heroine with a “hot word of conviction,” but communication with him led to a decisive moral turning point in Nadezhda Nikolaevna’s entire life. Feeling in Lopatin a noble and pure person, passionate about his artistic design, she immediately abandoned her previous lifestyle - she settled in a small, poor room, sold off her attractive outfits and began to live modestly on the small earnings of a model, earning extra money by sewing. When meeting her, Bessonov sees that she has “surprisingly changed”, that her “pale face has acquired some kind of imprint of dignity.”

This means that the action in the story develops in such a way that Lopatin has to bring Nadya “out of the darkness of delusion.” His friend Gelfreich also asks him for this (“Get her out, Andrei!”), and Andrei himself finds the strength to do this. What kind of forces could these be? Only love - strong, heartfelt, pure love, and not dark passion.

Although Andrei, by the will of his parents, was engaged to his wife from childhood second cousin, Sonya, he didn’t know love yet. Now he first felt “tenderness” for Nadya, “this unfortunate creature,” and then Sonya’s letter, to whom he wrote about everything, opened his eyes to (*49) his own soul, and he realized that he loved Nadya “for life "that she should be his wife.

But Bessonov became an obstacle to this. Having recognized Nadya much earlier than Lopatin, he became somewhat carried away by her - “her not quite ordinary appearance” and “remarkable inner content” - and could have saved her. But he did not do this, because he was rationally sure that “they will never return.” And now, when he saw the possibility of Andrei and Nadya getting closer, he is tormented by “insane jealousy.” His rationality and selfishness are manifested here too. He is ready to call the newly flared up feeling love, but he corrects himself: “No, this is not love, this is an insane passion, this is a fire in which I am all burning. How can I put it out?”

This is how the conflict of the story arises, typically Garshinsky - both heroes and heroines experience it independently of each other - in the depths of their souls. How was the author himself able to resolve this conflict? He quickly brings the conflict to a conclusion - unexpected, abrupt and dramatic. He depicts how Bessonov, trying to “put out the fire” of his “passion,” suddenly comes to Andrei, at the moment when he and Nadya confessed their love to each other and were happy, and kills Nadya with shots from a revolver, seriously wounds Andrei, and he, defending himself, kills Bessonov.

Such a denouement must, of course, be recognized as an artistic exaggeration - a hyperbole. No matter how strong Bessonov’s passion was, rationality should have kept him from committing a crime. But writers have the right to plot hyperbole (such as the death of Bazarov from accidental blood poisoning in Turgenev or the sudden suicide of Anna Karenina in L. Tolstoy). Writers use such resolutions when it is difficult for them to narrate the further development of the conflict.

So it is with Garshin. If his Bessonov, a rational and strong-willed man, could, without meeting Andrei and Nadya anymore, overcome his passion (this would somewhat elevate him in the eyes of readers!), then what would the author have left to talk about. He would have to portray the family idyll of Nadya and Andrey with the support of Semochka Gelfreich. What if the family idyll had not worked out and each spouse was tormented by memories of Nadya’s past? Then the story would drag on, and Lopatin’s character (*50) would morally decline in our, the reader’s, perception. And the sharp dramatic denouement created by Garshin greatly reduces in front of us the character of the egoist Bessonov and elevates the emotional and responsive character of Lopatin.

On the other hand, the fact that Bessonov and Nadya died, and Lopatin, shot through the chest, remained alive for now, gives the author the opportunity to strengthen the psychologism of the story - to give an image of the hidden experiences and emotional thoughts of the hero himself about his life.

The story "Nadezhda Nikolaevna" generally has much in common with the stories "Artists" in its composition. The entire story is based on Lopatin’s “notes,” depicting the events of his life in their deeply emotional perception by the hero himself, and into these “notes” the author sometimes inserts episodes taken from Bessonov’s “diary” and consisting mainly of his emotional introspection. But Lopatin begins to write his “notes” only in the hospital. He ended up there after the deaths of Nadya and Bessonov, where he is being treated for a serious wound, but does not hope to survive (he begins to suffer from consumption). His sister, Sonya, looks after him. The plot of the story, depicted in the “notes” and “diaries” of the heroes, also receives a “frame” consisting of the difficult thoughts of the sick Lopatin.

In the story "Nadezhda Nikolaevna" Garshin did not quite succeed in making the "big outside world" the subject of the image. The deeply emotional worldview of the writer, who is searching but has not yet found a clear path in life, prevented him from doing so here, too.

Garshin has another story, “Meeting” (1870), also based on a sharp contrast between the different life paths that the various intelligentsia of his difficult time could take.

It depicts how two former university friends unexpectedly meet again in a southern seaside town. One of them, Vasily Petrovich, who had just arrived there to take a position as a teacher at the local gymnasium, regrets that his dreams of a “professorship” and “journalism” did not come true, and is thinking about how he can save six months a thousand rubles from his salary and fees for possible private lessons in order to acquire everything necessary for his upcoming marriage. Another (*51) hero, Kudryashov, a former poor student, has long been serving here as an engineer on the construction of a huge breakwater (dam) to create an artificial harbor. He invites the future teacher to his “modest” hut, takes him there on black horses, in a “fashionable carriage” with a “fat coachman”, and his “hut” turns out to be a luxuriously furnished mansion, where they are served foreign wine and “excellent roast beef” at dinner ", where they are served by a footman.

Vasily Petrovich is amazed at such a rich life of Kudryashov, and a conversation takes place between them, revealing to the reader the deepest difference in the moral positions of the heroes. The owner immediately and frankly explains to his guest where he gets so much money from to lead this luxurious life. It turns out that Kudryashov, together with a whole group of clever and arrogant businessmen, from year to year deceives the state institution with whose funds the pier is being built. Every spring they report to the capital that autumn and winter storms at sea have partially eroded the huge stone foundation for the future pier (which in fact does not happen!), and to continue the work they are again sent large sums of money, which they appropriate and live on rich and carefree.

The future teacher, who is going to discern in his students the “spark of God”, to support natures “striving to throw off the yoke of darkness”, to develop young fresh forces “alien to the dirt of everyday life”, is confused and shocked by the engineer’s confessions. He calls his income “by dishonest means”, says that it “pains” for him to look at Kudryashov, that he is “ruining himself”, that he will “be caught doing this” and he will “go to Vladimirka” (that is, to Siberia, to hard labor) that he was formerly an “honest young man” who could become an “honest citizen.” Putting a piece of “excellent roast beef” into his mouth, Vasily Petrovich thinks to himself that this is a “stolen piece”, that it was “stolen” from someone, that someone is “offended” by it.

But all these arguments do not make any impression on Kudryashov. He says that we must first find out “what honest means and what dishonest means,” that “it’s all about the look, the point of view,” that “we must respect freedom of judgment...”. And then he elevates his dishonest actions to a general law, to the law of predatory “mutual responsibility.” “Am I the only one...” he says, “am I gaining? Everything around, (*52) the very air - and it seems to be dragging.” And any desire for honesty is easy to cover up: “And we will always cover it up. All for one, one for all.”

Finally, Kudryashov claims that if he himself is a robber, then Vasily Petrovich is also a robber, but “under the guise of virtue.” “Well, what kind of occupation is your teaching?” - he asks. “Will you prepare at least one decent person? Three quarters of your students will turn out like me, and one quarter will be like you, that is, well-intentioned slobs. Well, aren’t you taking the money for nothing, tell me frankly?” And he expresses the hope that his guest “with his own mind” will reach the same “philosophy.”

And in order to better explain this “philosophy” to the guest, Kudryashov shows him in his house a huge, electrically lit aquarium filled with fish, among which the large ones devour the small ones in front of the observers’ eyes. “I,” says Kudryashov, “love all this creature because it is frank, not like our brother, a man. They eat each other and are not embarrassed.” “They eat it and don’t think about immorality, what about us?” “Be remorseful, don’t be remorseful, but if you get a piece... Well, I abolished them, these remorse, and I try to imitate this brute.” “Freedom,” was all the future teacher could say “with a sigh” to this analogy of robbery.

As we see, Vasily Petrovich, in Garshin, was unable to express a clear and decisive condemnation of Kudryashov’s base “philosophy” - the “philosophy” of a predator who justifies his theft of public funds by citing the behavior of predators in the animal world. But even in the story “Artists,” the writer was unable to explain to the reader why Ryabinin “did not succeed” in his teaching activity in the village. And in the story “Nadezhda Nikolaevna” he did not show how the rationality of the publicist Bessonov deprived him of his heartfelt feelings and doomed him to the “fire” of passion, which led him to murder. All these ambiguities in the writer’s work stemmed from the vagueness of his social ideals.

This forced Garshin to immerse himself in the experiences of his heroes, design his works as their “notes,” “diaries,” or random meetings and disputes, and with difficulty go out with his ideas into the “big outside world.”

This also resulted in Garshin’s penchant for (*53) allegorical imagery - for symbols and allegories. Of course, Kudryashov’s aquarium in “The Meeting” is a symbolic image that evokes the idea of ​​the similarity between predation in the animal world and human predation in the era of the development of bourgeois relations (Kudryashov’s confessions clarify it). And the nightmare of the sick Ryabinin, and Lopatin’s painting “Charlotte Corday” - too. But Garshin also has works that are entirely symbolic or allegorical.

This is, for example, short story"Attalea prinseps" 1, which shows the futile attempts of a tall and proud southern palm to break free from a greenhouse made of iron and glass, and which has an allegorical meaning. Such is the famous symbolic story “The Red Flower” (1883), called by Korolenko the “pearl” of Garshin’s work. It is symbolic of those plot episodes in which a person who finds himself in a mental hospital imagines that the beautiful flowers growing in the garden of this house are the embodiment of “world evil” and decides to destroy them. At night, when the watchman is sleeping, the patient with difficulty gets out of the straitjacket, then bends the iron rod in the window bars; with bloody hands and knees, he climbs over the wall of the garden, picks a beautiful flower and, returning to the room, dies. Readers of the 1880s perfectly understood the meaning of the story.

As we see, in some allegorical works Garshin touched upon the motives of the political struggle of the time, of which he himself was not a participant. Like Lopatin with his painting “Charlotte Corday,” the writer clearly sympathized with the people who took part in civil conflicts, paid tribute to their moral greatness, but at the same time realized the doom of their efforts.

Garshin went down in the history of Russian fiction as a writer who subtly reflected in his psychological and allegorical stories and tales the atmosphere of the timelessness of the reactionary 1880s, through which Russian society was destined to go through before it was ripe for decisive political clashes and revolutionary upheavals.

1 Royal palm (lat.).

Chapter 1. Forms of psychological analysis in prose by V.M. Garshina

1.1. The artistic nature of confession.24

1.2. Psychological function of “close-up” .38

1.3 Psychological function of a portrait, landscape, setting 48

Chapter 2. Poetics of narration in prose by V.M. Garshina

2.1.Types of narration (description, narration, reasoning).62

2.2. “Alien speech” and its narrative functions.98

2.3. Functions of the narrator and storyteller in the writer’s prose.110

2.4. Point of view in narrative structure and the poetics of psychologism.130

Introduction of the dissertation (part of the abstract) on the topic “Poetics of the prose of V.M. Garshina: psychologism and narration"

Unflagging interest in the prose of V.M. Garshina indicates that this area of ​​research remains very relevant for modern science. And although scientists are much more often attracted by the work of writers of the “older” generation (I.S. Turgenev, F.M. Dostoevsky, L.N. Tolstoy, etc.), the prose of Garshin, a master of psychological storytelling, also rightfully enjoys the attention of literary scholars and critics .

The writer’s work is an object of study from the perspective of different directions and literary schools. However, in this research diversity, three main approaches stand out, each of which brings together a whole group of scientists.

The first group should include researchers who consider Garshin’s work in the context of his biography. Characterizing the prose writer's writing style in general, they analyze his works in chronological order, correlating certain “shifts” in poetics with the stages of his creative path. In studies of the second direction, Garshin’s work is covered mainly in a comparative aspect. The third group consists of the works of those researchers who focused their attention on the study of individual elements of the poetics of Garshin prose.

