The name of Prosper Merimee in the minds of most readers is associated with the image of Carmen, the heroine of the opera of the same name. Meanwhile, he rightfully occupies a place in the gallery of the largest French writers and the collection of his literary works alone exceeds twenty volumes. The life of the author was bright and interesting, and therefore the biography of Prospero Merimee can be read as a fascinating novel.

Merimee was born into a prosperous family french artist in 1803, and under the influence of his father with early years took up drawing. Obviously, the boy not only took over the skills from his father, but he himself had good abilities, since when the nine-year-old Prosper entered the Napoleonic Lyceum, the teachers drew attention to his talented watercolors.

After graduating from the Lyceum, Merimee entered the College of Henry IV, but then became interested in jurisprudence and in 1823 received the title of licentiate of law. At the same time, Merimee began to engage in literature. In 1820, together with his school friend J. Ampère, he translated into French the work of the English poet J. MacPherson "Poems of Ossian", and the following year he wrote the first dramatic work- romantic drama "Cromwell". Since then, Merimee has developed a passion for studying the history of different times and peoples.

The gifted young man attracted the attention of the famous French writer Stendhal, with whom he then continued to be friends throughout his life. It was under the guidance of Stendhal that Merimee developed the unique style of his stories and short stories.

In the mid-twenties, Merimee entered the circle of French romantic writers, met V. Hugo, E. Delacroix, F. Liszt, as well as the Russian writer Ivan Turgenev, who lived most of his life in Paris.

It is curious that in his work, Merimee resorted to hoaxes several times, releasing collections of his works under the names of fictitious authors. So, in 1825, Merimee published a collection of plays "The Theater of Clara Gasul". In each of the books, he even placed a portrait of a fictional author, for whom he himself posed for the artist in a costume suitable for fiction. Merime even published one of his works under the assumed name of a Spanish actress. The writer needed this in order to carry out in plays, as if dedicated to Spain, caustic allusions to contemporary French reality. This hoax was not immediately unraveled even by such an attentive reader as Stendhal.

Merimee's next book - the collection "Guzla" ("Gusli" in Russian) - turned out to be an even more successful hoax. A deep study of the folklore of the South Slavic peoples allowed Merimee to create songs so similar to genuine folklore that even A. Pushkin was convinced of their authenticity and arranged several ballads written by Merimee as folk. Genuine considered the songs published by Merimee and another major writer - I. Goethe.

Interest in history soon becomes Mérimée's profession, as in the late twenties he is appointed chief inspector for protection. historical monuments France. On duty, the writer makes several trips to various regions of the country, during which he visits archaeological excavations, city archives and supervises the work of restorers. These trips gave the writer material not only for several books of travel essays, but also for scientific works on the history of architecture and culture of the Middle Ages, as well as the history of Spain.

In their literary works Merimee first of all refers to the events of the history of France. The dramatic chronicle "Jacquerie", which tells about the peasant uprising of the XIV century, and the novel "Chronicle of the reign of Charles IX" Merimee wrote in the form of memoirs, which were then very popular. Using the memoirs of one of the writers as a basis, Merimee successfully entered the adventures of fictional characters into the historical background. This book laid the foundations for a new type of adventure genre. A few years later, Merimee's experience will be brilliantly continued by another French writer, A. Dumas.

Prosper Merimee wrote not only major works - novels and chronicles. He was a wonderful master of the short story and knew how to turn these small works into real art. In his short stories there is always a sharp dramatic conflict, they are filled with action, elegant in language. Merimee brilliantly builds the intrigue of each short story, the techniques he used later we will meet in the detective stories of Conan Doyle, and in the horror novel, and even in science fiction.

It is no coincidence that many of Merimee's short stories later became the basis for the works of composers and playwrights, and later screenwriters. So, already in 1875, the French composer J. Bizet created the wonderful opera Carmen.
Throughout his life Merimee was also interested in Russian literature and history. He not only knew the Russian language perfectly (a passion for learning languages ​​had possessed him since childhood), but also translated the works of Russian writers. In particular, Merimee owns the first translations into French of A. Pushkin's poems, as well as N. Gogol's comedy "The Government Inspector" and I. Turgenev's stories.

At the end of his life, Merimet even wanted to write a novel based on a plot from Russian history, for which he collected materials about the uprising of Stepan Razin and the transformations of Peter I. The writer believed that without the scientific development of the history of a foreign country it was impossible to write about it reliably.

