Chapter 1
Chapter 2 Solovyov and F. Sologub
Introduction to the thesis (part of the abstract) on the topic "The Archetype of the Romantic Dual World in the Poetics of Russian Symbolism"
The existence of a genetic connection between romanticism and the Silver Age does not require extensive evidence. The influence of the romantic tradition on the development of Russian poetry in the late 19th and early 20th centuries is confirmed both by the testimonies of the poets themselves who worked during this period, and by numerous philological studies.
And yet, despite the latter circumstance, it is hardly possible to talk about the final resolution of the problem of romantic influences on Russian literary modernism in general and symbolism in particular. Researchers have examined in sufficient detail the key points that unite romantic and symbolist myth-making, there are many works devoted to the problem of the symbol.
However, the relationship between romanticism and symbolism at the level of the archetype-peak remains in the shadows to this day. Rare works on this topic, as a rule, present the reader with fragmentary descriptions of archetypal systems, practically without touching on the problem of the actualization of identical archetypes in romanticism and symbolism, which in turn does not allow one to correctly determine the place of the symbolist heritage in the general cultural context.
Thus, the relevance of our work is determined, on the one hand, by the need to clarify the patterns of development of Russian symbolism as a phenomenon of European culture, and on the other hand, by the lack of a system of objective criteria that provide a sufficient basis for such clarification. Such criteria are the archetypes "world", "night", "path", "death", "truth", "creator", "creation", organizing numerous disparate themes and motifs that took place in the work of romantics and symbolists into a single system. artistic connections and interactions.
The formulation of the problem of our study is thus conditioned both by the general state of the question of the influence of romanticism on the work of Russian symbolists, and by the currently existing literary concepts of the archetype. Therefore, before formulating the problem, we will consider the history of this issue, in particular, the most characteristic studies and assessments of the romantic tradition in Russian symbolism, as well as works that examine the existence of archetypes in literature.
Most researchers of literary connections and interactions recognize the direct and immediate impact of romanticism on Russian symbolism, up to the absolutization of the influence of romantics on the symbolist worldview and poetics. This was also the position of the Symbolists themselves. In particular, A. Bely, in his retrospective review of the origin of Russian modernism, points out that early symbolism combines the artistic means of German romanticism with the techniques of the newly discovered oriental art and motifs of other cultural eras, without creating their own techniques and motifs1; D. Merezhkovsky writes about the influence of romantic pessimism, a penchant for reflection and longing for death on early Russian symbolism; V. Bryusov in the work “F.I. Tyutchev. The meaning of his work" considers the central motifs of Tyutchev's poetry in the light of their impact on the symbolists and reveals the most important points of their contact: the perception of life as a "prison", the motif of the "illusory" of all life's worries, the motif of death as a "return to the great everything", and, of course, on the other hand, the splitting of reality into day and night worlds.3 In turn, Tyutchev’s opposition of “day” and “night”, according to researchers, one of its main sources had the antithesis “night” - “light”, which is the central paradigm of Novalis’s work .
1 Bely L. Symbolism as a world outlook. M .: Rep>blika, 1994. - S. 334 - 338.
2 Merezhkovsky D.S. On the reasons for the decline and new trends in modern Russian literature // Literary manifestos: From symbolism to "October". - M.: "Agraf", 2001.-S. 34-42.
3 Bryusov V. Works. In 2 vols. T. 2. Articles and reviews 1893-1924. - M.: Artist. lit., 1987. - S. 222.
4 Novalis and his poetic philosophy found themselves in the late 19th and early 20th centuries. in the center of attention of poets and researchers. Vyach. Ivanov writes about the significance of the work of the German poet for symbolism and romanticism itself: “Novalis is the key to understanding
If Bely, Merezhkovsky, Bryusov, Vyach. Ivanov is still talking only about the borrowing of individual romantic motifs and the continuity of philosophical and aesthetic attitudes by symbolist poets, then for S. Vengerov, N. Apostolov all symbolist modernism is reduced to romanticism, representing the “second romance.”5 No less categorical are the statements of V Zhirmunsky, who believes that all symbolism goes back to romanticism, that is, focuses on the Jena romantics (primarily on the night mysticism of Novalis), Tyutchev, Fet, without introducing anything really beyond this trend: “Russian symbolism has a rich mystical tradition, and the religious mysticism of Novalis is his main source<.> New World originates from Germany, in the poetry of Goethe and the Romantics, in the philosophy of Schelling<.>.6 Approximately in the same vein, Zhirmunsky speaks about the essence of the “relationships” between German romanticism and Tyutchev's romantic poetry. According to him, the greatest lyricist of this time, Tyutchev, grows up entirely on the basis of the worldview and ideas of the German romantics.7 Almost unambiguous German romanticism.<.>Reborn in its basic impulses, romanticism, seeking self-determination, could not help but look back at its past; and from the fog of oblivion that managed to envelop that first generation of romantics, Novalis naturally emerged first of all and brighter than all, in whose personality and poetry the tendencies and main features of romanticism for the first time found a complete and integral embodiment. Further, Ivanov connects the mystical experiences of Novalis with the “highest spiritual quest of modernity”: “The seed thrown by him, at first, as it were, decayed and died, and then, a hundred years later, showed a green sprout that was noticeable even for external sight” (Ivanov Vyach. About Novalis / / World tree. - 1994. - Issue 3. - P. 170. See also: Berkovsky N. Ya. Romanticism in Germany. St. Petersburg: ABC Classics, 2001; Zhirmunsky V. M. German romanticism and modern mysticism. St. Petersburg: Aksioma, Novator, 1996; Egkind E. Novalis's poetry: "Mythological translation" by Vyach Ivanov // Russian Literature - 1990. 3. - P. 157 - 165).
5 Vengerov S.A. Stages of the neo-romantic movement. Russian literature of the XX century (1890-1910). - M .: Publishing house "XXI century - Consent", 2000. - Book. 1.- S. 36 - 40; Apostles II. Impressionism and Modernism. Review of new poetry: its development, its motives, its adherents. Kyiv, 1908. - S. 14.
6 Zhirmunsky V. M. German romanticism and modern mysticism. - S. 199.
7 It must be said that such a view of the relationship between early romantic poetry, Tyutchev's lyrics and the art of Russian modernism was very common in that era. The fact that the work of the Jena romantics was largely read by symbolists and poets of pre-symbolism through Tyutchev's poetry, writes, for example, L. Gurevich: “For those who began to live a conscious spiritual life even before the streams of personal feeling and thinking merged, By the end of the 19th century, in the general trend of the “young”, the symbol and identification of the night abyss of Tyutchev and the “night” of Novalis we also find in the work of N. Berkovsky “Romanticism in Germany”.8
Researchers trace this “line of succession” in revealing the images of “night” and “day” right up to the work of poets of the turn of the century, in particular, to the poetry of F. Sologub (for example, J. Mann speaks of a “parallel” leading from German romanticism “through Gogol, Dostoevsky or F. Sologub" to the literature of the early 20th century).9 The "hatred of the day" and "love of twilight and night"10 stated in Sologub's poems10 allows, for example, to assert that the opposition of "day" and "night" is unfolding in him “completely in the Tyutchev and romantic spirit.”11
As you can see, researchers tend to look for some coordinating principle that would help to understand the various literary phenomena as parts of one whole. In this case, the archetypal opposition of “day” / “light” and “night” / “darkness”, which occupies an important place in the artistic constructions of the German romantics (Novalis, Brentano), and Tyutchev, and Sologub, became such a principle. In addition to the antithesis of night - light, archetypes of the hero-demiurge, creator, return, wandering (path), transformation of chaos into space (creation) can also act as a kind of “through models” that connect the figurative systems of romanticism and symbolism death (suicide) as a second birth, the sea, and also the archetypal oppositions north-south, love-death, etc. We then clung to Tyutchev with our souls, but we did not even suspect our kinship, through him, with the Jena romantics ”(Gurevich L.Ya. Russian Thought, 1914. - No. 4. - P. 102). P
Berkovsky N.Ya. Romanticism in Germany. - S. 169 - 170.
9 Mann Yu.V. Dynamics of Russian romanticism. - M.: Aspect Press, 1995 - S. 376.
10 Poyarkov Nick. Poet of Evil and the Devil // Poyarkov Nick. poets of our day. M., 1907.
11 Lauer B. Das lyrische Frühwerk \on Fedor Sologub. Weltgefühl, Motivik, Sprache and Versform. Giessen, 1986. -S. 83.
12 See: Meletinsky E.M. Poetics of myth; Toporov V.N. Myth. Ritual. Symbol. Image: Studies in the field of mythopoetic: Selected works. - M.: Publishing group "Progress" - "Culture", 1995.
Even in those cases when any significant impact of the concepts of the Romantics on the work of Russian poets is denied, as, for example, in the work of G. Chulkov “Thoughts on Symbolism”13, the basis for such a denial is, in fact, the commonality of motives, images, symbolism, but in the opinion of the researcher, differently refracted in the work of romantics and symbolists. In particular, in Chulkov's work, the rejection of the earthly world, which, as you know, is one of the dominants in the worldview of representatives of both literary movements, acts as such a moment uniting romantic and symbolist poetry. The “rejection of the world” of the romantics led them to reaction and blind obedience to God, and the same idea acquires the opposite meaning and entails other consequences with a new illumination of eschatological ideas,” writes Chulkov, explaining his position.14
Orientation towards the search for archetypal principles (singling out archetypes from the symbols, mythologems and motifs present in the work) is usually associated with the desire to “go beyond” a specific historical time and prove the existence of “eternal, unchanging principles in the unconscious spheres of the human psyche, arising in prehistory and repeating in the course of it in the form of archetypal situations, states, images, motives”15; to reveal some “immutable, eternal beginnings, positive or negative, shining through the stream of empirical life and historical changes.”16
In the above statements by E. Meletinsky and A. Esalnek, as well as in most modern studies of archetypes in literature, aimed at developing a proper literary model of the archetype, different from
13 “If it is possible in our time to talk about the revival of romanticism, then only in the sense of recognizing some of the aesthetic principles of the romantic school, and not in the sense of affirming the romantic worldview,” says G. Chulkov (Chulkov G.I. Thoughts on symbolism // Chulkov G Kingdom of Belshazzar, Moscow, Respublika, 1998, p. 367).
14 Chulkov G. Decree. op. S. 368.
15 Esalnek L.Ya. Archetype // Introduction to literary criticism. M., 2000. - S. 34.
16 Meletinsky E.M. Poetics of myth. - P. 295. psychoanalytic interpretations of Jung and Jungians, as the main organizing principle of the literary archetype, its content immutability, the so-called "variability of invariance" is determined.17 In particular, according to A. Esalnek, the archetype, having the ability to endless and unpredictable external changes in the works of various writers, at the same time fraught with a holistic semantic core, in its unchanging
1I of ness providing high stability of the archetypal model. A similar position is taken when considering the problem of poetic myth-making and E.M. Meletinsky, who in the appeal of writers and poets to the archetype, myth or symbol sees the use of "not its form, but its spirit
19 ¥-T ha". At the same time, as it turns out, an archetype is understood mainly as some archetypal content of a universal motive, image, plot, situation, or this situation itself, character, image, etc.20 Such a position of researchers seems quite natural in the light of their common desire to overcome Jungian concept of the archetype, the key point
91 which is the idea of the archetype as a form.
Considering, for example, the specifics of myth-making and the archetype of the modernist novel, E. Meletinsky reveals archetypal “pas” in it.
17 Esalnek A.Ya. Archetype. - S. 35.
While, according to Jung himself, the archetype deserves the name of "permanent core of meaning", but only in the sense that the archetypes form views, but do not contain them, since the primary images are made visible only in the products of fantasy, after being filled with consciousness. The archetype is “a tendency to form representations of motives”, the latter are nothing more than a “representation” of the archetype (Jung K. G. The archetype in the symbolism of sleep // K. G. Jung. Man and his symbols. St. Petersburg: B. S. K., 1996. - S. 75).
19 Meletinsky E.M. Poegics of myth. - S. 280.
20 Bolshakova A. Literary archetype // Literary studies. - 2001. - The sixth book. - S. 171.
The concept of archetypal forms, as well as the idea of archetypes as the primary schemes of images that a priori form the activity of the imagination and are revealed in myths and beliefs, works of literature and art, go back to Jung's analytical psychology and aesthetics. According to Jung, archetypes have no content, but only a formal characteristic, they are "basic schemes". The prototype receives a meaningful characteristic only when it penetrates the consciousness and is filled with the content of conscious experience (Jung K. G. Man and his symbols. - P. 75 - 76). parallels, images, collisions” and writes about the search for recurring archetypes characteristic of modernist writers (death-resurrection, path-initiation, warring brothers, double wedding, etc.). At the same time, on the one hand, he recognizes the significant influence of Jung's psychoanalysis and his theory of collectively unconscious archetypes on most authors and even their direct use of Jung's schemes22, and on the other hand, he states that one and the same traditional mythologeme, one and the same archetype acquires different shades of meaning or even different meanings in their works.23 For example, death-resurrection symbolizes either the hopeless infinity of empty masks of the “horror of history”, or the eternal renewal of the old forms of the life of the spirit, or paradoxically turns into a motif of unwillingness and impossibility of “resurrection” on the dead “ barren land" into which the world has become.
Such an unexpected "reversal" of archetypes becomes for Meletinsky a weighty proof of the limitations of the archetypal approach. In particular, he says, V. Toporov’s comparison of Dostoevsky’s texts (“Crime and Punishment”) with archaic cosmological schemes and the identification in them of common archetypes of chaos, space, spatial archetypes of the middle (which is threatened by chaos, as evidenced by narrowness, horror, stuffiness , crowd, etc.) and the periphery, promising freedom, a way out of the situation, seems only partly justified. The basis of such a position is precisely the fact that, next to the signs of archetypal traditionalism, signs are striking here.
22 Perhaps the most striking examples of such influence can be found in the work of G. Hesse, whose works, often entirely built on archetypes and symbolic images, are “figurative illustrations of analytical psychology” (Guchinskaya N. Hermann Hesse on the way to spiritual synthesis // Hesse G. Collection works: In 4 vols. T. 1. - St. Petersburg: North-Zanad, 1994. - S. 12). “The same indivisible deity lives and acts in us and in nature; and if the outside world perishes, we will be able to restore it again, because the mountain, the stream, the tree, the leaf, the flower and the root - all this lives in us in the form of primal nomens, comes from the soul, the essence of which is eternity, ”says, for example , the hero of the story "Demian" (Hesse G. Decree. Op. P. 271).
