Mysticism in the story Bezhin Meadow. Research work in literature

1. The story of Ilyusha about the brownie.
Ilyusha and his friends (ten people) spent the night in an old roller blind. As soon as one of the guys remembered the brownie, someone began to walk above their heads: the boards under him both bent and cracked. Water rustled along the wheel, the wheel began to knock and spin, then suddenly stopped. Then someone again went to the door above, began to leisurely go down the stairs. Door opened. At first, they saw how one vat stirred the form, which rose, walked through the air and fell into place. Then, at another vat, the hook took off from the nail, and then stood on the nail again. After that, the guys heard a cough and were very scared.
2. Kostya's story about a suburban carpenter.
Once the carpenter Gavrila went to the forest to collect nuts. Soon he went to God knows where and got completely lost. Still not finding his way home, Gavrila sat down under a tree and decided to wait until morning. He dozed off when he suddenly heard someone calling him. A laughing mermaid appeared before him on a branch. Gavrila at first fainted, went to the mermaid, and then suddenly changed his mind and crossed himself. The mermaid began to cry and said: “You wouldn’t be baptized, he says, man, you would live with me in fun until the end of days; but I cry, I am hurt because you were baptized; Yes, I will not be the only one to be killed: be killed also you until the end of days. Then she disappeared, and Gavrila understood how to get out of the forest. But since then, he has been walking unhappily.
3. Ilyusha's story about the dam.
A drowned man who drowned a long time ago is buried at the dam. And his grave was visible - a tubercle. Once Yermil went for mail, lingered in the city, and was driving back drunk. He was crossing the dam and saw a white lamb on the grave of the drowned man. Ermil decided to pick him up, took him in his arms and drove on. He looks at the lamb, and he looks straight into his eyes. Yermil became terribly, he began to stroke him and say: “Byasha, byasha!” And the ram suddenly bared his teeth, and he too: "Byasha, byasha ...".
4. The story of the unclean place Varnavitsy
The late gentleman walks in a long-brimmed caftan, groans and looks for something on the ground. Grandfather Trofimych once met him and asked him what he was looking for. He replied that the gap is grass, they say, the grave crushes him, he wants to get out.
5. Ilyusha's story about the church porch.
On parental Saturday on the church porch, you can see a living person, for whom, that is, in that year it is the turn to die. One has only to sit down at night on the church porch and look at the road. Those will go past you along the road, to whom, that is, to die in that year. Last year, Baba Ulyana went to the porch. She saw a boy in one shirt, and when she liked it, she recognized Ivashka Fedoseyev, who died in the spring. And then I saw myself.
6. Paul's stories about the eclipse.
The old people in the villages said that as soon as the foreknowledge of heaven begins, the amazing, crafty Trishka will appear, coming at the onset of the last times. They can’t take him with clubs, they can’t shackle him in chains - everything gets away with him: the chains are torn, and with clubs people begin to fight among themselves. There was an eclipse, people saw a walking man in the distance. They were frightened: the headman hid in a ditch, the headman got stuck in the doorway, Dorofeich jumped into the oats. And this man turned out to be the cooper Vavila.
7. Kostya's story about the voice from the buchil.
The boy was going to Shashkino through a meadow where there is a buchilo. He heard a pitiful groan from there. And Pavlusha added that thieves drowned Akim the forester in that boule.
8. Ilyusha's story about the goblin.
The goblin drove a man through the forest, all around one clearing. He saw him well: big, dark, bundled up, as if hiding behind a tree, blinking his big eyes. This man managed to come home only at dawn.

Sections: Literature

Class: 6

Objectives: - to reveal the relationship between man and nature in the story, the features of national identity;

Develop the skills of expressive reading, brief and detailed retelling, analysis of a literary text, oral speech skills;

To cultivate attention to the word, a patriotic attitude and love for the Motherland.

Equipment: portrait of I.S. Turgenev, illustration for the story “Bezhin meadow” “Boys by the fire”, exhibition of children's drawings, melody by James Last “The Lonely Shepherd”, presentation for the lesson.

During the classes

1. Organizational moment.

2. Introductory speech of the teacher. Presentation of the topic and objectives of the lesson.

Today we will talk about the eternal struggle of light and darkness in nature and the human soul.

Life and death. Good and evil. God and spirits of folk beliefs. Faith and beliefs. Day and night. Light and darkness. All life, everything in the world is built on contrast. This opposition exists both in man and in nature.

Guys, let's turn to the story “Bezhin Meadow” that you have already read, take a closer look at the colors, landscape sketches, hear the sounds of a mysterious night and early morning, try to trace the eternal struggle of light and darkness, noticed by the artist of the word I.S. Turgenev. This story is part of the "Hunter's Notes" series. The narration is in the first person, and this is not accidental, because Turgenev himself was an avid hunter ( pay attention to the portrait of the writer).

3. Analytical conversation on issues.

What landscape opens the pages of the story? ( Morning. Day. July.)

Teacher's word: Turgenev is an extraordinary artist, let's see how carefully you read the text. Before you is a creative task “Restore the morning landscape”, where it is necessary to choose Turgenev's epithets and metaphors from this series.

Restore the landscape

creative material

1) Sky (what?) ... 1) Light, clear, pure

2) The morning dawn spills over (how?) ... 2) With a gentle blush, quiet

blush, with a gentle blush

3) The sun (what?) ... 3) Bright and radiant, bright and welcomingly radiant,

sparkling and endless

radiant.

(Note. Pupils write down the correct answer in their literature workbook.

Word of the teacher: Well done, guys, everyone answered correctly. And now let's read the whole landscape to feel the beauty of the July morning ( It was a beautiful July day... a mighty luminary”).

What colors of nature (epithets) does the word artist Turgenev use to paint a picture of the July sunrise and midday solstice? ( Blush, mauve, silver, silver, golden grey, azure, lavender, bluish).

Can you imagine all the colors (colors)?

Azure, purple - what are they? ( Azure - light blue, light blue; lilac - lilac, purple).

(Note.: draw the attention of children to the exhibition of drawings, give a brief comment on the landscapes drawn by the students).

Teacher's word: Did you notice what image appeared in the landscape? ( Candle image).

This image conveys the harmony (consistency, harmony) of the transition from one beginning to another in nature. I emphasize - it is in nature.

How do you understand the words “everything is stamped with some kind of touching meekness”?

(Touching- causing tenderness, capable of touching. Meekness- gentle humility).

(Note.: again pay attention to the exhibition of drawings).

What happened to the hero-narrator, who found himself face to face with nature, going into darkness? ( got lost).

Guys, do you think the story is like a fairy tale? How? ( The hero got lost, the night became an obstacle on the way to the house, goes at random, sees the lights, goes to them).

Who is sitting by the fire? ( Peasant children guarding the herd).

Word of the teacher: The tired hero lay down and began to look around. A “wonderful picture” opened up to him, let's find it. ( The teacher expressively reads the passage “near the fire trembled ... darkness fought light” ).

Here it is, the struggle of light and darkness in nature (the world).

Let's now talk about those for whom, according to Turgenev, being in the "mysterious splendor" around the lights is a holiday, a real pleasure.

What was dear to the village boys talking around the fire? (Could talk about the mysterious, mysterious, test yourself for courage, when darkness was gathering around).

What were they talking about? ( About spirits, evil spirits).

Word of the teacher: Two principles live in the soul of a Russian person: faith in God and faith in spirits, all kinds of beliefs, signs (traces of pagan culture)

Paganism- polytheism, belief in spirits and various gods, personifying the forces of nature. Before the adoption of Christianity, the ancient Slavs - pagans represented the world in the form of the "World Tree". The crown belongs to the upper world, the roots to the underground, the trunk provides a connection between these worlds, symbolizing the earth.

