Goncharov ordinary history analysis of the work. ordinary story

The novel, first published in Sovremennik in 1847, is autobiographical: Ivan Goncharov is easily recognizable in Sasha Aduev at a time when he devoted all his free time from service to writing poetry and prose. “I then drowned the stoves with piles of written paper,” the writer recalled. "An Ordinary Story" is the first work with which Goncharov decided to go public. In the poems attributed to Sasha, literary critics recognize the author's original poems (remaining in drafts). In Sasha's poems, the "common places" of romanticism are sung: both melancholy and joy are causeless, have nothing to do with reality, "swoop in a sudden cloud", etc., etc.

Literary direction

Goncharov is a bright representative of that literary generation which, in the words of the contemporary researcher V.G. realism was in the 1840s. something like self-rehabilitation, calculation with a romantic past.

Genre

"An Ordinary Story" is a typical parenting novel depicting a fundamental change in the outlook and character of the protagonist - a typical young man of his generation - under the influence of changes in society and everyday ups and downs.

Issues

The problem of the inevitability of changes in a person under the influence of changes in society is the main one in the novel, but the attitude towards it is by no means unambiguous: the title itself contains a share of bitter irony, regret for the naive, but pure ideals of youth. And hence the second important problem, which consists in the fact that an individual, perfectly adapted socially, is by no means able to guarantee simple universal human values ​​(physical health, moral satisfaction, family happiness) either to himself or to his loved ones.

Main characters

Aduev Jr. (Alexander) is a beautiful-hearted young man with whom, in the course of the novel, an “ordinary story” of maturation and hardening takes place.

Aduev Sr. (Pyotr Ivanovich), Alexander's uncle, is a "man of action."

Lizaveta Alexandrovna is the young wife of Pyotr Ivanovich, she loves and respects her husband, but sincerely sympathizes with her nephew.

Style, plot and composition

Goncharova's novel is an exceptional case of stylistic maturity, the true mastery of a debut work. The irony that permeates the author's presentation is subtle, sometimes elusive and manifests itself in hindsight, when the simple but elegant composition of the novel makes the reader return to some plot collisions. Like a conductor, the author controls the tempo and rhythm of reading, forcing you to read a particular phrase, or even go back.

At the beginning of the novel, Sasha, having completed the course of science, lives in his village. His mother and servant pray for him, his neighbor Sophia is in love with him, his best friend Pospelov writes long letters and receives the same answers. Sasha is firmly convinced that the capital is looking forward to him, and there is a brilliant career in it.

In St. Petersburg, Sasha lives in an apartment next to his uncle, forgets Sonechka and falls in love with Nadenka, to whom he dedicates romantic poems. Nadia, soon forgetting her vows, is carried away by a more adult and interesting person. So life teaches Sasha the first lesson, which is not as easy to brush aside as from failures in poetry, in the service. However, Alexander's "negative" love experience was waiting in the wings and was in demand when he himself had the opportunity to recapture the young widow Yulia Tafaeva from her uncle's companion in love with her. Subconsciously, Alexander longed for "revenge": Yulia, who was soon abandoned by him, was to suffer instead of Nadia.

And now, when Sasha is gradually beginning to understand life, she is disgusted with him. Work - even in the service, even in literature - requires labor, and not just "inspiration". And love is work, and it has its own laws, everyday life, trials. Sasha confesses to Lisa: "I have experienced all the emptiness and all the insignificance of life - and I deeply despise her."

And here, in the midst of Sasha's "suffering", a real sufferer appears: an uncle enters, suffering unbearably from pain in the lower back. And his ruthless nephew also blames him for the fact that his life did not work out either. The reader already has a second reason to regret Aduev Sr. - in the form of a suspicion that he did not work out not only with his lower back, but also with his wife. But, it would seem, he achieved success: he will soon receive the post of director of the office, the title of a real state councilor; he is a wealthy capitalist, a "breeder", while Aduev Jr. is at the very bottom of the worldly abyss. 8 years have passed since his arrival in the capital. 28-year-old Alexander returns to the village in disgrace. “It was worth coming! He shamed the Aduev family!” - Pyotr Ivanovich concludes their dispute.

Having lived in the village for a year and a half and having buried his mother, Sasha writes smart, affectionate letters to his uncle and aunt, informing them of his desire to return to the capital and asking for friendship, advice and patronage. These letters end the dispute, and the very plot of the novel. That seems to be the whole “ordinary story”: the uncle turned out to be right, the nephew took up his mind ... However, the epilogue of the novel turns out to be unexpected.

... 4 years after Alexander's second arrival in St. Petersburg, he reappears, 34-year-old, plump, bald, but with dignity wearing "his cross" - an order around his neck. In the posture of his uncle, who has already “celebrated his 50th birthday”, dignity and self-confidence have diminished: his wife Liza is ill, and perhaps dangerous. The husband tells her that he decided to quit the service, sells the factory and takes her to Italy to dedicate "the rest of his life" to her.

The nephew comes to his uncle with good news: he has looked after himself a young and rich bride, and her father has already given him his consent: “Go, he says, only in the footsteps of your uncle!”

“Do you remember what letter you wrote me from the village? Lisa tells him. - There you understood, explained life to yourself ... "And the reader involuntarily has to go back: "Not to be involved in suffering means not to be involved in the fullness of life." Why did Alexander consciously reject the found correspondence between life and his own character? What made him cynically prefer a career for the sake of a career and marriage for the sake of wealth and without any interest in the feelings of not only rich, but young and, apparently, beautiful bride, who, like Lisa, “needs a little more than common sense!”? a boring cynic, but he must guess the reasons himself.

: "An Ordinary Story" - a small work, consists of two parts with an epilogue. The reader, having opened the first page, finds himself in the century before last, “in the village of Grachi<…>poor landowner<…>Adueva". From the opening lines, in addition to "Anna Petrovna and Alexander Fedorych" by the Aduevs, their friends and domestics, another person declares himself - the author.

• Characteristics of Alexander Aduev: V.G. Belinsky, in his article about the novel, called Alexander "three times a romantic - by nature, upbringing and life circumstances." In Goncharov's understanding, the last two theses (upbringing and circumstances) are inextricably linked. Alexander can be called a darling of fate. But a person with claims to his own exclusivity is not born by a higher power, it is not formed by bitter collisions with life (as interpreted by romantic literature). His personality is created by the whole atmosphere of a noble estate, in which he is a king and a god, and dozens of people are ready to fulfill his every desire.

• Contrasts in the novel: a provincial town and St. Petersburg, a dreamer-nephew and a practical uncle: Village and Petersburg. Two worlds, two worldviews. The development of the action is built on the principles of contrast. The contrast extends to the characters as well. Not only by age, but as personalities of different views on life, two main characters are opposed - Alexander and his St. Petersburg uncle Pyotr Ivanovich.

• Analysis of disputes between Alexander and Peter Aduev: The meaning of the polemical scenes of the novel was first understood by L.N. Tolstoy. Not the same Tolstoy as we are used to presenting him - a respectable old man writer with a gray beard. Then there lived an unknown young man of nineteen years old, and there was a girl who really liked him, Valeria Arsenyeva. He advised her in a letter: “Read this charm ( "Ordinary story"). This is where you learn to live. You see different views for life, for love, with which you cannot agree with any one, but your own becomes smarter, clearer.

• Peter Aduev's wife: Lizaveta Alexandrovna: By the beginning of the second part, the arrangement of characters and our attitude towards them are gradually changing. The reason is the appearance of a new heroine - the young wife of Peter Aduev, Lizaveta Alexandrovna. Combining worldly experience and spiritual subtlety in her nature, she becomes the personification of a kind of “golden mean”. The heroine softens the contradictions between her nephew and uncle. “She was a witness to two terrible extremes - in her nephew and husband. One is enthusiastic to the point of folly, the other is icy to bitterness.

• Heroines of Goncharov. Nadia: Even Belinsky noticed that “the peculiarities of his (Goncharov’s) talent include an extraordinary skill to draw female characters. He never repeats himself, not one of his women resembles another, and all, like portraits, are excellent. Russian writers valued not external beauty in their heroines. In the epilogue of the novel, the writer exclaims: “No, plastic beauty is not to be found in northern beauties: they are not statues.

• The psychological content of the novel: The richness of the psychological content of the novel also manifests itself in the everyday conversation of characters in love. At the same time, explanatory remarks are almost completely absent; the author is limited to a short "said", "said", "spoke", "spoke". Meanwhile, he talks in detail about external actions - not excluding some insect that got on these pages, no one knows how. Let's try to conduct an independent psychological analysis and imagine what feelings and motivations are behind each of the spoken phrases and movements made.