23 Melstinsky E.M. "Mythologism" in the literature of the XX century. - S. 371.
24 Melstinsky E.M. Decree. op. - P. 151. Reversal of traditional archetypes: in particular, in mythological texts, it is the periphery that mostly comes into contact with the sphere of chaos. The presence, for example, in the texts of Hölderlin and Gogol of the south-north opposition, which is of fundamental importance in the pictures of the world they create, is explained more as an unconscious use by the authors of certain “common places” of poetic consciousness than as the proximity of their archetypes.
However, the very fact of unpredictable changes in archetypes did not become an insurmountable obstacle to the further definition and practical application of the archetype as a literary category. The most important feature of the modern understanding of this category is typological repetition. There is also such a property of archetypes as "heredity"; paradigms of their continuity and changes are built, original ways of solving the problem of changing the content of archetypal motifs and images are proposed. Thus, Y. Domansky develops a methodology for reconstructing the archetypal meanings of motives and tries to find out whether any motive and under any conditions has an archetypal meaning or whether it is actualized depending on the situation.25
According to Domansky, the archetypal meaning is very ambiguous and includes several semes, which may appear in a literary text depending on the context in their entirety, or one of them may dominate. In particular, the archetypal meaning of a blizzard consists of several semes: a beginning hostile to a person, the result of the action of evil forces, punishment, a wedding. The semes of the beginning hostile to man and the actions of evil forces are realized in Pushkin's "Snowstorm" and "The Captain's Daughter", in "The Village" l g
The researcher believes that the archetypal meanings of the motif can be reconstructed quite simply. First of all, the same mythologemes are revealed in different national mythologies. Then their values are compared. The common thing that is present in all these meanings will be the meaning of the archetype (Domansky Yu.V. Archetypal motifs in Russian prose of the 19th century. Experience in building a typology // Literary text. Problems and methods of research. Collection of scientific work. - Tver: Tver State University, 1998).
Grigorovich, in "The Witch" by Chekhov; semes of punishment - in "The Snowstorm" and in "The Village", and weddings - in "The Snowstorm" and "The Witch", etc. The change in the archetypal content is explained by the fact that even within the same work two opposite semes of the same archetype of ical meaning. Or archetypes can be inverted, that is, transformed to a complete opposite. Such an inversion should testify to the eccentricity of the character or mean "a deviation from the original universal values, the universal moral ideas of a person about the world." In this case, the archetypal meaning even serves as a "criterion of the author's attitude to the character."
The question arises as to how justified is, firstly, the reduction of archetypes to the archetypal meanings of various motives or to these motives themselves, and secondly, whether the concept of inversions of these meanings proposed by the author of the article is sufficiently justified and consistent. After all, on the one hand, Domansky, following Jung, places the archetype in the sphere of the unconscious and, without hesitation, repeats Jung's definition of the archetype as the original form of representations, and on the other hand, he identifies this form with the content of motives and situations that may or may not be archetypal depending on the context, and even connects the transformation of this universal supraconscious (suprapersonal) form with the specific social conditions in which the author places his character.
Such an approach to the question of the archetype cannot but cause bewilderment, as well as the position of A. Bolshakova, for whom the acceptance of Jung's concepts is evidence of the "limitedness" of researchers, but who, like Yu. the collective unconscious and its universal human status. However, after this, we are talking about the need to study the archetype as a typologically repetitive image, rooted in the national
Bolshakova A. Literary archetype. - P. 169. the mentality of, for example, the archetype of the village, which is based on "a patriarchal landowner-peasant village with a manor, traditional Russian nature, primordial activities and amusements associated with this space (hunting, horseback riding, sleigh rides, fishing , picking herbs and berries), etc.
We find an attempt at a more consistent solution to the problem of the archetype and the archetypal in the work of V. Toporov “On the “poetic” complex of the sea and its psychophysiological foundations”, in which the author, using comparative analysis, reconstructs the archetypal features of the texts of Hölderlin, Tyutchev, Sologub, Pasternak and puts the question of the “pre-cultural” substratum of the “poetic”: the connection of imagery with “transpersonal dominance”, that is, with archetypes. infinite, the connection of the sea with death (the abyss-death, Abgrund) and birth (the basis-hope, Grund), the proximity of the sea and its shores, merging with the sea, dissolving in it, etc. Identity is explained by the rigid psychophysiological conditionality of such an experience, its connection with existential intuition, when “authors who describe the “marine” and are well aware that it has been described more than once, are not embarrassed by coincidences in description, that inevitable monotony that characterizes all texts of this class", as well as "a conscious or subconscious sense of organicity and the very" marine "theme and the way it" playing out "in the internal psychological and mental structure of the author, its rootedness in it, which is deeper and more essential than all kinds of “external” dependencies.”29
27 Ibid. S. 172.
28 Toporov V.N. Myth. Ritual. Symbol. Image. - S. 579.
29 In this regard, V. Toporov emphasizes Tyutchev's texts, since they allow reconstructing the totality of Tyutchev's likes, attractions, repulsions, antipathies, even phobias, which can partly be confirmed or controlled by the memories of people who knew Tyutchev. So, Tyutchev torments, depresses, causes despondency, melancholy, exhaustion, irritation and other negative emotions - up to the desire for self-destruction - amorphousness or generally weak structuredness about
However, when comparing the “sea” imagery of Hölderlin and Pasternak, the strongest argument of the researcher is still not the “psycho-physiological substrate” or “pre-cultural” level, but the “cultural reality” - a high degree of probability of Pasternak’s acquaintance with the texts of the German poet: “convergences, parallels ( especially noted and often reproduced motifs of looking at the sea down and away from the mountain, high coast, high tide and low tide, sea waves, the experience of merging with everything, the feeling of the divine when looking at the “holy sea”), reminiscences of images, poetic moves, general coloring refer to the topic of Pasternak's acquaintance with Hölderlin's "Hyperion" and further searches for traces of this
30th - "th acquaintance with a Russian writer." However, all this does not contradict the assumption about the spontaneous manifestation of the “marine” complex, since relatively superficial similarities are fixed by consciousness, while the deepest ones remain (respectively reveal themselves) for the writer at a subconscious level.
The positions of V. Toporov look quite justified and convincing when it comes to coincidences and complete similarities in the implementation of archetypes by poets and their transformation into completely similar motifs and images. Let us digress, however, from Hölderlin's and Pasternak's descriptions of the sea and the sea that are really close to each other, often even identical, and consider, for example, the night and the night by Novalis and Tyutchev. At first glance, the similarity, even identity, of Tyutchev’s “day” and “night” with Novalis’s “light” and “night” is undoubted: for both poets, “day”, “light” is associated with understandable earthly life, its troubles and movement: “ day" Tyutchev animates, sets in motion the "earthly", the "light" of Novalis also endows all earthly creatures with its own image. And the "day" of Tyutchev, and the wanderings, the lack of an organizing principle in it - immensity, monotony, emptiness or its weak fullness, lethargy, slowness, an atmosphere of luson, "smokyness", nebula, blurring the rigid outlines and provoking a mixture of reality and sleep, reality and illusoryness, and as a consequence of all this, a “negative” change in the psychophysiological state (Toporov V.N. Decree. Op. P. 597).
30 Ibid. P. 595. light” by Novalis, refuting the classical idea of the divinity of light and its superiority over darkness, are secondary to “night”. For the Russian poet, “day” is a “golden” cover that hides the mysterious night world, for Novalis, “light” is derived from “night”
Is not everything that delights us painted in the color of Night? You<свет - В.С.>vyL | carried in her mother's womb, from her all your splendor"). The defining characteristics of “night” for both poets are mystery, inexpressibility and incomprehensibility (in Tyutchev, these motifs of the truth of “night”, its originality in relation to “day” we meet in the poems “Day and Night”, “Holy Night ascended into the sky. "," The soul would like to be a star. "," Gray-gray shadows mixed up. ", etc.).
However, upon closer examination of the images of "day", "light" and "night" by the German and Russian poets, we find out that their similarity is more of a formal nature. At the content level, the figurative systems of "night" and "day" reveal a number of conceptually significant differences.
Although both Tyutchev and Novalis identify the earthly world with constant movement, emphasize its variability, the epithets and images that they associate with this world are completely different for them: Novalis associates such definitions with “light” as “gentle”, “ invigorating”, “joyful”, “sweet”, as well as metaphorical images “blue stream”, “gentle omnipresence”, etc. In the perception of the lyrical hero Tyutchev, “day” and his world often look different.32
The unambiguous identification of the “night” of Novalis with the night abyss of Tyutchev, practiced by researchers, also seems to be not entirely justified.
31 Novalis. Hymns to the Night // Poetry of the German Romantics: Per. with him. / Comp., pre-disl. and comment. A.B. Mikhailov. - M.: Artist. lit., 1985. - S. 30. Further - "The Poetry of the German Romantics" with page indications.
3 “Oh, how piercing and wild, / How hateful for me / Sen noise, movement, talk, cries / Young fiery day!. / Oh, how crimson its rays, / How they burn my eyes!.” (Tyutchev F.I. Lyrics. T. 1. M .: Publishing house "Nauka", 1965. - P. 65. Further - "Tyutchev" with indication of pages.) data. Both poets, of course, love their "night", but if Novalis loves, reverently, then Tyutchev is afraid. The “fatal”, sometimes even “evil” beginning, although of an indefinite nature, is present to one degree or another in all the pictures of the night world he creates (for example, in the poems “The night sky is so gloomy.”, “What are you howling about the wind night. ”,“ Not cooled down from the heat ”,“ Alps ”, etc.). Novalis, on the other hand, “night” is unequivocally identified with goodness: it frees from sadness, loneliness, gives a sense of belonging to the higher, divine world.
Thus, we believe that in this case we should talk not so much about the borrowing or coincidence of the content of images and individual motifs or their complexes, but about the continuity of the universal “form”, which, precisely because of its universality, corresponded to the worldview of poets of different eras. In this regard, V. Bryusov's idea seems important to us that in the process of artistic creation ("moments of ecstasy and supersensory intuition") the poet "clarifies to himself the dark, secret feelings" of his own subconscious. But what else is such a “clarification” if not the “feeling of the archetypal form”, in the ability of the artist to which lies the “secret of the influence of art”?
An analysis of the discrepancies (as well as similarities) that exist in the implementation of seemingly identical plots by poets, in our opinion, could contribute to a better understanding of both the romantic “world” itself and the essence of the transformation that it first underwent in the romantic world. Tyutchev's lyrics, and then in the poetry of Russian symbolism, for example, in F. Sologub.
Like the romantic “predecessors”, in Sologub only “in the dark hour” does the time of true being come (see the poems “In the Deep
33 Bryusov V. Decree. op. - S. 86.
34 Archetypes // Myths of the peoples of the world: Encyclopedia. T. 1. - M .: Ros. encyclopedia, 1997.-p. 110. Side hour of silence at night.”, “At the crossroads of evil and wild.” and etc.). In the poetic reality of Sologub, as in Novalis and Tyutchev, “night” is the protector and deliverer from the unbearable fuss of day life for the poet. However, the fact alone is that in almost all of the poet’s poems related to the topic of the opposition of “daytime” and “nighttime”, images arise that are, in fact, opposite to those that inhabit Novalisov’s night universe (for the German poet, “night” is often associated with “Heavenly Beloved”, “Father-God”, Christ and “the way” to them; in Sologub, it is the time when the lyrical hero “at the crossroads of evil and wild” is the one “who is dark in face”, as well as witches and sorceresses ), indicates that in this case, most likely, we are faced with the identity of the form in which the features of the author's worldview are embodied.
True, V. Toporov offers a different explanation for the differences that arise in the realization by poets of the same archetypes or, to use his terminology, "archetypal schemes" consisting of a number of archetypes, which, as they are activated, are combined into a system.35 Only one archetype, or two, or three. Accordingly, the number of activated archetypes and their various combinations will determine this or that mythological system in one way or another, and the completeness of the archetypes will thus become the completeness of the system. This assumes that some indefinite number of unactivated archetypes remain, and therefore any existing archetypal scheme is incomplete and "open", that is, capable of combining or including new archetypes. Thus, the discrepancies that exist, for example, between the “night” and “light” of Novalis and Tyutchev or Novalis and Sologub can, according to Toporov, be explained by the fact that in the archetypal
35 Toporov V.N. Myth. Rit>al. Symbol. Image. - P. 609. In the night-light scheme, in all cases there is an activation of various, sometimes opposite in content, archetypes.
The proposed formula archetypal scheme -> archetype 1, archetype 2,3, etc., as well as the position of Yu. Domansky about the different semes that make up the same archetype, is, in our opinion, not entirely successful and, in fact, speaking, by an excessive complication of the concept of an archetype as an archetypal form, the actualization of which in the work of various artists entails the appearance of various images, motifs and their complexes. In addition, the approach to the archetype not as a universal form, but as the content of certain situations and characters still does not allow us to satisfactorily explain the emergence of differences in figurative systems associated with the same archetypes.
In this regard, of particular interest is the idea of V. Zhirmunsky that in the poetry of Russian symbolism, in a form borrowed from the Romantics, a truly religious spirit is manifested, developing from the depths of Russian folk consciousness.36 According to V.M. Zhirmunsky, Vyach. Ivanov, G. Chulkov, became the religious and mystical teaching of Vl. Solovyov. Indeed, all those features of the implementation of romantic archetypes by Russian poets, which will be discussed in this study, as it seems to us, are largely due to the influence of Solovyov's concepts. And first of all, here we should talk about Solovyov's vision of the role of the artist in the world process: if among the Romantics the poet acts as a kind of "intermediary" between the earthly world and its creator, then Solovyov speaks of the active participation of the artist in the "remaking" of earthly reality and calls him “to go beyond the limits of art.”37 The main task of the poet, according to Solovyov, is not to decipher the higher meaning and approach
36 Zhirmunsky V. N1. German romanticism and modern mysticism. - S. 205.
37 Solovyov B.C. General meaning of art // Solovyov V.C. Philosophy of art and literary criticism. M.: Isk>sstvo, 1991. - P. 89. to the world of eternal archetypes, and the final transformation of the world, "the transubstantiation of an improper being into a proper one."
We also find such an idea of the goals of art in Russian poetry of the late 19th and early 20th centuries. In particular, F. Sologub writes that the world should not be reflected in the poet-creator, as in a mirror, that the poet does not just say “no” to the existing imperfect world, but creates, thereby, a new world, impossible without the final transformation of reality . Thus, both Solovyov and Sologub speak of the artist's creation of a world opposite to the existing one: material reality must be transformed into spiritual reality, this world must become another world.
