Traditions of ancient Russian literature in the work of Dostoevsky. "Traditions of folklore and ancient Russian literature in the story N

Traditions
folklore and ancient Russian literature in the story by N. S. Leskov “Enchanted
wanderer"

“The Enchanted Wanderer” is one of the largest
works of N. S; Leskov, who create typical hero writer, really
Russian person. Interest in national character determined
Leskov's worldview. The essence of the author's reflections is the search for such a development of Russia,
which would be based on Russian cultural and moral values,
rooted in the depths folk life. The movement of the personality that personifies
simple Russian people, is embodied in the significant title of the story -
"The Enchanted Wanderer". This position is due to the constant appeal of Leskov
to the experience of folklore and ancient Russian literature.

Mapping
"The Enchanted Wanderer" with a canonical life leads to the idea that the writer with
“exactly the opposite” reproduces the main features of this genre, which allows
talk about the story as anti-life. Life tells of a man who has reached
the ideal of holiness, tells about the trials and temptations overcome by the hero
on the way to God. From childhood, the hagiographic hero knows about the purpose of life. Related to this
any vision confirming his chosenness. It's like the same thing is happening.
and with Ivan Severyanych - he is a prayerful and promised son. The ghost of the one he killed
the monk says that the path of the hero lies in the monastery. But unlike traditional
hagiographic heroes Flyagin wants to change his fate, consciously move away from
his predestined path. Flyagin is not a saint, and the monastery is not the last place
his travels. He was born into an ordinary peasant family. But under the influence
circumstances constantly committed serious crimes, although in the depths of his soul he did not
wanted to do this, despised and reproached himself for sins: the murder of an innocent monk,
the woman he loved. The plot of The Enchanted Wanderer is a story by Flyagin
about your life and destiny. This also violated the law of life, which did not imply
stories about yourself. Flyagin can show unconscious cruelty,
turns out to be capable of murder, theft, deceit, nevertheless he embodies
writer's view of righteousness. For Nikolai Stepanovich Leskov
a righteous person is one who, overcoming his shortcomings, strives to subordinate his life to service
people. The righteous are “little great men”, passionless and selfless,
fighting for justice, erring, but overcoming their
delusions. Leskov draws not a heavenly vision, not a face, but a face. Author, not
idealizing the hero and not simplifying it, creates a holistic, but contradictory
character. Ivan Severyanych can be wildly cruel, unbridled in his
seething passions. But the basis of his gigantic nature is in kind, chivalrous
selfless deeds for the sake of others, in selfless deeds, in the ability
handle any business. Innocence and humanity, a sense of duty and love for
homeland - such are the remarkable features of the Leskovsky wanderer.

Important for
understanding of the writer's intention is a journey, a journey as the basis
plot. In ancient Russian literature, the word "path" meant at least
two meanings, which can be conditionally designated as geographical and
moral. Geographical is the knowledge of the world, ideas about it.
Moral meaning involves self-knowledge and self-improvement, its
The result is an internal transformation. That is how A. Nikitin, who set off along
trade affairs, who got acquainted with another faith, not only expanded his
horizons, but also tested himself. The same intersection of two travel destinations we
we also find in the wanderings of Ivan Flyagin, because he passes through the European
Russia from the black earth steppes of the Russian south to Ladoga and Nizhny Novgorod, from
capitals to the Caucasus and the Astrakhan saline deserts, because it operates in
the most diverse national-ethnic environment: meets the symbolic
scale. He is thought to be the personification of the nation. Ivan Flyagin dragging across the expanses
homeland by some powerful forces that impart drama to his fate. Nose
On the other hand, the hero is inherent in the inquisitiveness of self-knowledge. He not once
thinks about why his life develops this way and not otherwise. Wandering
Flyagin, like his predecessors in ancient Russian literature, were a search for
happiness and a way out of difficult life situations.

Is in
“The Enchanted Wanderer” features that make the story related to the chronicle - this is due to
features of the narrative style. The narrator turns into
a chronicler who recounts events sequentially, like a chronicler, under a certain
angle of view, although his speeches bear a vivid imprint of personality
narrator, which was unacceptable in the annals. Creating the main character
story, Leskov saw him as a Russian hero. From the very first moment he
acquaintance causes the narrator-author to associate with Ilya Muromets. Biography
he was included in the overcoming of the first steppe hero, and the pacification of the wild
“cannibal” horse, and feats of arms, and the salvation of those close to him and completely strangers and
the baptism of nomads, and the fight against imaginary and embodied in low souls
"demons". And he is also tempted by the charms of earthly beauty. And everything suffers
from the consciousness of one’s own imperfection, and everything goes “from one fear to
the other”, without bending or breaking down, goes towards a feat capable of
worthy to crown his bright life. The structure of The Enchanted Wanderer, where
adventures with cruelties, murders follow one after another, reminds
plot construction of epics. epic hero is known to have
extraordinary strength. Creating the image of Flyagin, Leskov also uses
hyperbole, describing the possibilities of Ivan Severyanych. He has both power and
endurance (an episode of life among the Tatars, a “dispute” with a Tatar), and resourcefulness (this
the trait brings him closer to the hero of the epic of the Novgorod cycle - Sadko). Military
the valor necessary for the hero manifested itself during the service of Ivan Severyanych in
army. He was able to do the most impossible operations. The power is enclosed
in his organic connection with the living national element, with the native land and its
nature, with its people and traditions that go back to the distant past. So
Thus, the story "The Enchanted Wanderer" is written in best traditions folklore and
ancient Russian literature. Leskov creatively approaches the rethinking of experience,
accumulated in the literature. This allows you to create a controversial, but beautiful
the character of an ingenuous hero, unusually sensitive to beauty.
List
literature

For the preparation of
This work was used materials from the site http://www.coolsoch.ru/

-- [ Page 1 ] --

As a manuscript

FILATOVA Natalya Andreevna

Traditions of Old Russian Literature

in the work of N.s. Leskova

Specialty 10.01.01 - Russian literature

dissertations for a degree

candidate of philological sciences

Astrakhan– 2012

The work was carried out in the Federal State Budgetary educational institution higher vocational education"Astrakhan State University».

Scientific adviser - candidate of philological sciences, associate professor

Ivashneva Lidia Leonidovna

Official opponents: Doctor of Philology, Professor

Demchenko Adolf Andreevich

(Pedagogical Institute at

National Research

Saratov State

University. Chernyshevsky);

Candidate of Philological Sciences, Associate Professor

Kalashnikov Sergey Borisovich

(FGBOU VPO "Volgograd State University").

The leading organization is Volgograd State Socio-Pedagogical University.

The defense will take place on March 16, 2012 at 13.00 at a meeting of the dissertation council DM 212.009.11 for the award of the degree of doctor and candidate of sciences in the specialties 10.01.01 - Russian literature and 10.02.01 - Russian language at Astrakhan State University at the address : 414056, Astrakhan, st. Tatishcheva, 20 a, conference room.

The dissertation can be found at scientific library FSBEI HPE "Astrakhan State University".

Scientific Secretary

dissertation council

Doctor of Philology E.E. Zavyalova

General characteristics work

In the second half of the 19th century, when the systematic study and publication of monuments of ancient Russian literature began, a huge creative interest arose among writers in the heritage of ancient literature. It is difficult to name a writer who was not interested in the ancient Russian literature. The study of the problem of the influence of Old Russian literature on the works of the authors of the 19th century requires today the development of a more subtle and deep research approach.

The work of N.S. Leskov. The works of A.I. Faresova, A.N. Leskov, articles by A.I. Vvedensky. Later, monographs by V.A. Goebel, L.P. Grossman, B.M. Drugova, V.Yu. Troitsky, I.V. Stolyarova, V.A. Desnitsky, B.M. Eikhenbaum and others.

One of the developing directions was the study of the "gospel text". According to E. V. Dushechkina, N. S. Leskov’s Christmas stories are a kind of development of the “evangelical text” in the writer’s works. For researchers of the work of N. S. Leskov, such features are also important artistic world the author as an Orthodox context. This problem is considered in the articles by A. B. Rumyantsev, A. A. Novikova and others.

Quest for the eternal moral values invariably brought N.S. Leskov to ancient Russian literature, which, along with folklore, the biblical text, was a powerful source of plots and motives in the writer's work. It is quite understandable and understandable that, according to N.I. Prokofiev, it is in ancient Russian literature that the whole system writing work, the basics of characterology N.S. Leskov, the Leskovian righteous people also originate from here.

The problem of interaction between N.S. Leskov with ancient Russian literature is covered in a number of studies: M.P. Cherednikova, A.A. Kretova, B.S. Dykhanova, E.A. Makarova, O.E. Mayorova, G.A. Shkuta, E.V. Yakhnenko, I.E. Melentieva, E.A. Ternovskaya. Researchers have identified the most important dominants of N.S. Leskov, designed certain aspects worldview, aesthetic concept, figurative structure.