For the last few years of his life, Merimee practically stopped writing altogether, taking up political activity and was even elected Senator of France. He later reflected his impressions of behind-the-scenes intrigues in the highest spheres of French society in the play "Two Inheritances".

One of latest works Merimee - the play "The first steps of an adventurer" - was a dramatized story of the adventures of Grigory Otrepyev. Based on the plot of A. Pushkin's drama "Boris Godunov", Merimee created a fascinating story about the adventures of an impostor in Russia.

Unlike Stendhal and Balzac, Prosper Merimee did not have such a mighty fame, but his significance for world literature is undeniable. Merimee received recognition before Stendhal and Balzac, his creative way ended later than those of these writers.

P. Merime was a brilliant novelist and a kind of playwright. He wrote the story "The Souls of Purgatory", the famous novels "Matteo Falcone", "Tamango", "The Vision of Charles IX", "Federigo", "The Pearl of Toledo", "Etruscan Vase", "Backgammon Party" (all of them were included in collection "Mosaic"), "Double Error", "Venus of Illa", "Colomba", "Carmen", "Lokis", collection of plays "Theater of Clara Gasul", plays "Two Inheritances", "First Steps of an Adventurer", a collection of songs "Guzla", travel descriptions, art history and historical writings, as well as translations, including works by Pushkin, Gogol, Turgenev.

In the 1820s, Mérimée favored dramaturgy over other forms of literary creativity. He released a collection of plays (initially there were 6 of them, then 2 more were added to them) under the title "Theater of Clara Gasul" and passed it off as a work of a Spanish actress and social activist invented by him. Doubling the hoax and playing with different points of view on the depicted, Mérimée introduces the image of the translator Joseph L'Estrange, who comments on the plays of Clara Gasoul.

“Theater of Clara Gasul” - in its pathos - a protest against the epigones of classicism, whose dramaturgy Mérimée countered with “the rapid development of the action, the continuous alternation of short expressive scenes, the complete disregard for the rules of the three unities, unexpected and abrupt transitions from satirical episodes to passages saturated with high pathos and tragedy."

An important place in the Clara Gasul Theater was occupied by historical theme. When referring to her (“Ines Mendo, or Confounded Prejudice”, “Ines Mendo, or the Triumph of Prejudice”, “Jacquerie”, “Chronicle of Charles IX”) Merimee argued not only with classicism, but also with romanticism. If in the play "Ines Mendo, or Confounded Prejudice" the writer expressed a romantic point of view, then in the next play "Ines Mendo, or the Triumph of Prejudice" he revised this position in the spirit of realism. Both plays prepared Merimee's transition to wide socially saturated works and to an objective understanding of social contradictions.

The principles of realism were also reflected in other historical works by Merimee, who was looking for the causes of historical changes in the life of all classes and in the dominance of opinions that developed in various sectors of society. So, Bartholomew's night would have been impossible, despite all the deceit and immorality of Charles IX, Catherine de Medici, Heinrich Giese, if the majority of the people had not supported the religious fanatics, who relied on the prejudices, superstitions and animal instincts of the dark masses.

Due to the fact that the actions of heroes are controlled by social circumstances and social Psychology, even the principles of plot construction change. For example, the plot of "Jacquerie" was not the fate of an individual family and lovers, but the history of the emergence, development, culmination and death of the uprising. At the same time, the author does not idealize either the feudal lords or the poor. He doesn't have and noble robbers: chieftain of a gang of thieves Werewolf leaves the rebels at the most crucial moment, dooming them to defeat.

Merimee's short stories kept in touch with the romantic tradition (turning to the exotic, to "natural" characters, to people who grew up far from bourgeois civilization, interest in science fiction, in the irrational beginning, in subconscious spiritual movements, etc.), but romanticism was present in his work. rather as a topic subject to precise realist analysis. This was reflected, in particular, in the fact that instead of a mystified commentator, Merimee brought out a French narrator who wants to understand and convey a psychology alien to him (“Matteo Falcone”). The objectivity of the letter is preserved in the short story “Tamango”, where the author does not the savagery and barbarity of the leader of the blacks. However, by drawing his inherent human features, he put the hero above cruel and cynical civilized characters, such as Captain Ledoux. The owners of Tamango were sure that they had saved him and given him life. The writer makes it clear that the price of the hero's life is the pitiful fate of a prisoner. In this and other short stories, Merime declared himself as a deep and subtle psychologist who moved forward artistic analysis man's inner life.