So is the poetic work of the “spontaneous romantic” Solovyov, in which such archetypes of the romantic dual world as “world”, “path”, “truth”, “creator”, “creation”, “chaos”, “life”, “death” are easily found. ” and others, on the one hand, turns out to be unusually close to the poetry of the romantics, which addresses the issues of the relationship between man and the absolute, good and evil, life and death, the role of art and the artist in the cosmic process.38 On the other hand, Solovyov’s poetry, as you know, had a great influence on the symbolists. In particular, according to S. Bulgakov, it was no less than the influence of Novalis and Tyutchev.39 Proceeding from this, we consider Solovyov's philosophy and poetry as a kind of connecting link in the Symbolists' perception of all elements of the romantic world. Clarification of the nature of the changes taking place with romantic archetypes in Solovyov could also give, in our opinion, a more accurate idea of the reasons for the similarities and differences in the implementation of identical archetypes by Russian and German poets.
See: Losev A.F. The creative path of Vladimir Solovyov // Solovyov B.C. Works in 2 volumes. T. 1. - M .: Thought, 1990; Galtseva R. Rodnyanskaya I. The real work of the artist // Solovyov V. Philosophy of art and literary criticism. M.: Art, 1991; Ivanov V.I. About Novalis // World Tree. - 1994. - Issue. 3.
39 Bulgakov S. Vladimir Solovyov and Anna Schmidt // Bulgakov S. Quiet thoughts. M .: Resi>blika, 1996.-S. 52.
Thus, the solution to the problem posed in the title of this work consists both in clarifying the content of the archetypes "world", "night", "way", "death", "truth", "creator", "creation" in German romantic poetry, and in identifying the features of their actualization in the work of Russian symbolists.
The material of the study is the poetic works of Novalis, F. Hölderlin, F. Tyutchev, Vl. Solovyova, F. Solouba.
In connection with the foregoing, the purpose of the study is to identify the genetic links of onto-epistemological archetypes in the works of German romantics and Russian symbolists. The purpose of the work is determined by the corresponding range of tasks:
1. Consider the main features of the artistic embodiment of the archetypes "world", "night", "way", "death", "truth", "creator", "creation" in the poetry of Novalis, F. Hölderlin, F. Tyutchev.
2. To determine the originality of the existence of these archetypes in Russian lyrics of the 19th century in the context of similarities / differences that exist in the implementation of identical archetypes by Tyutchev and German poets.
3. Consider the system of romantic archetypes in the artistic space of Russian symbolism and identify the features of their rethinking by symbolists in relation to significant elements of their aesthetics and poetics.
4. To compare the worldview of the representatives of German romanticism and Russian symbolism, to identify similarities and differences in their ideas about the ways in which the artist and the world interact, and also to analyze the influence of Vl. Solovyov on the formation of these ideas among the symbolists.
Thus, the scientific novelty of this work lies in the fact that for the first time it examines the features of the artistic embodiment of the archetypes of the romantic dual world in the poetics and worldview of Russian symbolism.
The problem and objectives of the study determine the methodological principles of this work, which are based on a multidimensional approach to understanding the topic, caused by the problematic diversity of the source material and leading to the use of historical-literary, historical-philosophical and comparative methods of research.
The work has the following structure:
1. The Introduction discusses the history of the issue, determines the relevance of the chosen topic, scientific novelty, establishes the purpose of the study and the tasks that need to be solved, and gives an annotation of the content of the study.
2. In the first chapter of the study, an analysis is made of the artistic embodiment of the archetypes "world", "way", "truth", "creator", "creation" in the poetry of Novalis, F. Hölderlin, C. Brentano, the question of the relationship between the model of dual worlds, affirmed within the framework of romantic creativity, and the peculiarities of the poets' perception of these archetypes. The connection between the ideas of romantics about the world and the philosophical teachings of Plotinus, I. Fichte, F. Schelling is considered. Based on the peculiarities of the romantics' worldview, manifested in the special attitude of romantic poets to the surrounding reality, as well as in their original ideas about the world, truth and ways of comprehending this romantic truth, the essence of the romantic idea of the nature of the relationship between the artist and the world, the artist and the absolute is determined. The meaning of movement as a way of existence of the lyrical hero within the dual world is revealed. The special meaning of the theme of death and dying in the artistic constructions of romantics is analyzed. The archetypal connections between German romanticism and F. Tyutchev's lyrics are established and the convergences / discrepancies that exist in the implementation of identical archetypes by Tyutchev and German romantics are determined.
3. The second chapter of the study examines the system of romantic archetypes in the artistic space of Russian symbolism and reveals the features of their rethinking by poets. Convergences / discrepancies in the romantic and symbolist perception of the archetypes of "truth" and "being" are determined. The attitude of the representatives of German romanticism and Russian symbolism is compared, similarities and differences in their ideas about the ways of interaction between the artist and the world are revealed. The aesthetic concepts of romantics and symbolists are compared, the aesthetic views of F. Sologub, V. Bryusov, A. Bely are considered. The analysis of the influence of philosophical and poetic creativity of Vl. Solovyov on the formation of these views and ideas.
4. The Conclusion summarizes the results of the study.
Dissertation conclusion on the topic "Russian literature", Sevastyanova, Valeria Stanislavovna
CONCLUSION
Concluding the study of romantic archetypes in the poetics and worldview of Russian symbolism, it is necessary to summarize the results obtained in the main part of the work.
1. Having analyzed the features of the embodiment of the archetypes “world”, “path”, “truth”, “creator”, “creation” in the poetic works of Novalis, F. Hölderlin, C. Brentano, we have established that in the artistic realities created by poets, formed by oppositions light - night, modernity - the ancient past / the shores of a distant homeland, south - north, the lyrical hero constantly experiences the influence of both one pole and the other, which determines the peculiar nature of his existence.
Considering Novalisov's antithesis light - night, we also found that the poet's "light" is always identified with life, and "night" with death. Thus, the opposition of "light" and "night" is supplemented by Novalis with the opposition life - death, while "death" is placed as much higher than "life" as "night" is higher than "light" for him. In addition, we determined that “night” is associated with the images of the deceased Beloved, Christ, Mary, who act as intermediaries between the lyrical hero and the night world. This world of “night” itself contains features of both Christian mysticism (the author places the Christian God-Father in the center of “night”) and elements of Neoplatonism, in particular, Plotinus’s emanatic theory, which is expressed in the special nature of the relationships existing between "night", "light" and a lyrical hero. Thus, like the Plotinian Soul pouring out from the Divine into the material world, Novalis's "light" is a perceiving principle in relation to the "night", and in relation to the earthly world - an active principle. Having received brilliance and radiance from the “night”, “light” transfers them to the earthly world, inspiring it. “Night” in Novalis acts as a “mother” not only of “light”, but also a lyrical hero who must fulfill the mission entrusted to him by “night” in the earthly world: to inhabit it, improve it and, with its creativity, bring closer the onset of the time when “light will return to the mother's womb. The fact that Novalisov's "night" becomes a kind of poetic comprehension of the absolute infinite principle, quite comparable with the "single good", which Plotinus recognized this inexpressible transcendent principle, is also evidenced by the author's desire for a predominantly negative definition of his night world. “Night” for him is not just a part of the world, it, in fact, represents the entire Novalisovsky “world” in the ideal form that he must again take after the end of the “world”.
As for the “path” in the artistic space of romanticism, it, being a form of existence of lyrical heroes within the dual world, represents a return to the bosom of the absolute beginning that gave birth to the heroes (for Novalis, this is the path from “light” to “night”, for Hölderlin - from the modern world - "to the shores of childhood"). After analyzing this path-return, we also determined that the infinity of movement affirmed in the theory of romanticism in the poetic works of romantics is assessed negatively, which is expressed in the motives of fatigue from the “path”, the search for peace and the desire for liberation, which gradually become their goal of the entire “path” . The achievement of this goal is associated with the cessation of the tiresome movement: the final and instantaneous movement into the night world (the abyss, the realm of love). The means of such a movement is death, which irreversibly transforms the members of the opposition into its opposite and crowns the romantic "path". However, gradually the idea of death as getting rid of the path is replaced by the idea of suicide, which seems to the poets the most effective way to achieve the desired goal and from this point of view becomes the embodiment of truth for them.
2. Having studied the forms of actualization of romantic archetypes in the lyrics of F. Tyutchev, we found out that they undergo a significant transformation in the work of the Russian poet. Despite the fact that in Tyutchev, as in the romantics, the world (“night”, the night abyss, night chaos) acts in relation to the hero as a generative principle, this night world itself reveals features that are unusual for the Novalis night universe. The night world is connected in the perception of Tyutchev's hero with new images and motives. The ineffability, the inexpressibility of "night", the tendency to talk about it in negative categories, which are also present in "Hymns to the Night", are intensified by Tyutchev to silence, the absolute impossibility of any definition of it (Tyutchev speaks of a nameless, silent abyss, nocturnal unconsciousness, dumb sleep, deaf-mute demons, universal silence). The desire to merge with the “night” turns into a desire for complete dissolution in the all-consuming abyss (however, in this element of his artistic existence, the Russian poet approaches F. Hölderlin, who perceives death as dissolution (Auflösung) in the natural element, merging with it). Moreover, the disappearance in this abyss seems to be a predetermined "fate" inevitability for a person. It is not surprising, therefore, that confidence in the importance of the mission that a person performs in the world, bringing closer the onset of a new Golden Age - the Kingdom of God, is replaced by Tyutchev's awareness of human life as a "useless feat", and man himself only as a "dream of nature", its accidental generation .
Thus, the "path" of Tyutchev, associated with the motives of disappearance, dissolution, merging with the abyss, also differs significantly from the "path" in the poetic world of Novalis, leading through death to a new life. In addition, the idea of an all-encompassing divine presence is replaced in the Russian poet by a statement and even a welcome of the evil, demonic principle, which was further developed in the poetry of Russian symbolism.
3. The fundamental feature of the attitude towards the world of German romantics, Tyutchev and Russian symbolists was the poets' rejection of earthly reality. Both German poets, and Tyutchev, and the Symbolists perceive their stay in the earthly world as "imprisonment" and "bondage" (Hölderlin writes about earthly torment and suffering, Novalis - about the "fetters of Light" and "earthly oppression", Tyutchev talks a lot about "earthly dungeon", Vl. Solovyov - about chains and "darkness of worldly evils", F. Sologub - about "darkness of earthly languor", walls that block the way to another world). The poets are also related by their common conviction that there is only one way from the real world to the unreal world - death. Life for them is a tedious, often forced labor, imposed on a person by supreme beings.
However, as it turned out, their ideas about how exactly the interaction between the artist and the world, the artist and the absolute should be carried out, contain significant differences. If, for example, in Novalis the poet acts rather as a “passive genius”, perceiving and transmitting divine night inspiration, then among the Symbolists he is assigned a much more active role: the poet-mediator receives power over the world and turns into a poet-creator who owes the world change by "remaking" it. An important turning point on the path of this transformation was the philosophy of Vl. Solovyov, in which there was a reassessment of the role of the artist in the world process and were proclaimed different from the romantic goals of art. Solovyov sees in the artist not just a mediator between the world of eternal prototypes and the ultimate earthly reality, but a figure in the world process - a successor to that artistic work that was begun by nature.
If Solovyov says that the present state of mankind must be radically changed, and demands from art a real improvement in reality, then, for example, Sologub sees his goal as the final transformation of the world, necessary to create a better and desirable world. At the same time, under the change of the world, both Soloviev and Sologub understand, in essence, the same thing: the real world must be changed so much that it becomes its opposite (for Solovyov, material reality must be “transubstantiated” into spiritual reality, for Sologub this world must become another world). But if Solovyov in his philosophy does not give an answer to the question of how this transformation should be carried out, then Sologub, A. Bely, and V. Bryusov are convinced that practically the only way available to the poet to influence the world is to the most complete expression and affirmation of one's "I".
Moreover, if for the romantics the main possibility of self-fulfillment consisted in returning to the absolute (“father”, “mother”, nature, “night”, etc.), then for the symbolists the desire for self-expression and self-affirmation resulted in the creation of new worlds in which the poet - the demiurge himself became the world-generating principle.
Analysis of the poetic work of Vl. Solovyov showed that in his key points it is also a kind of transitional stage between the romantic embodiment of the archetypes "world", "way", "truth", "creator", "creation" and the realization of these archetypes, which we observed in the poetry of the Symbolists.
4. Having examined the system of romantic archetypes in the artistic space of Russian symbolism, we came to the conclusion that archetypal forms are filled in the works of Russian poets with a significantly different content. So, in Solovyov, in Sologub, the rejection of earthly life is much more pronounced than in the romantics. If for Novalis, Hölderlin the earthly world is flawed, immature, transient, then in Solovyov's and Sologub's poetry it also becomes "evil". At the same time, if Solovyov’s evil earthly reality is still opposed by the perfect world of the absolute, then in Sologub’s poetic reality, the existence of this world is either questioned or denied altogether, or it is also attributed to an exceptionally evil, hostile to man character. The creator of the evil earthly world himself becomes the personification of evil, while the enemy of the Christian Deity becomes the personification of goodness, the object of glorification and the source of truth.
Among the starting points of such a process of “sign changing” are the immoralism of Nietzsche, and Schopenhauer’s teaching about the evil will that creates the world, and, of course, Solovyov’s idea that the source of world evil is not natural world, and in the field of pre-natural. However, one of the main sources of this process was Schelling's philosophy of religion, in which an actual bifurcation of the absolute took place: the philosopher explains the origin of earthly evil by the presence of a dark, evil principle in God, something that is not God himself, that is, he admits the presence of his absolute opposite and sees in evil a positive force directed against the force of good.
Since God begins to be identified with world evil, the path-return to the divine world loses its relevance among the symbolists. For them, the path cannot lead the hero beyond the limits of the objective world and turns into wandering, aimless walking in a circle. The only way out of the meaningless circulation is death, which, like the romantics, is perceived as a blessing and deliverance. However, if in Novalis death was associated with the divine world, then in Sologub it acquires a pronounced infernal nature.
Accordingly, the opportunities that the heroes receive after death also differ, and these differences reflect the different nature of the relationship between man and the world, affirmed by poets in their work. If with Novalis the hero acquires only the opportunity to “return to the Father, home”, where “true life” awaits him, with Tyutchev he simply disappears into the “abyss”, then with Sologub he receives power over the world from the hands of his Father-Devil is a source of suffering for him, up to the ability to "re-create" it.
