Ivan the lazhechniks of the cries of the houses. Lazhechnikov Ivan Ivanovich Shouting of the booths
Krizhany burn, krizhany snow fortress in Russia was a skin winter. Ale, in 1740, the roci began a special - the empress - potikha. Shouting from the budinok to kill a single-mension novel by the writer Lazhechnikov. A new zmіshan buval and nebilitsі, but also a German exact description of Academician Georg Kraft, who has watched the robots.
The winter of 1740 proved to be the best of luck for the 18th century. Thirty-degree frost remained until the middle of the birch.
Shouting budinok - a palace for "curious fun"
Shouting booths they were like a palace for a "curious fun". At Annie Ivanivni Bula was especially close to the hanger - Avdotya Buzheninova. A middle-aged and negligent Kalmichtsi, yak took away the nickname for the beloved country of the empress, she wanted to be abroad. The empress promised to know her betrothed and robbed the 50-year-old prince Mikhail Golitsin, who was banished in blasphemy through marriage with a Catholic. A nobleman of the noblest family, the prince served the empress kvass and was called Golitsin - kvass.
The thought of making friends with the blasphemy in the heat led the empress into capture, and they didn’t waste a penny on the fun.
Crying of the booths with a right booth: 2.5 sazhens of the sash, 8 sazhns of the sash, or 5.5 x 17 m.
Yak were Krizhany dіm Ganni Іoanіvni
From the ice on the Neva, geometrically correct krizhanі cubes were shattered, from which the walls were folded. Then the walls were stroked with baked dust. The stench came out like polished, and the most open gaps were cut through. To the side of the hut there were trees. I was navit krizhana laznya, in yakіy they managed to take a steam bath.
The doors were all tinted with marmur, ale, as if the doorkeepers sang, looking "richly enchanting." The colors passed through the ice, and the majestic krizhan slabs were made charmingly transparent.
Spring move
The guests at the party, which was sweating, were taken from the Ukrainian lands: two by two representatives of the skin tribe that inhabited the Russian Empire.
The young people were amazed at the springtime: the stench roamed in the church, which stood on the back of an elephant. Behind them are Ukrainians on vases, fins on ponies, Tatars on pigs, Yakuts on dogs, Kalmiks on camels—less than 150 pairs of national minorities.
Miracles
Good day, having made friends, fool and fool, Well ... that figurka!
Now it's time to have some cheeky fun, Now it's time to be strong.
Three of Vasil Tredyakovsky
The marvelous diva was checking them in front of Krizhany Budinok. A right-handed standing majestic at a life-size screaming elephant. Vіn bouv vgnedishny: fountains of naphtha gushed from the trunk, which was burning. Elephant and trumpeting at tsomu: the trumpeter is in the middle of the seat. In front of the entrance there were also krizhan harmati - short-barreled mortars. They loaded them in a right way, and the stench shot. And there were also dolphins and ribis in the nest.
In the midst of the tsієї bacchanalia, the first one sings the same Russia, Vasyl Tredyakovsky, reads an ode to the honor of the names:
Inter'єr Krizhany booth
All right, I'm raising a mountain of madness. Why is it possible to belittle people so nastily and laugh at them?
Count Panin
At the booth there was a krizhana vital, a krizhana bedroom, a krizhana pantry. All the furniture and stuffing were broken by ice and puffed up and the color of the right ones. On the krizhanіy kaminnіy doshtsі standing krizhany year. The firewood in the fireplace was screaming, scarlet burning, for they were smeared with sulfurous naphtha.
After the urochistas, the young were imprisoned in a crooked bedroom on a crooked bed under a protective varti, so they let them out only a few wounds, almost alive.
Shouting budinok - unfinished fun of Russian autocrats
In one's own family, the crying of the budinok will be left unperfected. There will be nothing like it in Russia, nor in Europe. Kazkove barbarism, wild fun nayzhorstokisha fun and nayrozkishnish holy Russian empire for the hours of our most untrammeled empress.
"Screaming Budinok" sounding the light at the sickle in 1835. Born out of wine, as it seems, among the shirts: the success of the book among the reading public, having overturned the mustache, the choir of praise drowned and the hard judgment of the critics, and the ironic significance of the literary competitors. Pushkin himself, Lazhechnikov’s omnipotent talent, having said that at an hour, if there is an important historical gerel in public, the glory of his creation is dark. I what? Historical dzherel step by step penetrated to the other, the visions of the “Krizhany House” became more and more obvious, the young friend of Lazhechnikov and the master of yoga gifted - Belinsky turned the words of the honored doctor to a new height, but the reader lost his faith in the “Krizhany Dom”. Interest until the new has outlived its tide and rise, but even then, maybe the second century, one generation is changed by others, and the novel is alive and takes its own strength. What is the secret of yoga vitality?
The one who once, in his youth (and youth is especially sympathetic to the romantic pathos and patriotic heroic Lazhechnikov), having read "The Crying of Dim", remember the embittered atmosphere in memory, the physically sensible cold of gloomy strength, or gloomy saw in the past of Mary and Volinsky, predilection, yaku overpowering in the soul of Volinsky, I feel even more powerfully - love to the fatherland. From the first sides of the novel, the pictures of the cold winter are intertwined with the others - with descriptions of moral zatsіpenіnnya, dead fear and shyness, in which youthful Petersburg is rebuked, more recently, for Peter, life and fun, now, for the reign of a foreign land and the people of Anni Ioanіv, giving freedom to її poplites - a clique of hated foreigners. The people dared to think about the protest - and there are no people: the slanderers of Biron, the all-powerful leader of the empress, grabbed him, rolled him, froze him with live bait. There is no more truth-teller, having become a sacrificial crying statue. I, nibi in gluzuvannya from the tragedy of the human lot, looking at the statues of the people of the Russian empress thought about the everyday life of a potish krizhan palace, about the holy blaznivsky fun. The image of the crooked booth goes through the whole novel, intertwines with the ups and downs of the romantic intrigue, grows into a separate gloomy and unhuman king, over which the author administers his historical court.
Prorakhunki Lazhechnikov, a historian, has the talent of Lazhechnikov, an artist. Having allowed the author of "Krizhany Budinok" to hoarsely and hostilely create the atmosphere, the figure will pobut one of the most dramatic epochs of Russian history in the XVIII century, bringing out the vividness and symbolic significance of the characters of the main characters. “Kryzhany dіm” and today to convey to us alive the patriotic spirituality of the author, and the heroic image of Volinsky, who stood up for justice and the goodness of a person against the zhorstok and gloomy despotism, gaining strength, crying out and infecting his papacy.
Ivan Ivanovich Lazhechnikov (1792-1869), the creator of the Krizhany Dom, was born in Kolomyia in a wealthy merchant's family. Yogo dad lifted the breath to the light, strengthened and straightened to the fall, what a sound young merchant with the greatest child of the Russian culture of the XVIII century, educator N. I. Novik. Novіkov, for a recommendation like a lad, they asked for a truly illumined French tutor, a future novelist of goiter and yazaniya, we will take him away from the father's house. It was early to call for reading, Lazhechnikov to get acquainted with Russian, then with French and German literature, and indefatigably and try his hand at the loss of literature. Since 1807, you have been writing in the “Visnik Evropi” by M. T. Kachenovsky, then in the “Russian Visnik” by S. N. Glinka, then in “Aglaya” P. I. Shalikova. Even in the first episodes of Lazhechnikov, for all his heritage and artistic incompleteness, there is a distinctly intelligible link with his literary era. You can catch the stench of anti-despotic and patriotic attitudes, as in the course of time they have become the primordial sign of the ideological harmony of yogo historical novels.
The stormy fates of the Napoleonic wars, if there was a formation of national self-confidence, and with it an ideology of social protest, completed the formation of Lazhechnikov's special character. Crushing with a patriotic urge, a young man in 1812 taєmno vtіk іz batkіvskogo house that joined the Russian army. Participant of the rest stage Vytchiznyanoi war and the European campaigns of 1813-1814 and 1815, the young writer posited "the day of spivvitchizniki" that "bring to them that Russian spirit" [І. I. Lazhechnikov. Pokhіdni notes of a Russian officer. - M., 1836, p. 34], pobut and vdachi Poland, Nіmechchini, France, stating his opposition to the pictures of Russian life. Seen by him in 1817-1818 years "Long Notes of a Russian Officer" is noteworthy among rich men. As before, Lazhechnikov, having observed himself in small prose genres of philosophical fragments, meditative and sentimental povist, sub-ordered the suvorim literary canons, now he has entered the great opulent form of “priority”, in the form of genre regulation in the life of life In "Pokhіdniye Zapiski" Lazhechnikov's interest in history was shown to be higher, and as a contrast, he put it in contrast with links from modernity;
Naprikintsі 1819 Lazhechnikov, the sleazy chanuval of the young Pushkin, had a chance to play with the poet and avoid a yoga duel with Major Denisevich. Vipadok tsey having left a deep trace in the memory of the writer, and then becoming a drive for the cob of leafing between Pushkin and Lazhechnikov, wanting to poke fun at the time of his good acquaintance, I was not judged. In addition, 1819 Lazhechnikov went to the post office, and through the river he started serving with the Ministry of National Education, continuing with breaks until 1837, first in Penza, Saratov, Kazan, then in Tver. If he was the director of the schools of the Penza province, at the hour of the introduction of the jurisprudence of the school, he restored the respect for the twelve-year-old school of the Chembarsky school, turning it into an over-the-top zhavistyu and the exact accuracy of the instructions. Tsej uchen Vіssarіon Belіnskiy, zv'yazok z yakim, scho pіznіshe passed into friendship, Lazhechnikov saved until the last days of the life of the great critic.
In 1826, the writer conceived his first historical novel. Back in 1815, when Lazhechnikov’s regiment was stationed at Derpt, they worked on the history of this place, and later included a trick, which was the result of his research, in the Pokhidni Notes of a Russian Officer. Before Livonia, before the history of Russia was conquered by Peter I, Lazhechnikov appeared in “The Remaining Novik”, which appeared in the world in 1831-1833. The novel was very successful among the public and once again hanging in the name of the author to the first Russian novelists. Nathnenny success, Lazhechnikov, following the first novel, released another - "Screaming Budinok". Acceptance, tribute to you, grabbing the fact that the author has seen historical romance as a way of calling. In the 18th century, the depths of the country's history began to fall, in the 15th century, if, under the firm hand of Ivan III, the sovereign power was newly centralized. However, "Basurman" (1838) was the last completed historical novel by Lazhechnikov. After the publication in 1840 of the cob distribution of "The Sorcerer on Sukharevskiy Vezhy", de vin turned anew to the post-Slapetrovsk doby, the writer began to follow it. The hour of the first zlotu of the Russian historical rozpovidi, with which the most important activity of Lazhechnikov the novelist is connected, was late.
From 1842 Lazhechnikov to serve again. First time in Tver, then in Vitebsk vice-governor, and in 1856-1858 as a censor of the St. Petersburg censorship committee. You try your hand at the playwright's shoulders, write tragedies and comedies. From the dramatic works of Lazhechnikov, the tragedy "Oprichnik" (1843) was performed. Zatrimana by censorship, she blew the light less in 1859 and served as the basis for the libretto of the one-part opera P. I. Tchaikovsky. Significant historical and cultural interest to become also autobiographical and memoirs drawn by Lazhechnikov “My acquaintance with Pushkin”, “Notes for the biography of V. Belinsky” and in. 1868), who, having turned to modern times, saw the fall of his talent and his conservatism, as Lazhechnikov’s suspense position was established in new historical minds. For an hour, the 1830s, the 1830s, were lost forever, and the greatest creation - "Kryzhaniy dіm" - a novel, like Ap. Grigor'ev respecting "the new viraz of Russian romanticism" [Ap. Grigor'ev. Literary criticism. - M., 1967, p. 228].
