Captain's daughter mind and feelings arguments. Reason and feelings based on the works of A. Pushkin "Eugene Onegin" and "The Captain's Daughter" (Pushkin A. S.). F.M. Dostoevsky "Crime and Punishment"
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The explanatory dictionary gives two main meanings of the word "mind". Firstly, the mind is the highest stage of human cognitive activity, the ability to think, to generalize the results of knowledge. As Immanuel Kant, a representative of the school of German classical philosophy, wrote, "all our knowledge begins with the senses, then passes to the mind and ends in the mind."
The second meaning of the word "reason" is mind, intellect. According to dictionaries, antonyms for the word mind in its second meaning are: madness, stupidity, instinct, heart, feeling. To act reasonably means to exercise sufficient discretion, to be guided by the requirements of common sense, prudently, sensibly, intelligently.
In works of fiction, as in everyday life, the human mind often conflicts with feelings. The heroes of the novel in verse "Eugene Onegin" and the story "The Captain's Daughter" by A.S. Pushkin make their choice: to act as they should, or to succumb to feelings, the dictates of the heart, instinct. There are three types of behavior: 1) under the influence of feelings, neglecting common sense; 2) guided by reason, but in conflict with feelings; 3) reasonably and consciously, in accordance with feelings and emotions.
Not always actions under the influence of prevailing emotions deserve condemnation. On the contrary, we admire the depth of feeling, purity and frankness of the hero of the work. As a rule, in these cases we are talking about love or falling in love. The best example is Tatyana Larina's letter to Eugene Onegin, written despite the fact that she was afraid and ashamed to be the first to confess her love. Without hope for a new meeting alone, Tatyana felt that Eugene was sent to her by fate, she was waiting for him, not having met him yet.
My mind is failing
And I must die silently.
I'm waiting for you: with a single look
Revive the hope of your heart
Or break a heavy dream,
Alas, a well-deserved reproach!
Where there is love, there is jealousy, and where there is jealousy, there are duels. No rational argument can justify killing a person out of jealousy. From the hands of Eugene Onegin, his friend, the young enamored poet Vladimir Lensky, perishes. Reasonably speaking, the tragedy could have been prevented.
… Eugene,
Loving the young man with all my heart,
Was supposed to render myself
Not a ball of prejudice,
Not an ardent boy, a fighter,
But a husband with honor and intelligence.
Lensky, before the duel, made sure that his bride Olga Larina was not in the least carried away by Onegin, she always remained faithful to Vladimir. What made the former friends carry out their cruel intentions? Fear of human rumor, the opinion of the world, ideas of honor.
But the whisper, the laughter of fools...
And here is the public opinion!
Spring of honor, our idol!
And this is where the world revolves!
On the night before the fight, Lensky was busy reading Schiller, composing and reading romantic poems aloud, imagining how Olga would grieve for him, that is, he plunged into dreams and emotions, instead of reconciling with Evgeny, convinced of Olga's innocence.
Even more dangerous than jealousy is the feeling of fear that leads to betrayal. The character of the story "The Captain's Daughter" Shvabrin violated his military oath during the siege of the fortress and began to serve Emelyan Pugachev to save his life, although the ideas of the rebellious Pugachevites were alien to him. Shvabrin's low deed is not dictated by the dictates of his heart, not by madness or stupidity, but by the survival instinct.
The heroes of works of art evoke respect and sympathy, who, in the name of duty, guided by moral standards, act according to their conscience, even if for this it is necessary to overcome their passions. And again we turn to Tatyana Larina, but already a matured married woman. First, she reproaches Eugene Onegin for the fact that he once rejected the “humble girl’s love”, and now, out of a strange whim, he became infatuated with her.
How is it with your heart and mind
To be the feelings of a petty slave?
Then, not knowing how to be hypocritical, Tatyana admits that her new position in the world, “all this rags of a masquerade”, she does not appreciate and still loves Yevgeny, but intends to be faithful to her husband, cherish honor, even remaining forever unhappy.
I love you (why lie?),
But I am given to another;
I will be faithful to him forever.
Only those heroes of works who consciously act in accordance with their feelings are truly happy. They are not tormented by internal contradictions. They don't have to regret their actions. In fiction, they are always examples of courage, heroism, loyalty, selflessness, and a strong personality.
Masha's parents accept their fate with honor in The Captain's Daughter. For the commandant Ivan Kuzmich and his wife Vasilisa Egorovna there is no other sovereign, and they did not swear and obey the impostor.
Masha, a worthy daughter of her parents, went to Tsarskoye Selo to ask the empress for her fiancé Grinev, who was accused of treason. The story ends with the words that the descendants of Masha and Pyotr Grinev kept as a family heirloom in a frame under glass a handwritten letter from Catherine II containing Grinev's excuse and "praise to the mind and heart of Captain Mironov's daughter."
A.S. Pushkin created immortal images that are close and understandable to every person. Literature teaches us to be better, educates us morally. Thinking about the fate of the characters, the reader imagines how he would act in a given situation, what he would be guided by, reason or feelings. In the presence of a contradiction, it is very difficult to make a choice. Still, you must try to let the mind prevail. And if reasonable actions are supported by an appropriate internal attitude, the results can exceed expectations.
Ryanitsa, going to torment with delight, one against all, like a rebel and a madman. The world is filled with “a dazzling purple of fire”, “the sunset of the golden world burns with fire” and the golden trumpets of the argonaut call him to a “solar feast”. "Gold in Azure" is a book of expectations and foreshadowings of future "golden dawns".
