Explanatory dictionary of Ozhegov

Prosaic, th, th.

Ohm. prose.

The same as prosaic.

Explanatory dictionary of the Russian language Ushakov

PROSE, prosaic, prosaic; as a short forms of use prosaic, chna, chno (book).

Full only. forms. Written in prose; opposite poetic (lit.). Prose translation.

Used advantage. in prose, recalling prose, suitable for prose, and not for poetry (lit.). prosaic expression. This expression is prosaic. Sometimes on a rainy day the other day I turned into a barnyard... ugh! prosaic nonsense! Pushkin.

Unpoetic, devoid of fascination, entertainment. Reluctantly, I turn to the events of this story, as much truthful as prosaic. Grigorovich. || Boring, everyday, the most ordinary. Prose conversation. prosaic relationship. The life of an unsecured person has its prosaic interests. Chernyshevsky.

Business, practical, selfish (iron.). Pursue prosaic goals.

1830s - the heyday of Pushkin's prose. Of the prose works at that time, the following were written: “The stories of the late Ivan Petrovich Belkin, published by A.P.” , "Dubrovsky", "The Queen of Spades", "The Captain's Daughter", "Egyptian Nights", "Kirdzhali". There were many other significant ideas in Pushkin's plans.

Belkin's Tales (1830)- the first completed prose works of Pushkin, consisting of five stories: "The Shot", "Snowstorm", "The Undertaker", "The Stationmaster", "The Young Lady-Peasant Woman". They are prefaced by a "From the Publisher" preface, internally linked to "History of the village of Goryukhino" .

In the preface "From the Publisher", Pushkin assumed the role of publisher and publisher of Belkin's Tale, signing with his initials "A.P." The authorship of the stories was attributed to the provincial landowner Ivan Petrovich Belkin. I.P. Belkin, in turn, put on paper the stories that other people told him. Publisher A.P. said in a note: “In fact, in the manuscript of Mr. Belkin, above each story, it is inscribed by the author’s hand: I heard from such and such a person(rank or rank and capital letters of the name and surname). We write out for curious prospectors: “The Overseer” was told to him by the titular adviser A.G.N., “Shot” - by Lieutenant Colonel I.L.P., “The Undertaker” - by the clerk B.V., “Snowstorm” and “Young Lady” - maiden K.I.T.” Thus, Pushkin creates the illusion of the actual existence of I.P. Belkin with his notes, ascribes authorship to him and, as it were, documented that the stories are not the fruit of Belkin’s own invention, but actually happened stories, which were told to the narrator by people who really existed and were familiar to him. Denoting the connection between the narrators and the content of the stories (the girl K.I.T. told two love stories, Lieutenant Colonel I.L.P. - a story from military life, clerk B.V. - from the life of artisans, titular adviser A.G.N. . - the story of an official, postal station keeper), Pushkin motivated the nature of the narrative and its very style. He, as it were, removed himself from the narrative in advance, transferring the functions of the author to people from the provinces who talk about different parties ah provincial life. At the same time, the stories are united by the figure of Belkin, who was a military man, then retired and settled in his village, visited the city on business and stopped at post stations. I.P. Belkin thus brings all the storytellers together and retells their stories. Such an arrangement explains why the individual manner, which makes it possible to distinguish stories, for example, of the girl K.I.T., from the story of Lieutenant Colonel I.L.P., does not show through. Belkin's authorship is motivated in the preface by the fact that the retired landowner, who, at his leisure or out of boredom, tries his pen, moderately impressionable, could really hear about the incidents, remember them and write them down. Belkin's type is, as it were, put forward by life itself. Pushkin invented Belkin to give him the floor. Here is found that synthesis of literature and reality, which during the period of Pushkin's creative maturity became one of the writer's aspirations.

It is also psychologically reliable that Belkin is attracted by sharp plots, stories and cases, anecdotes, as they would say in the old days. All stories belong to people of the same level of understanding of the world. Belkin as a storyteller is spiritually close to them. It was very important for Pushkin that the story be told not by the author, not from the position of a high critical consciousness, but from the point of view of an ordinary person, amazed by the incidents, but not giving himself a clear account of their meaning. Therefore, for Belkin, all stories, on the one hand, go beyond his usual interests, feel extraordinary, on the other hand, they shade the spiritual immobility of his existence.