Merimee combined the short stories of the 1820s-1830s into the book "Mosaic", hinting that the overall picture of life is made up of separate and almost unrelated small colored "glasses" - sketches, each of which is dedicated to an event, then which someday feature. However, the author did not aim to create an integral, orderly and stable picture of reality; on the contrary, the life depicted by him is full of movement and unexpected by its always new manifestations.

Over time, Merimee's short stories become more ambitious and socially saturated. The realistic principles of writing are becoming stronger, the criticism of reality is growing. In an effort to achieve these goals, the writer is trying to create and master a new genre. He connects two short stories and creates a work in which two centers arise. The content is organized around them in such a way that the short stories are mirrored and reflected one into the other. So, in "Double Fault" the plot is based on two stories: short love Julie and Darcy unfold against the backdrop of the heroine's passion for Chateaufort. The short stories “Venus of Ill”, “Colombes”, “Arsene Guyot”, “Carmen” were also built. Such a “double novella” is a transitional form from a short story to a short story (“The Souls of Purgatory”) and to a novel. However, Merimee did not complete this transition; on the contrary, he returned to last years life to the short story of the former tinge with an unexpected ending ("The Blue Room", "Lokis").

Prosper Merimee

The work of this writer is a very important milestone in the development of European realism. He penned the first realistic book in the West historical novel"Chronicle of the times of Charles IX"; his collection "Guzla", in which P. Merimee published allegedly collected by him in Illyria folk songs, misled A. S. Pushkin himself. The poet believed in the authenticity of the “folklore monuments” written by the cheerful Frenchman and translated them under the title “Songs of the Western Slavs”.

Especially often the writer turned to the genre of the short story. P. Merimee was very fond of this genre and was able to small work clearly and accurately describe complex world human relationships. P. Merimee's short stories are very diverse. Among the works of the writer there are those bearing a touch of fantastic mysticism (“Venus of Ilskaya”, “Lokis”), and realistically accurate pictures of the mores of contemporary society (“Etruscan Vase”, “Backgammon Party”, “Blue Room”), and exotic stories about people who retain the features of ancient barbarism ("Carmen", "Tamango", "Colomba"). But there is one feature that unites all the very different short stories of the French writer. This is their deep psychology.

P. Merimee had an amazing gift: in a short story he could reveal the innermost secrets human soul. It is no coincidence that among his favorite writers were A. S. Pushkin, N. V. Gogol and I. S. Turgenev, whom the French novelist read not in translations, but in the original.

The short story "Matteo Falcone" refers to "exotic". It describes the island of Corsica, which is part of France, but retains its originality, jealously protecting ancient customs, including vendetta - blood feud against the offender, and a heightened sense of tribal honor.

Here I would like you to remember the image of Dominic Kervoni from J. Conrad's essay "Tremolino", with which you have long been familiar. Compare this image with the image of Matteo Falcone, compare the characters of Caesar and Fortunato, then it will become clear to you what attracted writers different countries and different literary epochs to little Corsica.

The novel "Matteo Falcone" is a story of honor and betrayal. At first glance, it may seem that the writer simply gives an example of the manifestation of the unbridled mores of a special, incomprehensible culture. However, there is not only Corsican exoticism in the short story, but also an almost banal sign of the time in which this work was created. If Matteo Falcone and Giannetto Sanpiero are Corsicans like Dominic Kervoni, strictly following the precepts of their ancestors, not recognizing any other laws, except for the concept of tribal honor and traditions, then Sergeant Gamba and little Fortunato already bear the stamp of the new time. Sergeant Gamba prefers bribery to violence, and Fortunato, who is not afraid of either the robber or the police, is powerless before the temptation of enrichment. Merimee showed with one stroke the destructive power of money. Pay attention to the bright realistic detail: a five-franc coin. The bandit is betrayed by a boy seduced by a watch. If the writer were limited to this “toy”, the reader might have a desire to justify the boy who could not resist the desire to become the owner of such a wonderful mechanism. But P. Merimee does not allow this illusion to arise. Young Fortunato, knowing how he is obliged to act according to the law of Corsican honor, nevertheless requires an additional payment for his act. It is this five-franc coin, which the boy is then ready to refuse, that is the true measure of his fall. At the end of the novel, the father forces his son to read prayers before his death and tells his wife that he died "as a Christian", but it is unlikely that Fortunato remembered the thirty pieces of silver of Judas Iscariot before his death.