Meanwhile, the question of the functioning of motives, images, plot schemes dating back to Old Russian literature, their modification and transformation in the prose of N.S. Leskov is by far one of the most promising. The possibility of involving N.S. Leskov literature of spiritual content, works of ancient Russian literature and the increased interest in his heritage produce the need to study and comprehend the ancient Russian literary sources of the writer's work. Multilevel analysis of intertextual connections in N.S. Leskov with works of literature Ancient Russia expands the semantization of both individual author's texts and art space generally. A similar systematic approach to the heritage of N.S. Leskov makes it possible to determine new possibilities for his interpretation, contributes to the disclosure of deep layers of content, which determines relevance researched topic.

Scientific novelty of the work lies in a systematic approach to the study of intertextual relations of N.S. Leskov, in particular, the functions of the author's appeal to ancient Russian literature and folklore are determined. Thus, the dissertation research demonstrates a fundamentally new, comprehensive view of creative way N.S. Leskov, which allows to expand the scope of interpretation of most of the writer's works, to create a dynamic concept of his work.

Object of study are stories, novels and chronicles by N.S. Leskov.

As the main research material works by N.S. Leskova: “A seedy family”, “Old years in the village of Plodomasovo”, “Soboryane”, “At the end of the world”, “Pechersk antiques”, “The life of a woman”, “Vagabonds of the spiritual rank”, “Stopping a growing language”, “Midnight clerks ". AT comparative analysis the texts of the literature of Ancient Russia of the XI-XVII centuries are used.

Subject of study- a system of invariant intertextual connections of N.S. Leskov with ancient Russian literature.

Objective– to characterize the various forms and levels of manifestation of the traditions of the literature of Ancient Russia in the work of N.S. Leskov, tracing the dynamic processes of its modification and transformation.

The goal is to solve the following tasks:

to identify Old Russian texts, genetically and at the typological level, which are the plot and figurative basis of the analyzed works of N.S. Leskov;
to determine the forms of the author's appeal to the traditions of the literature of Ancient Russia;
explore the originality of the spatio-temporal organization of texts by N.S. Leskov in the aspect of the multidimensionality of the polysemantic chronotope, at the level of archetype and symbol;
to reveal the intertextual relationships of plot motifs and images of N.S. Leskov and the traditions of medieval Russian literature, outlining the nature and functions of intertextual inclusions;
to study the peculiarities of the writer's interpretation of the Christian-mythological symbolism of Old Russian literature.

The theoretical and methodological basis of this dissertation is the concept of genre memory by M.M. Bakhtin, understanding of the genre phenomenon as a historical and cultural perspective of Yu.N. Tynyanov, Yu.M. Lotman, N.D. Tamarchenko, principles of genre history D.S. Likhachev and S.S. Averintsev, as well as works on Russian medieval studies and folklore by V.Ya. Proppa, S.A. Zenkovsky, M.P. Cherednikova, A.S. Orlova, V.N. Toporova, A.A. Potebni, F.I. Buslaeva, E.E. Levkievskaya, T.A. Bernshtam, A.F. Loseva, N.M. Vedernikova, A.N. Afanasiev, A.K. Baiburina, G.A. Levinton, N.S. Demkova, V.P. Anikina, D.N. Medrisha, E.M. Meletinsky, E.N. Kupriyanova. The works of I.V. Stolyarova, A.A. Gorelova, V.Yu. Troitsky, B.M. Drugova, L.P. Grossman and others.

The dissertation research is based on the following methodological principles: an interdisciplinary approach to the study of N.S. Leskov from the point of view of the problem of interaction between ancient Russian literature and literature of the second half of XIX century; multilevel analysis of intertextual inclusions in the text space of the author's narration. Comparative-historical, historical-typological, methods of intertextual and system analysis are used.

Theoretical significance dissertation research is due to the development of the principles of classification and typology of forms of manifestation of the traditions of ancient Russian literature in the work of N.S. Leskov.

Practical value dissertation research consists in the possibility of using its results in university and school courses "History of Russian literature XIX century”, as well as special courses and special seminars devoted to the problems of theoretical poetics and the work of N.S. Leskov.

The main provisions for defense:

1. A deep knowledge of ancient Russian literature enables N.S. Leskov to creatively use themes, plots, motifs and images that refer both to famous monuments(“The Life of Equal-to-the-Apostles and Glorious in Wisdom Grand Duchess Olga”, “The Life of Euphrosyne of Suzdal”, “The Life of Euphrosyne of Polotsk”, “The Life of Archpriest Avvakum”, “The Kiev Caves Patericon”, etc.), and to less studied texts (“ Memory of Blessed Taisia”, “The Life of John Kolov”, “The Life of Anastasia the Setter of Patterns”, “The Life of Solomon the Possessed”, “The Life of Ephraim the Syrian”, “The Life of Mary of Egypt”, etc.). The system of images and methods of their creation (the principle of assimilation, allusive onyms), thematic and motive complexes (motives of asceticism, removal from the family, silence, prayer solitude) in the prose of N.S. Leskov are genetically connected with the traditions of ancient Russian literature.

2. The variety of forms of address N.S. Leskov to medieval Russian literature (genre allusions, plot borrowings, reminiscences, figurative parallels, etc.), types of text interaction by N.S. Leskov and literature of the XI-XVII centuries. (stylization, reconstruction, modification, transformation), as well as the levels of manifestation of the ancient Russian literary tradition, corresponds to the conceptual principle of artistic world modeling, within which the author's idea of the interaction between man and the Universe is formed. In particular, N.S. Leskov reproduces the structural principles of hagiography (“The Life of a Woman”, “Midnight Occupants”, etc.) and the Pateric legend (“Pechersk antiques”), the genre features of the chronicle (“The seedy family”).

3. A complex interweaving of chronotopic plans, a combination of various temporal (event and historical, linear and cyclic) and spatial (point and plane, closed and open) forms, creating the image of a multidimensional, hierarchically organized chronotope with a dominant concentric movement of time, activates the motive of historical memory, where the fixation of the "large" ontological time performs a structure-forming function. Spatial and temporal images in the works of N.S. Leskov acquire a symbolic and archetypal sound in relation to the texts of ancient Russian literature and folklore (the image of Stargorod, the hotel "Azhidatsiya", the otherworldly space of Masha's dream in the story "The Life of a Woman"). The author's model of the world in the works of N.S. Leskov is characterized, on the one hand, by the "compression" of the chronotope, which is due to attention to the human character, on the other hand, by the expansion of the space-time background against which historical events unfold.

4. Creative rethinking and transformation of plot schemes, motifs and images, dating back to the literature of Ancient Russia, testifies somewhat to the deviation of N.S. Leskov from the old Russian sample, how much about the intentions of this a kind of dialogue within the framework of artistic synthesis, both generic (interaction of folklore and literary tradition) and specific character (in particular, the author's appeal to the hagiographic and chronicle genre canon, etc.). Images of the "righteous" in the chronicles of N.S. Leskov become a projection of the role forms of personal manifestation and behavior that have developed in the literature of Ancient Russia.

5. The writer gives an original interpretation of the rich symbolism of ancient Russian literature. In the works of N.S. Leskov, as in the aesthetics of Ancient Russia, systems are also revealed symbolic images, and individual symbols that are distinguished by a special semantic capacity and artistic expressiveness. Attributes of Christ and the Mother of God, images of a garden, a wreath, a city, a tree of life and water, a path, a bridge, a house, a center and periphery, books, clothes and human food - all these and many other traditional symbols acquire in the texts of N.S. Leskov archetypal and author's connotations. Symbols help the writer show the way from the earthly state of man to the universal, eternal. Images-symbols are often key in the structure of a literary text, defining the life calling of a character, his desire for spiritual achievement, moral revival.

Approbation of the dissertation. The main provisions and conclusions of the dissertation research are reflected in the reports at international scientific conferences different levels: "Picture of the world in a work of art" (Astrakhan, 2008); " literary character as a form of embodiment of the author's intentions” (Astrakhan, 2009); Archetypes, mythologemes, symbols in art picture writer's world" (Astrakhan, 2010); "Cognitive Approach to Analysis and Interpretation artwork» (Astrakhan, 2011); "Linguistic and cultural contacts various peoples» (Penza, 2011); "Problems of language and culture" (Moscow, 2011); "Theoretical and practical aspects of the development of modern science" (Moscow, 2012); "Philological sciences in Russia and abroad" (Aginskoe, 2011); "Philology, art criticism and cultural studies in the XXI century" (Novosibirsk, 2012), as well as in 15 publications, 3 of them - in publications recommended by the Higher Attestation Commission of the Russian Federation.

Thesis structure due to the goal and objectives of the study. The work consists of an introduction, two chapters, a conclusion and a bibliographic list, including 308 titles.

MAIN CONTENT OF THE WORK

The introduction provides an overview analysis of literary studies on the chosen topic, substantiates its choice, motivates the relevance of the topic, formulates the purpose and objectives of the study, defines the object and subject of the dissertation work and scientific novelty.