The heavenly world belonged to the higher gods (Belbog, Perun, Svarog, etc.), demons and devils lived in the underworld, and the Earth, along with people, was inhabited by brownies

goblin, mermaids, water and other evil spirits. ( The story according to the table “The world in the view of the ancient Slavs”).

Some spirits were hostile to humans, others were benevolent.

Now let's turn to the stories told by the village children.

What does Ilyusha say? About what spirit? ( retelling, close to the text, about the brownie).

How do listeners feel about the story about the brownie? Do they believe?

Why is Pavlusha's reaction attractive? ( Anxiety, sympathy: “Look how! .. Why did he cough?”. Do not scold, do not curse).

Teacher's word: We have religious scholars in our lesson, they will help give us accurate information about the spirits of Slavic mythology. So, who is this Brownie?

(One of the students)

Brownie is the patron of the house. Appears in the form of an old man, a black man, a cat, a rat, a hare, a squirrel. At night he is naughty: he makes noise, shakes the bed, throws off the blanket, scatters flour. He helps people more often: he washes dishes, chop wood, rocks the cradle with a child. Domovoi is mortal. The old is replaced by the young. He rides into a new house on a cat.

What did Kostya say? ( a detailed retelling of the meeting of Gavrila with a mermaid).

Religious scholar 2 about a mermaid.

Mermaid - the maiden of the waters, the wife of the water. A tall beautiful girl who lives at the bottom of a reservoir in a silver palace or in a merman's house. At night, it splashes on the surface of the water, sits on the mill wheel, and dives. It is incorporeal, not reflected in the water. A passerby can be tickled to death or taken away. Mermaids become girls who drown themselves from unhappy love.

What was the way of salvation from evil spirits from time immemorial among the Russian people?

(sign of the cross).

What words of the heroes of the story convince us that among the people fear has always lived next to humor and irony? ( About Trishka the Antichrist, heavenly foresight - a brief retelling + expressive reading).

What spirit are the boys still talking about? ( A brief retelling of the lesh who confused the peasant).

Religious scholar 3 about the devil.

Goblin is the spirit of the forest. Appears in the guise of a simple man, less often - a green old man. Appears and disappears suddenly. Sometimes he jokes with people, tries to confuse them, lead them into the depths of the forest, and then frighten them with a whistle. He is cheerful, his laughter is often heard. In the summer he lives in the forest thicket, goes to people to play cards. He lives with his wife and children in the hollow of an old tree.

Word of the teacher: Guys, pay attention to the fact that conversations about all kinds of evil spirits are interrupted by an appeal to God: “Look, guys, .. at God's stars - that the bees are swarming!”.

Tell us briefly what happened to Pavlusha when he went to the river for water? ( The waterman called. bad omen).

Religious 4 about water.

Vodyanoy is the spirit of rivers and lakes. Appears in the form of a naked man with long green hair and a mud beard. The body is covered with scales, on the hands of the membrane. Appears only in the evening or at night. The fishermen make sacrifices to him.

How did Pavlusha react to what happened? What did he say in response to the words of the frightened children? (“You can’t escape your fate”).

Teacher's word: Paul's phrase made a "deep impression" on the children. But now the night is running out, and Turgenev writes that "the conversation of the boys was fading away along with the lights."

How does the writer end the story? Find and read expressively ( Reading of the excerpt “... the morning began ... with a cheerful shiver” to the tune of James Last “The Lonely Shepherd”).

Teacher's word: Look, guys, how the story is built. Where does it start and where does it end? ( Sunrise). This building is called ring composition. And it is very important that the author completes the story with the morning landscape, the sun, its young and hot light.

(Note: Pay attention to the table “Sounds of the night and morning”, give a comparative description).

What words Turgenev conveys the awakening of nature? (“It stirred, sang, rustled”).

But then the most important sounds passed by. Which? (“The sounds of the bell came”).

Teacher's word: Look what amazing epithets the writer has chosen for the bell ringing - "clean, clear, as if washed by the morning coolness."

How did you understand what, according to Turgenev, should take precedence in a person’s soul? ( Divine principle, cleansing bell ringing).

4. Conclusions on the topic of the lesson: Here we have seen that the struggle between light and darkness exists both in nature and in the world of people. In nature, the transition is more harmonious, but what will be more in the soul of a person depends on him. Of course, a person should strive for the sun, light, God.

Here, in the vicinity of the famous Bezhin Meadow, there are many legends about mermaids and other representatives of the unknown world.

Maria Remizova, a resident of the village of Turgenevo: “I will throw a birch wreath into the water, onI'm guessing at the betrothed-mummers.

The first point on our journey was the village of Turgenevo, which was once the center of the noble estate of the family of the great Russian writer. Pitiful crumbs have survived from the former luxury, and even they are crumbling literally before our eyes ... Let's leave it on the conscience of those who, on duty, should take care of preserving the unique (!) Cultural heritage of the region, and let's go to places covered with legends ...

Church of the Entry into the Temple of the Blessed Virgin Mary

Church of the Entrance to the Temple of the Blessed Virgin Mary.

It was built at the expense of Nikolai Alekseevich Turgenev, the writer's grandfather, and consecrated in 1806.

Here was an ancient silver icon "weighing six and a half pounds" - a family heirloom of the Turgenev family. In addition to her, at the end of the 19th century, a precious iconostasis shone in the temple, made by the masters of the Russian Academy of Arts, and three icons by Grigory Myasoedov, the “Pillar of the Wanderers”. He also painted the dome of the altar, and free of charge ...

Legend (mentioned in the story "Bezhin Meadow"). On parental Saturday, “... you only need to sit on the church porch at night, but look at the road all the time. Those will go past you along the road, to whom, that is, to die in that year. They also say that on the full moon you can hear the sound of a bell in the temple. It calls merrily - wait for joy, sadly - prepare for misfortune ...

Bridge over the Snow

Bridge over Snezhed.

It is located not far from the place where one of the mills of Anisim Varfolomeevich Chaadaev used to stand. This wealthy merchant had a difficult but strong financial relationship with Ivan Turgenev.

Anisim's portrait now hangs peacefully at home with his granddaughter, 95-year-old Lidia Kuzminichna, who lives in a house next to the paper mill building.

Rumor has it that a girl in long white robes appears on this bridge on a full moon. She stands, stretches her hands to the shore and moans plaintively, plaintively in a thin voice ... If you tie a beautiful ribbon to the railing of the bridge - it will be a gift to her, she will come in a dream and call the name of her betrothed (narrowed).

Golden River Snezhed

River Snezhed.

At the beginning of the 19th century, this river from mouth to source was bought by Ivan Ivanovich Lutovinov, the great-uncle of the writer. Not for the construction of mills, he washed here ... GOLD!

Residents indicate a specific place - from the Forgiveness well to the mill buchal (about a kilometer upstream). In the 70s, there were active quarries nearby, where crushed stone was mined. They say that they found inclusions of precious metal in it ...

Mermaids on the branches...

The Russian and Soviet ethnographer Dmitry Konstantinovich Zelenin wrote: “... in our (Chernsky district of the Tula province) forests there are still mermaids, but now there are fewer of them and they are not so dangerous for humans ... Mermaids in the forest either swing on the branches of a birch, or they sit under a tree with baskets in their hands, in which they carry berries, nuts, bagels, rolls, and with this they lure little children to them and tickle them, and then rejoice. During the flowering of bread, mermaids walk in the rye. They look like girls, beautiful in shape and face, with long green hair loose and have no clothes.

