"Pure gold" of Turgenev's prose. Contrast as the main motive of "Poems in Prose" by I.S. Turgenev Lyricism of early Turgenev's prose

Exceptional artistic sensitivity of the writer to new forms. social life, to a certain extent, contributed to overcoming false ideological premises in concrete work "This was noted by Dobrolyubov in the article "When will the real day come?", Dedicated to the analysis of the novel "On the Eve". In early romantic lyrics and poems, Turgenev developed the traditions of Pushkin and Lermontov, and later Gogol. "Turgenev's advanced convictions were most fully expressed in a cycle of stories and short stories under the general title "Notes of a Hunter", which he began to create in the second half of the 40s "Anti-serfdom the direction of a number of stories, which arose under the beneficial influence of Belinsky, led to their enormous public outcry.

Compositionally, all the essays and short stories are united in the image of a narrator - a hunter. The originality of Turgenev's manner affected the lyricism of landscape sketches. Close by ideological sense to the "Notes of a Hunter" story "Mumu"! contrasting the spiritual insignificance of the spoiled and capricious lady-tyrant to the moral greatness and stamina of the dumb janitor Gerasim, whose figure receives symbolic meaning, personifying the dormant mighty forces of the people and at the same time their humility, the ending of the story speaks of the awakening of a feeling of protest in Gerasim " extra person”,“ Faust ”,“ Asya ”), the type of liberal idealist,“ a man of the forties ”, created by Turgenev in the novel“ Rudin ”. Rudin promotes advanced ideas, is distinguished by the strength of his mind, but in the end he turns out to be a weak, weak-willed dreamer (as opposed to Lezhnev's sober practicality), unable to act. In the psychology of the hero, the social failure of the advanced nobility was reflected. In the novel Noble Nest" Turgenev criticizes the capital's bureaucracy (Panshin), poeticizes the romance of "noble nests" as the focus of the positive forces of Russian culture, in the tragic figure of Lavretsky, he finds a desire for "recognition of the people's truth and humility before it" and sees in this the moral duty of an advanced nobleman. The idea of ​​fidelity to moral duty is also revealed in the image of Liza Kalitina, who shares with Lavretsky the desire for a lofty ideal of truth.

In the next novel - "On the Eve" - ​​the problem is significantly expanded. The aggravation of the struggle between liberals and democrats in the 60s was reflected in the fact that Turgenev creates the image of a revolutionary raznochinets! Bulgarian Insarov, who has the heroic character of a fighter for the liberation of the Motherland. The simplicity and firmness of his character, spiritual independence and nobility, the ability to act in order to achieve a clearly set goal favorably distinguish Insarov from the romantic Shubin and the modest intellectual Bersenev. Insarov's exceptional personal virtues, his ardent conviction in the need for a heroic struggle for the liberation of the Motherland, enthrall Elena Stakhova, who follows him on a feat.

On the rhythm of Turgenev's prose

Turgenev's artistic verse prose

The originality of the rhythmic organization of Turgenev's narrative traditionally attracts the attention of researchers and is often considered as one of the main structural features of his poetic prose. The history of the problem goes back to the experimental experiments of Russian formalists who tried to apply the principles of the metrical organization of verse to the study of the features of Turgenev's prose. As is well known, attempts at direct metrization of Turgenev's texts already at that time evoked a stormy and, in a revolutionary way, an irreconcilable reaction from the bearers of more traditional historical and cultural views. “We have never had to read anything more disgusting, arrogant and shamelessly mediocre than Engelhardt's article on Turgenev's prose ...,” writes, for example, G. O. Vinokur in his review. - “This venerable researcher wants to prove that Turgenev wrote his novels and stories not in prose, but in verse, ... and without bothering to explain the meaning of this monstrous nonsense, he offers us an experience of what he calls “experimental versification”, and that on in fact, it is simply a meaningless collection of words, composed in such a way as to obtain those rhythms that the happy eye of the researcher discerned in Turgenev's prose.

To date, the idea of different nature poetic and prose rhythm and the unproductiveness of direct application of the laws of the metrical organization of verse to the study of structure fiction is generally accepted in science. However, echoes of long-standing polemics can still be seen in the existence of two related, but clearly not identical, approaches to understanding the nature of transitional forms of narration - and in particular, the structure of poetic prose.

The first of them - a variant of the versification approach - is most consistently and most fully set out in the works of Yu. B. Orlitsky. As the primary obligatory feature of the poetic form, he considers not the metrical organization, but double segmentation and the vertical "rhythm of the lines" poetic text. Identification and systematization of the prose analogues of the verse line and stanza is used as the main tool for the typological study of transitional forms between verse and prose. Obviously, with this approach, “poetry” and “prose” are perceived, first of all, as “two ways of organizing speech material”, and their study is carried out in line with the extensive tradition of linguistic and graphic research. artistic text.

Throughout the 20th century, another, structural-semantic, approach to the study of the features of the poetic and prosaic types of artistic structure has been actively formed. In line with this trend, "poetry" and "prose" are considered not only as "two ways of organizing speech material", but also as two types of artistic discourse, structurally gravitating either to "poetic" or to "prose" ("monologic" - " dialogical”, according to the terminology of M. M. Bakhtin) model of the author’s thinking. With such a formulation of the question, the opposition "poetry - prose" to a greater extent correlates not with poetic and linguistic problems, but with genre-style and generic content, and the problem of rhythm acquires not only a formal speech, but also an artistic and aesthetic status.

The first steps in this direction were taken by the Russian Formalists themselves, who fairly soon revised some of the extremes of their original approach. B. V. Tomashevsky expresses the idea of ​​the fundamental specifics of the rhythmic organization of artistic prose. He introduces the term “speech column” into scientific use, designating with it a unit of the rhythmic structure of a prose text, which is a “syntactic-intonation association of phrase groups (or “syntagmas”, in the terminology of L. V. Shcherba)” .

V.M. Zhirmunsky also believes that the basis of the rhythm of artistic prose "is formed not by sound repetitions, but by various forms of grammatical and syntactic parallelism" . One of the first he turns to the study of the semantics of the rhythm of poetic prose. In his opinion, "it is the emotional and lyrical content of such prose that prompts" its stylistic features and, in particular, "the rhythmization associated with them."

An important stage in the development of the structural-semantic method was the work of Yu. M. Lotman. According to the correct remark of the researcher, precisely because of the richness and vastness of the statistical and classification material accumulated by versification and linguistics, it is advisable to pose “not only the question: “how is the text organized in rhythmic terms?”, But also: “why is it so organized?” Developing the ideas of semantic syntagmatics, Lotman proposes to consider it not only as a “chain syntagmatics” familiar to a linguist, but also as a “hierarchical syntagmatics” of “constructively heterogeneous” levels, the “juxtaposition” of which is “one of the main structural laws of a literary text”.

A significant contribution to the development of modern theory and methodology for studying the rhythm of fiction is the concept of M. M. Girshman. The most important methodological merit of the researcher is, in our opinion, the distinction between the concepts of speech microrhythm and compositional macrorhythm, that is, the rhythm that manifests itself at all levels of the artistic structure. “Rhythm, becoming artistically significant, ceases to be only narrow speech,” writes M. M. Girshman, “it is filled with internal connections with other levels of the narrative structure, acquires intonation-expressive, plot-compositional, characterological functions, ... finally embodies author's artistic energy that forms and organizes the prosaic artistic whole" .

Thus, the dialectical approach to understanding the nature of the rhythm of artistic prose is increasingly balancing today some of the "extremes" of formal poetic methods. "Poetry and prose" are considered both as speech structures, formally correlated with the opposition "verse - prose", and as architectonic (according to the terminology of M. M. Bakhtin) artistic forms, revealing their semantic relationship with the genre-generic opposition "lyric - epic ". In line with such views, the authors of the modern “Theory of Literature” (edited by N. D. Tamarchenko) understand artistic rhythm as a deep level of subjective structure, as “speech “generalization” of the text”: “Rhythm intones the entire subjective organization literary work in its overlaps and interactions with the object organization. The study of the "rhythmotectonics of the whole" - "hidden from the surface impression, the "brain" layer of artistic reality" of the text - is one of the productive and relevant areas of literary research today.

The use of the latest techniques allows us to take a fresh look at the problem of the structural originality of poetic prose, and in particular, the prose of I. S. Turgenev. An interesting attempt to study the genre-forming function of the rhythm of "Poems in Prose" was made in the dissertation work of S. V. Galaninskaya. M. V. Polovneva, exploring the general principles of the structural organization of Turgenev's early lyrical and philosophical stories, considers as one of these principles the presence of a symbolic subtext of the narrative, which forms a kind of lyrical macro-rhythm of Turgenev's early prose.

