What is fantastic in Gogol's fairy tales. Presentation on the topic: Fiction in the works of Gogol

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Essay in Russian

Gogol... Is there mysticism in his works? Certainly yes. Take, for example, the stories "Portrait", "Viy", "Nose". Only the blind will not notice that the events described here are not entirely plausible, or even better, that they are impossible in reality at all. Who could now answer why Gogol, who is often called a realist, began to use fantasy?

One can easily say that this phenomenon is the fruit of literary fashion. The Golden Age of Russian Literature. Late eighteenth and early nineteenth century. More and more writers are beginning to move away from the strict, mundane and boring ideals of classicism. One cannot, of course, say that the classicists did not use mysticism at all. The fact is that they did not focus on it, but within the framework of romanticism that began to develop, this way of expressing thoughts seemed very effective and relevant. Following Derzhavin, who was the first to cross the threshold of classicism, domestic romantics and sentimentalists appear. With his ballads "Lyudmila" and "Svetlana" Zhukovsky opens up for the Russian reader the world of romanticism - a universe where the characters seek to change the surrounding reality, resist it, or reject it, run away from it. In addition, the heroes of romanticism are people who are obsessed with a certain idea that is different from the traditional ones. Misunderstood by one reality, they are trying to find another, ideal, but non-existent. As a result of the rejection of reality, mysticism appears. In reality, there were an absolute minority of such people in Russia, in the world of the late 18th and early 19th centuries, if not to say that they did not exist at all. Since in those years it was not customary to differ from society and live differently than past generations, the romantic hero for Russia is already real fantasy and mysticism. As for romantic heroes, I think that to some extent such characters can be called unimaginable for readers of the turn of the 18th and 19th centuries, because until now a person who tried to do something differently than others caused a sharp and radical social disapproval. People for a long time could not afford to leave the traditional way of life and views on things, so the free thoughts and actions of a romantic hero could easily seem incomprehensible and, quite possibly, fantastic.

And yet, most readers were attracted to completely different things. If mystical motives were present in the work, then all the attention of the philistine reader was directed not at all to the main character, not to his unusualness, rebelliousness, and the like, but to the surreal event itself. Such interest is explained quite banally. People who had a very limited outlook formed for centuries wanted to get closer to something unknown, to touch with their mind, and if it came out, with their soul, things that they could not even imagine before. Wouldn't it be interesting for a simple reader to observe how in Gogol's story the portrait played the role of a living character and, in fact, decided the fate of people, seducing and dooming their souls to suffering? Undoubtedly, this caused a certain stir, because, in fact, one of the main characters is a picture, an inanimate thing. A big role in the philistine interest of the reader of the Golden Age is played not just by the presence of something mystical, but by the collision of an ordinary mortal person with it.

“Cold sweat poured all over him; his heart was beating as hard as it could beat; her chest was so tight, as if her last breath wanted to fly out of her. “Is it really a dream?” he said…” Such is the picture of the first meeting of a person with otherworldly power face to face, which Gogol vividly shows us in the story “Portrait”. It is at this point that the reader is most interested. A simple person is left alone with something incomprehensible, unknown. The reader of the 19th century is carried away by this, because, most likely, he puts himself in the place of Chartkov, and it turns out that he is no longer watching the main character himself, but, in fact, himself in the face of the main character. The reader in this case wants to know what feelings will be experienced, what actions will be taken by the hero in an unfamiliar situation and, using their example, feel similar, close feelings. He wanted to look somewhere on the other side of life, but only in a narrow sense, since most people only wanted to make sure that something mystical exists, that it is nearby, but not to figure out what it is. In the same small fragment of the work, Gogol also begins to play with the reader. Not only does he describe Chartkov's panic attack quite colorfully, he also creates a "dream within a dream." And this, of course, is no longer entirely fantasy, because this happens in reality, however, from such a technique, we finally lose sobriety and the perception of the objectivity of what is happening inside the story, because it becomes impossible to distinguish a dream from reality. We have already believed that the moneylender from the portrait is walking around the artist’s room, that Chartkov is holding in his hand the scroll that the old man dropped, and this turns out to be a dream. Then another nightmare, but that too is fiction. And so on. This Gogol lures the reader even more.

“... his whole face almost came to life, and his eyes looked at him in such a way that he finally shuddered and, stepping back, said in an astonished voice: “Looks, looks with human eyes!” Gogol writes. There is one interesting feature in this: at the same time when Gogol creates for us a picture of some demonic force in the form of a living portrait, he tells us that the face of the usurer has all the features of a person and, perhaps, even looks more like him, than some real people. Perhaps Gogol makes a certain hint, a message to readers, which, most likely, went unnoticed by the vast majority. And yet, dressing otherworldly forces in a human body, he says that all demons and devils, despite their supernatural nature, can hide in one single person, that otherworldly forces are here, not millions of kilometers away, but somewhere very close, almost always, they are next to each of us, and even within us. Everyone has their own demons and angels deep down, constantly fighting for the human soul. Isn't that otherworldly power? She is the best! Only it is located on the other side of our body: in our consciousness, thoughts, emotions, ideas and actions, to which all of the above inclines us. This speaks of the duality of the nature of mysticism. On the one hand, it is distant, inaccessible and incomprehensible, and on the other hand, it is so close that it constantly remains unnoticed by anyone.

That is why fantastic literature attracted readers of the 19th century. Everyone wanted to look into the eyes of an otherworldly force, and, for some, to figure out what it really is and where to look for it. Cities, technologies, ideologies changed, but the reader remained the same. There was a demand for mystical literature in the reading society of the 19th and 20th centuries, which means that the authors could well be carried away by the trends of the era and literary fashion.

Is the answer to this question really so simple and banal? No, it’s too early to exclaim “eureka!”, because it seems to me that it is unlikely that an author with at least a fraction of talent and common sense will be able to afford only to follow a certain fashion without putting any sense into his works. What, then, prompted Gogol to use mystical motifs in his works? Suppose that the use of mysticism was dictated to him by the genre of the work. Of course, Gogol, choosing the genre of a mystical story, had to include fantastic elements there. A nose walking separately from the owner in Gogol's story of the same name, a revived picture from "Portrait", "ghouls and ghouls" from "Viya". Would these works have taken place without elements of mysticism? Possibly, yes, but in that case, they would definitely be less bright and would not have that artistic impact. However, it is wrong to say that mysticism in all works is due only to their genre. Now it is important to say something else: in what style did he write? Gogol in his early years, as you know, gravitated towards romanticism, but later realistic tendencies began to prevail in his work. There is an erroneous philistine opinion that realism does not tolerate mysticism at all. Certainly not. Mystical elements are there, of course. Another question is why and why realist authors use fantasy in their works.

At the time of the Romantics, many did not accept their works, but realism found even less understanding in society. “The nineteenth century dislike of realism is the fury of Caliban when he sees his own reflection in a mirror. The nineteenth century dislike of romanticism is the fury of Caliban for not seeing his own reflection in the mirror,” says Oscar Wilde in The Picture of Dorian Gray. That is, it can be assumed that people did not like romantic heroes because they seemed implausible, society could not compare these characters with themselves, the heroes of the works were unlike the readers, and often even better than them, therefore they caused discontent. But the heroes of realism were too similar, and the readers who became noticeable vices of the hero, obviously understanding that this also applies to them, did not want to accept, and sometimes perceived it as a personal insult. Here mysticism in works is a way of expressing reality. This is a mask that the author puts on reality, wanting to convey to people its real meaning. Nose completely hid his face in a large standing collar and prayed with an expression of the greatest piety. “How to approach him? thought Kovalev. - By everything, by the uniform, by the hat it is clear that he is a state adviser. God knows how to do it!" He began to cough near him; but the nose did not leave its pious position for a minute and bowed, "- this is how Gogol describes the meeting of Kovalev with his own nose. At first glance, this is a completely absurd situation. A person is afraid to approach his nose. But still we see that the nose is higher in rank than its owner. In this story, the nose is a projection of the hero's desires. Kovalev always wanted to become a state adviser, he was preparing for this, but when he saw his nose in such a rank, he was horrified. Perhaps this suggests that Kovalev was afraid of his desires and was not as important and great as he felt. Can there be any talk of any greatness of a person: spiritual or physical, if he was afraid to approach his own nose just because the latter was higher in rank? In life, Kovalev turned up his nose so much that he eventually separated and became, indeed, taller than him. For those readers who did not delve into the deep meaning of the story, it seemed like an absurd joke, penetrating further, this meaning was revealed. And all this is done with the help of mysticism. She distracted the first from what was hidden inside, the second, on the contrary, these events were signs for understanding the work. One of the purposes of mysticism in literature is to hide the meaning of a work from those who are unable to understand it correctly.