... Mermaids are dangerous in the mermaid week. Day and night they run recklessly throughout the mermaid week through the fields and dales, climb the branchy old trees, swing on flexible branches, sing their songs, shout, clap their hands. Rumor has it that in those fields where mermaids frolic, the yield improves dramatically: even simple grass begins to grow better, and flowers acquire a particularly delicate, intoxicating aroma.

The amulets against mermaids are the cross; a circle drawn on the ground, overshadowed by the sign of the cross; garlic; iron (needle, pin or knife).

“... looks: and in front of him on a branch a mermaid sits, sways and calls him to her, and she herself dies with laughter, laughs ... And the moon shines strongly, so strongly, the moon clearly shines - that's it, my brothers, it is seen. ... and she is all fair, white, like some kind of small raft or a gudgeon ... Gavrila the carpenter is so dead, my brothers, and you know she laughs and calls him to her like that with her hand ...

Ivan Sergeevich Turgenev, Bezhin Meadow.

Our reference

The word "mermaid" - from the word "fair-haired", which in Old Slavonic meant "light", "clean". A piquant feature of mermaids is a fish tail instead of legs. But this is not at all necessary. In Slavic mythology, mermaids are just inanimate girls. No tail. With legs.

forgiven well

Forgive well.

This source, revered by the locals, is located on the banks of the Snezhed. According to legend, its water gives beauty and youth to women, and strength to men. Especially strong is the water "unpotted", taken before sunrise. To this day, people suffering from eye diseases come to the Forgiveness Well, mothers bring here their children suffering from skin diseases. They say that wonderful water helps to relieve ailments ...

The well is consecrated.

Horse-stone

Historian Vladimir Zaitsev believes that this stone waspagan altar. This is specifically indicatedholes drilled into it.

“Of the wonderful stones in the Chernsky district, there is only one called the Horse,” Alexander Zelenetsky wrote in 1850. - This stone lies in a ravine along with others and looks like a crown of a hat. ... They say that this stone was the horse of some hero who wanted to move through the swamp and got stuck in it.

There is another legend. They say that once upon a time a gentleman passed here, he was dissatisfied with his horse and cursed him endlessly. For these curses, he fell through the ground, and only the head of the horse remained on the surface of the earth. In the distance lies a small stone. This is what's left of the master...

Judging by the geographical names of the Chernsky district, there were several such stones, as evidenced by the opposition of the names Big Horse - Small Horse. Apparently, the megalith near the village of Malyi Kon went into the ground, since the old-timers cannot indicate its location.

110 kilometers you have to drive from Tula to get to the land of legends Bezhin Meadows.

Do you know that...

Thyme drives away witches

Our ancestors knew that each potion has its own magical time when it has the greatest healing power. They began to collect herbs on the Zelnik holiday (on Wednesday at the mermaid week). They collected them, having prayed and always dressed in a clean shirt. They turned to the gods and spirits of plants so that the collected potion would be an assistant from all sorts of ailments:

"Father-Heaven, Earth-Mother, bless the potion to take."

A lot of herbs grow on the Bezhin Meadow! There are among them those that have been used for centuries to perform magical rites. For example, thyme (thyme, virgin herb, wild mint). It is believed that he is able to evoke memories of the past, makes it possible to look into the future, drives away brownies and witches. If you put it in the pillow you sleep on, it will drive away bad dreams and cause happy prophetic visions.

A drink was made from thyme, which was consumed on Green holidays (a week before and after the Trinity), when the dead were commemorated, and also - from the evil eye, witch powers on Ivan Kupala, on Sparrow Night (the night of September 1, as well as the night with a strong thunderstorm or lightning). With this drink, the girls bewitch the guys who have cooled off to them; and those who were “on the pore” (pregnant) lubricated themselves with it, so that evil forces would not harm the unborn baby.

Photo by Igor Karachevtsev.

In the 60s of the XIX century, from the pen of the famous Russian writer I.S. Turgenev published a number of stories devoted to the theme of the mystical and supernatural. Subsequently, literary critics dubbed them "Mysterious stories". It is possible that they were written under the influence of some personal experience experienced by the writer.

Realist and "Ghosts"

In 1863, the story “Ghosts” was published, which had the subtitle “Fantasy”. Soviet critics refer to the "spiritual crisis" experienced during this period against the background of the "aggravation of the class struggle." Turgenev himself, in a letter to his closest friend V.P. Botkin on January 26, 1863 writes: “This is a series of some spiritual dissolving-views (foggy pictures. - Auth.) Caused by the transitional and really difficult and dark state of my “I””.

The researcher of creativity I. Vinogradov notes: “A sober realist, who always struck with the amazing lifelike authenticity of his paintings, and suddenly mystical stories about ghosts, about posthumous love, about mysterious dreams and dates with the dead ... Many were confused by this.”

The story “The Dog” (1864) was especially skeptical, the hero of which, a ruined Kaluga landowner, is faced, as they would say today, with the poltergeist phenomenon. A poetic review of a certain P.I. was published in the satirical magazine "Alarm Clock". Weinberg for this work:

I read your "Dog"
And from now on
Something scratches in my brain
Like your Trezor.
Scratching during the day, scratching at night,
Does not lag behind
And very strange questions.
It asks me:
“What does a Russian writer mean?
Why why
For the most part he cums
God knows what?”

The Dog was followed by Strange Story (1869), Knock... Knock... Knock!.. (1870), The Clock (1875), Dream (1876), Father Alexei's Tale (1877), "The Song of Triumphant Love" (1881), "After Death" (1882) and a number of "mysterious stories", the last of which was the unfinished story "Silaev", written already in the late 1870s.

Flights in a dream and goblin in the "night"

Maybe, after all, behind the “tales” about the mysterious there was something more than fantasy? Take at least the same "Ghosts". His hero travels over the earth at night along with a woman named Ellis. “Everyone who happened to fly in a dream will understand me,” such a phrase slips through the text. Most likely, Turgenev transferred his own impressions to paper.

Only more than a hundred years later, when the Russian press began to actively write about various "paranormal" phenomena, some researchers drew attention to how exactly the details of "Ghosts" coincide with people's stories about the "isolation of the astral body" in a dream or in an altered state of consciousness. . As a rule, in these cases, eyewitnesses say that their soul left the body shell and traveled to various places, became a witness to events, information about which was not available to a person in his physical body.

Sometimes "exits from the body" were carried out at will, became the result of meditation. So, D. Whiteman in his book "The Mysterious Life" describes more than 600 such "astral journeys". In turn, R. Monroe in the book "Journeys Out of the Body" claims that he has experienced more than 900 such experiences.

Turgenev does not bypass attention and. So, in the story “Bezhin Meadow” from “Notes of a Hunter”, peasant children in the “night” tell each other stories about brownies, mermaids, goblin, water, the dead and other mystical phenomena. And one of the young heroes hears the voice of a drowned man and at the end of the story dies, falling from his horse. “I did not at all want to give this story a fantastic character,” the author justifies in a letter to E.M. Feoktistov.

horror in the forest

The researcher Maya Bykova in the book "Legend for Adults" tells about one story that happened to Turgenev in his youth, which, perhaps, is the key to the entire cycle of "Mysterious Tales".

For the first time, Ivan Sergeevich publicly told about this in Paris, in the salon of Pauline Viardot, when among the guests they started talking about the terrible and inexplicable. The details of his story were reflected by the equally famous French writer Guy de Maupassant in the short story Horror.

Once young Turgenev went hunting. It took place in central Russia. By evening, he went to the bank of the forest river and wanted to swim. Suddenly he felt that someone was touching his shoulder and, turning around, saw a strange creature - either a woman or a monkey. She had a wide wrinkled face, as if grimacing, her bare breasts dangled like bags, long tangled hair fluttered behind her back ...