This is where the main difference lies in the analysis of social relations between romantics and realists. The neo-romantic J. Conrad explained Caesar's vices by "bad upbringing" and internal depravity. P. Merime shows how the social environment of patriarchal Corsica is changing, where Sergeant Gamba already uses "economic" means of influencing people and where the concepts of honor and benefit are clearly contrasted. Misunderstanding, contradictions that arise between father and son is the problem of “fathers and children”, whose idea of ​​the world around them differs, because the circumstances that shape them differ, the environment that professes new (often destructive for the individual) ideas about true and imaginary values.

The betrayal of little Fortunato speaks of the soul-corrupting power of money no less than the image of Gobsek or Slinkton. European realists understood very well what threatened European civilization, and tried to convey their concern to readers.

This tale is widely known in the Kingdom of Naples. In it one finds, as in many other stories of local origin, a strange mixture Greek mythology and Christian beliefs. It appeared, apparently, at the end of the Middle Ages.

Once upon a time there lived a young nobleman named Federigo, handsome, slender, amiable and good-natured, but extremely licentious. He passionately loved the game, wine and women. Especially the game. He never went to confession, and went to church only in order to find a reason for transgression. One day Federigo beat twelve young men from wealthy families to smithereens. (Subsequently they became robbers and died without repentance in a heated battle with the royal mercenary soldiers.) Then Federigo himself quickly lost his winnings, and there all his property; and he had one castle left behind the Cava hills; and there he retired, ashamed of his poverty.

For three years he lived in seclusion: during the day he hunted, and in the evening he played ombre with his tenant. And then one day he returns home from hunting, the most successful of all time, and Jesus Christ with the twelve apostles knocks on his door and asks to give him shelter. Federigo had a kind soul, he was pleased that the guests came just when there was something to treat them. He led the wanderers into his dwelling, offered them a table and shelter in the most gracious manner, and apologized for not receiving them as they deserved: after all, they took him by surprise. Our Lord knew perfectly well that they had arrived on time, but for Federigo's sincere hospitality, he forgave the shade of vanity that was in his words.

What you have, we will be satisfied with, - said Christ, - but just hurry up with dinner: the time is late, but he is very hungry, - Christ added, pointing to St. Peter.

Federigo didn't need to be told twice; wishing to treat his guests with something better than what he got on the hunt, he ordered the tenant to slaughter the last goat and roast it on a spit.

Dinner was ripe, and the whole company sat down at the table. Federigo only regretted one thing: that his wine was not very good.

Sir! he turned to Jesus Christ. - I would like to offer you the best wine, but what is, served from the heart.

To this, the Lord God, having tasted the wine, said:

What are you complaining about? You have wonderful wine. I'm sure he will confirm. (And the Lord pointed his finger at Saint Peter.)

Saint Peter tasted it, announced that the wine was excellent (proprio stupendo), and invited the host to drink with him.

Federigo took all this for empty courtesy, but agreed to the proposal of the apostle. Imagine his surprise when he discovered that he had never drunk such wonderful wine in his life, even when he was at the peak of prosperity! Guessing from this miracle about the presence of the Savior, he immediately got up from the table: he considered himself unworthy to eat in such a holy company. But the Lord ordered him to sit down in his place, and Federigo sat down without any ceremony. After dinner, at which the tenant and his wife served them, Jesus Christ withdrew with the apostles to the room that had been prepared for them. And Federigo, left alone with the tenant, played the usual game of ombre with him, drinking the rest of the wonderful wine.

When the next day the holy travelers gathered in one of the lower halls, Jesus Christ said to Federigo:

We are very pleased with the reception you gave us and we want to reward you. Ask us for three favors of your choice, and they will be given to you, for all power has been given to us in heaven, on earth and in the underworld.

Then Federigo took out of his pocket a pack of cards, which he always carried with him, and said:

God! Make sure I win every time I play these cards.
- May it be so! Jesus Christ said. (Tia concesso.)

But Saint Peter, who was standing near Federigo, said to him in a whisper:

Poor sinner! What are you thinking about? You would have asked the Lord to save your soul.
“I care little about that,” answered Federigo.
“There are still two favors left,” Jesus Christ said.
- God! - continued the owner. - Since you are so kind, please make sure that anyone who climbs an orange tree at my door cannot get down from there without my permission.
- May it be so! - answered Jesus Christ.