First chapter “The hagiographic tradition in the work of N.S. Leskov" includes two sections. In the first section “Poetics of the story by N.S. Leskov "The Life of a Woman""» intertextual connections between the writer's prose and hagiographic tradition are revealed. Based on the early works of N.S. Leskov, the transformation of borrowed motifs and images can be traced. The elements of structural citation are analyzed in detail, textual parallels are noted. Special attention is given to the creative rethinking of the hagiographic canon.

One of the first works of N.S. Leskov has the title “The Life of a Woman. (From Gostomel memoirs). The author's genre nomination serves as a kind of allusive marker, referring the reader to the hagiographic canon variations. By indicating the genre of the work, the principle of presenting the material becomes clear. The problem of genre identification of the text, posed by the writer himself, which makes it possible to consider it as a synthetic phenomenon (combining elements of several genre forms), largely acts as a genre-forming and structure-forming factor.

Life brings to life a whole complex of stable images and motifs that create a very specific emotional background for the 19th century reader's perception of traditional "spiritual reading". In the title of an old Russian life, the name of the saint is obligatory. The name becomes a symbol that defines life path.

Model of the title of the story by N.S. Leskov reflects one of the significant aesthetic attitudes critical realism- typification of characters. AT this case the transformation of hagiographic discourse takes place: the declared stylization conflicts with the absence of the onym, which is obligatory for the canonical life and included in the title of the work. Such a dialogic conjugation of traditions can be motivated by the following: firstly, the universalization and archetypization of the image of the main character, secondly, the combination of profane and sacred plans for its interpretation, thirdly, the ultimate generalization of the plot situation itself, and finally, the destruction of the mono-personal principle of constructing a system of images .

N.S. Leskov could not but turn to one of the principles of ancient Russian hagiography - the principle of similes. When depicting each new face, the scribe finds a corresponding hagiographic pattern among the great ascetics of antiquity, in whose likeness he builds the image of the saint glorified by him. N.S. Leskov often focused on certain hagiographic and biblical examples. For example, due to the similarity of life circumstances, the fate of Nastya Prokudina has much in common with the fate of Blessed Taisia (“Memory of Blessed Taisia”)2. Nastya Prokudina is also forcibly given in marriage, thereby provoking the commission of sinful acts. main character experiences moral suffering, cannot come to terms with his new position. The relationship between Nastya and Sila Ivanovich Krylushkin - one of the heroes of the story - is similar to the spiritual friendship between Taisia and John Kolov.

The traditional image of the “fiery serpent” attracts attention. In the story of N.S. Leskov, it is associated with the plot motif of an unwanted marriage. The prevailing ideas about the fiery snake are only interspersed in the text of The Life of a Woman. The motif of a woman's cohabitation with a demon (serpent) is well known in Russian folklore, mythological prose and fairy tales. It is developed by ancient Russian authors in The Tale of Ivan, the Long-Suffering Recluse, in the Kiev Caves Patericon, in the Tale of Solomonia the Possessed, and in the Tale of Peter and Fevronia of Murom. In The Life of a Woman, the vision of a fiery serpent is due to the longing and loneliness of the main character.

In the story of N. S. Leskov, as in the tradition of ancient Russian literature, the role of symbols is great. Of interest is the symbolism of the dream of Masha - the daughter of the landowner, the pupil of Nastya Prokudina. In the context of the work of N.S. Leskov, the image of the Khvastovsky meadow acquires the meaning of the Garden of Eden. The heroine reaches a spiritual paradise, as she dies in infancy, and, following the tradition of the ancient Russian scribe, becomes an angel. The girl's death is preceded by a dream: Masha sees an unusual woman who takes her with her. This image is projected onto the image of the Virgin. The woman appears in the meadow, which is a traditional symbol of the eternal virginity of the Mother of God.

In a dream, a girl sees golden bugs. In ancient Russian literature, a beetle is an insect that embodies the souls of the dead.3 There is a Christian legend about the connection between the firefly beetle and John the Baptist. The Ivanovo beetle is especially loved because it flies around the house of the parents of John the Baptist and illuminates the cradle of the holy baby. The golden bugs from Masha's dream are the dead souls of the righteous.

FILATOVA Natalya Andreevna

TRADITIONS OF OLD RUSSIAN LITERATURE IN N.S. LESKOV

Specialty 10.01.01 - Russian literature

dissertations for the degree of candidate of philological sciences

Astrakhan -2012

The work was carried out at the Federal State Budgetary Educational Institution of Higher Professional Education "Astrakhan State University".

Scientific adviser -

Official opponents:

Lead organization -

candidate of philological sciences, associate professor Ivashneva Lidia Leonidovna.

Doctor of Philology, Professor Demchenko Adolf Andreevich (Pedagogical Institute at the National Research Saratov State University named after Chernyshevsky);

Candidate of Philology, Associate Professor Sergey Borisovich Kalashnikov (Volgograd State University).

FSBEI HPE "Volgograd State Social and Pedagogical University".

The dissertation can be found in the scientific library of the Astrakhan State University.

Scientific Secretary of the Dissertation Council Doctor of Philology

HER. Zavyalova

GENERAL DESCRIPTION OF WORK

The work of N.S. Leskov. The works of A.I. Faresova, A.N. Leskov, articles

A.I. Vvedensky. Later, monographs by V.A. Goebel, L.P. Grossman, B.M. Drugova, V.Yu. Troitsky, I.V. Stolyarova,

B.A. Desnitsky, B.M. Eikhenbaum and others.

One of the developing directions was the study of the "gospel text". According to E. V. Dushechkina, N. S. Leskov’s Christmas stories are a kind of development of the “evangelical text” in the writer’s works. For researchers of the work of N. S. Leskov, such features of the author's artistic world as the Orthodox context are also important. This problem is considered in the articles by A. B. Rumyantsev, A. A. Novikova and others.

The search for eternal moral values invariably led N.S. Leskov to ancient Russian literature, which, along with folklore, the biblical text, was a powerful source of plots and motives in the writer's work. It is quite understandable and understandable that, according to N.I. Prokofiev, it is in ancient Russian literature that a whole system of writing work, the foundations of the characterology of N.S. Leskov, the Leskovian righteous people also originate from here.

The problem of interaction between N.S. Leskov with ancient Russian literature is covered in a number of studies: M.P. Cherednikova, A.A. Kretova, B.S. Dykhanova, E.A. Makarova, O.E. Mayorova, G.A. Shkuta, E.V. Yakhnenko, I.E. Melentieva, E.A. Ternovskaya. Researchers have identified the most important dominants of N.S. Leskov, developed certain aspects of the worldview, aesthetic concept, figurative structure.

1 Prokofiev N.I. Traditions of Old Russian literature in the work of N.S. Leskova // N.S. Leskov and Russian literature. - M.: Nauka, 1988. - S. 118.

Old Russian literature and the increased interest in his heritage produce the need to study and comprehend the Old Russian literary sources of the writer's work. The multilevel analysis of intertextual connections between the prose of N.S. Leskov and the works of literature of Ancient Russia expands the semantization of both individual author's texts and the artistic space as a whole. A similar systematic approach to the heritage of N.S. Leskov makes it possible to determine new possibilities for his interpretation, contributes to the disclosure of deep layers of content, which determines the relevance of the topic under study.

The scientific novelty of the work lies in a systematic approach to the study of intertextual relations of N.S. Leskov, in particular, the functions of the author's appeal to ancient Russian literature and folklore are determined. Thus, the dissertation research demonstrates a fundamentally new, comprehensive view of the creative path of N.S. Leskov, which allows to expand the scope of interpretation of most of the writer's works, to create a dynamic concept of his work.

The object of the study is the stories, novels and chronicles of N.S. Leskov.

The main material of the study is the works of N.S. Leskova: “A seedy family”, “Old years in the village of Plodomasovo”, “Soboryane”, “At the end of the world”, “Pechersk antiques”, “The life of a woman”, “Vagabonds of the spiritual rank”, “Stopping a growing language”, “Midnight clerks ". The comparative analysis uses the texts of the literature of Ancient Russia of the 11th-17th centuries.

The subject of the study is the system of invariant intertextual connections of N.S. Leskov with ancient Russian literature.

The purpose of the work is to characterize the various forms and levels of manifestation of the traditions of the literature of Ancient Russia in the work of N.S. Leskov, tracing the dynamic processes of its modification and transformation.

The goal is to solve the following tasks:

To reveal the Old Russian texts, genetically and at the typological level, which are the plot and figurative basis of the analyzed works of N.S. Leskov;

To explore the originality of the spatio-temporal organization of texts by N.S. Leskov in the aspect of the multidimensionality of the polysemantic chronotope, at the level of archetype and symbol;

To reveal the intertextual relationships between the plot motifs and images of N.S. Leskov and the traditions of medieval Russian literature, indicating the nature and functions of intertextual inclusions;

To study the features of the writer's interpretation of the Christian-mythological symbolism of ancient Russian literature.