5. We have also established that it is the symbolist understanding of the theme of death and dying that differs most from the romantic one. Although the romantics dreamed of death as a deliverance from anguish, suffering and fatigue, their lyrical heroes either only waited for the desired state to come, or followed someone’s example or call in their search, thus always acting in the role of followers (for example, in “Hymns to the Night” the hero longs to go the same way as “thousands of martyrs and sufferers”, and Hölderlin’s Empedocles throws himself into the mouth of a volcano, obeying a higher power - “the power of the earth”). The Symbolists, on the other hand, do not strive at all to follow someone along the path of salvation, but they themselves offer the world a path of deliverance from earthly languor, which, ultimately, should lead to the death of this world.
Romantics, their rejection of earthly reality and the glorification of death as a way of liberation from it, did not lead to thoughts that they should contribute to the destruction of the entire actual world by their active actions. Death for them is, first of all, personal salvation, getting rid of shackles, fatigue, returning to their homeland, merging with dead loved ones. Russian poets, on the other hand, the desire to take a more active position in relations with the absolute and the thirst for the “coming spring”, as Solovyov did, ultimately led not only to a total rejection of the world, but also to the desire to destroy everything.
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Foreign Literature Exam
Question. Aesthetics of romanticism: meaning, representatives, artistic world, the concept of the world and man
In the history of culture, the era of the turn of the century (1790-1830s) was called the era of romanticism. The literary trend originated as a reaction to the Great Bourgeois Revolution of 1789, also as a reaction to the rationalism and mechanism of the aesthetics of classicism and the philosophy of the Enlightenment.
As a result of the bourgeois breakdown of feudal society, human individuality became a victim. But, despite the mindset of "world sorrow" and pessimistic views on the prospects for social development, romanticism strove for harmony of order, the spiritual integrity of the individual, with an inclination towards the "infinite", with the search for new, absolute and unconditional ideals.
Romanticism became the first artistic trend in which the awareness of the creative person as the subject of artistic activity was clearly manifested. Romantics openly proclaimed the triumph of individual taste, complete freedom of creativity.
The term "romanticism" indicates a connection with the Middle Ages, when the genre of chivalric romance was popular in literature. The main features of this genre are fantasy, the image of high, ideal love, chivalrous deeds, good and evil wizards, and a fabulous landscape.
The main task of romanticism was the image inner peace, spiritual life, and this could be done on the material of stories, mysticism, etc. It was necessary to show the paradox of this inner life, its irrationality.
Signs of a romantic work: in a romantic work there is no distance between the hero and the author; the author does not condemn the hero, even if he sincerely depicts his spiritual fall, it is clear from the plot that the hero is not guilty - the circumstances that have developed are to blame. The plot of such a work, as a rule, is romantic. Romantics have a special relationship to nature, they like storms, thunderstorms, cataclysms.
A romantic work always tells about an exceptional person under exceptional circumstances in an exceptional setting.
Representatives of romanticism:
E. Hoffmann - German romanticism; J.G. Byron - English romanticism; E. Poe - American romanticism; V. Hugo - French romanticism.
question. The concept of duality in the short story by E. Hoffmann "The Golden Pot"
The "Golden Pot" is an illustrative example of the embodiment in literature of the principles of the romantic dual world, modified by the realistic trend.
Concentrating, first of all, around the student Anselm, the dual world did not concern exclusively the main character. This phenomenon is very broad, and one might say - metaphysical.
Turning to the text of The Golden Pot, we understand that, first of all, the dual world is found in the opposition of the individual and society as a whole. The appearance and behavior of various characters clearly contrast. Student Anselm is noticeably alone in the crowd, he is opposed to it, however, he longs to be like an ordinary respectable citizen. Evidence of this is the student's lamentations about his bad luck and the dream of "celebrating the bright day of the ascension ... like any other guest in the Link Baths." But these traits by themselves do not at all tell us that Anselm is a romantic hero. After all, at first it may seem that the student is the most ordinary citizen, a layman striving for an idle philistine life. But the reader almost instantly loses faith in this, realizing that spiritually Anselm is by no means close to the crowd, which is mostly materialistic. Thus, the opposition of the material and the spiritual (here, more specifically, the poetic) is another manifestation of the romantic dual world. The reader understands that Anselm is by no means a materialist, and the more obvious this is, the more tragic the student's own wary attitude towards his visions is perceived.
Anselm's mind is materialistic, at first he denies belief in a "second reality" and does not accept another world. It is clear that Anselm is afraid of the “second reality”, and this is natural, because initially he is burdened by the fact that he is not like everyone else. But later, having known the “other world”, Anselm is fully aware of all the vulgarity of the society to which he previously aspired and is already tormented by the fact that he doubted his newfound meaning of life.
But the duality embraces not only human life. Hoffmann brings to the pages of his fairy tale the traditional philosophical problem of the relationship between man and nature. And we are presented with another manifestation of duality: the world of nature and the world of man. Nature is the embodiment of the spiritual principle, while man is the rational, materialistic principle. Nature gives man the fragrance of flowers, the warmth of the sun, the coolness of the air, but man does not understand this.
It is possible to single out the main features of the romantic-realistic dual world in Hoffmann's work "The Golden Pot", expressed in the juxtaposition of entities:
Individual and public;
material and spiritual;
natural and human;
The world of freedom and the world of bondage.
MINISTRY OF SCIENCE AND EDUCATION OF THE RUSSIAN FEDERATION
BASHKIR STATE UNIVERSITY
FACULTY OF ROMAN-GERMAN PHILOLOGY
on the topic: "The theme of dual worlds in the work of Hoffmann on the example of the analysis of fairy tales"
Performed:
2nd year student, group 206
Gaysina Anastasia
Checked:
Associate Professor Avagyan T.I.
Introduction
German romanticism
Romanticism originated in Germany at the end of the 18th century as a literary and philosophical movement and gradually embraced other areas of spiritual life - painting, music, and even science. At an early stage of the movement, its founders - the Schlegel brothers, Schelling, Tiek, Novalis - were filled with enthusiasm caused by the revolutionary events in France, the hope for a radical renewal of the world.
This enthusiasm and this hope gave birth to Schelling's dialectical natural philosophy - the doctrine of living, ever-changing nature, and the romantics' faith in the infinite possibilities of man, and the call for the destruction of canons and conventions that constrain his personal and creative freedom. However, over the years, in the works of romantic writers and thinkers, the motives of the impracticability of the ideal, the desire to escape from reality, from the present into the realm of dreams and fantasy, into the world of the irretrievable past, sound more and more strongly. Romantics yearn for the lost "golden" age of mankind, for the broken harmony between man and nature. The collapse of the illusions associated with French Revolution, the failed kingdom of reason and justice is tragically perceived by them as the victory of world evil in its eternal struggle with good.
German romanticism of the first quarter of the 19th century is a complex and contradictory phenomenon, and yet a common feature can be distinguished in it - the rejection of the new, bourgeois world order, new forms of slavery and humiliation of the individual. The conditions of Germany at that time, with its petty-princely absolutism and the atmosphere of social stagnation, where these new forms ugly side by side with the old ones, arouse in romantics an aversion to reality and to any social practice. In contrast to a wretched and inert life, they create in their works a special poetic world that has a true “inner” reality for them, while the external reality appears to them as dark chaos, the arbitrariness of incomprehensible fatal forces. The abyss between the two worlds - ideal and real - is insurmountable for a romantic, only irony - a free game of the mind, a prism through which everything that exists is seen by the artist in any refraction he pleases, is able to throw a bridge from one side to the other.
The German philistine layman standing on the other side of the abyss is the object of their contempt and ridicule; To his selfishness and lack of spirituality, to his petty-bourgeois morality, they oppose selfless service to art, the cult of nature, beauty and love. The hero of romantic literature becomes a poet, musician, artist, "wandering enthusiast" with a childishly naive soul, rushing around the world in search of an ideal.
Hoffmann's life path
THIS. Hoffmann (1776-1822) - a famous German writer belonging to the era of German romanticism. As well as a composer, theater decorator and director, a good artist. All his hobbies were harmoniously intertwined in him, his music and theatrical approach to life shine through in each of his works.
Hoffmann is sometimes called a romantic realist. Having appeared in literature later than both the older - "Jenian" and younger - "Heidelberg" romantics, he in his own way translated their views on the world and their artistic experience. The feeling of the duality of being, the painful discord between the ideal and reality pervades all his work, however, unlike most of his fellows, he never loses sight of earthly reality and, probably, could say about himself in the words of the early romantic Wackenroder: “... in spite of all the efforts of our spiritual wings, it is impossible to tear ourselves away from the earth: it forcibly draws us to itself, and we again plop down into the most vulgar human thicket. “Hoffman watched the “vulgar human thicket” very closely; not speculatively, but from his own bitter experience, he comprehended the full depth of the conflict between art and life, which especially worried the romantics. A multi-talented artist, with rare insight, he caught the real vices and contradictions of his time and captured them in the enduring creations of his imagination.
Hoffmann's hero tries to escape from the shackles of the world around him by means of irony, but, realizing the impotence of the romantic confrontation with real life, the writer himself laughs at his hero. Hoffmann's romantic irony changes its direction; unlike the Jenese, it never creates the illusion of absolute freedom. Hoffmann focuses close attention on the personality of the artist, believing that he is the most free from selfish motives and petty worries.
Hoffmann spends his worldview in a long series of fantastic stories and fairy tales, incomparable in their kind. In them, he skillfully mixes the miraculous of all ages and peoples with personal fiction, sometimes darkly painful, sometimes gracefully cheerful and mocking.
Hoffmann's works are a stage action, and Hoffmann himself is a director, a conductor, and a director of special effects. Actors play two or three roles in one and the same play. And behind one plot, at least two more are guessed. There is an art to which the stories and short stories of Hoffmann are most close. This is the art of the theatre. Hoffman is a writer with a bright theatrical consciousness. Hoffmann's prose is almost always a kind of script covertly implemented. It seems that in his narrative works he still directs performances in Bamberg or retains his place at the conductor's stand in the Dresden and Leipzig performances of the Seconda group. He has the same disposition towards the script as an independent art form as Ludwig Tieck. Like the hermit Serapion, Hoffmann has a passion for spectacles that are perceived not by the physical eye, but by the mental one. He almost did not write texts for the stage, but his prose is a theater contemplated spiritually, a theater invisible and yet visible. (N.Ya.Berkovsky). In his time, German criticism did not have a very high opinion of Hoffmann; there they preferred romanticism, thoughtful and serious, without admixture of sarcasm and satire. Hoffmann was much more popular in other European countries and in North America; in Russia Belinsky<#"justify">The theme of duality in the work of Hoffmann It was Hoffmann who most poignantly embodied words in the art of "dvoe-world"; it is his identification mark. But Hoffmann is neither a fanatic nor a dogmatist of dual worlds; he is his analyst and dialectician... A. Karelsky The problem of dual worlds is specific to romantic art. Dual worlds is a comparison and opposition of the real and imaginary worlds - the organizing, constructing principle of the romantic artistic and figurative model. Moreover, reality, the “prose of life”, with their utilitarianism and lack of spirituality, are regarded as an empty “appearance” unworthy of a person, opposing the true value world. The phenomenon of duality is characteristic of Hoffmann's work, the motif of duality is embodied in many of his works. Hoffmann's duality is realized both at the level of the splitting of the world into the real and the ideal, which occurs as a result of the protest of the poetic soul against everyday life, reality, and at the level of the splitting of the consciousness of the romantic hero, which in turn causes the appearance of a kind of double. Here it must be said that this type of hero, with his dual consciousness, most likely reflects the consciousness of the author himself, and to some extent his heroes are his own doubles. The duality is contained in the narrative as a whole. From the outside, these are just fairy tales, funny, entertaining, a little instructive. Moreover, if you do not think about philosophical sense, then morality is not even always clear, as when reading The Sandman. But as soon as we compare fairy tales with philosophy, we see the history of the human soul. And then the meaning increases a hundredfold. This is no longer a fairy tale, this is an incentive for decisive deeds and actions in life. By this, Hoffmann inherits the old folk tales - they are also always encrypted, the deep meaning is sealed. Even time in Hoffmann's works is dual. There is the usual course of time, and there is the time of eternity. These two periods are closely related. And again, only those who are initiated into the secrets of the universe can see how eternity breaks through the veil of the daily measured course of time. I will give an excerpt from the work of Fedorov F.P. Time and Eternity in Hoffmann's Tales and Capriccios : ... the history of the relationship between the student Anselm and the Paulman family ("Golden Pot") is earth history, moderately banal, moderately touching, moderately comic. But at the same time, as in short stories, there is a sphere of the higher, extrahuman, extrahistorical, there is a sphere of eternity. Eternity unexpectedly knocks on everyday life, unexpectedly reveals itself in everyday life, giving rise to a commotion in a sober rationalistic and positivist consciousness that does not believe in either God or the devil. The system of events, as a rule, takes its countdown from the moment of the invasion of eternity into the sphere of everyday history. Anselm, not getting along with things, knocks over a basket of apples and pies; depriving himself of the festive pleasures (coffee, double beer, music and contemplation of smart girls), he gives the merchant his skinny purse. But this comical incident turns into serious consequences. In the sharp, piercing voice of the merchant, who scolds the unlucky young man, there is such a sound that terrifies both Anselm and the walking townsfolk. The super-real looked into the real, or rather, the super-real found itself in the real. The earth, immersed in everyday life, in the vanity of vanities, in the game of limited interests, does not know the highest game - the game of cosmic forces, the game of eternity ... Eternity, according to Hoffmann, is also magic, a mysterious region of the universe, where ordinary people who are satisfied with life do not want and are afraid to look. And probably one of the most important dual worlds Hoffmann's narrations are the two worlds of the author himself. As A. Karelsky wrote in his preface to the complete works of E.T.A. Hoffmann: We have come to the most intimate and most simple secret of Hoffmann. It was not for nothing that he was haunted by the image of a double. He loved his Music to self-forgetfulness, to madness, loved Poetry, loved Fantasy, loved the Game - and he continually cheated on them with Life, with its many faces, with its bitter and joyful prose. Back in 1807, he wrote to his friend Gippel - as if justifying himself to himself for choosing not a poetic, but a legal field as his main field: “And most importantly, I believe that, due to the need to send, in addition to serving art, and civil service, I acquired