Fantasy in the works of N. Gogol. An essay on the topic “The role of fantasy and the grotesque in the works of N.V. Gogol.” Science fiction: books

N. Rybina

Fiction is a special form of representing reality, which is logically incompatible with the real idea of the world around us. It is widespread in mythology, folklore, art and expresses a person’s worldview in special, grotesque and “supernatural” images. In literature, fantasy developed on the basis of romanticism, the main principle of which was the depiction of an exceptional hero acting in exceptional circumstances. This freed the writer from any restrictive rules and gave him freedom to realize his creative potential and abilities. Apparently, this attracted him, who actively used fantastic elements in his works. The combination of the romantic and realistic becomes the most important feature of Gogol's works and does not destroy the romantic conventions. Descriptions of everyday life, comic episodes, national details are successfully combined with the lyrical musicality characteristic of romanticism, with a conventional lyrical landscape expressing the mood and emotional richness of the narrative. National color and fantasy, reference to legends, fairy tales, and folk legends testify to the formation of a national, original principle in creativity.
This feature of the writer is most clearly reflected in his collection “Evenings on a Farm near Dikanka”. Here, folk demonology and fantasy appear either in a grotesque form (“The Lost Letter”, “The Enchanted Place”, “The Night Before Christmas”), or in a tragically terrible form (“Terrible Revenge”).
The folklore origin can be traced both in the plot of the stories and in the essence of the conflict - this is a traditional conflict, which consists in overcoming obstacles standing in the way of lovers, in the reluctance of relatives to marry a girl to a loved one. With the help of “evil spirits” these obstacles are usually overcome.
Unlike many romantics, for whom the fantastic and the real are sharply separated and exist on their own, in Gogol fantasy is closely intertwined with reality and serves as a means of comic or satirical image heroes, it is based on the folk element.
Gogol's fiction is built on the idea of two opposite principles - good and evil, divine and devilish (as in folk art), but there is no good fiction, it is all intertwined with " evil spirits».
It should be noted that the fantastic elements in “Evenings...” are not an accidental phenomenon in the writer’s work. Using the example of almost all of his works, the evolution of fantasy is traced, and the ways of introducing it into the narrative are being improved.
Pagan and Christian motives in the use of demonological characters in the collection “Evenings on a Farm near Dikanka”