Turgenev's novels were less likely to be the subject of such techniques. The history of the study reflected the process of meaningful deepening research thought from external socio-historical characteristics to universal philosophical, ontological understanding of their artistic content (in the works of G. B. Kurlyandskaya, L. V. Pumpyansky, V. M. Markovich, Yu. M. Lotman, S. M. Ayupov and others ). Much less often, novelistic creativity was studied in another, in our opinion, no less important aspect - as a continuation and development of those structural tendencies common to Turgenev's idiostyle that developed in his early poetic prose and could not but affect novel poetics.

The foundations of modern ideas about the originality of Turgenev's "poetic manner" were laid in the works of V. M. Zhirmunsky. Analyzing an excerpt from the story "Three Meetings", the researcher developed an actual system of methods and techniques for the manifestation of "rhythmic influences", which are generally characteristic of Turgenev's prose. Its "compositional framework" is formed, in his opinion, "various forms of grammatical-syntactic parallelism, supported by verbal repetitions (especially anaphors)." Among other rhythmic features, V. M. Zhirmunsky singles out the repetition of “paired (less often triple) groups of words”, “double and complex epithets”, lyrical questions, exclamations, lexical “picks up”. A special group of devices are "characteristic stylizing motifs" (or "stylizing verbal themes") that rhythmically organize Turgenev's narrative. These include the repetition of "generalized" words ("lyrical hyperbole"), "indefinite epithets", "fabulous dictionary". The researcher's idea about the existence of special techniques of "lyrical empathy with the landscape" seems to be very productive, the description of which most often has a rhythmic character in Turgenev's prose. These include the use of "animating metaphor", "semi-emotional words" (vague, indefinite forms with muffled or repressed material meaning), the poetics of light, sound, smell. The researcher also notes the presence of irregular, "isolated cases of sound repetitions, mainly alliterations" and the use of "lyrical" punctuation (mainly dots) - as possible "secondary signs of the rhythmic organization of verbal material" in Turgenev's prose.

It is interesting to note that almost all of the above methods are clearly manifested in the originality of Turgenev's epistolary manner, starting from the first experiences of his early romantic correspondence with friends. The stylistic proximity of Turgenev's epistolary prose and his works has been repeatedly noted by researchers. M. P. Alekseev calls Turgenev's letters "an experimental site", "a kind of variants of his artistic texts", which often preceded work on a story or novel. Reading Turgenev's work against the backdrop of his richest epistolary heritage seems to be one of the topical methodological possibilities for studying the structure-forming features of his creative thinking. For example, a small excerpt from a letter to N.V. Stankevich in 1840, which directly captures the very “Italian” impressions of Turgenev, which later formed the basis of the story “Three Meetings”, reveals not only thematic echoes, but also very significant general structural patterns of Turgenev’s discourse. “So, everything needs order, even in a letter written in a half-drowsy state. The view of Naples is indescribably beautiful - from our windows - but especially from the castle of S. Elmo. Right in front of our house, on the other side of the bay, stands Vesuvius; not the slightest plume of smoke curls over its double top. Along the edges of the semicircular bay, rows of white houses are crowded in an unbroken chain to Naples itself; there is a city and harbor, and Castel dell'Ovo: on a high green hill stands the castle of S. Elmo - almost in the middle of the bay. “But the color and brilliance of the sea, silvery where the sun is reflected in it, crossed by long purple stripes a little further, dark blue in the sky, its misty radiance near the islands of Capri and Nexia - this is the sky, this is incense, this bliss ... " .

Compositionally, the excerpt consists of two intratextual discourses, subjectively not differentiated, but marked by a change in speech and, in particular, rhythmic-intonational structure. The first of these is an example of an "analytical" description with "detailed and precise spatial disposition" and "careful registration of details": "Right in front of our house.", ".on a high green hill.", "almost in the middle of the bay." The description is driven by the intonation of enumeration, accurate fixation of spatial and visual impressions, the use of pictorial epithets: “double peak”, “semicircular bay”, “white houses”, “high green hill”. According to V. M. Zhirmunsky, this type of “rational-analytical” descriptions is more characteristic of the artistic manner of L. N. Tolstoy, distinguishing his prose from the “emotionally synthetic” prose of Turgenev.

The synthetic nature of Turgenev's narration is realized in switching from the plane of an analytical description to the plane of the author's meditative reasoning, manifested by a change in the way of verbal utterance. Starting with the opposing union “but”, the use of which is not objectively motivated (the object of the image does not change), there is a change in the angle of view: from external observation to internal living (“lyrical empathy” in the subject). This change is fixed, first of all, rhythmically: lexical and syntactic repetitions (“this is the sky, this is incense, this bliss.”), double “semi-emotional” epithets (“long purple stripes”), the use of “paired words” (“color and brilliance sea"), increase middle length rhythmic series by reducing the density of its accentuation. The abundance of denominative constructions - in contrast to the confident two-partness of the previous pictorial description - creates a feeling of reticence, emotional shock in front of the non-verbal splendor of the depicted picture. "Lyrical" punctuation (Turgenev's favorite ellipsis and a purely author's sign double dash "--", extremely characteristic of his letters), open vocalization ("o" and "a" in strong, percussive positions), lightweight accent structure give rise to a smoother, drawn out intonation, conveying not only the flow of thought, but also the individual manner of intonation, sound. The rational-visual fixation of the segment is replaced by the inner living of what he saw, the analytical manner of presentation - intonation-rhythmic italics of the author's experience.

Such a switch from the plan of description (image), explicating the view of an objective observer and requiring a rational-analytical “order” of presentation, to the plane of meditation (imagination) - a “semi-drowsy”, extra-rational state that fixes instant lyrical impulses, overflows of author's emotions and emphasizes, first of all, the manner intonation, the sound of the author's speech, is, in our opinion, one of the most stable rhythmic mechanisms of Turgenev's discourse. Originating in his early poetics, in the future it is updated in various genre modifications, including in the mature forms of Turgenev's novel.

Turgenev's novels, according to generally accepted views, represent the pinnacle of his "objective" creativity, embodying a new anti-poetic style of narration. In a well-known letter to P. V. Annenkov dated October 28, 1852, he himself resolutely formulates his adamant desire to part with the “old manner” and “go the other way” - the road of “simple, clear” prose. It is quite understandable, therefore, that the formation of Turgenev’s novelistic style in the 1850s and 60s is colored by the author’s obvious unwillingness to discover the slightest relapses of poetic thinking in those of his texts, where he consciously and purposefully works to develop a new “objective” manner of writing. Researchers have repeatedly noted the author's consistent cleansing of all formal signs of poetization of speech in his novels (elements of speech metrization, excessive metaphorization, etc.).

However, it is no less obvious that the history of the conscious "remaking" of oneself into an "objective" writer was accompanied by Turgenev's endless hesitations and doubts about his own inner capacity for such a radical change. In the same letter to P. V. Annenkov, he writes: “But the question is: am I capable of something big, calm?

Will simple, clear lines be given to me. ”; "...I am thirty-four years old, and it is very difficult to be reborn in these years." He really needs to seriously "gather up his courage" in order to "happily change his manner." The result of this creative reflection was the brilliantly developed poetics of “refusals” (Yu. The system of "rhythmic influences", which forms the "special lyrical coloring" of Turgenev's prose, is certainly one of such hidden, "brain" mechanisms of his artistic discourse. It is obvious that in early philosophical-lyrical prose this structural tendency is embodied more fully and freely than in novels. It is also obvious that in the process of remaking himself into an “objective” writer, he is increasingly trying to get rid of this duality, to give his narrative “clarity” and “simplicity”, to force himself to move “straighter and simpler towards the goal” without poetic bluffs. However, in the mature forms of Turgenev's novel (in a different percentage), we can, in our opinion, see the action of the same "generalizing" structural regularity.

The novel "Fathers and Sons" is considered to be the pinnacle of Turgenev's realistic work. As D. P. Svyatopolk-Mirsky writes, this is the only novel in which Turgenev managed to overcome “the contradiction between imagination and social themes” and where “social problems completely disappeared into art.” In other words, the dramatic search for a new style that continued throughout the 1850s was finally crowned with success. However, nowhere, in the opinion of the same researcher, the uniqueness of the author's personality, his "secret desire to overstep the boundaries assigned to Russian novelists by the dogmas of realism" "manifested as clearly as in this best novel of his": "The lyrical element is always close to him. He not only began his literary career as a lyric poet and ended it with Prose Poems, but even in the most realistic things - both the construction and the atmosphere are mostly lyrical.

The mechanism of discursive switching described above - a kind of rhythmic failure that marks a change in the perspective of inner vision from objective "image" to "lyrical empathy", poetic "experience" of the depicted - is, in our opinion, one of the stable elements of such a hybrid construction. Often found in Turgenev's novel prose, it contributes to the formation of a complex rhythmotectonics of the whole, revealing the "lyrical element" of the objective narrative, subjectively rejected by the author. In Fathers and Sons, for example, the optional use of such a construct contributes to the formation of a characteristic zigzag pattern in the intonational-rhythmic pattern of Turgenev's novel.