The 20-30s of the 19th century were an hour, if the genres that vinckled in the previous decade historical novel and in fact conquer all European literatures in the central area. Moreover, in the historical novel of that era, the foundations of that artistic historicism, which, starting from the 1830s, become one of the necessary elements, whether it be rozpovidi, rozpovidi not only about the historical past, but about chance.
At Sunset, there was the era of the greatest success of the historical novels of Walter Scott, which caused the blight of the past. The American F. Cooper, the Italian A. Mandzon, and the young Balzac later developed the Scott tradition. But in the middle of the 1820s, the French romantics in particular V. Hugo started talking about those who, after the pictorial, but prose novel of V. Scott, are left to create another, beautiful and thorough novel, a “poetic” and “ideal” novel. "Saint-Map" by A. de Vigne, which vindicated in 1826, was the first proof of the implementation of the aesthetic programs of the French romantics in the genre of the historical novel, the essence of a new interpretation of this genre.
In Russia, the historical novel is also used in the other half of the 1820s and in the 1830s at the center of respect and readers, and participants in the literary process, either writers or critics. Nevipadkovo in 1827, Pushkin took on the "Arap Peter the Great", and in 1832-1836 he worked on the "Captain's Donka". From the historical novel of the epoch of Pugachivshchyna, we start our own way in the prose of Lermontov. 1834 Gogol creates Taras Bulba. From the beginning of the 1820s, a galaxy of historical novelists appeared in Russia in a different series, among them the most successful ones, commissioned by the Lazhechnikovs, having seen part of M. M. Zagoskin, trampling on the conservatism of the author of Yuri Miloslavsky (1829).
Two reasons zoomed in on the rise of historical genres in the central space of the literature of the pores. Persha-the greatness of the blessing of the pace of the ostorichny Zhitty, the yake was brought by the great Frenchman of the revolution, napoleon-izho-iz, the native of the Napoleonovsky panovanni, and the tiltsna of 1812 are rosy, it is like it, it is moved to the ranges. Historical changes have gone one by one, waking up to swidkistyu, like a bula was invisible to many, less turbulent epochs. Another reason was believed to be that people who were historical backgrounds like witnesses of them and participants, in the light of their knowledge, they invaded history into everyday life, changing it between the world of the great and the world of the small life, like doti were the divisions of intransitive rice.
The connection between the special character of the era and the most important directly at the development of literature was miraculously ascertained by the moderns. “We live near the historical capital ... for success,” the Decembrist writer A. A. Bestuzhev-Marlinsky added. - The history has been forever, it has been known forever. Aleone walked around indistinctly, nibi gut, stole inadvertently, like a taty. Vaughn rioted and earlier, smashed kingdoms, impoverished peoples, threw heroes into gunpowder, led to princes from ford; And after a heavy hangover, the people forgot the oddly crooked piyatiki, and inexplicably the story turned into a fairy tale. Now more. Now history is not in one place, but in memory, in the minds, in the hearts of peoples. Mi її bachimo, chuєmo, vіdchuvaєmo shokhvilini; it penetrates us with a little bit. There ... all the people, there is history, our history, created by us, as if alive for us. We repented of her willy-nilly, and no separation. History is half of ours, for all the heaviness of the word” [Literary-critical work of the Decembrists. - M., 1978, p. 88].
Whilst of the historical sense, awakened by the seething hours, has sown the popularization of the historical novel and its popularity. Significantly, the first glimpses of historical light were born in the writer-officer Lazhechnikov at the hour of the 1812 Roman war, and before working on his first historical novel, he was born in the wake of the infant rebellion.
In the Russian era, the Russian opposing prose swelled the first steps with the path of its swift development and development. “Kryzhany dіm” was written the same way, if “Posti Belkina” and “The Pikova Lady” were already based, but “The Captain’s Daughter” was in the future, if Gogol - the author of the famous stories - has not yet taken on “ Dead souls”, if Lermontov’s prose was considered unfinished and not known to anyone by Vadim. Truthfully, like the 1820s, the chapters of Peter the Great's Moor appeared - a brilliant attack on the creation of the Russian historical novel, and the chapters - just a novel, and the era vimagala the novel itself, again, with an expanded plot and characters, with living creations that podіy vіtchiznyany past. Since 1829, novels began to appear - create the already imagined world of M. M. Zagoskin, F. V. Bulgarin, N. A. Polevoy, K. P. Masalsky. Tsebuli, however, at the shortest vp_vudachі, and the moderns gave the priority to the first place of the same Lazhechnikov, the connoisseurs, who the author of “The Remaining Novik” did not fully “improve” with the form: for the obvious merits of his creation, the internal integrity of that was rejected. "Screaming Budinok" was rightfully adopted as a crop ahead of the artistic development of Lazhechnikov, and also in the establishment of the Russian novel.
In the prologue to “Basurman” Lazhechnikov formulated his own vision of the historical novelist in this way: “We can follow more poetry history, lower chronology. Yogo on the right, do not be a worker of numbers: wine is only to blame for the true nature of the era and dviguna її, which he undertook to depict. It’s not easy to sort out all the meleda on the right, it’s hard to resurrect all the lanks in the lances of the era and the life of that dvigun: on those є istoriki and biographies. The mission of the historical novelist - choose from them the most boring, the most interesting ones, as they fit in with the head special yogo rozpovid, and come together in one poetic moment of his novel. What do you need to say, what moment can you get an idea?..” [I. I. Lazhechnikov. Works: In 2 volumes - M., 1963, vol. II, p. 322] The program of Lazhechnikov, christened in words, is the program of a romanticist.
Thinking about the novel, Lazhechnikov thinks about the "idea" of historical doby in a flash, full of characters and episodes. Vidpovidno to the "idea" of the wines considering historical realities, having imagined that picture, pragmatically reminding them of the symbolic capacity and the high poetic versatility. On which path the novelist Lazhechnikov should learn the basic knowledge. At the "Krizhany Domі" the atmosphere of Bironivsky Petersburg is vividly gloomy, the mayor of merriment at the court of Anni Ioanivna, the evil Farsi of blaznіv on the aphids of the Tajmnoi office. However, the romantic program is no less laid down to support Lazhechnikov's successes, and it is the cross between historicism.
Like other novels by Lazhechnikov, "Kryzhaniy dіm" of foundations on a serious veneration of historical roots, that era will be remembered. Diya novel vіdbuvaєtsya in rest river Tsar Annie Ivanovna (1730-1740). The daughter of the elder brother of Peter I, John Oleksiyovich, Anna entered the Russian throne for the circumstances, as they could not help but get to know the character of the king. Її - the widowed Duchess of Courland - was called to the throne by the leaders, members of the Supreme Tajmnoy for the sake of, for the sake of nabula vignatkovoy vlady for the non-reigned emperor Peter II. In order to strengthen the power of the aristocratic oligarchy and surround absolutism, so that the “supervisors” slandered Hanna Ioanivna with sour “minds”. Підтримка середніх кіл дворянства і гвардії дозволила імператриці повернути собі кермо самодержавного правління, і все ж таки Ганна Іоанівна назавжди причаїла недовіру до неспокійної і незалежної російської знаті і оточила себе покірними найманцями-іноземцями, в руках яких зосередилася більшість важливих державних. In the midst of the tsikh "nіmtsіv", as they repeatedly called the foreign pribultsіv vіdsunutі in the throne and administration of Russia, especially the hatred of the empress from Courland, the leader. Wanting Biron, not having embraced the zhodno singing sovereign plantation, vin invisibly pouring into the passage of all serious rights. From the position of the Timosh ruler, who stood between the weak sovereign and the country, all the flickers of the gloomy ten years were ringing in the people's memory, and the very hour was taken away by the honor of the baronivshchina.
Even in the rest of the years of the reign of Peter I, who vishukuvave kosh for the conduct of war and everyday life, along the path of laying new and new tributes, a financial crisis grew in the epoch of the turbulent transformation of the state. In the other quarter of the 18th century, the world had more luxurious court life, stronger institutions of Timchas rulers, and the Daedals more outweighed the arrivals, and the state's arrears continued to increase. Hanna Ioanіvna fell asleep Doymkovy order, like viisky visits, squeezing "tears and crooked taxes" from the toothless villagers. Rick after rock, the country was tormented by a neurotic famine, the whole villages were beaten across the cordon, ryatyuyuchis in the atrocities of premkovy teams and starvation.
The picture was completed by failures and singsongs of incompetent Western politics. What became obvious was the unpopularity of the tsar, then every “word” and “right” were re-examined, which they set themselves against the true order. Anna Ioanivna reminded the secret office, as she knew by hand and did the job for the help of the shoulder work. The strength of that stratum became a cross-border phenomenon. They seemed to accompany the completion of any act of political struggle; under the suspicion of the empress, there was enough empty slander, to irrevocably mischief the people, whether she was a noble person, with zv'yazkami that high controversy. Vdachi court, scho sharply rozravlyavsya and z tnnyu opozitsii, vіdgukuvalis in all versions of the suspіlstva by espionage, denunciations, and even arbitrarily razpravzhnіmi zі pravzhnіmi or vyavnymi opponents.
For an hour, when Lazhechnikov’s novel is begun, the winter of 1739/40, the empress’s ailments, the uncertainty about the daily decline in nutrition, who will change the Russian throne, aggravated the situation in the court and ranks to the extreme. Biron, what a sound to play the role of the first person in the state, seeing the threat to his own power and his future, who would appear as the numerical opponents of the ruler of Timchas. Among them, behind the camp, intelligence, peculiarities of the position, the cabinet-minister Artemy Petrovich Volinsky seemed to be the most safe. Biron, in alliance with Vice-Chancellor Osterman, went to court over Volinsky and that same sentence. Ale success їх vyyavivsya nedovgovіchnym. The victory over the Volinsky lisha was marked by the fall of Biron: after a short regency under the unmoved emperor John Antonovich, he was condemned from power and sent messages to Bereziv.
Such a historical era, the image of which rises from the sides of the “Krizhany Dom” de zabitі її pochutya, yogo thought; rozіrvani kaydani of friendliness, controversy, to the point that a brother swears at his brother's listener, the father is afraid of wielding in a blue guard; narodnist, shodnya zganblena; Russia of Petrov, wide, sovereign, powerful - Russia, oh my God! humiliated by a ninth vihіdtsem ”(Part I, Ch. V) - the hero Lazhechnikova, the hero of Lazhechnikova, became the hero of the patriotic heat and fury to fight his fatherland.
Among the characters in the "Krizhany Dom" there were few historical features and real podias, even if they were cleverly transformed by the author's fantasy. Encirclement of the Empress Ganni, Biron, Volinsky, on the sides of the "Krizhany Dom" are the vice-chancellor and the actual head of the Cabinet of Ministers Osterman, Field Marshal Minikh, Tredyakovsky sings. The names of the people who once lived, wear the individuals of the Timchas ruler and his antagonist - so, like Lipman or Eichler. Historical prototypes of the boules of the “confidents” of Volinsky, and the chimerical “nicknames” given to them by Lazhechnikovs, were adopted in the form of their current names: de la Sudu, becoming Zudoy in the novel, Yropkin - Perokinim, Khrushchov - Shchurkhovym, Musin-Pushkin - Suminim.