In literary studies, dedicated to creativity, there is a steady tendency to emphasize the features of the Christian worldview when it comes to recent years the life of the writer, about the period of “Selected Places...” and, conversely, when analyzing his early stories, focus on Slavic demonology. It seems that this point of view requires revision.
believes that early work Gogol, if you look at it from a spiritual point of view, opens up from a side unexpected for everyday perception: it is not only a collection of funny stories in the folk spirit, but also an extensive religious teaching, in which a struggle between good and evil takes place, and good invariably wins, and sinners are punished.
The truly encyclopedic world of “Evenings...” reflects the life, customs, legends of the Ukrainian people, as well as the foundations of their worldview. Pagan and pre-Christian motifs in Gogol’s artistic system are presented in their synthesis and at the same time sharply contrasted, and their opposition is not perceived as fictitious and artificial.
Let us first turn to specific examples and start with the question of what pre-Christian beliefs and ideas were reflected in Gogol’s “Evenings...”. It is known that pagans perceived the world as living, spiritualized, personified. In Gogol's stories, nature lives and breathes. In Gogol’s “Ukrainian” stories, the writer’s penchant for myth-making was fully demonstrated. Creating his own mythical reality, the writer uses ready-made examples of mythology, in particular Slavic. In his early works reflected the ideas of the ancient Slavs about evil spirits.
A special role in Gogol’s artistic world is played by such demonological characters as devils, witches, and mermaids. I. Ognenko pointed out that Christianity not only brought new names and Ukrainian demonology (devil, demon, Satan), but also changed the very view of it: “it finally turned supernatural power into an evil, unclean force.” “Unclean” - a constant name for the devil in Ukrainian stories - is contrasted in Gogol with the Christian soul, in particular, the soul of the Cossack Cossack. We see this antithesis in “The Enchanted Place”, “Terrible Vengeance” and other works of the early period.
Crap– one of the most popular characters in Ukrainian demonology, personifying evil forces. In accordance with popular ideas of pagan times, he is similar to Chernobog (the antipode of Belobog). Later, “he was presented as a foreigner, dressed in a short jacket or tailcoat and narrow trousers.” It was believed that he was afraid of the cross. The description of the devil in Gogol’s stories corresponds to ancient folk beliefs: “in front he is completely German<…>but behind him he was a real provincial lawyer in uniform.” The demonological character in this context is reduced and personified. “Over the course of several centuries, folk laughter culture has developed stable traditions of simplification, de-demonization and domestication of Christian-mythological images of evil,” notes. A striking example of the de-demonization of the image of the devil can be the story “The Night Before Christmas,” where he is presented in a distinctly comic manner with a muzzle that constantly twirled and sniffed everything that came in its way. The clarification - “the muzzle ended in a round little snout like our pigs” - gives it a homely quality. Before us is not just a devil, but our own Ukrainian devil. The analogy of the demonic and the human is intertwined, emphasized by the writer in the depiction of evil spirits. The devil in “The Night Before Christmas” is “an agile dandy with a tail and a goat’s beard,” a cunning animal that steals the month, “grimacing and blowing, like a man who got fire for his cradle with his bare hands.” He “builds love hens”, drives up as a “little demon”, cares for Solokha, etc. A similar description is found in the story “The Missing Letter”, where “devils with dog faces, on German legs, twirling their tails, hovered around the witches, as if guys around red girls.” In “Sorochinskaya Fair”, from individual references to the “red scroll” and an inserted episode (the godfather’s story), an image of a devil-reveler appears, who was expelled from the inferno for sitting in a tavern all day until he drank his “red scroll”. In “The Evening on the Eve of Ivan Kupala” Bisavryuk is also a reveler. But it evokes a feeling of fear. This is “the devil in human form”, “demonic man”. Gogol uses here the motif of selling the soul to the devil, widespread in world literature, in exchange for wealth and money. This story, like many others from the “Evenings...” series, can be considered as a religious teaching. The author does not declare the idea that an alliance with evil spirits has sad consequences and brings misfortune. He presents it in a figurative form, demonstrating its validity throughout the course of the action.
The question of the sources of the image of the devil in Gogol’s “Evenings...” requires separate consideration and cannot be resolved unambiguously. Gogol took advantage of the wandering plot, which is a complex product of international communication. Of course, it is also the fact that the creator of “Evenings...” was strongly influenced by Ukrainian folk legends, beliefs, as well as literary sources. According to P. Filippovich, the image of the devil in Gogol’s first collection goes back to Gulak-Artemovsky’s ballad “Pan Tvardovsky,” which was very popular.
saw the source of the comic image of the devil in hagiographic and ascetic literature, noting that “the holy ascetics, indulging in prayer and hardship, triumphed over all the temptations and tricks of the devil,” who “turned into a simple-minded demon playing the comic role.” The researcher’s assumption that the comic image of the devil could have appeared in Gogol under the influence of nativity plays of the Ukrainian theater also seems convincing: “the devil of the Little Russian theater is of a harmless nature and plays a service and comic role near the Cossack.”
As in the works of other romantics, art world in Gogol's works there is a bifurcation: the world of reality, real, earthly, daytime and the world of fanciful fantasy, night, dark. At the same time, Gogol’s fantasy is connected with mythology, and this connection is so close that we can talk about its mythologized character.
The fragmentation of the world in Gogol is emphasized by the fact that people and mythological creatures are in the same space and exist at the same time. Solokha is a witch and an ordinary woman. She can fly on a broom, meet with the devil and with very real fellow villagers. The hero of “The Lost Letter” makes a journey to hell, where he is subjected to “demonic deception.”
The sorcerer in “Terrible Revenge” has many faces: he is both a Cossack, and Katerina’s father, and a creature opposed to the people, an enemy, a traitor. The sorcerer is capable of performing various miracles, but before Christian symbols, shrines and covenants he is powerless. In the perception of Danil Burulbash, he is the Antichrist, and even his own daughter Katerina sees him as an apostate.
Demonological motives are very important in artistic structure stories “May Night, or the Drowned Woman”, “The Evening on the Eve of Ivan Kupala”, “The Night Before Christmas”. Image plays an important role here witches.