a broader view of things and largely escaped the selfishness, by virtue of which professional artists, so to speak, are so inedible. Even in social life he couldn't be just one. He looked like his actors performing different tasks, but with the same potential. The main reason for the duality of Hoffmann's works is that the duality tore apart, first of all, himself, it lived in his soul and manifested itself in everything. "Golden Pot" The title of this fabulous novel is accompanied by the eloquent subtitle "A Tale from New Times". The meaning of this subtitle lies in the fact that the characters in this tale are contemporaries of Hoffmann, and the action takes place in the real Dresden at the beginning of the 19th century. This is how Hoffmann rethinks the Jena tradition of the fairy tale genre - the writer includes a plan of real everyday life in its ideological and artistic structure. The world of Hoffmann's fairy tale has pronounced signs of a romantic dual world, which is embodied in the work in various ways. Romantic duality is realized in the story through a direct explanation by the characters of the origin and structure of the world in which they live. There is a local, earthly, everyday world and another world, some kind of magical Atlantis, from which man once originated. This is exactly what Serpentina tells Anselm about her archivist father Lindgorst, who, as it turned out, is the prehistoric fire elemental Salamander, who lived in magical land Atlantis and exiled to earth by the prince of spirits Phosphorus for his love for the daughter of a lily snake. The hero of the novel, student Anselm, is an eccentric loser, endowed with a "naive poetic soul", and this makes the world of the fabulous and wonderful accessible to him. Man is on the verge of two worlds: partly earthly being, partly spiritual. Faced with the magical world, Anselm begins to lead a dual existence, falling from his prosaic existence into the realm of a fairy tale, adjacent to the usual real life. In accordance with this, the short story is compositionally built on the interweaving and interpenetration of the fabulous-fantastic plan with the real. Romantic fairy-tale fantasy in its subtle poetry and elegance finds here in Hoffmann one of its best exponents. At the same time, the real plan is clearly outlined in the novel. A widely and vividly developed fairy-tale plan with many bizarre episodes, so unexpectedly and seemingly randomly intruding into the story of real everyday life, is subject to a clear, logical ideological and artistic structure. The two-dimensional nature of Hoffmann's creative method, the two-world nature in his worldview, were reflected in the opposition of the real and fantastic worlds. The duality is realized in the system of characters, namely, in the fact that the characters are clearly distinguished by belonging or inclination to the forces of good and evil. In The Golden Pot, these two forces are represented, for example, by the archivist Lindgorst, his daughter Serpentina and the old witch, who, it turns out, is the daughter of a black dragon's feather and a beetroot. The exception is the protagonist, which is under the equal influence of one and the other force, is subject to this changeable and eternal struggle between good and evil. Anselm's soul is the "battlefield" between these forces. For example, how easily Anselm's worldview changes when he looks into Veronica's magic mirror: only yesterday he was madly in love with Serpentina and wrote down the history of the archivist in his house with mysterious signs, and today it seems to him that he only thought about Veronica. The double world is realized in the images of a mirror, which are found in large numbers in the story: a smooth metal mirror of an old fortune-teller, a crystal mirror made of rays of light from a ring on the hand of the archivist Lindhorst, Veronica's magic mirror that enchanted Anselm. Mirrors are a famous magical tool that has always been popular with all mystics. It is believed that a person endowed with spiritual vision is able to easily see the invisible world with the help of a mirror and act through it, as through a kind of portal. The Salamander's duality lies in the fact that he is forced to hide his true essence from people and pretend to be a secret archivist. But he allows his essence to manifest itself for those whose gaze is open to the invisible world, the world of higher poetry. And then the one who could, saw his transformation into a kite, his regal appearance, his paradise gardens at home, his duel. Anselm discovers the wisdom of the Salamander, incomprehensible signs in manuscripts and the joy of communicating with the inhabitants of the invisible world, including Serpentina, become available. Another inhabitant of the invisible is an old woman with apples - the fruit of the union of a dragon feather with beets. But she is a representative of the dark forces and is trying in every possible way to prevent the implementation of Salamander's plans. Her worldly counterpart is the old woman Liza, a sorceress and soothsayer, who led Veronica astray. Gofrat Geerbrand is the twin of Gofrat Anselm. In the role of a groom or husband, each of them duplicates the other. A marriage with one corrugation is a copy of a marriage with another, even in detail, even in the earrings that they bring as a gift to their bride or wife. For Hoffmann, the word "double" is not entirely accurate: Anselm Veronika could exchange not only for Geerbrand, but for hundreds, for a great many of them. The double is the greatest offense that can be inflicted on the human person. If a double is wound up, then the person as a person stops. Double - individuality is lost in individuality, life and Soul are lost in the living. "Sandman" AT Sandman The problem of social twins is much more acute. The clockwork doll Olympia is just the accumulation of all possible stamps that society needs to recognize a person, and nothing more. Society, it turns out, does not need a human soul, does not need individuality, a mechanical doll is quite enough. And here this problem also intersects with the problem of egoism - no one needs human opinions and thoughts - they need to be listened to, to be recognized and agreed, and this is enough. Let us turn to the work of Berkovsky: “Hoffmann liked to laugh at what conveniences the man-automaton brings to the life of his environment. All concern about the neighbor immediately disappears, there is no concern about what he needs, what he thinks, what he feels ... ". The main character is Nathaniel. His childhood friend Clara. A certain triangle - around Nathaniel are two female images. Clara is more like a friend, she has spiritual beauty, she loves him very devotedly, but she seems to him, to some extent, earthly, too simple. What is better - benefit without beauty or beauty without benefit? Olympia is a typically Hoffmann motif of a doll, and a doll is an external likeness of a living thing, devoid of life. Love for a doll leads to madness, suicide. In the short story The Sandman, student Nathaniel could not help but fall in love with a doll named Olympia, which Professor Spallanzani slipped to him - she only listens, but she herself does not say anything, does not judge, does not criticize; Nathaniel has great confidence that she approves of his works, which he reads in front of her, that she admires them. Olympia is a wooden doll, pushed into the society of living people, living among them as a person, an impostor, a vtirusha. Those who have taken vtirusha, seduced by it, bear retribution - they themselves become infected with its wooden qualities, become stupid, fooled, as happened with Nathaniel. However, Nathaniel ended in madness... In Olympia, Nathanael, like Narcissus, admires only himself, in her he loves his reflection, at the expense of her he satisfies his ambitions. And he doesn't care if the doll has a heart. Doppelgänger - Both Clara and Olympia are doubles of Nathaniel. Clara is a living, bright, Olympia is a dark, irrational beginning, a gravitation towards absolute perfection. Nathanael, like Anselm, is also a romantic, one of those who can see another reality. But his selfishness and fear allow him to see only the way down. His romanticism is turned inward, not outward. This closeness does not allow him to see reality. Do not give dark forces a place in your soul - this is the problem that worries Hoffmann, and he increasingly suspects that it is the romantically exalted consciousness that is especially susceptible to this weakness. Clara, a simple and reasonable girl, tries to heal Nathanael in her own way: as soon as he starts reading his poems to her with their "gloomy, boring mysticism", she knocks down his exaltation with a sly reminder that coffee can run out of her. But that is precisely why she is not a decree to him. But the clockwork doll Olympia, who knows how to sigh languidly and periodically emits "Ah!" when listening to his poems, turns out to be preferable to Nathanael, seems to him a "soul mate", and he falls in love with her, not seeing, not understanding that this is just an ingenious mechanism, machine. Hoffmann's trick in Sandman - Clara Nathanael calls names ... soulless, damned automaton , and in Olympia recognizes the highest harmonious soul. The cruelest irony is seen in this substitution - Nathanael's egoism knows no bounds, he loves only himself and is ready to accept only his own reflections into his world. Olympia is the embodiment of a mockery of society. And this mockery was designed precisely to awaken the conscience of people godly society . Even from the text it is clear that Hoffmann had a clear hope for at least some kind of positive reaction, albeit a weak one. One of the main symbols that walks through the whole story is eyes . The gloomy Coppelius tries to deprive little Nathanael's eye while still a child, the Sandman fills the eyes of naughty children with sand, the barometer salesman Coppola (a double of Coppelius, an expression of the same dark power) tries to sell Nathanael's eyes and sells a spyglass, Olympia's empty eyes, then bloody eyes dolls that Spalanzani throws at Nathanael's chest, etc. etc. There are many meanings behind this motif, but the main one is this: the eyes are a symbol of spiritual vision, true vision. The one who possesses real eyes and with a living eye is able to see the world and perceive its true beauty. But the one who is deprived of eyes or replaced them with artificial ones is doomed to see the world distorted, corrupted. And since the eyes are the windows of the soul, corresponding changes take place in the soul. Yielding to dark forces, Nathanael agrees to change eyes - he buys a spyglass from Coppola. The mechanical is terrifying when we are directly shown the living, displaced by the mechanical, when all the pretensions of the mechanical, all its anger and deceit, are present. The old optician-charlatan Coppola-Coppelius takes out lorgnettes and glasses from his pocket and lays them out in front of him. He takes out more and more glasses, the whole table is occupied by them, real living eyes sparkle and burn from under the glasses, thousands of eyes; their convulsive, inflamed, blood-red rays pierce Nathaniel. In this episode, the semantic center of the short story about the sandman is the substitution of mechanical art for the living and original, the usurpation produced by mechanical art. And he did this because of his egoism, he did not want to see beyond his own nose before, as we notice this already in his letters. He wants to recognize only his own vision and no one else, so he is initially ready to change the true vision and step onto the dark path. When he makes his choice, a chilling death sigh was heard in his room - this sigh meant the spiritual death of Nathanael. He retains the ability to see the hidden world, but only its dark part, the abode of horror, deceit and lies. However, a merciful fate gives Nathanael a chance - after the terrible events, Clara saves him, he himself calls her an angel, which led him to a bright path. But he can't resist... When he and Clara go up to the town hall to survey the beauties of nature, he looks through the cursed telescope - then the madness completely absorbs him. He can no longer look at the world openly, once having descended into the abyss of horror, he is no longer able to return from there. The whole short story is the path of the soul to degradation, encrypted with symbols. The key to the dark path is selfishness, accompanied by unbelief and doubt. And the well-deserved reward is madness and suicide, as one of the main sins. "Little Tsakhes" A person is fraught with such opportunities that he sometimes does not even suspect, and some kind of strength and, perhaps, circumstances are needed to awaken in him the awareness of his abilities. Creating a fairy-tale world, Hoffmann seems to place a person in a special environment in which not only contrasting faces of Good and Evil are exposed in him, but subtle transitions from one to another. And in the fairy tale, Hoffmann, on the one hand, in masks and through the masks of Good and Evil, revives the polar principles in a person, but on the other hand, the development of the narration removes this polarization clearly indicated at the beginning of the fairy tale. The author ends his story about the misadventures of Tsakhes with a "joyful end": Balthasar and Candida lived in a "happy marriage". The plot of the story begins with a contrast: the beautiful fairy Rosabelvelde leans over a basket with a little freak - little Tsakhes. The mother of this “tiny werewolf” is sleeping next to the basket: she is tired of carrying a heavy basket and complaining about her unfortunate fate. The plot of the story is not only contrasting, but also ironic: how many all sorts of troubles will happen because then the beautiful fairy took pity on the ugly child - and gave little Tsakhes a magical gift of golden hairs. Soon, her charms will begin to affect the inhabitants of the "enlightened" principality. And this is how: if some handsome man is near the ugly baby, then everyone will suddenly begin to admire the beauty of Little Tsakhes, if someone reads his poems next to him, then Zinnober will applaud. The violinist will play a concert - everyone will think: this is Tsakhes. The student will pass the exam with brilliance - all the glory will go to Tsakhes. Other people's merits will pass to him. And, on the contrary, his ridiculous antics and inarticulate muttering will pass to others. The golden hairs of the "tiny werewolf" will appropriate, alienate the best properties and achievements of others. It is not surprising that soon Zinnober makes a brilliant career at the court of Prince Barzanuf, the heir of Paphnutius. Whatever Tsakhes mumbles, the prince and retinue admire: new rank Tsakhesu, Order of Tsakhesu. So he grows up to the Minister of Foreign Affairs, the all-powerful temporary worker. The higher the little freak climbs the social ladder, the clearer the fairy's grotesque play. If such absurdities occur in a rationally arranged society, an enlightened state, then what is the value of reason, enlightenment, society, the state? Tsakhes is assigned more and more ranks - so aren't these ranks nonsense? Tsakhes is given orders - so why are they better than children's toys? Having done an insidious trick with Zinnober, the oppressed and banished fantasy in the face of a fairy cheerfully takes revenge on those who oppress her common sense and sober mind. She beats them with a paradox, convicts them of insolvency, makes a diagnosis: common sense is meaningless, reason is reckless. And why are Zinnober's hairs necessarily golden? This detail reveals a grotesque metonymy. Tiny Tsakhes' enchantment begins when he is in front of the mint: golden hairs metonymically imply the power of money. Having endowed the freak with golden hairs, the crafty fairy aims at the sore spot of the "reasonable" civilization - its obsession with gold, the mania of hoarding and wastefulness. The insane magic of gold is already such that natural properties, talents, souls are put into circulation, appropriated and alienated. However, someone needs to break the spell and overthrow the evil dwarf. The magician Prosper Alpanus honors the dreamy student Balthazar with this honor. Why him? Because he understands the music of nature, the music of life. “The two-dimensional nature of the novel is revealed in the opposition of the world of poetic dreams, the fabulous country of Dzhinnistan, the world of real everyday life, the principality of Prince Barsanuf, in which the action of the novel takes place. Some characters and things lead a dual existence here, as they combine their fairy-tale magical existence with existence in the real world. Fairy Rosabelverde, she is also the Canoness of the Rozenshen Orphanage for Noble Maidens, patronizes the disgusting little Tsakhes, rewarding him with three magical golden hairs. In the same dual capacity as the fairy Rosabelverde, she is also Canoness Rosenshen, the good wizard Alpanus also acts, surrounding himself with various fabulous miracles that the poet and dreamer student Baltazar well sees. In his ordinary incarnation, only accessible to philistines and sober-minded rationalists, Alpanus is just a doctor, prone, however, to very intricate quirks. Thus, Hoffmann's tale told us to a lesser extent about the "acts" of inherently polar heroes, but to a greater extent about the diversity and many-sidedness of man. Hoffmann, as an analyst, showed the reader in an exaggerated form the state of a person, their personified separate existence. However, the whole fairy tale is an artistic study of a person in general and his consciousness. "Worldly views of Kota Murr" The novel "Worldly Views of Murr the Cat" brought together all the creative experience of Hoffmann, here all the themes of his previous works are present. If the short story “Little Tsakhes” is already marked by a