Based on the truth and "cries of budinok" - the central, skrіzny image of the novel, the image of shearers and its plot, and its poetic system. The payment of 1740 at the court was solemnly enforced in a holy way: the empress decided to make friends with her temptation - a bait for the ancient noble family, Prince M.A. Next to guess what and Blazensk settlement, and tsya, the rest of the royal "mercy", fell on the part of Rurikovich for arguing with the hated queens "upper". Between the Admiralty and the Winter Palace, a miracle was evoked, which amazed the moderns - a palace of ice. Petersburg Academician G. V. Kraft, having filled in an accurate description of the architectural curiosity, the sculptural decoration and the interior decoration. Lazhechnikov knew and won Kraft's book. In order to commemorate the holiness of special roses and pishnist, they wrote to the capital in pairs of representatives of all peoples, as they lingered in Russia. The ethnographic stringing of the costumes, the national songs and the dances could not but embellish that urnismomaniac fun: they could demonstrate to the empress and foreign guests the majestic power of the empire and the prosperity of all the various tribes of the Meshkantsiv. Holy power was entrusted to the cabinet-minister Volinsky.
Lazhechnikov zoomed in sharply at the sight of that ability, as if it showed the concentration of such an over-the-top, rich on barve undertones in front of the historical novelist. The crying of the budinok becomes a straining symbol in the novel, which reveals a shadow on all the vicissitudes, both political and romantic intrigues. Cold and unimportant people are hovering behind a soothing façade. І іnshe: as not beautiful and zhorstoky screaming of budinok, the dispute is ephemeral, the days її vvazhayut. It’s not like the amusements of the empress, paid for by the sweat and blood of the people who are suffering, it’s not like the hour of the uroch cleansing when the queen’s palace stops the funeral resins. The quiet palace of Anni Ioanivna is a symbol of її kingship, as if it were a despotic power. Having become a miracle to life, having become a statue in a calm krizhany hut of freezing, the Little Russian Gordenko with his skarga, but the cry of the people, who knows, again slandered by Biron's slander, again not heard to the ears of the Russian autocracy. Having broken the joking truth of Volinsky, roaming with crying tricks, the battlefield was abandoned for the ruler of Timchas - symbolically moving the result of their struggle. The low blast of Kulkovsky and the graveyard of Podachkin's health resort - the characters, spared by Lazhechnikov and other readers' fate - are destined to spend the night in the kryzhan palace, and to inspire these people of the lower country with their sufferings to commemorate ours. The ruins of the crooked booth vkryvayut the rest of the passions already became a victim of Biron, who carried the death of Marioritsa and Volinsky, tormented by the intricacies of his tragic fate. After leaving the fatal ruins, Marioritsa is checked for a death bed, and Volinsky - a scaffold. The history of everyday life and the ruination of the krizhany house of Lazhechnikov masterly goes through the main political collision of the novel - the struggle between the Russian and German parties. The blessing of the blessed land, brought to St. Petersburg by the Little Russian Gordenko, the death of the truth-bearer, who raised his hand against the timchas ruler, to turn over the bowl of Volinsky’s patience, spur him to active action. The same stratum of Gordenka is a sign of the tragic fate - the fall of that stratum - Volinsky himself.
The screaming of the booths is an isolation contrast. Budinok, according to his name, is a treasure of fire, human warmth, chills with cold, drives everything alive that sticks to him. It is the main, but not the only symbol of the poetic novel. A romantic artist, Lazhechnikov delineates the epochs in a system of symbolic contrasts: life - death, love - hatred, grafting beauty - annoying dissimilarity, lady's fun - folk tears, a glittering princess - a gypsy woman, a palace - an unclean kennel cold.
The unfortunate ailments of Annie Ivanovna, which follow the fear of death, are wrapped in a non-gamous heat of joy and satisfaction, remind the courtier saints of courtly saints of judgmental merriment in passing, put a sign of doom on fun, beat the empress, on the whole picture. І skrіz, the empress is quieting down, the people are suffering that її goodness.
The more they tell about the fall and the ruins of the air without proper gaiety, the more contrast with them is the youthful streak of Volinsky, romantically brought, unstreamlined and in the kohanna, and in the right of the patriotic service of Russia.
The very system of symbols that permeate the “Screaming Dym”, that connects in its own way historical descriptions with romantic action, saturates the creation in the novel with a heavy atmosphere of hardship. Tsya atmosphere is thickening, hooting at the last similar moments of the awakening of the intensity of the lyrical zabarvlennya, as if entering the novel at once from the author's specialty. active, progressive mislycha people, A contemporary of the Decembrists (even though he didn’t give in to their revolutionary aspirations), a nasty romantic and an educator, he wins his court over the “unreasonable” and inhuman era. In the light of the author’s activity, it doesn’t hang, it’s the most modest element of the admonition: Lazhechnikov either brand znevagoy, sue and slander, or spy, choke up and cry out in chitacha. Tsya lyrical expansion zapovnyu "Krizhany dіm", not depriving the space for a calm, epic picture of speeches and podіy.
How can you, after reading the novel, but suffocate the drunkards to Volinsky, I hate that znevagoy to the yoga of opponents?
In interpreting the image of Volinsky, the romantic method of Lazhechnikov the novelist came to light especially clearly.
On the vіdminu vіd Pushkin i Gogol (similar to opіvіdachi-dekembristіv). Lazhechnikov are choosing for their historical novels such moments of the past, if the sticks are the same, and the people, in the name of such a stench, sacrifice themselves, play a passive role in the podia. Vidpovіdno loves the hero of Lazhechnikov's guise of vigadan chi historically, but at times he was endowed with a foldable inner light and a wine-colored, tragic share.
Such a newcomer is Volodymyr, the illegitimate son of Tsarina Sofia and Prince Vasil Golitsin. Zmalk vin denunciations for the role of Peter's antagonist. The life of the young tsar Volodymyr was moved to move to a foreign land. In the course of the year, we see the historical significance of the Petrovsky reforms and vvazhayut for the purpose of life to slander your fault before Russia and take revenge on those who have spun hatred from him to the new order. Vіdkinuty native kraїnoy, vіn taєmno serve їy, hospitable, similarly to providence, overcame the Russian military near Lifland, merited for the forgiveness of Peter and hovaє in the monastery, and die in the absence of a bridge. Such heroes of "Basurman" - representatives of the zakhodny Revival architect Aristotle Fioravent and the doctor Anton Yerenstein, were sent to the distant Moscow with the hope to know the sustenance of their humanist aspirations.
Until then, the type of romantic heroes-obrazniks belongs to Volinsky's "Krizhany House".
Historical Volinsky buv with a folding figure and a super-smiling. Having begun your activity for Peter I, you have turned back the respect of the reformer with your mind and energy. But it was not for nothing that you had the opportunity to skushtuvati tsar's cudgel. The first few steps, and the whole life of Volinsky's career are a lance of evil and a fall. A type of grandee of the transitional era, having fallen in his own right "the bird of Petrov's nest", a patriot, such a dream for the good of Russia, with non-gaming pride and ambition, with zhorstokistyu, indiscriminateness in sobs. More than once you have thwarted the court for slandering slander, self-righteousness, and katuvannya of people who are motivated by you. First of all, become a cabinet-minister and come up with projects of state reorganizations, Volinsky's old hour, having gone down to meetings of the service hierarchy, spiraling now at home ties, now at Minikh, who is not at odds with the temporal ruler, then at Biron, the enemy of his recent patron . Like a protege of Biron (the clock worker rozrakhovuvav know in a new way for the application of the role of Osterman, ale fooled by his glasses) Volinsky and bu introductions to the Cabinet of Ministers. Long before that, like a new cabinet-minister, having ventured to speak out against Osterman and stumbled upon the interests of Biron, having made his own uncompromising enemies among the Russians, and among the opponents of the bulls were such vlivovy grandees, like P. I. Yaguzhinsky, A. B. Kurakin, N .F. Golovin.
Lazhechnikov, without a doubt, they saw the house of Dzherel, who in a different way assessed the specialness of Volinsky, who was worthless and worthless like a sovereign playboy. Ale z piletovyh vіdchena z oral retelling the author of "Krizhany Dom" having chosen only those that gave rise to his supple and aesthetic ideal. With some special significance for Lazhechnikov, the interpretation of the image of Volinsky, as if it was possible in Rilyev's "Duma", was conceived.
Rilєєv dedicating two thoughts to Volinsky. One of them - "Anna Ioanivni's Bachennya" - was not passed by the censors and was first published in Herzen's "Polar Star" in 1859. Chi bula tsya thought in the house of Lazhechnikov in the middle of the 1830s, it is important to judge. The one who repents Anna Joanivnі є in her head of the strated Volinsky and calls the tsaritsa until the death of the “warrior of the glorious patrimony”. Another thought - "Volinsky" - is quoted in "Krizhany Domі" and richly in what it signified the image of the main character of the novel. Volinsky’s post in the image of the Decembrist poet is like “the vtchizni virny son”, and the struggle of yogo with the “earthly pribulets”, the culprit of the “people’s troubles” Biron, is like “half-light blowing of the soul of the beautiful and free” [K. F. Rilev. Vershi. Articles. Draw. Additional notes. Leaves. - M., 1956, p. 141 - 143, 145] Before bringing the words of Rilєєva - with a stable formula of the Decembrist ideological spirit - to go straight to Lazhechnikov's viraz "right son of vіtchizni".
In the novel by Lazhechnikov, the image of Volinsky is known to have dodatkovі farbi, such letters in the verse of Rilyev. Tse is not switched off state fiend, closures in the sphere of patriotic feat Volinsky is a man, and nothing is a stranger to a human being. “Yogo’s souls had predilections of good and bad, violent and gentry panned alternately; everything was inconsolable in a new way, the crime of honor and love until the homeland ”(Part I, Ch. I), - even Lazhechnikov about his hero. І далі романіст приписує найрозумнішому політику Остерману проникливу оцінку історичної ситуації, висловлюючи її в словах, які не могли бути випадковими в устах сучасника декабристів і трагічного краху їхніх надій: «Він бачив боротьбу народності, що відроджується, з деспотизмом тимчасового, але з палких, самовідданих heads, and not the people, of spiritualizations to the knowledge of their human goodness ”(Part II, Chapter VII). Lazhechnikov reminds his hero of the picture that they are preparing for the fall, but Volinsky’s image invariably dominates the vision to the point of thought Riljeva’s heroic-romantic tone.
The colloquium of the Decembrist poetry and prose is characteristic - the super-accuracy between the obv'yazky bulky-patriot, which vibrates the appearance of the hero of complete self-expression, right up to the appearance of special happiness, that by the natural inclinations of the soul and heart. Tsya kolіzіya є і in "Krizhany Budinka". Not only Volinsky, but the Empress Hanna, Marioritsa, and Perokin early on duty to choose between the correctness of footwear (as the understanding of leather from these dissimilar characters) and human, earthly whims. However, the most plot-driven and deciphered is the motive of the rozpovid about Volinsk, contrapuntally po'yazuyuchi insults storylines"Krizhany boudinka" - love and politics. “Lawless” addiction to the Moldavian princedom does not only inspire the spiritual strength of the hero in the service of the public and without defense before the cold, virile enemy. Passion to rob Volinsky as a victim of internal discord. Yogo's soul is tragically smitten with guilt before the beautiful, beloved retinue. It is painful for the new one and the thought of those who will ruin the vіddanu yoma, the merciful Marioritsa. At the same time, the fight is like a huge man, a loving person and a father and a biased cochance, giving the image of Volinsky a special susceptibility, like a fatal share of life ob'єmnіst.
Volinsky has a vision of a romantic poet-creator. Let the human nature not be perfected, let the usual vins of the weak to non-gammon predilections, to lure the hero into a fatal pardon: all the same - "as long as the poet does not help the poet Apollo's sacred sacrifice." Varto Volinsky felt the call of the witches - and he pretends to be a hero-fighter, who, having shaken off the shoulders of his earthly mustache, does not sound and does not roar powerful forces, nor Biron's ability and yogo prihilnikiv, with authoritative yoma directness and ardor go to fight for the good of the people to the end, unbowed to go to the scaffold, so that posterity will become an imperishable sight of public service. And addicted to yoga to Marioritsa! Volinsky’s lawless swindling is also an act of struggle, struggle for the freedom of the human mind, which is not easy to cross over and becomes a victim of a cold mechanical rozrahunka is quiet, for whom even addiction itself is no more a matter of political intrigue.