It is also important that in Shalamov's poems color is fundamentally inseparable from light. “Color is light limited in one way or another by darkness. Hence the phenomenal color, ”stated A. Bely.
In Shalamov's poem "Light", this phenomenon becomes a condition for the harmonious manifestation of color: the entire color connotation in the poem is plastically realized between the poles of light. Such a clear gradation is also found in A. Bely's poem "Thunderstorm", where the color play is based between the poles: the light emitted, on the one hand, by lightning, the lightning of a departing thunderstorm, and on the other, by the setting sun.
The fact that color is born on the border of light and darkness was once written by I.V. Goethe, who relied not so much on Byzantine aesthetics as on the natural science ideas of his era: “Colors are the deeds of light, deeds and suffering. In this sense, we can expect them to reveal the nature of light. Colors and light stand in the most exact relationship with each other, but we must imagine them as inherent in all nature, because through them all of it is ready to be completely revealed to the sense of sight.
Of course, the iconographic style does not exhaust the wealth of Shalamov's poetry, but is its most important component.
Literature
1. Shalamov, V. New book: Memoirs. Notebooks. Correspondence. Investigative cases / V.Shalamov. M.: Eksmo, 2004. 1072 p.
2. Alpatov, M. Andrei Rublev / M. Alpatov. M.: Fig. art, 1972. 205 p.
3. Besancon, A. Forbidden Image / A. Besancon. M.: MIK, 1999. 423 p.
4. Tynyanov Yu.N. Problems of poetic language: articles / Yu.N. Tynyanov. M.: Sov. writer, 1965. 301 p.
5. Kandinsky, V. On the spiritual in art / V. Kandinsky. Moscow: Archimedes, 1992. 109 p.
6. Trubetskoy, E.N. Selected works / E.N. Trubetskoy. Rostov n / D .: Phoenix, 1998. 512 p. (Sir. "Outstanding thinkers").
7. Shalamov, V. Collected works: in 4 volumes. T. 3 / V. Shalamov. M.: Hood. Lit.: Vagrius, 1998. 526 p.
8. Barskaya, N.A. Plots and images of ancient Russian painting / N.A. Barskaya. Moscow: Education, 1993. 223 p.
9. Bely, A. Symbolism as a worldview / A. Bely. Moscow: Education, 1974. 325 p.
10. Goethe, I.V. Selected works on natural science / I.V. Goethe. M.: Acad. Sciences of the USSR, 1957. 553 p.
E. F. MANAYENKOVA (Volgograd)
A TRIUMPH OF HEART IN THE NOVEL "THE CAPTAIN'S DAUGHTER"
The concept of cordiality is considered, which for the author of The Captain's Daughter is the main measure of a person's significance. From this point of view, with the involvement of the works of modern psychologists, the characters of Pushkin's historical novel are analyzed.
The novel "The Captain's Daughter" is the result of ideological and aesthetic searches
A.S. Pushkin in the 1830s. It shows the ideal of life truly suffered by the writer.
The recording of memories of what Pyotr Andreevich Grinev lived and saw with extraordinary expressiveness and artlessness conveyed the self-consciousness of the writer, his reflections on his personal life, its connections with history. Remembering the past, telling truthfully about the past, Pushkin supplies the painted pictures with maxims. Grinev is more of a witness than a participant in history: he intuitively feels the significance of what is happening and the inner strength of Pugachev, although he does not quite understand his attitude towards him and the events in general.
The writer in The Captain's Daughter did not hide behind the narrator. To determine
Manaenkova E. F., 2006
correlation of the views of the two "authors" Pushkin and Grinev, it is useful to recall the fruitful thought of M. Bakhtin: "The author realizes himself and his point of view not only on the narrator, on his speech and his language ... but also on the subject of the story, the point of view, different from the narrator's point of view. After the narrator's story, we read the second story, the author's story about what the narrator is talking about, and, in addition, about the narrator himself. We clearly feel every moment of the story on two planes: on the plane of the narrator, in his subject-semantic and expressive outlook, and on the plane of the author, who speaks refracted by this story and through this story. This author's outlook, along with everything that is being told, includes the narrator himself with his own word. We guess the author's accents, which lie both on the subject of the story, and on the story itself and on the image of the narrator that is revealed in its process. Not to feel this second intentionally-accentual plan of the author means not to understand the work”1. "The Captain's Daughter" presents history from the point of view of a private person who writes "family legends"2, and therefore the author's intentional-accentual plan is concentrated on a moral analysis of what is happening.
There is a rich literature on the psychological nature of Pushkin's historical novel3. Scientists have come to the conclusion that the originality of the author's psychologism allows you to leave "behind the scenes" more than what is said. Behind the actions of the characters, the true nature of their characters is read. The reader is "entrusted" with the solution of the "heart" secrets of Pushkin's heroes. G.P. Makogonenko aptly called this technique “the method of guessing”4.
Depicting the inner life of the characters in the novel, the writer not only
1 Bakhtin, M. M. Questions of literature and aesthetics / M.M. Bakhtin. M., 1975. S. 127 128.
2 Pushkin, A.S. Full composition of writings:
in 16 t. M. L., 1937 1949. T. VIII (1). S. 374.
3 See, e.g., the list of references on “Kapi-
Tang Daughter” in the book: Gilelson, M.I. The story of A.S. Pushkin "The Captain's Daughter" Comment / M.I. Gilelson, I.B. Mushin. L., 1977. S. 186 191; "The Captain's Daughter" in criticism and
literary studies // Captain's daughter / A.S. Pushkin. L., 1984. S. 233 280.