IN folk tales In legends there are old and young witches. Gogol’s “Evenings...” also features different types this character is widespread in Ukrainian demonology. In “May Night,” the centurion’s young wife, “blushing and white,” turns out to be a stern stepmother, a terrible witch, capable of turning into other creatures and doing evil: she drives the little lady away from the world. In “The Missing Letter,” the witches are “discharged, smeared, like little ladies at a fair.” In “The Evening on the Eve of Ivan Kupala” the witch “with a face like a baked apple” is a terrible sorceress who appears in the form of a black dog, then a cat and pushes Petrus Bezrodny to commit a crime. Gogol's Solokha does not make such a terrible impression, perhaps because she lives in two worlds. In everyday life, she is a “kind woman” who “knew how to charm the most sedate Cossacks to herself.” Portly and loving, she belongs to the category of witches on the grounds that she loves to fly on a broom, collect stars and is the devil's lover.
Mermaids- goddesses of reservoirs in Slavic mythology are depicted by Gogol in the story “The May Daughter”. The story of the little lady-Verenitsa" href="/text/category/verenitca/" rel="bookmark">rows running out of the water. They are extremely attractive. However, Gogol’s enthusiastic description of the mermaid ends with the author’s warning: “Run, baptized man! her mouth – ice, bed – cold water; she will tickle you and drag you into the river.” The antithesis of the mermaid - “unbaptized children” and “baptized person” emphasizes the hostility of pagan elements and Christian ideas.
Most of the images of Ukrainian demonology are of pre-Christian origin. Christian and pagan motifs are intricately intertwined in the artistic fabric of “Evenings...”.
Synthesis of pagan and Christian motives We also see it in the depiction of holidays, which is especially evident in “The Evening on the Eve of Ivan Kupala” and “The Night Before Christmas.” In particular, the phrase “Ivana Kupala” in the title of the story recalls the pagan holiday Kupala, widespread among the Slavic peoples. Which was celebrated on the night of July 6-7. With the introduction of Christianity, the feast of St. John of the Cross appeared, and in the popular consciousness pre-Christian and Christian tradition were united, which was reflected in the celebration of Ivan Kupala.
The author of “Evenings...” shows an increased interest in Slavic demonology. But in all the stories where there is evil spirits- the embodiment of evil, she finds herself defeated and punished. "<…>Overcoming the devil is one of the main themes of “Evenings...”, he notes. In the fight against it, the importance of Christian shrines and symbols is emphasized, in particular, the cross, the sign of the cross, prayer, sprinkler and holy water. The mention of them in the text of Gogol’s stories takes up little space at first glance, but they play an important role in the author’s concept of the world, of which Christian culture is an integral part. The Christian elements are especially noticeable in the “truths” told by the sexton of the Dikan Church, Foma Grigorievich. For example, having mentioned his grandfather in the story “The Evening on the Eve of Ivan Kupala,” the narrator does not forget to add “the kingdom of heaven to him!”, and, remembering the evil one and his tricks, “so that his son of a dog dreams of the holy cross.” We encounter similar accents in “The Enchanted Place.” In all the “episodes” told by Foma Grigorievich, the only salvation from evil spirits is the sign of the cross. In “The Enchanted Place,” the grandfather puts up crosses if he hears about the “cursed place.” Here the devil is “the enemy of the Lord Christ, who cannot be trusted...”. The motive for selling one’s soul to the devil is one of the key ones in the story “The Evening on the Eve of Ivan Kupala”, in the finale of which the sign of the cross is mentioned several times as the only salvation from evil spirits: “Father Afanasy walked throughout the village with holy water and drove the devil with sprinklers.” In “The Lost Letter” - a story about “how the witches played fool with their late grandfather” - the hero manages to win and save the missing letter thanks to the fact that he guessed to cross the cards. The theme of overcoming the devil is one of the key ones in the story “The Night Before Christmas”. Here the devil is contrasted with Vakula, whose piety the author repeatedly emphasizes: “a God-fearing man,” “the most pious man of the entire village,” who painted images of saints, in particular, the Evangelist Luke. The triumph of his art was the painting in which “he depicted Saint Peter on the day of the Last Judgment, expelling an evil spirit from hell; the frightened devil rushed in all directions, anticipating his death...” Since then, the evil one has been hunting for Vakula, wanting to take revenge on him. However, he failed to buy Vakula’s soul, despite promises (“I’ll give you as much money as you want”). The sign of the cross created by Vakula made the devil obedient, and the blacksmith himself turned out to be much more cunning than the devil.
The story “Terrible Vengeance” is one of the key stories in the collection; it summarizes the Christian motives reflected in it. An important role is played in it by the motif of God’s righteous judgment, which is repeated twice: first, Katerina’s soul warns her father that “the Last Judgment is near,” then in the story about two Cossacks, Peter and Ivan, which was told by a blind bandura player. In this intercalated legend that concludes the story, the foreground is the motif of betrayal, which goes back to biblical archetypes. After all, Peter betrayed his brother, like Judas. The image of a foreign land, barely outlined at the beginning of the story, is connected with the image of the sorcerer. The miraculous power of icons helps to reveal the true appearance of a sorcerer. Under the influence of holy icons and prayer, the unkind guest “appeared”. The motive for selling the soul to the devil in this story is connected not only with the image of the sorcerer, but also with his ancestors, “unclean grandfathers” who “were ready to sell themselves to Satan for money with their soul.” The sorcerer - “brother of the devil”, like the evil spirit, tempts Katerina’s soul, asks to be released from the cell where Danilo Burulbash imprisoned him. And in order to win her over to his side, he starts talking about the Apostle Paul, who was a sinful man, but repented and became a saint: “I will repent: I will go to the caves, put a stiff hair shirt on my body, day and night I will pray to God.” The motive of holiness is contrasted in this episode with the false oaths of the sorcerer. The sorcerer, capable of many miracles, cannot pass through the walls that the holy schema-monk built.
The importance of Christian motifs in Gogol's first collection cannot be underestimated. The Christian worldview is an integral part of the characteristics of the author and his heroes. The unreal, night world, inhabited by devils, witches, mermaids and other characters of ancient Slavic mythology, is assessed from the point of view of Christian ideology, and its main character - the devil - is ridiculed and defeated. Christian and pagan motifs and symbols in Gogol’s “Evenings...” are sharply contrasted and at the same time presented in synthesis as opposite poles that characterize the people's worldview.