The young man felt a chilling fear and turned sharply towards the shore. However, the creature constantly caught up with him, touching his neck, back, legs. At the same time, it emitted a joyful squeal.

Having got out on the shore, Turgenev rushed to run with all his might, not grabbing any clothes or a gun. The creature followed him ... Fortunately, they met a shepherd boy who began to whip the monster with a whip and this put him to flight. Screaming in pain, the “monkey woman” hid in the thickets of the forest.

Oddly enough, this case did not become a topic for a story. But people who at least once had a chance to encounter something from the sphere of the "unknown", often then show interest in this all their lives. Apparently, this is what happened to one of the most prominent Russian classical writers.

DOI: 10.12731/2218-7405-2014-3-3 UDC 82

HISTORIOSOPHICAL MYTH IN I.S. TURGENEV "BEZHIN LUG"

Ibatullina G.M.

Historiosophical problems of the cycle of I.S. Turgenev's Notes of a Hunter is one of the least studied aspects of the writer's work. The main purpose of the article is to study the mythopoetic forms of the embodiment of Turgenev's philosophy of history in the artistic system of the story "Bezhin Meadow", which is the key to the cycle. The relevance and scientific novelty of the work is determined by the new possibilities of interpreting the textbook Turgenev's work. An analysis of the symbolic subtext of the story reveals here an artistically encoded concept of the historical destinies of Russia and humanity as a whole; the empirically observed development of the human community is explained by Turgenev through the logic of sacred metahistory.

The author of the article comes to the conclusion that Turgenev's model of history is realized in the system of the work as a myth through a number of associative-sign images and motifs. At the same time, the mythologized view of the world does not destroy the essay and factual nature of the story. Myth and reality live here in dialogue, discovering each other both for themselves and for the reader. In the context of this dialogue, the national-historical myth turns out to be inextricably linked with the myth of the Fall and the eschatological myth, and in the processes of dialogic mutual reflections, each of them not only reproduces its traditional content, but also significantly enriches it.

Key words: myth, historiosophy, poetics, image, symbol, sign, context.

HISTORIOSOPHICAL MYTH IN THE STORY OF I.S. TURGENEV "BEZHIN LEA"

A Historiosophical problematic of the cycle of I.S. Turgenev "A Sportsman's Sketches" is one of the least studied aspects of the writer's work. The main purpose of this article is to research mithopoetic forms of the embodiment of Turgenev's philosophy of the history in the literally system of the story "Bezhin Lea", which is the key for the cycle. Scientific relevance and novelty of the work is determined by the new possibilities of interpretation of Turgenev's textbook. The analysis of symbolic overtones of the story finds here the artistic encoded concept of the historical fates of Russia and of humanity as a whole; empirically observed development of the human society is explained by Turgenev through the logic of sacred metahistory.

The author concludes that Turgenev's history model is implemented in the system works as a myth through a series of associative and symbolic images and motives. However, the mythologized view of the world does not destroy the essay and factual nature of the story. Myth and reality live here in the dialogue, opening each other both for themselves and for the reader. dialogue mutual reflections each of them not only plays its traditional content, but also substantially enriches it.

Keywords: myth, historiosofia, poetics, image, symbol, sign, context.

"Notes of a hunter", of course, can be called one of the most perfect creations of I.S. Turgenev. Written, it would seem, in the traditional form of moral and everyday writing essays for the "natural school", the cycle actually acquired a completely different artistic and philosophical scale and depth. Before us is a holistic picture of Russian life, seen and depicted from different spatio-temporal and semantic angles, the reader is presented with almost all of its spheres: general social and concrete estate, cultural, religious, moral-psychological, everyday, ethnographic, economic, natural-geographical and etc. The cosmos of national life here is not only known by the hero - a hunter, traveler, storyteller - but is rediscovered by his consciousness thanks to a special, at the same time panoramic and extremely detailed, peering into the reality around him. The reader is involved in this spiritual-heuristic collision along with the hero, for whom the effect of discovering something unexpectedly new in a long-familiar becomes one of the main aesthetic impressions. The plot of “travel as a discovery of one’s native country” (V.A. Zaretsky) 1 determines the internal unity of the entire cycle, allowing it to develop from a “hypertext” (a set of stories) into a “metatext”: an artistic whole, outside the semantic field of which individual texts cannot be understood and interpreted adequately. The significance of the heuristic collision in the "Notes of a Hunter" was noticed by V.G. Belinsky, who wrote about “Chorus and Kalinich”, that here “the author approached the people from such a side, from which no one had approached him before. As a rule, Turgenev's discoveries

1 In the book by V.A. Zaretsky presents a deep and convincing concept of the plot-genre specifics of Russian literary travels, for which the semantic center is the idea of ​​traveling around the native country as a new discovery by the author and reader. The "Hunter's Notes" are mentioned only once by the researcher in a number of other travels, but there is no doubt that they organically fit into the paradigm he is building. We only partly touch upon this problem here, since the tasks of our work do not imply a detailed analysis of the Notes in the context of the genre poetics of the work.

are understood primarily in the socio-historical, psychological, moral, ethno-cultural, etc. aspects. Meanwhile, perhaps in none of his other works, Turgenev rose to such heights of artistic and philosophical generalizations, up to metaphysical levels of understanding reality, as in Notes of a Hunter. The range of Turgenev's thought is striking, integrating the logic of everyday life and moral descriptions with historiosophical and general metaphysics into artistic unity. It is here that the main discoveries of Turgenev as an artist and thinker are made, discoveries that develop into genuine revelations in the figurative and semantic contexts of the work.

On what grounds is this unity of the ultimate-universal and "concrete-essay", everyday and existential in the artistic world of "A Hunter's Notes" based? The fundamental basis of such a worldview and its figurative expression is, as you know, mythological consciousness. The very form of the cycle as an integral metatext is in many respects analogous to the narrative form of myth; any mythological text is a fragment of the Great Myth: a mythological cycle about Ends and Beginnings, between which everything that becomes the object of narration is closed. Of course, this analogy alone is not enough to talk about the internal mythologization of the artistic world of the Hunter's Notes. More Yu.V. Lebedev noted mythological motifs in the pictures and images of nature in the Turgenev cycle: “Turgenev’s poetic sense of nature develops in line with national mythopoetic thinking: ancient meanings sleeping in words wake up, giving the picture of nature a vivid poetic imagery ...” . Of course, the point here is not simply in following the folklore and poetic tradition. In the very mind of the hunter-storyteller, the ability

2 In modern literary criticism, mythopoetic interpretations of the "Notes of a Hunter" and Turgenev's work as a whole are becoming almost a tradition; we will find a similar approach in a number of studies: , , , , . Having no opportunity here for a detailed analysis of these works, we only note that the problems of the embodiment of the historiosophical myth in Turgenev's cycle are practically not touched upon anywhere.

to the perception of a deep natural-existential myth, an opportunity is found to enter into communication with the energies and forces of natural-cosmic life. The word "strange" and the through motive of surprise in front of the hidden semantic reality of the world that opens up to the hunter-narrator, hidden behind the visible external forms of reality, we will meet on the pages of many stories of the cycle. This invisible reality enters people's lives as a myth, which some perceive directly and believe in it literally, like the boys of "Bezhina Meadows", others (like the narrator) feel the logic and "truth" of this myth intuitively, even if they interpret it as a poetic image. It is no coincidence that this invisible “other world” is revealed to the hero, who is endowed with artistic imagination (despite the rationality of the thinking of an enlightened person), in the context of the cycle, he is presented as a writer, writer. Secondly, it is also important that we have a “hunter” in front of us; and it's not just that the hunt for game turns into a hunt for new discoveries; important is the special, “marginal” status of a hunter, a person who exists on the borders of different worlds: nature and civilization, culture and “primitiveness”, cities and villages, “home neighborhood” (K. Batyushkov) and “wandering”, active and contemplative, creative and "mechanical"; the hunter is also marginal in relation to historical (hunting has existed at all times), social and estate (hunting is a public occupation), ethnic, psychological, and other differentiations. For example, the hunter-narrator and his closest companion and colleague Yermolai, it would seem, have nothing in common; even psychologically, these are very different people, not to mention the social distance; meanwhile, in hunting these barriers are practically reduced, losing their unconditional status. To some extent, for the Turgenev hunter, the border even between the human and the rest of the "biological" kingdom becomes permeable: the hunter's relationship with his dog and Yermolai with his Valetka sometimes do not differ from their relationship with each other

or with other people, moreover, sometimes this communication with "four-footed animals" turns out to be internally much richer and more productive than with "two-legged animals". (We note in passing that such a holistic worldview is also characteristic primarily for the archaic-mythological consciousness, the “basic instinct” of which was expressively formulated by R. Kipling in the stories about Mowgli: “You and I are of the same blood: You and I.”)