4 Makogonenko, G.P. Creativity A. S. Push-
kina in the 1830s (1833 1836) / G.P. Makogo-
nenko. L., 1982. S. 415.
ko pays tribute to their thoughts, but also refers to the feelings that give impetus to thought processes. According to Fromm, reason, being a blessing of a person, is at the same time his curse, therefore, “a person must cultivate in himself not only reason, but also cultivate feelings, through which personal richness and universality are revealed”5. The unique individuality in the character of Pushkin's characters is manifested, in our opinion, in a developed culture of feelings, in the ability to have a high intensity of emotional reactions and experiences.
The psychological research of the writer is largely based on the rational-emotional manifestations of the characters in certain situations, which are infinitely richer than the protocol notes of Grinev the narrator. Thus, reading the "pardon" scene, one cannot but detect emotional motivation in Pugachev's behavior. He, a peasant, cleverly and subtly gets out of the situation, showing sensitivity to the experiences of the nobleman Grinev.
For example, in the episode of discovering the deception of Grinev, who hid that Masha was the daughter of Captain Mironov, we are not told how Pugachev felt, deceived by a man to whom he did good with all his heart. The dialogue, the intonations of the speakers, the external signs of Pugachev's experience are so expressive that we can guess about the mental storm of the impostor. Pushkin designates only separate moments of the psychological state of the hero: “fiery eyes” (VIII (1): 356)6 he is angry and awaits an explanation. When Grinev confirms the fact of the lie, Pugachev's "face darkened" (Ibid.). But Grinev explains his deceit by fear for the poor girl, and Pugachev understands the justice of his act.
5 The problem of man in Western philosophy: Translations / comp. and after. P.S. Gurevich; total ed. Yu.N. Popov. M., 1988. S. 507 508.
kin, A.S. Complete works: in 16 volumes / A.S. Pushkin. M. L., 1937 1939. In round
parentheses indicate the volume and page numbers or only the pages of the volume named above. The spelling and punctuation of the author has been preserved.
how he laughed. Pugachev understands and feels more that the happiness of two people depends on him.
The fact that Pugachev is guided by direct feeling is suggested by numerous pauses in the text, a significant means of the psychological characteristics of Pushkin's characters. True feelings are laconic and always more than what is said. As a rule, Pushkin's heroes are silent "from the fullness of their hearts" (USh(1): 375).
Let's reread the famous scene of the "duel" between Pugachev and Grinev. “Our mutual silence continued for several minutes. Pugachev looked at me intently, occasionally screwing up his left eye with an amazing expression of slyness and mockery. Finally he laughed, and with such unfeigned gaiety that I, looking at him, began to laugh, without knowing why. This is followed by a direct offer to Grinev to serve the “great sovereign”: “I hesitated. Pugachev gloomily waited for my answer. Finally, a sense of duty triumphed in me over human weakness” (332). In the soul of officer Grinev there is a painful struggle between a sense of fear for one's life and a rationally understood duty. Pugachev, having heard the refusal, realizing that the enemy was in front of him, “thought” for some time (332), and then decided to let the young nobleman go in peace.
According to M. I. Tsvetaeva, “this scene is a duel of generosity, a competition in greatness. Face-to-face confrontation, within Pugachev, autocracy with its own attraction of the heart. Face-to-face confrontation, inside Grinev, of human attraction with military duty” 1. Why do the characters feel mutual “attraction”? Apparently, because they intuitively caught the main thing in each other - cordiality, manifested in amazing openness, the absence of any craftiness. It was Grinev's utmost sincerity in a situation that was mortally dangerous for him that could "amaze" (333) Pugachev, since he himself is a sincere person, able to boldly refuse to play the sovereign, to admit his imposture. The forces of the mind and heart lead a silent dispute in the souls of the heroes, in which the heart wins an unconditional victory. In the scene-
1 Tsvetaeva, M. Works: in 2 vols. V.2 / M. Tsvetaeva. M., 1984. S. 345.
there are no losers not a “duel”: both passed the test of the nobility of the soul with honor.
Grinev and Pugachev appear in the novel as people of strong character, with an extraordinary will. “Will is so important in human life, writes a modern philosopher, because the meaning and purpose of human life has a moral, and not at all intellectual significance. A synonym for the will is the heart, a synonym for the intellect is the head (cf. in Latin: intellect mens, will animus from anima soul, life)” 2.
At the same time, Pushkin's strong-willed, noble, humanly beautiful heroes are not always able to understand each other. This happens, for example, in the episode when Pugachev, wishing to captivate Grinev, with "wild inspiration" (VIII(1): 353) tells a Kalmyk fairy tale. The tale reveals the depth of Pugachev's spiritual vision. This man of eagle nature cannot live according to the laws of a raven. The main thing for him is the feeling of freedom. The fairy tale told by Pugachev is a folk-poetic analogue of the Walsingham anthem, where faith in a person is revealed, in his ability to find the “inexplicable pleasures” of the rapture of battle:
There is rapture in battle
Everything, everything that threatens death,
For the heart of a mortal conceals Inexplicable pleasures - Immortality, perhaps, a pledge,
And happy is he who, in the midst of excitement, could acquire and know them
In the article "A look at Russian literature of 1846" V.G. Belinsky unfolds the position on the unity of the individual, which is based on spirituality: “What is in a person his highest, noblest reality? - Of course, what we call it spirituality, that is, feeling, reason, will ... "4.