But do not forget that almost all the reasons mentioned earlier are purely external in nature, that is, they are based on some extraneous conditions: features of the genre, fashion for fantastic literature, and so on. However, there are a number of other reasons, individual for each author. And above all, it was allegorical and allegorical. Any mystical event or character has its own meaning, they cannot exist inside the work just like that. In the story "Portrait", Gogol, with the help of mystical elements, directly starts a conversation with the reader on a philosophical topic. “It was no longer art: it even destroyed the harmony of the portrait itself. They were alive, they were human eyes! He talks about what art is and what is the role of the creator? “Or is slavish, literal imitation of nature already a misdemeanor and seems like a bright, obscene cry?” In these lines, as in the whole story, a fairly simple meaning is hidden. The whole story with the portrait is a big allegory. That is, when we are told supposedly about a demonic portrait, in fact, we are talking about the artist's betrayal of his talent. Gogol directly tells us that art is something more than blind copying of nature. It involves the improvement of nature, investing in every part of it meaning. An artist, sculptor, writer - any real creator who is not mediocre and does everything just for the sake of money and fame, must not only recreate an accurate picture of nature, but also fill it with meaning, otherwise it will not be art, only “slavish imitation” will remain . The phrase used by Gogol says that a person who makes an absolute copy is literally captured by his mediocrity, he does not have enough talent to realize what art really is. This, probably, is one of the answers why realist authors need fiction. If you simply describe the events, then art will not work out, there will be the same “slavish imitation”. We see such thoughts in the lines of Gogol's "Portrait". Fantasy here is an allegorical way of presenting the author's reflections on the nature of art. In addition to all this, Gogol in this story describes a very interesting thing. He turns the usurer into a demonic portrait, and the image of Psyche, on the contrary, makes him a man. That is, he creates a diabolical otherworldly force from an ordinary mortal, and turns Psyche, who was considered in Greek mythology the muse and goddess of the soul, into an ordinary person. It is difficult to say what sign Gogol gave by this, but for some reason it seems to me that here we are talking about how the souls of true creators with real talent were destroyed, because, in fact, both of these artists changed their art for the worse. Chartkov lowered the goddess to a man, adding a drop of nature there, and the one who painted the portrait reduced the man to a demon, exactly copying nature. Confirmation of this is also later, when Chartkov sees a picture painted by his friend, something from the past wakes up in him. The artist draws a fallen angel, and what, no matter how it may be, can speak of the fall of the human soul and the loss of talent.

If we talk further, then all this, both Chartkov's interaction with the portrait, and Gogol's attempt to understand what art is, is a chance for an ordinary person to look into the unknown, to see reality hidden from the eyes of the majority. Mysticism is an attempt to rethink the conditional reality that everyone perceives and discover something new within oneself. But sometimes such forces turn out to be too great, and attempts to interact with it can break the hero's psyche, force him to change his values, persuading him to succumb to temptations. Chartkov ended up like this - the artist went crazy. Exactly similar to this situation in the story "Viy" by Gogol. Homa Brut looks into the eyes of the demonic force, and since the eyes are the mirror of the soul, it turns out that he looked into the otherworldly force right into the soul. Having comprehended the soul, one can learn a large amount of information, Khoma Brut, apparently, learned too much about the otherworldly force, and it, in turn, destroyed his physical body. With these works, Gogol poses another interesting question: does a person need to try and want to see something on the other side, or does one need to moderate one's curiosity? All these are attempts to look into the dark abyss, which in almost all works are unsuccessful for the characters. And mysticism plays an important role in this. It serves as a kind of crooked bottomless mirror that helps the authors convey the essence of reality, distorting its surface, that is, the reality that most readers are accustomed to perceive. At the same time, if we get too carried away with it and consider in this mirror what we are simply not allowed to know, then it can kill or deprive the mind of both heroes and readers. In this mirror, despite the fact that the image is distorted, that is, reality is described with the help of fantastic motifs, the reader can consider himself and his familiar reality. Appeal to mysticism "shatters" in a sense the reader's perception, such images have a great artistic impact.

The role of fiction

One of the main features of the works of N.V. Gogol is the vision of the world through fantasy. For the first time, elements of fantasy appeared in his notorious Evenings on a Farm near Dikanka, written around 1829-1830. The story "Portrait" was written several years later with the same elements of inexplicable mysticism.

Gogol liked to portray the characters of people from the people and to confront his heroes with fantastic phenomena. In his works, reality in some interesting way

Intertwined with fiction.

The original version of the story "Portrait" was published in 1835, but after the author's corrections it was printed again in 1842. The protagonist is a young, promising artist named Chartkov, who lives in poverty and tries his best to achieve perfection in his work. Everything changes after the purchase of an unusual portrait, which he met in one of the St. Petersburg art shops. The portrait looked so vivid that it seemed that the sitter was about to come to life and start talking.

It was this liveliness that attracted the young Chartkov, as well as the high skill of the artist.

According to the plot, the portrait possessed supernatural power and brought misfortune and misfortune to the lives of its owners. It depicted an old man of Asian appearance with piercing, almost "live" eyes. The day after the purchase, Chartkov found in the frame of the portrait a bag of gold coins with which he was able to pay for the apartment and rent luxurious apartments for himself. It should be noted here that a strange dream preceded the happy discovery.

The night before, it seemed to him that the portrait came to life, and the old man, coming out of the frame, was holding in his hands just this bag with the inscription “1000 chervonets”.

In the second part, the author reveals to us the secret of these mystical phenomena and the picture itself. As it turned out, it was drawn by a talented Kolomna Master, who once painted temples. Having started work on this portrait, the master did not know that the neighbor, the Usurer, is the real personification of evil, and having learned, he left the picture unfinished and went to the monastery to atone for his sins. The fact is that the evil usurer indirectly brought misfortune to everyone to whom he lent money.

These people either went crazy, or became terribly envious and jealous, or committed suicide, or lost loved ones.

Anticipating his imminent death, the usurer wished to remain alive in the portrait, and therefore turned to a self-taught artist living in the neighborhood. According to the author, the now unfinished painting traveled from hand to hand, bringing first wealth and then misfortune to its new owners. In the first edition, at the end of the story, the image of the usurer disappeared from the portrait, leaving those around him in bewilderment.

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Part One The young artist Chartkov enters an art shop in Shchukin's yard. Among the mediocre popular prints, he discovers an old portrait. “He was an old man with a bronze-colored face, high cheekbones, stunted; the features of the face seemed to be seized in a moment of convulsive movement and did not respond to the northern force. The fiery noon was imprinted in them. It was draped in a wide Asian […]...
Before the arrival of Zhukovsky, everything in Russian literature was calm, solemn, decorous, and even if tears were shed on the banks of Liza's pond, these were passive tears and leading nowhere. And then he appeared, as if opening the door, and together with the fresh wind, ghosts, cranes, righteous and sinful girls, gloomy murderers and devoted lovers burst inside. […]...
When people are completely robbed, Like you and me, they seek Salvation from otherworldly forces. M. Bulgakov. The Master and Margarita The novel by M. A. Bulgakov “The Master and Margarita” is unusual already in that reality and fantasy are closely intertwined in it. Mystical heroes are immersed in the whirlpool of the turbulent Moscow life of the 30s, and this blurs the boundaries between the real world and [...] ...

Less than half a century ago, the first manned flight into space took place. Retreating in time, this event appears to be an increasingly significant milestone in the history of our planet. Now it becomes especially important to understand the vector of the further movement of human thought and to find those criteria that will allow us to give a correct assessment of the past. After all, only now we are beginning to realize how critical the past century turned out to be for our entire civilization. The man, who until then had been crawling blindly on the surface of the planet, suddenly straightened up and with incredible speed broke the shackles of the earth's gravity. The inexhaustibility of the world opened before him with his own eyes, giving previously unimaginable opportunities.

It is quite clear that art was bound to respond to the ongoing changes in life. And so it happened. In literature, a direction of science fiction appeared and became stronger, designed to express the inexhaustible desire of people to look beyond the horizons of knowledge, understand the future and somehow plan it. In science, this is called the principle leading reflection.