Most often, two compositional episodes are mentioned in this connection: the image of the spring landscape in Chapter III (“Everything around was golden green.”) and the evening garden in Chapter XI (“It was getting dark...”). In both cases, there is an obvious failure of objective narration, marked by a stable system of the above-described lexicosyntactic techniques. The semantics of the sign carries a double load. On the one hand, it is objectively motivated - by the course of plot development, character development, and so on. Thus, the description of the spring landscape in Chapter III of the novel, given through the prism of Arkady's perception, contributes to the formation and detailing of the subjective sphere of this hero, motivates a gradual change in his mood: "Arkady looked, looked, and, gradually weakening, his thoughts disappeared.". The description of the evening landscape of Chapter XI, included in the sphere of Nikolai Petrovich's perception, becomes a sign of the hero's immersion in the world of memories and meditative reflections. However, every time such rhythmic italics, switching the course of dynamic presentation into the subjective sphere of the character, at the same time accentuates the internal complication of the very structure of the narrative, activating the lyrical author's intention, not fixed subjectively, but refracted in the sphere of the character. Sometimes such intrastructural activation of the author's intentionality is marked by direct citation of excerpts from letters, which, as noted by researchers, were often included almost verbatim by Turgenev in literary texts. This is what happens, for example, in the above-mentioned description of the evening landscape of Chapter XI, given in the perception of Nikolai Petrovich, but fragmentarily reproducing a letter from Turgenev himself to S. T. Aksakov, written in May 1853: “Yesterday we walked along the aspen forest from the side of the shadow, in the evening; the sun's rays climbed from their side into the depths of the forest and doused the aspen trunks with such a warm light that they became like pine trunks; and their foliage almost turned blue - and a pale blue sky rose above it, slightly reddened by the dawn. This picture was amazing - it is impossible to convey in words. It is interesting that those very minor changes that were made during the "transplantation" of the epistolary passage into the novel contributed precisely to the thickening of the atmosphere of "non-verbality" of the depicted, leveling the elements of figurativeness and actualizing its melodic impact. The presence of such echoes is the most obvious manifestation of the specific structural regularity of Turgenev's discourse - the non-subjective actualization of the author's lyrical intention, optionally activated in the sphere of one or another novel character. Such "hybrid constructions" are one of the options for implementing the fundamental "dialogic", "two-voiced" novelistic word. They always "play out a dialogue between the author and his characters - a specific novelistic dialogue, carried out within the framework of outwardly monologic constructions" . Such a subjectively unmarked dialogue, according to M. M. Bakhtin, unfolds in the “intraatomic”, “intramolecular” layers of the artistic structure: “The section of voices and languages ​​takes place within one syntactic whole, often within a simple sentence, often even one and the same word belongs simultaneously to two languages, two horizons, crossing in a hybrid construction, and, consequently, has two contradictory meanings, two accents. Structural-semantic typology and systematization of such hybrid structures in Turgenev's prose, of course, require a separate independent study. The mechanism of rhythmic-intonational intrastructural switching described in the work is, in our opinion, one of the productive tools for such an analysis.

Thus, the historical deepening of scientific ideas about the function and nature of prose rhythm expands the possibilities and prospects for studying the structural and semantic features of mixed hybrid forms of artistic narration. The study of the macrorhythm of I. S. Turgenev's prose reveals the existence of general structural rhythmic regularities in Turgenev's discourse, which originate in his early romantic poetics and are genre-modified in the process of his creative evolution. One of them is the mechanism of rhythmic-intonational switching, which marks the intrastructural stratification of a subjectively unified narrative, which occurs either as a result of a change in the perspective of the author’s internal vision (from an external image to “lyrical empathy”), or as a result of an increase in the author’s intentionality, refracted in character sphere. The described narrative mechanism, explicating the synthetic hybrid method inherent in Turgenev artistic thinking, is one of the world-modeling principles of his poetics, one of the elements of the lyrical secret writing of his "objective" narrative.

Bibliography

1. Alekseev M. P. Letters of I. S. Turgenev // Turgenev I. S. Poln. Sobr. op. and letters: in 28 volumes - M.-L.: Publishing House of the Academy of Sciences of the USSR, 1960-1968. Works: in 15 volumes. Letters: in 13 volumes (vols. 1-15; vols. 1-13). - Letters. - T. 1. - S. 15 - 144.

2. Bakhtin M. M. Word in the novel // Bakhtin M. M. Questions of literature and aesthetics. - M.: Artist. lit., 1975. - S. 71 - 87.

3. Vinokur G. O. Review: Formal hack work: Turgenev's creative path. - Pg., 1923. - [Issue] I // Lef. - 1924. - No. 4.

4. Galaninskaya S. V. Methods of rhythmization of the cycle of I. S. Turgenev “Poems in prose” and the main trends in the development of the genre in Russian literature of the late XIX - early XX centuries: dis. . cand. philol. Sciences. - M., 2004.

5. Girshman M. M. Rhythm of artistic prose. - M.: Sov. writer, 1982.

6. Zhirmunsky V. M. Tasks of poetics // Zhirmunsky V. M. Theory of literature. Poetics. Stylistics. - L .: Nauka, 1977.

7. Zhirmunsky V. M. About rhythmic prose // Zhirmunsky V. M. Theory of verse. - L., 1975.

8. Lotman Yu. M. The structure of the artistic text // Lotman Yu. M. About art. - St. Petersburg: Art - St. Petersburg, 1998.

9. Orlitsky Yu. B. Verse and prose in Russian literature. - M.: RGGU, 2002.

10. Polovneva M. V. Poetics of Turgenev's story of the 1850s (On the problem of intertextual integrity): dis. . cand. philol. Sciences. - Eagle, 2002.

11. Svyatopolk-Mirsky D. P. Turgenev // Svyatopolk-Mirsky D. P. History of Russian literature from ancient times to 1925 - M .: EKSMO, 2008.

12. Theory of literature: textbook. manual in 2 volumes / ed. N. D. Tamarchenko. - V. 1: Theory of artistic discourse. theoretical poetics. - M.: Academy, 2010.

13. Tomashevsky B. V. Rhythm of prose // Tomashevsky B. V. On verse. - L., 1929.

Introduction

The personality of the writer, his perception of the world and his attitude to reality, emotional and life experience give rise to the uniqueness and originality of creativity. Creative individuality is expressed through the nature of his figurative vision, creative goals, artistic method and style. The originality of the writer can be revealed by comparing his works with the creations of his contemporaries, predecessors, through the poetics of his works and the features of the artistic method. This study is an attempt to comprehend artistic mastery I.S. Turgenev, penetrate into the unique world of his images, individuality of style.

I.S. Turgenev is a great artist who managed to discover so many extraordinary things in the ordinary, everyday world. This is one of those writers who are distinguished by an unusually subtle and organic fusion of a realistic-concrete epic image with lyricism.

The contrast in the works of the great artist of the word is a psychological detail: such motives and images are contrasted that are not indifferent to all or many people: youth and old age, love and hatred, faith and hopelessness, struggle and humility, tragic and joyful, light and dark, life and death , moment and eternity. The present work is characterized aesthetic and philosophical aspect study of the problem identified in the title.

As object research served “Poems in prose” by I.S. Turgenev. Appeal to the work of the writer is not only personally significant for the author of the work, but also relevant for several reasons. Poems from this cycle are little studied at school, although they attract readers with the depth of content, their philosophical fullness. The works are perceived differently by readers and have different effects on them: emotional, aesthetic, psychological, moral. In the last years of his life, the writer was worried about the fundamental questions of being, the “eternal” questions of life that he poses and tries to comprehend in his poems in prose. They reflect almost all the themes and motives of I.S. Turgenev, again comprehended and re-felt by the writer in his declining years. There is a lot of sadness in them, but sadness is light; the brightest and artistically perfect miniatures are permeated with life-affirming notes full of faith in man. From here goal of this study: to establish that the through motive of the Turgenev cycle is contrast, which manifests itself both at the level of the entire cycle, and at the level of one work. The real goal determined the setting next tasks:

1. analyze the theoretical material related to the study of “Poems in Prose” by I.S. Turgenev;
2. to identify the specifics and features of the genre "poetry in prose";
3. analyze individual works and identify in them the main contrasting motifs and images inherent in this cycle;
4. consider the influence of philosophical understanding of life facts on the spiritual life of a person.

In solving the above tasks, the following methods and tricks:

1. contextual;
2. descriptive method;
3. component analysis;
4. reception of internal interpretation (reception of systematics and classification).