2 Avtonomova, N.S. Reason. Intelligence. Rationality / N.S. Avtonomov. M., 1988. S. 140.
3 Sensitive to the artistic word A.S. Pushkin, M.I. Tsvetaeva noticed this closeness and rightly writes that the conversation of the characters takes place under the epigraph: "There is rapture in battle." “In The Feast During the Plague, Pushkin told us this, in The Captain's Daughter, Pushkin did this to us” // My Pushkin / M. Tsvetaeva. M., 1967. S. 118.
4 Belinsky, V.G. Complete Works: in 13 volumes. Vol. 10 / V.G. Belinsky. M., 1955. S. 317.
There is a classical tradition of considering will as a volitional act: the essence of a volitional act is that the decision to act meets internal resistance, which is overcome by "volitional effort" 1. In modern psychology, there are two fundamentally different approaches to the analysis of will at the level of action (volitional action) and at the level of personality (volitional personality), which leads to different initial ideas about the motivational aspects of will. It is in the second case that we are talking about a spiritual person who shows "motivational congruence", which means a harmonious coordination of decision, desire and fulfillment 2.
Of course, both Grinev and Pugachev demonstrate an enviable will. But, so to speak, the criteria for their volitional efforts are fundamentally different. Grinev, showing volitional actions, is limited by the limits of his own destiny and his own feelings. Pugachev is a historical man, a strong-willed personality; he is endowed with an active will and wins, gives will to other people.
Pushkin collides two characters, two consciousnesses. Grinev reacts to the fairy tale by betraying the limitedness of his thinking. Inappropriately expressed by him moralizing "But to live by murder and robbery means for me to peck at dead things" (VIII (1): 353) betrays the prosaism of ideas about life, the inability to comprehend the true meaning of what was said. Pugachev froze, amazed by what he heard. Grinev recorded his reaction: "Pugachev looked at me with surprise and did not answer" (353). Behind the newly arisen pause is no longer a guessing human contact, but, on the contrary, an abyss of misunderstanding. The nobleman Grinev cannot understand the inspired and tragic fate of the peasant leader.
The characters of Pushkin's characters are built from an "external" portrait to a deeply psychological portrait, in the growing discovery of new facts about their activities and moral life. In the plot of the novel "The Fiend, the Villain" (358), Pugachev appears as a generous savior
1 See: Leontiev, A.N. Activity. Consciousness. Personality / A.N. Leontiev. M., 1977. S. 209.
2 See: Gippenreiter, Yu.B. On the nature of human will / Yu.B. Gippenreiter // Psi-
cold magazine 2005. V. 26. No. 3. S. 18.
tel Grinev and Masha. The “severe soul” (V111(1): 356) of the impostor is touched by the fearlessness of the young nobleman, his invariable gratitude for kindness, sympathy for the fate of the rebel. The sovereign's privilege to pardon does not contradict the breadth of Pugachev's nature and the sincere kindness of his motives. Participation in the fate of Grinev is prompted not only by human sympathy, but also by a sense of justice and, to a certain extent, opposes cruelty, to which Pugachev's soul does not lie.
When the governor of Orenburg refused to help Grinev in help, he decided to go for help, for justice to Pugachev in Berdskaya Sloboda. This was the original version of the 11th chapter ("Rebellious Sloboda"). It was only for censorship reasons that Pushkin abandoned this plan and, in the new version of the chapter, pointed out that Grinev got into Pugachev's headquarters by accident.
Contrary to external circumstances, presented as opponents of mercy, Pugachev saves Grinev from death three times. He powerfully pushes back all the forces that oppose the dictates of his heart.
Reading the text of the novel, we perceive Pushkin's world of values along with the ingenious visual plasticity. Cordiality is the highest measure by which the author of The Captain's Daughter judges the significance of a person, especially when before him is a person of history. A historical figure is measured by Pushkin by the degree of his humanity. The charm of the personality of Pushkin's Pugachev is obvious.
Catherine II in the novel is also not without charm, but it is of a different kind. Even in the guise of a private lady in her own garden, she does not cease to be an empress: she persistently asks an unfamiliar girl about the purpose of her visit, perfectly remembers the people who gave their lives for her, “attentive and supportive” (VIII (1): 372). Her strictness, coldness when reading a letter about Grinev, who was presented to her as an "immoral and harmful scoundrel", her anger at Masha's disrespectful exclamation: "Ah, not true!" (Ibid.), all this
3 For more on this, see: Makogonenko, G.P. Decree. op. S. 389.
betrays the imperious empress, who does not tolerate anyone's free opinion, does not allow objections.
Of course, Masha's hot story about the true reasons for Grinev's actions shook the harsh sentence of Catherine II and aroused sympathy for the orphan. The promise of a speedy response ends the conversation. However, the empress did not intercede immediately. It was necessary to check, to produce an effect? The empress here is fair, kind, condescending, but not cordial, although the author remarks: “Everything in an unfamiliar lady involuntarily attracted the heart” (UID!): 372). There are no impulses of feeling, as in Pugachev, in Catherine. Considered greatness, caring about the reasonableness and the impression it makes.
Reason intervenes in the sphere of feelings and, of course, helps a person to master spiritual movements. But such a "sewerage" of primordial feelings also has a significant drawback - it destroys the "organic", that "living life" that is so dear to the writer.