Naturally, a reckless striving for the future is a systemic quality of young people who carelessly feel the ocean of long life in front of them. An excess of strength and impressionability allows you to build the desired image of the future and, with all the ardor of romantic enthusiasm, strive for its implementation. High-quality fiction helps structure expectations and vague dreams, better understand your own preferences. It awakens not only feelings, concretizing them, but also thought. Of course, not only young people love science fiction, but people of all ages think about the future. Samo the emergence of science fiction is an important step in the development of mass consciousness. The plasticity of the youthful psyche and its openness to all manifestations of life make any impact on it full of special meaning.

Meanwhile, at school, nothing is said about science fiction in literature lessons, although the books most read by schoolchildren are of this genre. It turns out that an essential and, most importantly, promising part of youth culture does not fit in with the corresponding school subject. But it is our children who will build the future, choose the ways of its development. And we will have to somehow come to terms with their choice, because the younger generation always has an advantage in time. Wouldn't it be better to direct the appropriate interest of a young person already at school age? After all, if interest is arbitrary, then arbitrary and, consequently, more superficial results in society as a whole.

Now young people read mostly science fiction, in which there are no clear moral guidelines and a minimal idea of connection with real life. Passion for the genre turns into a distraction from the problems of the aggressive outside world, without causing a desire to change the existing situation. This is evidenced by the success of the fantasy direction, as well as space opera and cyberpunk.

Fantasy is a fantasy tale in which, as a rule, an invincible hero with a sword acts in the world of magic and witchcraft. Often he ends up in a magical world from our world; it happens by chance and is not explained in any way. The action develops according to the laws of the action movie, respectively, and the behavior of the characters. R. Tolkien's work, who created a huge world with a long history and a special language, is considered a fantasy classic.

The movement of the so-called "Tolkienists" vividly demonstrates all the stages of the consequences of mass hypnosis, provided by a talentedly written work, which has almost no points of contact with objective reality. The main character is constantly persuaded to cooperate by light and dark forces. If in the classics of the genre the choice in favor of the forces of light was unequivocal, then in the last decade the motifs of the “gray” path leading to perfect self-sufficiency of a person independent of anyone began to sound much more often. Moreover, the motives for choosing the “black” path have appeared and strengthened, and the very idea of good and evil is blurred not only on the example of particulars, but also in general in the concept of the author (N.D. Perumov, S.V. Lukyanenko).

In the work, built on the principle of a space opera, the magical surroundings are replaced by a clumsily drawn technogenic one. Cyberpunk is characterized by even greater manufacturability and depressive presentation of the material.

In fact, we are dealing with a mirror image of the collisions taking place in our country. The collapse of the moral core is a welcome phenomenon for the soulless business world, preoccupied with momentary personal gain. Ethical relativism, combined with escapism, is the surest means for leveling islands of independently seeking thought.

It is possible and necessary to draw the attention of the younger generation to the best examples of Russian science fiction, but it is scientific, with a clear spatio-temporal plot and clear goals of presentation, since such material can appeal not only to the soul, but also to the intellect of the young reader.

Much to our regret, modern literary criticism makes it possible to quickly get an idea of such "writers" as Eduard Limonov or Venedikt Erofeev, while a huge layer of our literature is actually not in demand. The most serious futurological research by deeply and multifaceted people, the formulation of really important and urgent problems of the present and the future - all this is left out of modern science and, accordingly, school teaching. At school, the insignificant and hardly readable N.I. Tryapkin and V.S. Rozov are studied ...

Speaking of the literary tradition, we will strictly distinguish fantasy as a method of integral construction from fantasy as a subordinate technique. N.V. Gogol's nose leads an independent life, but this does not mean that the author of "The Nose" can be written down as the predecessor of A.R. Belyaev with his "Professor Dowell's Head". Fiction in the works of M.A. Bulgakov is also by no means self-sufficient, although, for example, “Heart of a Dog” formally echoes the work of the same Belyaev. Meanwhile, many of the "stories about the extraordinary" by I.A. Efremov, despite the minimum of a fantastic element, quite fit the definition of fantasy. Without a fantastic idea, albeit a very small one, these stories do not exist, while Bulgakov's works may well do without a fictional one.

Working with a fantastic work at a school lesson is a very special activity that requires the teacher to be ready to conduct a conversation along several lines at the same time - scientific, technical, social, ethical, aesthetic and philosophical.

Why is it so important to appeal specifically to the domestic science fiction tradition? Russian literature is generally characterized by a special humanism and the posing of the most profound questions of life. Saturated with original technical ideas, a significant part of American fiction is completely alienated from the man himself. Rare upsurges of the spirit in it express a random phenomenon and are not conditioned by anything other than the personal preference of the character. The man in the mass of works is either busy solving some ingenious technical problem or "galactic" politics, and his character, manners, desires and ideas about life are fully consistent with the modern Western American standard. It is clear that against the backdrop of a rapidly changing life, such a flat understanding of the man of the future is unacceptable.

In domestic science fiction, the problem of man is in the foreground and it is expressed in many ways. The heroes are forced to solve complex moral problems in the course of action, for which a significant baggage of sciences is involved, not only technical, but also humanitarian. Even Belyaev, aware of the incompleteness of his work, pointed out that the content of science fiction should be new social relations and an attempt to portray the people of the new world.

The dream of applying scientific achievements to the transformation of nature, society and man himself is the essence of real science fiction, closely connected with the tradition of the philosophy of Russian cosmism. The increase in the intellectual complexity of life steadily requires the highest subtlety of moral decisions. A radical bias towards extensive knowledge and the exchange of superficial information led to totalitarianism, on the one hand, and demagogic pluralism, on the other. Accordingly, the task of school literature is to help deepen the impression of what is read and the ability to reflect on what is happening in life, to build up from the particular, understanding the whole. The best works of Russian science fiction carry a universal ideological load, their versatility and the presence of a core moral principle are able to play a huge pedagogical role.

First of all, this is I.A. Efremov, whose works are unusually rich and multi-vector. The images of Efremov's heroes are an unprecedented phenomenon in world literature. These people of the future (and we are now talking only about the fantastic works of the master) are endowed with the gift of a deep understanding of the laws of the universe and their place in it.

Thought - word - deed. Such a triad is the basis of the spiritual development of a person, in which, due to the natural correlation of positive qualities, there are more, otherwise he would not have taken place as a species. The dialectic of the deep foundations of being is revealed by the author in each episode, which gives rise to a feeling of completeness and solidity of the text. Being at the same time a major paleontologist, the writer asserted the unity of evolutionary mechanisms. At the biological level, those species that were less dependent on the environment succeeded. Man in this sense is universal. But he must be just as universal psychologically, not mindlessly dissolving in the accompanying social conditions, but consciously understanding their limits and conditionality. An individual who has completely given his “I” to the surrounding life is a dead end of development, changes in the world will psychologically break him, just as a narrowly adapted animal will die when living conditions change in its habitat.

A person is not only the sum of knowledge, but the most complex architecture of feelings, but the development of mental and psychic forces will be fully developed only against the background of physical health, because the flame of intense thought and vivid feelings cannot blaze in a paper cup. Beauty is not a personal arbitrary preference, but the objective expediency of this or that construction, and the consciousness of the infinity of space and time is a necessary component of a fruitful creative process. The universe is necessarily inhabited, because the appearance of man is a consequence of the laws of the development of matter, which are the same in the observed space.

A huge role on this most difficult path belongs to a woman. Efremov bowed before the feminine. A woman is an inspirer and protector, and the beautiful is always more complete in a woman and more honed in her. The ascent of any society inevitably begins with the exaltation of woman; where the feminine principle is oppressed or likened to the masculine, degradation sets in. The gallery of "Efremov's women", written out with great love and respect, deserves a separate place in literary criticism. Strong and cheerful, devoted and fearless, such women can create a space around them that cleanses the noosphere.

As you can see, even a simple enumeration of Efremov's conclusions arising from one another takes up a considerable amount of space. The writer was all focused on the future, but he clearly understood that only on the basis of historical memory is a viable construction possible. He foresaw the inevitable development of the third signal system (intuition) - an analogue of the starship "direct beam" with their common ability to instantly achieve the desired result.

Distinguishing connections between phenomena that are outwardly separated from each other, understanding the enormous forces contained in a person, heroic realism and romance in the depiction of characters are characteristic of the work of Ivan Efremov.