1. The subject of “Poems in prose” by I.S. Turgenev

The subject matter of the poems is extremely varied. The researchers carefully read 77 prose poems by I.S. Turgenev and systematized them according to the principle of contrast, namely: it was noted that among the main contrasting motifs of the works, the following can be distinguished:

1. Love and friendship- “Rose”, “Azure Kingdom”, “Two Brothers”, “How good, how fresh the roses were”, “The Path to Love”, “Love”, “Sparrow”.
2. Compassion, sacrifice- “In memory of Yu. Vrevskaya”, “Threshold”, “Two rich men”, “You cried”.
3. The transience of life, life and death, the meaning of life, loneliness- “Conversation”, “Masha”, “In Memory of Yu. Vrevskaya”, “Insect”, “Schi”, “Nymphs”, “Tomorrow! Tomorrow!”, “What will I think?”, “N.N.”, “Stop!”, “Meeting”, “When I am gone”, “When I am alone”, “Phrase”, “Monk”, “ We will still fight”, “Drozd 1”, “Drozd 2”, “Hourglass”, “U - A ... U - A!” - “Dog”, “Doves”, “Without a nest”, “U - A ... U “Ah!”, “Old woman”, “Two quatrains”, “Necessity, strength, freedom”, “Double”.
4. All living beings are the same before mother nature- “Dog”, “Rival”, “Drozd 1”, “Sea voyage”.
5. Morality, morality; human dignity of the Russian peasant- “A contented man”, “Everyday rule”, “Fool”, “Eastern legend”, “Reptile”, “Writer and critic”, “Beggar”, “Last date”, “Schi”, “Hang him”.
6. Contradiction of the world: truth and falsehood; from parts and tears past life, love; love and death; youth, beauty; old age- “Alms”, “Egoist”, “Feast at the Supreme Being”, “Enemy and friend”, “Prayer”, “I'm sorry”, “Curse”, “Worldly rule”, “Who to argue with”, “Brahmin”, “Truth and Truth”, “Partridges”, “My Trees”, “Rival”, “Skulls”, “Prayer”, “Cup”, “Rose”, “Alms”, “Visit”, “Thrush”, “I got up at night”, “Sparrow”, “Visit”, “Azure Kingdom”, “Whose fault?”, “Oh my youth”, “Stone”, “Tomorrow! Tomorrow!”, “Whose fault?”, “Oh my youth”, “When I am gone”, “I got up at night”, “When I am alone”, “Caught under a wheel”, “Old man”.
7. Admiration for the Russian language -"Russian language".

Researchers have noticed the frequent use of I.S. Turgenev in miniature contrasting descriptions of nature: sky, dawn, sea, sun, clouds, clouds; The author pays close attention to eye description(in 12 poems); person's appearance; in three poems, the artist, using the antithesis, describes dreams; image sounds. H Plants also help to convey the mood in a particular work: smells, appearance, the reader’s ideas where these flowers and trees grow: wormwood, lily of the valley, rose, mignonette, linden, poplar, rye.

2. 1. Contrast as the main motif of lyrical miniatures

All works by I.S. Turgenev is united by the consideration of eternal problems that have always worried, worried and will worry society. According to L.A. Ozerova, “The collection contains many so-called eternal themes and motives facing all generations and uniting people of different times...” (Ozerov L.A. “Turgenev I.S. Poems in prose”, M., 1967, p.11) Consider some themes and poems.

I.S. Turgenev always admired the beauty and "infinite harmony" of nature. He was convinced that a person is only strong when he "leans" on it. Throughout his life, the writer was worried about the place of man in nature. He was frightened by her power and authority, the need to obey her cruel laws, before which everyone is equally equal, he was horrified by the “law”, according to which, at birth, a person was already sentenced to death. In a poem "Nature" we read that nature "knows neither good nor evil." In response to the man's babbling about justice, she replies: “Reason is not my law - what is justice? I gave you life - I'll take it away and give it to others, worms and people ... I don't care ... In the meantime, defend yourself - and don't bother me! She doesn't care that a man, that a worm - all the same creatures. Everyone has one life - the greatest value.

2.1.1. All living beings are the same before mother nature

In poems "Dog", Drozd 1, “Marine swimming" considered matter of life and death, transience of human life, the insignificance of each individual life in the face of death. The author compares life with a quivering light that will go out at the first “raid” of a storm. This is a fearful, separate creature that feels the approach of death, and "One life huddles fearfully against another." These poems again show the idea of ​​the equality and insignificance of all living beings before the "law" of nature: “two pairs of identical eyes”, “I took her hand - she stopped squeaking and rushing about.” The author puts a person and an animal side by side to emphasize the difference, but at the same time the relatedness of the hero and animals. It is for this purpose that he introduces pleonasms: “there is no difference” and “we are identical”, “we are all children of one mother” are close in meaning and emphasize the equivalence of man and animal in the face of death, life's trials. For the same purpose, the text uses repeating the same phrases: the same feeling, the same light, the same life, the same unconscious thought. With the help of paths, Turgenev revives death, gives it “life”: “a terrible, violent storm howls”, “sounds of eternity” are heard.

And most importantly, what is in life, what needs to be protected, caught and not let go - youth and love. After all human life is so beautiful and so small, so instantaneous in comparison with the life of nature. This is a contradiction, a conflict between human life and the life of nature remains insoluble for Turgenev. "Don't let life slip between your fingers." Here is the main philosophical thought and instruction of the writer, expressed in many "Poems ...".

2.1.2. The contradiction of the world: truth and falsehood; happiness and tears past life, love; love and death; youth, beauty; old age

In the language of “Poems in Prose” I.S. Turgenev strove for the harmony of life and words, for naturalness, for the truth of feelings embodied in language. In this thematic group the author makes extensive use of anaphora: “Honesty was his capital”, “Honesty gave him the right”; rhetorical questions: “What does it mean to forgive?”; rhetorical exclamations: “Yes, I am worthy, I am a moral person!”; parallelism: "I'm sorry...I'm sorry...".

The poem “I'm sorry” is striking in content and is built on the author's use of parallelism and antithesis (“ugliness and beauty”, “children and old people”). Contrasting tonalities in the poems of this thematic group very subtly replace one another, prompt the reader to think, make them re-read the works again and again in order to better understand them. It feels as if the author knows and doubts at the same time what he is telling us about.

In poems “Visit”, "Azure Kingdom", "Whose guilt?", "Oh my youth"“youth, female, virgin beauty”, “the realm of azure, light, youth and happiness”, “oh my youth!, my freshness” is opposed to losses, gnawing “deaf gnaw”, “I am old age”, “azure kingdom I saw you in a dream”, “you can only for a moment flash in front of me - in the early morning of early spring”. A large number of epithets: “gentle scarlet of a blossoming rose”, “borderless azure sky”, “gentle sun”, “severe rudeness”; personifications: “the fog did not rise, the breeze did not wander”, metaphors: “small ripples of golden scales”, “diving through soft waves”, “a pure soul does not understand” - help the writer in the utmost brevity of each poem to establish deeply intimate contact with the reader, demonstrate sensitivity and humanity in solving various issues posed in one or another poem.

Lyrical miniatures : "Stone", "Tomorrow! Tomorrow!", "Whose guilt?", "Oh my youth", "When I'm gone", “I got up at night”, "When I'm Alone", “Caught under wheel", "Old man"- full of gloomy, dark colors. Turgenev contrasts these poems with bright, iridescent poems imbued with optimistic moods (“Azure Kingdom”, “Village”). Usually they are all about the same love, beauty, its strength. In these poems, one feels that the author still believes in the power of beauty, in happy life, which, unfortunately, he did not have (“Sparrow”). Memories of a past life (“young female souls recently flooded into my old heart from all sides ... it blushed with traces of an experienced fire”, “almost every day lived is empty and sluggish - he (a person) cherishes life, hopes for it”, “you - youth, I am old age”), bright, juicy colors allow for a moment to feel a surge of vitality, to experience the feelings of happiness that once worried the hero.

2.1.3. Morality, morality; human dignity of the Russian peasant

The best features of the Russian people, their cordiality, responsiveness to the suffering of their neighbors, Turgenev captured in poems “Two rich men”, “Masha”, “Schi”, “Hang him!”. Here, as in Notes of a Hunter, the moral superiority of the simple Russian peasant over the representatives of the ruling classes is shown.

Satirical pathos fanned that part of the poems in prose, which debunked acquisitiveness, slander, greed. Such human vices as selfishness, greed, anger are sharply exposed in the poems: “A contented person”, “Writer and critic”, “Fool”, “Egoist”, “Enemy and friend”, “Reptile”, “Correspondent”, “ rule of life." Some of these poems are based on real life facts. For example, the venal reactionary journalist B.M. Markevich. A number of poems in prose are imbued with sad thoughts, pessimistic moods inspired by the writer's long illness.

However, no matter how sad and painful the impressions of the writer's personal life, they did not obscure the world before him.