Back in 1937, Viktor Shklovsky made a subtle observation that Pushkin gives the image of Catherine II from the portrait of V.L. Borovikovsky 1. It turns out that the writer depicted not a living person, but a dead nature. From this secondary nature, the coldness that surrounds Catherine in Pushkin's novel (“the fresh breath of autumn” (371), “the stern expression on her face” (372), the coldness in her actions is playing at being a hanger).
Yu.M. Lotman is right when he objects to Pushkin's crudely straightforward definition of Catherine II's view of Catherine II. Of course, the author of The Captain's Daughter did not create a negative image of the Russian Empress. But he needs the opposition of Pugachev and Catherine to discover the truth about the nature of autocracy. Pugachev's spiritual impulses contain disinterested, free from calculation motives, which are realized in truly moral behavior. He does what he is told not by political considerations.
1 Shklovsky, V. Notes on the prose of Russian classics / V. Shklovsky. M., 1953. S. 64.
2 Lotman, Yu.M. The ideological structure of the "Captain's Daughter" // At the school of the poetic word: Pushkin, Lermontov, Gogol: book. for the teacher / Yu.M. Lotman. M., 1988. S. 121.
niya, but human feeling. The Empress is aware of the price of her generosity and demonstrates it. In addition, unlike Pugachev, nothing prevents her from making the poor orphan happy. Grinev has nothing to punish: he did not betray the officer's uniform. The Russian empress acts in accordance with the law.
The scene of Masha with the Empress is in many ways reminiscent of Grinev's conversation with the general in the garden. In the government camp, feelings have no power over actions; they are guided by a prudent mind. Dry rationality is already reflected in the portraits of the general and Catherine II, in the emphatically calm expression of their faces: “His face depicted calmness, health and good nature” (VIII (1): 338) about the general; “Her face, full and ruddy, expressed importance and calmness” (371) about Catherine. This deliberate calmness is a skillful mask covering the lack of cordiality.
Hearing about the terrible incidents that happened to Pyotr Andreevich, the general “meanwhile” (338) goes about his business: he continues to cut dry branches of apple trees in the garden. Later, when Grinev finds out that Masha is in the hands of Shvabrin, the general shows genuine sympathy for the hero, almost distraught with despair: “Probably, my appearance struck him; he carefully inquired about the reason for my hasty arrival” (342). However, this does not prevent the general from flatly refusing Grinev's request to provide a company of soldiers in order to clear the Belogorsk fortress and save the girl. For him, such a decision is tantamount to madness: “The general looked at me intently, believing, probably, that I was crazy (which I was almost not mistaken in)” (343). “This expedition would be imprudent” (Ibid.), he states categorically. As a person, the general may empathize with Grinev, but he acts like an official. He shows a certain pedantry of mind. The main drawback of the pedant is "emotional underdevelopment", his ideas are not warmed by the light and warmth of the heart. By giving Grinev troops, the general would violate the rules of military theory, without giving them, he violates the rules of humanity.
It is significant that Pushkin's Catherine II is invariably accompanied by a "slight smile" (371): Masha Mironova she
greets her with a smile, speaks affectionately with her and ends the meeting with a smile, leaving the heroine "full of joyful hope" (VIII (1): 373). The secret of a light smile is in the absence of a sincere feeling. This is probably why the lady was not just "touched" by the orphan's story, but "seemed to be touched" (372). The obvious artificiality of Catherine's appearance appeared a little later: “At first she read with an attentive and benevolent look; but suddenly her face changed, and Masha Mironova, who followed all her movements with her eyes, was frightened by the stern expression of this face, so pleasant and calm in a minute. Further, Ekaterina listens to Masha “with a cold look”, but “with attention” (Ibid.). The empress manages to carefully hide her inner appearance thanks to her prudent, observant mind.
G.P. Makogonenko that "Pushkin's psychologism is ascetic"1 is partly true. A.S. Pushkin shows rare ingenuity, demonstrating a variety of ways and techniques in depicting characters. The emotional mood and the rapid change in the emotional reactions of the characters are carefully recorded by the writer, since he is convinced that the complexity of the flow of emotional processes can be reproduced indirectly, in their external manifestation. Ordinary observations of mimic changes in the face are enough to determine the feelings that have taken possession of a person at that moment. The author draws the reader's attention to a certain detail of the portrait, highlighting the main thing in the character of the hero.
The spiritual freedom of Pugachev, who challenged the authorities, is emphasized in the expression of his eyes: “sparkling eyes” (Ibid.: 290, 324), “living big eyes” (290), “hawk eyes” (328), “fiery eyes” (335 , 356). Pugachev's hawkish eyes soften when he notices directness, sincerity, nobility in people, and become fiery when he sees deceit.
But in the guise of the scoundrel Shvabrin, something completely different is noted. "Extremely lively" (296) the hero's face often expresses
1 Makogonenko, G.P. Decree. op. S. 413.
"sincere malice" (^Shch): 334), "gloomy malice" (359), "feigned mockery" (334), "evil grin" (369), with which he forever parted with the readers of Pyotr Andreevich Grinev's notes.
The work about the Pugachev rebellion, as it was interpreted for many years, was called by Pushkin "The Captain's Daughter". We agree with the opinion of N.N. Skatova: "The most basic thing in the story, the most affirming and resilient is she, Masha Mironova, the captain's daughter" 2.
The image of the captain's daughter is full of lyricism and grace. Creating her poetic image, Pushkin resorts to "cordial" characteristics. Let us recall that Grinev's first impression of Marya Ivanovna is this: "I found in her a prudent and sensitive girl" (299).