The fantastic stories of V.P. Krapivin, the living patriarch of children's literature and teacher, the founder of the famous children's detachment "Carabella", have a similar power of persuasiveness. Here are the lines from the charter of the detachment: “I will fight with any injustice, meanness and cruelty, wherever I meet them. I will not wait for someone else to stand up for the truth before me. If I ever get scared, I won't back down. Courage - when a person is afraid and still does not turn off the road ... "

The most serious problems of childhood, namely growing up, socialization and interaction with the world of adults, are revealed in Krapivin's stories with especially poignant force and accuracy. Krapivin asks the question: why does the modern school value and form only two properties in students: not getting bad marks and being obedient? Is this its high purpose? Does society, first and foremost, need unreasoning executors, cogs and bolts?

No need to adapt to reality. We need to change it. This is the basis of the Krapivin worldview. Addressed to children, such an understanding of life encounters the fierce resistance of those adults for whom children are an eternal hindrance to a non-committal existence.

The cycle “In the depths of the Great Crystal” contains the same life-affirming beginning of awareness of the openness, infinity of the world. The idea of the Great Crystal with the Road between the edges is an external reflection of the importance of mastering the space of one's soul. It is not surprising that it is children, not constrained by prejudices and stereotypes, who become the heralds of this infinity, navigators along the various facets of the Crystal, and certain changes in the vast world depend on them. The deep interconnectedness of events, sensitivity to the "moments of truth" - these acupuncture points of life - are in full accordance with the spatial "points of transition" and the physical overcoming of the universal expanses.

But these children, freely walking around the neighborhood and making friends with the stars, are defenseless and vulnerable, like any other children, and even more so, because their unusualness is a source of rejection by adults and many peers. Protection of childhood, special sensitivity to the unusual abilities of children - the basis of humane pedagogy, now proclaimed by Sh.A. Amonashvili. The work of Krapivin, with his beating nerve of a vulnerable child's soul, fully corresponds to these ideas.

The moral purity and fearlessness of the “Krapivin boys” is akin to the energetic charm and selfless firmness of the “Efremov women”. These guys, who discovered in themselves those very Efremov abilities of the “direct beam”, contain the future of the universe. The future needs people who can think and feel in cosmic terms. And we need young people who have the experience of a genuine, spiritual life. Books by Commander Krapivin increase the immunity of the heart - the last barrier on the path of the muddy flow of the cheeky ideology of the consumer society.

The early fiction of V.V. Golovachev is imbued with a whole garland of unique ideas, fused together with the original figures of people of the future. The characters of purposeful, strong and generous rescuers and star border guards, who go through the realization of the inexhaustibility and mystery of the cosmos, discovering their own reserves, involuntarily cause a desire to imitate. The eternal questions of love, duty, friendship and the boundaries of an adequate response to aggression are posed by the writer with all the sharpness. The concepts of cosmoethics, universal ecology and tolerance for other existence are central in such novels as "Relic", "Black Man", "Requiem for a Time Machine" ... The heroes of these and a number of other works have virtues and abilities that far exceed our reality. But this does not make them "supermen", all abilities with the prefix "super" are only a necessary condition for solving the most difficult problems of mankind's survival in space. The heroes of Golovachev subtly listen to the melody of what is happening, and their lyricism and diverse knowledge do not in the least interfere with the speed of thought and action.

A special role in the public organization is occupied by SEKON - the service of Social and Ethical Control and Supervision (an analogue of the Efremov Academy of Grief and Joy). Soethic experts have the right to "veto" in the development and implementation of certain decisions, whose ethical value seems to them doubtful.

Golovachev visibly demonstrated that the townsfolk are doomed to wallow in the virtuality created by them or imposed from outside. Easily accessible material goods in the world of Golovachov's future did not solve the existential problem of man, but only highlighted it more clearly. The whole Universe should become the home of the renewed humanity, for which it is necessary to know ourselves and respect the secrets of the cosmos. For us, who are on the verge of a technological revolution with nano and bio prefixes, this approach seems to be the only possible one.

The stylistic merits of these writers are also characteristic.

Efremov's language is thick and heavy, but surprisingly proportional, like the Doric columns of the Parthenon. This is the weight of a gold nugget. Chased formulations are proportionately built and balanced. Efremov owns the word, like a diamond chisel, and with this chisel he grinds a convex image of a perfect world on a druse of minerals.

Reflections of beams framed the contours of the copper mountains with a silvery-pink crown, reflected by the wide road on the slow waves of the purple sea. The water, the color of thick amethyst, seemed heavy and flared from the inside with red lights, like clusters of living small eyes. Waves licked the massive foot of a gigantic statue, which stood not far from the shore in splendid isolation. The woman, sculpted from a dark red stone, threw back her head and, as if in ecstasy, reached out with outstretched arms to the fiery depths of the sky. She could well be the daughter of the Earth - the complete resemblance to our people was as shocking as the striking beauty of the statue. In her body, like a dream come true of the sculptors of the Earth, powerful strength and spirituality of every line of the face and body were combined. The polished red stone of the statue exuded from itself the flame of an unknown and therefore mysterious and alluring life.

Krapivin's language is completely different. But, as one Ephraim hero said: "The shades of beauty are infinitely diverse - this is the wealth of the world." The main thing is that the measure is observed. For every detail and small private detail, Krapivin finds a surprisingly capacious word that flows into the general narrative in the only possible way. This is not heavy gold, but transparent crystal. The lightness and apparent simplicity of Krapivin's language resembles a more airy version of "laconism and dynamics of Pushkin's prose". The comparison is not far-fetched. Read for yourself:

Once the boys brought and showed Madame Valentina a coin from the city of Lehtenstaarn ... Yes, exactly the same: with the profile of a boy, the number "ten" and a spikelet. This coin was seen from afar (or rather felt with the help of nerve-rays) by a small crystal that was growing at Madame Valentina's on the windowsill among cacti.

And now he, Yashka, immediately recognized the coin! And having learned it, I remembered the rest!

Yes, yes, he grew up in an ordinary flower pot. But not from ordinary grain at all, but from the rarest stellar pearl, which sometimes come to Earth from outer space during the period of thick August starfalls ... And Madame Valentina raised him for a reason. She created a tiny model of the universal Universe. Because I was sure: the Universe has the form of a crystal ...

Probably, it seemed to me or just came up with it later, but now I remember how, with each wave of his brown, brittle hand, a street with quaint houses opened up in the distance, then a panorama of the whole capital, blurred in the pre-sunset air, then the sea distance with sails yellow from the sun ... Flexible, with flying hair, covered with a bronze coating, Sashka conducted the spaces. Laughing, he looked back at me... And this is one of the best memories of my life.

Golovachev's language is unique in its own way. In Russian literature, a special place is given to landscape, portrait and psychological characteristics; descriptions of Leo Tolstoy, Sholokhov or Astafiev, for all their external differences, are outstanding facts of mastery of the word and demonstrate an amazing the interaction between the strength of an impression and the conscious clarity of its expression. Golovachev went even further - he achieved amazing results in describing cosmic cataclysms, unusual states of matter or consciousness, unlike anything human. That is, he pushed the boundaries of the imagination, penetrating with the scalpel of the Russian word into the most exotic depths of the universe.

The darkness in the corner of the room suddenly thickened, became dense, like jelly, flowed like a stream into the middle of the room. It blew cold, star dust and deep ...

- Go away, - there was a sonorous velvety voice in Shalamov's body, in every cell of it. - Get out of the way, man. It is dangerous to stay on Earth, your relatives will not understand you, and everything you do there is superfluous. Look for the Arbiter, he is the Only and Eternal Beginning of everything that is called being, he will help you.

- And you? So you are not the Executor?

A whirlwind of darkness in the middle of the room with a wave of its wing, there was a quiet laugh, rolling, booming, but harmless. However, only a Maatanin could call this song of radiations and dance of fields laughter.

“I am the Messenger, another bogoid, to use your terminology. Leave before it's too late. Your road does not lead to the Earth, whose life is fragile and vulnerable.

- But I need something earthly, I can not live without ... some ... things.

- You can. - The same laughter and, following, a rapid fall into the depths of darkness ... stars ... wind in the face ... tears, longing ... light!

Laughter and tears still lived in his memory when Shalamov opened his eyes. With in about and eyes, human, able to see only in a narrow band of the electromagnetic spectrum.

“Dream,” Shalamov said aloud. - It was a dream.

The presented authors are triune in the essence of the impact on the reader. However, each one has a different mindset. The hypostasis of Efremov is an aspiration to the heights of the spirit. Hypostasis Krapivin - immersion in the transparent depths of the soul. The hypostasis of Golovachev is the disclosure of the entire breadth of the field of activity of the creative intellect and will.