2.1.4. Love and friendship

Often, in order to show the transience of life, I.S. Turgenev compares the present and the past. After all, it is at such moments, remembering his past, that a person begins to appreciate his life ... ( "Double"). Indeed, how skillfully Turgenev creates the image of jubilant youth - “the kingdom of azure, light, youth and happiness” - in a poem "Azure Kingdom" he contrasts this light realm with “dark, hard days, cold and darkness of old age ”... And everywhere, everywhere this philosophical idea, which was already mentioned a little earlier: show all the contradictions and overcome. And this is fully reflected in "Prayer":“Great God, make sure that twice two is not four!” "Oh, the ugliness ... cheaply obtained virtue."

In this thematic group, they contrast: a rose and tears, an azure kingdom and a dream, love and hatred, love can kill the human “I”.

The use of adverbial phrases, which are used mainly in written speech, seemed interesting, they fill the works with nobility and tenderness: “having returned to the living room, suddenly stopping.”

Poem "Sparrow"- the brightest and most wonderful "study from nature" - life-affirming and cheerful, glorifying the ever-living life, self-denial. Despite the small volume, Turgenev's work carries a huge philosophical generalization. A small scene makes the author think about the perpetual motion machine of the world - Love. The loving, selfless impulse of a small bird, accidentally seen by a Russian writer, allows you to think about wisdom and love.

Love occupied an exceptional place in the writer's work. Turgenev's love is always a strong passion, a powerful force. She is able to resist everything, even death: "Only by her, only by love does life keep and move." It can make a person strong and strong-willed, capable of a feat. For Turgenev, there is only love - a sacrifice. He is sure that only such love can bring true happiness. In all his works, I.S. Turgenev presents love as a great life test, as a test of human strength. Every person, every living being must make this sacrifice. Even a bird that has lost its nest, for which death seemed inevitable, can be saved by love, which stronger than will. Only she, love, is able to give strength to fight and sacrifice herself.

There is an allegory in this poem. The dog here is “fate”, an evil fate that weighs on each of us, that mighty and seemingly invincible force. She approached the chick just as slowly as that spot from the poem “The Old Woman”, or, more simply, death slowly creeps up, “creeps” right towards us. And here the phrase of the old woman “You won’t leave!” is refuted. You leave, even as you leave, love is stronger than you, it will “close” the “toothy open mouth” and even fate, even this huge monster can be pacified. Even it can stop, move back ... to recognize the power, the power of love ...

On the example of this poem, we can confirm the words written earlier: “Poems in prose” - a cycle of oppositions. In this case, the power of love opposes the power of evil, death.

2.1.5. Compassion, sacrifice

One of the best political poems in prose is considered to be "Threshold". The Threshold was printed for the first time in September 1883. It was written under the impression of the process of Vera Zasulich, an honest and selfless Russian girl who shot at the St. Petersburg mayor F.F. Trepov. She is on the threshold of a new life. The writer creates a noble image of a revolutionary woman, ready to go to any suffering and deprivation in the name of the happiness and freedom of the people. And she crosses this symbolic threshold.

“... and a heavy curtain fell behind her.

Stupid! someone screeched from behind.

Holy! - flashed from somewhere in response.

With what contrast is the attitude towards the same fact, phenomenon, event on the part of two completely different people!

The Threshold makes every reader think about their life, comprehend and, if necessary, rethink it.

2.1.6. The transience of life, life and death, the meaning of life, loneliness, fate

“Poems in prose” - a cycle - opposition, opposition of life and death, youth and old age, good and evil, past and present. These motives “come into conflict” with each other. I.S. Turgenev often pushes them together, intertwines, and in the end the author seeks to merge everything contradictory together (“Double”).

ON THE. Dobrolyubov wrote about Turgenev’s prose: “... this feeling is both sad and cheerful: there are bright memories of childhood that flashed irrevocably, there are proud and joyful hopes of youth. Everything has passed and there will be no more; but a person has not yet disappeared who, even in memory, can return to these bright dreams ... And it’s good for someone who knows how to awaken such memories, to evoke such a mood of the soul. (Dobrolyubov N.A. Sobr. Works in three volumes, vol. 3, M., 1952, p. 48.) Indeed, it can be noted that many poems in prose, which at first glance are pessimistic and gloomy, actually awaken in man "a state of spiritual height and enlightenment." The so-called Turgenev's lyricism gives the writer's works an extraordinary sincerity. We write all this to the fact that it is in such poems, where the past and the present collide, that this lyricism is fully manifested.

The poems of this group are so rich in content that researchers have placed them in different groups.

2.1.7. Admiration for the Russian language

Among the poems in prose, a prominent place is occupied by a patriotic miniature "Russian language". Treated with extraordinary delicacy and tenderness great artist words to the Russian language. I.S. Turgenev owns a wonderful formula: language = people. Having spent most of his life abroad, a connoisseur of many foreign languages, I.S. Turgenev never ceased to admire the Russian language, calling it “great and mighty”, linking hopes for a bright future for Russia with it: “but one cannot believe that such a language was not given to a great people.” The writer urged to protect our beautiful language. He believed that the future belongs to the Russian language, that great works could be created with the help of such a language.

2. 2. Contrast as a means of penetrating into the images of the heroes of “Poems in Prose”

In the history of Russian literature, there was, perhaps, no other such a major writer as Ivan Sergeevich Turgenev, who would so sincerely, tenderly love the nature of his native land and so fully, versatilely reflect it in his work. Having spent many years abroad in separation from Russia, the writer suffered not only because of illness, but also because he could not visit his Spassky-Lutovinovo. I.S. reflected with enormous artistic power. Turgenev, the soft and discreet beauty of the nature of the middle lane in “Poems in Prose”.

Eye Description:

“Alms” - “the eyes are not radiant, but bright; a piercing gaze, but not evil.

"Visit" - "huge, black, bright eyes laughed."

"Schi" - "eyes reddened and swollen."

“Two brothers” - “brown eyes, with a veil, with thick eyelashes; insinuating look”; huge, round, pale gray eyes.

"Sphinx" - "your eyes - these colorless, but deep eyes also speak ... And their speeches are just as silent and mysterious."

“How beautiful, how fresh the roses were…” - “how simple-hearted – the thoughtful eyes are inspired”, “their bright eyes look at me smartly”.

“Stop!” - "your gaze is deep."

"Drozd" - "iridescent sounds ... breathed eternity."

“I got up at night” - “a mournful sound arose in the distance”.

“When I am alone” - “not a sound ...”.

“Caught under the wheel” - “this splash and your moans are the same sounds, and nothing more.”

“U-uh... U-uh!” - “strange, not immediately understood by me, but alive ... human sound ...”

“Nature” - “the earth all around groaned deafly and trembled”.

"There is no greater sorrow" - "sweet sounds of a young voice."

“Village” - “the whole sky is filled with even blue”.

“Conversation” - “a pale green, bright, mute sky over the mountains.”

“The end of the world” - “a gray, one-color sky hangs over her like a canopy.”

"Visit" - "the milky - white sky quietly turned red."

“Azure Kingdom” - “a boundless sky above the head, the same azure sky”.

"Nymphs" - "the southern sky was transparently blue over him."

“Doves” - “red, low, as if torn clouds are rushing to shreds.”

Description of the person's appearance:

“Village” - “fair-haired guys, in clean low-belted shirts ...”, “curly children's heads”.

"Masha" - "tall, stately, well done well done."

"Beggar" - "beggar, decrepit old man."

“Last date” - “yellow, withered…”

“Visit” - “a winged little woman; a wreath of lilies of the valley covered the scattered curls of a round head.”

The harmony and tenderness of tones, the skillful and subtle combination of light and shadow characterize Turgenev's style both in depicting a person and pictures of nature. He associates his landscapes with the mood of a person, with his spiritual appearance. In miniatures, the landscape either sets off the state of mind of the hero, or the landscape sketch is permeated with philosophical reflections. There are more bright, joyful, hopeful colors than sad, sad ones.