The marginally ambivalent figure of the hunter, on the one hand, breaks the well-established isolation of each of the spheres indicated above, making it possible for them to look at each other in a “detached” way; on the other hand, it gives this multidimensional and rather relativized picture of life and human characters an internal unity: the hunter's ability to dialogue with everyone who meets on his way is perceived as a guarantee of the same mutual dialogue of the worlds he discovers. Of course, Turgenev also sees and depicts dramatic “dead-end” situations where this possibility seems to be completely lost or replaced by “pseudo-dialogues”, as in the story “Two Landowners” with the textbook scene of the “innocent execution” of a serf by the “kindest” gentleman Mardarius Apollonych. The dramatic nature of the substitution of the living and natural in man for the mechanical and artificial, the civilized barbarian, is expressively indicated both by the hero's internally ambivalent name and by his well-known "onomatopoeic" remark: "Chyuki-chuki-chuk!.." but, nevertheless, these dramatic notes do not violate the general internal integrity of the picture of the world recreated by the author, and this is also largely explained by the logic of the myth. The myth does not idyllicize reality, objectively reflecting its contradictions and conflicts, including those insoluble for human understanding; at the same time, the mythological consciousness does not dramatize the conflict nature of being, leaving the right to the existence of irrational secrets, riddles, paradoxes that are inexplicable to humans, but have an explanation somewhere.

sometimes beyond the limits of human understanding (hence, for example, the logic of poorly motivated taboos, traditional for myth).

One of these mysteries that cannot be exhausted by rational-logical explanations is for the consciousness of the narrator in the "Notes of a Hunter" human destinies - both individual and national-historical, and, moreover, the destinies of world history as a whole. As a matter of fact, it is the plot of fate in its various modifications - from concrete biographical to archetypal providential and even metahistorical - that is the semantic center of each of the stories of the cycle. Khor and Kalinich, Yermolai and Melnichikha, Kasyan with the Beautiful Sword, Lukerya from Living Relics, etc. - all this for the author of the history of life, written out both in their biographical recognition and in their inner paradox; each story is an attempt through the logic of personal fate to understand the logic of the movement of the fate of the people, nationwide, the fate of man in general. The dialogical mutual reflections of these plots of fate become the source of the birth of the historiosophical myth, embodied in the associative-symbolic contexts of the Hunter's Notes. The story "Bezhin Meadow" is in this respect one of the programmatic and key ones for understanding the cycle as a single text with a cross-cutting historiosophical metaplot. The providential, irrational nature of the individual destinies of people and of human history as a whole is manifested here not only at the level of subtext, but also at the problem-thematic level, and, moreover, is presented as a subject of the image: remember, the mysteries of human destiny, the secrets of life and death, in including eschatological secrets - the main themes of the stories told by the boys "Bezhina Meadows". For the author, of course, these stories are not just a product of ignorant fiction and superstition of peasant children: before us are Turgenev's "Russian boys", sincerely puzzled and preoccupied with the deepest problems of life: through superstition, metaphysics shines through, through children's fears - passionate desire

look beyond the unknown. The spatial sphere, where this boundary turns out to be permeable, where empirical reality meets metaphysical reality, becomes the world of natural-cosmic being in Bezhina Lug. Note that the "Notes of a Hunter" also presents other boundary spheres that can lead to "metamirs" or open "channels of communication" with them: the sphere of art, creativity, culture ("Singers"); the world of spiritual and moral values ​​and ideals (“Living Powers”4, “Kasyan with a Beautiful Sword.” And in many other stories of the cycle, the beyond manifests itself in the earthly world, shining through its forms and facts, often rethinking and transforming them in human perception, revealing a hidden symbolic or symbolic meaning in them, however, due to lack of space, we cannot now turn to a detailed analysis of the entire system of metaphysical images and motifs of the Hunter's Notes and refer to the works already mentioned above containing similar interpretations (see note "2") .

The famous landscapes of Bezhin Meadows have been repeatedly commented on in the literature, and most commentators have sought to solve the mystery of their amazing organicity in one way or another. The clue lies in the mythopoetic structures, archetypal images and motifs that permeate these landscapes and organize them into a single whole. The space of natural life in Bezhina Lug acquires a special world-modeling status: it is the space of a myth with images of natural elements or elements dominating in it. Nature, as the realm of the elements, with its life independent of man and not entirely clear, reveals itself in every landscape of the story, and not only in Bezhina Meadow, but also in other works of the cycle: images of water (dew, rain, rivers, etc.), fire (solar heat or heat, summer heat, campfire fire, etc.), air, earth are

3 For an analysis of the story "Singers" in this context, see our other work:.

4 The spiritual and moral contexts of this story in the "Hunter's Notes" have repeatedly been in the field of view of researchers; see, eg: , .

through in the artistic world of "Notes of a hunter". In The Singers, for example, the images of the primordial elements are frankly actualized in the paintings of an almost fantastic heat that dries up everything around, and thanks to them, all the depicted - both natural and human - space is mythologized. In “Bezhina Meadow”, on the contrary, the holistic picture of the world presented in the first large landscape is surrounded by mythopoetic associations, and already in this general associative-symbolic context, the images of natural elements begin to be perceived as symbolic and world-modeling details, and not just as traditional nature-descriptive elements for literature. . Let us consider how a number of leitmotifs create here a special symbolic subtext of the narrative and a mythologized model of reality arises. The first landscape of the story attracts attention with a series of emphatically repeated figurative and symbolic details that create an idea of ​​an idyllic world full of harmony, measure and absolutely comfortable for a person; images of light, warmth, freshness, clean transparent air, clear sky, fertile land dominate here: “In dry and clean air, it smells of wormwood, compressed rye, buckwheat; even an hour before night you don't feel damp. The farmer wants such weather for harvesting bread ... ”- this harmonious chord completes the depicted picture. There is nothing here that is not commensurate with a person and his capabilities: both physical and spiritual: “the colors are all softened; bright, but not bright"; At the same time, we have before us not just balance, it is precisely the highest harmony that preserves the measure and at the same time strength, the freshness of novelty, the fullness of life. Moreover, in order to actualize the image of the absolute measure that determines the state of this world, Turgenev resorts to a narrative paradox: to narrative inversion, where the image is built “from the opposite”; instead of saying, according to the usual speech logic, that the sun is radiant and the day is clear, the narrator seems to over-specify: “The sun is not fiery, not red-hot, as during