Reason and cordiality are the hallmarks of the character of the heroine. Confessing her "heartfelt inclination" to Grinev, Masha "indulged herself in the feelings of her tender heart with all the gullibility of youth and love" (308). When parting with her lover, she says: “Until the grave, you alone will remain in my heart” (363). Even in the letter of Catherine II to Andrei Petrovich Grinev with the justification of his son, there are “praises to the mind and heart of Captain Mironov’s daughter” (374).
Maria Ivanovna is simple and sincere. The spiritual movements of the heroine are direct and clearly reflected in her entire appearance. The embarrassment of a girl when meeting a young man is betrayed by "burning" (297) ears; “sweet voice” (357) conveys the genuine anxiety that she experienced when she learned about the upcoming duel: “Marya Ivanovna with tenderness
reprimanded me for the anxiety caused to everyone by my quarrel with Shvabrin” (305). Everything is taken into account by the author in the description of the character: the intonation of the voice, facial expressions. Also, the ability of hands to express various emotions was reflected in the artistic practice of Pushkin: “with a trembling hand” Masha returns an angry letter from Andrei Petrovich Grine-
2 Skatov, N.N. Far and near / N.N. Skatov. M., 1981. S. 68.
Masha, according to her mother, is a "coward" (298). But in crucial moments of her life, she discovers the wonderful properties of her nature “mind and heart”, revealing in pure love for Grinev, in resolute resistance to Shvabrin, when she was in his full power, and finally, in her bold trip to save her fiancé to Tsarskoye Selo, to the Empress herself. As in the "Russian soul" Tatyana, in Masha Mironova the image of a Russian woman is given, full of selflessness. Like Tatyana Larina, the heroine has not only a “tender”, but also a faithful heart and is capable of “self-giving” (S.N. Bulgakov’s term).
It is Masha Mironova who, in a difficult time for the Grinev family, comes to the forefront of the novel. Brought up in humility, having inherited from her father exemplary obedience to someone else's will, she renounced both humility and obedience, firmly deciding to save her loved one. At the same time, she entered the struggle not only for her happiness, but also for justice. The heart of the heroine "rebels" against the unfair verdict signed by Catherine II. Love for Grinev and confidence in his innocence determine the future behavior of the captain's daughter.
The meeting of Masha Mironova with Catherine II finally reveals the character of the heroine: from a timid supplicant, she turns into a brave defender of justice. The girl interrupts an important lady who accused Grinev of treason, and "with heat" (271) tells the whole story. She boldly defends her faith, the truth, while revealing a strength of character unknown to her herself. The honor of releasing Grinev belongs to Masha Mironova. Pushkin called his novel that way because for the first time he had a heroine fighting for happiness and winning this fight.
Judgment, in due time dropped
V. G. Belinsky that Grinev is “an insignificant, colorless character”1 contradicts the text of Pushkin’s novel. Under-
1 Belinsky, V.G. Decree. op. T.7. S. 577.
Grinev's growth in nobility is not inferior to Don Quixote. No wonder there is a comparison of Grinev with this hero. In The Missing Chapter, Shvabrin directly calls Grinev "Don Quixote of Belogorsk" (VIII (1): 379). Love for Masha Mironova makes him so. In a naive varmint, kind, but subject to any influence (Bop-re, Zurina, Shvabrina), an honest and courageous person emerges, capable of feeling strongly, acting boldly, protecting his feelings, following the dictates of duty.
It was previously noted that the main characters of The Captain's Daughter, Pyotr Grinev and Masha Mironova, are people of a direct, intuitive, and not intellectual, analytical warehouse. They do not comprehend everything in their feelings, therefore Grinev's notes are full of such expressions: “It is impossible to tell what effect this simple folk song had on me” (331); "My feelings were too vague" (325); “I cannot explain what I felt when I parted with this terrible man” (358). In this way, the author conveys the hidden dynamics of the hero's emotional life, making it clear that the complex nature of human feelings cannot be reduced to precise definitions. To name them is to simplify the emotional process.
In "The Captain's Daughter" by A.S. Pushkin, that distrust of rationalism is noticeable, which later becomes the motive of L.N. Tolstoy 2.
Shvabrin is full of skeptical rationalism and in the novel appears as evil. Although he is characterized as an undeniably intelligent and even gifted person (Masha: "Aleksey Ivanovich, of course, a smart person" (305); Grinev: "Shvabrin was not very stupid. His conversation was sharp and entertaining" (296), this does not prevent him treat people "mercilessly" (301). Knowledge, reason, reason do not at all determine the moral behavior of a person. Moreover, Pushkin's clever hero shows extraordinary ingenuity in his unseemly deeds.
2 See: Bulanov, A.M. Artistic phenomenology of depiction of heart life in Russian classics / A.M. Bulanov. Volgograd, 2003. P. 157 184.
hides to control the course of events, to manipulate others. “Sharp-witted” (VIII (1): 334) Alexei Ivanovich defames Masha in the eyes of a rival in love, inflicts a vile blow on him in a duel, which he then anonymously informs the parents of Pyotr Andreevich, forcibly holds his bride, forcing him to become his own, finally having collapsed, informs the authorities about the alleged betrayal of Grinev.