The theoretical and methodological basis of this dissertation is the concept of genre memory by M.M. Bakhtin, popmash: a genre phenomenon as a historical and cultural twisted Yu.N. Tynyanov, Yu.M. Lotmapa, N.D. Tamarchenko, principles of genre history by D.S. Likhachev and S.S. Averintsev, as well as works on Russian medieval studies and folklore by V.Ya. Proppa, S.A. Zenkoisky, M.P. Cherednikova, A.S. Orlova, V.N. Toporova, A.A. Potebpi, F.I. Buslaeva, E.E. Levkievskaya, T.A. Bernshtam, A.F. Losev, N.M. Vedernikova, A.N. Afanasiev, A.K. Baiburina, G.A. Levinton, N.S. Demkova, V.P. Anikina, D.N. Medrisha, E.M. Meletinsky, E.H. Kupriyanova. The works of I.V. Stolyarova, A.A. Gorelova, V.Yu. Troitsky, B.M. Drugova, L.P. Grossman and others.

The dissertation research is based on the following methodological principles: an interdisciplinary approach to the study of N.S. Leskov from the point of view of the problem of interaction between ancient Russian literature and the literature of the second half of the 19th century; multilevel analysis of intertextual inclusions in the text space of the author's narration. Comparative-historical, historical-typological, methods of intertextual and system analysis are used.

The theoretical significance of the dissertation research is due to the development of the principles of classification and typology of the forms of manifestation of the traditions of ancient Russian literature in the work of N.S. Leskov.

The practical significance of the dissertation research lies in the possibility of using its results in university and school courses on the History of Russian Literature of the 19th Century, as well as special courses and special seminars devoted to the problems of theoretical poetics and the work of N.S. Leskov.

The main provisions submitted for defense: 1. A deep knowledge of Old Russian literature enables N.S. Leskov to creatively use themes, plots, motifs and images that refer to well-known monuments (“The Life of Equal-to-the-Apostles and Glorious in Wisdom Grand Duchess Olga”, “The Life of Euphrosyne Suzdalskaya”, “The Life of Euphrosyne of Polotsk”, “The Life of Archpriest Avvakum”, “The Kiev Caves Patericon” and others), as well as to less studied texts (“The Memory of Blessed Taisia”, “The Life of John Kolov”, “The Life of Anastasia the Pattern Resolver” , "The Life of Solomon the Possessed", "The Life of Ephraim the Syrian", "The Life of Mary of Egypt", etc.). The system of images and methods of their creation (the principle of assimilation, allusive names), thematic and motivic complexes (ascetic motives,

removal from the family, silence, prayer solitude) in the prose of N.S. Leskov are genetically connected with the traditions of ancient Russian literature.

2. The variety of forms of address N.S. Leskov to medieval Russian literature (genre allusions, plot borrowings, reminiscences, figurative parallels, etc.), types of text interaction by N.S. Leskov and literature of the XI-XUN centuries. (stylization, reconstruction, modification, transformation), as well as the levels of manifestation of the ancient Russian literary tradition, corresponds to the conceptual principle of artistic world modeling, within which the author's idea of the interaction between man and the Universe is formed. In particular, N.S. Leskov reproduces the structural principles of hagiography (“The Life of a Woman”, “Midnight Occupants”, etc.) and the Pateric legend (“Pechersk antiques”), the genre features of the chronicle (“The seedy family”).

4. Creative rethinking and transformation of plot schemes, motifs and images, dating back to the literature of Ancient Russia, testifies somewhat to the deviation of N.S. Leskov from the Old Russian model, but about the intentions of this peculiar dialogue within the framework of artistic synthesis, both generic (interaction of folklore and literary traditions) and specific (in particular, the author’s appeal to the hagiographic and chronicle genre canon, etc.). Images of the "righteous" in the chronicles of N.S. Leskov become a projection of the role forms of personal manifestation and behavior that have developed in the literature of Ancient Russia.

5. The writer gives an original interpretation of the rich symbolism of ancient Russian literature. In the works of N.S. Leskov, as in the aesthetics of Ancient Russia, both systems of symbolic images and individual

symbols that are distinguished by a special semantic capacity and artistically /! expressiveness. Attributes of Christ and the Mother of God, images of a garden, a wreath, a city, a tree of life and water, a path, a bridge, a house, a center and periphery, books, clothes and human food - all these and many other traditional symbols acquire archetypal characters in the texts of N.S. Leskov and author's connotations. Symbols help the writer show the way from the earthly state of man to the universal, eternal. Images-symbols are often key in the structure of a literary text, defining the life calling of a character, his desire for spiritual achievement, moral revival.

Approbation of the dissertation. The main provisions and conclusions of the dissertation research were reflected in the reports at international scientific conferences of various levels: "The picture of the world in a work of art" (Astrakhan, 2008); "A literary character as a form of embodiment of the author's intentions" (Astrakhan, 2009); "Archetypes, mythologems, symbols in the writer's artistic worldview" (Astrakhan, 2010); "Cognitive approach to the analysis and interpretation of a work of art" (Astrakhan, 2011); "Linguistic and cultural contacts of different peoples" (Penza, 2011); "Problems of language and culture" (Moscow, 2011); "Theoretical and practical aspects of the development of modern science" (Moscow, 2012); "Philological sciences in Russia and abroad" (Aginskoe, 2011); "Philology, art criticism and cultural studies in the XXI century" (Novosibirsk, 2012), as well as in 15 publications, 3 of them - in publications recommended by the Higher Attestation Commission of the Russian Federation.

The structure of the dissertation is determined by the goal and objectives of the study. The work consists of an introduction, two chapters, a conclusion and a bibliographic list, including 308 titles.

The introduction provides an overview analysis of literary studies on the chosen topic, substantiates its choice, motivates the relevance of the topic, notes its relevance, formulates the purpose and objectives of the study, determines the object and subject of the dissertation work and scientific novelty.

The first chapter “Hagiographic tradition in the work of N.S. Leskov" includes two sections. In the first section, “The Poetics of N.S. Leskov "The Life of a Woman"" reveals intertextual connections between the writer's prose and hagiographic tradition. Based on the early works of N.S. Leskov, the transformation of borrowed motifs and images can be traced. The elements of structural citation are analyzed in detail, textual parallels are noted. Particular attention is paid to the creative rethinking of the hagiographic canon.

One of the first works of N.S. Leskov has the title “The Life of a Woman. (From Gostomel memoirs). The author's genre nomination serves as a kind of allusive Marker, referring the reader to variations of the hagiographic canon. By indicating the genre of the work, the principle of presenting the material becomes clear. The problem posed by the writer himself: the genre identification of the text, which makes it possible to consider it as a synthetic phenomenon (combining elements of several genre forms), largely acts as a genre-forming and structure-forming factor.

Model of the title of the story by N.S. Leskov reflects one of the significant aesthetic principles of critical realism - the typification of characters. In this case, the transformation of the hagiographic discourse takes place: the declared stylization conflicts with the absence of the onym, which is obligatory for the canonical life and included in the title of the work. Such a dialogic conjugation of traditions can be motivated by the following: firstly, the universalization and archetypization of the image of the main character, secondly, the combination of profane and sacred plans for its interpretation, thirdly, the ultimate generalization of the plot situation itself, and finally, the destruction of the mono-personal principle of constructing a system of images .

N.S. Leskov could not help but turn to one of the principles of ancient Russian hagiography - the principle of similes. When depicting each new face, the scribe finds a corresponding hagiographic pattern among the great ascetics of antiquity, in whose likeness he builds the image of the saint glorified by him. N.S. Leskov often focused on certain hagiographic and biblical examples. For example, due to the similarity of life circumstances, the fate of Nastya Prokudina has much in common with the fate of Blessed Taisia (“Memory of Blessed Taisia”)1. Nastya Prokudina is also forcibly given in marriage, thereby provoking the commission of sinful acts. The main character experiences moral suffering, cannot come to terms with her new position. The relationship between Nastya and Sila Ivanovich Krylushkin - one of the heroes of the story - is similar to the spiritual friendship between Taisia and John Kolov, -

"Memory of Blessed Taisia // Lives of the Saints of St. Dmitry of Rostov (March). - M .: Synodal Printing House, 1905.-S. 175.

The traditional image of the “fiery serpent” attracts attention. In the story by N.S. Leskov, it is associated with the plot motif of an unwanted marriage. The prevailing ideas<ч пенном змее лишь вкраплены в текст «Жития одной бабы». Мотив сожптслг.а на женщины с бесом (змеем) хорошо известен в русском фольклоре, и мифологической прозе и в сказках. Он разрабатывается древнерусскими авторами в «Слове о Иване, затворнике многотерпеливом», и «Кпсио-Печерском патерике», в «Повести о Соломонии Бесноватой» и в «Повести о Петре и Февронии Муромских». В «Житии одной бабы» видение огненного змея обусловлено тоской и одиночеством главной героини.