sultry drought, not dull crimson, as before a storm, but bright and welcomingly radiant. “the dawn does not burn with fire”; “It doesn’t get dark anywhere, the thunderstorm doesn’t thicken; unless in some places bluish stripes stretch from top to bottom: then a barely noticeable rain is sown. The metaphorical “custodians” of the state of the world, which is beneficial for a person, acquire a clearly mythologized, personified connotation: “On such days, the heat is sometimes very strong, sometimes it even“ soars ”on the slopes of the fields; but the wind accelerates, pushes the accumulated heat, and whirlwinds - cycles - an undoubted sign of constant weather - walk along the roads through the arable land with high white pillars. The author also uses other “almost fantastic” details that do not fit well into the logic of the “physiological essay” and the principles of plausibility; for example, it is doubtful that in central Russia days can “settle for a long time” when “even an hour before night you don’t feel damp”: traditionally, both in literature and in “life”, the onset of night and dawn is accompanied by the appearance of dew. The most paradoxical thing is that already in the next landscape, which describes “such a precise day” and, consequently, such a precise night, dry and warm, dew not only appears in abundance, but its image acquires a strange mystical shade: “thick tall grass at the bottom of the valley, all wet, white as an even tablecloth; It was kind of creepy to walk on it.” It is not surprising if a lost girl experienced a feeling of horror from wet grass, but we have an adult man, a hunter, apparently in hunting equipment, who could be uncomfortable with dampness and wet feet, but not "creepy" in the literal sense of the word. Such paradoxes “delimit” the usual picture of the world, which as a result begins to split in two: on the one hand, we have a seemingly completely recognizable reality, on the other, a kind of parallel “other world” in which ordinary logic does not work. Moreover, here the hero now and then has "strange feelings" next to the rational worldview, an irrational one is born, leading to "other-

space", where you can get lost in an absolutely familiar place, where, as in a fairy tale, the hero is taken away by "some kind of unbroken, overgrown path". The images, saturated with symbolic associations, mythologize reality, the empirical and metaphysical space seem to be superimposed on each other, shining through one through the other. This principle is found in the artistic structures of all the landscapes of Bezhina Meadows.

Let us return to the first landscape picture of the story, in which the impression of absolute and improbably perfect harmony, undisturbed measure gives rise to associations with the images of the Golden Age, that primordial-paradise state of nature, which was once intended for man and then lost by him. The figurative and semantic chord that completes this landscape is not accidental: “A farmer wants such weather for harvesting bread ...”. He also refers the reader's consciousness to the idea of ​​the primordial, original destiny of man, commanded to him at the dawn of his existence: to cultivate the land, to eat the fruits and cereals of the earth. Against the background of this absolutely idyllic picture, the first note of dissonance, creating the impression of discomfort, appears already in the first lines of the next paragraph, opening a new landscape: “I found and shot quite a lot of game; the filled game bag mercilessly cut my shoulder. . Here the image of the violation of the measure, the violation of the harmonic community of human life and nature is clear. Before us is not a farmer, but a hunter, moreover, who has shot too much game. At first glance, this detail may seem insignificant, but such is the nature of resonant contexts: even a weak signal is enough to create a significant effect. Recall that the main characters of the stories “Living Powers” ​​and “Kasyan with a Beautiful Sword” also mention the sinfulness and “criminality” of hunting.

The hunter-narrator, who turned out to be a violator of harmony and measure in the symbolic plan of the narrative, loses his bearings and the most important of the landmarks indicated in the text: the "white church" as sacred

the center of the idyllic world and the source of grace in it. The hero of Turgenev got lost both in the literal and symbolic sense, and like the first man, after the fall, he fell into a completely different reality, with different spatial and semantic coordinates. He unexpectedly and strangely for himself (after all, he knows these places well) finds himself in a kind of anti-world, the appearance of which is recreated using the same pictorial details as in the first landscape, but in a mirror projection, with a minus sign. Light is replaced by darkness, dryness - by dampness, heat - by cold, transparent clarity - by the mysteriousness and strangeness of what is happening that causes a feeling of horror. The picture is full of details traditionally perceived as attributes of "evil spirits", the dark side of the world, unkind to humans: bats, an owl flying in the night, an overgrown path, aspen (instead of oaks surrounding the church), a predatory hawk, etc. (see: ).

This reality still gives the impression of some intermediate, borderline space between the sphere of harmony-grace and the clearly visible sphere of primitive chaos, the “lower world” of cosmological myths, to which the hunter approaches with strange inevitability in his wanderings through the other world. The images of the anti-world and chaos culminate in the next, third landscape. Instead of a white-stone church, the narrator suddenly finds himself at a kind of pagan temple, a sanctuary, the white stones of which are an almost mirror-like, but deformed projection of the temple, again with a minus sign: “A strange feeling immediately took possession of me. This hollow had the appearance of an almost regular cauldron with gently sloping sides; several large white stones stuck upright at the bottom of it - it seemed they had slipped there for a secret meeting - and before that it was mute and deaf in it, the sky hung so flat, so dull over it that my heart sank. Once again, the experienced "strange feeling" of the narrator is apparently caused by the fact that before him again

the phenomenon is “almost fantastic”: the shape of a regular boiler is practically never found in nature; what he saw associatively resembles some mysterious artificial structure, or at least what could be such; the images of white figures, as if gathered “for a secret meeting”, clearly perform symbolic functions and contain an allusive reference to the images of priests or ministers of any cults. (Recall that pagan religious buildings, as a rule, were organically inscribed in the landscape and, moreover, often used natural phenomena for sacred purposes, especially those that were perceived as “created miraculously.”) Before us is a clear sacred center of the anti-world that connects a person not with the “upper world” of grace emanating from the Creator, but, like any pagan cult, with the lower world of spirits, elemental natural forces rooted in the bosom of primordial chaos (when “the earth was formless and empty, and darkness over the abyss .. .” - Gen., 1.2) and ambivalent in their original nature, capable of being not only creative, but also destructive. The apogee of the path to the realm of chaos is the image of the “terrible abyss”, over which the hunter found himself. Absolute emptiness reigns here, the absence of light, sound, variety of forms is metaphorically emphasized, the earth here is really “formless and empty”: “It seemed that I had never been in such empty places: no light flickered anywhere, no sound was heard. One gently sloping hill gave way to another, fields stretched endlessly after fields, bushes seemed to suddenly rise from the ground in front of my very nose. I kept walking and was about to lie down somewhere until morning, when suddenly I found myself over a terrible abyss. The cliff over the "abyss" and the river bordering the whole space become signs of the mythological boundary separating the lower world from the upper one, the surreal space from the sphere of human life.

Having got out of the other world, the hunter found himself at the symbolic and also sacralized center of the human universe - in the circle of five boys at

campfire. The world of people is the “middle world”, where “darkness fights light”, and the fate of people is decided on the border of the visible and invisible planes of reality. Nature is ambivalent towards good and evil. The world of natural-elemental forces and energies, in which the being of modern man is immersed, can become both the kingdom of harmony and the sphere of manifestation of the forces of chaos. A person in his historical development goes, focusing on certain spiritual and semantic vectors, and depending on this, he either moves towards harmony (the vector indicated by the image of the temple), or plunges into the ambivalent world of the elements (pagan cults). The life and consciousness of modern humanity is also ambivalent and borderline in relation to these two main spiritual and existential landmarks: it is no coincidence that boys are represented precisely on the border of darkness and light.