If in Pushkin's favorite heroes their straightforwardness is emphasized, then Shvabrin is distinguished by outright meanness. In his behavior, Grinev, who came to free Masha, sees a poorly concealed pretense: “in vile expressions he expressed his joy and zeal. Seeing me, he was embarrassed, but soon recovered, extended his hand. He didn't seem to be himself. With his usual sharpness, he, of course, guessed that Pugachev was dissatisfied with him. He was cowardly in front of him, and looked at me with incredulity” (354). When the whole truth is revealed, “Shvabrin fell on his knees” (355) in front of Pugachev, “in a frenzy” (356) screamed.
Maybe the hero is guided by a true feeling for the girl? Is he willing to sacrifice himself for her love? No, Pushkin does not write an idyll in the spirit of sentimentalism. Realizing the danger to himself, Shvabrin tells the rebel that Masha is the daughter of his enemy. And in vain, later, the naive Grinev believes that Shvabrin does not name Masha during interrogation "because in his heart there was a spark of the same feeling" (368) that owns him. The point here, of course, is something else. That’s why he is a “vile villain” (Ibid.), that it is not love that drives him, but another sense of self-preservation at any cost. The traitor Shvabrin is afraid of additional evidence against himself.
Shvabrin's cynicism and Grinev's sincerity of feelings are not simply compared in The Captain's Daughter, but are rated 1.
1 V.G. Marantsman rightly believes that the comparison of Grinev and Shvabrin resembles the neighborhood of Onegin and Lensky. However, "Shvabrin's individualism leads to permissiveness, which Onegin does not have." (See: Marantsman, V.G. Studying the work of A.S. Pushkin at school // On the way to A.S. Pushkin: a guide for teachers and students: in 2 hours, Part 1 / V.G. Marantsman. M., 1999. S. 239.)
The meanness of Pushkin's hero is born from the inability to love and the impoverishment of love. The spiritual vacuum is filled with malicious impotence, covered with a "evil smile." Evil, the author is convinced, is self-destructive; the final fate of Shvabrin is predetermined. He fails both in love and in "history". Intellect does not save the heartless hero of Pushkin, all the cunning machinations of the villain crumble to dust.
Narrating the unconditional value of human feelings, the receptacle of which is the heart, A. S. Pushkin widely uses “heart vocabulary” in the novel. As already noted, the heart in The Captain's Daughter turns out to be a criterion for the morality of the characters.
"Heart" in a certain way characterizes the characters: that Grinev has a "pure heart" on the pages of the work, Pushkin repeats many times (VIII (1): 296, 308, 366, 367). The main merit of the hero is that, having gone through all the trials that have fallen to his lot, he retains humanity, the human dignity of his heart is “torn to pieces” (366), but still pure.
The movement of the emotional sphere is objectified by Pushkin in the "beat of the heart", his feelings. Before the capture of the Belogorsk fortress by the Pugachevites, Pyotr Andreevich was primarily concerned about the fate of Masha: “The fate of Marya Ivanovna vividly presented itself to me, and my heart sank” (319); “With heartfelt trepidation” (321), he learns that the daughter of Captain Mironov did not have time to leave the fortress. “My heart was on fire. I imagined myself to be her knight” (322), Grinev describes his condition. Knowing nothing definite about the poor girl, he finds no rest for himself: “A terrible thought flashed through my mind: I imagined it in the hands of robbers. My heart sank" (327). When Pugachev saw the sick Masha in the house of the priest, Grinev despaired, because he understood what this threatened the daughter of the commandant of the fortress: “My heart skipped a beat, but there was nothing to do” (328). “My heart began to beat strongly” (351), “my heart ached” (354), this is how Grinev describes his feelings when they, together with Pugachev, go to rescue Masha from captivity.
"Heart" in Pushkin's poetics personifies a feeling or a certain emotional state. Convinced of Masha's love, Pyotr Andreevich generously forgives the treacherous Shvabrin: "I was too happy to keep a hostile feeling in my heart" (VIII (1): 308). The grateful nobleman Grinev is trying to save his life and love to the impostor Pugachev "to express everything with which his heart was filled" (358). Having experienced monstrous upheavals, young people feel extreme fatigue: “Our hearts were too tired” (360). But, as you know, the tests of the heroes did not end there. Pyotr Andreevich was expecting a false denunciation and the arrest that followed. On the eve of the terrible events, Grinev is tormented by a bad premonition: “Something pricked my heart. I was frightened, without knowing what” (364). When the hero finds himself in mortal danger, he prays "for the salvation of all those close to his heart" (325). And he sees his salvation in "sincere explanations of the truth" (367). Faith in the justice and cordiality of people helps Grinev to endure in difficult moments of life. Together with the hero, the author believes that sincerity of feelings and chivalrous nobility are saving.
In essence, the chosen selection of "heartfelt vocabulary" reproduces the plot of The Captain's Daughter, a unique work about the ineradicability of goodness in the human soul. In the novel, good does not disappear without a trace, it, like a talisman, keeps the giver. A rabbit sheepskin coat, given to the counselor in gratitude, saves Grinev from the noose. The fifty kopeck gift given to the constable encourages him to give Grinev a letter from Masha during the attack. Even the empress is included in this circle of kindness: after listening to the orphan and sorting out the difficult situation, she rose to the level of simple human spiritual movements. Loving people are united by the peasant Tsar Pugachev and the noble Empress Catherine II. Pushkin dreams of a society of social harmony without "senseless and merciless" (364) riots, where humanity is the main principle.
In the dying novel of the great Pushkin, the author's indestructible faith in goodness is contained as in the law of the heart.