In a dream, a girl sees golden bugs. In ancient Russian literature, a beetle is an insect that embodies the souls of the dead.1 There is a Christian legend about the connection between the firefly beetle and John the Baptist. The Ivanovo beetle is especially loved because it flies around the house of the parents of John the Baptist and illuminates the cradle of the holy baby. The golden bugs from Masha's dream are the dead souls of the righteous.

In a symbolic dream, Masha finds herself in paradise, and Nastya Prokudina rushes down, where she is “torn by wolves”. In her life, she really experiences a series of falls, up to insanity, which can also be perceived as receiving special grace. Nastya Prokudina did not follow the path of asceticism, as is customary in traditional hagiography. However, thanks to the interaction in N.S. Leskov of the realistic tradition of the 19th century and hagiographic literature of the Middle Ages, the biography of an ordinary Russian peasant woman acquired a special multidimensionality, psychological fullness and deep symbolic meaning.

In the second section “Habitic topic in the story of N.S. Leskov's "Assaulters"" presents an even more complete implementation of the hagiographic tradition. In the story "Midnight Officers" one can find a roll call with "The Life of Theodosius of the Caves", with "The Life of St.

1 Gura A. V. Zhuk // Slavic Antiquities. Ethnolinguistic Dictionary / ed. N. I. Tolstoy. - M.: International relations, 1990. - T. 2. - S. 225-226.

Venerable Blessed Princess Euphrosyne of Polotsk”, “The Life of the Holy Reverend Blessed Princess. Euphrosyne of Suzdal”, “The Life of Julian Lazarevskaya”.

The main thing in the heroine of N.S. Leskova is a laboring feat, according to which holiness, vocation is determined. Therefore, the parallels with the "Life of Euphrosyne of Suzdal" seem interesting, in which the rules of conduct for nuns are detailed. Like the saint of hagiographic literature, Claudia discovers in her interests, passions and occupations an amazing unity, a concentrated direction of spiritual aspirations, revealing her abilities and the gift of love for God, foreshadowed from above.

A common motif in the hagiographic works of Ancient Russia is the conflict between the saint and his family, which arose because of his desire to go to the monastery (“The Life of Alexander Oshevensky”, “The Life of Theodosius of the Caves”). In the story of N.S. Leskov's mother Claudia spent a lot of energy trying to turn her daughter away from her chosen ascetic path.

Noteworthy is Claudia's attitude to her appearance, in particular, to clothing. Many heroes of ancient Russian hagiography behave similarly, for example: Euphrosyne of Polotsk, Julianiya Lazarevskaya, Euphrosyne of Suzdal, etc. To a non-religious consciousness, and even a religious one, but devoid of ascetic pathos and indifferent to how a person builds his relationship with a thing, the whole “incident” of clothing may seem like an immoderate exaggeration of some elementary everyday situation. In the lives, a serious crack often appears in the relationship between the heroes and their parents due to the fact that the elders cannot understand the attraction of their children to modest and even shabby clothes.

There are other aspects of this topic as well. One of the most important among them is determined by the old mythopoetic idea of the connection between man and the universe, microcosm and macrocosm through a single plan of creation, uniting the isomorphism of these two worlds. Another idea follows from this general idea - about the line that separates a person from the Universe, about the sphere in which their interaction takes place in the positive (contacts, exchange) and negative (protection, protection, security guarantee) plans. The main participants in this intermediate zone, belonging to the world and man - drink, food, clothing. There are clothes that are "bright and glorious" and clothes that are "poor and thin." The first is a sign of the norm, social prestige, the second refers to the "bad robes" of Jesus Christ, becomes a sign of spiritual choice. It is precisely because of this example that the main character of the story wants to wear poor and thin clothes. This is an important sign of some holistic position, which is essentially ascetic.

Appearance is very important for characterizing the main character of the story "Midnights" *, as it reveals such features as purposefulness, the combination of humility and obedience with fidelity to the chosen path. This! characterization of the heroine U.C. Leskova evokes the image of a monk in the mind of the reader. Claudia does not aspire to a monastery, she is a hard worker who does not reject everyday life, but spreads spirituality to worldly affairs. Ascetics of this kind are also found in ancient Russian literature, for example, in The Tale of Iulnanny Lazarevskaya.

The images of the city and the house are of interest. The lexeme "city" carries not only an allegorical, but also a symbolic and mythological load. The image of the soul as a city or a castle is traditional for Christian literature, culture and mythology. It is appropriate to draw an analogy with the book of Blessed Augustine "On the City of God". 13 "Midnights" the modern city, having lost the divine law, has lost grace. However, it is also connected with space, with the universal world order. N.S. Leskov's house "Azhidatsiya" acquires a parodic meaning. The meaning of the lexeme "home-hearth" is violated. This is not a house, but a temporary refuge for those who are supposedly waiting for "special divine grace."

In the stories "The Life of a Woman" and "Midnights" U.C. Leskov creatively transforms the features of the artistic structure of classical hagiography (topic, compositional organization, imagery, the principle of assimilation to a hagiographic model, etc.), and also accumulates signs of various types of life, which are motivated by the hierarchy of rites of holiness that has historically developed in church practice (taxonomy of lives identifies subspecies: lives of martyrs, confessors, saints, saints, holy fools, etc.).

The second chapter is “Old Russian culture as a factor in the formation of the figurative system of U.C. prose. Leskov. Her first section, Images of the Righteous in the Chronicle of U.C. Leskov "The Wretched Family" is dedicated to the figurative system of the chronicles of N. S. Leskov, the genetic and typological connection with the tradition of ancient Russian literature. A separate aspect of the study is the study of the structure and genesis of the archetypal image of the Christian and warrior Don Quixote.

Message from N.S. Leskov (in the chronicles "The Seedy Family", "Old Years in the Village of Plodomasovo", "Soboryane") to the ancient Russian literary tradition was due to special reasons. The writer explores the possibility of depicting a "positively beautiful person" in modern life circumstances. N.S. Leskov's favorite type of righteous person is a character who lives according to the inner sense of humanity, following the gospel precepts. As a rule, the Leskovsky righteous people implement more than one traditional line of ancient Russian literature. They build their behavior like a mosaic

situations that give rise to certain role forms of personal command. The writer turns not only to ancient Russian hagiography, but also to ancient sources. N. S. Leskov is interested in the philosophy of Christianity in general. This is the understanding of the Gospel, the New Testament commandments and human life. In the heroes of the chronicle, the author sees Christians in the highest sense of the word. Their whole life is based on the commandments of Beatitude and the commandments of love. On this occasion, I. S. Leskov recalls John the Theologian.

The image of Varvara Nikikorovna Protozanova (the chronicle “The Seedy Family”) resembles the image of Olga, the first Christian princess in Russia from “The Life of the Holy Blessed and Equal-to-the-Apostles and Glorious in Wisdom Grand Duchess Olga”. In the fates of Princess Olga and Varvara Nikaiorovna Protozanova, one can find much in common. Both came from a noble and poor family. Varvara Nikanorovna, like Olga, early lost her husband, who was killed in battle, and was left alone with small children to manage the huge estate of the Protozanov princes.

Varvara Nikanorovna Protozanova zealously took care of the preservation of the Orthodox faith in her estate and the observance of church rites. At the same time, she is loyal to the Old Believers. The princess openly opposes herself to the secular society of St. Petersburg, because she believed in the Christian truth. Keeping the soul is the main task of a Christian. Protozanova's lifestyle is based on the commandments of bliss.

The chronicle also presents the tempting "quasi-word" of God, distorting the biblical commandments. It is no coincidence that Hotetova is opposed to the main character, as in the lives of the saints - truth and falsehood, good and evil, holiness and sin. Thus, N.S. Leskov builds his system of values on a very broad general religious basis. The main thing for Protozanova is the dissolution of oneself in others and the rejection of one's own desires.

Cherven is a person "positively beautiful in all respects." His appearance is an indicator of inner beauty. In the description of Chervyov, the role of the detail is great (the eyes and voice, in which purity and straightforwardness sound). Unusual name of the hero - Methodius. Here it is appropriate to recall the holy Equal-to-the-Apostles first teachers and enlighteners of the Slavic brothers Cyril and Methodius. Chervyov works as a teacher, but his whole life's work is to preach the word of God.

The chronicle "The Seedy Family" presents the image of a Christian and a warrior who is trying to restore justice on earth. In this image, the writer gives his own understanding of the concept of a Christian warrior for faith, for truth. Dorimedopt Rogozhin, the hero of the chronicle of N.S. Leskov, endowed with the qualities of Don Quixote, the hero of the novel by Cervantes. As you know, the protagonist of Cervantes' novel is insane in his practical

serving knightly postulates and wise in understanding true human ideals.