The first (“biographical”) approach to Garshin’s work is represented by the works of G.A. Byalogo, N.Z. Belyaeva, A.N. Latynina and others. The biographical studies of these authors describe Garshin’s life and literary activities as a whole. So, N.Z. Belyaev in the book “Garshin” (1938), characterizing the writer as a master of the short story genre, notes the “rare literary conscientiousness” with which Garshin “worked on his works, polishing every word.” The prose writer, according to the researcher, “considered this task to be the most important task of the writer.” Following it, he “threw out” heaps of waste paper from his stories, removed “all the ballast, everything superfluous that could interfere with reading the work and perceiving it.” Paying increased attention to the connections between Garshin’s biography and creativity, N.Z. Belyaev, at the same time, believes that one cannot equate literary activity with a writer’s mental illness. According to the author of the book, the “gloominess” of some of Garshin’s works is most likely a consequence of his sensitivity towards manifestations of evil and violence in society.

The author of another biographical study is G.A. Byaly (“Vsevolod Mikhailovich Garshin”, 1969) focuses on understanding the socio-political conditions that determined the nature of creativity and the personal fate of the prose writer, notes the influence of the Turgenev and Tolstoy traditions on the literary activity of the writer. The scientist especially emphasizes the social orientation and psychologism of Garshin’s prose. In his opinion, the writer’s creative task “was to combine the image of the inner world of people who acutely feel personal responsibility for the untruths prevailing in society, with broad pictures of everyday life in the ‘big outside world’.” G.A. Byaly analyzes not only prose, but also Garshin’s articles on painting, which are fundamental for understanding the writer’s aesthetic views, as well as for studying his works related to the theme of art (stories “Artists”, “Nadezhda Nikolaevna”).

Written in the mid-1980s, the book by A.N. Latynina (1986), is a synthesis of biography and analysis of the writer’s work. This is a thorough work, containing a huge number of references to various studies. A.N. Latynina largely abandons the social accents characteristic of the works of earlier biographers, and approaches Garshin’s work primarily from a psychological point of view. The researcher explains the features of the writer’s creative style by the uniqueness of his mental organization, which, in her opinion, determined both strong and weak sides Garshin's literary talent. “This amazing ability to reflect someone else’s pain,” says A.N. Latynin is the source of that genuine sincerity that gives such sad charm to Garshin’s prose, but here is also the source of the limitations of his writing gift. Tears prevent him from looking at the world from the outside (which an artist should be able to do); he is unable to understand people of an organization other than his own, and even if he makes such attempts, they fail. Only one hero seems impeccably alive in Garshin’s prose - a person close to his own spiritual makeup.”

Among the comparative studies that offer attention. reader's comparison of Garshin's works with the work of any of his predecessors, one should first of all mention the article by N.V. Kozhukhovskaya “Tolstoy’s tradition in the military stories of V.M. Garshin" (1992). The researcher, in particular, notes that in the minds of Garshin’s characters (as well as in the minds of L.N. Tolstoy’s heroes) there is no “defensive psychological reaction” that would allow them not to be tormented by feelings of guilt and personal responsibility.

Works in Garshin studies of the second half of the 20th century are devoted to a comparison of the works of Garshin and F.M. Dostoevsky. Among them is an article by F.I. Evnina “F.M. Dostoevsky and V.M. Garshin" (1962), as well as the candidate's dissertation of G.A. Skleinis “Typology of characters in the novel by F.M. Dostoevsky's "The Brothers Karamazov" and in the stories of V.M. Garshin 80s." (1992) The authors of these works note the influence of Dostoevsky on the ideological and thematic orientation of Garshin’s stories and emphasize the similarities in the construction of plots and in the characterology of the prose of both authors. F.I. Evnin, in particular, points to “elements of ideological closeness” in the works of writers, including “tragic perception of the environment, increased interest in the world of human suffering,” etc. . The literary critic identifies in the prose of Garshin and F.M. Dostoevsky signs of increased stylistic expressiveness, explaining them by the commonality of the psychological sphere depicted by the writers: and F.M. Dostoevsky and Garshin, as a rule, show the life of the subconscious in a situation “at the last line,” when the hero plunges into his inner world in order to understand himself “on the brink.” As Garshin himself pointed out, “The Incident” is “something from Dostoevsky. It turns out that I am inclined and capable of developing his (D.) path.”

Garshin's prose is also compared by some researchers with the work of I.S. Turgenev and N.V. Gogol. Thus, A. Zemlyakovskaya (1968) in the article “Turgenev and Garshin” notes a number of common features in the works of Garshin and I.S. Turgenev (type of hero, style, genres - including the genre of prose poems). According to A.A. Bezrukov (1988), N.V. Gogol also had an aesthetic and moral influence on the writer: “Gogol’s faith in the highest social purpose of literature, his passionate desire to help revive human personality <.>- all this activated Garshin’s creative thought, contributed to the formation of his “humanistic views, fed the optimism of “The Red Flower” and “Signal.” Following N.V. Gogol, the researcher believes, Garshin “spiritualizes” art, speaking out against the pursuit of external artistic effects. He, like the author of “Dead Souls,” relies in his work on the effect of moral shock, believing that an emotional shake-up will give impetus to the “reorganization” of the people themselves and the whole world.

The third group of literary scholars and critics writing about Garshin includes, as already noted, authors who have chosen as their subject the analysis of individual elements of the writer’s poetics. The “initiator” of this direction can be considered N.K. Mikhailovsky, who in the article “About Vsevolod Garshin "(1885) gave an interesting “report” on the writer’s prose. Despite the ironic style, the article contains many subtle observations on the names of the characters, the narrative form of Garshin’s works. plot construction his stories. N.K. Mikhailovsky notes the writer’s individual approach to military topics.

Psychologism and storytelling in Garshin’s works have been studied by few researchers. Also V.G. Korolenko, in an essay dedicated to Garshin’s work, points out: “Garshin’s time is still far from history. And in Garshin’s works, the main motifs of this time acquired that artistic and psychological completeness that ensures their long existence in literature.” V.G. Korolenko believes that the writer reflects the characteristic moods of his time.

In 1894 Yu.N saw a certain subjectivity in Garshin’s prose. Govorukha-Youth, who noted “Garshin and reflected in his works the feelings and thoughts of his generation - sad, sick and powerless.<.>There is truth in Garshin's works, but not the whole truth, much except the truth. The truth of these works lies only in their sincerity: Garshin presents the matter as it appears to him in the depths of his soul.” .

In the first half of the 20th century (since 1925), interest in the study of the writer’s life and work increased. Particular attention should be paid to Yu.G. Oksman, who did a great job in publishing the writer’s unpublished works and letters. The researcher gives detailed comments and notes on Garshin's letters. Studying archival materials, Yu.G. Oksman reflects in detail the political and social life of the 70-80s of the 19th century. Separately, the scientist specifies the sources of publications, places where autographs and copies are stored, and provides basic bibliographic information about the recipients.

In the first half of the 20th century. Several articles were published devoted to the study of Garshin’s life creativity. P.F. speaks about the deep introspection of the writer’s hero, the dissection of his inner world. Yakubovich (1910): “Scourging “man,” exposing our inner abomination, the weakness of our best aspirations, Mr. Garshin, with particular detail, with the strange love of a patient for his pain, dwells on the most terrible crime lying on the conscience of modern humanity, war ".

This is how V.N. writes about the influence of content on form. Arkhangelsky (1929), defining the form of the writer’s works as a short psychological story. The researcher focuses on the psychological appearance of the hero, who “is characterized by extreme nervous imbalance with its external manifestations: sensitivity, melancholy, awareness of his powerlessness and loneliness, a tendency to introspection and fragmentary thinking.”

C.B. Shuvalov in his work (1931) retains interest in Garshin’s suffering personality and speaks of the writer’s desire to “reveal a person’s experiences, to “tell his soul,” i.e. [interest] determines the psychologism of creativity.” .

Of particular interest to us is the dissertation research of V.I. Shubin “Mastery of psychological analysis in the works of V.M. Garshin" (1980). In our observations, we relied on his conclusions that the distinctive feature of the writer’s stories is “. internal energy, requiring short and lively expression, psychological richness of the image and the entire narrative.<.>The moral and social issues that permeate all of Garshin’s work have found their bright and deep expression in the method of psychological analysis, based on understanding the value of the human personality, the moral principle in a person’s life and his social behavior.” In addition, we took into account the research results of the third chapter of the work “Forms and means of psychological analysis in the stories of V.M. Garshin”, in which V.I. Shubin identifies five forms of psychological analysis: internal monologue, dialogue, dreams, portrait and landscape. While supporting the researcher’s conclusions, we note that we consider portraits and landscapes in a broader functional range, from the point of view of the poetics of psychologism.

Various aspects of the poetics of Garshin’s prose have already been analyzed in our days by the authors of the collective study “Poetics of V.M. Garshin" (1990) Yu.G. Miliukov, P. Henry and others. The book touches, in particular, on the problems of theme and form (including types of narration and types of lyricism), images of the hero and the “counter-hero”, examines the impressionistic style of the writer and the “artistic mythology” of individual works, and raises the question of the principles of studying Garshin’s unfinished stories ( reconstruction problem). Researchers state the general direction of the genre evolution of Garshin the prose writer: from a social and everyday essay to a moral and philosophical parable; emphasize the importance of the “diary entry” technique and plot scheme“hero - counter-hero”, which, in their opinion, is not a simple imitation of the “two worlds” of the romantics. The study rightly emphasizes the significance of the story “The Red Flower”, in which the writer managed to achieve an organic synthesis of impressionistic writing techniques and an objective (in the spirit of realism) reproduction of the spiritual makeup of the Russian intelligentsia of the 1870s - 80s. In general, the book makes an important contribution to the study of Garshin’s prose, however, significant elements of poetics are still analyzed in it not comprehensively, but separately, selectively - without indicating their common connection in the unity of the creative manner of the author being studied.

Separately, we should dwell on the three-volume collection “Vsevolod Garshin at the turn of the century,” which presents research by scientists from different countries (Bulgaria, Great Britain, Germany, Russia, Ukraine, etc.). The authors of the collection develop various aspects of poetics (S.N. Kaidash-Lakshina “The image of a “fallen woman” in the work of Garshin”, E.M. Sventsitskaya “The concept of personality and conscience in the work of Vs. Garshin”, Yu.B. Orlitsky “Poems in prose in the works of V.M. Garshin”, etc.). Foreign researchers introduce us to the problems of translating the writer’s prose into English (M. Dewhirst

Three Translations of Garshin's Story "Three Red Flowers" and others). V. Kostrica in the article “The reception of Vsevolod Garshin in Czechoslovakia” notes that the writer’s works during his lifetime (since 1883) were published in twenty different translations, Garshin’s prose especially attracted Czech publishers for the volume of stories and their genre character. The collection “Vsevolod Garshin at the turn of the century” deserves special attention from scientists studying the writer’s literary activity.

As we can see, the problems of the poetics of Garshin’s prose occupy an important place in studies devoted to the work of this writer. At the same time, most of the research is still of a private, episodic nature. Some aspects of Garshin's prose poetics (including narrative poetics and the poetics of psychologism) remain almost unexplored. In those works that come close to these problems, we are talking more about posing the question than about solving it, which in itself is an incentive for further comprehensive research in this direction. In this regard, it can be considered relevant to identify the forms of psychological analysis and the main components of narrative poetics, which allows us to closely approach the problem of the structural combination of psychologism and narration in Garshin’s prose.

The scientific novelty of the work is determined by the fact that for the first time a consistent consideration of the poetics of psychologism and narration in Garshin’s prose, which is the most characteristic feature of the writer’s prose, is offered. A systematic approach to the study of Garshin's creativity is presented. The supporting categories in the poetics of the writer’s psychologism (confession, “ close-up", portrait, landscape, setting). Such narrative forms in Garshin's prose are defined as description, narration, reasoning, someone else's speech (direct, indirect, improperly direct), points of view, categories of narrator and storyteller.

The subject of the study is eighteen stories by Garshin.

The purpose of the dissertation research is to identify and analytically describe the main artistic forms of psychological analysis in Garshin’s prose and systematically study its narrative poetics. The research priority is to demonstrate how the connection is made between forms of psychological analysis and narration in the writer’s prose works.

In accordance with the goal, specific research objectives are determined:

1. consider the confession in the poetics of the author’s psychologism;

2. determine the functions of the “close-up”, portrait, landscape, setting in the poetics of the writer’s psychologism;

3. study the poetics of narration in the writer’s works, identify the artistic function of all narrative forms;

4. identify the functions of “someone else’s word” and “point of view” in Garshin’s narrative;

5. describe the functions of the narrator and narrator in the writer’s prose.