• Alexander's second love. Julia Tafaeva: Meeting with his second lover, Alexander is entirely obliged to his uncle. After his wife despaired of getting the young man out of a gloomy state of mind (as they would say now - depression), Pyotr Ivanovich gets down to business. In the interests of the "factory" it is necessary to distract the too amorous companion from spending common capital on Julia. Therefore, the elder Aduev introduces his nephew to a beautiful young widow.

• Alexander and Julia: Alexander's meeting with Tafaeva gives a unique chance in practice to confirm everything that is written about love in romantic books beloved by both. “They live inseparably in one thought, in one feeling: they have one spiritual eye, one hearing, one mind, one soul...” Reality makes adjustments to seemingly beautiful words. "Life for each other" in fact turns out to be a manifestation of selfishness, a kind of domestic despotism.

• Alexander and Lisa: By chance, the companions meet a charming summer resident and her father. The circumstances of acquaintance and walks resurrect Alexander Nadenka's dacha hobby in his memory. With her romantic exaltation, the stranger reminds us of Yulia Tafaeva. Her name - Lisa - makes us remember not only Lizaveta Alexandrovna. This name goes back to the heroine of the sentimental story N.M. Karamzin, fellow countryman Goncharov.

• Alexander with his aunt at a concert. Music influence: Auntie asks Alexander to accompany her to a concert of a famous musician, a "European celebrity." His current comrade, the narrow-minded vulgar Kostyakov, is indignant at the price of the ticket and, as an alternative, offers a visit to the bathhouse, "we'll have a nice evening." However, Alexander cannot resist the request of his aunt, which ultimately benefits him, incomparable with visiting a bathhouse.

• Analysis of Alexander's return to the village: The ring composition leads to the moment from which the story began. Once again, the action unfolds on a “beautiful morning”, again we have before us “a lake familiar to the reader in the village of Grachi”. Again we see Anna Pavlovna, who "has been sitting on the balcony since five o'clock", waiting for her son with the same excitement with which she let go eight years ago. : The literary and creative theme occupies such an important place in the plot of the novel. It requires a separate independent consideration. First of all, you need to pay attention to the names of writers directly mentioned in the text, quotations, their place, meaning. We have already talked about one. The list of favorite French authors helps to understand the upbringing of Julia, who "probably still reads" Eugene Sue, Gustave Drouino, Jules Janin. And yet, the central of the creative names that sound on the pages of the novel are the names of two great Russian writers - the fabulist I.A. Krylov and A.S. Pushkin.

• Belinsky about the novel: In the review article "A Look at Russian Literature of 1847", summing up the literary results, Belinsky noted with satisfaction: "The past 1847 was especially rich in wonderful novels, novels and short stories." First of all, the astute critic noted the works of novice writers - in addition to "An Ordinary Story", the first story of the famous "Notes of a Hunter" ("Khor and Kalinich") and the novel "Who is to blame?" Iskander.

"Ordinary story" Goncharova I.A.

In "" every person at any stage of his development will find the necessary lesson for himself. The naivety and sentimentality of Sashenka Aduev is ridiculous in a businesslike atmosphere. His pathos is false, and the loftiness of speeches and ideas about life are far from reality. But you can’t call an uncle an ideal either: a efficient breeder, a respected person in society, he is afraid of a sincere living feeling and in his practicality goes too far: he is afraid to show sincere warm feelings for his wife, which brings her to a nervous breakdown. There is a lot of irony in the uncle's teachings, while the simple-minded nephew takes them too directly - first arguing with them, and then agreeing.

Depriving of false ideals, Alexander Aduev does not acquire true ideals - he simply becomes a prudent vulgar. The irony of Goncharov is aimed at the fact that such a path is no exception. Youthful ideals disappear like “hairs” from the son’s head, about which mother Aduev Jr. so laments. This is the "ordinary story". There are not many people who can withstand the pressure big city and bourgeois society on their minds and souls. At the end of the novel, we see that the cynic uncle is much more human than his capable student nephew. Alexander Aduev turned into business man for which there is nothing more important than a career and money. And Petersburg expects new victims - naive and inexperienced.

The novel by Ivan Alexandrovich Goncharov "Ordinary History", written in 1844 - 1846, became a significant event in Russian literature.

“Goncharov's story made a splash in St. Petersburg - an unheard-of success!” - Belinsky reported in one of his letters.

The novel is a typical everyday phenomenon: the young Alexander Aduev, who grew up in the countryside, among the peasants, brought up by his tenderly loving mother, full of romantic hopes for eternal love, noble spiritual impulses, leaves for St. Petersburg in order to "make a career and fortune." It didn’t even matter to him what business he chose for himself: be it literary field or state activity. There is a lot of naive provincial gullibility in Alexander. He is accustomed to seeing a friend in every person he meets, accustomed to seeing people whose eyes radiate human warmth and concern. He believes in kindred feelings, he thinks that his uncle in Petersburg will meet him with open arms, as is customary in the village, but ... uncle does not allow him to hug himself, keeps him at a certain distance. “So that’s how it is here, in St. Petersburg,” Alexei thinks, “if his uncle is like that, what about the others? ..”

“The first impressions of a provincial in St. Petersburg are heavy. He is wild, sad; no one notices him; he got lost here; no news, no variety, no crowd entertain him. His provincial selfishness declares war on everything that he sees in himself. Declares war, first of all, on his uncle Peter Ivanovich Aduev. This is a person completely different from Alexander. He is endowed with the ability to soberly and efficiently look at things. However, over time, dryness and prudence in his character become noticeable. He despises idleness, useless daydreaming, calls his nephew to work.

He kills in Alexander the hope of eternal love. Sonechka is completely forgotten by Alexander, he is in love with Nadezhda Lyubetskaya. Uncle insists that love is not eternal, that, in the end, Nadenka will betray Alexander. But he doesn't believe. "How, she, this angel?" he asks his uncle. But time passes, and the uncle turns out to be right: Nadenka falls in love with the count. For Alexander, it was a heavy blow, from which he barely recovered.

Alexander fails in everything: in love, in friendship, in work. After he saw his friend Pospelov, he became disillusioned with people, he hated them, took them for animals. And all this is due to the fact that he could not look into his soul, to understand himself.

Alexander quit his job, she did not give him pleasure. He also changed outwardly. From a slender young man with beautiful blond curls, he turns into a full, sagging belly, bald man.

But what are the causes of these terrible changes, what is the source of all Alexander's troubles? Where is the truth? I think that Alexander could not take advantage of his uncle's advice so as not to hurt himself. It was necessary to listen to him, to save himself from excessive daydreaming, from the violent manifestation of feelings. You can't just live with feelings! But also the mind. And how to live? The novel does not provide a direct answer to this question. It is precisely that “golden mean” that is needed, an example of which in the novel is Lizaveta Aleksandrovna. In life, a person needs work, love, harmony with himself and with the world, spiritual harmony, and Alexander did not have enough of it to live in peace.

Goncharov's first novel was published on the pages of the magazine \\\\\\\"Contemporary\\\\\\\" in the March and April issues for 1847. In the center of the novel is a clash of two characters, two philosophies of life nurtured on the basis of two...

The novel by Ivan Alexandrovich Goncharov "Ordinary History" was one of the first Russian realistic works telling about Everyday life ordinary people. The novel depicts pictures of Russian reality of the 40s of the XIX century, typical ...

Goncharov's service took a lot of time, and he was not at all prolific writer. Many years passed before a new novel appeared. In 1847, "Ordinary History" was published, in 1859 - "Oblomov". And, finally, in 1869 - "Cliff", in ...

The hero of the novel, Alexander Aduev, lives in that transitional time, when the serene calm of the noble estate was disturbed. The sounds of city life with its feverish pace break into the lazy silence of the Manilov nests more and more insistently and awaken...

The first novel by I. A. Goncharov, “An Ordinary History,” was published on the pages of the Sovremennik magazine in the March and April issues for 1847. In the center of the novel is a clash of two characters, two philosophies of life nurtured on the basis of two social ...

Introduction ………………………………………………………………………3

Definition of the concept …………………………………………………….5

Thing as an artistic detail……………………………………..8

Landscape details………………………………………………………..11

Portrait detail……………………………………………………….15

2.1. Features of the writer's realism……………………………………….18

2.2. Goncharov - master artistic detail…………………………..20

Portraits of the heroes of the "Ordinary Story"……………………….22

Artistic detail as an expression of the state of mind…..26

Non-verbal detailing in the work………………………..30

The look and its function………………………………………………..33

Accompanying and dissonant detail………………………………35

Landscape art of Goncharov…………………………………...39

Conclusion …………………………………………………………………43

…………………………………...45

Introduction

Ivan Aleksandrovich Goncharov is one of the greatest masters of Russian realistic prose. Belinsky called his talent "strong, wonderful", pointed to Goncharov's "extraordinary skill" in depicting characters. One of the means of creating such unique and realistic characters was the use of artistic detail. Artistic detail is one of the means of creating artistic image, which helps to present the picture, object or character depicted by the author in a unique individuality.