In the second section, “Traditions of Old Russian Literature in the Chronicle of N.S. Leskov "Old Years in the Village of Plodomasovo"" receives the realization of the "family thought", the bearer of which is Marfa Andreevna. The time frame of the historical chronicle of N.S. Leskov are quite wide. It covers the entire 18th and part of the 19th century. History is shown through the private fate of the most ordinary people.

Building a home (in the broadest sense - families, even chains of generations), raising children, relationships between spouses - the subject of "Domostroy" and the chronicle "Old Years in the Village of Plodomasovo". The texts are united by the motive of opposing the right and the wrong family. The lifestyle of the right family in the chronicle is in many ways similar to Domostroy. On the pages of N.S. Leskov tells about household chores and needlework (dowry for the little grandson of Marfa Andreevna), about home preparations and advice on raising children. The Old Russian Practical Guide to Ethics (“Domostroy”) and the chronicle of N.S. Leskov have direct analogies in the gospel instructions of the Apostle Paul: the house is above passion, because the spirit is above the body.

Marfa Andreevna Plodomasova can be compared with the heroine of a fairy tale (a girl in the house of brothers - robbers). The hawthorn is on the verge of life and death for some time - namely, she is sleeping (the situation of a fairy tale). Through sleep (death) and awakening (resurrection), as well as staying in Plodomasov's house (before the wedding), the hawthorn undergoes a kind of rite of passage. But this initiation is different from magical. It contributes to the renewal of the main character. In this case, we can talk about the dedication to a greater extent Christian than folklore.

In the chronicle of N.S. Leskov develops the theme of sin and repentance. It is appropriate to draw parallels with the lives of great sinners. In traditional hagiography, there is an ideal figure of the righteous from birth, alien to earthly life and infinitely far from its sinful temptations. In popular Orthodoxy, a fundamentally different type of saint, the great sinner, rises to the heights of the Christian ideal from the abyss of a terrible moral fall. The fundamental feature of the lives of great sinners is the threefold nature of their composition: sin - repentance - salvation. Hero of the chronicle N.S. Leskova N.Yu. Plodomasov undergoes a metamorphosis leading his sinful soul to the path of repentance and moral renewal.

In the chronicle “Old Years in the Village of Plodomasovo”, the theme of sin and repentance sounds in a special way: we are talking about sins that are especially serious, hardly expiable, but it is not punishment that is emphasized, but forgiveness. Particularly revealing is the comparison of the boyar Plodomasov

with Andrei of Crete, which makes it possible to discover a number of comparable motives and plot schemes: departure to distant lands, rejection, repentance in captivity.

No less interesting are the comparisons of Nikita Yuryich with Ivan the Terrible and Prince Vladimir. If there is a compositional connection with the lives of great sinners, then with the image of Tsar Ivan the Terrible - character traits, inner world, the spiritual side of life, and with Prince Vladimir - elements of biography. Old Russian sources enable the author to create a completely special, deeply religious, spiritually rich character of the protagonist.

In the third section “Images-symbols in the chronicle of N.S. Leskov's "Cathedrals"" is an unusual interweaving of incompatible, at first glance, opposite characters. With the help of symbolism, the writer comprehends a number of philosophical and social problems: the connection of the present, past and future, the meaning of human existence, the divine law and its embodiment in the human mind, the unity of all living things, etc.

The image of a tree (oak) carries the greatest semantic load in the chronicle. In a symbolic sense, the tree expresses the forms of life in the organic relationships of nature and man as part of the cosmos. N.S. Leskov is close to the idea of two planes of being, embodied in the symbolism of a tree: their parallelism and irreducibility into one whole, since the unity of the world has been lost. This is noticeable in the scene of a thunderstorm, when lightning cuts off a mighty oak, in the leaves of which a raven is hiding.

During a thunderstorm, the truth is revealed to Father Saveliy. He keenly feels the unity of all living things and understands that a person artificially distances himself from this harmony, not realizing that this is happiness and the meaning of his existence. The protagonist sets the task: to find the truth and help others in this. Contemplating the oak, Father Saveliy feels like a part of the cosmos. The tree is a symbol of birth and death, the growth and formation of a person leaning on the ground and striving for the sun and light. The tree is also a sign of the doom of all living things, subject to the natural rhythm of flowering, fertility, withering and death.

In the chronicle of N.S. Leskov, the image of water symbolizes the renewal, purification and sanctification of the surrounding world. For Tuberozov, it is identical to the teachings of Christ. Lightning reflected in the water of a spring does not mean an omen of trouble, but illumination with the light of truth. Thunderstorms are followed by heavy rain, like life force pouring down from the sky.

The alternation of different historical layers, the philosophical rethinking of the past from the standpoint of the present, the combination of an attitude towards the objectivity of the image and the subjective type of narration determine the constitutive features of the chronicles of N.S. Leskov. The features of the family chronicle are combined in them with genre features.

historical novel. Such a parabolic structure, which implies distancing from historical reality in order to return to it at the level of philosophical generalization, is dictated by the author's focus on revealing the eternal but temporal, on the search for a socio-ethical ideal in the past.

The aesthetic task facing II.S. Leskov, - the creation of images of "righteous people", "positive types" - determines the writer's keen interest in the ethical-axnological paradigm of ancient Russian literature. Appeal to various genre models (life, annals, patericon tales), on the one hand, and appeal to religious and book sources (Domostroy, Holy Scripture and Tradition), on the other, allow the writer to expand the boundaries of possible interpretation and receptive practices, as well as to fill artistic image with archetypal connotations.

The fourth section "Semantic transformation of the border of the "Knscho-Pechersk Patericon" in the "Pechersk Antiques" by N.S. Leskov" is devoted to the characterization of Leskov's heroes in accordance with the traditions of the "Kiev-Pechersk Patericon". The heroes of the ancient Russian monument (Nikolai Svyatosha, Moses Ugrin, Theodore, etc.) are mentioned II.S. Leskov in the works of different years (“Lady Macbeth of the Mtsepsky district”, “Childhood. From the memoirs of Merkul Praottsev”, etc.). The entire space of the author's memories is occupied by portraits of people who once lived in Pechersk. The portraits were drawn with the help of means corresponding to the type of personality of this or that patericon image.

Father Efim Botvinovsky, in his way of life, in his actions, resembles the monk Matvey. The frivolous attitude to the church service, to his monastic duties is combined with this character with deep religiosity. Dionysii Ivanovich, a character in N.S. Leskov, has the same qualities as Prokhor Lebednik from the Kiev-Pechersky Paterikon. But if Prokhor supplies the starving people of Kiev with bread baked from quinoa, and turns the ashes taken from the cell into salt, then the quarterly performs “antique work”: he makes old boards from new material. The personality of the Old Believer Malafei Pimych is revealed through the symbols of the bridge and the Dnieper (movement along the bridge acquires here the symbolic meaning of a person’s transition to a new state; the Dnieper symbolizes Ancient Russia). In the relationship between Malatheus Pimych and young Gneziy, there is a similarity with the biblical Old Testament prophet Elisha and his disciple.

The images of the "Kyiv-Pechersk Patericon", transforming in the work of N.S. Leskov, help to reveal the essence of this or that hero, his character, inner world, which, in turn, contributes to understanding the main idea of this work.

In conclusion, the main conclusions are formulated.

11.C. Leskov, in his works, refers to motifs, images, plot schemes, and arche-textual sources that go back to the folklore and, more broadly, to the mythopoetic tradition. Of particular importance is the double citation, in which a chain of continuity is formed (for example, the Gospel - hagiographic literature - chronicles).

The writer is interested in thematic techniques (figurative parallels), bpo! graphic (allusions to the events of one’s own life, biography and historical chronicle) and structural citation, elements of compositional organization are used, which go back to the hagiographic genre invariant (sacralization of the image of the main character, a three-part model of hagiographic narration, a chronotope built on the principle of reverse perspective, etc.) .

The appeal of I I. S. Leskov to ancient Russian literature is associated with the accumulation of individual author's genre consciousness, which produces such synthetic forms, architextually associated with the system of genres of literature of Ancient Russia, such as "family chronicle" ("A seedy family"), "landscape and genre" ("Mid Night Occupants"), "excerpts from youthful memories" ("Pechersk antiques"). The position of the author, the genre point of view on the world and the choice of the hero are mediated by the belonging of the work to the Old Russian literary tradition.

The writer's increased interest in Russian history and culture, in the origins of the national character forms a chain of interrelated problematic relationships: man and nature, spirituality and the emptiness of the inner world of people, city and village, history and modernity. The cultural continuum, which is formed in the works of I. S. Leskov and is a polylogue of various, sometimes opposite, religious, mythological and literary contexts, time plans and historical eras, determines the polyphony of the writer's prose.

1. Filatova N. A. Images-symbols in the chronicle of N. S. Leskov "The Cathedral" [Text] / N. A. Filatova // Humanitarian research. Journal of Fundamental and Applied Research. - ISSN 1818-4936.

Astrakhan, 2009. - No. 4 (32). - S. 230-235. (0.3 p.l.)