The methodological and theoretical basis of the dissertation is the literary works of A.P. Auera, M.M. Bakhtina, Yu.B. Boreva, L.Ya. Ginzburg, A.B. Esina, A.B. Krinitsyna, Yu.M. Lotman, Yu.V. Manna, A.P. Skaftymova, N.D. Tamarchenko, B.V. Tomashevsky,

M.S. Uvarova, B.A. Uspensky, V.E. Khalizeva, V. Shmida, E.G. Etkind, as well as linguistic research by V.V. Vinogradova, H.A. Kozhevnikova, O A. Nechaeva, G.Ya. Solganika. Based on the works of these scientists and the achievements of modern narratology, a methodology of immanent analysis was developed, which makes it possible to reveal the artistic essence of a literary phenomenon in full accordance with the author’s creative aspiration. The main methodological guideline for us was the “model” of immanent analysis presented in the work of A.P. Skaftymov “Thematic composition of the novel “The Idiot””.

The key concept used in the dissertation work is psychologism, which is an important achievement of Russian classical literature and characterizes the individual poetics of the writer. The origins of psychologism can be found in ancient Russian literature. Here we should remember hagiography as a genre (“The Life of Archpriest Avvakum”), where the hagiographer “. created a living image of the hero<.>colored the story with a range of different moods, interrupted it with waves of lyricism - internal and external." It is worth noting that this is one of the first attempts in Russian prose; psychologism as a phenomenon is only outlined here.

The psychological image is received further development at the end of the 18th - beginning of the 19th century. Sentimentalism and romanticism distinguished man from the masses, the crowd. The view of a literary character has changed qualitatively, and a tendency to search for personality and individuality has emerged. Sentimentalists and romantics turned to the sensual sphere of the hero, trying to convey his experiences and emotions (N.M. Karamzin “Poor Liza”, A.N. Radishchev “Journey from St. Petersburg to Moscow”, etc.).

Psychologism as a literary concept manifests itself fully in realism (F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhov). Psychological depiction becomes dominant in the work of realist writers. It’s not just the view of a person that changes, the authors have a different approach to revealing the inner world of their heroes, forms, techniques and ways of depicting the inner world of the heroes are revealed.

V.V. Kompaneets notes that “the developed element of psychologism is the key to the artistic knowledge of the inner world, the entire emotional and intellectual sphere of the individual in its complex and multifaceted dependence on the phenomena of the surrounding world.” In the article “Artistic psychologism as a research problem,” he separates the two concepts of “psychologism” and “psychological analysis,” which are not completely synonymous. The concept of psychologism is broader than the concept of psychological analysis and includes a reflection of the author’s psychology in the work. The author of the article emphasizes that the writer does not decide the question: whether there should be psychologism in the work or not. Psychological analysis, in turn, has a number of means aimed at the object. There is already a conscious attitude of the author here work of art.

In the work “Psychologism of Russian classical literature” A.B. , Esin notes the “special depth” in the artistic exploration of the inner world of man by “psychological writers.” He especially considers F.M. to be such. Dostoevsky, L.N. Tolstoy, since the artistic world of their works is marked by extreme attention to the inner life of the characters, to the process of movement of their thoughts, feelings, sensations. A.B. Esin notes that “it makes sense to talk about psychologism as a special, qualitatively defined phenomenon that characterizes the originality of the style of a given work of art only when a form of direct depiction of the processes of internal life appears in literature, when literature begins to sufficiently fully depict (and not just designate) such mental and mental processes that do not find external expression when, accordingly, new compositional and narrative forms appear in literature that are capable of capturing the hidden phenomena of the inner world quite naturally and adequately.” The researcher claims that psychologism makes external details work to depict the inner world. Objects and events motivate the hero’s state of mind and influence the characteristics of his thinking. A.B. Esin distinguishes psychological description (reproduces a static feeling, mood, but not a thought) and psychological narration (the subject of the image is the dynamics of thoughts, emotions, desires).

However, the depiction of a person and everything connected with him distinguishes any writer of the era of artistic realism. Word artists like I.S. Turgenev, I.A. Goncharov, A.N. Ostrovsky has always been distinguished by his human skills. But they revealed the hero’s inner world in different ways, using different psychological techniques and means.

In the works “Ideas and Forms in the Works of L. Tolstoy” and “On Psychologism in the Works of Stendhal and L. Tolstoy” A.P. Skaftymov we find the concept of psychological drawing. The scientist determines the mental content of the characters in the works of L.N. Tolstoy, noting the writer’s desire to show the inner world of a person in his process as a constant, continuous flow. A.P. Skaftymov notes the characteristic features of L.N.’s psychological drawing. Tolstoy: “cohesion, continuity of external and internal being, the diverse complexity of mutually intersecting psychological lines, the continuous relevance of the mental elements given to the character, in a word, that “dialectic of the soul”, which forms a continuous individual stream of running collisions, contradictions, always caused and complicated by the closest connections of the psyche with the environment of the current moment.”

V.E. Khalizev writes that psychologism is expressed in the work through “individualized reproduction of the characters’ experiences in their interrelation, dynamics and uniqueness.” The researcher talks about two forms of psychological depiction: explicit, open, “demonstrative” psychologism is characteristic of F.M. Dostoevsky, L.N. Tolstoy; implicit, secret, “subtextual” - I.S. Turgenev, A.P. Chekhov. The first form of psychologism is associated with introspection, the character’s internal monologue, as well as with a psychological analysis of the hero’s inner world, which is carried out by the author himself. The second form manifests itself in an implicit indication of certain processes occurring in the character’s soul, with the reader’s perception being indirect.

V.V. Gudonienė considers psychologism as a special quality of literature and the problems of its poetics. In the theoretical part, the researcher analyzes the literary character as a psychological reality (writers’ attention is not to character, but to personality, the universal nature of individuality); interpenetration of forms of psychological writing (interest in portrait description, author’s commentary on the hero’s state of mind, the use of indirect speech, internal monologue), F. Shtanzel’s circle as a set of basic methods of storytelling, means of psychological writing, landscape, dreams and reveries, artistic detail, etc. etc. In the practical part, based on the material of Russian literature (prose and lyrics) V.V. Gudonene applies the developed theory to the texts of I.S. Turgeneva, F.M. Dostoevsky, L.N. Tolstoy, I.A. Bunina, M.I. Tsvetaeva and others. The author of the book emphasizes that psychologism has been actively studied in recent decades; Each literary era has its own forms of psychological analysis; the most studied are portrait, landscape, and internal monologue as means of psychological writing.

In the first chapter we examine forms of psychological analysis: confession, close-up, portrait and landscape. The theoretical basis for studying the concept of confession is the work of A.B. Krinitsyn “Confession of an Underground Man. On the anthropology of F.M. Dostoevsky”, M.S. Uvarov “The Architectonics of the Confessional Word”, in which the characteristic features of the narrator and the peculiarities of the presentation of internal experiences are noted.

E.G. Etkind in his work “The Inner Man and External Speech” speaks of psychopoetics as “an area of ​​philology that examines the relationship between thought and word, and the term “thought” here and below means not only logical inference (from causes to consequences or from consequences to causes), not only the rational process of understanding (from the essence of a phenomenon and back), but also the entire totality of a person’s inner life.” The scientist defines the concept of “inner man,” by which he means “the diversity and complexity of the processes occurring in the soul.” E.G. Etkind demonstrates the relationship between the speech of the characters and their spiritual world.

Fundamental to the dissertation research (for the first chapter) are the concepts of “close-up” and “momentariness,” the essence of which is revealed in the work of the scientist. Important works in the study of the concept of “close-up” were also the works of Yu.M. Lotman “On Art”, V.E. Khalizeva “Value orientations of Russian classics”.

Psychologism reveals itself fully in realism. Psychological depiction is indeed becoming dominant in the work of many writers. The view of a person changes, the authors take a different approach to depicting the psychology of their heroes, their inner world, identifying and focusing on its complexity, inconsistency, perhaps even inexplicability, in a word, depth.

The second main term in the dissertation research is “narration,” which in modern literary criticism is understood quite broadly. The following definitions of “narration” can be found in dictionaries:

Narration, in an epic literary work, the speech of the author, personified storyteller, storyteller, i.e. all text except for the direct speech of the characters. Narration, which is a depiction of actions and events in time, description, reasoning, indirect speech of the characters, is the main way of constructing epic work, requiring objective event-based reproduction of reality.<.>By consistent development, interaction, and combination of “points of view,” the composition of the narrative is formed.”

Narration is the entire text of an epic literary work, with the exception of direct speech (the voices of characters can be included in the narrative only in the form of various forms, non-direct speech).

Narration - 1) a set of fragments of the text of an epic work (compositional forms of speech), attributed by the author-creator to one of the “secondary” subjects of image and speech (narrator, narrator) and performing “intermediary” functions (connecting the reader with the world of the characters); 2) the process of communication between the narrator or storyteller and the reader, the purposeful unfolding of the “storytelling event,” which is carried out thanks to the reader’s perception of the specified fragments, the text in their sequence organized by the author.”

N.D. Tamarchenko stipulates that in a narrow sense, narration is one of the typical forms of utterance, along with description and characterization. The researcher notes the duality of the concept: on the one hand, it includes special functions: information content, focus on the subject of speech, on the other hand, more general, even compositional, functions, for example, focus on the text. N.D. Tamarchenko talks about the connection between the terminology of Russian literary criticism “with the ‘theory, literature’ of the last century, which in turn relied on the doctrine developed by classical rhetoric about such compositional forms of constructing prose speech as narration, description and reasoning.”

Yu.B. Borev notes two meanings of the concept of narrative: “1) a coherent presentation of real or fictitious events, a work of artistic prose; 2) one of the intonation universals of the narrative." The researcher identifies four forms of conveying artistic information in prose: the first form is a panoramic overview (the presence of an omniscient author); the second form is the presence of a narrator who is not omniscient, a first-person story; the third form is dramatized consciousness, the fourth form is pure drama. Yu.B. Borev mentions the fifth “variable form”, when the narrator either becomes omniscient, then a participant in events, or merges with the hero and his consciousness.

In the second chapter we focus on four narrative forms: types of narration (description, narration, reasoning), “alien speech”, subjects of image and speech (narrator and narrator), point of view. Methodological basis in the study of types of narrative was the linguistic work of O.A. Nechaeva “Functional-semantic types of speech (narration, description, reasoning)”, which proposes classifications of description (landscape, portrait, setting, description-characteristic), narration (specific stage, general stage, informational), reasoning (evaluative nominal , with the meaning of a state, with the justification of real or hypothetical actions, with the meaning of necessity, with conditional actions, with a categorical denial or affirmation). The researcher defines the term narrative in the text of a work of art as follows: “a functional-semantic type of speech that expresses a message about developing actions or states and has specific linguistic means for the implementation of this function.”

When studying “other people’s speech,” we focus primarily on the works of M.M. Bakhtin (V.N. Voloshinov) “Marxism and Philosophy of Language” and H.A. Kozhevnikova “Types of narration in Russian literature of the 19th-20th centuries.” , in which researchers identify three main forms for transmitting “alien speech” (direct, indirect, improperly direct) and demonstrate its features using examples from fiction.

Exploring the subjects of image and speech in Garshin’s prose, theoretically we rely on the work of H.A. Kozhevnikova “Types of narration in Russian literature of the 19th-20th centuries.” , candidate's dissertation research by A.F. Moldavsky “The Storyteller as a Theoretical and Literary Category (Based on Russian Prose of the 20s of the 20th Century)”, articles by K.N. Atarova, G.A. Lesskis “Semantics and structure of first-person narration in fiction”, “Semantics and structure of third-person narration in fiction”. In these works we find features of the image of the narrator and storyteller in literary texts.

Addressing the problem of studying point of view in literary criticism, the central work in our study is the work of B.A. Uspensky "Poetics of Composition". The literary critic emphasizes: in fiction there is a technique of montage (as in cinema), a plurality of points of view is manifested (as in painting). B.A. Uspensky believes that there may be general theory compositions applicable to various types art. The scientist identifies the following types of points of view: “point of view” in terms of ideology, “point of view” in terms of phraseology, “point of view” in terms of spatio-temporal characteristics, “point of view” in terms of psychology.