Referring to one of the three novels by I.A. Goncharov "Ordinary History" should be determined relevance of the present study. The novel "An Ordinary Story" is the first serious work of the writer, but it already fully reflected his spiritual maturity. Stopping at his first work, we dive deeper into the author's artistic world, understand the idea of ​​the work, and try to identify the origins that became the starting point for subsequent novels.

Target of this work is to identify the features and determine the role of the artistic detail in the novel by I.A. Goncharov "Ordinary History". To achieve this goal, it is necessary to solve a number of tasks :

Define the artistic detail and determine its role in literature;

To characterize Goncharov's method and prove that the detail plays an important place in his work;

Consider portrait, landscape and subject details in the novel, determine their specificity.

Subject This study was served by the functioning of the artistic detail in the work "An Ordinary Story", which is the object of study.

In accordance with the tasks set in Chapter I

the concept of artistic detail is considered and a more detailed analysis of the detail-thing, landscape and portrait details is made. Chapter II is devoted to a review of the main characteristics creative method I.A. Goncharova. In Chapter III, we turn to the specific work "An Ordinary Story" and analyze the artistic detail, based on the opposition of two life positions the main characters of the novel.

When studying the topic of this work, we relied on the works of: A.G. Zeitlin “I.A. Goncharov, N.I. Prutskova "The skill of Goncharov - novelist", Galanova B. "Painting with a word: Portrait. Scenery. Thing".

The main results of this study are presented in the conclusion.

Chapter I. Artistic Detail

Concept definition

The picture of the depicted world, the image of the hero of a work of literature in a unique individuality is made up of individual artistic details. The composition of the components and details of subject representation is important in all literary genres. But in epic works, its possibilities are especially great.

Being an element of the artistic whole, the detail itself is the smallest image, a micro-image. At the same time, the detail almost always forms part of a larger image.

“The detailing of the objective world in literature is not only interesting, important, desirable, it inevitable; in other words, this is not an ornament, but the essence of the image ". After all, the writer is not able to recreate the subject in all its features (and not just mention it), and it is the detail, the totality of details that “replace” the whole in the text, causing the reader to associate with the author. The author relies on the imagination, the experience of the reader, who mentally adds the missing elements. R. Ingarden calls this elimination of incomplete places specification works by the reader, for each it is individual. The use of artistic detail not only replaces lengthy, detailed descriptions, but also allows you to trace the dynamics of changes taking place in a person. For example, Tolstoy is very attentive to the eyes of Natasha Rostova. Often it is enough for him to point to Natasha's look or the expression in her eyes for the reader to get an idea of ​​her inner state.

TO artistic detail(from French Detail - detail, trifle) refer mainly to subject details in a broad sense: details of everyday life, landscape, portrait, interior, as well as gesture, subjective reaction, action and speech (the so-called speech characteristic). Initially, the artistic detail was perceived as a means of depicting (description) the volume, concreteness of the objective world and served as a guarantee of life authenticity and artistic truth.

In the future, the aesthetic functions of the detail became more complicated, although the "fidelity of details" remained one of the hallmarks of the classical realism XIX century.

Classification details repeats the structure of the objective world, composed of "different-quality components" - events, actions of characters, their portraits, psychological and speech characteristics, landscape, interior, etc. And B. Esin identifies three large groups: detailsnarrative, descriptivepsychological.The predominance of one type or another gives rise to a corresponding property, or dominant, style:“plotting” (“Taras Bulba” by Gogol), “descriptiveness” (“ Dead Souls”), “psychologism” (“Crime and Punishment” by Dostoevsky); the named properties "may not exclude each other within the same work" .

Depending on the specific implementation of the aesthetic range, a detail can be clarifying, clarifying and revealing the writer's intention, but it can also be a semantic focus, a condenser of the author's idea, the leitmotif of the work (A.P. Chekhov).

Artistic details are highlighted, demonstrating their own significance in the artistic unity of the whole - in N.V. Gogol, C. Dickens, L.N. Tolstoy and structurally neutral, inconspicuous, leaving and leading into subtext - in E. Hemingway, Chekhov. From the point of view of stylistic coloring and in terms of their subject content, the details are spectacular, exotic (V.P. Kataev, Yu.K. Olesha) and restrained, “modest”, even trivial, without losing, however, their characterism (I.A. Goncharov).

It should be said about the functions of the artistic detail. The detail focuses attention on what the writer considers the most important or characteristic in nature, in man or in his environment. objective world. For example, the subject details in the image of Onegin's office express the author's ironic attitude towards the hero.

In the case when the author enhances some details, they turn into artistic details, in which the author's attitude to life and heroes is manifested. The episode with Katerina Ivanovna's "dradedam's handkerchief" in "Crime and Punishment" by F.M. Dostoevsky testifies to the sympathetic attitude of the writer to this unfortunate woman.

Some artistic details become multi-valued symbols that have a psychological, social and philosophical meaning ("case" in Chekhov's story "The Man in the Case").

There are different types of composition of subject-pictorial details. In the works of some writers (Turgenev and Goncharov, Balzac and Zola), portraits, landscapes, psychological characteristics, the statements of the characters are clearly separated from each other: one or the other facts, objects, phenomena are consistently and unhurriedly characterized. In reading the works of other writers, on the contrary, one often gets the impression that we are talking about everything at once: everyday, actually psychological, portrait, landscape, characteristics are so compact and so "merged" in the text of the work that it is not easy to single out one thing (for example, Chekhov's stories).

Thing as an art piece

The world of things is an essential facet of human reality, both primary and artistically realized. This is the sphere of activity and habitation of people. The thing is directly related to their behavior, consciousness and constitutes a necessary component of culture: “a thing outgrows its “thingness” and begins to live, act, “matter” in spiritual space" . Things are made by someone, belong to someone, cause a certain attitude towards themselves, become a source of impressions, experiences, thoughts. They are put by someone exactly in this place and are true to their purpose, or, on the contrary, for some reason they are in a purely random place and, having no owner, lose their meaning, turn into rubbish. In all these facets, things that are either values ​​or "anti-values" are able to appear in art (in particular, in literary works), constituting their essential link.

One of the leitmotifs of the literature of the XIX-XX centuries. - a thing akin to a person, as if fused with his life, home, everyday life. Carefully painted by N.V. Gogol objects in the house of Afanasy Ivanovich and Pulcheria Ivanovna (“Old World Landowners”): bundles of dried pears and apples on a palisade, a clay floor kept neatly, chests, boxes in rooms, a singing door.

In the literature of the XIX-XX centuries. the degrading-prosaic illumination of the material world predominates, rather than the elevating-poetic one. In Gogol and in the "post-Gogol" period, life with its material entourage is often presented as dull, monotonous, weighing on a person, repulsive, insulting the aesthetic sense. Let us recall Raskolnikov's room, one corner of which was "terribly sharp", the other - "too ugly stupid", or the clock in "Notes from the Underground", which "wheezes as if they are being strangled", after which a "thin, nasty ringing" is heard. At the same time, a person is depicted as alienated from the world of things, on which the seal of desolation and death is thus placed.

Literature of the 20th century was marked by an unprecedentedly wide use of images of the material world, not only as attributes of the everyday environment, people's habitat, but also (above all!) As objects that are organically fused with the inner life of a person and at the same time have a symbolic meaning: both psychological and "existential", ontological (so-called accessories).

In addition, there are dissonant details, i.e. they are presented as contrasting and contradictory to the inner world of the characters. Such a detail invites the reader to take a closer look at the subject, not to skim over the surface of phenomena. Falling out of the line, she stops the attention.

It is conditionally possible to single out the most important functions of things in literature, such as culturological (particularly significant in travel novels, historical novels and works of everyday life), characterological (shows the intimate connection of things with their owners), plot-compositional (typical for detective literature, so called details-evidence).

So, material specificity constitutes an incomprehensible and very essential facet of verbal and artistic imagery. A thing in a literary work (both within interiors and outside them) has a wide range of meaningful functions. At the same time, things “enter” literary texts in different ways. Most of all, they are episodic, present in very few episodes of the text, often mentioned in passing, as if in passing.