2. Filatova N.A. The symbolism of sleep in the story of N.S. Leskova "The Life of a Woman" [Text] / N. A. Filatova // Humanitarian Studies. Journal of Fundamental and Applied Research. - ISSN 1818-4939. -Astrakhan, 2010. - No. 3.- S. 160-163. (0.4 p.l.)

3. Filatova N.A. The theme of the family in the chronicle of N.S. Leskov "Old years in the village of Plodomasovo" [Text] / N. A. Filatova // Humanitarian research. Journal of Fundamental and Applied Research. -ISSN 1818-4941.-Astrakhan, 2011 2. - S. 55-57. (0.4 p.l.)

Articles in collections of scientific papers and materials of scientific conferences:

4. Filatova N.A. Hagiographic tradition in the artistic worldview of N.S. Leskov "The Life of a Woman" [Text] / N. A. Filatova // Picture of the world in a work of art: materials of the International Scientific Internet Conference (April 20-30, 2008) / comp. G. G. Isaev, E. E. Zavyalova, T. Yu. Gromova. - Astrakhan: Astrakhan University Publishing House, 2008. - P. 23-25. (0.4 p.l.) - ISBN 978-5-9926-0101-5.

5. Filatova N.A. Gospel motives in the story of N.S. Leskov "The Sealed Angel" [Text] / N. A. Filatova // Questions of Linguistics and Literary Studies. - ISSN 2074-1715. -Astrakhan, 2009 - No. 1 (5). - С 4952. (0.3 p.l.)

6. Filatova N. A. Characters of N. S. Leskov’s chronicle “Old years in the village of Plodomasovo” and the literature of Ancient Russia [Text] / N. A. Filatova // Literary character as a form of embodiment of author’s intentions: materials of the international scientific Internet conference (April 20-25, 2009) / comp. G. G. Isaev, T. Yu. Gromova, D. M. Bychkov. - Astrakhan: Astrakhan University Publishing House, 2009. - S. 39-42. (0.4 p.l.)

ISBN 978-5-9926-0194-7.

7. Filatova N. A. Symbolic in N.S. Leskov "Midnight Occupants" [Text] / N. A. Filatova // Archetypes, mythologemes, symbols in the writer's artistic worldview: materials of the International Scientific Internet Conference (April 19-24, 2010) / comp. G. G. Isaev, T. Yu. Gromova, D. M. Bychkov. - Astrakhan: Publishing

house "Astrakhan University", 2010. - S. 69-73. (0.5 p.l.) - ISBN 978-59926-03157-6.

8. Filatova N.A. The concept of "Christian warrior" in the chronicle of N.S. Leskov "A seedy family" [Text] / N. A. Filatova // Cognitive approach to the analysis and interpretation of a work of art: materials of the International Scientific Internet Conference (April 18-25, 2011) / comp. G. G. Isaev, T. Yu. Gromova, D. M. Bychkov - Astrakhan: Astrakhan University Publishing House, 2011. - P. 63-65. (0.4 p. l.) - ISBN 9785-9926-0466-5.

9. Filatova N.A. The theme of the Old Believers in the essay “Stopping the Growing Language” by N.S. Leskova [Text] / N. A. Filatova // International Scientific and Practical Conference "Modern Philology: Theory and Practice" (September 2011). - M.: Institute for Strategic Studies, 201 G. - S. 235-239. (0.4 p. l.) - ISBN 978-5-9902915-4-6.

10. Filatova N.A. Images of the Old Believers in the story of N.S. Leskov "Pechersk antiques" [Text] / N. A. Filatova // International scientific and practical conference "Linguistic and cultural contacts of different peoples" (June 2011). - Penza: Privolzhsky House of Knowledge, 2011. - S. 163-167. (0.4 p. l.) - ISBN 978-5-8356-1158-4.

11. Filatova N.A. The relationship between the Old Believers and populists in the story of N.S. Leskov "The Mysterious Man" [Text] / N. A. Filatova // International Scientific and Practical Conference "Problems of Language and Culture" (September 2011). - M.: Institute for Strategic Studies, 2011. - S. 63-67. (0.4 p. l.) - ISBN 978-5-9902915-6-5.

12. Filatova N. A. The semantics of the word “clothing” and Russian linguistic consciousness (on the example of a fragment of the story “Midnight clerks” by N. S. Leskov) [Text] / N. A. Filatova // International conference "Language in socio-cultural space and time » (October 2011). - Astrakhan: Sorokin Roman Vasilyevich, 2011. - S. 54-60. (0.4 p.l.) - ISBN 978-5-91910078-2.

13. Filatova N.A. The theme of education in the chronicle of N.S. Leskov "A seedy family" [Text] / N. A. Filatova // Philological sciences in Russia and abroad. - Aginskoye: Young scientist, 2011. - S. 54-63. (0.4 p.l.) - ISBN 978-5-91711-031-4.

14. Filatova N.A. Chronicle and hagiographic images in the chronicle of N.S. Leskov "A seedy family" (on the example of Varvara Nikanorovna Protozanova) [Text] / N. A. Filatova // Theoretical and practical aspects of the development of modern science. - M. : Institute for Strategic Studies, 2012. - S. 28-35. (0.4 p. l.) - ISBN 978-5-9902915-6-5.

15. Filatova N.A. The image of a “positively beautiful person” in the chronicle of N.S. Leskov "The seedy family" // Philology, art criticism and cultural studies in the XXI century. - Novosibirsk: NSU, 2012. - S. 72-76. (0.4 pp) - ISBN 978-5-9902917-4-5.

The writing

“The Enchanted Wanderer” is one of the largest works of N. S.; Leskov, who create a typical hero of the writer, a truly Russian person. Interest in the national character is determined by Leskov's worldview. The essence of the author's reflections is the search for such a development in Russia that would be based on Russian cultural and moral values rooted in the depths of people's life. The movement of the individual, personifying the simple Russian people, is embodied in the significant title of the story - “The Enchanted Wanderer”. This position is due to the constant appeal of Leskov to the experience of folklore and ancient Russian literature.
Comparison of The Enchanted Wanderer with the canonical life leads to the idea that the writer reproduces the main features of this genre with “exactly the opposite”, which allows us to speak of the story as an anti-life. Life tells about a person who has reached the ideal of holiness, tells about the trials and temptations that the hero overcomes on the way to God. From childhood, the hagiographic hero knows about the purpose of life. With this is connected any vision confirming his chosenness. As if the same is happening with Ivan Severyanych - he is a prayerful and promised son. The ghost of the monk he killed says that the hero's path lies in the monastery. But unlike the traditional, hagiographic heroes, Flyagin wants to change his fate, consciously move away from the path predetermined for him. Flyagin is not a saint, and the monastery is not the last place of his wandering. He was born into an ordinary peasant family. But under the influence of circumstances, he constantly committed serious crimes, although deep down he did not want to do this, he despised and reproached himself for sins: the murder of an innocent monk, the woman he loved. The plot of The Enchanted Wanderer is Flyagin's story about his life and destiny. In this, the law of life is also violated, which did not imply a story about oneself. Flyagin can show unconscious cruelty, turns out to be capable of murder, theft, deceit, nevertheless he embodies the writer's idea of righteousness. For Nikolai Stepanovich Leskov, a righteous person is one who, overcoming his shortcomings, seeks to subordinate life to the service of people. The righteous are “little great people”, impassive and disinterested, fighting for justice, erring, but overcoming their delusions. Leskov draws not a heavenly vision, not a face, but a face. The author, without idealizing the hero and not simplifying it, creates a holistic, but contradictory character. Ivan Severyanych can be wildly cruel, unbridled in his ebullient passions. But the basis of his gigantic nature is in good, chivalrous disinterested deeds for the sake of others, in selfless deeds, in the ability to cope with any business. Innocence and humanity, a sense of duty and love for the motherland - these are the remarkable features of the Leskovsky wanderer.
Important for understanding the writer's intention is travel, wandering as the basis of the plot. In ancient Russian literature, the word "path" assumed at least two meanings, which can be conditionally designated as geographical and moral. Geographical is the knowledge of the world, ideas about it. Moral meaning implies self-knowledge and self-improvement, its result is inner transformation. That is how A. Nikitin, who went on a business trip, got acquainted with another faith, not only expanded his horizons, but also tested himself. We find the same intersection of two travel goals in the wanderings of Ivan Flyagin, because he passes through European Russia from the black earth steppes of the Russian south to Ladoga and Nizhny Novgorod, from the capitals to the Caucasus and the Astrakhan saline deserts, because he operates in the most diverse national and ethnic environment: meets symbolic scale. He is thought to be the personification of the nation. Ivan Flyagin is drawn across the expanses of his homeland by certain powerful forces that impart drama to his fate. But, on the other hand, the hero is inherent in the inquisitiveness of self-knowledge. More than once he thinks about why his life develops this way and not otherwise. Flyagin's wanderings, like his predecessors in ancient Russian literature, were a search for happiness and a way out of difficult life situations.
There are features in The Enchanted Wanderer that make the story related to the chronicle - this is due to the peculiarities of the narrative manner. The narrator here turns into a chronicler, recounting events sequentially, like a chronicler, from a certain angle, although his speeches bear a bright imprint of the narrator's personality, which was unacceptable in the annals. Creating the main character of the story, Leskov saw him as a Russian hero. From the very first moment of acquaintance, he evokes associations with Ilya Muromets in the narrator-author. His biography included the overcoming of the first steppe hero, and the pacification of a wild “cannibal” horse, and feats of arms, and the salvation of people close to him and completely strangers, and the baptism of nomads, and the fight against imaginary “demons” incarnated in low souls. And he is also tempted by the charms of earthly beauty. And everything suffers from the consciousness of its own imperfection, and everything goes “from one fear to another”, without bending or breaking, it goes towards a feat that can adequately crown its bright life. The structure of The Enchanted Wanderer, where adventures with cruelties and murders follow one after another, resembles the plot construction of epics. The epic hero, as you know, has extraordinary strength. Creating the image of Flyagin, Leskov also uses hyperbole, describing the possibilities of Ivan Severyanych. He possesses both strength and endurance (an episode of life among the Tatars, a “dispute” with a Tatar), and resourcefulness (this trait brings him closer to the hero of the epic of the Novgorod cycle - Sadko). The military prowess necessary for the hero manifested itself during the service of Ivan Severyanych in the army. He was able to do the most impossible operations. The strength lies in its organic connection with the living national element, with the native land and its nature, with its people and traditions that go back into the distant past. Thus, the story "The Enchanted Wanderer" is written in the best traditions of folklore and ancient Russian literature. Leskov takes a creative approach to rethinking the experience accumulated by literature. This allows you to create a contradictory, but beautiful character of a simple-hearted hero, unusually sensitive to beauty.