clear shift in emphasis from the fantasy world to the real world, then this trend was even more pronounced in the novel “The Worldly Views of Cat Murr, coupled with fragments of the biography of Kapellmeister Johannes Kreisler, accidentally surviving in waste paper” (1819- 1821). The dualism of Hoffmann's worldview remains and even deepens in the novel. But it is expressed not through the opposition of the fairy-tale world and the real world, but through the disclosure of the real conflicts of the latter, through the general theme of the writer's work - the conflict between the artist and reality. The world of magical fantasy completely disappears from the pages of the novel, with the exception of some minor details associated with the image of Meister Abraham, and all the author's attention is focused on the real world, on the conflicts taking place in contemporary Germany, and their artistic comprehension is freed from the fabulous-fantastic shell. This does not mean, however, that Hoffmann becomes a realist, standing on the position of the determinism of characters and the development of the plot. The principle of romantic convention, the introduction of conflict from the outside, still determines these main components. In addition, it is enhanced by a number of other details: this is the story of Meister Abraham and the "invisible girl" Chiara with a touch of romantic mystery, and the line of Prince Hector - monk Cyprian - Angela - Abbot Chrysostom with extraordinary adventures, sinister murders, fatal recognitions, as it were moved here from the novel The Devil's Elixir. The composition of the novel is based on the principle of two-dimensionality, the opposition of two antithetical principles, which in their development are skillfully combined by the writer into a single narrative line. A purely formal technique becomes the main ideological and artistic principle of the embodiment of the author's idea, philosophical understanding of moral, ethical and social categories. The autobiographical narrative of a certain scientist cat Murr is interspersed with excerpts from the life of the composer Johannes Kreisler. Already in the combination of these two ideological and plot plans, not only by their mechanical combination in one book, but also by the plot detail that the owner of the cat Murra, Meister Abraham is one of the main characters in Kreisler's biography, a deep ironic parodic meaning is laid. The dramatic fate of a genuine artist, musician, tormented in an atmosphere of petty intrigues, surrounded by high-born nonentities of the chimerical Principality of Sighartsweiler, is opposed by the life of the “enlightened” philistine Murr. Moreover, such an opposition is given in a simultaneous comparison, because Murr is not only the antipode of Kreisler. One must have a very clear idea of the peculiarities of the structure of this novel, emphasized by its very composition. This structure is unusual for Hoffmann. Outwardly, it may seem that the biography of Murr and the biography of Kreisler is a repetition of Hoffmann's division of the world into two parts: artists and philistines. But things are more complicated. The two-plane structure is already present in Kreisler's biography itself (Kreisler and the court of Irenaeus). What is new here is the Murr line (the second structure is built on top of the first). Here the cat is trying to appear to the reader as an enthusiast, a dreamer. This idea is very important to understand, because usually students at the exam, hastily leafing through the novel, stubbornly repeat that Murr is a philistine, period. In fact, Murr's biography is a parodic mirror of the former Hoffmannian romantic structure. And both parts exist only in interaction. Without Murr, this would have been another typical Hoffmannian story, without Kreisler, it would have been a wonderful example of satirical, self-revealing irony, which is very common in world literature (something like Saltykov-Shchedrin's The Wise Gudgeon). But here Hoffmann collides parody with a lofty romantic style, which gives his irony a completely murderous character. Murr is, as it were, the quintessence of philistinism. He imagines himself to be an outstanding personality, scientist, poet, philosopher, and therefore he keeps the chronicle of his life "for the edification of budding feline youth." But in reality, Murr is an example of that “harmonic vulgarity” that was so hated by the romantics. The whole cat-and-dog world in the novel is a satirical parody of the estate society of the German states: on the “enlightened” philistine burghers, on student unions - burschenschafts, on the police (yard dog Achilles), on the bureaucratic nobility (spitz), on the highest aristocracy (poodle Scaramouche , Salon of the Italian Greyhound Badina). But Hoffmann's satire becomes even more acute when he chooses the nobility as its object, encroaching on its upper strata and on those state-political institutions that are associated with this class. Leaving the ducal residence, where he was the court bandmaster, Kreisler ends up with Prince Iriney, his imaginary court. The fact is that once the prince “really ruled over a picturesque owner near Sighartsweiler. From the belvedere of his palace, with the help of a spyglass, he could survey his entire state from edge to edge ... At any moment it was easy for him to check whether Peter’s wheat was harvested in the most remote corner of the country, and with the same success to see how carefully they processed their vineyards of Hans and Kunz. The Napoleonic Wars deprived Prince Irenaeus of his possessions: he "dropped his toy state out of his pocket during a short promenade to a neighboring country." But Prince Irenaeus decided to preserve his small court, "turning life into a sweet dream in which he himself and his retinue stayed," and the good-natured burghers pretended that the false brilliance of this ghostly courtyard brought them glory and honor. Prince Irenaeus, in his spiritual poverty, is not an exclusive representative for Hoffmann; of his class. The entire princely house, starting with the illustrious father Irenaeus, are stupid, flawed people. And what is especially important in the eyes of Hoffmann, the high-ranking nobility, no less than the enlightened philistines from the burgher class, is hopelessly far from art: “It may well be that the love of the greats of this world for the arts and sciences is only an integral part of court life. The position obliges to have pictures and listen to music. In the arrangement of characters, the scheme of opposing the world of poetry and the world of everyday prose, characteristic of Hoffmann's two-dimensionality, is preserved. The main character of the novel is Johannes Kreisler. In the writer's work, he is the most complete embodiment of the image of the artist, the "wandering enthusiast." It is no coincidence that Hoffmann gives Kreisler many autobiographical features in the novel. Kreisler, Meister Abraham and the daughter of Benzon's adviser Yulia make up a group of "true musicians" who oppose the court of Prince Irenaeus in the work. Conclusion The creative path of E.T.A. Hoffman's bright star drew a dazzling trail in the sky of the geniuses of literature, it was short, but unforgettable. It is difficult to overestimate the influence of Hoffmann on world literature, and especially on Russian writers. Until now, his work excites the minds and souls, forcing them to re-evaluate the world of internal and external. Hoffmann's works represent an immense field for research - each time, re-reading the same thing, you open up new horizons of the author's thoughts and fantasies. And, probably, one of the most remarkable properties of the works of this romantic is that they treat soul, allowing you to notice the vices in yourself and correct them. They open their eyes to the diversity of the world, showing the way to the possession of the wealth of the universe. The theme of duality has always existed. In almost any work of art, you can hear its echoes, almost every writer was worried about it. But, it seems to me, no one has revealed it and shown it in all its diversity as E.T.A. Hoffman. That is why all critics talk about the famous Hoffmann two worlds describing his work. Bibliography 1.Bent M.I. Poetics of Hoffmann's fairy tale novel as a realization of general romantic evolution // In the world of E. T. A. Hoffman. Issue. 1. Kaliningrad, 1994. - S. 75-87. .Berkovsky N.E.T.A. Hoffman // Berkovsky N.Ya. Romanticism in Germany. - SPb.: ABC Classics, 2001. - S. 419-489 .Botnikova A. B. The Function of Fantasy in the Works of German Romantics // Problems of the Artistic Method. Riga, 1970. - S. 110-128 .Belza I.E.T.A. Hoffmann and the Romantic Synthesis of Arts // The Artistic World of E.T.A. Hoffmann/ Sat. Articles / / USSR Academy of Sciences, Scientific Council on the History of World Culture. - M.: Nauka, 1982. - S.11-34 .Gilmanov V. Mythological thinking in E. T. A. Hoffmann's fairy tale "The Golden Pot" // In the world of E. T. A. Hoffman. Issue. 1. Kaliningrad, 1994. - S. 27-40. .Zhirmunskaya N.A. Novels by E.T.A. Hoffman in today's world // Zhirmunskaya N.A. From Baroque to Romanticism: Articles on French and German Literature. - St. Petersburg: Faculty of Philology of St. Petersburg State University, 2001. - S. 383-402.
- Brief description of Hoffmann's work.
- The poetics of romanticism in the fairy tale "The Golden Pot".
- Satire and grotesque in the fairy tale "Little Tsakhes".
1. Ernst Theodor Amadeus Hoffmann(1776-1822) Romantic writer, musician, artist.
Raised by an uncle, a lawyer, prone to fantasy and mysticism. He was an all-round gifted person. Was fond of music (he played the piano, organ, violin, sang, conducted an orchestra. He knew music theory very well, was engaged in music criticism, was a fairly well-known composer and a brilliant connoisseur of musical creations), drew ( was a graphic artist, painter and theater decorator), at the age of 33 he became a writer. Often he did not know what the idea could become: “... On weekdays I am a lawyer and - at most - a bit of a musician, on Sunday afternoon I draw, and in the evening until deep night I am a very witty writer, ”he tells a friend. He was forced to earn a living by jurisprudence, often living from hand to mouth.
The inability to earn money by doing what you love led to a double life and a dual personality. This existence in two worlds is originally expressed in the work of Hoffmann. Duality arises 1) due to the awareness of the gap between the ideal and the real, dream and life; 2) due to the awareness of the incompleteness of the individual in the modern world, which allows society to impose on her their roles and masks that do not correspond to her essence.
Thus, in the artistic consciousness of Hoffmann, two worlds are interconnected and opposed to each other - real-everyday and fantastic. The inhabitants of these worlds are philistines and enthusiasts (musicians).
Philistines: live in the real world, are happy with everything, do not know about the "higher worlds" because they do not feel the need for them. There are more of them, they make up a society where worldly prose and lack of spirituality reign.
Enthusiasts: Reality disgusts them, they live by spiritual interests and art. Almost all are artists. They have a different system of values than the philistines.
The tragedy is that the philistines are gradually pushing enthusiasts out of real life, leaving them the realm of fantasy.
Hoffmann's work can be divided into 3 periods:
1) 1808-1816 - the first collection of "Fantasy in the manner of Callot" (1808 - 1814) ( Jacques Callot, Baroque painter known for his strange, grotesque paintings). The central image of the collection is Kapellmeister Chrysler, a musician and enthusiast doomed to loneliness and suffering in the real world. The central theme is art and the artist in his relationship with society.
2) 1816-1818 - the novel "Satan's Elixirs" (1815), the collection "Night Tales" (1817), which includes the famous fairy tale "The Nutcracker and mouse king". Fantasy takes on a different character: the ironic game disappears, humor, a gothic flavor appears, an atmosphere of horror. The scene changes (forest, castles), characters (members of feudal families, criminals, doubles, ghosts). The dominant motive is the dominion of the demonic fate over the human soul, the omnipotence of evil, the night side of the human soul.
3) 1818-1822 - the story-tale "Little Tsakhes" (1819), the collection "Serapion Brothers" (1819-1821), the novel "Everyday Views of the Cat Murr" (1819-1821), other short stories. Hoffmann's creative style is finally determined - grotesque-fantastic romanticism. Interest in the socio-philosophical and socio-psychological aspects of human life, denunciation of the process of human alienation and mechanism. Images of puppets and marionettes appear, reflecting the "theater of life".
(In The Sandman, a mechanical doll became the legislator of the halls in a "well-meaning society." Olympia is an automaton doll, which, for fun, in order to laugh at people and amuse himself, a famous professor passed off as his daughter. And it goes well. He she hosts receptions at her house, young people take care of Olimpia, she can dance, she can listen very carefully when someone says something to her.
And now a certain student Nathanael falls in love with Olympia to death, not at all doubting that this is a living being. He believes that there is no one smarter than Olympia. She is a very sensitive being. He has no better companion than Olympia. These are all his illusions, selfish illusions. Since she is taught to listen and does not interrupt him and says he is alone all the time, he gets the impression that Olympia shares all his feelings. And he has no closer soul than Olympia.
All this ends with the fact that he once came to visit the professor at the wrong time and saw a strange picture: a fight over a doll. One held her by the legs, the other by her head. Everyone pulled in their direction. This is where the secret was revealed.
After the discovery of deceit in the society of "highly respected gentlemen", a strange atmosphere was established: "The story of the machine gun deeply sunk into their souls, and a disgusting distrust of human faces instilled in them. Many lovers, in order to make sure that they were not captivated by a wooden doll, demanded from their lovers, so that they sing slightly out of tune and dance out of time ... but most of all, so that they not only listen, but sometimes speak themselves, so much so that their speech really expresses thoughts and feelings. and became more sincere, others, on the contrary, calmly dispersed.")
The most popular artistic means are grotesque, irony, satirical fantasy, hyperbole, caricature. Grotesque, according to Hoffmann, is a bizarre combination of various images and motives, free play with them, ignoring rationality and external plausibility.
The novel "Worldly Views of the Cat Murr" is the pinnacle of Hoffmann's work, the embodiment of the features of his poetics. The main characters are Hoffmann's real-life cat and Hoffmann's alter ego Kapellmeister Johann Chrysler (the hero of the first collection "Fantasy in the manner of Callo").
Two storylines: the autobiography of the cat Murr and the life of Johann Chrysler. The cat, outlining his worldly views, tore apart the biography of Johannes Kreisler, which fell into his paws and used the torn pages "part for laying, part for drying." Due to the negligence of typesetters, these pages were also printed. The composition is two-dimensional: chryslerian (tragic pathos) and murriana (comedy-parodic pathos). Moreover, the cat, relative to the owner, represents the world of philistines, and in the cat-dog world, it appears to be an enthusiast.
The cat claims the main role in the novel - the role of the romantic "son of the century." Here he is, wise both by worldly experience and literary and philosophical studies, reasoning at the beginning of his biography: one young cat, endowed with mind and heart, the high flame of poetry ... and another noble young cat will be completely imbued with the lofty ideals of the book that I now hold in my paws, and will exclaim in an enthusiastic impulse: "Oh Murr, divine Murr, the greatest genius of our glorious feline kind! Only to you I owe everything, only your example made me great!" Remove the specifically feline realities in this passage - and you will have a completely romantic style, lexicon, pathos.
Or, for example: We read the sad story of the life of Kapellmeister Kreisler, a lonely, little-understood genius; inspired sometimes romantic, sometimes ironic tirades explode, fiery exclamations sound, fiery eyes burn - and suddenly the narration breaks off, sometimes literally in mid-sentence (the torn page ends), and the learned cat mutters the same romantic tirades: "... I know for sure: my motherland is an attic! The climate of the motherland, its customs, how inextinguishable these impressions... Where does such an exalted way of thinking come from in me, such an irresistible desire for higher spheres? jumping? Oh, sweet longing fills my chest! Longing for my native attic rises in me with a powerful wave! I dedicate these tears to you, oh beautiful homeland ... "
Murriana is a satire on German society, its mechanistic nature. Chrysler is not a rebel, loyalty to art elevates him above society, irony and sarcasm is a way of protection in the world of philistines.
Creativity Hoffmann had a huge impact on E. Poe, C. Baudelaire, O. Balzac, C. Dickens, N. Gogol, F. Dostoevsky, O. Wilde, F. Kafka, M. Bulgakov.
2. "The Golden Pot: A Tale from New Times" (1814)
Hoffmann's dual world is manifested at different levels of the text. Already the genre definition combines two temporal poles: a fairy tale (immediately referring to the past) and modern times. In addition, the subtitle can also be interpreted as a combination of fantastic (fairy tale) and real (New time).