2009 is the year when all literary country will celebrate the 200th anniversary of the birth of the great writer.

This work was prepared primarily to help students and is a literary analysis of works that reveal the basic concepts of the topic.

The relevance of the topic is demonstrated by the selection of works by the great Russian science fiction writer.

This work is dedicated to the works of N.V. Gogol - “Evenings on a Farm near Dikanka”, “Nose”, “Portrait”. To understand Gogol’s method of presenting a text, where fantastic plots and images play the main role, it is necessary to analyze the structure of the work.

The selection of texts is based on the “school curriculum +” principle, that is, to school curriculum a small number of texts necessary for general humanitarian development are added

This work is based on sections from the book by Yu. V. Mann “Gogol’s Poetics”.

Purpose of the work: to understand, see the complexity and versatility of the writer, to identify and analyze the features of poetics and various forms fantastic in works.

In addition to materials devoted to Gogol’s work, the work contains a kind of literary glossary: for the convenience of the student, the main terms and concepts are highlighted for each work.

We hope that our work will help students explore works from the point of view of a fantastic worldview.

Fiction in literature is the depiction of implausible phenomena, the introduction of fictional images that do not coincide with reality, a clearly felt violation by artists of natural forms, causal relationships, and laws of nature.

The term science fiction comes from the word "fantasy" (in Greek mythology Phantasm is a deity who causes illusions, apparent images, brother of the god of dreams Morpheus).

All works of N.V. Gogol, in which fantasy is present in one way or another, are divided into two types. The division depends on what time the action of the work belongs to - the present or the past.

In works about the “past” (five stories from “Evenings” - “The Missing Letter”, “Evening on the Eve of Ivan Kupala”, “The Night Before Christmas”, “Terrible Revenge”, “Enchanted Place”, and also “Viy”) there is fantasy has common features.

Higher powers openly interfere with the plot. In all cases, these are images in which the unreal evil principle is personified: the devil or people who entered into a criminal conspiracy with him. Fantastic events are reported either by the author-narrator or by a character acting as a narrator (but sometimes relying on a legend or on the testimony of ancestors - “eyewitnesses”: grandfather, “my grandfather’s aunt”).

All of these texts lack a fantastic backstory. It is not needed, since the action is homogeneous both in time captivity (the past) and in relation to fantasy (not collected in any one time period, but distributed throughout the work).

The development of Gogol’s fiction is characterized by the fact that the writer pushed the bearer of fiction into the past, leaving his influence, a “trace,” in modern time.

Gogol's fiction contains:

1. Alogism in the narrator’s speech. (“Portrait” - “First of all, he took up finishing the eyes,” “as if the artist’s hand was driven by an unclean feeling,” “You just hit him not in the eyebrow, but in the very eyes. Eyes have never looked into life like they they are looking at you”, etc.).

2. Strange and unusual in terms of what is depicted. Strange animal intervention in the action, bringing objects to life. (“Nose” - the nose is a living character, “Portrait” - “someone’s convulsively distorted face was looking at him, leaning out from behind the set canvas. Two terrible eyes stared directly at him, as if preparing to devour him; written on his lips there was a threatening order to remain silent")

3. Unusual names and surnames of characters. (Solokha, Khoma Brut, etc.; “Portrait” - in the first edition - Chertkov, in subsequent editions - Chatrkov).

Let us pay attention, first of all, to the fact that such concepts as “line and “border” appear quite often in the story. The semantics of the name Chertkov includes not only associations with the bearer of unreal (not existing in reality) force, with the devil, but also with the trait both in the artistic sense (stroke, stroke) and in a broader sense (border, limit).

This may be the boundary of age, separating youth and maturity from withering and old age, separating artistic creativity from mechanical labor.

Under the name of Chartkov lies lies, idealization, adaptation to the tastes and whims of his rich and noble customers; work without internal and creative insight, without an ideal; there is a self-exaltation of the hero, who destroys his spiritual purity, and at the same time his talent.

4. Involuntary movements and grimaces of the characters.

In folk demonology, involuntary movements are often caused by a supernatural force.

The story “The Nose” is the most important link in the development of Gogol’s fiction. The medium of fantasy has been removed, but the fantastic remains; the romantic mystery is parodied, but the mystery remains.

In “The Nose” the function of the “form of rumors” changes, which no longer serves as a means of veiled fiction, it acts against the background of a fantastic incident presented as reliable.

In “Portrait,” as in “Sorochinskaya Fair” and “May Night,” the fantastic is presented in such a way that supernatural powers in their “tangible” appearance (witches, devils, etc.) are relegated to the background, “yesterday’s” background.

In today's time plan, only a fantastic reflection or some fantastic residue is preserved - the tangible result of strange events that took place in reality: “He saw how the wonderful image of the deceased Petromichalli went into the portrait frame.”

Only this portrait passes into reality, and personified fantastic images are eliminated. All strange events are reported in a tone of some uncertainty. After the portrait appeared in his room, Chertkov began to assure himself that the portrait was sent by the owner, who found out his address, but this version, in turn, is undermined by the narrator’s remark: “In short, he began to give all those flat explanations that we use when we want, so that what happened would certainly happen the way we think” (but that it didn’t happen “the way” Chertkov thought is definitely not reported).

Chartkov’s vision of the wonderful old man is given in the form of half-sleep, half-waking: “he fell into sleep, but into some kind of half-oblivion, into that painful state when with one eye we see the approaching dreams of dreams, and with the other we see surrounding objects in a vague cloud.” It would seem that the fact that this was a dream is finally confirmed by the phrase: “Chartkov became convinced that his imagination presented him in a dream with the creation of his own indignant thoughts.”

But here a tangible “remnant” of the dream is discovered - money (as in “May Night” - the lady’s letter), which, in turn, is given a real-life motivation (in “the frame there was a box covered with a thin board”).

Along with dreams, such forms of veiled (implicit) fiction as coincidences and the hypnotizing effect of one character (here, a portrait) on another are generously introduced into the narrative.

Simultaneously with the introduction of veiled fiction, the real-psychological plan of Chertkov the artist emerges. His fatigue, neediness, bad inclinations, and thirst for quick success are noted. A parallelism is created between the fantastic and real-psychological concepts of the image. Everything that happens can be interpreted both as the fatal influence of the portrait on the artist, and as his personal capitulation to forces hostile to art.