In love to Marioritsa, the breadth of Volinsky's Russian nature is revealed, his courage is that range, that poetic string sounds in her, as if to unite Volinsky-kokhantsya with Volinsky-patriot. Lazhechniki of the pre -loving hero to the Rosiyskoi National Little Style, I in the one in the same time as a consecration of the Litherasting tradition of the romance - at the scenes of the Holy Vistyoye, Kuchey, Kuchey. "This nature is purely Russian, this is a Russian sir, a Russian grandee of the old hours!" [Art. G. Belinsky. Rev. zib. tv. - M., 1953, vol. III, p. 13] - groaning Belinsky.
A semi-lunatic romantic and in politics, Volinsky is the direct opposite of the hard-hearted and soulless pragmatist Biron. Behind the same, we already know the laws of romantic poetics of contrasts at the "Krizhany Domі" to stand one against one German, "grown, gloomy" Hanna Ioanivna and "right Russian maiden, shelter with milk, and look and instill tsaritsa ... daughter of Peter the Great, Elisabeth" (Part IV, Ch. V), mediocre "scribbler", pedant Tredyakovsky and the intoxicating speech of the capture of Khotin Lomonosov. Neither Elizaveta Petrivna, nor Lomonosov do not live in the novel, the stench is less likely to merge in the thoughts of the author, that yogo character is like a kind of “point of observation” - a sign that indicates the basis of healthy national forces, which was judged to rise from the worries of the “unreasonable” era, to overcome all live that lyudske.
Lazhechnikov's historicism is the greatest in the world, revealing its interim image of Tredyakovsky. Tredyakovsky played a prominent role in the history of Russian culture and Russian performance. However, the old hour of yoga was synonymous with poetic mediocrity, a target for undeserved stupidity. Even though Radishchev at the "Monument to the dactylo-choreic knight" tried to look over the traditional reputation of Tredyakovsky, the objective historical assessment of his activity in the 1830s was left with the right to be.
Romantic poetics vimagala z'єdnannya in the novel and high poetic verses zі grotesque and caricature. The image of Tredyakovsky (like I Kulkovsky) is a tribute to the program of the most romantics. Uncritically spiraling on the lead of the anecdote about Tredyakovsky, conveyed to the new one by a retelling, Lazhechnikov gave his hero the traditional comical rice of a pedant and a drinker, which inspired spiritually and physically. It is not surprising that all the critics of the Krizhany Budinku have gone from the hostile one – from Senkovsky to Pushkin.
In the era of classicism, that Enlightenment of historical individuals performed on the stage of the tragic theater, which, moreover, reached the 18th century novel from the images of the sphere of private life. A historical novel from the beginning of the 19th century, for the first time, discussed the story about other historical children from the story about the shares of their innocent co-workers, and included a story about the facts of historical life by including it in the framework of the predictive plot.
So far, in the historical novel and history, that wisdom has made this genre lawless in the eyes of its opponents. Navpaki, Belinsky at the polemic, who flared up like a Russian historical novel of the 1830s, having guessed how necessary mind artistic creation of the past. And yet, in different types of historical developments, that vision is mixed differently. And it’s more poetic vanity that you fall on a part of the vicarious characters hot Russian the plot is determined by the aesthetic attitudes of the novelist.
For V. Scott, it was a matter of fact to show that history in its own Russia, in order with the leading historians, diyachs, lure into the circle the likes of impersonal ordinary, innocent people. Great historical conundrums and changes are invading private life private person. Firstly, concretely, uniquely drawing the old hour of W. Scott to convey to the reader through the brokenness of their shares, zvichayakh, pobutі, psychology of their vigilant heroes. V.Scott's most formidable hero was given, on the basis of his own knowledge, the signs of the closeness of historical forces that are fighting, fighting reference skin of them, to understand their ability and weakness. That is the way of recognition and revival of the past day of Pushkin at the "Captain's Donets".
On the view of V. Scott, A. de Vigne in "Saint-Marie" - novels, such a plot, arrangement and type of characters are more than once seen in the development of the grouped characters of the "Krizhany Budinka", - to put at the center of your own roses , A historical person. On the right scale, the motifs of the Saint-Mars vantage against Richelieu wine are transformed into their own historical “ideas”, modernizing the hero’s moral and psychological outlook. The second French romantic, V. Hugo, in "The Cathedral of Our Lady of Paris" (1831) brings the genre of the historical novel to the romantic drama that is sung. I will lift my foreboding heroes high above prose, reminding them of the symbolic scale and profoundly poetic vibrancy. The drama of love and jealousy of Hugo's readers is foldable, to the point of igniting the blatant protirich butt, adopted by the prism of romantic philosophy of history.
Lazhechnikov's "Screaming Budinoks" is typologically closer to the French romantics, lower to W. Scott. As the author of "Saint-Mar", Lazhechnikov is trying to rob the middle of the atypical for W. Scott vigadan "middle" people, and the appearance of the historical, reinterpreting the moral and psychological image of Volinsky in the soul of his hromadyansky, patriotic and enlightening ideals. At one time, the primary for the poetics of the "Ice House" are those who are historical characters in the novel of that yogo vigadan individual - the gypsy Mariula and Princess Lelemiko, mother and daughter, are similar to the old liar and Esmeraldi's "Cathedral of Our Lady of Paris" - lie, you can hang like that, up to two life worlds: The first - to the light of historical reality, as an author's mind, others - from the edge of romantic poetry. Do not put lazhechnikov as a metaphor, like V. Scott or Pushkin, to capture from the look of their romantic heroines the specific picture of the psychology of people of the singing era. Dzherelo forces tsikh aesthetically far from equal images of the same: і Mariula, і Marioritsa act in the novel as a bearer of a poetic idea. Mariula - an instillation of a motherless mother's hut, Marioritsya - a separate idea loving woman, Yaka vvazha in the self-forgetful service of the formation of his heart is a meta foundation, and in death, for the sake of the good of yoga, his life is recognized. Belinsky, having judged Lazhechnikov’s romance behind the laws, we recognize ourselves above ourselves, knowing that Marioritsa is “the most beautiful and most beautiful person in a musty novel ... the most beautiful, the most beautiful flower in the poetic wreath of your gifted novelist” [St. G. Belinsky. Rev. zib. tv. - M., 1953, vol. III, p. fourteen].
Imagine Princesses Lelemiko, Mariuli and її companion of the gypsy Vasyl, grandmothers and likars and її onuks introduce the novel in a way of political intrigue, establish a special, “superior-historical” line of the plot. And yet, they stink to remind the “Krizhany House” of the dodatkovo tsіkavіst, bring it closer to the mystery novel, to the old adventurous novel. The special effect of Lazhechnikov's work is based on the traditional motif of two supergirls - a loving hero and a woman he loves. Beauty pіvnochi and gurіya pіvdnya, indestructible friendship vіddanіst i vіlna, as if to know the truth in one's depths and lack of chivalry, one's predilection is shattered into one, then into another hard stick and Volinsky's impertinent soul. Enlightenment kolіzіya bortby mіzh I will become addicted and expand like a borg, crying out insults in the sphere of romance - both political and love. The death of Volinsky is presented in the “Krizhany Domі” as a quiet victim in the underworld struggle: for the freedom of the fatherland, that special moral cleansing.
І vodnochas Volinsky "Kryzhany budinka" is not just a single person, so it is also spivvennes with its real-historical prototype. The new Lazhechnikov angered all the force of the national protest against the dominance of foreigners, who are tormenting the unimpressed, extorting requisitions from that health of the country. Although in the kohanna of Marioritsya with її zhіnochnoj beauty and boundless self-proclaiming, there is a place for splitting between the senses and the clothes of Volinsky, then on the territory of the bulk of Volinsky there are no equals. Like a self-made oak, hanging over the shoots of their "confidents" - friends and comrades at the fight, like they shared the insolence of yoga and yoga share. As far as Volinsky's opponents are concerned, the innocence of goals and benefits, spiritual vulgarity, low-minded selfish rozrahunok to shy away with their full protyleness of the magnanimous and honest patriot. As if Biron’s slanderers save their loyalty from fear and corrosity, the opponent of the Timchas ruler is drawn to himself with purity, the gentry of the soul and vchinkiv.
Engaging in single combat with Biron, Volinsky threw a zukhvaliy viklik no less than a klіtsі pribultsіv, yak they attracted their right to “plunder, strachuvate and merciful Russians”. Vіn vіkrivає courtiers affectionate, joking chinіv and make a profit, speak out against "tackling their fatherland", even if they stink. And yet, in the sphere of what the author-of-replying himself is impelled to be without restraint, more and more people are drawn into. Here is the power of panska zabaganka, which can be turned into fun for fun, whether it’s a people, like lingering in some kind of despotic country; and the immoral right of “the mother of her people”; and power, which is based on the system of espionage and rozshuku; and all mediocrity and crooked tsar Annie Ioanіvni zagalom. Not only that: without intervening with criticism of the “unreasonable” era, Lazhechnikov, with a path of visionaries, natyakіv throwing places in it until the moment. The episode of the political struggle of the 18th century is shown before the ledge on the Senate Square, and after his death, Volinsky’s great glory became a prophecy about the inevitable recognition of noble revolutionaries. Everything was strongly opposed to the doctrine of "official nationality".
“The crying of the budinok” was at the moment when the tenth birthday of Tsar Mikoli I was approaching the end, the ten years of the day of the breast rebellion ended. The suspіlstvі checked tsієї dates, spodіvalis on "mercy to the sunless", on the relief of the share of slanders. Roman Lazhechnikova, in his own way, imagining and instilling this mood. An ideological atmosphere, like a preparation for the 14th breast, the Decembrists' march, tragically inevitably strikes them and the stratum appeared in the Lion's House with a number of examples. Among them, there is a lance of maxims, which inevitably calls out illusions, and links to the central image of the novel - the image of the hero-hulk - with the tradition of the Decembrist literature and journalism, that epigraph (part IV, ch. XIII) with the thoughts of Rilyev, yak sounded in 1830 -x fates, as a greater prophecy of his share of the poet-Decembrist, Ale, perhaps, the best confirmation of those who, creating "Kryzhany dim", Lazhechnikov, creating a monument to the heroic aspirations of his generation, appeared to be interpreting, as if taking away the novel from the side Russian history. The author of "Krizhany budinku" jokes about the recent past of the country in the fall, which wine is taken as a historical precedent of the chest rebellion, like a furious zhmenka fighters for the good of the people against despotism. Characteristically the same. The stratum of heroes turned into their posthumous tract. History threw into the ashes of their opponent, who, giving up the unhealthy, and the stench themselves gained in the eyes of the naschakiv halo of innocent sufferers for the truth and became the eye of the "holy zealous hulk." Such are the turns of a sense of historical optimism, like in the epilogue of the "Krizhany Budinka".
After the release of the "Krizhany budinka" Pushkin wrote to Lazhechnikov: "It is possible, in the artistic style of "Krizhany dim" and more of "Ostanny novik", but the truth is historical in the new not dotriman, and at the same time, if Volinsky's right will be crowded, it will sound nasty to your created, ale poetry be left behind forever poetry, I am a rich side of your life novel, docks will not be forgotten Russian mova.
For Vasily Tredyakovsky, I know, I'm ready to talk to you. You represent a person, I’m living with rich old people, and our spirits. On the right side of Volinsky is the person of the martyr. Yogo voіdomlennya Akademії zvorushivno nadzvichayno. It is impossible to read yogo without being overwhelmed by yogo tormentor. One could talk about Biron in the same way" [A. Z. Pushkin. Complete selection of works. - M. - L., 1949, vol. XVI, p. 62].