The images of five boys reflect the five main socio-psychological types that make up the core of the life organization of almost any civilization (castes, strata, classes, estates, etc.); Of course, this differentiation has deeper than socio-historical roots, since it is an expression of the original archetypal models of personality. Let us note the most important details of the description of the internal and external appearance of the characters, which acquire sign functions in the general symbolic context of the work. It is important that the symbolism of the portrait details is semantically supported by the peculiarities of the character and behavior of each of the boys throughout their long conversation. Connotative motifs of "aristocratism" are clearly introduced into the image of the eldest, Fedya, despite his peasant origin; his facial features, gestures, facial expressions, postures, manner of sitting, speaking, moving, rather resemble the image of a young nobleman, typical of literature, rather than a peasant, even a prosperous one: “He was a slender boy, with beautiful and thin, slightly small features, curly blond hair, bright eyes and a constant half-joyful, half-scattered smile. He

belonged, by all indications, to a wealthy family and went out into the field not out of need, but just for fun. .A small new little overcoat, put on in a back-to-back, slightly rested on his narrow shoulders. ” His symbolic role of an “aristocrat” as a sociocultural leader corresponds to the logic of his behavior: Fedya practically does not participate in the conversation as an active narrator, but it is he who directs the general course of the conversation, gives remarks, asks questions when the boys are silent, skillfully maintains the tone of the conversation from the inside, outwardly looking somewhat distant from her, although benevolently interested. Such could be the "almost ideal" style of the "ruling aristocracy" in any society. The age of the hero also acquires a symbolic meaning: he is the “eldest” among the boys, and clearly enjoys respect “by right”, and not according to the formal status of a “rich son”.

“The second boy, Pavlusha, had tousled, black hair, gray eyes, wide cheekbones, a pale, pockmarked face, a large but regular mouth, a huge head, as they say, with a beer cauldron, a squat, clumsy body. The small one was unsightly - what can I say! - but all the same I liked him: he looked very intelligent and direct, and there was strength in his voice. He could not flaunt his clothes: all of them consisted of a simple zamushka shirt and patched ports. The emphatically rough appearance of Pavlusha, combined with strength, energy, absolute fearlessness, determination and an objectively sober view of the world, creates a portrait of a “warrior”, the second most status stratum in societies of all times and peoples. Pavlusha is the only one who is not afraid to go to the river for water and, without a shadow of a doubt, jumping on a horse, crosses the border of light and darkness around the fire when the dogs raised the alarm. “I involuntarily admired Pavlusha. His ugly face, animated by a fast ride, burned with bold boldness and firm determination. Without a twig in his hand, at night, he, without any hesitation, rode alone against the wolf ... ". Like any warrior of Pavlush, first of all, a “defender”, moreover, capable of resisting not only a real enemy, but also the unreal forces of darkness, to

which he treats with a share of healthy irony (recall his version of the joke about Trishka). At the same time, like many really brave warriors, he is destined for a short life: any warrior, whether he is a soldier or a general, must always be ready to face death. The fate of Pavlusha often causes bewilderment, and in children, during school conversations about Bezhin Meadow, they even protest: why did the author prepare such an “ordinary fatal”, inexplicably accidental death for him - the most courageous, strong and courageous among boys? From the point of view of everyday rational logic, this is a tragic injustice and an accident; from the point of view of providential-mystical psychology - fate and fate, irrational and unknowable; in the symbolic plane of the narrative, Pavlusha's death finds its logical explanation: such is the fate of a true warrior, who is always the first to cross the border of darkness and light and always stands on the dangerous border between life and death.

Within the framework of this work, we cannot give a detailed analysis and commentary on the fragments of the narrative dedicated to all the other boys and limit ourselves to pointing out the final semantic characteristics (and generated by the general symbolic context of the work) characteristics of each of them: so, the eldest, Fedya, is an “aristocrat” ; Pavlusha - "warrior"; Ilyusha is a “worker”: a peasant, an artisan, a worker, etc., one who is forced to earn a piece of bread every day; Kostya is a "poet": an artist, a thinker, a contemplator, a dreamer with a poetic imagination, the personification of the "creative intelligentsia"; the youngest, Vanya, is a religious and spiritual personality type, a “righteous person”, a person who lives primarily by the highest spiritual values ​​and guidelines, detached from the utilitarian earthly fuss and pragmatics.

In the general mythopoetic and historiosophical context of the story, it is fundamentally important that historical, “civilized” humanity in the form of its five main “castes”, estates or types is represented by Turgenev

namely, in the images of teenage children (7-14 years old, the age of boys, - the boundaries of adolescence). Before us is the image of humanity as a teenager - becoming, growing, moving towards the ultimate goal of its formation and in its current state experiencing a critical stage of this formation. This path of historical movement (after the loss of the initially given grace) takes place in the struggle between darkness and light, accompanied by mistakes, delusions and wanderings, which sometimes further alienate a person from the world of harmony and lead to a dangerous border with the world of chaos. Man's ways are largely unknown to himself; therefore, one of the leading motifs of the story is the motif of the mystery of human destinies, the motif of the presence of some metaphysical, metahistorical force that determines both individual destinies and the development of mankind as a whole. Among the byles and tales that the boys tell, the extensive story about Trishka stands out, in the image of which popular rumor embodied their ideas about the Antichrist: “What kind of Trishka is this? - asked Kostya. - Do not you know? - Ilyusha picked it up with fervor, - well, brother, you don’t know Trishka, do you? Sidneys are sitting in your village, that's for sure Sidneys! Trishka - this will be such an amazing person who will come; but he will come when the end times come. In the context of the historiosophical symbolism of Bezhina Meadows, the story of Trishka becomes an obvious reference to the eschatological motifs of the Apocalypse (this is how the first and last books of the Bible, the book of Genesis and the Revelation of John, are connected by invisible associative threads in the symbolic plan of Turgenev's narrative). The Christian historiosophy of the Apocalypse is presented in the image of Turgenev as one of the options for the possible finale of the historical and metahistorical process.

Eschatological optimism of the Christian concept of history (“And I saw a new heaven and a new earth”, “And God will wipe away every tear from the eyes” of a person, “and there will be no more death; there will be no crying, no crying, no sickness.” -

Rev. 21:3-4) is metaphorically confirmed by the final landscape of the story. The finale draws an enchantingly beautiful picture of the coming morning, where light triumphs over darkness and where the “new heaven” and “new earth”, the sounds of the church bell and the clatter of the herd, full of fresh strength, merge into a single harmoniously moving whole. It is noteworthy that the first landscape of the story created a picture of an almost motionless idyll with its “eternal peace”, the final one is an image of the ideal: the completeness and perfection of the universe, based on the harmony of ever-moving and ever-reviving principles. Two symbolic details of the last landscape (“clean and clear, as if also washed by the morning coolness ... the sounds of a bell” and a rested herd rushing past) are of key importance for understanding the artistic historiosophy of the “Notes of a Hunter”. If the temple bell is an obvious reference to the Christian (or, more broadly, monotheistic in general) picture of the world consciousness, then the images of horses and herds in their archetypal content are associated with archaic, pagan cultures and the folklore that grew out of them: a horse, as a rule, personifies the “earthly” power of a person , his libido, energy, abilities, vitality, self-sufficiency, etc. - everything that was cultivated by the pagan ideal of man and rejected by the orthodox Christian system of values. The internal unity of these images becomes a metaphor for the coming post-apocalyptic unity of the spiritual self-awareness of mankind, opening up the possibility of overcoming semantic barriers between paganism and Christianity. (Note that we will find a similar fullness of the spiritual-personal and life-creating ideal in the artistic and philosophical contexts of other "program" stories of the Turgenev cycle, such as "Living Powers", "Kasyan with a Beautiful Sword", "Singers".) However, the final the painting “Bezhina Meadows” is only a promise of a possible future kingdom of God on earth; modern life and the fate of the modern "historical" person are full of both drama and mystery: it is no accident, remember, that

the final phrases of the work speak of the tragically fatal, mystically predicted death of Pavlusha.