In “Portrait” the epithet “hellish” is applied several times to Chertkov’s actions and plans: “the most hellish intention that a person has ever harbored was revived in his soul”; “a hellish thought flashed in the artist’s head” Here this epithet was correlated with Petromichali, a personified image of an unreal evil force (“The victims of this hellish spirit will be countless,” it is said about it in the second part).

So, in his searches in the field of fantasy, N.V. Gogol develops the described principle of parallelism between the fantastic and the real. Gogol's priority was prosaic, everyday, folklore and comic fiction.

We see that the writer, introducing in parallel with the “scary” comic treatment of “devilry,” implemented a pan-European artistic trend, and the devil from “The Night Before Christmas”, blowing on his burnt fingers, dragging after Solokha and constantly getting into trouble.

In “Portrait” the religious painter says: “I have long wanted to be born the Antichrist, but I cannot, because I must be born supernaturally; and in our world everything is arranged by the Almighty in such a way that everything happens in a natural order.

But our land is dust before its creator. According to his laws, it must be destroyed, and every day the laws of nature will become weaker and therefore the boundaries that hold back the supernatural will become more criminal.”

Chertkov’s impressions of the portrait completely coincide with the words of the religious painter about the loosening of world laws. "What is this"? - he thought to himself. - “Art or supernatural, what kind of magic that peeks past the laws of nature?”

The Divine in Gogol’s concept is natural, it is a world that develops naturally.

On the contrary, the demonic is the supernatural, the world going out of its way.

By the mid-1930s, the science fiction writer especially clearly perceived the demonic not as evil in general, but as an alogism, as a “disorder of nature.”

The role of a fantastic backstory is played by the story of the artist’s son.

Some of the fantastic events are presented in the form of rumors, but some are covered by the introspection of the narrator, who reports the miraculous events as if they actually took place.

The fantastic and the real often go into one another, especially in art, because it does not simply depict life, but reveals, objectifying, what is happening in the human soul.

Gogol's fantastic story "The Nose". First of all, we note that the fantastic should not and cannot give illusions here. Not for a minute will we imagine ourselves in the position of Major Kovalev, whose nose was completely smooth. It would be a big mistake, however, to think that the fantastic is used here in the sense of an allegory or allusion in a fable or some modern pamphlet, in a literary caricature. It serves neither instruction nor denunciation here, and the author’s goals were purely artistic, as we will see in further analysis.

The tone and general character of the fantastic in the story "The Nose" is comic. Fantastic details should enhance the funny.

There is an opinion, very widespread, that “The Nose” is a joke, a kind of game of the author’s imagination and author’s wit. It is incorrect, because in the story one can discern a very specific artistic goal - to make people feel the vulgarity that surrounds them.

“Every poet, to a greater or lesser extent, is a teacher and preacher. If a writer doesn’t care and doesn’t want people to feel the same as he does, to want the same as he does, and to see good and evil where he is, he is not a poet, although he may be a very skillful writer. "(Innokenty Annensky "On the forms of the fantastic in Gogol").

Therefore, the poet’s thought and the images of his poetry are inseparable from his feeling, desire, his ideal. Gogol, when drawing Major Kovalev, could not treat his hero like a beetle that an entomologist would describe or draw: look at it, study it, classify it. He expressed in his face his animated attitude towards vulgarity, as a well-known social phenomenon that every person must take into account.

Vulgarity is pettiness. Vulgarity has only one thought about itself, because it is stupid and narrow and does not see or understand anything but itself. Vulgarity is selfish and selfish in all forms; she has arrogance, and fanaberia (arrogance), and arrogance, but there is no pride, no courage, and nothing noble at all.

Vulgarity has no kindness, no ideal aspirations, no art, no God. Vulgarity is formless, colorless, elusive. This is a muddy sediment of life in every environment, in almost every person. The poet feels the terrible burden of hopeless vulgarity in the environment and in himself.

“The fantastic is that drop of aniline that colors the cells of organic tissue under a microscope - thanks to the extraordinary position of the hero, we better see and understand what kind of person he was.” (Innokenty Annensky “On the forms of the fantastic in Gogol”).

Kovalev is neither an evil nor a good person - all his thoughts are focused on himself. This person is very insignificant, and so he tries in every possible way to enlarge and embellish her. “Ask, darling, Major Kovalev.” "Major" sounds more beautiful than "collegiate assessor". He does not have an order, but he buys an order ribbon; wherever possible, he mentions his secular successes and his acquaintance with the family of a staff officer and a civil councilor. He is very busy with his appearance - all his “interests” revolve around his hat, hairstyle, smoothly shaved cheeks. He is also especially proud of his rank.

Now imagine that Major Kovalev would have been disfigured by smallpox, that his nose would have been broken by a piece of cornice while he was looking at pictures through the mirror glass or at another moment of his idle existence. Surely someone would laugh? And if there were no laughter, what would be the attitude towards vulgarity in the story. Or imagine that Major Kovalev’s nose would disappear without a trace, so that he would not return to his place, but would continue to travel around Russia, posing as a state councilor. Major Kovalev's life would have been ruined: he would have become both unhappy and a useless, harmful person, he would have become embittered, he would have beaten his servant, he would have found fault with everyone, and maybe he would have even started to lie and gossip. Or imagine that Gogol would have portrayed Major Kovalev as reformed when his nose returned to him - a lie would be added to the fantastic. And here the fantastic only intensified the manifestation of reality, colored the vulgarity and increased the funny.