Things can be “given” by writers either in the form of some kind of “objective” given, dispassionately depicted (remember Oblomov’s room in the first chapters of I.A. Goncharov’s novel; descriptions of shops in E. Zola’s romance “Lady’s Happiness”), or as someone’s impression from what is seen, which is not so much painted as drawn by single strokes, subjectively colored. The first style is perceived as more traditional, the second - as akin to modern art.

landscape details

The forms of the presence of nature in literature are diverse. These are mythological incarnations of all forces, and poetic personifications, and emotionally colored judgments about it (whether it be separate exclamations or whole monologues), and descriptions of animals, plants, their portraits, so to speak, and, finally, landscapes proper - descriptions of wide natural spaces.

In addition, there are landscape details - these are separate significant elements in an urban or natural landscape that carry the functions of a deeper analysis of the situation or the hero's inner world at that moment. Extensive pictures of nature are always noticeable, more often they create a background, while landscape details sometimes play a more significant role, but they can go unnoticed by readers, because sometimes they are skillfully hidden by the author behind the details of everyday life.

in folklore and early stages The existence of literature was dominated by non-landscape images of nature: its forces were mythologized, personified, personified, and at the same time often participated in people's lives. A striking example is "The Tale of Igor's Campaign".

The time of the birth of the landscape as an essential element of verbal and artistic imagery is the 18th century . The so-called descriptive poetry (J. Thomson, A. Pope) widely recreated pictures of nature, which at that time (and even later!) Was presented mainly elegiacly - in tones of regrets about the past. Such is the famous "Elegy written in rural cemetery» T. Gray.

The nature of the landscape changed markedly in the first decades of the 19th century, in Russia - starting with A.S. Pushkin. Every major writer of the XIX-XX centuries. - special, special natural world, served mainly in the form of landscapes. In the works of I.S. Turgenev and L.N. Tolstoy. F.M. Dostoevsky and N.A. Nekrasov, F.I. Tyutchev and A.A. Fet, and L. Bunina and A.L. Blok, M.M. Prishvin and BL. Pasternak, nature is mastered in its personal significance for the authors and their heroes.

In the literature of the XX century. (especially in lyrical poetry), the subjective vision of nature often takes precedence over its objectivity, so that specific landscapes and the certainty of space are leveled, or even disappear altogether. Such are many of Blok's poems, where landscape specifics seem to dissolve in fog and twilight.

Another feature works of XIX- XX centuries, are urban (urban) landscapes. The city becomes not just a background, a place where events unfold, but also an important factor affecting inner world and philosophical self-knowledge of the characters.

Images of nature (both landscape and all others) have a deep and completely unique content significance. In the centuries-old culture of mankind, the idea of ​​the goodness and urgency of the unity of man with nature, of their deep and indissoluble connection, is rooted. This idea was artistically embodied in different ways.

In many works, writers focus not on the background itself, but on a specific detail of nature. For example, a lonely pine and a palm tree (“It stands alone in the wild north ...”), a lonely old cliff (Cliff”), an oak leaf (“An oak leaf came off a darling branch ...”) - all these are details that are already turning into Lermontov’s poetry in symbols of loneliness, alienation. In the novel by L.N., Tolstoy "War and Peace" in key points spiritual quest of the heroes, the author creates images-symbols that help to understand their self-knowledge or insight (Prince Andrei, wounded in battle, sees the "bottomless blue sky" in front of him).

The motive of the garden - nature cultivated and decorated by man - is present in the literature of almost all countries and eras. The garden often symbolizes the world as a whole. “Garden,” remarks D.S. Likhachev - always expresses a certain philosophy, idea of ​​the world, the attitude of man to nature, this is a microcosm in its ideal expression" . Without gardens and parks, the novels of I.S. Turgenev, works by A.P. Chekhov (in the "Cherry Orchard" the words are heard: "... all of Russia is our garden"), poetry and prose by I.A. Bunin, lyrics by A.A. Akhmatova with their Tsarskoye Selo theme.

In the literature, the principle of figurative parallelism is widespread, based on a contrasting comparison or likening of the internal state of a person to the life of nature. The “discovery” of nature is connected with the realization of a person as a particle of the Universe included in her life. The description of the landscape in this case creates an idea of ​​the state of mind of the characters. The psychological landscape correlates the phenomena of nature with the inner world of man.

The landscape can be given through the perception of the character in the course of his movement. Let us turn to Chekhov's story "The Steppe". This story is a prime example psychological landscape, excluding description for the sake of description, is an example of the writer's knowledge of the secrets of the child's soul.

Description of the landscape can perform an even more complex function. It can explain a lot about the character of the hero.

Goncharov's description of Oblomovka, for example, seems to be deliberately devoid of any poetry by the author, he directly says this: “A poet and a dreamer would not be satisfied even general view this modest and unpretentious area. But the verbal series, the warm feeling that permeates every picture, landscape sketch, refute this statement.

The keywords of this episode are the following: calmness, peace, silence, quiet, sleepy, sleep, death. “Silence and imperturbable calm also reign in the morals of people in that land”, “life, like a calm river, flowed past them”, “everything promises a calm, long-term life there ... and an imperceptible, sleep-like death ...” The characters of those who are not in a hurry , the gentle inhabitants of Oblomovka, the character of the protagonist of the novel and the essence of such a phenomenon as

"Oblomovism" are revealed, along with other figurative and expressive means, and through the details of the description of the landscape. The principle of psychological parallelism in the episode "Oblomov's Dream" is manifested in the likening of life to the nature of human life.

A feature of the functioning of landscape details is that they can perform the function of plot motivation, i.e. direct the course of events in one direction or another (“Snowstorm” by A.S., Pushkin).

1.4. portrait detail

A portrait of a character is a description of his appearance: bodily, natural and, in particular, age-related properties (facial features and figures, hair color), as well as everything in the appearance of a person that is formed social environment, cultural tradition, individual initiative (clothing and jewelry, hairstyle and cosmetics). The portrait can capture body movements and postures characteristic of the character, gestures and facial expressions, facial and eye expressions. With all this, he creates a stable, stable complex. external features person.

Turning to literature, it must be said that until the era of romanticism, idealizing portraits dominated it. They abound with metaphors, comparisons, epithets. In works of a comical and comedy-farcical character, a grotesque manner is used (remember F. Rabelais' "Gargantua and Pantagruel").

For all their opposites, idealizing and grotesque portraits have a common property: they hyperbolically capture one thing. human quality: in the first case - bodily and spiritual perfection, in the second - the material and bodily principle.

There are two types of psychological portrait:

IN portrait description the correspondence of the hero's appearance to his inner world can be emphasized.

The appearance of the hero and his inner world are correlated according to the principle of contrast (another side of the dissonant detail).

The first type of portrait is used by all authors throughout the history of literature. But the second one requires special skill from the author (using the example of "An Ordinary Story" we will see this later when we turn to the dissonant detail).

Over time (especially clearly in the 19th century), portraits prevailed in literature, revealing the complexity and diversity of the appearance by penetrating the writer into the soul of the hero and psychological analysis(About Pechorin: “The eyes did not laugh when he laughed ... This is a sign - either of an evil disposition, or of deep constant sadness”).

The portrait of the hero, as a rule, is localized in one place of the work. More often it is given at the moment of the first appearance of the character, i.e. exposure. But literature also knows another way of introducing portrait characteristics into a text. It can be called leitmotif. A vivid example of this is the repeated references to the radiant eyes of Princess Marya throughout Tolstoy's novel.

In literary portraits, the attention of the authors often focuses more on what the figures or faces express, what impression they leave, what thoughts and feelings they evoke, rather than on themselves as a painted reality (Pulcheria Alexandrovna in F.M. Dostoevsky).

Portraits capture not only the static in the "external" person, but also gestures, facial expressions, which are dynamic in nature and undergo endless changes depending on situations. this moment. At the same time, these fluid forms are based on a stable, stable given, which can be called a behavioral attitude or orientation. “By the manner of speaking,” wrote A.F. Losev, - by the look of the eyes ... by the holding of arms and legs ... by the voice ... not to mention integral actions, I can always find out what kind of person is in front of me ... Watching ... the expression on a person’s face ... you definitely see something internal here ” .

Forms of behavior are recreated, comprehended and evaluated by writers very actively, constituting no less important facet of the world of a literary work than portraits themselves. At the same time, portrait and “behavioral” characteristics find different embodiments in the works. The first, as a rule, are single and exhaustive. Behavioral ones are usually dispersed in the text, multiple and variable.

Not a single hero is created without a description of the portrait, and these two sides of the artistic manifestation of the character - portrait and "behavioral" - steadily interacting, present him to us in full, and sometimes even inconsistency.

Chapter II. Artistic method of I.A. Goncharova

2.1. Features of the realism of the writer

“Drawing, I rarely know at that moment what my image means,

portrait, character; I only see him alive in front of me ... "

A.I. Goncharov

What are the distinctive features of Goncharov's realism and his style? How were his views on the nature of art reflected in his works? How did Goncharov combine the image and the detail, and how did he present the conceived image to us in its entirety with the help of things and objects?