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The Enchanted Wanderer is one of the largest works of N. S. Leskov, creating a typical hero of the writer, a truly Russian person. Interest in the national character is determined by Leskov's worldview. The essence of the author's reflections is the search for such a development of Russia, which would be based on Russian cultural and moral values, rooted in the depths of people's life. The movement of the personality, personifying the simple Russian people, is embodied in the significant title of the story The Enchanted Wanderer. This position is due to the constant appeal of Leskov to the experience of folklore and ancient Russian literature.

Comparison of the Enchanted Wanderer with the canonical life leads to the idea that the writer reproduces the main features of this genre exactly the opposite, which allows us to speak of the story as an anti-life. Life tells about a person who has reached the ideal of holiness, tells about the trials and temptations that the hero overcomes on the way to God.

From childhood, the hagiographic hero knows about the purpose of life. With this is connected any vision confirming his chosenness. As if the same thing is happening with Ivan Severyanych - he is a prayerful and promised son. The ghost of the monk he killed says that the hero's path lies in the monastery. But unlike the traditional, hagiographic heroes, Flyagin wants to change his fate, consciously move away from the path predetermined for him. Flyagin is not a saint, and the monastery is not the last place of his wandering. He was born into an ordinary peasant family. But under the influence of circumstances, he constantly committed serious crimes, although deep down he did not want to do this, he despised and reproached himself for sins: the murder of an innocent monk, the woman he loved. The plot of the Enchanted Wanderer is Flyagin's story about his life and destiny. In this, the law of life is also violated, which did not imply a story about oneself. Flyagin can show unconscious cruelty, turns out to be capable of murder, theft, deceit, nevertheless he embodies the writer's idea of righteousness. For Nikolai Stepanovich Leskov, a righteous person is one who, overcoming his shortcomings, seeks to subordinate life to the service of people. The righteous are small great people, impassive and disinterested, fighting for justice, erring, but overcoming their delusions. Leskov draws not a heavenly vision, not a face, but a face. The author, without idealizing the hero and not simplifying it, creates a holistic, but contradictory character. Ivan Severyanych can be wildly cruel, unbridled in his ebullient passions. But the basis of his gigantic nature is in good, chivalrous disinterested deeds for the sake of others, in selfless deeds, in the ability to cope with any business. Innocence and humanity, a sense of duty and love for the motherland are the remarkable features of the Leskovsky wanderer.

Important for understanding the writer's intention is travel, wandering as the basis of the plot. In ancient Russian literature, the word path assumed at least two meanings, which can be conditionally designated as geographical and moral. Geographical is the knowledge of the world, ideas about it. Moral meaning implies self-knowledge and self-improvement, its result is inner transformation. That is how A. Nikitin, who went on a business trip, got acquainted with another faith, not only expanded his horizons, but also tested himself. We find the same intersection of two travel goals in the wanderings of Ivan Flyagin, because he passes through European Russia from the black earth steppes of the Russian south to Ladoga and Nizhny Novgorod, from the capitals to the Caucasus and the Astrakhan saline deserts, because he operates in the most diverse national and ethnic environment: meets symbolic scale. He is thought to be the personification of the nation. Ivan Flyagin is drawn across the expanses of his homeland by certain powerful forces that impart drama to his fate. But, on the other hand, the hero is inherent in the inquisitiveness of self-knowledge. More than once he thinks about why his life develops this way and not otherwise. Flyagin's wanderings, like his predecessors in ancient Russian literature, were a search for happiness and a way out of difficult life situations.

There are features in the Enchanted Wanderer that make the story related to the chronicle, this is due to the peculiarities of the narrative manner. The narrator here turns into a chronicler, recounting events sequentially, like a chronicler, from a certain angle, although his speeches bear a bright imprint of the narrator's personality, which was unacceptable in the annals. Creating the main character of the story, Leskov saw him as a Russian hero. From the very first moment of acquaintance, he evokes associations with Ilya Muromets in the narrator-author. His biography included the overcoming of the first steppe hero, and the pacification of a wild cannibal horse, and feats of arms, and the salvation of people close to him and completely strangers, and the baptism of nomads, and the fight against imaginary demons and incarnated in low souls.

And he is also tempted by the charms of earthly beauty. And everything suffers from the consciousness of its own imperfection, and everything goes from one suffering to another, without bending or breaking down, goes towards a feat that can adequately crown its bright life. The structure of the Enchanted Wanderer, where adventures with cruelties and murders follow one after another, resembles the plot construction of epics. The epic hero, as you know, has extraordinary strength. Creating the image of Flyagin, Leskov also uses hyperbole, describing the possibilities of Ivan Severyanych. He possesses both strength and endurance (an episode of life among the Tatars, a dispute with a Tatar), and resourcefulness (this trait brings him closer to Sadko, the hero of the epic of the Novgorod cycle). The military prowess necessary for the hero manifested itself during the service of Ivan Severyanych in the army. He was able to do the most impossible operations. The strength lies in its organic connection with the living national element, with the native land and its nature, with its people and traditions that go back into the distant past. Thus, the story The Enchanted Wanderer is written in the best traditions of folklore and ancient Russian literature. Leskov takes a creative approach to rethinking the experience accumulated by literature. This allows you to create a contradictory, but beautiful character of a simple-hearted hero, unusually sensitive to beauty.

Nikolai Semenovich Leskov was always interested in the characters of strong, unusual natures, paradoxical in their manifestations. Such is the hero of the story The Enchanted Wanderer.

Half a century of his own life, Ivan Severyanych Flyagin narrates to fellow travelers with simplicity and truthfulness, bordering on confession. Before listeners and readers, the fate of the former runaway serf wanderer on the land of the fatherland is revealed. Leskov calls his hero the hero-black-Rizets, compares with Ilya Muromets. The image of the heroism of a simple peasant, who passed without bending over through difficult trials, has a symbolic meaning in the story.

The hero humbles a wild horse, overcomes a steppe horse in a duel. hero, defeats the green serpent, is tempted by female charms; more than once, by sacrificing himself, he saves his loved ones, performs a feat of arms, languishes in captivity, baptizes foreigners, fights with a demon, broadcasts about the fate of the country.

It is as if the whole traditional set of ancient Russian hagiographic literature and folklore, reflecting the heroism of a person's walking through the passions of life, fit into Flyagin's biography. A peasant, a warrior, a novice, Ivan Severyanych, like his epic prototype, died all his life, but did not die. Such people carry a huge potential of strength, far surpassing the weak-hearted and not courageous Russian princes. Leskov calls a wanderer walking along the sides of his homeland and history, enchanted, subject to some kind of magical spell of life, which plunges the hero into dramatic events.

One of the charms that has invincible power over Flyagin is the charm of beauty that illuminates the world. A spring landscape, a handsome horse, a Russian song and nature's perfection of a woman can ignite the passionate nature of Ivan Severyanych. “... Oh, you snake!., oh you, steppe aspid little bustard! Flyagin exclaims at the horse fair, where you could only have been born like that. ”And I feel that my soul rushed to her, to this horse, my dear passion.

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Women's Portal Flero

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