IntroductionS. 4

Chapter 1 S. 17

Lyrical, epic and dramatic ways of artistic expression as the basis of the "generic content" of a literary text P. 17

"Lyrical" as a "generic idea" p.25

The main features of lyrical-epic works. Ballad. Poem S.32

1.4. Conclusions to chapter C.42

Chapter 2. I. ^ Turgenev's lyrics as a system p.45

Lyrica I.S. Turgenev in the perceptions of contemporaries. Research method C.45

"Natural images" as the basis of the lyrical plot of I.S. Turgenev P.50

Opposition Day - Night (Evening) in the lyrical system of I.S. Turgenev P.51

The relationship of the change of seasons with the inner world of a person in the lyrical system of I.S. Turgenev P.62

2.2.3. Artistic space in the lyrical
system of I.S. Turgenev P.65

2.3. The theme is "man and society". Techniques of "epization" in lyrics
I.S.Turgeneva S.72

2.4. Cyclization in the poetry of I.S. Turgenev as a manifestation
"epizations" of lyrical creativity S.83

2.5. Conclusions to chapter C.95

Chapter 3. Lyric-epic genres in creativity
I.S. Turgeneva P.99

3.1. Genre features poems by I.S. Turgenev,
having a narrative plot C.99

3.2. Synthesis of romantic and realistic, lyrical
and epic beginnings in the poems of I.S. Turgenev S. 110

3.3. Conclusions to the chapter .... S. 145

Chapter 4
I.S. Turgeneva p.148

4.1. Dramaturgy by I.S. Turgenev: theatrical and literary

fate p.148

4.2. Subtext as a manifestation of the lyrical in plays
I.S. Turgeneva S. 153

4.3. Dramatic poem by I.S. Turgenev "Steno" S. 156

4.4. Lyrical beginning in Kuzovkin's monologues
(“Freeloader”) and Moshkin (“Bachelor”) as a way
disclosure inner world characters and
psychological motivation of their characters S. 164

The function of the lyrical beginning in the comedy by I.S. Turgenev “Where it is thin, there it breaks” P. 176

Synthesis of generic principles in the play by I.S. Turgenev "A Month in the Village" S. 185

4.7. Conclusions to chapter C.200

Conclusion p.203

Bibliographic list C.206

Introduction to work

I.S. Turgenev is known in the history of Russian literature in three guises:

as playwright (1843-1850)

and, of course, to a greater extent, "as the creator of epic works (since 1847, when the story "Khor and Kalinich" was published - Turgenev's first prose work from the "Notes of a Hunter" cycle - Turgenev wrote mainly in prose).

Accordingly, he may well be considered a "bilingual" author, 1 that is, an author whose creative arsenal includes both poetry and prose. Turgenev, like some other writers of the 19th century (Pushkin, Lermontov, Gogol), mastered in the process of his literary activity both prose and poetry. It is traditionally believed that the writer's poetry was a laboratory in which his creative method matured and strengthened.

Turgenev started as a lyricist, and later went the way of prose. This transition is quite natural - it was determined by the general course literary process XIX century. Here is what, for example, Yu.F. Basikhin: “The nineteenth century in the history of Russian literature is a turning point. Romanticism is replaced by realism, poetry - by prose, the classical novel arises and develops, which has won worldwide significance. 3 R.A. Papayan, who noted that in Russia, “classicism and romanticism are

It should be noted: youthful poems are usually considered a school literary language, which is almost a prerequisite for achieving a certain skill. It is enough to recall the statement of I.V. Kireevsky: "... do you want to be a good writer in prose? - write poetry. See: Works of I.V. Kireevsky. - M., 1861. - C.I. - P.15. 3 Basikhin Yu.F. Poems of Turgenev (The Path to the Novel). - Saransk, 1973. - S. 9.

predominantly the heyday of poetry, while the heyday of Russian prose coincided with the development of Karamzinism and realism.

Turgenev lived and worked at a time when the dominant role shifted from poetry to prose, as romanticism gave way to a new literary trend - realism. Turgenev's work is transitional. In other words, “the art of Turgenev is, as it were, bridge(hereinafter it is emphasized by me - N.Z.) between the two halves of the century, between the two main stages in the historical and literary process of this century. 5 However, having become a prose writer, having created a number of first-class stories and novels, Turgenev continued to be perceived as master of the poetic word.

F. M. Dostoevsky, in a letter to his brother Mikhail dated November 16, 1845, wrote, in particular: “The other day I returned from Paris poet Turgenev. 7 Turgenev's contemporary poet and critic S.A. Andreevsky declared: "Turgenev

has always been and always has been poet." IN review of Turgenev's "Faust" N.A. Nekrasov stated: "The whole sea poetry powerful, fragrant and charming, he poured into this story from his soul. 9 Turgenev's contemporaries really knew him mainly as the author of poems.

The perception of Turgenev as a lyricist is also characteristic of the 20th century, however, in such an assessment of Turgenev's creative manner, as a rule, we are talking about the active presence of the lyrical element in his works. I. Bunin, who to a certain extent denied the division of literature into poetry and prose and believed that these artistic elements are called upon, interpenetrating,

4 Papayan R.A. verse structure and literary direction(On the formulation of the problem) // Problems
poetry.

Yerevan, 1976. - P.76.

5 Basikhin Yu.F. Turgenev's poems... - P.9.

Identification of the lyrical basis of all the writer's work became the main criterion for selecting material. The review of the literature is presented not in chronological order, but as required by the logic of the presentation of the material. Scientific and critical works affecting other aspects creative activity Turgenev, are not the subject of consideration. Of primary interest are studies that somehow reveal the relationship between poetry and prose, as well as various generic elements (epos, lyrics, drama), characteristic of Turgenev's work as a whole.

7 Basikhin Yu.F. Turgenev's poems... - S. 10.

8 Andreevsky S.A. Turgenev // Andreevsky S.A. Literary essays. - SPb., 1913. - S.231.

6
enrich each other, 10 confessed: “I was probably born
poet<...>Turgenev was also first and foremost a poet.
B. Eichenbaum argued that “Turgenev, in general, has one style - the one
which developed and matured in Russian literature (more in poetry, than in
prose). 12 Yu.Basikhin, although he spoke about the obvious priority of the novel
in the work of Turgenev, nevertheless noted "interpenetration of poetry and
prose" 13 in him. He considers the prose of this author to be a kind of border area
between verse and prose and makes no distinction between the style of Turgenev the novelist and
Turgenev-lyric. For him, Turgenev is, first of all, the ancestor

poetic prose of Russia, since this artist managed to find "a poetic key to prose". fourteen

ABOUT lyricism K. Matiev wrote about an important property of Turgenev's prose.

Lyricism in the work of Turgenev, in his opinion, "plays a decisive role in

illumination of phenomena, in the transmission of the tone and color of nature. In a certain

SCH degree simplifying the function of the lyrical beginning, although recognizing it

the ability to convey everything as "living, breathing, saturated with colors

true being", Matiev considered lyrical as an aesthetic category. 15

Of particular interest for this dissertation research is the work of V. Zhirmunsky "The Tasks of Poetics" (1919-1923). 16 Talking about features "poetic style"(term Zhirmunsky) Turgenev on the example of a piece of fiction taken from the story "Three meetings", the scientist identified a number of techniques that create "emotional

+ In particular, Bunin wrote: “Poetic language should approach simplicity and naturalness.

colloquial speech, and the musicality and flexibility of the verse must be mastered in the prose style. See: Bunin I.A. Sobr. cit.: In 6 volumes - M., 1987. - V.1. - P.36.

11 Ibid.-S. 431.

12 Eikhenbaum B.M. Artistry of Turgenev // Eikhenbaum B.M. My temporary. - L., 1929. - S.94.

13 Basikhin Yu.F. Turgenev's poems ... -SP.

14 Ibid.-S. 15.

15 See more about this: Matiev K. Lyrical in art as an aesthetic phenomenon. - Frunze, 1971. - S. 104-
105. It should be clarified that in the work of K. Matiev there is no distinction between the concepts of "lyricism" and "lyrical".

16 Zhirmunsky V. Tasks of poetics // Zhirmunsky V. Poetics of Russian poetry. - SPb., 2001. - S. 25-79.

stylization of the landscape, those transparent and delicate lyrical tones that are so characteristic of Turgenev. "Poetic animation of natural phenomena, their consonance with mood human soul”, according to Zhirmunsky, express "emotional epithets", "lyrical dots", "lyrical hyperbole" and some other devices that are characteristic of Turgenev's prose and ultimately form the individual style of this writer.

In literary criticism, it is absolutely recognized that Turgenev's novel belongs to a special type of novel. The writer not only used the experience of his predecessors - Karamzin and Gogol, but also created a unique genre in his own way: a realistic novel that differs "lyric concentration" storytelling. V. Markovich, while studying the typological characteristics of Turgenev's novel of 1856-1862, came to the conclusion that the epic structure of Turgenev's texts of this period is heterogeneous: it is colored by tragic and lyrical elements. Their function seems to the researcher to be very significant, because the tragic, being the "eternal condition of human existence", serves

"the support of the epic", and "lyrical revelation", in turn, allows you to get away from the momentary, temporary, and ultimately "to foresee being in everyday life." Thus, it is about epic, tragic And lyrical elements of the novel" by Turgenev, which exist and "are developing

only in mutual connection. V. Markovich in his works speaks of Turgenev's unique poetics, which is based on the penetration of other generic principles into the novel structure, and, accordingly, of Turgenev's innovation in the field of genre form and its content.