Then the apostle Peter nudged Federigo with his elbow and said:
- Unfortunate! Are you not afraid of hell, prepared for your sins? Ask the Lord for a place in paradise before it's too late...
- Time endures, - answered Federigo and departed from the apostle.

The Lord spoke to him again:

What do you want as a third favor?
“I want,” he answered, “so that whoever sits on this bench near my hearth cannot rise from it without my permission.

The Lord heeded this desire, and together with his disciples left.

The last apostle did not have time to leave the courtyard, and Federigo already wanted to try the power of his cards; he called the tenant and began to play with him, without even looking at the cards. From the very first move he won the game, then the second, then the third. Then, confident in his success, he went to the city and, staying at the best hotel, rented the most expensive room. The rumor of his return immediately spread, and his former drinking companions came to visit him in a whole crowd.

We thought you were gone forever! exclaimed Don Giuseppe. - They said that you became a hermit.
“And rightly so,” replied Federigo.
- What the hell have you been doing these three years? everyone else asked.
“I prayed, dear brothers,” answered Federigo in a sanctimonious tone. “Here is my book of hours,” he added, taking out of his pocket a pack of cards, which he kept as a jewel.

This answer aroused general laughter: everyone was convinced that Federigo had improved his affairs in foreign lands at the expense of players less skilled than those among whom he was now, and they were burning with the desire to ruin him again. Some were tempted to immediately, without delay, drag him to the gambling table. But Federigo asked them to postpone the game until the evening and invited them into the hall, where, on his orders, a delicious dinner was prepared, to which everyone did honor.

This dinner was more cheerful than dinner with the apostles; true, only malvasia and lacrima were drunk here, but the companions, with the exception of one, did not drink the best wines.

Even before the arrival of the guests, Federigo had stocked up with a deck of cards exactly like the first, in order to replace one with another if necessary, and, having lost one game out of three or four, dispel all suspicions from his partners. He put one deck in his right pocket, the other in his left.

We dined. An honest company sat down behind a green field. Federigo first laid worldly cards on the table and placed modest bets on the round. Wanting to get carried away with the game and test his strength, he played the first two games as best he could and lost both, which he was annoyed in his soul. Then he ordered wine to be served and, taking advantage of the moment when the winners began to drink to their successes, past and future, he took worldly cards from the table and replaced them with sacred ones.

The third batch has begun. Federigo was no longer watching the game and was free to watch others play; he found that they were playing dishonestly. This discovery gave him great pleasure. Now he could clear the wallets of his opponents with a clear conscience. He was ruined not because they played well or they were lucky, but because they cheated ... Therefore, he began to appreciate his strength more, finding confirmation of this in his past successes. Self-respect (whatever it clings to!), confidence that we will now take revenge, confidence that we will now rake money - all these three feelings are sweet to the human heart. Federigo experienced all three at the same time. But, thinking about his past well-being, he remembered the twelve youths, due to whom he became rich. Convinced that these young men were the only honest players he had to deal with, he felt for the first time remorse for his victories over them. A dark cloud replaced beams of joy on his brow, and he took a deep breath, having won the third game.

Many others followed, of which Federigo took care to win the greater part, so that on the first evening he earned enough to pay for dinner and lodging for a month. This evening, he only counted on it. Disappointed comrades at parting promised to get together the next day.

The next day, and for a number of subsequent days, Federigo won and lost so skillfully that in a short time he made a decent fortune for himself, and about true reason no one suspected it. Then he left the hotel and settled in grand palace, where from time to time he held magnificent holidays. Beautiful women challenged his attention, the finest wines were served daily on his table, and Federigo's palace was reputed to be the center of pleasures.

Playing carefully for a whole year, he decided to take revenge on the most prominent of the local nobles and let them go around the world. For this purpose, turning the bulk of his money into jewels, he invited them a week in advance to an extraordinary feast, for which he got the best musicians, buffoons, and everything else. This holiday was supposed to end with a gambling game. Those who did not have enough money, they pulled it out from the Jews, others brought with them what they only had, and they let it all down. At night, Federigo left, taking with him money and jewelry.

From that moment on, he made it a rule to play sacred cards only with dishonest players - he considered himself a skilled enough player to do without them in other cases. So he traveled around the cities of the whole world, playing everywhere, always winning and enjoying in every country the best that could be found in it.

And yet the memory of his twelve victims did not leave his head and poisoned all his joys. Finally, one fine day, he decided to either free them or perish with them.