Writers offer hypotheses that will interest "techies", pose problems close to the humanities, and fascinate with the beauty of the style. The modernity and timeliness of their works is great not only in content, but also in form, to which schoolchildren pay attention in the first place.

Let us remember that the passive-contemplative attitude of many children to reality with attempts to hide from it is the result of the ideological inertness of adults. And episodic indignation at today's life in the family or school is perceived by adolescents with condescending smiles. Because such indignation is spontaneous and, at best, calls to the past. But the return never reaches the goal. And young people always look to the future. And if a positive image of the future is not formed in time, another image will take its place, which will grow into an unconscious conviction that we are waiting for some catastrophes, wars with cyborgs or life in the matrix. And once the verdict is signed, everything is possible. And at the same time, nothing is needed... Two extremes that merge in the denial of the original fruitfulness of life. But a person should always be on the threshold of the new, because he himself is new every moment. And only the fire of thought and a vivid feeling can form the image of the future.

N. Rybina

Fantasy is a special form of displaying reality, logically incompatible with the real idea of the world around. It is common in mythology, folklore, art, and in special, grotesque and "supernatural" images expresses a person's worldview. In literature, fantasy developed on the basis of romanticism, the main principle of which was the image of an exceptional hero acting in exceptional circumstances. This freed the writer from any restrictive rules, gave him the freedom to realize his creative possibilities and abilities. Apparently, this attracted him, who actively used fantastic elements in his works. The combination of the romantic and the realistic becomes the most important feature of Gogol's works and does not destroy the romantic convention. Description of life, comic episodes, national details are successfully combined with the lyrical musicality characteristic of romanticism, with a conditional lyrical landscape that expresses the mood and emotional richness of the narrative. National flavor and fantasy, appeal to legends, fairy tales, folk legends testify to the formation of a national, original beginning in the work.
This feature of the writer is most clearly reflected in his collection Evenings on a Farm near Dikanka. Here, folklore demonology and fantasy appear now in a grotesque form ("The Missing Letter", "The Enchanted Place", "The Night Before Christmas"), now in a tragically terrible ("Terrible Revenge").
The folklore beginning can be traced both in the plot of the stories and in the essence of the conflict - this is a traditional conflict, which consists in overcoming the obstacles that stand in the way of lovers, in the unwillingness of relatives to marry a girl to a loved one. With the help of "evil spirits" these obstacles, as a rule, are overcome.
Unlike many romantics, in whom the fantastic and the real are sharply separated and exist on their own, Gogol's fantasy is closely intertwined with reality and serves as a means of comic or satirical depiction of heroes, it is based on the elements of the people.
Gogol's fantasy is built on the idea of two opposite principles - good and evil, divine and devilish (as in folk art), but there is no good fantasy proper, it is all intertwined with "evil spirits".
It should be noted that the fantastic elements in "Evenings ..." are not an accidental phenomenon in the writer's work. On the example of almost all of his works, the evolution of fantasy can be traced, the ways of introducing it into the narrative are being improved.
Pagan and Christian motives in the use of demonological characters in the collection "Evenings on a farm near Dikanka"