Structurally, the tale consists of 12 vigils (originally - night guards), 12 - a mystical number.
At the level of the chronotope, the tale is also dual: the action takes place in a very real Dresden, in mystical Dresden, which was revealed to the protagonist Anselm, and in the mysterious land of poets and enthusiasts, Atlantis. The time is also significant: the events of the tale take place on the day of the Ascension of the Lord, which partly hints at the further fate of Anselm.
The figurative system includes representatives of the fantastic and real world, Good and Evil. Anselm is a young man who has all the features of an enthusiast (“a naive poetic soul”), but is still at the crossroads between two worlds (Anselm’s student is the poet Anselm (in the last chapter)). For his soul, there is a struggle between the world of philistines, which is represented by Veronica, who hopes for his future brilliant career and dreams of becoming his wife, and Serpentina, a golden-green snake, the daughter of the archivist Lindgorst and part-time - the powerful wizard Salamander. Anselm feels uncomfortable in the real world, but in moments of special states of mind (caused by "useful tobacco", "gastric liquor") he is able to see a different, magical world.
The double world is also realized in the images of a mirror and mirror objects (a fortune-teller's mirror, a mirror made of rays of light from an archivist's ring), a color scheme, which is represented by shades of colors (golden-green snake, a pike-gray tailcoat), dynamic and fluid sound images, playing with time and space (the office of the archivist, like the Tardis in the modern Doctor Who series, is larger inside than outside))).
Gold, jewelry and money have a mystical power that is detrimental to enthusiasts (precisely flattered by money, Anselm falls into a bottle under glass). The image of the Golden Pot is ambiguous. On the one hand, it is a symbol of creativity, from which the Fire Lily of poetry grows (analogous to the “blue flower” of romanticism in Novalis), on the other hand, it was originally conceived as an image of a chamber pot. The irony of the image allows us to reveal the real fate of Anselm: he lives with Serpentina in Atlantis, but actually lives somewhere in a cold attic here in Dresden. Instead of becoming a successful court adviser, he became a poet. The ending of the tale is ironic - the reader himself decides whether he is happy.
The romantic essence of the heroes is manifested in their professions, appearance, everyday habits, behavior (Anselm is mistaken for a madman). Hoffmann's romantic style is in the use of grotesque images (the transformation of a doorknocker, an old woman), fantasy, irony, which is realized in portraits, author's digressions that set a certain tone in the perception of the text.
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Plan
Introduction
The creative path of E.T.A. Hoffmann
"Double World" Hoffmann
Conclusion
List of used literature
Introduction
Hoffmann belongs to those writers whose posthumous fame is not limited to numerous editions of collected works.
His fame is rather light and winged, it is poured into the spiritual atmosphere that surrounds us. Whoever has not read the "tales of Hoffmann" will sooner or later hear them, or see them, but will not pass by! Let us recall, for example, The Nutcracker ... in the theater on the ballets of Tchaikovsky or Delibes, and if not in the theater, then at least on the theater poster or on the television screen. The invisible shadow of Hoffmann constantly and beneficially overshadowed Russian culture in the 19th, and in the 20th, and in the current, 21st, century ...
This paper examines the life and creative path of the writer, analyzes the main motives of Hoffmann's work, his place in contemporary literature for him - and for us. . The issues related to Hoffmann's dual world are also considered.
creative pathTHIS. Hoffmann
Hoffmann took up literature late - at the age of thirty-three. Contemporaries met the new writer with caution, his fantasies were immediately identified as romantic, in the spirit of the then popular mood, and after all, Romanticism was associated primarily with the generation of young people infected with the French revolutionary virus.
Entering literature at a time when the Jena and Heidelberg romantics had already formulated and developed the basic principles of German romanticism, Hoffmann was a romantic artist. The nature of the conflicts underlying his works, their problems and the system of images, the artistic vision of the world itself remain within the framework of romanticism. Like the Jensen, most of Hoffmann's works are based on the artist's conflict with society. The original romantic antithesis of the artist and society is at the heart of the writer's attitude. Following the Jens, Hoffmann considers the creative person to be the highest embodiment of the human "I" - an artist, an "enthusiast", in his terminology, who has access to the world of art, the world of fairy tale fantasy, those only areas where he can fully realize himself and find refuge from the real philistine everyday life.
But the embodiment and resolution of the romantic conflict in Hoffmann are different than in the early romantics. Through the denial of reality, through the artist's conflict with it, the Jensen rose to the highest level of their worldview - aesthetic monism, when the whole world became for them the sphere of poetic utopia, fairy tale, the sphere of harmony in which the artist comprehends himself and the Universe. The romantic hero of Hoffmann lives in the real world (beginning with Gluck's gentleman and ending with Kreisler). With all his attempts to break out of it into the world of art, into the fantastic fairy-tale kingdom of Dzhinnistan, he remains surrounded by real, concrete historical reality. Neither a fairy tale nor art can bring him harmony in this real world, which ultimately subjugates them. Hence the constant tragic contradiction between the hero and his ideals, on the one hand, and reality, on the other. Hence the dualism from which Hoffmann's heroes suffer, the two worlds in his works, the insolubility of the conflict between the hero and the outside world in most of them, the characteristic two-dimensionality of the writer's creative manner. Zatonsky D.V. European realism of the 19th century. Lines and faces. Kyiv. 1982.
The creative individuality of Hoffmann in many characteristic features is already defined in his first book, Fantasies in the Manner of Callot, which includes works written from 1808 to 1814. significant aspects of his worldview and creative manner. The short story develops one of the main, if not the main idea of the writer's work - the insolubility of the conflict between the artist and society. This idea is revealed through the artistic device that will become dominant in all subsequent work of the writer - the two-dimensionality of the narrative.
The collections of short stories "Fantasy in the manner of Callot" (1814-1815), "Night stories in the manner of Callot" (1816-1817) and the Serapion brothers (1819-1821) are considered the most significant; dialogue about the problems of theatrical business "The Unusual Sufferings of a Director of Theaters" (1818); a story in the spirit of a fairy tale "Little Tsakhes, nicknamed Zinnober" (1819); and two novels - "Devil's Elixir" - about the irrationality of everyday life (1816), a brilliant study of the problem of duality, and "Everyday views of the cat Murr" - a satire on the German bourgeoisie (1819 - 1821), partly an autobiographical work, full of wit and wisdom. Among the most famous stories of Hoffmann, which were included in the mentioned collections, are the fairy tale "The Golden Pot", the gothic story "Mayorat", a realistically reliable psychological story about a jeweler who is unable to part with his creations, "Mademoiselle de Scudery", and some others Herzen A.I. Collected works in 30 volumes. T. 1. Hoffmann. - M., 1954. - S. 54--56.
Eight years after the release of Fantasies, Hoffmann died. He was already dying as a writer, not exactly famous, but very popular. During these eight years, he managed to write surprisingly much, this is evidenced by the above list of just a few, the most significant, works.
Brilliant fantasy, combined with a strict and transparent style, provided Hoffmann with a special place in German literature. Germany appreciated this much later, already in the 20th century ...
"Double World" Hoffmann
In the 20th century, and today, the reader associated and still associates the name of Hoffmann, first of all, with the famous principle of "two worlds" - a romantically pointed expression of the eternal problem of art, the contradiction between the ideal and reality, "essentiality", as the Russian romantics used to say. “Essentiality” is prosaic, that is, petty and miserable, this life is inauthentic, improper; the ideal is beautiful and poetic, it is true life, but it lives only in the chest of the artist, the “enthusiast”, but he is persecuted by reality and unattainable in it. The artist is doomed to live in the world of his own fantasies, fenced off from the outside world with a protective shaft of contempt or bristling against him with a prickly armor of irony, mockery, satire. And in fact, Hoffmann is like that in “Cavalier Gluck”, and in “The Golden Pot”, and in “Dog Berganets”, and in “Little Tsakhes”, and in “Lord of the Fleas”, and in “Cat Murre”.
There is another image of Hoffmann: under the mask of a mad joker hides a tragic singer of the duality and alienation of the human soul (not excluding the artistic soul). And it is also easy to find grounds for this image: in "The Sandman", "Majorat", "Elixirs of the Devil", "Magnetizer", "Mademoiselle de Scuderi", "Player's Happiness" by Herzen A.I. Collected works in 30 volumes. T. 1. Hoffmann. - M., 1954. - S. 52.
These two images, iridescent, flickering, are the main ones in the work of Hoffmann, but there are also others: a cheerful and kind storyteller - the author of the famous "Nutcracker"; singer of ancient crafts and patriarchal foundations - author of "Master Martin the Cooper" and "Master Johannes Watch"; the selfless priest of Music - the author of "Kreisleriana"; secret admirer of Life - the author of "The Corner Window".
Perhaps the most virtuosic elaboration of the psychological (and, by the way, social too) problematics is given in the striking sketch “Counsellor Crespel” from the “Serapion Brothers”. It says about the title character: “There are people whom nature or merciless fate have deprived of cover, under the cover of which we, the rest of the mortals, imperceptibly to the eyes of others, proceed in our follies ... Everything that remains a thought in Crespel is immediately transformed into action. Bitter mockery, which, it must be assumed, is constantly concealed on its lips by the spirit languishing in us, squeezed in the vice of an insignificant earthly vanity, Crespel shows us with his own eyes in his extravagant antics and antics. But this is his lightning rod. Everything that rises up in us from the earth, he returns to the earth - but the divine spark keeps holy; so that his inner consciousness, I believe, is quite healthy, despite all the seeming - even eye-catching - folly. ” The Serapion brothers. T. 1. - Pb., 1836. - S. 69.
This is a significantly different twist. As it is easy to see, we are not talking about a romantic individual only, but about human nature in general. Crespel is characterized by one of the "other mortals" and all the time he says "we", "in us". In the depths of our souls, we all “come out in our follies”, and the dividing line, the notorious “two worlds” begins not at the level of the inner, spiritual structure, but at the level of only its external expression. What “other mortals” reliably hide under a protective cover (everything “earthly”) is not forced out in depth by Crespel. On the contrary, it is released outside, "is returned to the earth" (psychologists of the Freudian circle will call it "catharsis" - by analogy with Aristotle's "purification of the soul").
But Crespel - and here he again returns to the romantic chosen circle - sacredly keeps the "divine spark". And it is possible - and quite often - also when neither morality nor consciousness are able to overcome "everything that rises up in us from the earth." Hoffmann fearlessly enters this sphere as well. His novel "Devil's Elixirs" at a superficial glance may now appear to be just a mixture of a horror novel and a detective story; in fact, the story of the unrestrained moral sacrilege and criminal offenses of the monk Medardus is a parable and a warning. What, in relation to Crespel, is softened and philosophically abstractly designated as “everything that rises up in us from the earth”, here it is called much sharper and harsher - we are talking about “a blind beast raging in a person”. And here not only the uncontrolled power of the subconscious, "repressed" is rampant - here also the dark force of blood, bad heredity, presses.
According to Hoffmann, man is thus oppressed not only from the outside, but also from the inside. His "crazy antics and antics", it turns out, is not only a sign of dissimilarity, individuality; they are also Cain's seal of the race. The "cleansing" of the soul from the "earthly", splashing it outward can give rise to the innocent eccentricities of Crespel and Kreisler, and maybe even the criminal unbridledness of Medardus. Pressed from two sides, torn apart by two impulses, a person balances on the verge of a break, a split - and then already genuine madness.
The phantom of bifurcation, which had haunted his soul and occupied his mind all his life, Hoffmann embodied this time in an unheard of bold art form, not only placing two different biographies under one cover, but also demonstratively mixing them. We are talking about the novel "Everyday worldviews of the cat Murr". It is interesting that both biographies reflect the same epochal issues, the history of Hoffmann's time and generation, that is, one subject is given in two different illuminations, interpretations. Hoffmann sums up here; the outcome is ambiguous.
The confession of the novel is emphasized primarily by the fact that the same Kreisler appears in it. With the image of his literary double, Hoffmann began - "Kreislerian" in the cycle of the first "Fantasy" - and ends with it.
At the same time, Kreisler is by no means a hero in this novel. As the publisher immediately warns (fictitious, of course), the proposed book is precisely the confession of the learned cat Murr; and the author and the hero - he. But when the book was being prepared for publication, it is ruefully explained further, there was an embarrassment: when the proof sheets began to arrive at the publisher, he was horrified to find that the notes of the cat Murr were constantly interrupted by fragments of some completely different text! As it turned out, the author (that is, the cat), expounding his worldly views, along the way, tore apart the first book that fell into his paws from the owner’s library in order to use the torn pages “partly for laying, partly for drying.” The book, cut up in such a barbaric way, turned out to be a biography of Kreisler; due to the negligence of typesetters, these pages were also printed.
The biography of a brilliant composer is like waste paper in a cat's biography! It was necessary to have a truly Hoffmannian fantasy in order to give such a form to bitter self-irony. Who needs Kreisler's life, his joys and sorrows, what are they good for? Is that to dry the graphomaniac exercises of a learned cat!
However, with graphomaniac exercises, everything is not so simple. As we read Murr's autobiography itself, we are convinced that the cat is also not so simple, and by no means without reason claims to play the main role in the novel - the role of the romantic "son of the century." Here he is, now wiser with both worldly experience and literary and philosophical studies, reasoning at the beginning of his biography: “How rare, however, is the true affinity of souls in our wretched, inert, selfish age! .. My writings will undoubtedly ignite in the chest not one young, gifted with mind and heart cat, the high flame of poetry ... but another noble young cat will be completely imbued with the lofty ideals of the book that I now hold in my paws, and will exclaim in an enthusiastic impulse: “Oh Murr, divine Murr, the greatest genius of our glorious feline family! Only to you I owe everything, only your example made me great!” Remove the specifically feline realities in this passage - and you will have a completely romantic style, lexicon, pathos.
To depict a romantic genius in the image of an imposingly sloppy cat is already a very funny idea in itself, and Hoffmann makes full use of its comic possibilities. Of course, the reader is quickly convinced that, by nature, Murr simply learned the fashionable romantic jargon. However, it is not so indifferent that he "works" under romance with success, with an outstanding sense of style! Hoffmann could not but know that such a masquerade risks compromising romanticism itself; it's a calculated risk.