Lazhechnikov, without accepting the poet’s twists, is similar to the fact that the historical characters of the novel are true to their real prototypes, and thus formulating his main creative principle: zavzhdy is guilty of giving up poetry, as if she deserves it. The whole axiom” [A. S. Pushkin. Rev. zib. tv. - M. - L., 1949, v. XVI, p. 67]. Axiom of romantic aesthetics, dodamo mi.
The author of “Boris Godunov”, having taken into account that the historical writer, “unpreempted, like Dolya”, indulging the dramatic epoch of the past, is not guilty of “cunning and cheating on one more, sacrificing others. Not guilt, not some political way of thinking, not some taєmna chi obvious predilection may ... speak in tragedy, - but people of bygone days, їхні mind, їхні zaboboni ... Just resurrect the past century at all yogo truth" [A. S. Pushkin. Rev. zib. tv. - M. - L., 1949, vol. XI, p. 181].
In the historical tragedy of Pushkin, Boris is presented as a human being, on whose conscience lies a heavy mischief. Ale Pushkin's hero is a spiky and cunning self-willed politician. This is a sensible, far-sighted ruler, who blames the plans of the sovereign transformations, and the lower, dbailivy father. If the nobility of the wines is delivered richly to the boyars-Rurikovich, then I will turn them over with intelligence and energy. Moreover, in the throes of conscience, tormented by kayattu, Boris bore his moral punishment not as a transversal wickedness, but as a man of unimaginable inner strength. The first one is angry under the blows of the share, you judge and sue yourself. So the very voluminous, internally folding Pushkin's image of the Pretender. Іnok, who suffers in a monastic cell, bear in himself a youthful urge to freedom, to know great world, see yoga joy and enjoy it. In love with Marini, the Pretender - sings of his own kind, that and vzgali vchinki, scho puff up yoga nazustrich evil and death, marked with a seal of face and artistry. Lazhechnikov the novelist was left with someone else's similarly familiar historical characters, it didn't sound super-chic in people's historical good and evil. At the “Kryzhany Budinka”, two elements are light and dark, which sharply and uncompromisingly oppose one to one. I want Lazhechnikov through a series of evocative, on-butovy details to show the images of his positive and negative heroes to life, which is not enough, so that his characters become right living people from flesh and blood, and the light of their feelings and their own self-destruction.
A super girl between Pushkin and Lazhechnikov about historical romance and staging to action was a super girl between a realist and a romantic. The images of Biron, Volinsky, Tredyakovsky, created by Lazhechnikov, were impossibly embellished with Pushkin’s realism: with their monolinear stench, they stood up to Pushkin’s ideal of a wide, richly sided depiction of characters.
Pushkin himself went through the smog of the traditionally unambiguous adoption of Tredyakovsky: for Pushkin the lyceum student, it is a symbol of incompetent and stupid metromania, a specialization of the ungracious literary old-timers. Already one of the 1820s of the 1820s Know Pushkina with the pratsi of the Tredyakovsky of the Rosiyako Movyanni Rozhitnna, they were injected about the nyoye, they were in the stakes, the bliziki to the “Arzamas”, and in the 1830s of the rocks of the ioyakovo to the Trondyakovoi, the ily il nabuvydnaya. Pushkin's historical evangelism, which is the destruction of his historical and literary glances with them, adopting the shape of the poet's glance at Tredyakov's place in the Russian literary development. At the link with the mustache, it becomes more comfortable with the camp of Pushkin at the court, we will take it as a belittlement of the awards of the chamber junker rank and other facts in special biographies, sings the grandfather more often to study the camp of a writer in Russia. The new world has long had anecdotes about constant humiliation and beatings, like Tredyakovsky tolerant.
Pushkin's look at the theoretical creations of Tredyakov's most famous expressions "Road from Moscow to St. Petersburg" (1834). "Yogo philological and grammatical achievements are more than miracles, - read here to Tredyakovsky. - Vіn mav about Russian vіrshuvannya is more widely understood, lower Lomonosov and Sumarokov. thinned ... Tredyakovsky's lace was to bring more cordial, lower lace of some of our old writers. S. Pushkin. Povn. sib. tv. - M. - L., 1949, vol. XI, pp. 253-254].
A synthetic assessment of the role of Tredyakovsky - a philologist and a poet in the development of domestic science and literature also took away the viraz from the plans of Pushkin's article "On the uselessness of Russian literature." In one of Pushkin's plans, I re-place Tredyakovsky - a linguist and linguist Lomonosov and Sumarokov (“Tredyakovsky is the only one who understands his right”), in another respect, that Tredyakovsky’s infusion “doesn’t need yoga mediocrity” [Ah. S. Pushkin. Rev. zib. tv. - M. - L., 1949, vol. XI, p. 495].
Newly between Pushkin's glance at Tredyakovsky, the leaf turns to Lazhechnikov, he sings in spite of the importance of Tredyakovsky's name as a Russian writer and scientist. The report of the Tredyakovskaya Academy, like, after the words of Pushkin, “funningly over the top,” is the whole report to the Imperial Academy of Sciences on February 10, 1740, on the “dishonor of that kalіtstvo”, head of Yoma Volinsky. From the unfortunate fall of the Cabinet-Minister, it was due to the right of Volinsky - another friend of Pushkin at the leaf to the author of "Krizhany Budinka" - historically dzherelo. In the 1830s, offending tsі dzherel had not yet been published, and, as can be seen from Lazhechnikov’s “My Acquaintance with Pushkin”, they lost their innocence at the time of work on “Krizhany Budinok”.
The sheet of Pushkin to Lazhechnikov is a coincidence of Volinsky's great judgmental assessment, as it appeared as if it were from the images of this historical fiend in Lazhechnikov's novel, and in a flash from the broadest glance of her. The shattering of archival materials from the Russian history of the 18th century, which revealed to Pushkin a number of tonal aspects of Volinsky's particularity and vigor, and left a trace of the poet's familiarity with the work of the cabinet-min. Since Pushkin’s appointments to the “tormentor” of Tredyakovsky were tied to him, Biron’s characterization was attached to him on that sheet, writing about how Pushkin wrote that “the whole reign of Annie’s reign was called to the new one, as it was in the spirit of the hour and in the name of the people” [A . S. Pushkin. Rev. zib. tv. - M. - L., 1949, v. XVI, p. 62]. Tsya characteristic of the bula was adopted by Lazhechnikov as “unmistakable ... the lining of the great poet” [A. Z. Pushkin in the lives of contemporary people: In 2 vols. - M., 1974, vol. I, s. 180-181]. Tim hourly sense of Pushkin's judgment polagov zovsim not at the post of timchas ruler for Volinsky's account.
In "Notes on the Russian History of the 18th Century" (1822), Pushkin described Biron as a "crooked dash". In this rank, in the assessment of Biron's specialty, he did not differ from Lazhechnikov. Ale Pushkina could not satisfy the point of view of the official historiography, which contrasted the wickedness of the Timchas ruler of the good sovereign and transferred the blame for all the troubles of the Byronivshchyna to the new one. Pushkin saw that they were more glib, rooted in the “spirit of the hour”, that after calling to life the despotic monarchy of the 18th century, especially the national development, they brought Russian absolutism to Russian absolutism after the death of Peter the figure of the “Asiatic non-government” [A. S. Pushkin. Rev. zib. tv. - M. - L., 1949, vol. XI, p. fourteen]. As far as the historical sense of Biron's fidelity, Pushkin bachiv them at the despotic unprepossessing of all the samples of the Russian aristocracy before the establishment of the oligarchic image of the rule, as the poets seemed to be the main conservative trend of the growth of the capital of XVIII history. Like Bachimo, you can compare with Pushkin (especially with a glance of our youngest knowledge about the past) in essence, having a look at the history, but not about the “attachment” of yoga in the supercity with Lazhechnikov, you can’t buti move.
Pushkin looked at the different eras of Russian life in that historical interrelationship, taking on the skin like a Lanka of a single, folding historical movement. For this reason, the meaning of specific figures of historical features, their psychology, the right scale and proportions, and the power of the depicted moment were given.
The key to unraveling the nature of whether a childish era, whether it be history or modernity, Pushkin was the recognition of social and cultural-historical forces, which were understood at once in their historical non-recurrence and in deep connections with the future. “Vgadana”, revived in its life reality, the epoch is small, it follows the ideal of Pushkin, the artist and historian, to shine with his own power, objectively powerful poetry, and not serve the author’s ear-witted poetic idea.
Otherwise, in the light of the romantic and at the same time, enlightenment was manifested, having taken the history of Lazhechnikov. In history, yoga was occupied not by the style of life of light and earthly causal and inherited links, but by the more dramatic pictures and analogies from modernity. The leaden shades of the Mykolaiv Tsar's reign, the tragedy of the heroic and the romantically wild generation of young noblemen, the Ostzeytsy, who closed up near the imperial throne - all this made Lazhechnikov's graciousness and humility deadly cold. Yaskra's romantic talent has drawn in the lively gromadyansky and patriotic pathos of the "Krizhany Dom" in an image that is striking for the readers of the 1830s and for the coming generations. I Pushkin, rightly reciting the accuracy of the historical picture, painted by Lazhechnikov, maw ration and the like, if he prophesied to the creator of the "Krizhany Budinka": "... poetry will be deprived of poetry, and rich sides ... the novel will live, the docks will be forgotten by the Russian language."
Crying budinok - a palace of ice, awakening near St. Petersburg in the rest of the river of Tsar Annie Ivanovna, fierce winter 1740; a kind of synonym for the tsar's sovereignty, despotism, tyranny, squandering of sovereign wealth. The palace was announced on February 6, 1740.Georg Kraft, academician of the St. Petersburg Academy, wrote that “the awakening of a house is the best way to know in the closet of knowledge, (to that) that little respect was given to the ice as to “additional material” and so little was broken up to the “kryzhan” ". Mabut, one positive review
History of Krizhany booth
The idea of creating today, on the outside of the palace with ice, was submitted to the Cabinet-Minister of Empress Anna Ivanivna A.P. Volinsky V.N. The cries of the budinok were transferred to the court saint - a funny blasphemy fun.
The palace of disputes between the Admiralty and the Winter Palace: “The purest ice, on the basis of the great square slabs, was cut, tidied up with architectural embellishments, with a compass and a line, they were cut, they laid one krizhan slab on ours, and watered the leather row with water and froze. served. In such a rank, after a short hour of awakenings, the boons of the houses, like a boon with a dove at the height of the sazhens, two sazhens wide and a half, and three sazhens high at once with a cover.
“The architecture of the bungalow was finished off. Near the dash was a scribbled gallery, embellished with stovpas and statues; a ganok with a ribbed frontispiece led in the blue, which divided the houses into two great stones; the blue was illuminated by chotirma, the skin room - five windows with sklom night ice. The windows and doors and the pilasters were stuffed with green farboa under marmur. Behind the crooked fold were writings on the canvas “funny pictures”, which were illuminated at night in the middle of the lightless candles. In front of the booth there were six three-pound shells and two two-pound mortars, which had been shot more than once.
Bіlya vorіt, zroblenyh zroblenyh z ice, flaunted two krizhanі dolphin, yakі vydali zі schelep for help pumping fumes from scorched naphtha. At the gates stood mountaineers with krizhanim gilkami and leaves. On kryzhanykh hilkakh sat krizhany birds. On the sides of the booth, on the pedestals with the frontispieces, there were gostrokintsev chotirikutnі pyramids.
The interior decoration of the house as a whole gave its original appearance. In one room stood: a toilet, two mirrors, a sprat of shandalives, a stone year, a large double bed, a stool and a fireplace made of firewood. In the other room, there were steel carved robots, two sofas, two armchairs and carved supplies, who had turned tea utensils, flasks, cups and straws. Two statues flaunted at the cubbyholes of the castle, which depicted cupids, and on the table stood a great anniversary and lay cards with stamps. All these speeches were more masterfully crushed with ice and stuffed with natural farbs. Krizhany firewood and candles were smeared with naphtha and burned.