In addition, when exploring the concept of point of view, we take into account the experience of Western literary criticism, in particular, the work of V. Schmid “Narratology”, in which the researcher defines the concept of point of view as “a node of conditions formed by external and internal factors that influence the perception and transmission of events.” V. Schmid identifies five planes in which a point of view is manifested: perceptual, ideological, spatial, temporal, linguistic.

The theoretical significance of the work is that, based on the results obtained, it is possible to deepen the scientific understanding of the poetics of psychologism and the structure of the narrative in Garshin’s prose. The conclusions drawn in the work can serve as the basis for further theoretical study of Garshin’s work in modern literary criticism.

The practical significance of the work lies in the fact that its results can be used in developing a course on the history of Russian literature of the 19th century, special courses and special seminars dedicated to Garshin’s work. The dissertation materials can be included in an elective course for humanities classes in secondary secondary school.

Approbation of work. The main provisions of the dissertation research were presented in scientific reports at conferences: at the X Vinogradov Readings (GOU VPO MSPU. 2007, Moscow); XI Vinogradov Readings (GOU VPO MSPU, 2009, Moscow); X Conference of Young Philologists “Poetics and Comparative Studies” (KGPI, 2007, Kolomna). Five articles were published on the topic of the research, including two in publications included in the list of the Higher Attestation Commission of the Russian Ministry of Education and Science.

The structure of the work is determined by the goals and objectives of the study. The dissertation consists of an Introduction, two chapters, a Conclusion and a list of references. The first chapter examines sequentially

Conclusion of the dissertation on the topic “Russian Literature”, Vasina, Svetlana Nikolaevna

Conclusion

In conclusion, I would like to summarize the results of the study, which only outlined the problem of studying narrative and artistic, psychologism in Garshin’s prose. The writer is of special interest to researchers of Russian literature. As noted in the introduction, the psychologism and narration in Garshin’s stories have been analyzed in the works of few researchers. At the beginning of the dissertation work, the following tasks were set: “to consider confession in the poetics of the author’s psychologism; to determine the functions of a close-up, portrait, landscape, setting in the poetics of the writer’s psychologism; to study the poetics of narration in the writer’s works, to identify the artistic function of all narrative forms; to identify the functions of “ someone else's word" and "point of view" in Garshin's narrative; describe the functions of the narrator and narrator in the writer's prose.

Studying the poetics of psychologism in the writer’s works, we analyze confession, close-up, portrait, landscape, setting. The analysis shows that the elements of confession contribute to deep penetration into the hero’s inner world. It was revealed that in the story “Night” the hero’s confession becomes the main form of psychological analysis. In other prose works of the writer (“Four Days”, “Incident”, “Coward”) it is not given a central place; it becomes only part of the poetics of psychologism, but a very important part, interacting with other forms of psychological analysis.

“Close-up” in Garshin’s prose is presented: a) in the form of “detailed descriptions with comments of an evaluative and analytical nature (“From the memoirs of Private Ivanov”); b) when describing dying people, the reader’s attention is drawn to the inner world, the psychological state of the hero, nearby (“Death”, “Coward”); c) in the form of a list of the actions of the heroes performing them at the moment when consciousness is turned off (“Signal”, “Nadezhda Nikolaevna”).

Analyzing portrait and landscape sketches, descriptions of the situation in Garshin’s prose works, we see that they enhance the author’s emotional impact on the reader, visual perception and largely contribute to identifying the inner movements of the heroes’ souls. The landscape is to a greater extent connected with the chronotope, but in the poetics of psychologism it also occupies a fairly strong position due to the fact that in some cases it becomes the “mirror of the soul” of the hero. Garshin’s keen interest in the inner world of man largely determined the image of the surrounding world in his works. As a rule, small landscape fragments woven into the experiences of the characters and the description of events are complicated in his stories by a psychological sound.

It was revealed that the interior (furnishings) performs a psychological function in the stories “Night”, “Nadezhda Nikolaevna”, “Coward”. When depicting an interior, it is common for a writer to concentrate his attention on individual objects and things (“Nadezhda Nikolaevna”, “Coward”). In this case, we can talk about a passing, condensed description of the situation.

In the process of analyzing Garshin's stories, three types of narration are considered: description, narration and reasoning. We argue that description is an important part of Garshin's narrative poetics. The most characteristic in the structure of the description are four “descriptive genres” (O.A. Nechaeva): landscape, portrait, setting, characterization. The description (landscape, portrait, setting) is characterized by the use of a single time plan, the use of the real (indicative) mood, and the use of supporting words that carry the function of enumeration. In a portrait, when describing the external features of the characters, nominal parts of speech (nouns and adjectives) are actively used for expressiveness. In the description-characteristic it is possible to use different tense verb forms (combining the past and present tense), it is also possible to use the surreal mood, in particular the subjunctive (the story “The Batman and the Officer”).

In Garshin's prose, little space is given to descriptions of nature, but nevertheless they are not without narrative functions. Landscape sketches serve more as a background to the story. These patterns are clearly evident in the story “Bears,” which begins with a lengthy description of the area. A landscape sketch precedes the narrative. The description of nature is a listing of the characteristics of the general appearance of the area (river, steppe, shifting sands). These are permanent features that make up a topographic description. In the main part, the depiction of nature in Garshin’s prose is episodic in nature. As a rule, these are short passages consisting of one to three sentences.

In Garshin's stories, the description of the hero's external features undoubtedly helps to show their inner, mental state. The story “The Batman and the Officer” presents one of the most detailed portrait descriptions. It should be noted that most of Garshin’s stories are characterized by a completely different description of the characters’ appearance. The writer focuses the reader's attention rather on the details.

Therefore, it is logical to talk about a compressed, incidental portrait in prose of Garshin. Portrait characteristics are included in the poetics of the narrative. They reflect both permanent and temporary, momentary external features of the heroes.

Separately, it should be said about the description of the hero’s costume as a detail of his portrait. Garshin's suit is both a social and psychological characteristic of a person. The author describes the character’s clothing if he wants to emphasize the fact that his heroes follow the fashion of that time, and this, in turn, speaks about their financial situation, financial capabilities and some character traits. Garshin also deliberately focuses the reader’s attention on the hero’s clothing, if we are talking about an unusual life situation or a costume for a celebration, a special occasion. Such narrative gestures contribute to the fact that the hero’s clothing becomes part of the poetics of the writer’s psychologism.

To describe the situation in Garshin's prose works, the static nature of objects is characteristic. In the story “Meeting”, descriptions of the situation play a key role. Garshin focuses the reader's attention on the material from which things are made. This is significant: Kudryashov surrounds himself expensive things, which is mentioned several times in the text of the work, it is accordingly important what they were made of. All things in the house, like the entire furnishings, are a reflection of Kudryashov’s philosophical concept of “predation”.

Descriptions and characteristics are found in three of Garshin’s stories “The batman and the officer”, “Nadezhda Nikolaevna”, “Signal”. The characterization of Stebelkov (“The Batman and the Officer”), one of the main characters, includes how biographical information, as well as facts that reveal the essence of his character (passivity, primitiveness, laziness). This monologue characterization is a description with elements of reasoning. Completely different characteristics are given to the main characters of the stories “Signal” and “Nadezhda Nikolaevna” (diary form). Garshin introduces the reader to the biographies of the characters.

Studying the structure of the narrative, we note that the presentation. events in Garshin’s prose can be specific scenic, general scenic and informational. In a concrete stage narration, the dismembered concrete actions of the subjects are reported (we have a kind of scenario before us). The dynamics of the narrative are conveyed through the conjugated forms and semantics of verbs, gerunds, and adverbial formants. To express the sequence of actions, their assignment to one subject of speech is preserved. In a generalized stage narrative, typical, repeating actions in a given scene are reported. environment. The development of action occurs with the help of auxiliary verbs and adverbial phrases. A generalized stage narrative is not intended for dramatization. In information narration, two varieties can be distinguished: the form of retelling and the form of indirect speech (the topics of the message are heard in the passages, there is no specificity, no certainty of actions).

In Garshin's prose works the following types of reasoning are presented: nominal evaluative reasoning, . reasoning to justify actions, reasoning to prescribe or describe actions, reasoning with the meaning of affirmation or negation. The first three types of reasoning are correlated with the inferential sentence scheme (“The orderly and the officer”, “Nadezhda Nikolaevna”, “Meeting”). For nominal evaluative reasoning, it is typical to give an assessment to the subject of speech in the conclusion; the predicate in the inferential sentence, represented by a noun, realizes various semantic and evaluative characteristics (superiority, irony, etc.) - It is with the help of reasoning that the characteristic of an action is given for the purpose of justification (“Nadezhda Nikolaevna”). Reasoning for the purpose of prescription or description substantiates the prescription of actions (in the presence of words with prescriptive modality - with the meaning of necessity, obligation) (“Night”). Reasoning with the meaning of affirmation or negation is reasoning in the form of a rhetorical question or exclamation (“Coward”).

Analyzing Garshin’s prose, we determine the functions of “someone else’s word” and “point of view” in the author’s works. Research shows that direct speech in a writer’s texts can belong to both a living being (human) and inanimate objects (plants). In Garshin's prose works, the internal monologue is structured as a character's address to himself. For the stories “Nadezhda Nikolaevna” and “Night”, in which the narration is told in the first person, it is characteristic that the narrator reproduces his thoughts. In the works (“Meeting”, “Red Flower”, “Batman and Officer”) events are presented in the third person; it is important that direct speech conveys the thoughts of the characters, i.e. the true view of the characters on a particular problem.

An analysis of examples of the use of indirect and improperly direct speech shows that these forms of alien speech in Garshin’s prose are much less common than direct speech. It can be assumed that it is important for the writer to convey the true thoughts and feelings of the characters (it is much more convenient to “retell” them using direct speech, thereby preserving the inner experiences and emotions of the characters).

Considering the concepts of storyteller and storyteller, it should be said about the story “The Incident”, where we see two storytellers and a narrator. In other works the relationship is clearly presented: the narrator - “Four Days”, “From the Memoirs of Private Ivanov”, “A Very Short Novel” - a narration in the first person, two narrators - “Artists”, “Nadezhda Nikolaevna”, the narrator - “Signal” , “The Frog Traveler”, “Meeting”, “Red Flower”, “The Tale of Proud Arree”, “The Tale of the Toad and the Rose” - narration in the form of a third person. In Garshin's prose works, the narrator is a participant in the events taking place. In the story “A Very Short Novel” we see a conversation between the main character and the subject of speech with the reader. The stories “Artists” and “Nadezhda Nikolaevna” are the diaries of two hero-storytellers. The narrators in the above works are not participants in the events and are not portrayed by any of the characters. A characteristic feature of the subjects of speech is the reproduction of the thoughts of the characters, the description of their actions. We can talk about the relationship between the forms of depicting events and the subjects of speech in Garshin’s stories. The revealed pattern of Garshin's creative style boils down to the following: the narrator manifests himself in the forms of presenting events in the first person, and the narrator - in the third.

Studying “points of view” in Garshin’s prose, we rely on the research of B.A. Uspensky "Poetics of Composition". Analysis of the stories allows us to identify the following points of view in the writer’s works: in terms of ideology, space-time characteristics and psychology. The ideological plan" is clearly presented in the story "The Incident", in which three evaluative points of view meet: the view of the heroine, the hero, and the author-observer. We see the point of view in the plan, spatio-temporal characteristics in the stories "Meeting" and "Signal": there is a spatial attachment of the author to the hero; the narrator is in close proximity to the character. The point of view in terms of psychology is presented in the story “Night”. Verbs of the internal state help to formally identify this type of description.

An important scientific result of the dissertation research is the conclusion that narration and psychologism in Garshin’s poetics are in constant relationship. They form a flexible artistic system that allows narrative forms to transform into the poetics of psychologism, and forms of psychological analysis can also become the property of the narrative structure of Garshin’s prose. All this relates to the most important structural pattern in the poetics of the writer.

Thus, the results of the dissertation research show that the supporting categories in Garshin’s poetics of psychologism are confession, close-up, portrait, landscape, setting. According to our findings, the poetics of the writer’s narration is dominated by such forms as description, narration, reasoning, other people’s speech (direct, indirect, improperly direct), points of view, categories of narrator and storyteller.

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100. Arsenyev K.K. V. M. Garshin and his work Text. / V.M. Garshin // Complete works. St. Petersburg: A.F. Marx TV, 1910. - P. 525-539.