Strengthened in this decision, he took a staff in his hands, threw a bag behind his back, and, accompanied only by his beloved greyhound named "Marquezella", went to the underworld. When he reached Sicily, he climbed into Mongibello, then descended through the crater as far below the foot as the mountain itself rises above Piedmont. From there, in order to get to Pluto, you need to cross the courtyard guarded by Cerberus. While Cerberus followed his greyhound, Federigo crossed the yard unhindered and knocked on Pluto's door.

They brought him before the eyes of the king of the abyss.

Who are you? he asked.
- Player Federigo.
- Why the hell did you come here?
- Pluto! said Federigo. - If you think that the first player in the world deserves to play ombre with you, then I offer you the following conditions. We will play as many games as you like. If I lose even one, my soul will belong to you, like all those that inhabit your domain. If I win, then for each game I win, I have the right to choose one soul from your subordinates and take it with me.
"All right," Pluto said. He demanded a deck of cards.
- I have cards with me, - said Federigo and hurriedly took out the treasured deck from his pocket.

Started to play.

The first game was won by Federigo; he demanded for himself the soul of Stefano Pagani, one of the twelve whom he planned to save. This soul was given to him immediately, and he took it and put it in a bag. He won the second game, then the third - and so on up to twelve, and each time he demanded for himself and hid in a bag one of the souls that he wanted to free. Taking all twelve, he invited Pluto to continue the game.

Willingly, - he answered (although he was already tired of losing everything). "But let's just get out of here for a minute." Something stinks in here.

He was just looking for an excuse to get rid of Federigo, because as soon as he went outside with his bag and twelve souls, Pluto screamed with all his might to close the doors behind him.

Federigo again passed the courtyard of the underworld: Cerberus played so much with the greyhound that he did not notice him. With difficulty he reached the summit of Mongibello. There he called Marchesella, she immediately overtook him, and again descended to Messina, rejoicing in his spiritual booty as he had never rejoiced in worldly successes. Arriving in Messina, he boarded a ship in order to spend the rest of his days in his old castle.

(After a few months, Marchesella gave birth to many small monsters, among which were even three-headed ones. All of them were thrown into the water.)

Thirty years later (Federigo was then seventy) Death comes to him and tells him to put his conscience in order, because his hour of death has come.

I am ready, - says the dying man, - but before dragging me away, Death, give me, I beg you, the fruit from that tree that grows at my door. Give me that little pleasure and I'll die in peace.
- If you only need this, - says Death, - I will gladly fulfill your desire.

She climbed a tree to pick an orange. She wanted to get off - she couldn't: Federigo wouldn't allow it.

Well, Federigo, you fooled me, she cried. - Now I'm in your hands. Give me freedom, I promise you ten years of life.
- Ten years! Think! says Federigo. - If you want to get off, my dear, you need to be generous.
- Twenty ladies.
- You're kidding!
- Thirty ladies.
You haven't reached third yet.
“Well, do you want to live another hundred years?”
- Like this, honey.
- Federigo! You don't know the measure.
- So what! I love life.
- Okay, get a hundred years, - says Death. - Nothing to do about!

And then she managed to get down.

As soon as she left, Federigo got up and began to live anew with the strength of a young man and with the experience of an old man. All that is known about his new life is that he continued with the same zeal to satisfy all his passions, especially carnal desires, doing a little good when an opportunity presented itself, but caring about the salvation of the soul as little as in continuation of his first life.

A hundred years have passed. Again Death knocks on his door, and he lies in bed.

Ready? - asks.
- I sent for the confessor, - Federigo answers, - sit down by the fire until he comes. I just have to wait for the absolution of sins, and I'm ready to fly with you into eternity.

Death, a good-natured person, sat down on a bench, waiting for an hour - no priest was visible. She was starting to get bored; Here she says to the owner:

Old man! I ask you for the second time: didn't you really have time to put your conscience in order for the hundred years that we did not see each other?
“I had a lot of other things to do,” the old man replies and smiles mockingly.

Death was indignant at such wickedness and said:

Well, you don't have a single minute of your life left!
- Full! said Federigo, as she tried in vain to rise. “I know from experience that you are accommodating, and you will not refuse to give me a few more years of respite.
- A few years, unfortunate? - Saying this, Death made vain attempts to leave his place by the fireplace.
- Well, of course. Only this time I will not be demanding, and since I do not really want to live to old age, for the third time I will be satisfied with forty years.

Death realized that some supernatural force was holding her on the bench, as for the first time on an orange tree, but she was angry and continued to persist.