In literary studies devoted to creativity, there is a steady tendency - to emphasize the features of the Christian worldview when it comes to the last years of the writer's life, the period of "Selected Places ..." and, conversely, when analyzing his early stories, focus on Slavic demonology. It seems that this point of view needs to be revised.
believes that Gogol's early work, if you look at it from a spiritual point of view, opens from a side unexpected for ordinary perception: it is not only a collection of funny stories in the folk spirit, but also an extensive religious teaching in which the struggle between good and evil takes place, and good always wins, and sinners are punished.
In a truly encyclopedic world of "Evenings ...", the life, customs, legends of the Ukrainian people, as well as the foundations of their worldview, are reflected. Pagan and pre-Christian motifs in Gogol's artistic system are given in their synthesis and at the same time are sharply opposed, and their opposition is not perceived as invented and artificial.
Let us first turn to specific examples and start with the question of what pre-Christian beliefs and ideas are reflected in Gogol's "Evenings ...". It is known that the pagans perceived the world as living, spiritualized, personified. In Gogol's stories, nature lives and breathes. In the "Ukrainian" stories of Gogol, the writer's inclination towards myth-making was fully manifested. Creating his own mythical reality, the writer uses ready-made examples of mythology, in particular Slavic. His early works reflected the ideas of the ancient Slavs about evil spirits.
A special role in the artistic world of Gogol is played by such demonological characters as devils, witches, mermaids. I. Ognenko pointed out that Christianity not only brought new names and Ukrainian demonology (devil, demon, satan), but also changed the very view of it: “it finally turned the supernatural force into an evil, unclean force.” "Unclean" - the constant name for the devil in Ukrainian stories - is contrasted by Gogol with the Christian soul, in particular, the soul of a Cossack-Cossack. We observe this antithesis in The Enchanted Place, Terrible Vengeance and other works of the early period.
Crap- one of the most popular characters of Ukrainian demonology, personifying evil forces. In accordance with the popular ideas of pagan times, he looks like Chernobog (the opposite of Belobog). Later, "he was represented as a foreigner, dressed in a short jacket or tailcoat, narrow pantaloons." It was believed that he was afraid of the cross. The description of the devil in Gogol's stories corresponds to ancient folk beliefs: "the front is completely German<…>but behind him he was a real provincial attorney in uniform. The demonological character in this context is reduced and personified. “Folk culture of laughter over the course of several centuries has developed stable traditions of simplification, de-demonization and domestication of Christian mythological images of evil,” he notes. A vivid example of the de-demonization of the image of the devil is the story "The Night Before Christmas", where he is presented in an emphatically comic vein with a muzzle that constantly twirls and sniffs everything that comes in its way. The clarification - "the muzzle ended, like our pigs, with a round patch" - gives it the features of homeliness. Before us is not just a devil, but our own Ukrainian devil. The analogy of demonic and human is intertwined, emphasized by the writer in the depiction of evil spirits. The devil in "The Night Before Christmas" is "a nimble dandy with a tail and a goat's beard", a cunning animal that steals the moon, "grimacing and blowing like a peasant who took out a fire for his cradle with his bare hands." He “builds love chickens”, drives up a “little demon”, takes care of Solokha, etc. A similar description is found in the story “The Lost Letter”, where “devils with dog muzzles, on German legs, wagging their tails, hovered around the witches, as if boys around red girls. In the Sorochinsky Fair, from separate references to the “red scroll” and an inserted episode (the story of a godfather), the image of a devil-reveler who was expelled from hell appears because he sat in a tavern all day until he drank his “red scroll”. In The Evening on the Eve of Ivan Kupala, Bisavryuk is also a reveler. But it evokes a feeling of fear. This is "the devil in human form", "demonic man". Here Gogol uses the motif of selling one's soul to the devil in exchange for wealth and money, which is common in world literature. This story, like many others from the cycle "Evenings ...", can be regarded as a religious teaching. The author does not declare the idea that an alliance with evil spirits has sad consequences, brings misfortune. He presents it in a figurative form, demonstrating its justice throughout the course of the development of the action.
The question of the sources of the image of the devil in Gogol's "Evenings ..." requires a separate consideration and cannot be resolved unambiguously. Gogol took advantage of the wandering plot, which is a complex product of international communication. Of course, also the fact that the creator of "Evenings ..." was strongly influenced by Ukrainian folk legends, beliefs, as well as literary sources. According to P. Filippovich, the image of the devil in Gogol's first collection goes back to Gulak-Artemovsky's ballad "Pan Tvardovsky", which was very popular.
he saw the source of the comic image of the devil in hagiographic and ascetic literature, noting that "the holy ascetics, indulging in prayer and hardship, triumphed over all the temptations and tricks of the devil," who "turned into a simple-minded demon playing a comic role." The researcher's assumption is also convincing that the comic image of the devil could have appeared in Gogol under the influence of nativity plays of the Ukrainian theater: "the devil of the Little Russian theater is of a harmless nature and plays a service and comic role near the Cossack."
As in the work of other romantics, the artistic world in Gogol's works is bifurcated: the real, real, earthly, daytime world and the world of bizarre fantasy, nocturnal, dark. At the same time, fantasy in Gogol is connected with mythology, and this connection is so close that one can speak of its mythologized character.
The fragmentation of the world in Gogol is emphasized by the fact that people and mythological creatures are in the same space and exist simultaneously. Solokha is a witch, and an ordinary woman. She can fly on a broomstick, meet the devil and quite real fellow villagers. The journey to hell is made by the hero of The Lost Letter, where he is subjected to "demonic swindle".
The sorcerer has many faces in Terrible Revenge: he is both a Cossack, and Katerina's father, and a creature opposed to the people, an enemy, a traitor. The sorcerer is able to perform various miracles, but before Christian symbols, shrines and covenants, he is powerless. In the perception of Danil Burulbash, he is the Antichrist, and even his own daughter Katerina sees him as an apostate.
Demonological motifs are very important in the artistic structure of the stories "May Night, or the Drowned Woman", "The Evening on the Eve of Ivan Kupala", "The Night Before Christmas". Image plays an important role here. witches.
In folk tales and legends, there is an old and a young witch. In Gogol's "Evenings ..." different types of this character, common in Ukrainian demonology, are also presented. In "May Night" the centurion's young wife, "ruddy and white in her appearance," turns out to be a stern stepmother, a terrible witch, capable of turning into other creatures and doing evil: she brings the lady out of the world. In The Missing Letter, the witches are "discharged, smeared, like pannoki at a fair." In The Evening on the Eve of Ivan Kupala, the witch “with a face like a baked apple” is a terrible witch who appears in the form of a black dog, then a cat and pushes Petrus Bezrodny to commit a crime. Gogol's Solokha does not make such a terrible impression, perhaps because she lives in two worlds. In everyday life, she is a "kind woman" who "knew how to enchant the most sedate Cossacks to herself." Portly and loving, she belongs to the category of witches on the grounds that she loves to fly on a broomstick, collect stars and is the devil's mistress.
Mermaids- the goddesses of reservoirs in Slavic mythology are depicted by Gogol in the story "May's Daughter". The story of Pannochka-Verenitca" href="/text/category/verenitca/" rel="bookmark">rows running out of the water. They are extremely attractive. However, Gogol's enthusiastic description of the mermaid ends with the author's warning: "Run, baptized person! her mouth – ice, bed – cold water, it will tickle you and drag you into the river.” The antithesis of the mermaid – “unbaptized children” and “baptized person” emphasizes the hostility of pagan elements and Christian ideas.
Most of the images of Ukrainian demonology are of pre-Christian origin. Christian and pagan motifs are bizarrely intertwined in the artistic fabric of "Evenings ...".
We also observe the synthesis of pagan and Christian motifs in the depiction of holidays, which is especially pronounced in “The Evening on the Eve of Ivan Kupala” and “The Night Before Christmas”. In particular, the phrase "Ivan Kupala" in the title of the story is reminiscent of the pagan holiday of Kupala, common among the Slavic peoples. Which was celebrated on the night of 6 to 7 July. With the introduction of Christianity, the feast of St. John of the Cross appeared), and in the popular mind, pre-Christian and Christian traditions were combined, which was reflected in the celebration of Ivan Kupala.
The author of "Evenings ..." shows an increased interest in Slavic demonology. But in all the stories where there is an evil spirit - the embodiment of evil, it turns out to be defeated, punished. "<…>Overcoming the devil is one of the main themes of "Evenings ...", - he notes. In the fight against it, the importance of Christian shrines and symbols is emphasized, in particular, the cross, the sign of the cross, prayer, sprinkles and holy water. At first glance, the mention of them in the text of Gogol's stories takes up little space, but they play an important role in the author's conception of the world, of which Christian culture is an integral part. The Christian elements are especially tangible in the stories told by the deacon of the Dikan church, Foma Grigorievich. For example, mentioning his grandfather in the story “The Evening on the Eve of Ivan Kupala,” the narrator does not forget to add “God rest his soul!”, And, remembering the evil one and his tricks, “so that his dog’s son would dream of a holy cross.” We encounter similar accents in The Enchanted Place. In all the "tales" told by Foma Grigorievich, the only salvation from evil spirits is the sign of the cross. In "The Enchanted Place", the grandfather puts up crosses if he hears about the "cursed place". Here the devil is “an enemy of the Lord Christ, who cannot be trusted…”. The motive of selling the soul to the devil is one of the key ones in the story “The Evening on the Eve of Ivan Kupala”, in the finale of which the sign of the cross is mentioned several times as the only salvation from evil spirits: “Father Athanasius walked around the village with holy water and drove the devil with an aspergator”. In "The Missing Letter" - a story about "how the witches played the fool with the late grandfather" - the hero manages to win and save the missing letter due to the fact that he guessed to cross the cards. The theme of overcoming the devil is one of the key ones in the story "The Night Before Christmas". Here, Vakula is opposed to the devil, whose piety the author repeatedly emphasizes: “a God-fearing person”, “the most pious person from the whole village”, who painted images of saints, in particular, the Evangelist Luke. The triumph of his art was a picture in which “he depicted St. Peter on the day of the Last Judgment, expelling an evil spirit from hell; the frightened devil rushed about in all directions, foreseeing his death ... ". Since then, the unclean one has been hunting for Vakula, wanting to take revenge on him. However, he failed to buy Vakula's soul, despite promises ("I'll give you money as much as you want"). The sign of the cross, created by Vakula, made the devil obedient, and the blacksmith himself turned out to be much more cunning than the devil.
The story "Terrible Revenge" is one of the key stories in the collection, it summarizes the Christian motives that are reflected in it. An important role is played in it by the motive of God's righteous judgment, which is repeated twice: first, Katerina's soul warns her father that "the Last Judgment is near", then in the story of two Cossacks - Peter and Ivan, which was told by a blind bandura player. In this insert legend, which concludes the story, in the foreground is the motive of betrayal, which goes back to biblical archetypes. After all, Peter betrayed his brother, like Judas. With the image of the sorcerer in the story, the image of a foreign land, barely outlined at its beginning, is connected. The miraculous power of icons helps to reveal the true appearance of the sorcerer. Under the influence of holy icons and prayer, the unkind guest “appeared”. The motive for selling the soul to the devil in this story is associated not only with the image of the sorcerer, but also with his ancestors, "unclean grandfathers", who "were ready to sell themselves for money to Satan with a soul." The sorcerer - "brother of the devil", like an unclean one tempts the soul of Katerina, asks to be released from the cell where Danilo Burulbash imprisoned him. And in order to win her over to his side, he starts talking about the Apostle Paul, who was a sinful man, but repented and became a saint: “I will repent: I will go into the caves, put on a stiff sackcloth on my body, I will pray to God day and night.” The false oaths of the sorcerer are opposed in this episode by the motive of holiness. A sorcerer capable of many miracles cannot pass through the walls that the holy schemer built.
The significance of Christian motifs in Gogol's first collection cannot be underestimated. The Christian worldview is an integral part of the characteristics of the author and his characters. The surreal night world, inhabited by devils, witches, mermaids and other characters of ancient Slavic mythology, is evaluated from the point of view of Christian ideology, and its main character - the devil - is ridiculed and defeated. Christian and pagan motifs and symbols in Gogol's "Evenings ..." are sharply contrasted and at the same time given in synthesis as opposite poles that characterize the people's worldview.

2009 is the year when the entire literary country will celebrate the 200th anniversary of the birth of the great writer.

This work was prepared primarily to help students and is a literary analysis of works, which reveals the basic concepts of the topic.

The relevance of the topic is demonstrated by the choice of works by the great Russian science fiction writer.

This work is dedicated to the works of N.V. Gogol - "Evenings on a farm near Dikanka", "Nose", "Portrait". To understand Gogol's method of presenting a text, where fantastic plots and images play the main role, it is necessary to analyze the structure of the work.

The choice of texts is based on the “school curriculum +” principle, that is, a small number of texts are added to the school curriculum, which is necessary for general humanitarian development

This work is based on sections from the book by Yu. V. Mann "Gogol's Poetics".

The purpose of the work: to understand, see the complexity and versatility of the writer, to identify and analyze the features of poetics and various forms of the fantastic in the works.

In addition to materials devoted to Gogol's work, the work contains a kind of literary glossary: for the convenience of the student, the main terms and concepts are highlighted for each work.

I would like to hope that our work will help students explore works from the point of view of a fantastic worldview.

Fiction in literature is the depiction of implausible phenomena, the introduction of fictitious images that do not coincide with reality, a clearly felt violation of natural forms, causal relationships, and laws of nature by artists.

The term fantasy comes from the word "fantasy" (in Greek mythology Phantasus is a deity that causes illusions, apparent images, the brother of the god of dreams Morpheus).