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102. Bazhenov N.H. Heartwarming drama Garshina. (Psychological and psychopathic elements of his artistic creativity) Text. / H.H. Bazhenov. M.: Tipo-lit. t-va I.N. Kushnarev and Co., 1903.-24 p.

103. Bezrukov A.A. Gogolian traditions in the works of V.M. Garshina Text. / A.A. Bezrukov. Armavir, 1988. - 18 p. - Dep. in INION AS USSR 04.28.88, No. 33694.

104. Bezrukov A.A. Ideological contradictions of V.M. Garshina and Tolstoyism Text. // Social and philosophical concepts of Russian classic writers and the literary process. - Stavropol: Publishing house SGPI, 1989. P. 146-156.

105. Bezrukov A.A. The critical beginning in the work of V.M. Garshina Text. / A.A. Bezrukov. Armavir, 1987. - 28 p. - Dep. in INION AS USSR 5.02.88, No. 32707.

106. Bezrukov A.A. Moral quests of V.M. Garshin and Turgenev traditions Text. / Armavir. State Ped. int. -Armavir, 1988. 27 p. - Dep. in INION AS USSR 04.28.88, No. 33693.

107. Bedin P.V. V.M. Garshin and Z.V. Vereshchagin Text. // Russian literature and fine arts of the 18th and early 20th centuries. - L.: Science, 1988. - P. 202-217.

108. Bedin P.V. V.M. Garshin and fine arts Text. // Art, No. 2. M., 1987. - pp. 64-68.

109. Bedin P.V. Little-known pages of Garshin's work Text. // In memory of Grigory Abramovich Byaly: On the 90th anniversary of his birth. St. Petersburg: St. Petersburg University Publishing House, 1996. -S. 99-110.

110. Bedin P.V. Nekrasovskoe in the works of V.M. Garshina Text. // Russian literature. No. 3. - St. Petersburg: Nauka, 1994. P. 105127.

111. Bedin P.V. About one historical plan of V.M. Garshina: (An unrealized novel about Peter I) Text. // Literature and history. St. Petersburg: Nauka, 1997. - Issue. 2. - pp. 170-216.

112. Bekedin P.V. Religious motives in V.M. Garshina Text. // Christianity and Russian literature. St. Petersburg: Nauka, 1994. - P. 322363.

113. Belyaev N.Z. Garshin Text. / N.Z. Belyaev. M.: Publishing house VZhSM “Young Guard”, 1938. - 180 p.

114. Berdnikov G.P. Chekhov and Garshin Text. / G.P. Berdnikov // Selected works: In two volumes. T.2. M.: Fiction, 1986. - pp. 352-377.

115. Birshtein I.A. Dream V.M. Garshina. Psychoneurological study on the issue of suicide Text. / I.A. Birshtein. M.: type. Headquarters Moscow. military district, 1913.-16 p.

116. Bogdanov I. Latkins. Close friends of Garshin Text. // New magazine. St. Petersburg, 1999. -No. 3. - pp. 150-161.

117. Boeva ​​G.N. Familiar and unfamiliar V. Garshin Text. // Philological notes. Vol. 20. Voronezh: Voronezh University, 2003. - pp. 266-270.

118. Byaly G.A. Vsevolod Mikhailovich Garshin Text. / G.A. Bialy. L.: Education, 1969. - 128 p.

119. Byaly G. A. V. M. Garshin and the literary struggle of the eighties Text. / G.A. Bialy. - M.-L.: Publishing House of the USSR Academy of Sciences, 1937.-210 p.

120. Vasilyeva I.E. The principle of “sincerity” as a means of argumentation in the narrative of V.M. Garshina Text. / Rhetorical tradition and Russian literature // Ed. P.E. Buharkina. St. Petersburg: St. Petersburg University Publishing House, 2003. - pp. 236-248.

121. Gamebukh E.Yu. V.M. Garshin. “Poems in prose” Text. / Russian at school. Feb. (No. 1). 2005. pp. 63-68.

122. Genina I.G. Garshin and Hauptmann. On the problem of interaction national cultures Text. // Vsevolod Garshin at the turn of the century: An international symposium in three volumes. V.3. Oxford: Northgate, 2000. - pp. 53-54.

123. Henry P. Impressionism in Russian prose: (V.M. Garshin and A.P. Chekhov) Text. // Bulletin Mosk. un-ta. Episode 9, Philology. -M., 1994.-No. 2. pp. 17-27.

124. Girshman M.M. Rhythmic composition of the story “Red Flower” Text. // Vsevolod Garshin at the turn of the century: An international symposium in three volumes. V.l. - Oxford: Northgate, 2000. - P.171-179.

125. Golubeva O.D. Autographs started talking. Text. // O.D. Golubeva. M.: Book Chamber, 1991. - 286 p.

126. Gudkova S.P., Kiushkina E.V.M. Garshin is a master of psychological storytelling. Text. // Social and humanitarian research. Issue 2. - Saransk: Mordovian State. univ., 2002. - pp. 323-326.

127. Guskov N.A. Tragedy without history: Memory of the genre in prose

128. B.M. Garshina Text. // Culture of historical memory. - Petrozavodsk: Petrozavodsk State. Univ., 2002. pp. 197-207.

129. Dubrovskaya I.G. About Garshin's last fairy tale Text. // World literature for children and about children. 4.1, issue. 9. M.: MPGU, 2004.-P. 96-101.

130. Durylin S.N. Childhood years of V.M. Garshin: biographical sketch Text. / S.N. Durylin. M.: Tipo-lit. TV-va I.N. Kushnerev and Co., 1910. - 32 p.

131. Evnin F.I. F.M. Dostoevsky and V. Garshin Text. // News of the USSR Academy of Sciences. Department of Literature and Language, 1962. No. 4. -1. pp. 289-301.

132. Egorov B.F. Yu.N. Govorukha-Otrok and V.M. Garshin Text. // Russian literature: Historical and literary magazine. N1. St. Petersburg: Nauka-SPb., 2007. -P.165-173.

133. Zhuravkina N.V. Personal world (the theme of death in Garshin’s works) Text. // Myth literature - myth restoration. - M. Ryazan: Uzoroche, 2000. - P. 110-114.

134. Zabolotsky P.A. In memory of the “knight of sensitive conscience” V.M. Garshina Text. / P.A. Zabolotsky. Kyiv: type. I.D. Gorbunova, 1908.- 17 p.

135. Zakharov V.V. V.G. Korolenko and V.M. Garshin Text. // V.G. Korolenko and Russian literature: Interuniversity. collection of scientific papers. Perm: PGPI, 1987. - pp. 30-38.

136. Zemlyakovskaya A.A. Turgenev and Garshin Text. // Second interuniversity Turgenev collection / resp. ed. A.I. Gavrilov. -Eagle: [b.i.], 1968.-S. 128-137.

137. Ziman L.Ya. Andersen's beginning in the fairy tales of V.M. Garshina Text. // World literature for children and about children. 4.1, issue. 9 -M.: MPGU, 2004. P. 119-122.

138. Zubareva E.Yu. Foreign and domestic scientists about the work of V.M. Garshina Text. // Bulletin Mosk. un-ta. Ser. 9, Philology. M., 2002. - N 3. - P. 137-141.

139. Ivanov A.I. Military theme in the works of fiction writers of the 80s of the 19th century: (On the problem of method) Text. // Method, worldview and style in Russian literature of the 19th century: Interuniversity. collection of scientific works / Rep. ed. A.F. Zakharkin. - M.: MGZPI, 1988.-S. 71-82.

140. Ivanov G.V. Four etudes (Dostoevsky, Garshin, Chekhov) Text. // In memory of Grigory Abramovich Byaly: On the 90th anniversary of his birth. St. Petersburg: St. Petersburg University Publishing House, 1996. -S. 89-98.

141. Isupov K.G. “Petersburg Letters” by V. Garshin in the Dialogue of Capitals Text. // World artistic culture in monuments. St. Petersburg: Education, 1997. - pp. 139-148.

142. Kaidash-Lakshina S.N. The image of a “fallen woman” in Garshin’s work Text. // Vsevolod Garshin at the turn of the century: An international symposium in three volumes. V.l. - Oxford: Northgate, 2000. pp. 110-119.

143. Kalenichenko O.H. Genre traditions of F. Dostoevsky in “The Tale of the Proud Arree” by V. Garshin Text. // Philological search. Vol. 2. - Volgograd, 1996. - pp. 19-26.

144. Kalenichenko O.N. Night of Epiphany: (On the genre poetics of “The Meek” by F.M. Dostoevsky and “Night” by V.M. Garshin) Text. //

145. Philological search. - Vol. No. 1. - Volgograd, 1993. p. 148157.

146. Kanunova F.Z. On some religious problems of Garshin’s aesthetics (V.M. Garshin and I.N. Kramskoy) Text. // Russian literature in the modern cultural space. 4.1 Tomsk: Tomsk State. Pedagogical University, 2003. - P. 117-122.

147. Kataev V.B. On the courage of fiction: Garshin and Gilyarovsky Text. // World of Philology. M., 2000. - pp. 115-125.

148. Klevensky M.M. V.M. Garshin Text. / MM. Klevensky. -M-D., State Publishing House, 1925. 95 p.

149. Kozhukhovskaya N.V. Tolstoy's tradition in military stories by V.M. Garshina Text. / From the history of Russian literature. -Cheboksary: ​​Cheboksary State. Univ., 1992. pp. 26-47.

150. Kozhukhovskaya N.V. Images of space in the stories of V.M. Garshina Text. // Pushkin readings. SPb.: Leningrad State University named after A.S. Pushkina, 2002. - pp. 19-28.

151. Kolesnikova T. A. Unknown Garshin (On the problem of unfinished stories and unfulfilled plans of V.M.

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153. Kolmakov B.I. “Volzhsky Messenger” about Vsevolod Garshin (1880s) Text. // Current issues in philology. Kazan, 1994.-S. 86-90.- Dep. VINIONRAN 11/17/94, No. 49792.

154. Korolenko V.G. Vsevolod Mikhailovich Garshin. Literary portrait (February 2, 1855 March 24, 1888) Text. / V.G. Korolenko // Memoirs. Articles. Letters. - M.: Soviet Russia, 1988. - P. 217-247.

155. Box N.I. V.M. Garshin Text. // Education, 1905. No. 11-12.-S. 9-59.

156. Kostrshitsa V. Reality reflected in confession (On the issue of V. Garshin’s style) Text. // Questions of literature, 1966. No. 12.-S. 135-144.

157. Koftan M. Traditions of A.P. Chekhov and V.M. Garshin in the tragedy of V.V. Erofeev “Walpurgis Night, or the Commander’s Steps” Text. // Young researchers of Chekhov. Vol. 4. - M.: Moscow State University Publishing House, 2001.-P. 434-438.

158. Krasnov G.V. The endings of stories by V.M. Garshina Text. // In memory of Grigory Abramovich Byaly: On the 90th anniversary of his birth. St. Petersburg: St. Petersburg University Publishing House, 1996. -S. 110-115.

159. Krivonos V.Sh., Sergeeva JI.M. “Red Flower” by Garshin and the Romantic Tradition Text. // Traditions in the context of Russian culture. - Cherepovets: Publishing House of the Cherepovets State Pedagogical University. Institute named after A.B. Lunacharsky, 1995. - pp. 106-108.

160. Kurganskaya A.L. Controversy about the work of V.M. Garshin in criticism of the 1880s. years: (To the 100th anniversary of his death) Text. // The creative individuality of the writer and the interaction of literature. Alma-Ata, 1988. - pp. 48-52.

161. Lapunov S.B. The image of a soldier in a Russian military story of the 19th century (L.N. Tolstoy, V.M. Garshin - A.I. Kuprin) Text. // Culture and writing of the Slavic world. T.Z. - Smolensk: SGPU, 2004.-S. 82-87.

162. Lapushin P.E. Chekhov-Garshin-Przhevalsky (autumn 1888) Text. // Chekhoviana: Chekhov and his entourage. M.: Nauka, 1996. -S. 164-169.

163. Latynina A.N. Vsevolod Garshin. Creativity and fate Text. / A.N. Latynina. M.: Fiction, 1986. - 223 p.

164. Lepekhova O.S. About some features of the narrative in the stories of V.M. Garshina Text. // Scientific notes Severodvin. Pomor, state University named after M.V. Lomonosov. Issue 4. Arkhangelsk: Pomor University, 2004. - pp. 165-169.