The detail of the impostor of the nose, which poses as a state councilor, is extremely characteristic. For a Caucasian collegiate assessor, the rank of civil councilor is something unusually high, enviable and offensive in its unattainability, and suddenly this rank goes to the nose of Major Kovalev, and not to the major himself, the rightful owner of the nose.

Here, in fantastic forms, a phenomenon very close to us and the most ordinary is depicted. The Greeks made him a goddess - Rumor, daughter of Zeus, and we call him Gossip.

Gossip is a condensed lie; everyone adds and adds a little, and the lie grows like a snowball, sometimes threatening to turn into a snowfall. In gossip, no one is often guilty individually, but the environment is always to blame: better than Major Kovalev and Lieutenant Pirogov, gossip shows that pettiness, empty thoughts and vulgarity have accumulated in a given environment. Gossip is a real substrate of the fantastic.

In general, the power of the fantastic in the story “The Nose” is based on its artistic truth, on its graceful interweaving with the real into a living, bright whole.

At the end of the analysis, we can define the form of the fantastic in “The Nose” as everyday.

And from this side, Gogol could not choose a better, more vivid way of expression than the fantastic.

We will take “Viya” as a representative of another form of the fantastic from Gogol. The main psychological motive of this story is fear. Fear comes in two forms: fear of the strong and fear of the mysterious - mystical fear. So here it is mystical fear that is depicted. The author’s goal, as he himself says in the note, is to tell the heard legend about Viya as simply as possible. The legend is indeed conveyed simply, but if you analyze this so naturally and freely developing story, you will see the complex mental work and see how immeasurably far it is from tradition. A poetic creature is like a flower: simple in appearance, but in reality it is infinitely more complex than any locomotive or chronometer.

The poet had, first of all, to make the reader feel that mystical fear that served mental basis legends. The phenomenon of death and the idea of life beyond the grave have always been especially readily colored by fantasy. The thought and imagination of several thousand generations focused intently and hopelessly on the eternal questions of life and death, and this intent and hopeless work left in the human soul one powerful feeling - the fear of death and the dead. This feeling, while remaining identical in its essence, changes endlessly in the forms and grouping of those ideas with which it is associated. We must be introduced into a region that, if not the one that produced the legend (its roots often go too deep), then at least supports and feeds it. Gogol points at the end of the story to the ruins, a memory of the death of Khoma Brut. Probably, these decayed and mysterious ruins, overgrown with forest and weeds, were precisely the impetus that prompted the imagination to produce the legend about Viya in this form.

The first part of the story appears to constitute an episode within a story. But this is only apparently - in fact, it is an organic part of the story.

Here we are presented with the environment in which the tradition was supported and flourished.

This environment is bursa. Bursa is a kind of status in statu*, Cossacks on the school bench, always half hungry, physically strong, with courage tempered with a rod, terribly indifferent to everything except physical strength and pleasure: scholastic science, incomprehensible, sometimes in the form of some unbearable appendage to existence , then transporting into the metaphysical and mysterious world.

On the other hand, the student is close to the people: his mind is often, under the crust of learning, full of naive ideas about nature and superstitions; Romantic vacation wanderings further maintain the connection with nature, with the common people and legend.

Khoma Brut believes in devilry, but he is still a scientist.

A monk, who had seen witches and unclean spirits all his life, taught him spells. His imagination was nurtured under the influence of various images of hellish torment, devilish temptations, painful visions of ascetics and ascetics. In the midst of naive mythical legends among the people, he, a bookish man, brings book element- written legend.

Here we see a manifestation of that primordial interaction between literacy and nature, which created the motley world of our folk literature.

What kind of person is Khoma Brut? Gogol loved to portray average, ordinary people, like this philosopher.

Khoma Brut is strong, indifferent, carefree, loves to eat heavily and drinks cheerfully and good-naturedly. He is a straightforward person: his tricks, when, for example, he wants to take time off from his business or run away, are rather naive. He lies without even trying; There is no expansiveness in him either - he is too lazy even for that. N.V. Gogol, with rare skill, placed this very thing at the center of fears indifferent person: it took a lot of horrors for them to finish off Khoma Brut, and the poet could unfold the whole terrible chain of devilry before his hero.

* State within a state (Latin).

The greatest skill of N.V. Gogol was expressed in the gradualness with which the mysterious is conveyed to us in the story: it began with a semi-comic ride on a witch and, with proper development, reached a terrible denouement - death strong man out of fear. The writer makes us experience step by step with Khoma all the stages of development of this feeling. At the same time, N.V. Gogol had two paths to choose from: he could go analytically - talk about the hero’s state of mind, or synthetically - talk in images. He chose the second path: he objectified the mental state of his hero, and left the analytical work to the reader.

From here came the necessary interweaving of the fantastic into the real.

Starting from the moment when the centurion sent to Kyiv for Khoma, even the comic scenes (for example, in the chaise) are sad, then there is the scene with the stubborn centurion, his terrible curses, the beauty of the dead, the chatter of the servants, the road to the church, the locked church, the lawn in front of it , bathed in the moon, vain efforts to cheer herself up, which only further develops a feeling of fear, Khoma’s morbid curiosity, the dead woman wags her finger. Our tense feeling relaxes somewhat during the day. Evening - heavy forebodings, night - new horrors. It seems to us that all the horrors have already been exhausted, but the writer finds new colors, that is, not new colors - he thickens the old ones. And at the same time there is no cartoon, no artistic lies. Fear gives way to horror, horror to confusion and melancholy, confusion to numbness. The boundary between myself and the environment is lost, and it seems to Khome that it is not he who is saying the spells, but the dead woman. Khoma's death is the necessary end of the story; if for a moment you imagine him waking up from a drunken sleep, then everything will disappear artistic value story.