All the works of N.V. Gogol, in which fantasy is present in one way or another, are divided into two types. The division depends on what time the action of the work belongs to - to the present or the past.

In works about the "past" (five stories from "Evenings" - "The Missing Letter", "Evening on the Eve of Ivan Kupala", "The Night Before Christmas", "Terrible Revenge", "The Enchanted Place", and also "Viy") has common features.

Higher powers openly intervene in the plot. In all cases, these are images in which an unreal evil principle is personified: the devil or people who entered into a criminal conspiracy with him. Fantastic events are reported either by the author-narrator or by a character acting as a narrator (but sometimes based on a legend or on the testimony of ancestors - "eyewitnesses": grandfather, "my grandfather's aunt").

In all these texts there is no fantastic backstory. It is not needed, since the action is homogeneous both in temporal captivity (the past) and in relation to fantasy (not collected in any one time period, but distributed over the course of the work).

The development of Gogol's fiction is characterized by the fact that the writer pushed the carrier of fiction into the past, leaving his influence, "trace" in the modern time plan.

In Gogol's fiction there is:

1. Alogism in the narrator's speech. (“Portrait” - “First of all, he took up finishing the eyes”, “as if an impure feeling led the artist’s hand”, “You just didn’t hit him in the eyebrow, but climbed into his very eyes. So eyes never looked into life like they looking at you", etc.).

2. Strange-unusual in terms of the depicted. The strange intervention of an animal in action, the revival of objects. (“Nose” - the nose is a living character, “Portrait” - “looked at him, leaning out from behind the set canvas, someone's convulsively distorted face. Two terrible eyes stared directly at him, as if preparing to devour him; there was a threatening command to be silent")

3. Unusual names and surnames of the characters. (Solokha, Khoma Brut and others; "Portrait" - in the first edition - Chertkov, in subsequent editions - Chatrkov).

Let us pay attention, first of all, to the fact that in the story such concepts as “line” and “border” quite often appear. The semantics of the name Chertkov includes not only associations with the bearer of unreal (non-existent in reality) power, with the devil, but also with the trait both in the artistic sense (stroke, stroke) and in a broader sense (border, limit).

This may be the boundary of age, separating youth and maturity from withering and old age, separating artistic creativity from mechanical labor.

Under the surname already Chartkov lies a lie, idealization, adaptation to the tastes and whims of his rich and noble customers; work without inner and creative insight, without an ideal; there is a self-exaltation of a hero who destroys his spiritual purity, and at the same time his talent.

4. Involuntary movements and grimaces of characters.

In folk demonology, involuntary movements are often caused by a supernatural force.

The story "The Nose" is the most important link in the development of Gogol's fiction. The carrier of the fantastic has been removed, but the fantastic remains; the romantic mystery is parodied, but the mystique remains.

In The Nose, the function of the “rumor form” is changed, which now does not serve as a means of veiled fantasy, it operates against the backdrop of a fantastic incident presented as reliable.

In "Portrait", as in "Sorochinsky Fair" and in "May Night", the fantastic is presented in such a way that supernatural forces in their "tangible" appearance (witches, devils, etc.) are relegated to the back, "yesterday's" plan.

In today's time plan, only a fantastic reflection or some fantastic remnant is preserved - a tangible result of strange events that took place in reality: “He saw how the wonderful image of the deceased Petromichaly went into the frame of a portrait”

Only this portrait passes into reality, and personified fantastic images are eliminated. All strange events are reported in a tone of some uncertainty. Chertkov, after the appearance of the portrait in his room, began to assure himself that the portrait was sent by the owner, who found out his address, but this version, in turn, is undermined by the narrator's remark: “In short, he began to give all those flat explanations that we use when we want, so that what happened will certainly happen the way we think” (but that it did not happen “the way” that Chertkov thought, is definitely not reported).

Chartkov’s vision of a wonderful old man is given in the form of half-sleep-half-awake: “he fell into a dream, but into some kind of half-forgetfulness, into that painful state when with one eye we see the oncoming dreams of dreams, and with the other - in an obscure cloud of surrounding objects.” It would seem that the fact that it was a dream is finally confirmed by the phrase: "Chartkov was convinced that his imagination presented him in a dream with the creation of his own indignant thoughts."

But here a tangible “residue” of the dream is discovered - money (as in “May Night” - a letter from a lady), which, in turn, is given a real everyday motivation (in “the frame was a box covered with a thin board”).

Along with the dream, such forms of veiled (implicit) fantasy are generously introduced into the narrative, such as coincidences, the hypnotizing effect of one character (here, a portrait) on another.

Simultaneously with the introduction of veiled fantasy, the real-psychological plan of Chertkov the artist emerges. His fatigue, need, bad inclinations, thirst for quick success are noted. A parallelism is created between the fantastic and the real-psychological concept of the image. Everything that happens can be interpreted both as a fatal influence of the portrait on the artist, and as his personal surrender to forces hostile to art.

In the "Portrait" the epithet "hellish" is applied several times to Chertkov's actions and plans: "the most infernal intention that a person has ever harbored was revived in his soul"; “an infernal thought flashed in the artist’s head” Here, this epithet was correlated with Petromichaly, a personified image of an unreal evil force (“The victims of this hellish spirit will be countless,” it is said about her in the second part).

So, in his searches in the field of fantasy, N.V. Gogol develops the described principle of parallelism between the fantastic and the real. Gogol's priority was prosaic-everyday, folklore-comic fiction.

We see that the writer, introducing in parallel with the “terrible” comic treatment of “devilry”, realized a pan-European artistic trend, and the devil from “The Night Before Christmas”, blowing on burned fingers, dragging after Solokha and constantly getting into trouble.

In the “Portrait” the religious painter says: “For a long time the Antichrist has wanted to be born, but he cannot, because he must be born in a supernatural way; but in our world everything is arranged by the Almighty in such a way that everything happens in a natural order.

But our earth is dust before the Creator. According to his laws, it must be destroyed, and every day the laws of nature will become weaker and, from that, the boundaries that hold the supernatural more criminal.

With the words of a religious painter about the loosening of world laws, Chertkov’s impressions of the portrait completely coincide. "What is it"? he thought to himself. - "Art or supernatural what kind of magic that looked past the laws of nature?"

The divine in Gogol's concept is natural, it is a world that develops naturally.

On the contrary, the demonic is the supernatural, the world getting out of the rut.

By the middle of the 1930s, the science fiction writer especially clearly perceives the demonic not as evil in general, but as alogism, as "a disorder of nature."

The role of fantastic backstory is played by the story of the artist's son.

Some of the fantastic events are presented in the form of rumors, but some are covered by the introspection of the narrator, who reports miraculous events as if they had actually taken place.

The fantastic and the real often go into one another, especially in art, because it does not simply depict life, but reveals, objectifying what is happening in the human soul.

Fantastic story by Gogol - "The Nose". First of all, we note that the fantastic must not and cannot give illusions here. Not for a minute will we imagine ourselves in the position of Major Kovalev, who had a completely smooth place where his nose should have been. However, it would be a big mistake to think that the fantastic is used here in the sense of an allegory or an allusion in a fable or some modern pamphlet, in a literary caricature. It serves neither teaching nor denunciation here, and the author's aims were purely artistic, as we shall see in further analysis.

The tone and general character of the fantastic in the story "The Nose" is comic. Fantastic details should reinforce the funny.

There is a very common opinion that "The Nose" is a joke, a kind of game of the author's fantasy and author's wit. It is wrong, because in the story one can see a very specific artistic goal - to make people feel the vulgarity surrounding them.

“Every poet, to a greater or lesser extent, is a teacher and a preacher. If a writer doesn't care and doesn't want people to feel the same as him, want the same as him, and see good and evil where he is, he is not a poet, although perhaps a very skillful writer. "(Innokenty Annensky "On the forms of the fantastic in Gogol").

Therefore, the thought of the poet and the images of his poetry are inseparable from his feeling, desire, his ideal. Gogol, drawing Major Kovalev, could not act with his hero as with a beetle, which the entomologist will describe, draw: look at it, study it, classify it. He expressed in his face his animated attitude towards vulgarity, as to a well-known social phenomenon, with which every person must reckon.

Vulgarity is pettiness. Vulgarity has only one thought about itself, because it is stupid and narrow and sees and understands nothing but itself. Vulgarity is selfish and selfish in all forms; she has both ambition, and fanaberia (arrogance), and swagger, but there is neither pride nor courage, and nothing noble at all.