These are the issues that are planned to be addressed. Let's try to decide on the method used by I.A. Goncharov, based on his views on the nature of art.

Based on the realistic achievements of Pushkin, Lermontov and Gogol, Goncharov considers realism the only reliable method of art, its main law: “Artistic fidelity to the depicted reality, i.e. “truth” is the basic law of art – and no one can change this aesthetics.”

Criticism has long established its alienation from the so-called "eternal questions" of being. He was not characterized by pessimistic moods at any stage of development. It is characteristic that in the work of Goncharov almost no development was found. fantastic motives, so frequent in the stories of Gogol, Turgenev, Dostoevsky and even Leo Tolstoy. The extremely sober, almost rationalistic mind of Goncharov is free from admiration for the “terrible”, “otherworldly”, mystical. There is also no religious pathos, without which it is impossible to imagine Dostoevsky and Leo Tolstoy in the last period of his life. Alexander Aduev is indifferent to religion (the scene of his visit to the church); in "The Cliff" the chapel with the image of Christ is repeatedly depicted in connection with the spiritual doubts of the Faith; but this symbol of the Christian faith does not evoke anything truly religious in the heroine. Likewise, the heroes of Oblomov, Stolz, Raisky - they are all devoid of a religious feeling.

The author of "Oblomov" is alien to the fear of death. Death for him is only the end of life; he speaks of her briefly and almost indifferently. In Ordinary History, the novelist tells about the predicament of Alexander Aduev, who did not know how to inform his mother about his decision to return to the capital. “But,” notes Goncharov, “his mother soon saved him from this work. She died". And there are plenty of such examples. Goncharov loves life, which he depicts in all its phases, from the cradle to the unattractive, but inevitable and therefore fearless grave.

Reality, whatever it may be, needs an epic-calm image. Goncharov implements it in all his work. At the heart of his talent is an enormous observation, the fruits of which immediately receive an aesthetic shape. Goncharov's contemplation of reality is not passive: it is only full of calm and balanced cheerfulness. This is where Goncharov's objectivity comes from. Its characteristic features are the evenness of the image, the sobriety of assessments, the balance of parts that harmoniously merge into one holistic image.

Goncharov - master of artistic detail

Having characterized the general contours of Goncharov's artistic method, let us turn to his style, to his characteristic use of details when creating images of works.

One of the most significant places in Goncharov's style belongs to the poetic image. Work on images took a lot of effort from Goncharov. Drawing their inner world, the author did not forget about the external form human image. The attention that the novelist paid to the creation of a portrait, character and type was extremely great. His portraits invariably carry a characteristic function. The reader’s acquaintance with the image of the character begins with a portrait: “The wind from time to time blew a curl from her face, as if on purpose, to show Alexander a beautiful profile and a white neck, then lifted the silk mantilla and showed a slender waist, then flirted with the dress and opened a small leg ". This is how the image of Lisa is drawn in the Ordinary Story. In "The Cliff" the appearance of the old men Molochkovs, Tychkov, Marfinka, Vera, Raisky, Tushin and others is also described in detail from the very first words. One at Goncharov's "was combed and dressed immaculately, blinding with the freshness of his face"; the other was “in a dark green tailcoat with coat of arms buttons, clean-shaven, with dark sideburns that evenly bordered his face.” These descriptions of appearance cannot be mentioned in one work, but we do not strive for this. It should be noted that not only the main characters of his works had clear characteristics by which we distinguish Oblomov from Stolz, Aduev the elder from the younger. Even the uncharacteristic appearance is noted by Goncharov: a man “of indefinite years, with an indefinite physiognomy, at a time when it is difficult to guess the summer; neither handsome nor ugly, neither tall nor short, neither blond nor brunette. Nature did not give him any sharp, noticeable feature, neither bad nor good.

With great attention, Goncharov reproduces facial features and clothes that differ from the usual norm. We will meet especially many portraits in the novel "Cliff", where the technique of expressive everyday details has largely reached perfection.

The portrait of a character opens the way for us to understand his character. Goncharov does not invent new methods of depicting the inner world of the human personality, but he improves them.

Considering, as a true realist, that a portrait of a person has physical expressiveness, Goncharov is especially attentive to the eyes of a person and to his gaze. When Olga fell in love with Oblomov, this was primarily reflected in her eyes: “A cloud of impenetrability flew off her. Her gaze was expressive and clear. As if on purpose, she opened a well-known page of the book and allowed to read the treasured place. The novelist also sets off the views of other characters - “young, fresh, almost childish” in Raysky, “sharp and piercing” in his director’s wife, “hot and dry” in Natasha, sympathetic and shy in Tushin, etc.

Although, on the whole, Goncharov's letter is characterized by restrained and modest details, the manner of "molesting", so close to Leo Nikolayevich Tolstoy, is also present in the author of "Ordinary History". This is the manner of the orderly Mukhoyarov to raise his “trembling” hands up or hide them in his sleeves, or the manner of the aristocratic old man Pakhotin to chew his lips. The mention of Vera's trembling chin - from the smile she suppressed - runs through the entire text of "Cliff".

Chapter III. Features of the use of artistic details in the novel "An Ordinary Story"

3.1. Portraits of the heroes of the "Ordinary Story"

A great place and importance have always been given to Goncharov's portrait and everyday characteristics of the characters. They are usually given immediately in expositions and "prehistory", although then they are partly repeated in the course of the story. Portraits of Goncharov, of course, reveal the psychology of the characters, their inner world. But at the same time, they usually include an image of the manners and everyday habits of the hero, and hence the everyday things surrounding him and the whole situation of his life.

So Anton Ivanovich “previously walked in trousers and a Cossack, now he walks on weekdays in a frock coat and pantaloons, on holidays in a tailcoat, God knows what cut. There is no person from his acquaintances who would dine with him, have supper or drink a cup of tea, but there is also no person with whom he himself would not do this fifty times a year. The subsequent clarification of his way of life - "there is no grief, no worries, no worries" - clarifies to us the whole essence of this person.

A lover of “all kinds of ceremonies, both cheerful and sad; he also liked to be present at various extraordinary incidents" Kostyakov is depicted in a portrait "in a varnished cap, in a dressing gown, girded with a handkerchief."

Let us dwell on the female images of the work. “The fullness and freshness of her cheeks and the splendor of her chest confirmed the promise about children (to feed, nurse, dress and sheathe)”, - this is the only portrait characteristic of Sophia in the novel, but, apparently, it is the most significant for I.A. Goncharov in this image.

In Lyubetskaya, Goncharov focuses on her character, showing it through facial expressions: “Her physiognomy rarely remained two minutes calm. Everything showed in her an ardent mind, a wayward and fickle heart.

Let's see how the images of two opposite characters are given - uncle and nephew. Their first meeting begins with a description of the appearance of Pyotr Ivanych - “tall, proportionately built, with large, regular features of a swarthy-matte face. The hands were full and white, the nails long and transparent. A similar characteristic, by the way, can be seen in the description of Count Novinsky - “tall, slender blond, with large expressive eyes with a pleasant smile. In manners, simplicity, grace, some kind of softness. Before us are two people of high Petersburg society, and this social niche is reflected in its representatives in their appearance and manners. “Any artistic image appears before us in the guise of a single ... In this sense, any character in a work, manifesting himself as a person, having an individual appearance, will also carry the general inherent in people in general” .

It is interesting to note that the image of Alexander with all the details of the portrait is not drawn at the time when he was in the village. Goncharov draws him most clearly only in the middle of his work, comparing with the image of his uncle: “What is the difference between them: one is a whole head taller, slender, plump, a man of strong and healthy nature, with self-confidence in his eyes and manners. But not in a single glance, not in a movement, not in a word, could one guess the thoughts or character of Pyotr Ivanovich - everything was so covered in him by secularism and the art of controlling oneself. In Alexander, on the contrary, everything showed a weak and delicate build, and a changeable expression on his face, and some kind of laziness or slowness and unevenness of movements. He was of average height, but thin and pale. The difference in the portraits of the heroes, both external and verbal, is undeniable.

Petr Aduev's eyebrows should be addressed separately; Goncharov's frequent focus on them gives them significance in the appearance of the character. Almost all situations affecting him are expressed on the face, namely, with the help of eyebrows - either he will be surprised and raise them up, then he will move or frown.