165. Lepekhova O.S., Loshakov A.G. The symbolism of numbers and the concept of “disease” in the works of V.M. Garshina Text. // Problems of literature of the 20th century: in search of truth. Arkhangelsk: Pomeranian State University, 2003.-P. 71-78.

166. Lobanova G. A. Landscape Text. // Poetics: a dictionary of current terms and concepts / Ch. scientific ed. N.D. Tamarchenko. M.: Shgaya, 2008. - P. 160.

167. Loshakov A.G. Ideological-figurative and metatextual projections of the concept “disease” in the works of V.M. Garshina Text. // Problems of literature of the 20th century: in search of truth. Arkhangelsk: Pomorsky State. univ., 2003. - pp. 46-71.

168. Luchnikov M.Yu. On the question of the evolution of canonical genres Text. // Literary work and literary process in the aspect of historical poetics. Kemerovo: Kemerovo State. univ., 1988.-S. 32-39.

169. Medyntseva G. “He had the face of one doomed to perish” Text. // Lit. studies. No. 2. - M., 1990.- pp. 168-174.

170. Miller O.F. In memory of V.M. Garshina Text. / V.M. Garshin // Complete works. St. Petersburg: A.F. Marx TV, 1910. -S. 550-563.

171. Milyukov Yu.G. Poetics V.M. Garshina Text. / Yu.G. Miliukov, P. Henry, E. Yarwood. Chelyabinsk: ChTU, 1990. - 60 p.

172. Mikhailovsky N.K. More about Garshin and others Text. / N.K. Mikhailovsky // Articles on Russian literature of the 19th and 20th centuries. -L.: Fiction, 1989. - P. 283-288.

173. Mikhailovsky N.K. About Vsevolod Garshin Text. / N.K. Mikhailovsky // Articles on Russian literature of the 19th and 20th centuries. -L.: Fiction, 1989. - P. 259-282.

174. Moskovkina I. Unfinished drama V.M. Garshina Text. // In the world of Russian classics. Vol. 2. - M.: Fiction, 1987-P. 344-355.

175. Nevedomsky M.P. Founders and successors: Funerals, characteristics, essays on Russian literature from the days of Belinsky to our days Text. / M.P. Nevedomsky. Petrograd: Kommunist publishing house, 1919.-410 p.

176. Nikolaev O.P., Tikhomirova B.N. Epic Orthodoxy and Russian culture: (Towards the formulation of the problem) Text. // Christianity and Russian literature. St. Petersburg: Nauka, 1994. - P. 549.

177. Nikolaeva E.V. The story of a proud king, adapted by Garshin and Leo Tolstoy. Text. // E.V. Nikolaev. M., 1992. - 24 p. - Dep. in INIONRAN 07.13.92, No. 46775.

178. Novikova A.A. People and war as portrayed by V.M. Garshina Text. // War in the destinies and works of Russian writers. -Ussuriysk: Publishing house ugpi, 2000. pp. 137-145.

179. Novikova A.A. Story by V.M. Garshin “Artists”: (To the problem moral choice) Text. // Development of creative thinking of students. Ussuriysk: UGPI, 1996.- pp. 135-149.

180. Novikova A.A. Knight of a sensitive conscience: (From memories of V. Garshin) Text. // Problems of Slavic culture and civilization: Materials of the region, scientific method, conference, May 13, 1999. Ussuriysk: UGPI, 1999. - pp. 66-69.

181. Ovcharova P.I. On the typology of literary memory: V.M. Garshin Text. // Artistic creativity and problems of perception. Kalinin: Kalinin State. univ., 1990. - pp. 72-86.

182. Orlitsky Yu.B. Poems in prose by V.M. Garshina Text. // Vsevolod Garshin at the turn of the century: An international symposium in three volumes. V.3. Oxford: Northgate, 2000. - pp. 3941.

183. Pautkin A.A. Military prose by V.M. Garshina (traditions, images and reality) Text. // Bulletin of Moscow University. Episode 9, Philology. No. 1. - M., 2005 - P. 94-103.

184. Popova-Bondarenko I.A. On the problem of existential background. Story "Four Days" Text. // Vsevolod Garshin at the turn of the century: An international symposium in three volumes. V.3. - Oxford: Northgate, 2000. P. 191-197.

185. Porudominsky V.I. Garshin. ZhZL Text. / IN AND. Porudominsky. - M.: Komsomol Publishing House “Young Guard”, 1962. 304 p.

186. Porudominsky V.I. Sad soldier, or the life of Vsevolod Garshin Text. / IN AND. Porudominsky. M.: “Book”, 1986. - 286 p.

187. Puzin N.P. Failed meeting: V.M. Garshin in Spassky-Lutovinovo Text. // Resurrection. No. 2. - Tula, 1995. -S. 126-129.

188. Rempel E.A. International collection“V.M.Garshin at the turn of the century”: Review experience Text. // Philological studies. -Vol. 5. - Saratov: Saratov University Publishing House, 2002. P. 87-90.

189. Rozanov S.S. Garshin-Hamlet Text. / S.S. Rozanov. - M.: t-type. A.I. Mamontova, 1913. - 16 p.

190. Romadanovskaya E.K. On the question of the sources of “The Tale of the Proud Arree” by V.M. Garshin Text. // Russian literature. No. 1. - St. Petersburg: Nauka, 1997. pp. 38-47.

191. Romanenkova N. The problem of death in the creative consciousness of Vsevolod Garshin Text. // Studia Slavica: a collection of scientific works of young philologists / Comp. Aurika Meimre. Tallinn, 1999.-S. 50-59.

192. Samosyuk G.F. The moral world of Vsevolod Garshin Text. // Literature at school. No. 5-6. -M., 1992 - P. 7-14.

193. Samosyuk G.F. Publications and studies of letters from V.M. Garshin in the works of Yu.G. Oksman and K.P. Bogaevsky Text. // Yulian Grigorievich Oksman in Saratov, 1947-1958 / resp. ed. E.P. Nikitina. Saratov: State Scientific Center "College", 1999. - pp. 49-53.

194. Samosyuk G.F. Pushkin in the life and work of Garshin Text. // Philology. Vol. 5. Pushkinsky. - Saratov: Saratov University Publishing House, 2000. - P. 179-182.

195. Samosyuk G.F. Contemporaries about V.M. Garshine Text. / G.F. Samosyuk. Saratov: Publishing house Sarat. University, 1977. - 256 p.

196. Sakharov V.I. The ill-fated successor. Turgenev and V.M. Garshin Text. / IN AND. Sakharov // Russian prose of the 18th-19th centuries. Problems of history and poetics. Essays. - M.: IMLI RAS, 2002. -S. 173-178.

197. Sventsitskaya E.M. The concept of personality and conscience in the works of Vs. Garshina Text. // Vsevolod Garshin at the turn of the century: An international symposium in three volumes. V. 1. - Oxford: Northgate, 2000. C. 186-190.

198. Skabichevsky A.M. Information about the life of Vsevolod Mikhailovich Garshin Text. / Vsevolod Garshin // Stories. -Pg.: Publication of the Literary Fund, 1919. pp. 1-28.

199. Starikova V.A. Details and paths in the ideological and figurative system of works by V.M. Garshin and A.P. Chekhov Text. // Ideological and aesthetic function of visual aids in Russian literature of the 19th century. M.: Moscow. state ped. Institute named after V.I.Lenin, 1985.-P. 102-111.

200. Strakhov I.V. Psychology of literary creativity (L.N. Tolstoy as a psychologist) Text. / I.V. Strakh. Voronezh: Institute of Practical Psychology, 1998. - 379 p.

201. Surzhko L.V. Linguistic analysis of the story by V.M. Garshin “Meeting”: (Key words in the language and composition of a literary text) Text. // Russian language at school. No. 2 - M., 1986.-S. 61-66.

202. Surzhko L.V. On the semantic and stylistic aspect of the study of the components of a literary text: (Based on the material of V. Garshin’s story “Bears”) Text. // Visn. Lion. Un-too. Ser. Philol. -Vip. 18. 1987. - pp. 98-101.

203. Sukhikh I. Vsevolod Garshin: portrait and around Text. // Questions of literature. No. 7. - M., 1987 - P. 235-239.

204. Tikhomirov B.N. Garshin, Dostoevsky, Leo Tolstoy: On the question of the relationship between evangelical and folk Christianity in the works of writers Text. // Articles about Dostoevsky: 1971-2001. SPb.: silver Age, 2001. - pp. 89-107.

205. Tuzkov S.A., Tuzkova I.V. Subjective-confessional paradigm: Sun. Garshin - V. Korolenko Text. / S.A. Tuzkov, I.V. Tuzkova // Neorealism. Genre-style searches in Russian literature late XIX beginning of the 20th century. - M.: Flinta, Nauka, 2009.-332 p.

206. Chukovsky K.I. Vsevolod Garshin (Introduction to characterization) Text. / K.I. Chukovsky // Faces and masks. St. Petersburg: Rosehip, 1914. - pp. 276-307.

207. Shveder E.A. .Apostle of Peace V.M. Garshina. Biographical sketch Text. / E.A. Shweder. M.: ed. magazine "Young Russia", 1918. - 32 p.

208. Shmakov N. Types of Vsevolod Garshin. Critical study Text. / N. Shmakov. - Tver: typo-lit. F.S. Muravyova, 1884. 29 p.

209. Shuvalov S.V. Garshin the artist Text. / V.M. Garshin // [Collection].-M., 1931.-S. 105-125.

210. Ek E.V.M. Garshin (Life and Creativity). Biographical sketch Text. / E. Ek. M.: “Star” N.N. Orfenova, 1918. - 48 p.

211. Yakubovich P.F. Hamlet of our days Text. / V.M. Garshin // Complete works. - St. Petersburg: A.F. Marx TV, 1910. - P. 539-550.

212. Brodal J. Vsevolod Garshin. The Writer and his Reality Text. // Vsevolod Garshin at the turn of the century: An international symposium in three volumes. V.l. Oxford: Northgate, 2000. - P. 191197.

213. Dewhirst M. Three Translations of Garshin's Story “Three Red Flowers” ​​Text. // Vsevolod Garshin at the turn of the century: An international symposium in three volumes. V.2. - Oxford: Northgate, 2000.-P .230-235.

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225. Patrikeev S.I. Confession in the poetics of Russian prose of the first half of the 20th century (problems of genre evolution) Text.: Dis. . Ph.D. Kolomna, 1999.- 181 p.

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227. Skleinis G.A. Typology of characters in the novel by F.M. Dostoevsky's "The Brothers Karamazov" and in the stories of V.M. Garshin 80s Text: Author's abstract. dis. . Ph.D. -M., 1992. 17 p.

228. Starikova V.A. Garshin and Chekhov (The problem of artistic detail) Text: Author's abstract. . Ph.D.-M., 1981. 17 p.

229. Surzhko JT.B. Stylistic dominant in literary text: (Experience in analyzing the prose of V.M. Garshin) Text: Author's abstract. dis. . Ph.D.-M., 1987. 15 p.

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232. Shubin V.I. Mastery of psychological analysis in the works of V.M. Garshina Text: Author's abstract. dis. . Ph.D. M., 1980.-22 p.

Please note the above scientific texts posted for information purposes and obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

Introduction

Chapter 1. Forms of psychological analysis in the prose of V.M. Garshina

1.1. The artistic nature of confession 24-37

1.2. Psychological function of “close-up” 38-47

1.3 Psychological function of a portrait, landscape, setting 48-61

Chapter 2. Poetics of narration in prose by V.M. Garshina

2.1. Types of narration (description, narration, reasoning) 62-97

2.2. “Alien speech” and its narrative functions 98-109

2.3. Functions of the narrator and narrator in the writer’s prose 110-129

2.4. Point of view in narrative structure and the poetics of psychologism 130-138

Conclusion 139-146

References 147-173

Introduction to the work

Unflagging interest in the poetics of V.M. Garshina indicates that this area of ​​research remains very relevant for modern science. The writer’s work has long been an object of study from the perspective of different directions and schools of literary criticism. However, in this research diversity, three methodological approaches stand out, each of which brings together a whole group of scientists.

TO first The group should include scientists (G.A. Byaly, N.Z. Belyaeva, A.N. Latynina) who consider Garshin’s work in the context of his biography. Characterizing the prose writer's writing style in general, they analyze his works in chronological order, correlating certain “shifts” in poetics with the stages of his creative path.