17 Markovich V.M. I.S. Turgenev and the Russian realistic novel of the 19th century. - L., 1982. - S.203.

18 Ibid. -FROM. 144.

19 Ibid.-S. 134.

20 Ibid.-S. 133.

21 Markovich V.M. Man in the novels of I.S. Turgenev. - L., 1975. - S. 5.

22 Markovich V.M. I.S. Turgenev and the Russian realistic novel ... - S. 165.

Turgenev's innovative search interested Yu.B. Orlitsky, who was engaged in the theory of the interaction of verse and prose. In his dissertation research, he argued that Turgenev continued to write poetry, in fact, all his life. Indeed, Turgenev throughout his literary career periodically turned to the poetic form, even inserting poetic passages into works written in prose. Just this circumstance does not fit, according to Orlitsky, into the “classical scheme”, since poetry was not only a period of apprenticeship for Turgenev and organically entered the artistic practice of this author. Turgenev's prose interests Orlitsky from the point of view of its "measuring" and "lyricization". 26 The dissertator also noted with dignity the fact that Turgenev, continuing to experiment in the field of verse and prose, at the end of his career created a cycle of miniatures called "Poems in Prose" (1877-1882), where synthesis of lyrical and epic, poetic and prose beginnings. Turgenev, according to Orlitsky, “seems to be exploring the “permeability” of the poetic structure at the same time “from the inside” - as a poet “with experience” - and “outside” - as a prose writer, a master of harmonic, lyrically colored prose. 2 This is the artistic phenomenon of this author, since "permeability" of the verse structure" proved by him in practice: having become a prose writer, Turgenev remained faithful to the poetic worldview until the end of his days.

The historical dynamics of verse and prose would be incomplete without Turgenev's experiments in this area. The estimate would also be inaccurate. creative heritage

.# See: Orlitsky Yu.B. Interaction of verse and prose: a typology of transitional forms. Abstract of diss... d.

philol. n.-M., 1992.-S. 10.

24 Turgenev's later poem "Croquet in Windsor" (1876), his poetic texts for Pauline Viardot's romances (for example, "The Tit" (1863), "At Dawn" (1868), "Forest Silence" (1871) and others) are widely known. ).

As an epigraph to the story "Forest and Steppe" (the cycle "Notes of a Hunter"), Turgenev placed the lyrical passage "From a poem devoted to burning", and in the novel "The Noble Nest" he included the quatrain "I surrendered to new feelings with all my heart ...". Turgenev's poem "Dream" from the novel "Nov" deserves special attention. It is worth noting that if the theme of the lyrical cycle "The Village" was reflected in the prose "Notes of a Hunter", then the content of the poem "Dream" was influenced by the writer's novel work.

26 Orlitsky Yu.B. Interaction of verse and prose: a typology of transitional forms... - P. 11-12.

27 Ibid. - S. 11.

Turgenev without recognizing that the "lyrical beginning" is a kind of "calling card" of this author, regardless of what formal - verse or prose - features Turgenev's text has.

D.P. Svyatopolk-Mirsky wrote about the uniqueness of Turgenev’s creative manner, who believed that “only Turgenev of all his contemporaries had a living connection with the age of poetry. 28 This connection, according to the researcher, was determined by the fact that Turgenev studied at the university with Professor Pletnev, a friend of Pushkin, that Turgenev published his first poems in 1838 in Pushkin's Sovremennik, the editor of which was by that time Pletnev. Noting that by 1847 Turgenev "left poetry for prose, 29 Mirsky pointed to a certain synthesis that is a hallmark of Turgenev's texts: “In his works, everything was true, and at the same time they were filled with poetry and beauty. 30 It is obvious that by "truth" Mirsky meant a realistic way of assimilation of reality. He repeatedly stressed that, despite his loyalty to realism, "poetry" continues to live in Turgenev's texts, which are purely prosaic in terms of the way speech is organized. Giving an assessment of Turgenev's narrative style, Mirsky, in particular, noted that the "Notes of a Hunter" includes many lyrical pages”, “Trip to Polissya” is “strict and simple prose, reaching the level poetry", 31 and the story "Three meetings" is filled "poetic" passages." 3 To some extent, Mirsky in his assessment prose creativity Turgenev insisted that "Turgenev always had poetic<...>or a romantic vein (as you can see, Mirsky associated “poetry” with a romantic worldview - N.Z.),

Svyatopolk-Mirsky D.P. History of Russian literature from ancient times to 1925. - London, 1992. - S. 290. 29 Ibid.-S. 291.

30 Ibid. - S. 292.

31 Ibid. - P.307.

32 Ibid. - S. 296.

JL ~ 33

opposed to the realistic atmosphere of his main works. It is "thin and poetic narrative skill" distinguishes this author from his contemporaries. basis "poetic narrative skill" Turgenev is, according to Mirsky, "lyrical element". 35 As you can see, the researcher, rightfully recognizing the properties of Turgenev's prose that distinguish it from the traditional narrative, did not give an explanation of what he understands by "lyrical element" and "lyrical atmosphere". In his work, unlike the studies of V. Zhirmunsky and V. Markovich, there was no place for the question of the functional use of the lyrical beginning in Turgenev's prose.

M. K. Kleman wrote about the experimental nature of I. S. Turgenev’s dramatic work, arguing that “Turgenev was looking for ways to renew the Russian theater.” 36 Turgenev's dramatic work is also of interest from the point of view of discovering the interaction of different generic elements in it. According to S.N. Patapenko, Turgenev is interested in working at the intersection of drama and epic, so he, “without going into theoretical explanations, found dramatic equivalent to the content that was considered a lot epic forms of literature. Explaining to the readers of the play his invasion of “foreign territory”, he emphasized in the preface to the first magazine publication of “A Month in the Country”: “Actually not a comedy, but story in dramatic form. 37

Other researchers have found the activity of the lyrical element in Turgenev's plays. So, L.S. Zhuravleva believes that “in Turgenev’s comedy

33 Ibid. - S. 306.

34 Ibid. - S. 304.

35 Mirsky, completing his study of Turgenev's heritage, summed up: "Lyrical element at it (at
Turgenev - N.Z.) is always close. He not only began his literary career as a lyric poet And finished
his poems in prose, but even in his most realistic, in civil things and constructions ^ ..,?
atmosphere in general lyrical.- S. 307.

36 Clement M.K. Turgenev I.S. // Classics of Russian drama. Popular science essays. - L.; M., 1940. - S. 161.

37 Patapenko S.N. Dramaturgy of I.S. Turgenev as a forerunner of the “new drama” // Drama
searching silver age: Interuniversity. Sat. scientific works. - Vologda, 1997. - S. 56.

11 Surprisingly Organically Combined lyrics from caustic satire". V. Frolov adheres to a different point of view, arguing that “in Turgenev’s plays, a fusion of three motifs generated by the author’s “installation” is noticeable: subtle

lyricism from dramatic and with a sad, almost Gogolian comedy. ABOUT

Turgenev's innovation in the field of psychologism, interest in the disclosure of experiences, deep lyricism and the rejection of theatrical effects mentions N.V. Klimova. 40 E.M. Aksenova also emphasizes innovative character Turgenev’s dramaturgy and discovers the connection between Turgenev’s work and the drama of the turn of the 19th-20th centuries: “Creating his socio-psychological plays, Turgenev paved the way for brilliant lyrical dramas by Chekhov. 4 "No matter how the opinions of researchers differ in details, they are all unanimous in one thing: the generic nature of Turgenev's plays is not as unambiguous as it seems at first glance.

Already at the very beginning of Turgenev's creative activity, he also found himself searching for new genre forms. In 1834, Turgenev's very first work, The Wall, was published. The author himself in the subtitle declared the genre of this work as a "dramatic poem", that is, according to Turgenev himself, "Wall" "could be instead of a drama and a poem." 42 And the poem "Parasha" was defined by the author as "a story in verse." It is obvious that from the very first steps on creative way Turgenev was interested in the "dramatic form of poetry". By the way, later it was the dramatic experience that helped Turgenev the novelist. It is no coincidence that the picture of the noble life, recreated by Turgenev in the play "A Month in the Village", later became so widespread in his prose, so that the theme of "noble nests"

38 Zhuravleva L.S. Dramaturgy by I.S. Turgenev. Diss. Ph.D. in Philology - Saratov, 1952. - S. 299.

39 Frolov V. The fate of genres of dramaturgy. Analysis of dramatic genres in Russia of the XX century. - M., 1979. - S. 64.