Dialogue plays an important role in the composition of the novel. Often the movement of the plot is carried out in dialogues. The dialogues also provide information about the characters.The storyline of "An Ordinary Story" is built on brilliant and witty dialogues between Uncle Pyotr Ivanovich and nephew Alexander. The strength of the dialogues and their lively interest are based on the clash of contrasting natures, characters, worldviews. The novel often uses a stylistic contrast generated by the clash of different stylistic layers of language, taken from spheres of life far from each other. In the thoughts and speeches of Alexander in the "Ordinary Story" there are words, expressions and even long quotations from the poetry of Pushkin and other poets, bearing the stamp of a romantic approach to life, sublime pathos, a stormy play of passions. Taken out of context, these expressions lose their original meaning. They contrast with the reality in which Alexander finds himself, and, in particular, with the reality presented in cold and business speeches uncles. As a result, stylistic contrast creates a comic effect.

Speaking of Alexander, it should be noted that his appearance bears the imprint of his inner state, and, taking into account that throughout the whole work the hero changed internally, it is quite logical that his outfits changed. Let's remember the meetings of Alexander on a fishing trip with Lisa. As a rule, he walked casually dressed, “and here he put on a new coat, coquettishly tied a blue scarf around his neck, straightened his hair, even, it seems, he even whimpered a little and began to look like an idyllic fisherman.” Going to the theater, he "pulled out last year's tailcoat, which had not been worn for a long time, pulled on white gloves." While he is still uncomfortable: “it was crowded there, something was missing here; neck was too hot in a satin scarf. But by the end of the novel, Alexander completely turns into a business man, and already "with dignity wears his bulging belly and the order around his neck."

The writer writes out all the portraits very carefully. It takes into account all the features of character, takes into account the appearance of a person that has developed in a particular society. As a result, we can say that the appearance of Goncharov's hero is not so much a reflection of his ideological and moral positions, but the embodiment of a certain social order in which his character was formed.

3.2. Artistic detail as an expression of the state of mind

Literature tends to establish an internal connection between perceived literary heroes sounds, colors, lines, shapes, smells and the state of the character himself during this perception. Correspondence is associated with the primary meaning of the symbol, like a plank broken into two parts: when these parts are folded, the contours coincide along the break line, their “correspondence” to each other serves as a visible sign of trust, their internal connection.

Such a connection is present in all, whether they are poetic or prose, works. This closeness of seeming at first glance various elements seems significant and necessary only with a deeper and more detailed analysis of the characters' characters. Symbol, detail - these different and similar at the same time methods of concretization appear in the context of the work as strong and dominant elements, since the author, relying on them, creates artistic plan work in its entirety. Through the detail, the author has another opportunity to reveal everything that has not been said before, everything that cannot be said directly to readers.

In the previous chapters, it has already been said about the features of Goncharov's method of using a part, but any theory should be emphasized in practice. Therefore, we will try, based on the above description of the artistic detail, to show how this technique was used by I.A. Goncharov in the novel "Ordinary History".

Let's go back to the beginning of the piece. Before us is the village of Grachi, summer, the landowner Anna Pavlovna. We learn that the house has been in turmoil since the very morning and the reason for this is the departure of the only son of the landowner, Alexander Fedorych Aduev, to Petersburg. The valet Yevsey is traveling with him, who at this moment is saying goodbye to his own housekeeper Agrafena. “She spilled tea that day with bitterness. Her coffee had boiled over, the cream was burnt, the cups were falling out of her hands. She will not put the tray on the table, but will blurt out; will not open the cupboard and the door, but will slam. We see that Goncharov deliberately uses household items, seemingly inconspicuous, but in all the actions associated with them, the internal state of the housekeeper is expressed. The attitude towards Yevsey's departure is emphasized by every sound that is not heard by us, but is vividly represented in the imagination, at the knock, blow, or clap of one or another object.

Let's move on to the story. Alexander Fedorych has been living in St. Petersburg for more than two years, living with his uncle Pyotr Aduev, whose figure we will dwell on later. All the romance and strength of Alexander's soul, which were brought up in the village, translates into love for Nadenka Lyubetskaya. Let us recall the first conversation between a nephew and an uncle about this relationship. Alexander rushes in a big way to hug his uncle and in one second "did two stupid things: he changed his hair and dripped a letter." But this does not end there, because the hero is overwhelmed with feelings, after that he began to rub off the place of the letter where the ink had dropped, wiping the "well"; the table begins to stagger from friction, and now the bust, made of Italian alabaster, standing on the whatnot, flies down.

Let us dwell on one more moment, which seems significant in the analysis of an artistic detail, as a spokesman for the internal state of the hero. Alexander, being in Nadenka's house, worries about the fact that he did not have time to talk with her in private, he is forced to entertain her mother while his beloved is sitting outside in the gazebo. Goncharov again resorts not to a direct presentation to the reader of the internal state of the character, only in passing it is said that he feels restless - feelings are reflected in his actions, and actions are directly related to objects in the room: then he will go to the window, look into the courtyard, then goes to the piano, takes a few notes from the music stand, smells two flowers, goes to the parrot, wakes him up and, finally, being at the door, slips out.

But, like everything in this world, love also sees its end. Lyubetskaya is alone with Alexander, she decides their fate, how difficult it is for her to say the fatal word “no” for Alexander, and this inner struggle is expressed by the same piano, which a few episodes ago was Alexander’s anxiety. As the emotional mood of the conversation grows, Nadenka changes notes, and in climax begins to play a difficult passage. Again, the author plays on the ability of human consciousness to combine the inner state of the hero with the material and sound environment.

Goncharov uses the same ability of the reader when describing the playing of the orchestra in the theater, where Alexander was at that time with his aunt Lizaveta Alexandrovna. Alexander seemed to have lived his life again. The sounds are “frisky, playful, as if the games of childhood”, smooth and courageous (like youthful carelessness, courage), they thundered like reproaches of jealousy, then “seethed with fury of passion”, and finally, “sang about deceived love and hopeless longing”.

Let's turn to Alexander during his relationship with Yulia Tafaeva. We should pay attention to their last meeting. Such moments are the most capacious, and it is parting, parting, as climactic plot units, that attract the attention of both readers and writers. Again, the sound environment gives significance to the conversation, correlates with the inner mood of the characters, and based on their emotional mood, expresses itself in certain keys. Alexander, obviously not in a pleasant position for himself, begins to drum his fingers on the glass. But Goncharov does not focus on the sounds in the room, the spatial framework expands, and we hear the mixed noise of voices from the street, the carriages driving. “Lights shone everywhere in the windows, shadows flickered. It seemed to him that where there was more light, a merry crowd had gathered; there, perhaps, there was a lively exchange of thoughts, fiery volatile sensations: they live there noisily and joyfully. So, the plan of vision has something in common with the sound plan. The artistic detail, reflected by the light seen by Aduev from the window, changes its function, moves to another, new dimension for itself - it becomes a "catalyst" for the outburst of all Alnksander's feelings, which a minute ago formed into a dense clot of energy, and felt by readers only by tapping fingers on glass.

So, we can observe that the artistic detail is reflected not only in the world of things and objects. Sounds, embodied by the author in the form of a word, move along with household items, being their constant companion. Goncharov's skill in the episodes of the novel analyzed above lies in the ability to combine word, action, detail and sound, to provide the reader with a plot element truthfully, completely, dwelling on each seemingly insignificant component. The detail appears in this case as an auxiliary, concretizing. Choosing one or the other, the author relies on the imagination, the experience of the reader, who mentally adds the missing elements.

3.3. Non-verbal detail in the work

In communication situations, non-verbal forms of behavior: gestures, facial expressions, gaze, gait, laughter, tears, etc. - can convey information and go deep into the subtext. The information conveyed by non-verbal "languages" is often at odds with the meaning of the words; in addition, she herself can be contradictory (for example, gestures can mean greeting and joy, and a look can be hostile). In a literary work, the significance of such concretization is unlikely to be disputed. We will not dwell only on communication situations, we will also analyze the gestures and movements characteristic of each character, reflecting his position in relation to any situation, we will look at individual gestures, and those will reveal the hero to us even more.

Let's start with Alexander Aduev. Remembering him before his departure and in the first few days of his stay in St. Petersburg, one cannot help but recall the outburst of feelings characteristic of him, which he expressed in the desire to hug the interlocutor, whether the interlocutor was an uncle or a friend. And, of course, we understand that this gesture, made by Goncharov for a reason, speaks of the openness and spiritual simplicity of the young man, of the good qualities brought up in the countryside. And what a surprise this nephew's impulse to hug him was for Aduev Sr. He continued to shave, as if not noticing the visitor. And apparently, Goncharov deliberately says that after joining a job, Alexander does not have such a desire. The city even changes its gait in Aduev Jr.: " Light and shaky tread has become even and firm".