I know a way to reason with you,” said Federigo.

And he threw three bundles of brushwood into the fire. Instantly, the flames filled the entire hearth, and soon Death felt salty.

Have mercy, have mercy! she screamed, feeling her old bones burning. - I promise you forty years of health!

At these words, Federigo removed the spell, and Death fled, half-roasted.

The deadline passed, and again she came for her prey. Federigo was waiting for her cheerfully with a sack over his shoulder.

Well, now your hour has struck, - suddenly entering, she said. - No delays! Why do you have a bag?
- It contains the souls of twelve players, my friends. I once freed them from hell.
“Then let them go back and forth with you,” said Death.

And seizing Federigo by the hair, she set off through the air, flew southward, and plunged with her prey into the abyss of Mongibello. She went to the door of hell and knocked three times.

Who's there? Pluto asked.
"Federigo the player," said Death.
- Do not open! Pluto shouted, immediately remembering the twelve games he had lost. - This loafer will depopulate my entire state.

Since Pluto refused to open, Death carried his captive to the gates of purgatory. But the guard angel did not let him go there, having learned that he was in a state of mortal sin. To the great annoyance of Death, who was already so angry with Federigo, she had to drag the whole company to the heavenly abode.

Who are you? - Saint Peter asked Federigo when Death lowered him at the entrance to paradise.
- Your former acquaintance, - answered Federigo, - the one who once treated you to the fruits of his hunt.
How dare you come here looking like this? cried Saint Peter. - Don't you know that heaven is not for people like you? You are not worthy of purgatory, but you climb into paradise!
- St. Peter! Federigo said. “Is this how I received you when, one hundred and eighty years ago, you and your divine Teacher asked me for shelter?”
“That’s how it is,” Saint Peter answered in a grumbling tone, but already softening a little, “however, I cannot, at my own peril, let you in. I will go and report to Jesus Christ about your arrival. Let's see what he says.

Reported to the Lord; he approached the gates of heaven and saw: Federigo kneeling on the threshold, and with him twelve souls, six on each side. Then, filled with compassion, he said to Federigo:

You still - all right. But these twelve souls, who belong to hell, I, in conscience, cannot let in.
- How, Lord! exclaimed Federigo. - When I had the honor to receive you in my house, you were also accompanied by twelve travelers, and I received them together with you as best I could.
“You can’t argue with this man,” Jesus Christ said. - Well, come in, since you've arrived. Just don't brag about the favor I've shown you. This may set a bad example for others.

Roman V. Hugo "93"

Questions:

1) On what antitheses is the novel built?

2) Why does the first book of the novel "Sodreian Forest" (about mother and children), and the second "Claymore Corvert" bring Lantenac to the fore?

3) Description of the Convention: historical figures and their description of Hugo.

4) Lantenka and Gauvin;

Gauvin and Cimourdain;

Lantenac, Gauvin, Cimourdain.

5) The people and the hero.

6) Meanings and meaning of the finale of the novel in overall composition, ideology and conflict resolution.

Literature

1. Morua A. Literary portraits. M., 1967.

Dates of Merimee's life: 1803-1870. He died during the Franco-Prussian War. In general, the times of the Franco-Prussian war, the seventies, are the years of the death of very many French writers. Here is our dear Dumas, who also died in the seventieth year, like Dumas Sr.

Prosper Merimee one of the best novelists of the 19th century, a classic of the short story. He is a novelist and author of every kind historical writings. He did a lot of history, in particular the history of Spain. Spain was a country in which he was as interested as Stendhal was in Italy. And then - which is especially interesting for us - for some time now, Merimee began to study Russian. And he has achieved great success. With the help of some aristocrat, he learned Russian. He translated some of the Russian writers: Pushkin " queen of spades”, Gogol, then Turgenev. In recent years, he struck up a friendship with Ivan Sergeevich Turgenev. And Prosper Merimee was one of the first propagandists of Russian literature in Europe, about which he had a very high opinion. Especially about Pushkin. He has a small but excellent article about Pushkin.

There are some Russian influences in his later work. Until some time, we observe Western influences on Russian literature. With Prosper Mérimée, the opposite begins. This is especially true of his remarkable short story Arsène Guyot, which was written under the influence of Russian writers.

Mature Merime is a writer in whom, despite all his ridicule, romance still roams. Although he himself tries to restrain this romance, to reason with it in one way or another.