In research second directions, Garshin’s prose is covered mainly in a comparative typological aspect. First of all, we should mention here the article by N.V. Kozhukhovskaya “Tolstoy’s tradition in the military stories of V.M. Garshin" (1992), where it is especially noted that in the minds of Garshin's characters (as well as in the minds of L.N. Tolstoy's heroes) there is no "protective psychological reaction” that would allow them not to be tormented by feelings of guilt and personal responsibility. Works in Garshin studies of the second half of the 20th century are devoted to a comparison of the works of Garshin and F.M. Dostoevsky (article by F.I. Evnin “F.M. Dostoevsky and V.M. Garshin” (1962), candidate’s thesis by G.A. Skleinis “Typology of characters in F.M. Dostoevsky’s novel “The Brothers Karamazov” and in the stories of V. .M. Garshin 80s" (1992)).

Third The group consists of the works of those researchers who

focused their attention on the study of individual elements of poetics

Garshin's prose, including the poetics of his psychologism. Special interest

presents the dissertation research of V.I. Shubin "Mastery"

psychological analysis in the works of V.M. Garshin" (1980). In our

observations, we relied on his conclusions that the distinctive

the peculiarity of the writer’s stories is “... internal energy, requiring short and lively expression, psychological the richness of the image and the entire narrative.<...>The moral and social issues that permeate all of Garshin’s work have found their bright and deep expression in the method of psychological analysis, based on understanding the value of the human personality, the moral principle in a person’s life and his social behavior.” In addition, we took into account the research results of the third chapter of the work “Forms and means of psychological analysis in the stories of V.M. Garshin”, in which V.I. Shubin identifies five forms of psychological analysis: internal monologue, dialogue, dreams, portrait and landscape. While supporting the researcher’s conclusions, we note that we consider portraits and landscapes in a broader functional range, from the point of view of the poetics of psychologism.

Various aspects of the poetics of Garshin’s prose were analyzed by the authors of the collective study “Poetics of V.M. Garshin" (1990) Yu.G. Miliukov, P. Henry and others. The book touches, in particular, on the problems of theme and form (including types of narration and types of lyricism), images of the hero and the “counter-hero”, examines the impressionistic style of the writer and the “artistic mythology” of individual works, and raises the question of the principles of studying Garshin’s unfinished stories ( reconstruction problem).

The three-volume collection “Vsevolod Garshin at the turn of the century” presents research by scientists from different countries. The authors of the collection pay attention not only to various aspects of poetics (S.N. Kaydash-Lakshina “The image of the “fallen woman” in the works of Garshin”, E.M. Sventsitskaya “The concept of personality and conscience in the works of Vs. Garshin”, Yu.B Orlitsky “Prose Poems in the Works of V.M. Garshin”, etc.), but also resolve complex problems of translating the writer’s prose into English (M. Dewhirst “Three Translations of Garshin’s Story “Three Red Flowers””, etc. .).

Problems of poetics occupy an important place in almost all works devoted to Garshin’s work. However, most structural research is still of a private or episodic nature. This applies primarily to the study of narrative and the poetics of psychologism. In those works that come close to these problems, it is more about posing the question than about solving it, which in itself is an incentive for further research. That's why relevant can be considered the identification of forms of psychological analysis and the main components of narrative poetics, which allows us to closely approach the problem of the structural combination of psychologism and narration in Garshin’s prose.

Scientific novelty The work is determined by the fact that for the first time a consistent consideration of the poetics of psychologism and narration in Garshin’s prose is proposed, which is the most characteristic feature of the writer’s prose. A systematic approach to the study of Garshin's creativity is presented. The supporting categories in the poetics of the writer’s psychologism are identified (confession, “close-up”, portrait, landscape, setting). Such narrative forms in Garshin's prose are defined as description, narration, reasoning, someone else's speech (direct, indirect, improperly direct), points of view, categories of narrator and storyteller.

Subject research are eighteen stories by Garshin.

Target dissertation research - identification and analytical description of the main artistic forms of psychological analysis in Garshin's prose, a systematic study of its narrative poetics. The research priority is to demonstrate how the connection is made between forms of psychological analysis and narration in the writer’s prose works.

In accordance with the goal, specific tasks research:

1. consider the confession in the poetics of the author’s psychologism;

determine the functions of the “close-up”, portrait, landscape, setting in the poetics of the writer’s psychologism;

study the poetics of narration in the writer’s works, identify the artistic function of all narrative forms;

identify the functions of “someone else’s word” and “point of view” in Garshin’s narrative;

5. describe the functions of the narrator and narrator in the writer’s prose.
Methodological and theoretical basis dissertations are

literary works of A.P. Auera, M.M. Bakhtina, Yu.B. Boreva, L.Ya. Ginzburg, A.B. Esina, A.B. Krinitsyna, Yu.M. Lotman, Yu.V. Manna, A.P. Skaftymova, N.D. Tamarchenko, B.V. Tomashevsky, M.S. Uvarova, B.A. Uspensky, V.E. Khalizeva, V. Shmida, E.G. Etkind, as well as linguistic research by V.V. Vinogradova, N.A. Kozhevnikova, O.A. Nechaeva, G.Ya. Solganika. Based on the works of these scientists and the achievements of modern narratology, a methodology was developed immanent analysis, allowing to reveal the artistic essence of a literary phenomenon in full accordance with the author's creative aspirations. The main methodological guideline for us was the “model” of immanent analysis presented in the work of A.P. Skaftymov “Thematic composition of the novel “The Idiot””.

Theoretical meaning The work is that, based on the results obtained, it is possible to deepen the scientific understanding of the poetics of psychologism and the structure of the narrative in Garshin’s prose. The conclusions drawn in the work can serve as the basis for further theoretical study of Garshin’s work in modern literary criticism.

Practical significance The work is that its results can be used in developing a course on the history of Russian literature of the 19th century, special courses and special seminars dedicated to the work of Garshin.

The dissertation materials can be included in an elective course for humanities classes in a secondary school. Main provisions submitted for defense:

1. Confession in Garshin’s prose promotes deep penetration into
the hero's inner world. In the story “Night” the hero’s confession becomes
the main form of psychological analysis. In other stories ("Four
of the day", "Incident", "Coward") she is not given a central place, but she
still becomes an important part of poetics and interacts with others
forms of psychological analysis.

“Close-up” in Garshin’s prose is presented: a) in the form of detailed descriptions with comments of an evaluative and analytical nature (“From the memoirs of Private Ivanov”); b) when describing dying people, the reader’s attention is drawn to the inner world, the psychological state of the hero who is nearby (“Death”, “Coward”); c) in the form of a list of the actions of the heroes, performing them at the moment when consciousness is turned off (“Signal”, “Nadezhda Nikolaevna”).

Portrait and landscape sketches, descriptions of the situation in Garshin’s stories enhance the author’s emotional impact on the reader, visual perception and largely contribute to identifying the internal movements of the heroes’ souls.

The narrative structure of Garshin’s works is dominated by three types of narration: description (portrait, landscape, setting, characterization), narration (specific stage, general stage and informational) and reasoning (nominal evaluative reasoning, reasoning to justify actions, reasoning to prescribe or descriptions of actions, reasoning with the meaning of affirmation or negation).

Direct speech in the writer’s texts can belong to both the hero and objects (plants). In Garshin’s works, the internal monologue is constructed as a character’s address to himself. Study of indirect and

improperly direct speech shows that these forms of someone else’s speech in Garshin’s prose are much less common than direct speech. For a writer, it is more important to reproduce the true thoughts and feelings of the characters (which are much more convenient to convey through direct speech, thereby preserving the characters’ inner experiences and emotions). Garshin's stories contain the following points of view: in terms of ideology, space-time characteristics and psychology.

The narrator in Garshin's prose manifests himself in the forms of presenting events from the first person, and the narrator from the third, which is a systemic pattern in the poetics of the writer's narration.

Psychologism and storytelling in Garshin’s poetics are in constant interaction. In such compatibility, they form a mobile system within which structural interactions occur.

Approbation of work. The main provisions of the dissertation research were presented in scientific reports at conferences: at the X Vinogradov Readings (GOU VPO MSPU. 2007, Moscow); XI Vinogradov Readings (GOU VPO MSPU, 2009, Moscow); X Conference of Young Philologists “Poetics and Comparative Studies” (KGPI, 2007, Kolomna). Five articles were published on the topic of the research, including two in publications included in the list of the Higher Attestation Commission of the Russian Ministry of Education and Science.

Work structure determined by the goals and objectives of the study. The dissertation consists of an Introduction, two chapters, a Conclusion and a list of references. IN first The chapter consistently examines the forms of psychological analysis in Garshin’s prose. In second The chapter analyzes the narrative models by which the narration in the writer’s stories is organized. The work ends with a list of references, including 235 items.

The artistic nature of confession

Confession as a literary genre after N.V. Gogol is becoming increasingly widespread in Russian literature of the 19th century. From the moment confession established itself as a genre in the Russian literary tradition, the opposite phenomenon began: it became a component of a literary work, a speech organization of a text, and part of psychological analysis. It is precisely this form of confession that can be discussed in the context of Garshin’s work. This speech form in the text performs a psychological function.

The “Literary Encyclopedia of Terms and Concepts” defines confession as a work “in which the narration is told in the first person, and the narrator (the author himself or his hero) lets the reader into the innermost depths of his own spiritual life, trying to understand the “ultimate truths” about himself , his generation."

We find another definition of confession in the work of A.B. Krinitsyn “Confession of an Underground Man. On the anthropology of F.M. Dostoevsky" is "a work written in the first person and additionally endowed with at least one or more of the following features: 1) the plot contains many autobiographical motifs taken from the life of the writer himself; 2) the narrator often presents himself and his actions in a negative light; 3) the narrator describes in detail his thoughts and feelings, engaging in self-reflection." The researcher argues that the genre-forming basis literary confession is, at a minimum, the hero's attitude towards complete sincerity. According to A.B. Krinitsyn, for a writer, the key significance of confession lies in the opportunity to reveal to the reader the inner world of the hero without violating artistic verisimilitude.

M.S. Uvarov notes: “the text of confession arises only when the need for repentance before God results in repentance before oneself.” The researcher points out that the confession is published and readable. According to M.S. Uvarov, the theme of the author’s confession-in-hero is characteristic of Russian fiction; quite often a confession becomes a sermon, and vice versa. The history of the confessional word demonstrates that confession is not instructive moral rules; rather, it provides an opportunity for “self-expression of the soul, which finds both joy and purification in the act of confession.”

S.A. Tuzkov, I.V. Tuzkov note the presence of a subjective confessional principle in Garshin’s prose, which manifests itself “in those stories by Garshin where the narration is conducted in the first person: a personified narrator, formally separated from the author, actually expresses his views on life... . In the same writer’s stories, where the narration is narrated by a conventional narrator who does not directly enter the depicted world, the distance between the author and the hero increases somewhat, but here, too, the hero’s self-analysis, which is of a lyrical, confessional nature, occupies a significant place.”

In the dissertation SI. Patrikeev “Confession in the poetics of Russian prose of the first half of the 20th century (problems of genre evolution)” in the theoretical part, almost all aspects of this concept are indicated: the presence in the structure of the text of moments of psychological “autobiography, the confessor’s awareness of his own spiritual imperfection, his sincerity before God when presenting the circumstances, accompanying the violation of certain Christian commandments and moral prohibitions.

Confession as speech organization The text is the dominant feature of the story “Night”. Each hero's monologue is filled with internal experiences. The narration is told from a third person, Alexey Petrovich, his actions and thoughts are shown through the eyes of another person. The hero of the story analyzes his life, his “I”, assessing personal traits, conducts a dialogue with himself, pronounces his thoughts: “He heard his voice; he no longer thought, but spoke out loud...”1 (p. 148). Turning to himself, trying to sort out his “I” through the verbal expression of internal impulses, at some point he loses his sense of reality, voices begin to speak in his soul: “...they said different things, and which of these voices belonged to him, his “I,” he could not understand” (p. 143). Alexey Petrovich’s desire to understand himself, to identify even what characterizes him not from the best side, shows that he really speaks openly and sincerely about himself.