It is worth paying attention to the final scene in the epilogue. Both uncle and nephew contradict their inner being: “And they embraced. - Violently, for the first time! - proclaimed Pyotr Ivanovich. - And in the last, uncle: this is an unusual case! Alexander said. The heroes of the novel, embracing, seem to change places at this moment; everyone does an "extraordinary" act. However, both of these actions speak of a completely "ordinary" process of reconciliation of recent opponents on their common path to "career and fortune." Let the uncle not be able to go further - the nephew from now on will take his place.

The friendship between Alexander and Pospelov on the pages of the novel appears as real. At the beginning of the novel, he “jumped over sixty miles to say goodbye to Alexander,” then Alexander writes him a letter, wanting to express everything that was happening in his soul at that moment. But time and the city change him, and his best friend is already yawning, sitting next to Aduev, and then, unable to stand it, laughs at the outpourings of the soul, at the fact that Alexander still lives in dreams and memories of the past.

As money is a constant component of the uncle's conversation, so the tears throughout the whole work are an expression of real sincere feelings. Tears are especially vividly presented in the first part of the novel. Mother accompanies her son - the most sincere feelings were in those tears. Moreover, Goncharov uses the method of gradation: tears, sobs and, finally, sobs. Alexander, after the first broken love, sobs in his uncle's office.

Let us turn to Pyotr Ivanovich Aduev. Comparing the gait that took shape with his nephew after two years in St. Petersburg and his own gait, one can find something in common: “With an even, beautiful gait, with restrained but pleasant manners,” Pyotr Aduev has and “an even and firm gait” - at Alexander. The deliberate use of the repeated word "smooth" gives a certain symbolism to the similarity that arises between them, the merging of the way of life of both into a single concept - "to do business."

Techniques of non-verbal detailing are found in the "Ordinary Story" in a variety of variations - this is facial expressions, and gait, and tears, and laughter. Their significance is on a par with the other functions of the part. It is worth dwelling on the role of the gaze in the work, since it most capaciously reflects the inner essence of the hero.

3.4. Look and its function in the work

For Goncharov, using the eyes of a character to show his soul, to reveal all its hidden corners, which are sometimes impossible to put into words, is a frequent and effective technique. A glance can sometimes say much more than a word can.

Here we will first turn to female images, because it is in the female gaze, according to Goncharov, that one can see all the ardor and strength of feelings.

Let us turn once more to the farewell scene between Agrafena and Yevsey. “Agrafena Ivanovna looked askance at him. And in this look all her anguish and all her jealousy were expressed.

Descriptions of Lyubetskaya's eyes cannot but attract attention, it seems that Goncharov sought to clearly draw the whole nature of this girl: “when she raises her eyes, you will now see what an ardent and tender heart they serve as a guide. Suddenly they will throw like lightning, burn and instantly hide under long eyelashes; you will be illuminated by a gentle radiance of eyes, as if slowly emerging from behind the clouds of the moon. Her own look when talking with Alexander about the engagement: “With a hint of light thoughtfulness in her eyes and without a smile, but somehow absent-mindedly.” And if Aduev could analyze his eyes more deeply, see the soul through them, perhaps there would be no hope of their endless happiness in family life in the future, the impossibility of which Nadenka’s eyes spoke at that moment.

The image of Tafaeva is very different from Lyubetskaya, there is no need to go deep, because already according to the description of the eyes, albeit not so detailed, but we see a difference between them, which is then so clearly reflected in their attitude towards Alexander - “the look is meek and always thoughtful, partly sad ". How could a girl with such eyes treat Alexander the way Nadya did? "Her eyes burned with a feverish gleam" at a quarrel with the man she loved so much. Note that when Nadenka told Alexander that she fell in love with another, her look is described only at the moment when she looked up from the piano - there was fear in them. And it is unlikely that this feeling was in any way connected with love for Alexander, she was afraid of his anger, but did not regret that it was all over.

Let's say a little about Alexander's eyes. After two years of his stay in St. Petersburg, he changed himself, which means that the former naivety is replaced by self-confidence and courage shining in his eyes, “the former enthusiasm on his face was moderated by a slight shade of thoughtfulness…”.

So, the function of the gaze in the work is extremely important. Detailed description each character is replaced by an image of a look that changes depending on the situation and on the hero’s inner experience of it. Similar situations will never be perceived in the same way, and the hero's view of the situation, both directly and indirectly, figuratively, will acquire its own characteristic, distinctive feature. Focusing on the gaze when describing his characters, Goncharov restructures his work, psychologizes it, and thereby raises it to a high artistic level.

3.5. Accompanying and dissonant detail

Each hero of a work of fiction is associated with certain things that are indirectly or directly connected with him throughout the novel, either by their constant presence or by the hero’s constant use of them in his activities.

In this regard, let us recall Alexander Aduev. Goncharov did not invent any special things that would accompany the main romance of the work. Knowing the mindset with which Alexander arrived in St. Petersburg and with which he spent the first two years in it, you can, without going far, see him writing poems, or a novel that reflects all his inner torments and experiences. This is exactly how the nephew of Peter Aduev is depicted. When the publisher of the journal, to which Aduev Sr. relates one of those same novels of his nephew, speaks of the worthlessness of these works, calls their author (Alexander) immature, too subjective, he is forced to do everything that has been accumulating for many years: notebooks, sheets, scraps with begun verses - throw away, burn. Things that represent part of his inner world must be destroyed. Destroying them, he lost a part of himself, left himself to be torn to pieces by fire: “... the edges of it (the sheet) were bent, it turned black, then shrunk and suddenly flared up; another, a third quickly flared up behind it, and then suddenly a few rose and caught fire in a bunch, but the next page under them was still white and after two seconds it also began to blacken around the edges.

One of interesting moments in the work is Alexander's explanation to his uncle and aunt of the meaning of the concepts of love and friendship. He "takes out two octopuses of scribbled paper from his wallet." These small and worn leaves immediately rise in our minds to the level of the height of those concepts that are indicated in them, and immediately descend to worthlessness. How powerful is the influence of detail!

Let's remember how Peter Aduev lives with Lizaveta Alexandrovna - on big street, occupy a good apartment, in constant abundance. After analyzing the entire novel, it is impossible to recall a moment where Aduev senior would be mentioned outside of such things as money, wine, cigars, food. Alexander tells that Nadenka betrayed him and now loves the count - his uncle eats a turkey; nephew talks about heartache- either a money offer follows from a close relative, or he remembers that he has not had dinner today.

Let us pay attention to the talk about money that runs through the entire text of the Ordinary Story. Already during his first conversation with his nephew, Aduev Sr. tells him: “Mother asked me to supply you with money ... You know what I’ll tell you: don’t ask me for them, this always violates the good agreement between decent people. However, do not think that I refused you: no, if it happens that there is no other means, then you, there is nothing to do, turn to me ... ". Alexander not only remembered this cold proposal well, but also gave it an almost allegorical interpretation. For him, borrowing money from his uncle is tantamount to agreeing to some extent with his life philosophy, to compromise with him. “I don’t think I bothered you often,” Alexander coldly replies to his uncle, when he, during an affair with Nadenka, warns his nephew not to ask him for “despicable metal”. But now Alexander renounced his youthful romanticism, embarked on a new practical path. “Well, do you really not need despicable metal now? Come to me at least once. - Oh, you need an uncle: there are many costs. If you can give ten, fifteen thousand…” This agreement marks the touching union of an uncle and a nephew who has forever renounced his former romantic illusions.

In contrast to this, the image of the wife of Peter Ivanovich was created. “Lizaveta Alexandrovna looked at the luxurious furniture and at all the toys and expensive trinkets of her boudoir - and all this comfort that others have caring hand loving person surrounds the beloved woman, seemed to her a cold mockery of true happiness. How her inner world contrasts with objects that constantly surround her, but represent absolutely nothing for her.

Speaking about a detail that introduces a certain discord and conflicts with the general outline of the episode, or the hero himself (that is, a dissonant detail), let us also turn to the image of Nadenka Lyubetskaya.

Walking with Alexander, she was occupied by a bug: “... will I get a drop on a bug, that's what crawls along the path? .. Oh, it hit! poor thing! she will die!” Nadenka began to breathe on her, trying to save her, but as soon as the insect began to move, "Nadya shuddered, quickly threw it to the ground and crushed it with her foot." In this case, the intentional inclusion in the conversation of such a small, insignificant element as a bug carries a very important function. The attitude to the bug is absolutely the same as to Alexander: to fall in love with yourself, to help you realize what love is (carry in the palm of your hand, breathe, trying to save in this way), and then stop loving and leave the person who loves you (crush the bug with your foot).