L.V. SPESIVTSEV (Astrakhan)
GENRE ORIGINALITY OF THE TRIPTYCH M. TSETAEVAYA "FROM THE SEA", "AN ATTEMPT TO ROOM", "NEW YEAR"
The works of M. Tsvetaeva are considered from the point of view of their genre originality. The author analyzes them as a lyrical monologue-confession, which is based on the poet's tragic worldview. The problematics of the Self turns out to be the leading one in the poems under consideration, the genre unity of which is built on the mobile and organic correlation of the lyrical Self, taken in the most intimate, intimate designations, with the categories of the macrocosm. These are "state" poems, the action of which is driven by the "stream of consciousness" of the lyrical hero.
Each stage of M. I. Tsvetaeva’s work is a new, still not fully read page of the tragic and, in truth, epic life of the great Russian poet. One of these stages is
1926, which became decisive for Marina Tsvetaeva in many respects: a correspondence acquaintance with Rilke, correspondence with the German poet and B. Pasternak inspired her to create the lyrical triptych “From the Sea”, “Attempt at the Room” and “New Year's”, where the romantic cult of the lyrical soul The heroine is fully revealed.
Three poems written in almost the same period of creativity ("From the Sea" May 1926, "Attempt at the Room" June 1926, "New Year's" February
1927) and published in 1928, are connected primarily with the image of the lyrical heroine, whose different faces help to understand the reality of the "soul" of M. Tsvetaeva. The theme of the dream, outlined in a letter to Rilke dated June 14 and culminating in a letter dated August 2, is the leitmotif of the poems "From the Sea" and "An Attempt at the Room" and organizes the plot of the works ("A dream of three minutes / Lasts", "From my dream / / Jumped into yours”, “After all, not a joint // Dream, but a mutual one” (“From the sea”); “Not a plasterer, not a roofer // Dream”, “Not a supplier, not a furniture maker // A dream, hotter than Reval // Shallows "("Attempt room")).
The works are built as a lyrical monologue-confession, based on
Spesivtseva L. V., 2006
An essay on the topic “What controls a person to a greater extent: mind or feelings?”
What controls a person more: mind or feelings? In order to answer this question, it is necessary to define its main components. Reason is the ability of a person to think logically: analyze, establish cause-and-effect relationships, find meanings, draw conclusions, formulate principles. And feelings are the emotional experiences of a person that arise in the process of his relationship with the outside world. Feelings are formed and developed in the course of development and upbringing of a person.
It seems to many that you need to live only by reason, and they are somewhat right. Reason is given to man so that he thinks everything over and makes the right decisions. But man is also given feelings. They always fight with reason, showing that it is worth paying more attention to them. Feelings are important for each of us: they help to make ours more rich and interesting. Sometimes the heart tells us one thing, but the brain tells us quite the opposite. How to be? I would like them to live in peace and not argue with each other, but this is unattainable. The soul desires freedom, celebration, fun ... And the mind tells us that we need to work, work, take care of everyday little things so that they do not accumulate into insoluble everyday problems. Two opposing forces are pulling the reins of government each for themselves, so in different situations we are controlled by different motives.
Many writers and poets raised the topic of the struggle between reason and feelings. So, for example, in W. Shakespeare's tragedy "Romeo and Juliet" the main characters belong to the warring clans of Montague and Capulet. Everything is against the feelings of young people, and the voice of reason advises everyone not to succumb to the outbreak of love. But emotions are stronger, and even in death, Romeo and Juliet did not want to leave. We never know for sure what will happen if feelings take precedence over reason, but Shakespeare showed us the tragic development of events. And we willingly believe him, because a similar story has been repeated more than once both in world culture and in life. Heroes - just teenagers who probably fell in love for the first time. If they had even tried to calm the ardor and try to negotiate with their parents, I doubt that the Montechis or the Capulets would have preferred the death of their children. They would most likely compromise. However, teenagers in this situation did not have enough wisdom and worldly experience to achieve their goal in other, reasonable ways. Sometimes feelings act as our inner intuition, but it also happens that this is just a momentary impulse that is better to contain. I think Romeo and Juliet succumbed to the impulse inherent in their age, and not intuitively established an unbreakable bond. Love would push them to solve the problem, not to commit suicide. Such a sacrifice is only the command of capricious passion.
In the story "The Captain's Daughter" we also observe a clash between reason and feeling. Pyotr Grinev, having learned that his beloved Masha Mironova is forcibly held by Shvabrin, who wants to force the girl to marry him, contrary to the voice of reason, turns to Pugachev for help. The hero knows that this can threaten him with death, because the connection with the state criminal was severely punished, but he does not deviate from his plan and ultimately saves his own life and honor, and later gets Masha as his legal wife. This example is an illustration of the fact that the voice of feeling is necessary for a person in making a final decision. He helped save the girl from unjust oppression. If the young man only thought and thought, he would not be able to love to the point of self-sacrifice. But Grinev did not neglect his mind: he made a mental plan on how to help his beloved as efficiently as possible. He did not register as a traitor, but took advantage of the location of Pugachev, who appreciated the courageous and strong character of the officer.
Thus, I can conclude that both reason and feelings must be strong in a person. You can not give preference to extremes, you must always find a compromise solution. What choice to make in this or that situation: to submit to feelings or to listen to the voice of reason? How to avoid internal conflict between these two "elements"? Everyone must answer these questions for himself. And a person also makes a choice on his own, a choice on which not only the future, but life itself can sometimes depend.
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