I want to tell you more about two or three short stories by Prosper Mérimée.

Here is his famous short story, it is a textbook - "Matteo Falcone". Here is the soil of romanticism: Corsica, this wild island, Corsicans, far from European civilization. The whole short story is based on folklore, on custom. Do you remember what custom, inherent in so many peoples, underlies the plot of this short story? Hospitality. Matteo Falcone - a rich Corsican, the owner of the herds. This is the story of how Matteo Falcone shot his own son, a little boy, for betraying the custom of hospitality. Remember little son Matteo gave the gendarmes a man who asked him for asylum? Poppies man. So, the maquis man asked for asylum, hid in a haystack, and then the gendarmes came, seduced the boy with a brand new watch, and he betrayed this man. And the father shoots his only son. This is a romantic plot: a categorical law of hospitality that does not allow any deviations, and a father who kills his son for betraying this law. Yes, it's all romance. And at the same time, this is the real Prosper Merimee. The romantic plot is undermined with different parties. He is undermined by what? Look, rich Matteo Falcone comes to the defense of a robber from maquis, a poor man, a beggar. Rich Matteo Falcone shoots his own heir because of some bandit. From the point of view of the DOMINANTS public relations Matteo Falcope's act is absurd. He should, on the contrary, caress his son, saying modern language, for betraying a class enemy. So this is the real Prosper Mérimée: folklore collides with the absurd.

And one more detail, very important in this story: do you remember Matteo Falcone returning home with a gun in his hands? And what do you think: did this play a role in the story of little Falcone - the fact that his father had a loaded gun in his hands? Played. Or maybe, if there were no guns, it would not be so easy for old Falcone to kill his son. There is a kind of automatism at work here: a loaded gun fires. So you can see, on the one hand, this is absurd, on the other hand, this seemingly heroic deed is partly prompted by automatism. Merimee is a great skeptic. He is both a romantic and a skeptic in one person. And he is, of course, more of a skeptic than a romantic.

And finally, about the late novel "Carmen". Of course, she gained extraordinary fame through the music of Bizet, through the opera stage. But she's good on her own. The opera stage even spoiled it in some respects. Therefore, attempts were constantly made, staging Bizet's opera, to bring it closer to Mérimée. For example, we had a performance by Nemirovich-Danchenko "Carmencita and the Soldier". There, the operatic text was very close to Prosper Merimee.

As you read this novella, many things strike you. First of all, it strikes you that Carmencita herself is a worker in a tobacco factory in Seville. This is some kind of simplification, anti-romantic simplification. Some kind of demonic halo over Carmencita - it goes out. Turns out she just rolls cigars at a tobacco factory. That's what her profession is.

Don Jose. Prosper Mérimée is a very rude fellow from the Basque country; he joined the army with the aim of making a small career. Also very unlike what you have in the opera. In opera, it's such a sweet tenor, such a caramel tenor. And then just a rude soldier. Then some motives of the story - they are not romantic at all. After all, why is Don Jose so demanding of Carmencita? Because of her, he lost everything, became a thief, a bandit. And Carmencita is a free soul, a gypsy. She doesn't care about his loss. Just think, I lost my non-commissioned officer rank!

On the one hand, "Carmen" is a romantic story, because Carmencita herself expresses such a romantic motif. What is Carmen? This is the romantic element that was sung by all the romantics. Carmen is an elemental woman. That which was so honored and before which the romantics bowed. And this is her special charm, this is the effect that she has on all people - yes, this is all the charm of the elements. But, on the other hand, the element is listed in the state behind a tobacco factory. The elements are very attractive to the smuggler. Excellent, when it is needed, fishes out money. Remember the Englishman she's ripping off?

In a word, "Carmen" is the real Merimee. A purely romantic theme and at the same time with all sorts of skeptical developments.

Of course, Bizet, when he wrote his opera, what did he convey? He conveyed only the romantic element. This is the great conflagration called Carmen. And all the skepticism was washed away by the music. Music is generally unusual to express skepticism.

And then the new directors tried to correct Bizet's music by adding Merimee's skepticism. Nemirovich this performance was a success. But large amputations were made there (say, Michaela's party was completely thrown out). To some extent, Nemirovich managed to introduce both romance and skeptical motives, but in such a way that skeptical motives did not destroy the music. And for others, the whole trouble was that skepticism destroyed the music.

Literature

Berkovsky N. Articles and lectures on foreign literature. St. Petersburg, "Azbuka-classika", 2002.