Roman I. Lazhechnikov "Screaming dem"
Yury Nagibin's story "Kvasnik and Buzheninov"
The story was published in 1988 in the collection “Following the exploits of Petrovim ...” of the Young Guard exhibition, in the collection “Povist 86” of the journal “Suchasnik”
Yak Hanna Ioanivna attacked the bulk
V. Yakobi "Kryzhaniy dіm" (1878). © / Public Domain
In the fierce 1740, the Russian Empress held a spring urochist, as they became a symbol of the decimal rule.
Miracle for the poor widow
After the death of Peter I, the Russian Empire faded away from the period, called by historians the “era of palace revolutions”. The dynastic crisis, which was often the fault of the first Russian emperor himself, led to the fact that in 1730 Anna Ivanivna, the niece of Peter the Great, the daughter of his brother and sovereign ruler Ivan V, ascended the Russian throne in 1730.
Few people describe the ten-year era of Annie's reign in miraculous tones. True, this period cannot be called the rise of the Russian state.
There were a lot of reasons for those, among which the main ones were completed by the unpreparedness of Annie Ivanovna to the sovereign rule.
Anna Іoanivna was seen abroad 17 years in the name of the people for the Duke of Courland Frederick Wilhelm. family life I just didn’t get it together - the person died less, lower three months later after laying the slub.
Regardless of the price, Peter I set the widowed duchess in Courland to live with the deceased’s volodymyr. The noble nobility did not sting the duchess, and Hanna Ioanivna lived in an unenviable mind, which in no way witnessed her adventure.
To that, since after 20 years of such a life, Anna Ivanovna recognized that she would pronounce the crown of the Russian Empress no less than richly, for her it was a fair diva.
Walk, shalena empress ...
Only the widowed Duchess of Courland could not pretend to be a wise one, that far-sighted politician who built the ruins of the state.
Sovereign policy during the period was initiated by these court parties, as if they were able to outperform competitors in the fight against the empress.
Among the most popular children of the tієї epoch, the favorite of Anni Іoanіvny, the Courland nobleman Ernst Johann Biron, why the epoch itself took away the name "Bironivshchyna".
Hanna Ioanivna herself, having climbed out of Courland vigilance, behaved like a right nouveau riche. The treasury pennies flowed like a river on all the roses, come in that morning to the yard, which is in the її ruling zrіs in the spiel.
The empress's special passion is small to all the dwarfs and hunchbacks, like they molded the state of courtly blaznies. It was possible to finish the hoarding of riches with marvelous ones, but to compete with Hannah Ioanivna, wisely, without bothering anyone.
The lover of the Empress was the Kalmichka-clown Avdotya Ivanivna. Hanna Ioanivna sympathized with her, as if she were respectful, through the superbly unpresentable sound of the fire, on the aphids, as the empress herself, as if she did not shine with beauty, looked vibrantly.
Like a reminder of the fate of 1739, Hanna Ioanivna rebuked the respect that Avdotya Ivanivna Buzheninova (the name of the brazier was given by the empress in honor of her beloved kalmichka) was confusing. Chuckling about why on the right, she recognized that Avdotya Ivanivna was dreaming about zamіzhzhya. Kalmichka at that hour was close to 30 years old, which, beyond the worlds of the 18th century, was respected even more solidly.
Hanna Ioanіvna took up the idea of seeing a foreign lover and ruling the country and grandiose fun.
Hanna Ioanivna
At Prizvisko "Kvasnik"
The empress knew the names very quickly - for this role she appointed one more court bastard, Mikhail Oleksandrovich Kvasnik.
On the vіdmіnu vіd kalmіchka Buzheninovoї, Kvasnik was a noble nobleman, who had spent a terrible disgrace.
Mikhailo Oleksandrovich, having lain to the eldest head of the family of the princes Golitsin, as an onuk Vasilev Golitsin, the favorite of Tsarina Sofia. After the defeat of Sophia in the fight for power, the courtier Mikhailo Golitsin at once, from his grandfather and father, leaning on the mischief, from which sight they turned after the death of Golitsin Sr. in 1714.
After that, it seemed, the life of Mikhail Golitsyn went well. Vіn buv messages by Peter I read through the cordon, to the Sorbonne. After turning back on military service, yaku ending with the rank of major
In 1729, after the death of the first squad, Mikhailo Golitsin went to the cordon, having killed two children in Russia. There they make friends suddenly and accept Catholicism.
Before the change, Golitsin, having become rather lightly, and in 1732 turned with a new family without fear, turned to Russia. Knowing, having learned about the transfer of Mikhail Golitsin to Catholicism, they gasped - the new Empress Hanna Ioanivna respected similarly virovidstupatstvo as the most important villain. Knowingly, Mikhail Golitsyn was pleased to “not hang out”, that he was guilty and robbed, secretly settling in Moscow’s German settlement.
And the world is not without “good people” - Mikhail Golitsin was reported, and without a bar of guilt, he was brought before the court by the angry Annie Ivanovna.
The vibir of Prince Golitsin was not great - a scaffold of dishonor. Mikhailo Oleksandrovich having dishonored. The Catholic druzhina was sent to banishment, and Yogo himself, having been rebaptized by Orthodoxy, was appointed to the role of a court bastard.
Golitsin, having become a blasphemy of Anna Ivanivni i, yak і іnshi p'yat, mav personal goat, i kim mav visidzhuvati eggs. At the hour of banquets, you were ordered to pour and serve kvass to the guests, the stars appeared, and a new name appeared - a nickname - Kvasnik.
Budinok, de hearts tremble
Morally evil and degrading Kvasnik, who, according to the thought of some old co-workers, seemed to have become, poking his mind, wisely, to rely on the “maiden Buzheninova” no way.
The Empress took up the right with a flourish, creating a special “Masquerade Commission”, as little as possible to prepare the urochist. On a wedding, it was punished to not mess around with a penny.
The power of the urochist was sprung up at the specially made Krizhany booth, similar to the one that was built for Peter the Great, but with a significantly larger scope. The weather took hold of the idea - the winter of 1739/40 was bitterly cold, the temperature was constantly trimming below 30 degrees below zero.
A place for a booth was taken on the Neva between the Admiralty and the Winter Palace, approximately on the site of the modern Palace Bridge.
The kriga was cut on large slabs, they were laid one on the other side and watered with water, as if it froze right away, the blocks were soldering softly.
The facade of the house is about 16 meters long, the width is 5 meters and the height is about 6 meters. Near the Dahu was a gallery embellished with statues. Ganok with a rіzblenny pediment, having divided the houses into two halves. At the skin bulo there are two rooms: one is the living room and the buffet, the other is the toilet and the bedroom. In front of the booth, six daggers and two mortars were placed, as if they could work with the help of the blue ones. The gates set up two crying dolphins, as if they were throwing burning naphtha out of the crack. At the gates stood mountaineers with krizhanim gilkami and leaves. Crying birds sat on the hips. On the side of the booth hung krizhany pyramids, in the middle of which hung great eight-headed likhtars.
Superproject of the XVIII century
On the right side of the booth, standing at the life-size cries of an elephant from the cries of a Persian highland. Behind the elephant stood two Persian women. According to eyewitnesses, in the daytime the elephant let out a chotimeter jet of water, and at night - analogous jet of naphtha to burn. Dehto stverdzhuvav, scho elephant іnоdі "vidavav" i liquor.
Near Krizhany Budinok itself, in one of the rooms, there were two kirzhan mirrors, a toilet styl, a sprat of candles, a large double bed, a stool and a fireplace made of krizhany firewood. At the other room there was a row of chairs, two sofas, two armchairs and a decorated sideboard with crockery. Two statues flaunted at the cubbyholes of the castle, which depicted cupids, and on the table stood great anniversaries and lay cards. All these speeches were prepared with ice and garnished with farbs. Krizhany firewood and candles were smeared with naphtha and burned. In addition, under the Krizhany budinka, a krizhana lazna was built, as it functioned.
The project of the Krizhany boudinka, yakscho vydvolіktisya in order for which the wine of life, it is true, it is unique. In order to help Annie Ivan's thoughts in life, we believe that the engineers of that hour happened to know an absolutely unique solution.
The design and life of the Krizhany booth was impassioned by the architect Petro Mikhailovich Eropkin, the creator of the first general plan of St. Petersburg, that academician Georg Wolfgang Kraft, a physicist and mathematician, who had taken care of all the scientific part of the project.
Shlyubna nіch on krizhanu lіzhku
Aleksey Ganni Ivanovna didn’t get much. Before the celebration, it was ordered to bring two representatives of all tribes and peoples, who lived in Russia, in national dress and national instruments. There were 300 such people on the cob of the fierce 1740 rock at St. Petersburg.
The urochistos themselves were born at the fierce fate of 1740. It is most common to name the date of the 6th of February, wanting to talk about the 12th of the fierce day of the next day.
On the choir of the "spring train" the youngsters rode, as if they were placed in the cauldron, put on the elephant. They were followed by representatives of the small and great nationalities of Russia, some on camels, some on deer, some on oxen, and some on dogs...
After the wedding in the church there was a banquet and dances. Hanna Ioanivna changed her mood, satisfied with the realization of her idea.
After the ball, Kvasnik and Buzheninova were taken to the Krizhany budinka and after the ceremonies they laid a bed on the krizhan, placing a varta, so that they would not think up the names until the wound in their luxurious bed. And when it came to the river - few people want to spend the night, lying on a piece of ice in a forty-degree frost, for which no crying is polina.
The vranci of the fragrant blessings of Naresht let out of the house, which for a moment became a crypt for them.
"Dosit tse patience!"
In Russia, people loved to walk with a wide range, Crimean cats, which were often marveled at by foreigners. However, "fun in the Krizhany house" for the first time struck not only foreigners, but the Russians themselves. Vitrata of such majestic koshtіv and zusil for such an insignificant meta has overwhelmed bagats. The zatiya of Anni Ioanivna was called a “disgrace”, and the sign of Kvasnik and Buzheninova was respected as condescending to evoke beyond the worlds of that far from low hour.
It came to mind that, in a deaf voice, little praise was given to Hanna Ioanivna, but it turned out that “blaznivske fun” became the last memorial of her rule.
Crying budinok, zavdyaki frosts, having stood until the end of the month of 1740, and then having planted step by step tanuti and the sign of a natural path near the kvіtnі.
At the same time in 1740, Anna Ivanivna died, having recognized John Antonovich, the son of her niece Anni Leopoldivna, as her successor.
Hanna Leopoldivna, yak became regent for a young son, was immediately knocked down by him in the aftermath of a black palace coup, the protégé, in an hour of her rebuking under the rule, caught the great right - she sang the staff of court blaznіv.
V. Jacobi. Blessings at the Court of Empress Anni Ioanivna.
Such is the historical era, the image of which rises from the sides of the “Krizhany Dom” “... The system of denunciations and spying is thinned to the point that the look and the ruhi mayut their scholars of the tlumachs, de zabitі її pochutya, yogo thought; rozіrvani kaydani of friendliness, controversy, to the point that a brother swears at his brother's listener, the father is afraid of wielding in a blue guard; narodnist, shodnya zganblena; Russia of Petrov, wide, sovereign, powerful - Russia, oh my God! humiliated by a ninth vihіdtsem ”(Part I, Ch. V) - the hero Lazhechnikova, the hero of Lazhechnikova, is the axis of patriotic fervor and foolishness to succumb to his fatherland.