40 See for more details: Klimova N.V. The skill of I.S. Turgenev-playwright. Diss... k. philol. - M., 1960.

41 Aksenova E.M. Dramaturgy by I.Skhurgenev // Creativity of I.S.Turgenev: Sat. articles. - M., 1959. - S. 186.

42 Turgenev I.S. Works//Complete collection of works and letters. -M. - L., 1960. -T. 1. -S. 552.

See more about this: Putintsev A. Turgenev-Lutovin's Fortress Theatre. (To the dramatic activity of I.S. Turgenev.) // Rise. - Voronezh, 1997. - No. 10-11. - S. 227-239. The impetus for the awakening of Turgenev's creativity in dramatic forms, according to the author of the article, were the performances of the serf theater in the village. Spassky-Lutovinovo.

firmly entered the history of Russian literature XIX century. Turgenev's rejection of drama in favor of the short story and the novel was, as they say, "in the spirit of the times": "dramatic experiments began to be formally constrained, seemed narrow," therefore they began to take on an epic form. Without a doubt, the search for new artistic forms Turgenev continued throughout creative life. "Poems in Prose" by Turgenev - his last work - is another evidence of this.

Summarizing the above, it should be said that in the work of Turgenev, various scientists noted the synthesis of generic principles. It is characteristic that there was a period when Turgenev, still young, could not decide who he should become - a poet, prose writer or playwright. "During the 1940s, Turgenev developed as a multi-talented artist." 46 From 1838 to 1844 he was a poet, but a more mature work - the lyrical cycle "The Village" - dates from 1847, at the same time the prose cycle "Notes of a Hunter" began to be published. In the period from 1843 to 1846, Turgenev's poems ("Parasha", "Conversation", "Landowner", "Andrey") appeared, in which Turgenev's "narrative style" developed. 7 But "the end of the forties in the work of I.S. Turgenev was a time predominantly dramatic." 48 From 1843 to 1850, one after another, Turgenev's plays were born: "Carelessness", "Freeloader", "Lack of money", "Where it is thin, there it breaks", "The Bachelor", "Breakfast at the Leader", "A Month in the Country", Provincial ". So, as you can see, from about 1843 to 1850, Turgenev tried himself in all literary genres. And only after 1850 did he make a certain creative choice and definitely settled on

44 "The scene of action in Chekhov's plays is reminiscent of the estate in Turgenev's novels and dramas" - this is how
chapter "Turgenev, Chekhov, Pasternak. On the Problem of Space in Chekhov's Plays” monograph by B. Zingerman. Cm.
about this: Zingerman B. Chekhov's Theater and its global significance. - M., 1988. - S. 131-167.

45 Brodsky N.L. Turgenev the playwright. Ideas // Documents on the history of literature and the public.
I.S. Turgenev. - M., 1923. - S. 9.

46 Ibid.-S. 183.

Yu.B.Basikhin: "... from romantic lyrics Turgenev moves on to a story in verse, developing his narrative syllable"(highlighted by the author - H.3.). See: Yu.B. Basikhin. Poems of Turgenev... - S. 92. 48 Brodsky N.L. Turgenev the playwright... - S. 3.

prosaic form of presentation of artistic material, including lyrical intonation in it.

Relevance This dissertation research is due, on the one hand, to the special role of the lyrical principle in the artistic system of Turgenev, on the other hand, to the lack of development, lack of clarity of this phenomenon in the work of the writer of the 1840s-1850s. The lyricism of Turgenev's work is generally recognized, but there is still no systematic structural and semantic understanding of the role of the lyrical beginning in Turgenev's works with a different genre nature.

What has been done in this regard allows us to raise the question of the lyrical as the basis of a kind of synthesis of various generic contents and formal elements in the writer's work, a synthesis whose origins should be sought in the period under consideration of his biography and the history of Russian literature. In the synthesis of various generic elements in the works of Turgenev of this time, the priority role is given to the lyrical beginning. 49 Thanks to the active presence of the lyrical beginning, it is not the plot side of the text that develops, not the series of events as such, but the so-called “inner” one, in the center of which is “the soul with its subjective judgment, with its joys, amazement, pain and feeling.” fifty

Many researchers have repeatedly noted the fact of the mutual influence of poetry and prose, leading to a shift in lyrical and epic forms, often giving rise to a new type of work, often unique in its generic nature. In the history of Russian literature there is a phenomenon that is antonymous with "lyricization". We are talking about the "prosaic" lyrics. This concept, as a rule, is associated primarily with the name of N. Nekrasov. It is obvious that the study of the "lyricization" of various genre forms, the identification of the causes

49 "Lyrical beginning" is understood as a "generic idea", mainly embodied in lyrics, but also
characteristic of texts of other genre nature. More about the theoretical aspects of the problem
"lyrical" will be discussed in chapter 1 of the dissertation.

50 Hegel. Aesthetics: In 4 volumes - M., 1971. - T.Z. - S. 414.

its constant presence in Turgenev's texts will help to understand the opposite phenomenon, which develops almost in parallel - the "prosaization" of lyrics.

The purpose of the dissertation research: consider the role and manifestations of the lyrical in lyrical, lyrical-epic and dramatic works; to prove that the above forms, with all the obvious generic differences, are united with each other by a common lyrical tuning fork, they tend to interpenetrate and ultimately form Turgenev's "poetic style" (Zhirmunsky's term).

To achieve this goal, it is necessary to solve the following tasks:

consider the current state of the problem of interaction between the content and form of various generic elements - lyrics, epic, drama; to determine the content of the terms "lyrical beginning", "lyricization", "lyricism";

trace how the process of interpenetration of the lyrical and the epic was carried out in the work of Turgenev in accordance with the general

the trend in the development of Russian literature from romanticism to realism;

reveal in the structure of poems, lyrical-epic and dramatic works Turgenev artistic techniques, creating a "lyrical atmosphere" and subsequently used by him in prose;

to explore the specifics of Turgenev's drama, due to the desire for the synthesis of generic principles.

Object of study: early work of Turgenev.

Subject of study: a movement towards the synthesis of the lyrical, epic and dramatic in the writer's work, which can be revealed by Turgenev's poems, poems and plays of the period of 1840-1850s.

The scientific novelty of the dissertation research lies in the fact that for the first time the poems, poems and plays of I.S. Turgenev are considered

15 INTERPENETRATION

as works of complex genre forms, which are characterized by "generic ideas" (generic synthesis) with a predominance of the lyrical beginning. Provisions for defense:

The early work of I.S. Turgenev is a kind of synthesis of lyrical, epic and dramatic principles.

“Natural” and “social” are the structural and meaningful component of the lyrical system of I.S. Turgenev.

In the early work of I.S. Turgenev, there is a “lyricization” of the epic and an “epization” of the lyric.

At the heart of Turgenev's dramaturgy is a combination of dramatic, lyrical and epic principles. This, in turn, to a certain extent anticipated the appearance of Chekhov's dramaturgy and - more broadly - such a phenomenon of the 20th century as "new drama".

The lyrical poetics that developed in the pre-romantic works of I.S. Turgenev determined the originality of the Turgenev heritage as a whole.

Methodological basis studies constitute works on theory
lyrics and its interaction with other types of literature (V.M. Zhirmunsky,
R. O. Yakobson, B. V. Tomashevsky, B. M. Eichenbaum, L. Ya. Ginzburg, V. E. Khalizev,
V.V.Kozhinov, V.D.Skvoznikov, M.M.Girshman, Yu.B.Orlitsky, SI

Kormilov), on the theory of genres (M.M. Bakhtin, Yu.N. Tynyanov), the theory of the author (Yu.M. Lotman, B.O. Korman), the theory of drama (L.M. Lotman, B.I. Zingerman , E.G. Kholodov).

The research is based on unity historical And structural-comparative approaches to literary text.

Approbation. The research materials were discussed at the annual scientific conferences of teachers and employees of SamSU, interuniversity scientific conferences of young scientists and specialists in 1997, 1999, 2002, 2003, 2005, as well as at international conferences "Morphology

16 fear” and “Codes of Russian classics. Problems of detection, reading and updating” in 2005.

The main provisions of the dissertation are reflected in the following publications:

Zakharchenko N.A. "Parasha" by I.S. Turgenev as a realistic poem // Bulletin of SamGU. - Samara, 1998. - No. 3 (9). - S. 56-64.

Zakharchenko N.A. Theoretical aspects of the school study of the cycle "Poems in prose" by I.S. Turgenev // Problems of studying the literary process of the XIX-XX centuries. Samara, 2000. - S. 248-255.

Zakharchenko N.A. The lyrical component in the play by I.S. Turgenev “A Month in the Village” // Artistic language of the era: Interuniversity collection of scientific papers. Samara, 2002. - S. 88-107.

Zakharchenko N.A. The lyrical beginning as a form of manifestation of the author's consciousness in the play by I.S. Turgenev "Where it is thin, there it breaks" // Artistic language of the era: Interuniversity collection of scientific papers. Samara, 2002. - S. 78-87.

Scientific and practical significance of the work is that the dissertation materials can be used to teach the history of Russian literature of the 19th century in high school, in teaching aids and special courses on the work of I.S. Turgenev.

The structure of the dissertation consists of an introduction, four chapters, a conclusion and a bibliography. The total volume of the dissertation is 226 pages, including 21 pages of the list of used literature containing 312 titles.