Like the previous dissonant detail, there is another one, also associated with Lyubetskaya. "Alexander Fedorych! - it was heard again from the porch, - curdled milk has long been on the table. - For a moment of inexpressible bliss - suddenly curdled milk !! he said to Nadia. Is everything like that in life? “As long as it doesn’t get worse,” she answered cheerfully, “and curdled milk is very good, especially for someone who has not dined.” We notice a clear dissonance between Alexander's feelings and Nadenka's words about curdled milk. The detail gives us Nadya's thoughts, which were in reality at that moment: “Our love is not yet so blessed, that's why it is good. But I am sure that soon I will truly love, and hardly you, Alexander.

Another point that should be noted is that Alexander was brought a German manuscript for translation: “What is this - prose? - he said, - about what? Alexander's hands trembled with joy when he opened the package. And he read what was written at the top in pencil: "About the land, an article for the department of agriculture."

So, Goncharov uses a dissonant detail in the novel - we see this in the example of the image of Lizaveta Alexandrovna, Nadia Lyubetskaya and Alexander. The function of the accompanying detail is not new to literature, but each writer loses the general meaning that was originally invested in this term, and acquires that specificity and individuality, which, together with the character traits of the hero, constitutes a holistic and unique image, as happens with Alexander Aduev and his uncle in the novel.

3.6. Landscape art of Goncharov

The landscape is one of the most powerful means for creating an imaginary, "virtual" world of a work, essential component art space and time.

Pictures of nature in the "Ordinary Story" are given an important place. “The room smelled fresh from the balcony. A garden of old lindens, thick wild roses, bird cherry and lilac bushes stretched out from the house to a distant space. Between the trees flowers were full of flowers, they fled to different sides tracks; further on, the lake quietly splashed into the shores, bathed to one side by the golden rays of the morning sun and smooth as a mirror; on the other - dark blue, like the sky that was reflected in it, and barely covered with swell. And there the fields with waving, multi-colored bread went like an amphitheater and adjoined the dark forest, ”it was Anna Pavlovna who opened the balcony door.

The balcony as a decorative detail, having signs of plausibility, nevertheless is for the most part artificially created element in the house. It has an intermediate, transitional character between nature and home. So, Anna Pavlovna does not open the window, but the doors of the balcony, i.e. she herself pushes Alexander towards the artificial life that will be in St. Petersburg.

Nature, seen by Alexander, becomes not just a picture, so material and concrete, full of shades and colors, but it should have forced Alexander to refuse the trip. But Alexander did not look there: “between the fields, the road wound like a snake and ran away through the forest, the road to the promised land, to St. Petersburg.”

Let's turn to the episodes where Goncharov uses landscape details, such as a snake road, a river, a thunderstorm, and city details - the Bronze Horseman, buildings and houses.

The use of the comparison of the road with a snake is deliberately made by the author. If you turn to the meaning of the symbol of the snake, then living underground, she is in contact with underworld and has access to otherworldly powers.It also symbolizes the original instinctive nature, the influx of life force, uncontrolled and undifferentiated, the potential energy that inspires the spirit. It is a mediator between Heaven and Earth, between earth and the underworld. Such a polar difference between the two worlds - the village and the city - is depicted by the writer. In addition, the snake is a tempter (it caused the expulsion of Adam and Eve from garden of paradise). In this case, she tempts him to go to St. Petersburg and "lose" himself there.

Let us recall how Petersburg was described when Alexander arrived there: “He saw only chimneys, but roofs, and black, dirty brick sides of houses.” And further: "The city of fake hair, false teeth, cotton imitations of nature, round hats, a city of suave arrogance, artificial feelings, lifeless bustle."

Petersburg is presented in the novel through “stone fences of identical houses”, they seem to protect a person from everything natural, do not give an outlet for feelings, which is why here everyone “with a look and pushes away from the road, as if all enemies are among themselves.” By the way, the Bronze Horseman is one of such giants, in front of which Alexander stood for an hour "with an enthusiastic thought", he has a bewitching effect on him - "... and his eyes sparkled ... He felt cheerful and light."

Let's turn to landscape details.

How naturally the picture of a thunderstorm in the village is described. We consider it important to note that the downpour began just before the arrival of Alexander. The storm seems to portend something, as if it wants to alert everyone in the Aduevs' house - Alexander is going, but he is no longer the same as he was, the city has made him different.

Pictures of nature more often than in all other episodes arise in connection with Liza. They meet Alexander during his fishing with a friend, and then they meet only in the bosom of nature.

One day, Kostyakov says to Lisa: “But you don’t know how, madam: they didn’t let him (the perch) peck properly.” When Liza's fish fell off the rod. We can interpret these words as their relationship with Alexander - perhaps he would have been with her, but she did not let him "peck well."

Let us recall the description of the river that Aduev went to after Liza's father spoke to him: “She was black. Some long, fantastic, ugly shadows ran across the waves. The shore where Alexander stood was shallow. The river seems to reflect the inner state that the hero was experiencing at that moment. Moreover, the shallow shore is metaphorically represented by us as the inner world of Alexander. The soul is as empty as the shallow bank of the river.

Alexander decides to leave, and Lisa is waiting for him on a bench under a tree, "thinner, with sunken eyes." Moreover, the state of nature helps us to understand even more deeply all the tragedy of the feelings of the heroine experienced at that time - “autumn has come. Yellow leaves fell from the trees; the sky was grey; a cold wind was blowing with light rain. The banks and rivers are deserted.

The landscape art of The Ordinary Story is diverse. Goncharov is not limited only to the description of the village - the summer heat in St. Petersburg, the night on the Neva, winter evening on Liteiny Prospekt, a neighborhood of the city where Aduev wanders along with Kostyakov.

So, analyzing the above, we can conclude that, for the most part, the psychological function of the landscape is that pictures of nature help in revealing the inner world of the hero, creating a major or minor emotional atmosphere (sometimes contrasting emotional state character). Landscape details also play the role of clarifying the inner world of the characters. Moreover, they are often presented as metaphorical, you need to look deep into the details in order to really feel the author's thought. City descriptions of Petersburg places appear in the novel as a contrast, a complete opposite. Shading each other, they acquire expressive accuracy.

Conclusion

The purpose of this study was to identify the features and determine the role of the artistic detail in the novel by I.A. Goncharov "Ordinary History". A number of conclusions can be drawn based on the study.

An artistic detail, being an element of an artistic whole, is in itself the smallest image. At the same time, the detail almost always forms part of a larger image. An individual detail, being assigned to a character, can become its permanent sign, a sign by which the given character is identified.

Considering the work of Goncharov, we noticed the following features of his method: the poetic image is drawn from the side of its internal content, but the author does not forget at the same time about the external form of the human image. The attention that the novelist paid to the creation of a portrait, character and type was extremely great. Goncharov refers to such aspects of the hero as facial features, facial expressions, clothing, special attention is paid to the look. So, the detail in Goncharov's novels occupies one of the most important places. Goncharov's skill in the analyzed episodes of the novel lies in the ability to combine word, action, detail and sound. Using non-verbal detail, he takes the work to a new, psychological level, characteristic of all his works.

Thus, having analyzed the essence of the artistic detail, Goncharov’s method of using detail and looking at specific work the concept of an artistic detail, we can conclude: Goncharov already in his first work uses different kinds and the function of the detail: in the portrait description, he refers to descriptive details, but each of these details has a psychological basis (images of Alexander and his uncle, Anton Ivanovich's clothes). Moreover, the psychology of the characters is reflected not only by portrait characteristics, but also by

speech (a vivid example is the speech of the elder and younger Aduevs). The appearance of Goncharov's hero to a certain extent reflects the social structure in which the character was formed.

We noticed the psychological nature of the details when the characters used some things - Agrafena's farewell to Yevsey, the episode with Alexander's "three stupidities", Nadenka's piano playing and some other plot elements make us understand that any interior item, any minor subject detail can serve in Goncharov, elements characterize the internal state of the characters.

Non-verbal forms of behavior (gestures, facial expressions, laughter, tears) form a psychological subtext in the novel "An Ordinary Story" (Pyotr Ivanych's gait, Alexander's mother's tears, Pospelov's laughter). The function of the glance in the novel plays the same significant role, as in subsequent works - opens the inner world of the characters and changes in accordance with the internal movements.

Goncharov often uses the method of opposition, i.e. a dissonant detail that conflicts with the general outline of the episode and thus attracts attention, it becomes either psychological in nature or warning (as happens in the episode with the bug).

And finally, landscape details. After analyzing them, we can say that their role in the novel is ambiguous. Most often, they metaphorically reflect the essence of phenomena and events taking place at a given moment (an open balcony door, a snake road, a thunderstorm). Sometimes they help to understand the character more deeply, and in the case of the Bronze Horseman, the detail exalts itself over the character and guides him.

Thus, the role of detail in the novel "An Ordinary Story" is significant. With the help of an artistic detail, I.A. Goncharov deepens the problems of the novel, introduces new, exceptional features into its poetics.

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