Among the characters in the "Krizhany Dom" there were few historical features and real podias, even if they were cleverly transformed by the author's fantasy. Encirclement of the Empress Ganni, Biron, Volinsky, on the sides of the "Krizhany Dom" are the vice-chancellor and the actual head of the Cabinet of Ministers Osterman, Field Marshal Minikh, Tredyakovsky sings. The names of the people who once lived, wear individuals with a sharpened timchas ruler and yogo antagonist - so, like Lipman or Eichler. Historical prototypes of the boules of the “confidents” of Volinsky, and the chimerical “nicknames” given to them by Lazhechnikovs, were adopted in the form of their current names: de la Sudu, becoming Zudoy in the novel, Єropkin - Perokinim, Khrushchov - Schurkhovim, Musin-Pushkin - Sumіnim.
Based on the truth and "cries of budinok" - the central, nasty image of the novel, the image of shearers and the plot, and the poetic system. The payment of 1740 at the court was solemnly enforced in a holy way: the empress decided to make friends with her temptation - a bait for the ancient noble family, Prince M.A. Next to guess what and Blazensk settlement, and tsya, the rest of the royal "mercy", fell on the part of Rurikovich for arguing with the hated queens "upper". Between the Admiralty and the Winter Palace, a miracle was evoked, which amazed the moderns - a palace of ice. Petersburg Academician G.V.Kraft, having filled in an accurate description of the architectural curiosity, the sculptural decoration and the interior decoration. Lazhechnikov knew and won Kraft's book. In order to commemorate the holiness of special roses and pishnist, they wrote to the capital in pairs of representatives of all peoples, as they lingered in Russia. The ethnographic stringing of the costumes, the national songs and the dances could not but embellish that urnismomaniac fun: they could demonstrate to the empress and foreign guests the majestic power of the empire and the prosperity of all the various tribes of the Meshkantsiv. Holy power was entrusted to the cabinet-minister Volinsky.
Lazhechnikov zoomed in sharply at the sight of that ability, as if it showed the concentration of such an over-the-top, rich on barve undertones in front of the historical novelist. The crying of the budinok becomes a straining symbol in the novel, which reveals a shadow on all the vicissitudes, both political and romantic intrigues. Cold and unimportant people are hovering behind a soothing façade. І іnshe: as not beautiful and zhorstoky screaming of budinok, the dispute is ephemeral, the days її vvazhayut. It’s not like the amusements of the empress, paid for by the sweat and blood of the people who are suffering, it’s not like the hour of the uroch cleansing when the queen’s palace stops the funeral resins. The sweaty palace of Anni Ioanivna is a symbol of її kingship, as if it were despotic power. Having become a miracle to life, having become a statue in a calm krizhany hut of freezing, the Little Russian Gordenko with his skarga, but the cry of the people, who knows, again slandered by Biron's slander, again not heard to the ears of the Russian autocracy. Poriv shukaє іtіnі Volinsky rozsipavshim krizhannyh tricks, the battlefield was left behind Timcha ruler - symbolically moving the result of their struggle. The low blast of Kulkovsky and the grave of Podachkin's health resort - the characters, spared by Lazhechnikov and other readers' fate, - are destined to spend the night in the kryzhan palace, and to inspire these people from the bottom with their sufferers to mourn ours. The ruins of the crooked booth vkryvayut the rest of the passions already became a victim of Biron, who carried the death of Marioritsa and Volinsky, tormented by the intricacies of his tragic fate. When I leave the fatal ruins on Marioritsa, I check the deathbed, and Volinsky - the scaffold. The history of everyday life and the ruination of the krizhany house of Lazhechnikov masterfully went to the main political collage of the novel - the struggle between the Russian and German parties. The blessing of the blessed land, brought to St. Petersburg by the Little Russian Gordenko, the death of the truth-bearer, who raised his hand against the timchas ruler, to turn over the bowl of Volinsky’s patience, spur him to active action. The same stratum of Gordenka is a sign of the tragic fate - the fall of that stratum - Volinsky himself.
Shouting of the booths - separation contrast. Budinok, according to his name, is a treasure of fire, human warmth, chills with cold, drives everything alive that sticks to him. It is the main, but not the only symbol of the poetic novel. A romantic artist, Lazhechnikov delineates the epochs in a system of symbolic contrasts: life - death, love - hatred, grafting beauty - annoying dissimilarity, lady's fun - folk tears, a glittering princess - a gypsy woman, a palace - an unclean kennel cold.
The unfortunate ailments of Annie Ivanovna, which follow the fear of death, are wrapped in a non-gamous heat of joy and satisfaction, remind the courtier saints of courtly saints of judgmental merriment in passing, put a sign of doom on fun, beat the empress, on the whole picture. І skrіz, the empress is quieting down, the people are suffering that її goodness.
The more they tell about the fall and the ruins of the air without proper gaiety, the more contrast with them is the youthful streak of Volinsky, romantically brought, unstreamlined and in the kohanna, and in the right of the patriotic service of Russia.
The very system of symbols that permeate the “Screaming Dym”, that connects in its own way historical descriptions with romantic action, saturates the creation in the novel with a heavy atmosphere of hardship. Tsya atmosphere is thickening, hooting at the last similar moments of the awakening of the intensity of the lyrical zabarvlennya, as if entering the novel at once from the author's specialty. An active, progressively thoughtful person, a co-worker of the Decembrists (even if he didn’t give in to their revolutionary aspirations), a nasty romantic and an educator, who vindicates his judgment over the “unreasonable” that non-human era. In the light of the author’s activity, it doesn’t hang, it’s the most modest element of the admonition: Lazhechnikov either brand znevagoy, sue and slander, or spy, choke up and cry out in chitacha. Tsya lyrical expansion zapovnyu "Krizhany dіm", not depriving the space for a calm, epic picture of speeches and podіy.
How can you, after reading the novel, but suffocate the drunkards to Volinsky, I hate that znevagoy to the yoga of opponents?
4
In interpreting the image of Volinsky, the romantic method of Lazhechnikov the novelist came to light especially clearly.On the vіdminu vіd Pushkin i Gogol (similar to opіvіdachi-dekembristіv). Lazhechnikov are choosing for their historical novels such moments of the past, if the sticks are the same, and the people, in the name of such a stench, sacrifice themselves, play a passive role in the podia. Vidpovіdno loves the hero of Lazhechnikov's guise of vigadan chi historically, but at times he was endowed with a foldable inner light and a wine-colored, tragic share.
Such a newcomer is Volodymyr, the illegitimate son of Tsarina Sophia and Prince Vasil Golitsin. Zmalk vin denunciations for the role of Peter's antagonist. The life of the young tsar Volodymyr was moved to move to a foreign land. In the course of the year, we see the historical significance of the Petrovsky reforms and vvazhayut for the purpose of life to slander your fault before Russia and take revenge on those who have spun hatred from him to the new order. Vіdkinuty native kraїnoy, vіn taєmno serve їy, hospitable, similarly to providence, overcame the Russian military near Lifland, merited for the forgiveness of Peter and hovaє in the monastery, and die in the absence of a bridge. Such heroes of the "Basurman" are representatives of the zakhodny Revival, architect Aristotle Fioravent and the doctor Anton Erenshtein, sent to distant Moscow with the hope of knowing that they will be inspired by their humanistic aspirations.
Until then, the type of romantic heroes-obrazniks belongs to Volinsky's "Krizhany House".
Historical Volinsky buv with a folding figure and a super-smiling. Having begun your activity for Peter I, you have turned back the respect of the reformer with your mind and energy. But it was not for nothing that you had the opportunity to skushtuvati tsar's cudgel. The first few steps, and the whole life of Volinsky's career are a lance of evil and a fall. A type of grandee of the transitional era, having fallen in his own right "the bird of Petrov's nest", a patriot, such a dream for the good of Russia, with non-gaming pride and ambition, with zhorstokistyu, indiscriminateness in sobs. More than once you have thwarted the court for slandering slander, self-righteousness, and katuvannya of people who are motivated by you. First of all, become a cabinet-minister and come up with projects of state reorganizations, Volinsky's old hour, having gone down to meetings of the service hierarchy, spiraling now at home ties, now at Minikh, who is not at odds with the temporal ruler, then at Biron, the enemy of his recent patron . Like a protege of Biron (the clock worker rozrakhovuvav know in a new way for the application of the role of Osterman, ale fooled by his glasses) Volinsky and bu introductions to the Cabinet of Ministers. A long time ago, as a new cabinet-ministry, calling to speak out against Osterman and intervene in Biron's interests, having made its own unreconciled enemies among the Russians, and among the opponents of the boules, such as P.I. Yaguzhinsky, A.B. Kurakin, N. F. Golovin.
Lazhechnikov, without a doubt, they saw the house of Dzherel, who in a different way assessed the specialness of Volinsky, who was worthless and worthless like a sovereign playboy. Ale z piletovyh vіdchena z oral retelling the author of "Krizhany Dom" having chosen only those that gave rise to his supple and aesthetic ideal. With some special significance for Lazhechnikov, the interpretation of the image of Volinsky, as if it was possible in Rilyev's "Duma", was conceived.
Rilєєv dedicating two thoughts to Volinsky. One of them - "Anna Ioanivni's Bachenny" - was not passed by the censors and was published earlier in Herzen's "Polar Star" in 1859. Chi bula tsya thought in the house of Lazhechnikov in the middle of the 1830s, it is important to judge. The one who repents Anna Joanivnі є in her head of the strated Volinsky and calls the tsaritsa until the death of the “warrior of the glorious patrimony”. Another thought - "Volinsky" - is quoted in "Krizhany Domі" and richly in what it signified the image of the main character of the novel. Volinsky’s post in the image of the Decembrist poet is like “a vtchizni virny son”, and Yogo’s struggle with the “foreigner of the tribe”, the culprit of the “people’s dashes” Biron, is like “a half-mooned soul of the beautiful that free”. Lazhechnikov has a viraz "right synergy of vicinity".
In the novel by Lazhechnikov, the image of Volinsky is known to have dodatkovі farbi, such letters in the verse of Rilyev. Tse already not only a sovereign fiend, closures in the sphere of a patriotic feat. Volinsky is a man, and nothing is a stranger to you. “Yogo’s souls had predilections of good and bad, violent and gentry panned alternately; everything was in a new unfamiliar place, the crime of honor and love until the homeland ”(Part I, Ch. I), - like Lazhechnikov about his hero. І далі романіст приписує найрозумнішому політику Остерману проникливу оцінку історичної ситуації, висловлюючи її в словах, які не могли бути випадковими в устах сучасника декабристів і трагічного краху їхніх надій: «Він бачив боротьбу народності, що відроджується, з деспотизмом тимчасового, але з палких, самовідданих heads, and not the people, of spiritualizations to the knowledge of their human goodness ”(Part II, Chapter VII). Lazhechnikov reminds his hero of the picture that they are preparing for the fall, but Volinsky’s image invariably dominates the vision to the point of thought Riljeva’s heroic-romantic tone.
Characteristic is the collage of the Decembrist poetry and prose - protirichchya between obov'yazkoy a patriot-patriot, which means a hero of total self-expression, right up to the vіdmovi vіd special happiness, that by the natural inclinations of the soul and heart. Tsya kolіzіya є і in "Krizhany Budinka". Not only Volinsky, but also Empress Hanna, Mariorytsya, and Perokin early on duty to choose between fidelity of footwear (like the understanding of leather from these dissimilar characters) and their human, earthly whims. However, the most plot-driven and deconstructed is the motive of the rozpovid about Volinsk, contrapuntally evocative of the insults of the plot line of the “Krizhany Budinka” - love and politics. “Lawless” addiction to the Moldavian princedom does not only inspire the spiritual strength of the hero in the service of the public and without defense before the cold, virile enemy. Passion to rob Volinsky as a victim of internal discord. Yogo's soul is tragically svedomistu guilty before the beautiful retinue, what to love. It is painful for the new one and the thought of those who will ruin the vіddanu yoma, the merciful Marioritsa. At the same time, the fight is like a huge man, a loving person and a father and a biased cochance, giving the image of Volinsky a special susceptibility, like a fatal share of life ob'єmnіst.