In "Viya" the fantastic developed on mystical soil - hence its special intensity. Characteristic feature Mystical in N.V. Gogol in general is the major tone of his supernatural creatures - the witch and the sorcerer - vengeful and evil creatures.

Thus, the first stage in the development of Gogol’s fiction is characterized by the fact that the writer pushed the bearer of fiction into the past, leaving his influence, a “trace,” in modern time.

The writer, parodying the poetics of romantic mystery, refused to give any explanation of what was happening.

Reading the works of N.V. Gogol, you involuntarily show your imagination, ignoring its boundaries between the possible and the impossible.

Turning to the works of N.V. Gogol, one can be a priori sure that we will find many elements of science fiction in it. After all, if the latter determined a whole type of folk culture, then, as emphasized by M. Bakhtin, its influence extends over many eras, almost right up to our time.

>Essays on the work Portrait

The role of fiction

One of the main features of N.V. Gogol’s works is his vision of the world through fantasy. For the first time, elements of fantasy appeared in his well-known “Evenings on a Farm near Dikanka,” written around 1829-1830. The story “Portrait” was written a few years later, still with the same elements of inexplicable mysticism. Gogol loved to portray the characters of people from the people and confront his heroes with fantastic phenomena. In his works reality somehow in an interesting way intertwined with fiction.

The original version of the story “Portrait” was published in 1835, but after the author’s corrections it was published again in 1842. The main character is a young, promising artist named Chartkov, who lives poorly and tries his best to achieve perfection in his creativity. Everything changes after purchasing an unusual portrait that he came across in one of the St. Petersburg art shops. The portrait looked so vivid that it seemed as if the sitter was about to come to life and start talking. It was this liveliness that attracted the young Chartkov, as well as the artist’s high skill.

According to the plot, the portrait had supernatural powers and brought troubles and misfortunes into the lives of its owners. It depicted an old man of Asian appearance with piercing, almost “living” eyes. The next day after the purchase, Chartkov found a bag of chervonets in the frame of the portrait, with which he was able to pay for the apartment and rent luxury apartments for himself. It should be noted here that the happy discovery was preceded by a strange dream. The night before, it seemed to him that the portrait had come to life, and the old man, coming out of the frame, was holding in his hands just this bag with the inscription “1000 chervonets.”

In the second part, the author reveals to us the secret of these mystical phenomena and the painting itself. As it turned out, it was painted by a talented Kolomna master who once painted temples. Having started work on this portrait, the master did not know that the neighbor, the moneylender, was the real personification of evil, and when he found out, he left the painting unfinished and went to the monastery to atone for his sins. The fact is that the evil moneylender indirectly brought misfortune to everyone to whom he lent money. These people either went crazy, or became terrible envious people, or committed suicide, or lost loved ones.

Anticipating his imminent death, the moneylender wished to remain alive in the portrait, so he turned to a self-taught artist living next door. According to the author, the unfinished painting now traveled from hand to hand, bringing first wealth and then misfortune to its new owners. In the first edition, at the end of the story, the appearance of the moneylender disappeared from the portrait, leaving those around him in bewilderment. In the second edition, the author decided to make the portrait completely disappear from view and continue to wander around the world.

The main function of fiction in works of art is to bring this or that phenomenon to its logical limit, and it does not matter what kind of phenomenon is depicted with the help of fiction: it could be, say, a people, as in the images epic heroes, a philosophical concept, as in the plays of Shaw or Brecht, social institution, as in “The History of a City” by Shchedrin, or life and customs, as in Krylov’s fables.

In any case, fiction allows us to identify its main features in the phenomenon under study, and in the most pointed form, to show what the phenomenon will be like in its full development.

From this function of fiction directly follows another - a predictive function, that is, the ability of fiction to look into the future, as it were. Based on certain features and traits of today, which are still barely noticeable or are not given serious attention, the writer builds a fantastic image of the future, forcing the reader to imagine what will happen if the shoots of today's trends in the life of a person, society, and humanity develop after some time. time and will show all their potential. An excellent example of predictive fiction is E. Zamyatin’s dystopian novel “We.” Based on the trends that Zamyatin observed in the social life of the first post-revolutionary years, he was able to draw an image of the future totalitarian state, anticipating in a fantastic form many of its main features: the erasure of human individuality up to the replacement of names with numbers, the complete unification of the life of each individual, manipulation public opinion, a system of surveillance and denunciations, the complete sacrifice of personality to those falsely understood public interest etc.

The next function of fiction is to express different types and shades of the comic - humor, satire, irony. The fact is that the comic is based on incongruity, inconsistency, and fantasy is the inconsistency of the world depicted in a work with the real world, and very often - incongruity, absurdity. We see the connection between fantasy and various varieties of the comic in Rabelais’s novel “Gargantua and Pantagruel”, in Cervantes’ “Don Quixote”, in Voltaire’s story “The Simple-minded”, in many works by Gogol and Shchedrin, in Bulgakov’s novel “The Master and Margarina” and in many others works*.