Here are the "waste sheets" - with all the "Hoffmannian" reigning here, the sad story of the life of Kapellmeister Kreisler, a lonely, little-understood genius; sometimes inspired romantic, sometimes ironic tirades explode, fiery exclamations sound, fiery eyes blaze - and suddenly the narration breaks off, sometimes literally in the middle (the torn page ends), and the same romantic tirades rapturously mumble the learned cat: “... I know for sure : my homeland is an attic! The climate of the motherland, its customs, how inextinguishable are these impressions... Where does such an exalted way of thinking come from in me, such an irresistible desire for higher spheres? Whence such a rare gift to instantly ascend upwards, such courageous, most ingenious jumps worthy of envy? Oh, sweet longing fills my chest! Longing for my native attic rises in me in a powerful wave! I dedicate these tears to you, oh beautiful homeland ... "
The demonstrative, almost literal fragmentation of the novel, its outward narrative confusion (again: either the extravaganza of fireworks, or the whirlwind of the carnival) is compositionally soldered tightly, with ingenious calculation, and it must be realized.
At first glance, it may seem that the parallel biographies of Kreisler and Murr are a new version of the traditional Hoffmannian dual world: the sphere of "enthusiasts" (Kreisler) and the sphere of "philistines" (Murr). But even a second glance complicates this arithmetic: after all, in each of these biographies, in turn, the world is also divided in half, and each has its own sphere of enthusiasts (Kreisler and Murr) and philistines (environment of Kreisler and Murr). The world is no longer doubling, but quadrupling - the score here is "twice two"!
And this changes the whole picture very significantly. We isolate the experiment for the sake of Kreisler's line - before us will be another "classical" Hoffmann's story with all its characteristic attributes; if we single out Murr's line, there will be a "hoffmanized" version of the genre of satirical allegory, the "animal epic" or fable with a self-revealing meaning, which is very common in world literature. But Hoffmann mixes them up, pushes them together, and they must certainly be perceived only in mutual relation.
These are not just parallel lines - they are parallel mirrors. One of them - Murrovsky - is placed in front of the former Hoffmannian romantic structure, reflects and repeats it again and again. Thus, this mirror inevitably removes absoluteness from the history and figure of Kreisler, gives it a shimmering ambiguity. The mirror turns out to be a parody, "worldly views of the cat Murr" - an ironic paraphrase of "the musical suffering of Kapellmeister Kreisler."
One of the essential components of Hoffmann's poetics, as well as the early romantics, is irony. Moreover, in Hoffmann's irony as a creative technique, which is based on a certain philosophical, aesthetic, worldview position, we can clearly distinguish two main functions. In one of them, he appears as a direct follower of the Yenese. We are talking about those of his works in which purely aesthetic problems are solved and where the role of romantic irony is close to that which it performs in the Jena romantics. Romantic irony in these works of Hoffmann receives a satirical sound, but this satire does not have a social, public orientation. An example of the manifestation of such a function of irony is the short story "Princess Brambilla" - brilliant in its artistic performance and typically Hoffmann in demonstrating the duality of his creative method. Following the Jenians, the author of the short story "Princess Brambilla" believes that irony should express a "philosophical outlook on life", that is, be the basis of a person's attitude to life. In accordance with this, as with the Jenese, irony is a means of resolving all conflicts and contradictions, a means of overcoming that “chronic dualism” from which the protagonist of this short story, actor Giglio Fava, suffers.
In line with this main trend, another and more essential function of his irony is revealed. If among the Yenese irony as an expression of a universal attitude to the world became at the same time an expression of skepticism and refusal to resolve the contradictions of reality, then Hoffmann saturates irony with a tragic sound, for him it contains a combination of the tragic and the comic. The main bearer of Hoffmann's ironic attitude to life is Kreisler, whose "chronic dualism" is tragic, in contrast to the comical "chronic dualism" of Giglio Fava. The satirical beginning of Hoffmann’s irony in this function has a specific social address, significant social content, and therefore this function of romantic irony allows him, a romantic writer, to reflect some typical phenomena of reality (“The Golden Pot”, “Little Tsakhes”, “The Worldly Views of the Cat Murra" - works that most characteristically reflect this function of Hoffmann's irony).
For Hoffmann, the superiority of the poetic world over the world of real everyday life is undeniable. And he sings of this world of a fabulous dream, giving it preference over the real, prosaic world.
But Hoffmann would not have been an artist with such a contradictory and, in many respects, tragic worldview if such a fairy tale novel had determined the general direction of his work, and did not demonstrate only one of its sides. At its core, however, the writer's artistic worldview does not at all proclaim the complete victory of the poetic world over the real. Only madmen like Serapion or philistines believe in the existence of only one of these worlds. This principle of duality is reflected in a number of Hoffmann's works, perhaps the most striking in their artistic quality and most fully embodied the contradictions of his worldview. Such, first of all, is the fairy-tale short story The Golden Pot (1814), the title of which is accompanied by the eloquent subtitle A Tale from Modern Times. The meaning of this subtitle lies in the fact that the characters in this tale are contemporaries of Hoffmann, and the action takes place in the real Dresden at the beginning of the 19th century. This is how Hoffmann rethinks the Jena tradition of the fairy tale genre - the writer includes a plan of real everyday life in its ideological and artistic structure. The hero of the novel, student Anselm, is an eccentric loser, endowed with a "naive poetic soul", and this makes the world of the fabulous and wonderful accessible to him. Faced with him, Anselm begins to lead a dual existence, falling from his prosaic existence into the realm of a fairy tale, adjacent to ordinary real life. In accordance with this, the short story is compositionally built on the interweaving and interpenetration of the fabulous-fantastic plan with the real. Romantic fairy-tale fantasy in its subtle poetry and elegance finds here in Hoffmann one of its best exponents. At the same time, the real plan is clearly outlined in the novel. Not without reason, some researchers of Hoffmann believed that this novel could be used to successfully reconstruct the topography of the streets of Dresden at the beginning of the last century. A significant role in the characterization of the characters is played by a realistic detail.
A widely and vividly developed fairy-tale plan with many bizarre episodes, so unexpectedly and seemingly randomly invading the story of real everyday life, is subject to a clear, logical ideological and artistic structure of the short story, in contrast to the deliberate fragmentation and inconsistency in the narrative manner of most early romantics. The two-dimensional nature of Hoffmann's creative method, the two worlds in his worldview were reflected in the opposition of the real and the fantastic world and in the corresponding division of the characters into two groups. Konrektor Paulman, his daughter Veronica, registrar Geerbrand - prosaically thinking Dresden townsfolk, which can be attributed, in the author's own terminology, to good people, devoid of any poetic flair. They are opposed by the archivist Lindhorst with his daughter Serpentina, who came to this philistine world from a fantastic fairy tale, and the dear eccentric Anselm, whose poetic soul opened the fairy-tale world of the archivist.
In the happy ending of the novel, which ends with two weddings, its ideological intent is fully interpreted. The court adviser becomes the registrar Geerbrand, to whom Veronika gives her hand without hesitation, having abandoned her passion for Anselm. Her dream comes true - “she lives in a beautiful house in the New Market”, she has “a hat of the latest style, a new Turkish shawl”, and, having breakfast in an elegant negligee by the window, she gives orders to the servants. Anselm marries Serpentina and, having become a poet, settles with her in fabulous Atlantis. At the same time, he receives as a dowry a “pretty estate” and a golden pot, which he saw in the archivist’s house. The golden pot - this peculiar ironic transformation of Novalis' "blue flower" - retains the original function of this romantic symbol. It can hardly be considered that the completion of the Anselm-Serpentina storyline is a parallel to the philistine ideal embodied in the union of Veronica and Geerbrand, and the golden pot is a symbol of bourgeois happiness. After all, Anselm does not give up his poetic dream, he only finds its realization.
The philosophical idea of the short story about the incarnation, the realm of poetic fantasy in the world of art, in the world of poetry, is affirmed in the last paragraph of the short story. Its author, suffering from the thought of having to leave the fabulous Atlantis and return to the miserable squalor of his attic, hears the encouraging words of Lindhorst: “Weren’t you yourself just in Atlantis and don’t you own at least a decent manor there as poetic property your mind? Is Anselm's bliss nothing else than life in poetry, which reveals the sacred harmony of all that exists as the deepest of the mysteries of nature!
V. G. Belinsky highly appreciated Hoffmann's satirical talent, noting that he was able to "depict reality in all its truth and execute philistinism ... his compatriots with poisonous sarcasm."
These observations of the remarkable Russian critic can be fully attributed to the fairy tale short story "Little Tsakhes". In the new fairy tale, Hoffmann's two worlds in the perception of reality are fully preserved, which again is reflected in the two-dimensional composition of the novel, in the characters' characters and their arrangement. Many of the main characters of the novel are fairy tales.
"Little Tsakhes" have their literary prototypes in the short story "The Golden Pot": student Balthazar - Anselma, Prosper Alpanus - Lindhorst, Candida - Veronica.
The duality of the novel is revealed in the opposition of the world of poetic dreams, the fabulous country of Dzhinnistan, the world of real everyday life, the principality of Prince Barsanuf, in which the action of the novel takes place. Some characters and things lead a dual existence here, as they combine their fairy-tale magical existence with existence in the real world. Fairy Rosabelverde, she is also the Canoness of the Rozenshen Orphanage for Noble Maidens, patronizes the disgusting little Tsakhes, rewarding him with three magical golden hairs.
In the same dual capacity as the fairy Rosabelverde, she is also Canoness Rosenshen, the good wizard Alpanus also acts, surrounding himself with various fabulous miracles that the poet and dreamer student Baltazar well sees. In his ordinary incarnation, only accessible to philistines and sober-minded rationalists, Alpanus is just a doctor, prone, however, to very intricate quirks.
The artistic plans of the compared short stories are compatible, if not completely, then very closely. In terms of ideological sound, for all their similarity, the novellas are quite different. If in the fairy tale "The Golden Pot", which ridicules the worldview of philistinism, satire has a moral and ethical character, then in "Little Tsakhes" it becomes more acute and receives a social sound. It is no coincidence that Belinsky noted that this short story was banned by the tsarist censorship for the reason that it contains "a lot of ridicule of stars and officials."
It is in connection with the expansion of the address of satire, with its strengthening in the short story, one significant moment in its artistic structure also changes - the main character becomes not a positive hero, a characteristic Hoffmann eccentric, a poet-dreamer (Anselm in the short story "The Golden Pot"), but a negative hero - the vile freak Tsakhes, a character, in a deeply symbolic combination of his external features and internal content, first appears on the pages of Hoffmann's works. “Little Tsakhes” is even more of a “tale from new times” than “The Golden Pot”. Tsakhes - a complete nonentity, devoid of even the gift of intelligible articulate speech, but with an exorbitantly swollen swaggering pride, disgustingly ugly in appearance - due to the magical gift of the Rosabelverde fairy, in the eyes of those around him, he looks not only a stately handsome man, but also a person endowed with outstanding talents, bright and clear mind. In a short time, he makes a brilliant administrative career: without completing a law course at the university, he becomes an important official and, finally, the all-powerful first minister in the principality. Such a career is only possible due to the fact that Tsakhes appropriates other people's labors and talents - the mysterious power of the three golden hairs makes blinded people attribute to him everything significant and talented done by others.
Thus, within the framework of the romantic worldview and the artistic means of the romantic method, one of the great evils of the modern social system is depicted. However, the unfair distribution of spiritual and material wealth seemed fatal to the writer, arising under the influence of irrational fantastic forces in this society, where power and wealth are endowed with insignificant people, and their insignificance, in turn, by the power of power and gold turns into an imaginary brilliance of mind and talents. The debunking and overthrowing of these false idols, in accordance with the nature of the writer's worldview, comes from outside, thanks to the intervention of the same irrational fairy-tale-magical forces (the sorcerer Prosper Alpanus, in his confrontation with the fairy Rosabelverde, who patronizes Balthazar), which, according to Hoffmann, gave rise to this ugly social phenomenon. The scene of indignation of the crowd bursting into the house of the all-powerful minister Zinnober after he lost his magical charm, of course, should not be taken as an attempt by the author to seek a radical means of eliminating the social evil that is symbolized in the fantastically fabulous image of the freak Tsakhes. This is just one of the minor details of the plot, which by no means has a programmatic character. The people are not rebelling against the evil temporary minister, but only mocking the disgusting freak, whose appearance finally appeared before them in its true form. Grotesque within the framework of the fairy-tale plan of the novel, and not socially symbolic, is the death of Tsakhes, who, fleeing the raging crowd, drowns in a silver chamber pot.
hoffman creativity writer dual world
Conclusion
It was Hoffmann who most poignantly embodied words in the art of "dvoe-world"; it is his identification mark. But Hoffmann is neither a fanatic nor a dogmatist of dual worlds; he is his analyst and dialectician...
... Since then, many wonderful masters have come into the world, somewhat similar and completely different from Hoffmann. And the world itself has changed beyond recognition. But Hoffmann continues to live in world art. Much was revealed for the first time to the intent and kind gaze of this artist, and therefore his name often sounds like a symbol of humanity and spirituality. For the great romantics, among whom Hoffmann occupies one of the most honorable places, the contradictions of life that painfully wounded them remained a mystery. But they were the first to talk about these contradictions, about the fact that the struggle with them - the struggle for the ideal - is the happiest lot of man ...
List of used literature
Belinsky V.G. Full composition of writings. T. 4. - L., 1954. - S. 98
Berkovsky N.Ya. Romanticism in Germany. SPb., 2002. S.463-537.
Braudo E.M. THIS. Hoffmann. - Pgd., 1922. - S. 20
Herzen A.I. Collected works in 30 volumes. T. 1. Hoffmann. - M., 1954. - S. 54--56.
Zhirmunsky V.M. German romanticism and modern mysticism. M., 1997.
Foreign literature of the 19th century. Romanticism. Reader of historical and literary materials. Comp. A.S. Dmitriev et al. M., 1990.
Selected Prose of the German Romantics. M., 1979. T. 1-2.
History of foreign literature of the 19th century. Ed. A.S. Dmitrieva. M., 1971. 4.1.
History of foreign literature of the 19th century. Ed. Ya.N. Zasursky, S.V. Turaev. M., 1982.
History of foreign literature of the 19th century. Ed. N.P.Mikhalskaya. M., 1991. 4.1.
Karelsky A. Drama of German Romanticism. - M., 1992.
The Literary Theory of German Romanticism. - M., 1934.
Mirimsky I. Romanticism E.T.A. Hoffmann. Issue. 3. - M., 1937. - S. 14
Novikov M. "And I saw the world like this" // Literary Review. - 1996. - No. 9-10.
Turaev S.V. German Literature // History of World Literature in 9 vols. - T.6. - M.: Nauka, 1989. - S.51-55.
Ferman V.E. German Romantic Opera // Opera Theatre. Articles and research. - M., 1961. - S. 34
The artistic world of E.T.A. Hoffmann. - M.: Nauka, 1982. - 292 p.
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