Volinsky has a vision of a romantic poet-creator. Let the human nature not be perfected, let the usual vins of the weak to non-gammon predilections, to lure the hero into a fatal pardon: all the same - "as long as the poet does not help the poet Apollo's sacred sacrifice." Varto Volinsky felt the call of the witches - and he pretends to be a hero-fighter, who, having shaken off the shoulders of his mustaches of earthly pretentiousness, does not know and does not develop any powers of power, nor the abilities of Biron and yogo prikhlnikiv, from the power to fight with such directness the good of the people until the end, indecent to go to the scaffold, to become in the offspring an imperishable sight of the community service. And addicted to yoga to Marioritsa! Volinsky's lawless swindling is also an act of fighting, fighting for the freedom of the human mind, which is not easy to cross over and becomes a victim of a cold mechanical rozrahunka quiet, for whom even addiction itself is nothing more than zasіb political intrigue.
In love to Marioritsa, the breadth of Volinsky's Russian nature is revealed, his courage is that range, that poetic string sounds in her, as if to unite Volinsky-kokhantsya with Volinsky-patriot. Lazhechniki of the pre -loving hero to the Rosiyskoi National Little Style, I in the one in the same time as a consecration of the Litherasting tradition of the romance - at the scenes of the Holy Vistyoye, Kuchey, Kuchey. "This nature is purely Russian, this is a Russian sir, a Russian grandee of the old hours!" – hooted Belinsky.
A semi-lunatic romantic and in politics, Volinsky is the direct opposite of the hard-hearted and soulless pragmatist Biron. Behind the same, we already know the laws of romantic poetics of contrasts at the "Krizhany Domі" to stand one against one German, "grown, gloomy" Hanna Ioanivna and "right Russian maiden, shelter with milk, and look and instill tsaritsa ... daughter of Peter the Great, Elisabeth" (Part IV, Ch. V), mediocre "scribbler", pedant Tredyakovsky and the intoxicating speech of the capture of Khotin Lomonosov. Neither Elizaveta Petrivna, nor Lomonosov do not live in the novel, stench is less likely to merge in the thoughts of the author, that yogo character is like a “point of reference” - a sign that indicates the basis of healthy national forces, which was judged to rise from the worries of the “unreasonable” era all live that lyudske.
Lazhechnikov's historicism is the greatest in the world, revealing its interim image of Tredyakovsky. Tredyakovsky played a prominent role in the history of Russian culture and Russian performance. However, the old hour of yoga was synonymous with poetic mediocrity, a target for undeserved stupidity. Even though Radishchev at the "Monument to the dactylo-choreic knight" tried to look over the traditional reputation of Tredyakovsky, the objective historical assessment of his activity in the 1830s was left with the right to be.
Romantic poetics vimagala z'єdnannya in the novel and high poetic verses zі grotesque and caricature. The image of Tredyakovsky (like I Kulkovsky) is a tribute to the program of the most romantics. Uncritically spiraling on the lead of the anecdote about Tredyakovsky, conveyed to the new one by a retelling, Lazhechnikov gave his hero the traditional comical rice of a pedant and a drinker, which inspired spiritually and physically. It is not surprising that all the critics of the Kryzhany Budinku have succumbed to this image, from Senkovsky to Pushkin.
5
In the era of classicism, that Enlightenment of historical individuals performed on the stage of the tragic theater, which, moreover, reached the 18th century novel from the images of the sphere of private life. A historical novel from the beginning of the 19th century, for the first time, discussed the story about other historical children from the story about the shares of their innocent co-workers, and included a story about the facts of historical life by including it in the framework of the predictive plot.So far, in the historical novel and history, that wisdom has made this genre lawless in the eyes of its opponents. Navpaki, Belinsky at the controversy, who flared up like a Russian historical novel of the 1830s, having foreseen that the artistic creation of the past was necessary for the mind. And yet, in different types of historical developments, that vision is mixed differently. And the poetic vanity, which is part of the vision of these characters in the wild Russian plot, is due to the aesthetic attitudes of the novelist.
For V.Scott, it was a good idea to show that history in its own Russia, in a row with leading historians and diyachs, gets into the circle the likeness of ordinary, innocent people. Great historical conundrums and changes invade the private life of a private person. Firstly, concretely, uniquely drawing the old hour of W. Scott to convey to the reader through the brokenness of their shares, zvichayakh, pobutі, psychology of their vigilant heroes. V. Scott's most foreseeable hero was given, on the basis of his own knowledge, the knowledge of the historical forces that are fighting, indulging the right person of their skin, understanding their might and their weakness. That is the way of recognition and revival of the past day of Pushkin at the "Captain's Donets".
At the sight of V.Scott, A.de Vigne in "Saint-Marie" - novels, such a plot, arrangement and type of characters are repeatedly observed at the development of the grouped characters of the "Krizhany Budinka" - put at the center of your own roses, not vigadan, A historical person. On the right scale, the motifs of the Saint-Mars vantage against Richelieu wine are transformed into their own historical “ideas”, modernizing the hero’s moral and psychological outlook. The second French romantic, V. Hugo, in "The Cathedral of Our Lady of Paris" (1831) brings the genre of the historical novel to the romantic drama that is sung. I will lift my foreboding heroes high above prose, reminding them of the symbolic scale and profoundly poetic vibrancy. The drama of love and jealousy of Hugo's readers is foldable, to the point of igniting the blatant protirich butt, adopted by the prism of romantic philosophy of history.
Lazhechnikov's "Screaming Budinoks" is typologically closer to the French romantics, lower to W. Scott. As the author of "Saint-Mar", Lazhechnikov is trying to rob the middle of the atypical for W. Scott vigadan "middle" people, and the appearance of the historical, reinterpreting the moral and psychological image of Volinsky in the soul of his hromadyansky, patriotic and enlightening ideals. At one time, the primary for the poetics of "Krizhany Dom" are those who are historical characters in the novel of that yogo vigadan individual - the gypsy Mariula and Princess Lelemiko, mother and daughter, are similar to the old liar and Esmeraldi's "Cathedral of Our Lady of Paris" - lie down, you can hang out like that up to two different worlds: the first - to the world of historical reality, as the author's mind, the other - from the edge of romantic poetry. Do not put lazhechnikov as a metaphor, like V. Scott or Pushkin, to capture from the look of their romantic heroines the specific picture of the psychology of people of the singing era. Dzherelo forces tsikh aesthetically far from equal images of the same: і Mariula, і Marioritsa act in the novel as a bearer of a poetic idea. Mariula - instilled by unfailing maternal love, Marioritsa - the idea of \u200b\u200ba loving woman is isolated, as she introduces the purpose of her heart into the self-forgetful service of her heart, and in death for the good of yoga - her recognition. Belinsky, having judged Lazhechnikov’s romance behind the laws, we recognize him over himself, knowing that Marioritsa is “the best and most beautiful person in a long-lived novel ... the most beautiful, zapashnaya leaf in the poetic wine of your gifted novelist.”
Imagine Princesses Lelemiko, Mariuli and її companion of the gypsy Vasyl, grandmothers and likars and її onuks introduce the novel in a way of political intrigue, establish a special, “superior-historical” line of the plot. And yet, they stink to remind the “Krizhany House” of the dodatkovo tsіkavіst, bring it closer to the mystery novel, to the old adventurous novel. The special effect of Lazhechnikov's work is based on the traditional motif of two supergirls - a loving hero and a woman he loves. Beauty pіvnochi and gurіya pіvdnya, indestructible friendship vіddanіst i vіlna, as if to know the truth in one's depths and lack of chivalry, one's predilection is shattered into one, then into another hard stick and Volinsky's impertinent soul. Enlightenment kolіzіya bortby mіzh I will become addicted and expand like a borg, crying out insults in the sphere of romance - both political and love. The death of Volinsky is presented in the “Krizhany Domі” as a quiet victim in the underworld struggle: for the freedom of the fatherland, that special moral cleansing.
І vodnochas Volinsky "Kryzhany budinka" is not just a single person, so it is also spivvennes with its real-historical prototype. The new Lazhechnikov angered all the force of the national protest against the dominance of foreigners, who are tormenting the unimpressed, extorting requisitions from that health of the country. Although in the kohanna of Marioritsya with її zhіnochnoj beauty and boundless self-proclaiming, there is a place for splitting between the senses and the clothes of Volinsky, then on the territory of the bulk of Volinsky there are no equals. Like a self-made oak, hanging over the shoots of their “confidents” - friends and comrades at the fight, like they shared the arrogance of yoga and yoga share. As far as Volinsky's opponents are concerned, the innocence of goals and benefits, spiritual vulgarity, low-minded selfish rozrahunok to shy away with their full protyleness of the magnanimous and honest patriot. As if Biron’s slanderers save their loyalty from fear and corrosity, the opponent of the Timchas ruler is drawn to himself with purity, the gentry of the soul and vchinkiv.
Engaging in single combat with Biron, Volinsky threw a zukhvaliy viklik no less than a klіtsі pribultsіv, yak they attracted their right to “plunder, strachuvate and merciful Russians”. Vіn vіkrivає courtiers affectionate, joking chinіv and make a profit, speak out against "tackling their fatherland", even if they stink. And yet, in the sphere of what the author-of-replying himself is impelled to be without restraint, more and more people are drawn into. Here is the power of panska zabaganka, which can be turned into fun for fun, whether it’s a people, like lingering in some kind of despotic country; and the immoral right of “the mother of her people”; and power, which is based on the system of espionage and rozshuku; and all mediocrity and crooked tsar Annie Ioanіvni zagalom. Not only that: without intervening with criticism of the “unreasonable” era, Lazhechnikov, with a path of visionaries, natyakіv throwing places in it until the moment. The episode of the political struggle of the 18th century is shown before the ledge on the Senate Square, and after his death, Volinsky’s great glory became a prophecy about the inevitable recognition of noble revolutionaries. Everything was strongly opposed to the doctrine of "official nationality".
“The crying of the budinok” was at the moment when the tenth birthday of Tsar Mikoli I was approaching the end, the ten years of the day of the breast rebellion ended. The suspіlstvі checked tsієї dates, spodіvalis on "mercy to the sunless", on the relief of the share of slanders. Roman Lazhechnikova, in his own way, imagining and instilling this mood. An ideological atmosphere, like a preparation for the 14th breast, the Decembrists' march, tragically inevitably strikes them and the stratum appeared in the Lion's House with a number of examples. Among them, there is a lance of maxims, which inevitably calls out illusions, and links to the central image of the novel - the image of the hero-hulk - to the tradition of the Decembrist literature and journalism, and the epigrapher (part IV, ch. XIII) from the thoughts of Rilyev, yak sounded in 1830 -x fates, as a greater prophecy of his share of the poet-Decembrist, Ale, perhaps, the best confirmation of those who, creating "Kryzhany dim", Lazhechnikov, creating a monument to the heroic aspirations of his generation, appeared to be interpreting, as if taking away the novel from the side Russian history. The author of "Krizhany budinku" jokes about the recent past of the country in the fall, which wine is taken as a historical precedent of the chest rebellion, like a furious zhmenka fighters for the good of the people against despotism. Characteristically the same. The stratum of heroes turned into their posthumous tract. History threw into the ashes of their opponent, who, giving up the unhealthy, and the stench themselves gained in the eyes of the naschakiv halo of innocent sufferers for the truth and became the eye of the "holy zealous hulk." Such are the turns of a sense of historical optimism, like in the epilogue of the "Krizhany Budinka".
Enthusiasm...