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* For more information about the connection between the comic and science fiction, see: MM Bakhtin. The works of Francois Rabelais and folk culture Middle Ages and Renaissance. M., 1965.

Finally, we should not forget about the entertainment function of fiction. With the help of fiction, the tension of the plot action increases, creating the opportunity to build an unusual and therefore interesting artistic world. This arouses the reader's interest and attention, and the reader's interest in the unusual and fantastic has been stable for centuries.

Forms and techniques of fiction

Conventionally fantastic imagery is realized using a number of forms and techniques.

Firstly, this is what can be called truly fantastic - when a writer invents entities or properties that do not exist in nature. This happens, for example, in Gogol’s story “Viy”, where all sorts of evil forces operate that do not exist in nature.

The same kind of fantastic is in Pushkin’s “Queen of Spades,” where three cards are endowed with the mysterious ability to bring an indispensable win. This type of fiction is most often used in works of fiction.

Secondly, there is a form of allegorical fiction, which is based on the implementation of one or another speech trope in the depicted world*. Most often, this form of the fantastic is based on hyperbole (giants, heroes, gigantic animals, etc.), litotes (dwarfs, gnome, Little Thumb, Thumbelina, etc.) and allegory (fable imagery, where animals, plants, objects act as characters, embodying one or another allegory of human characters).

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* For trails, see below, chap. "Artistic speech".

The next technique that we will consider is the grotesque - a combination of the fantastic and the real in one image, and the grotesque is characterized by a combination of the fantastic not just with the real, but with the mundane, everyday, everyday. Thus, in Shchedrin’s fairy tale “The Bear in the Voivodeship,” the bear, going to his voivodeship (a fantastic feature), is going to ruin printing houses and universities (not just an everyday thing, but an extremely modern detail that destroys the fairy-tale atmosphere). The spirit of the grotesque is also used in, say, the episode in Bulgakov’s novel “The Master and Margarita”, when one of Woland’s close associates, Behemoth, issues Nikolai Ivanovich a certificate, strictly in the spirit of clerical style, and even stamps the “Paid” stamp on it.

Finally, another technique of the fantastic is alogism - a violation of cause-and-effect relationships in a work, inexplicability, paradoxicality of situations, plot moves, individual objects, etc. A brilliant example of alogism as a form of the fantastic is Gogol’s story “The Nose.” The first paradox, which cannot be explained logically, awaits us already at the beginning of the story: the hero, for no apparent reason, without any reason, suddenly loses his nose and is left with a smooth spot on his face. Inexplicably, he suddenly finds himself at the same time in the barber's pie and turns into an important gentleman. For no apparent reason, the policeman draws attention to the barber, who is about to throw away his nose; inexplicably, the nose suddenly returns to its place. In general, any plot move in the story is illogical, unmotivated, and that is why it is fantastic.

Different forms of fiction can be combined with each other in the system of one work. Thus, in the same story “The Nose,” alogism is combined with the grotesque (fantastic events happen to the most ordinary, vulgar person, against the backdrop of prosaic, everyday, vulgar reality); in Shchedrin's fairy tales the grotesque is combined with allegory, etc.

Properties of the depicted world

Life-likeness and fantasy are the main properties of the depicted world, as well as psychologism, plotting and descriptiveness. Psychologism was discussed in detail above; let us now briefly characterize plotting and descriptiveness. The plot is expressed in the predominance of event dynamics in the work. It is associated, as a rule, with a dynamic plot, which carries a significant content load, embodying to a great extent the features artistic content. At the same time, static elements in the work are extra-plot elements, psychological motivations for events and actions, etc. - reduced to a minimum. On the contrary, descriptiveness is characterized by the predominance of static moments in the style of the work, detailed detailing of the external world, and emphasis on external forms of existence. When descriptive, the plot is weakened, as is the psychologism; these properties of the artistic form begin to play a supporting role.

The role of fiction

Gogol loved to portray the characters of people from the people and confront his heroes with fantastic phenomena. His works contain reality in some interesting way

Intertwined with fiction.

The original version of the story “Portrait” was published in 1835, but after the author’s corrections it was published again in 1842. The main character is a young, promising artist named Chartkov, who lives poorly and tries his best to achieve perfection in his work. Everything changes after purchasing an unusual portrait that he came across in one of the St. Petersburg art shops. The portrait looked so vivid that it seemed as if the sitter was about to come to life and start talking.

It was this liveliness that attracted the young Chartkov, as well as the artist’s high skill.

The night before, it seemed to him that the portrait had come to life, and the old man, coming out of the frame, was holding in his hands just this bag with the inscription “1000 chervonets.”

In the second part, the author reveals to us the secret of these mystical phenomena and the painting itself. As it turned out, it was drawn by a talented Kolomna Master, who once painted temples. Having started work on this portrait, the master did not know that his neighbor, the Moneylender, was the real personification of evil, and when he found out, he left the painting unfinished and went to the monastery to atone for his sins. The fact is that the evil moneylender indirectly brought misfortune to everyone to whom he lent money.

These people either went crazy, or became terrible envious people, or committed suicide, or lost loved ones.

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Fantasy in the works of N. Gogol. An essay on the topic “The role of fantasy and the grotesque in the works of N.V. Gogol.” Science fiction: books

The role of fiction

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