Most of the story “Night” is occupied by the hero’s monologues, his reflections on the worthlessness of his existence. Alexey Petrovich decided to commit suicide by shooting himself. The narrative is an in-depth self-analysis of the hero. Alexey Petrovich thinks about his life, tries to understand himself: “I went through everything in my memory, and it seems to me that I am right, that there is nothing to stop on, there is nowhere to put my foot in order to take the first step forward. Where to go next? I don’t know, but just get out of this vicious circle. There is no support in the past, because everything is a lie, everything is deception...” (p. 143). The hero’s thought process appears before the reader’s eyes. From the first lines, Alexey Petrovich clearly places emphasis in his life. He talks to himself, voicing his actions, without fully understanding WHAT he is going to do. “Alexey Petrovich took off his fur coat and took a knife to open his pocket and take out the cartridges, but came to his senses... . - Why work? One is enough. - Oh yes, this one tiny piece is very enough for everything to disappear forever. The whole world will disappear... . There will be no deception of oneself and others, there will be truth, the eternal truth of non-existence” (p. 148).

Psychological function of “close-up”

The concept of a close-up has not yet been clearly defined in literary criticism, although it is widely used by authoritative scientists. Yu.M. Lotman says that “...close-up and small-scale plans exist not only in cinema. It is clearly felt in a literary narrative when the same place or attention is given to phenomena of different quantitative characteristics. So, for example, if successive text segments are filled with content that is sharply different in quantitative terms: a different number of characters, whole and parts, descriptions of objects of large and small size; if in any novel the events of a day are described in one chapter, and decades in another, then we are also talking about a difference in plans.” The researcher gives examples from prose (L.N. Tolstoy “War and Peace”) and poetry (N.A. Nekrasov “Morning”).

V.E. Khalizeva in the book “Value orientations of Russian classics”, dedicated to the poetics of the novel “War and Peace” by L.N. Tolstoy, we find the interpretation of the “close-up” as a technique “where close gaze is imitated and at the same time tactile-visual contact with reality.” We will rely on the book by E.G. Etkind “The Inner Man and External Speech”, where this concept is presented in the title of the part devoted to Garshin’s work. Using the results of the scientist's research, we will continue to observe the “close-up”, which we will define as the form of the image. “A close-up is what is seen, heard, felt, and even flashed in consciousness.”

Thus, V.E. Khalizev and E.G. Etkind consider the concept of “close-up” from different angles.

In the work of E.G. Etkind convincingly proves the use of this form of image in Garshin’s story “Four Days”. He turns to the category of immediacy, which is based on direct display inner man“at such moments when the hero is, in essence, deprived of the physical ability to comment on his experiences and when not only external speech, but also internal speech is unthinkable.”

In the book by E.G. Etkind provides a detailed analysis of Garshin’s story “Four Days” based on the concepts of “close-up” and immediacy. We would like to apply a similar approach to the story “From the Memoirs of Private Ivanov.” Both narratives are brought together by the form of memories. This determines some features of the stories: the hero and his subjective assessment are in the foreground surrounding reality, “...however, the incompleteness of the facts and the almost inevitable one-sidedness of the information are redeemed... by the living and direct expression of the personality of their author.”

In the story “Four Days,” Garshin gives the reader the opportunity to penetrate into the hero’s inner world and convey his feelings through the prism of consciousness. Self-analysis of a soldier abandoned, forgotten on the battlefield allows one to penetrate into the sphere of his feelings, and a detailed description of the reality around him helps to “see” the picture with his own eyes. The hero is in in serious condition not only physically (wound), but also mentally. The feeling of hopelessness, the understanding of the futility of his attempts to save himself do not allow him to lose faith, the desire to fight for his life, even instinctively, keeps him from committing suicide.

Following the hero, the reader’s (and perhaps even the viewer’s) attention is focused on individual pictures that describe his visual perception in detail.

“...It's getting hot, though. The sun is burning. I open my eyes, I see the same bushes, the same sky, only in daylight. And here is my neighbor. Yes, this is a Turk, a corpse. How huge! I recognize him, he's the one...

The man I killed lies in front of me. Why did I kill him?...” (p. 50).

This consistent fixation of attention on individual moments allows you to look at the world through the eyes of the hero.

Observing the “close-up” in the story “Four Days,” we can argue that the “close-up” in this story is voluminous, maximized through the technique of introspection, narrowing the temporal (four days) and spatial extent. In the story “From the Memoirs of Private Ivanov,” where the dominant narrative form is memory, the “close-up” will be presented differently. In the text you can see not only the internal state of the hero, but also the feelings and experiences of the people around him, in connection with this, the space of the events depicted expands. Private Ivanov’s worldview is meaningful; there is some assessment of the chain of events. There are episodes in this story where the hero’s consciousness is turned off (even if partially) - it is in them that a “close-up” can be found.

Types of narration (description, narration, reasoning)

G.Ya. Solganik identifies three functional and semantic types of speech: description, narration, reasoning. The description is divided into static (interrupts the development of the action) and dynamic (does not suspend the development of the action, small in volume). G.Ya. Solganik points out the connection between the description and the place and situation of the action, the portrait of the hero (accordingly, portrait, landscape, event descriptions, etc. are distinguished). He notes the important role of this functional-semantic type of speech for creating imagery in the text. The scientist emphasizes that the genre of the work and the individual style of the writer are important. According to G.Ya. Solganik, the peculiarity of narration lies in the transmission of the event itself, the action: “Narration is closely connected with space and time.”

It can be objectified, neutral or subjective, in which the author’s word predominates. Reasoning, as the researcher writes, is characteristic of psychological prose. It is in it that the inner world of the heroes prevails, and their monologues are filled with thoughts about the meaning of life, art, moral principles, etc. Reasoning makes it possible to reveal the inner world of the hero, demonstrate his view of life, people, and the world around him. He believes that the presented functional and semantic types of speech in a literary text complement each other (narration with descriptive elements is most common).

With the advent of the works of O.A. Nechaeva in domestic science firmly enshrines the term “functional-semantic type of speech” (“certain logical-semantic and structural types of monologue utterance, which are used as models in the process verbal communication"). The researcher identifies four structural and semantic “descriptive genres”: landscape, portrait of a person, interior (furnishings), characterization. O.A. Nechaeva notes that all of them are widely represented in fiction.

Let us identify the narrative specifics of the description (landscape, portrait, setting, description-characteristics). In Garshin's prose, little space is given to descriptions of nature, but nevertheless they are not without narrative functions. Landscape sketches serve more as a background to the story. We must agree with G.A. Lobanova is that landscape is “a type of description, an integral image of an open fragment of natural or urban space.”

These patterns are clearly manifested in Garshin’s story “Bears,” which begins with a lengthy description of the area. A landscape sketch precedes the narrative. It serves as a prologue to a sad story about mass shooting bears who walked with the gypsies: “Below, the river, bending like a blue ribbon, stretches from north to south, now moving away from the high bank into the steppe, now approaching and flowing under the very steep edge. It is bordered by willow bushes, in some places by pine, and near the city by pastures and gardens. At some distance from the shore, towards the steppe, shifting sands stretch in a continuous strip almost along the entire course of the Rokhli, barely restrained by red and black vines and a thick carpet of fragrant purple thyme” (p. 175).

The description of nature is a listing of the characteristics of the general appearance of the area (river, steppe, shifting sands). These are permanent features that make up a topographic description. The listed features are key components of the description, which include supporting words (below the river, towards the steppe, at some distance from the shore, along the entire course of the Rokhli, stretches from north to south).

In this description, verbs are found only in the form of the present constant tense (stretched, bordered) and the indicative mood. This happens because in the description, according to O.A. Nechaeva, there is no change in the time plan and the use of unreal modality, which lead to the appearance of dynamism in the text of a work of art (this is characteristic of narration). The landscape in a story is not only the place where events take place, it is also the starting point of the story. This landscape sketch exudes serenity, silence, and peace. The emphasis on this is made so that all further events associated with the actual killing of innocent animals are perceived by the reader “in contrast.”

In the story “The Red Flower,” the writer gives a description of the garden, because the main events of the story will be connected with this place and the flower growing here. This is where the main character will constantly be drawn. After all, he is absolutely sure that poppy flowers carry universal evil, and he is called upon to enter into battle with it and destroy it, even at the cost of his own life: “Meanwhile, clear, good weather came; ... Their section of the garden, small but densely overgrown with trees, was planted with flowers wherever possible. ...

“Alien speech” and its narrative functions

MM. Bakhtin (V.N. Voloshinov) claims that ““alien speech” is a speech within a speech, an utterance within an utterance, but at the same time it is also a speech about speech, an utterance about an utterance.” He believes that someone else's statement enters into speech and becomes its special constructive element, while maintaining its independence. The researcher characterizes patterns of indirect, direct speech and their modifications. In the indirect construction M.M. Bakhtin distinguishes the subject-analytical (with the help of an indirect construction, the subject composition of someone else’s utterance is conveyed - what the speaker said) and the verbal-analytical (someone else’s utterance is conveyed as an expression that characterizes the speaker himself: his state of mind, ability to express himself, speech manner, etc. ) modification. The scientist especially notes that in the Russian language there may also be a third modification of indirect speech - impressionistic. Its peculiarity is that it is somewhere in the middle between subject-analytical and verbal-analytical modifications. In the direct speech patterns of M.M. Bakhtin identifies the following modifications: prepared direct speech (a common case of the emergence of direct speech from indirect speech, weakening the objectivity of the author’s context), materialized direct speech (evaluations saturated with its objective content are transferred to the hero’s words), anticipated, scattered and hidden direct speech (includes the author’s intonations , someone else's speech is being prepared). The scientist has a separate chapter of the school, which includes two speeches: the hero and the author), which is examined using examples from French, German and Russian.

ON THE. Kozhevnikov in the book “Types of narration in Russian literature of the 19th-20th centuries.” offers his vision of the nature of the narrative in prose fiction. The researcher believes that great importance for compositional unity in a work, it has the type of narrator (author or narrator), point of view and speech of the characters. She notes: “A work can be one-dimensional, fitting within the framework of one narrative type (first-person story), and can go beyond a certain type, representing a multi-layered hierarchical construction.” ON THE. Kozhevnikova emphasizes: “alien speech” can belong to both the sender (spoken, internal or written speech) and the recipient (perceived, heard or read speech). The researcher identifies three main forms for conveying someone else's speech in texts: direct, indirect, improperly direct, which we will study using the example of Garshin's prose.

I.V. Trufanova in her monograph “Pragmatics of improperly direct speech” emphasizes that in modern linguistics there is no single definition of the concept of improperly direct speech. The researcher dwells on the biplane nature of the term and the interpenetration of the plans of the author and the hero in it, defining improperly direct speech as “a method of transmitting someone else’s speech, a biplane syntactic construction in which the author’s plan does not exist separately from the plan of someone else’s speech, but is merged with it.”

Let's consider the narrative functions of direct speech, which is “a way of transmitting someone else’s speech that preserves the lexical, syntactic, and intonation features of the speaker. It is important to note that “direct speech and the author’s speech are clearly distinguished”: - Live up, brother! - the doctor shouted impatiently. - You see how many of you are here (“Batman and Officer”, p. 157). - For what? For what? - he shouted. - I didn’t want harm to anyone. For what. kill me? Ooo! Oh my God! O you who were tormented before me! I pray, deliver you... (“Red Flower”, p. 235). - Leave me... Go wherever you want. I'm staying with Senya and now with Mr. Lopatin. I want to take my soul away... from you! - she suddenly cried out, seeing that Bessonov wanted to say something else. - You disgust me. Leave, leave... (“Nadezhda Nikolaevna”, p. 271). - Ugh, brothers, what kind of people! And our priests and our churches, but they have no idea of ​​anything! Do you want a silver rup? - a soldier with a shirt in his hands shouts at the top of his lungs to a Romanian selling in open shop. . For a shirt? Patra Frank? Four francs? (“From the memoirs of Private Ivanov,” p. 216). “Quiet, quiet, please,” she whispered. - You know, it’s all over (“Coward”, p. 85). - To Siberia!.. Isn’t it because I’m afraid of Siberia that I can’t kill you? That's not why I... I can't kill you because... how can I kill you? How can I kill you? - he said, breathless: - after all, I... (“Incident”, p.72). - Is it impossible without such expressions! - Vasily said sharply. Petrovich. - Give it to me, I’ll hide it (“Meeting”, p. 113).

The excerpts of direct speech quoted from Garshin’s prose contrast stylistically against the background of the author’s neutral one. One of the functions of direct speech, according to G.Ya. Solganika is the creation of characters (characterological means). The author's monologue ceases to be monotonous.