Vulgarity has no kindness, no ideal aspirations, no art, no god. Vulgarity is formless, colorless, elusive. It is a muddy life sediment in every environment, in almost every person. The poet feels all the terrible burden of hopeless vulgarity in the environment and in himself.

"Fantastic is that drop of aniline that stains the cells of organic tissue under a microscope - thanks to the extraordinary position of the hero, we better see and understand what kind of person he was." (Innokenty Annensky "On the forms of the fantastic in Gogol").

Kovalev is not an evil or kind person - all his thoughts are focused on his own person. This person is very insignificant, and now he is trying in every possible way to enlarge and embellish her. "Ask, darling, Major Kovalev." "Major" sounds prettier than "college assessor". He does not have an order, but he buys an order ribbon, wherever possible, he mentions his secular successes and acquaintance with the family of a staff officer and a state adviser. He is very busy with his appearance - all his "interests" revolve around a hat, hairstyle, clean-shaven cheeks. He is also proud of his rank.

Now imagine that Major Kovalev would have been disfigured by smallpox, that a piece of cornice would have broken his nose while he was looking at pictures in the mirror glass or at another moment of his idle existence. Wouldn't anyone be laughing? And if there were no laughter, what would be the attitude towards vulgarity in the story. Or imagine that Major Kovalev's nose would disappear without a trace, so that he would not return to his place, but would continue to travel around Russia, posing as a state adviser. Major Kovalev's life would have been ruined: he would have become both an unhappy and useless harmful person, he would have become embittered, he would have beaten his servant, he would have found fault with everyone, and perhaps even started to lie and gossip. Or imagine that Gogol would have portrayed Major Kovalev as corrected when his nose returned to him - a lie would be added to the fantasticness. And here the fantastic only intensified the manifestation of reality, colored the vulgarity and increased the ridiculous.

The detail of the imposture of the nose, which pretends to be a state councilor, is extremely characteristic. For a Caucasian collegiate assessor, the rank of state councilor is something extraordinarily high, enviable and offensive in its unattainability, and suddenly this rank goes to Major Kovalev's nose, and not to the major himself, the rightful owner of the nose.

Here, in fantastic forms, a very close to us and the most ordinary phenomenon is drawn. The Greeks made a goddess out of him - Rumor, the daughter of Zeus, and we call him Gossip.

Gossip is condensed lies; each adds and jumps a little, and the lie grows like a snowball, sometimes threatening to turn into a snow avalanche. Often no one is guilty of gossip separately, but the environment is always guilty: better than Major Kovalev and Lieutenant Pirogov, gossip shows that pettiness, empty thought and vulgarity have accumulated in this environment. Gossip is the real substratum of the fantastic.

In general, the strength of the fantastic in the story "The Nose" is based on its artistic truth, on its graceful interweaving with the real into a living bright whole.

In conclusion of the analysis, one can define the form of the fantastic in "The Nose" as everyday.

And from this side, Gogol could not choose a better, more vivid way of expression than the fantastic.

We will take Viy as a representative of another form of the fantastic in Gogol. The main psychological motive of this story is fear. Fear is twofold: fear of the strong and fear of the mysterious - mystical fear. So here it is precisely mystical fear that is depicted. The author's goal, as he himself says in a note, is to tell the legend he heard about Wii as simply as possible. Tradition is indeed conveyed simply, but if you analyze this story, which develops so naturally and freely, you will see the complex mental work and see how immeasurably far it is from tradition. A poetic creation is like a flower: simple in appearance, but in reality it is infinitely more complicated than any steam locomotive or chronometer.

The poet had, first of all, to make the reader feel that mystical fear, which served as the psychic basis of the legend. The phenomenon of death, the idea of life beyond the grave, has always been particularly willingly colored by fantasy. The thought and imagination of several thousand generations rushed intently and hopelessly into the eternal questions of life and death, and this intent and hopeless work left in the human soul one powerful feeling - the fear of death and the dead. This feeling, while remaining the same in its essence, changes infinitely in the forms and groupings of those representations with which it is associated. We must be introduced into the realm, if not the one that produced the tradition (its roots often run too deep), then at least the one that sustains and nourishes it. Gogol points at the end of the story to the ruins, the memory of the death of Khoma Brutus. Probably, these decayed and mysterious ruins, overgrown with forest and weeds, were precisely the impetus that prompted the fantasy to produce the legend of Wii in this form.

The first part of the story seems to constitute an episode in the story. But this is only apparently - in fact, it is an organic part of the story.

Here we can see the environment in which the tradition was supported and flourished.

This Wednesday is bursa. Bursa is a kind of status in statu *, the Cossacks on the school bench, always hungry, physically strong, with courage, hardened by a rod, terribly indifferent to everything except physical strength and pleasures: scholastic science, incomprehensible, sometimes in the form of some unbearable appendage to existence , then transferring to the world of metaphysical and mysterious.

On the other hand, the bursak is close to the people's environment: his mind is often full of naive ideas about nature and superstitions under the bark of learning; romantic vacation wanderings further maintain the connection with nature, with the common people and the legend.

Khoma Brut believes in devilry, but he is still a scientist.

The monk, who had seen witches and unclean spirits all his life, taught him spells. His fantasy was brought up under the influence of various images of hellish torments, diabolical temptations, painful visions of ascetics and ascetics. In the environment of naive mythical traditions among the people, he, a bookish person, introduces a bookish element - a written tradition.

Here we see a manifestation of that primordial interaction of literacy and nature, which created the motley world of our folk literature.

What kind of person is Khoma Brut? Gogol liked to portray average ordinary people, what this philosopher is like.

Homa Brut is strong, indifferent, careless, likes to eat well and drinks cheerfully and good-naturedly. He is a direct person: his tricks, when, for example, he wants to take time off from his business or run away, are rather naive. He lies without even trying; there is no expansiveness in him - he is too lazy even for that. N.V. Gogol, with rare skill, placed this indifferent person at the center of fears: it took a lot of horrors for them to finish Khoma Brut, and the poet could unfold the whole terrible chain of devilry in front of his hero.

* State within the state (lat.).

The greatest mastery of N.V. Gogol was expressed in the gradualness with which the mysterious is told to us in the story: it began with a semi-comic ride on a witch and rightly developed to a terrible denouement - the death of a strong man from fear. The writer makes us go through step by step with Homa all the stages of development of this feeling. At the same time, N.V. Gogol had a choice of two ways: he could go analytically - to talk about the state of mind of the hero, or synthetically - to speak in images. He chose the second way: he objectified the state of mind of his hero, and left the analytical work to the reader.

From this came the necessary weaving of the fantastic into the real.

Starting from the moment when the centurion sent for Khoma to Kyiv, even comical scenes (for example, in a britzka) are sad, then there is a scene with a stubborn centurion, his terrible curses, the beauty of the dead, the talk of the servants, the road to the church, the locked church, the lawn in front of it , flooded with the moon, futile efforts to cheer themselves up, which only develop a stronger sense of fear, Khoma's morbid curiosity, the dead one wag her finger. Our tense feeling rests somewhat during the day. Evening - heavy forebodings, night - new horrors. It seems to us that all the horrors have already been exhausted, but the writer finds new colors, that is, not new colors - he thickens the old ones. And at the same time, no caricature, no artistic lies. Fear is replaced by horror, horror - confusion and longing, confusion - numbness. The boundary between myself and those around me is lost, and it seems to Khoma that it is not he who speaks the spell, but the dead one. Khoma's death is the necessary end of the story; if for a moment imagine his awakening from a drunken sleep, then all the artistic significance of the story will disappear.

In "Viya" the fantastic developed on the basis of the mystical - hence its special intensity. A characteristic feature of the mystical in N.V. Gogol in general is the major tone of his supernatural creatures - the witch and the sorcerer - vengeful and evil beings.

Thus, the first stage in the development of Gogol's fiction is characterized by the fact that the writer pushed the carrier of fiction into the past, leaving his influence, "trace" in the modern time plan.

The writer, parodying the poetics of a romantic mystery, refused to give any explanation of what was happening.

Reading the works of N.V. Gogol, you involuntarily show your imagination, ignoring its boundaries between the possible and the impossible.

Turning to the work of N.V. Gogol, one can be a priori sure that we will find in it many elements of fantasy. After all, if the latter determined a whole type of folk culture, then, as emphasized by M. Bakhtin, its influence extends over many eras, practically up to our time.

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