Thus, we see that in the associative-symbolic contexts of Bezhin Meadows, the historiosophical myth is combined with the myth of the Fall and the eschatological myth, and in the processes of dialogic mutual reflections, each of them not only reproduces its traditional content, but also significantly enriches it. A more detailed study of the dialectics of these relations remains the prospect of our other work. Now, in conclusion, summing up our theses on the ways of mythologization of literary narration in the “Notes of a Hunter”, we note that here we meet with a situation of artistically coded embodiment in the text of mythopoetic figurative and semantic paradigms.

Turgenev's artistic thought enters into a dialogue with mythological consciousness as with a "different" subject of vision, revealing the laws of myth in the most living reality - the one that he sees and describes from the standpoint of "essay" and "notes", oriented towards empirically objective factographic and " naturalism". As a result, the artistic system of the "Hunter's Notes" turns out to be organized by internal mutual reflections of the mythologized and "essay" principles of the image. Myth and reality live here in dialogue, discovering each other both for themselves and for the reader. In the context of this dialogue, not only the multifaceted reflection of the realities of Russian life is significant, but also numerous references to the images and phenomena of universal culture with which the text of the Hunter's Notes is saturated; they expand the figurative and semantic horizons of the work to universal ones - both in space and in time, switching the reader's consciousness from the "circle of small time" to the "big space and time" (M.M. Bakhtin) of history and culture. For example, we saw that in Bezhina Meadow allusions and reminiscences that "connect" to

contexts of the "Sacred History", intertwine the national and universal with inextricable ties. The versatility of the depiction in Turgenev’s cycle develops into the versatility of vision and understanding, since each depicted fact is of interest to the writer not just as an object of his own observations and assessments (which, in fact, is typical for a traditional essay), but, first of all, as a special subject-semantic sphere, with which you can enter into communication (as in the world of myth), but you can not just "describe". It cannot be said that in the mind of the hero-narrator Turgenev this form of worldview was originally rooted or essentially characteristic of him (this would be legitimate in relation to the hero, narrator or narrator of Dostoevsky); the hero of Turgenev experiences and feels the possibility of such a worldview as another discovery - a discovery in himself, his own personality. One of the main internal goals of Turgenev's narrative is to awaken this spiritual and heuristic potential in the mind of the reader, for which the author enters into a dialogue with us that has not stopped for more than a century and a half.

Bibliography

1. Barkovskaya N.V. Life and life in the story of I.S. Turgenev "Living relics" // Philological class. 2002. No. 7. pp.78-80.

2. Belinsky V.G. A look at Russian literature in 1847 // Belinsky V.G. Full coll. cit.: In 13 volumes. V.10. / Editorial Board: Belchikov N.F. etc. M.: Izd. Academy of Sciences of the USSR, 1953-1959.

3. Budanova N.F. The story of I.S. Turgenev "Living relics" and the Orthodox tradition // Russian Literature. 1995. No. 1. pp. 188-194.

4. Dedyukhina O.V. Dreams and visions in stories and stories by I.S. Turgenev. Dissertation abstract. for the competition uch. step. cand. philol. n. M., 2006.

5. Zaretsky V.A. Three literary journeys across Russia. Avvakum - Radishchev - Gogol. Sterlitamak: SGPI, 2002. 78s.

6. Ibatullina G.M. “On the fate of my Motherland.”: National-historical myth in the artistic philosophy of “Notes of a Hunter” by I.S. Turgenev // Bulgarian Russian studies. Volume 1 (2010). Published by the Society of Russianists in Bulgaria. pp. 89-100.

7. Ilyina V.V. The principles of folklorism in the poetics of I.S. Turgenev. Dissertation abstract. for the competition uch. step. cand. philol. n. Ivanovo, 2001.

8. Kulakova A.A. The mythopoetics of the “Notes of a Hunter” by I.S. Turgenev. Dissertation abstract. for the competition uch. step. cand. philol. n. M., 2003.

9. Lazareva K.V. The mythopoetics of the "mysterious tales" by I.S. Turgenev. Dissertation abstract. for the competition uch. step. cand. philol. n. Ulyanovsk, 2005.

10. Lebedev Yu.V. Book of the century. About the artistic world of "Notes of a Hunter" by I.S. Turgenev // Lebedev Yu.V. In the middle of the century: Historical and literary essays. M.: Sovremennik, 1988. 384 p.

11. Toporov V.N. Strange Turgenev (Four chapters). - M.: Russian. state. Humanitarian University, 1998. 192 p. (Readings on the history and theory of culture. Issue 20).

12. Turgenev I.S. Notes of a hunter // Turgenev I.S. Collected works. In 12 volumes. Editorial Board: M.P. Alekseev and G.A. White. T.1. Notes of a hunter (1847-1874). M.: "Artist. lit.", 1975. 400s.

13. Shimanova E.Yu. The motive of death in the prose of I.S. Turgenev. Dissertation abstract. for the competition uch. step. cand. philol. n. - Samara, 2006. 156s.

1. Barkovskaya N.V. Everyday and hagiographie narrative in I.S. Turgenev "s "Living Relics". Philological class. 2002. No. 7. P.78-80.

2.V.G. Belinsky Survey of Russian Literature, 1847. / / V.G. Belinsky Full. works. Op.: In 13 tons Vol.10. / Editorial Board.: Belchikov N.F. etc. - Izd. USSR Academy of Sciences, 1953-1959.

3. Budanov N.F. Story I.S. Turgenev "s "Living Relics" and the Orthodox tradition. Russian literature. 1995. No. 1. pp. 188-194.

4. Dedyukhina O.V. Dreams and visions in the novels and stories I.S. Turgenev. M., 2006.

5. Zaretsky V.A. Three literary journey through Russia. Habakkuk - Radischev - Gogol. Sterlitamak: SGPI 2002. 78 p.

6. Ibatullina G.M. "On the fate of my country...": National historical myth in the artistic philosophy of " Sketches " I.S. Turgenev. Bulgarian Russian. Volume 1 (2010). Published society Russists Bulgaria. - p. 89-100.

7. Ilyin V. Principles folklorism poetics I.S. Turgenev. Author "s abstract of thesis. for the degree of PhD. Philology. Ivanovo, 2001.

8. Kulakov A.A. Mythopoetic "Sketches" I.S. Turgenev. Author "s abstract of thesis. for the degree of PhD. Philology. Moscow, 2003.

9. Lazareva K.V. Mythopoetic "mystery novels" I.S. Turgenev. Author "s abstract of thesis. for the degree of PhD. Philology. Ulyanovsk, 2005.

10. Y. Lebedev In the middle of the century: Historical and literary essays. M.: Contemporary, 1988. - 384 p.

11. Toporov V.N. Strange Turgenev (four chapters). Moscow: Russian. Reg. gumanit.un-ton, 1998. 192. (Readings in the History and Theory of Culture. Issue. 20).

12. Turgenev I.S. Turgenev I.S. works. In 12 volumes. Red.kollegiya: M.P. Alekseyev and G.A. Bialy. V.1. A Hunter (1847-1874). M.: "artist. Lit.", 1975. 400 p.

13. Shimanova E.J. Death motif in prose IS Turgenev. Samara, 2006. 156 p.

Ibatullina Guzel Mrtazovna, Ph.D. philol. Sciences, Associate Professor of the Department of Russian and Foreign Literature

Bashkir State University (Sterlitamak Branch) st. Lenina, 47a, Sterlitamak, 453103, Russia

[email protected] en DATA ABOUT THE AUTHOR

Ibatullina Guzel Mrtazovna, PhD Philology, assistant professor of Russian and foreign literature

Bashkir State University (Sterlitamakskij branch) Lenin St., 47a, Sterlitamak, 453103, Russia [email protected] en