The events that Belkin narrates look truly “romantic” in his eyes: they have everything - duels, unexpected accidents, happy love, death, secret passions, adventures with disguises and fantastic visions. Belkin is attracted by a bright, heterogeneous life, which stands out sharply from the everyday life in which he is immersed. Outstanding events took place in the fates of the heroes, while Belkin himself did not experience anything of the kind, but he had a desire for romance.

Entrusting the role of the main narrator to Belkin, Pushkin, however, is not excluded from the narrative. What seems extraordinary to Belkin, Pushkin reduces to the most ordinary prose of life. And vice versa: the most ordinary plots turn out to be full of poetry and conceal unforeseen twists and turns in the fates of the characters. Thus, the narrow boundaries of Belkin's view are immeasurably expanded. So, for example, the poverty of Belkin's imagination acquires a special semantic content. Even in fantasy, Ivan Petrovich does not break out of the nearest villages - Goryukhino, Nenaradovo, and small towns located near them. But for Pushkin, there is also dignity in such a shortcoming: wherever you look, in the provinces, counties, villages - everywhere life flows the same way. The exceptional cases told by Belkin become typical thanks to Pushkin's intervention.

Due to the presence of Belkin and Pushkin in the stories, their originality is clearly visible. The stories can be considered the "Belkin cycle", because it is impossible to read the stories without taking into account Belkin's figures. This allowed V.I. Tyupe after M.M. Bakhtin to put forward the idea of ​​double authorship and a two-voiced word. Pushkin's attention is drawn to the dual authorship, since the full title of the work is “The Tale of the Late Ivan Petrovich Belkin published by A.P. . But at the same time, it must be borne in mind that the concept of “double authorship” is metaphorical, since the author is still one.

This is the artistic and narrative concept of the cycle. The face of the author peeps out from under Belkin's mask: “One gets the impression of a parodic opposition of Belkin's stories to the ingrained norms and forms of literary reproduction.<…>... the composition of each story is permeated with literary allusions, thanks to which, in the structure of the narrative, the transposition of everyday life into literature and vice versa continuously occurs, parodic destruction literary images reflections of reality. This bifurcation of artistic reality, closely associated with epigraphs, that is, with the image of the publisher, puts contrasting touches on the image of Belkin, from whom the mask of a semi-intelligent landowner falls off, and instead of it there is a witty and ironic face of the writer, destroying the old literary forms of sentimental-romantic styles and embroidering based on the old literary canvas, new bright realistic patterns.

Thus, the Pushkin cycle is permeated with irony and parody. Through parody and ironic interpretation of sentimental-romantic and moralistic subjects, Pushkin moved towards realistic art.

At the same time, as E.M. Meletinsky, in Pushkin, the “situations”, “plots” and “characters” played out by the heroes are perceived through literary clichés by other characters and narrators. This "literature in everyday life" is the most important prerequisite for realism.

At the same time, E.M. Meletinsky notes: “In Pushkin's short stories, as a rule, one unheard-of event is depicted, and the denouement is the result of sharp, specifically novelistic turns, a number of which are just carried out in violation of the expected traditional patterns. This event is covered from different sides and points of view by "narrators-characters". At the same time, the central episode is rather sharply opposed to the initial and final ones. In this sense, Belkin's Tales is characterized by a three-part composition, subtly noted by Van der Eng.<…>…the character unfolds and reveals itself strictly within the framework of the main action, without going beyond these limits, which again helps to preserve the specifics of the genre. Fate and the game of chance have been assigned a specific place required by the short story.

In connection with the unification of the stories into one cycle, here, just as in the case of "little tragedies", the question arises of the genre formation of the cycle. Researchers are inclined to believe that the Belkin Tales cycle is close to the novel and consider it an artistic whole of the “romanized type”, although some go further, declaring it a “sketch of a novel” or even a “novel”. EAT. Meletinsky believes that the clichés used by Pushkin belong more to the tradition of the story and the novel than to a specific short story tradition. “But their very use by Pushkin, albeit with irony,” adds the scholar, “is typical of a short story that gravitates towards a concentration of various narrative techniques…”. As a whole, the cycle is a genre formation close to the novel, and individual stories are typical short stories, and “the overcoming of sentimental and romantic clichés is accompanied by Pushkin’s strengthening of the specifics of the short story” .

If the cycle is a single whole, then it should be based on one artistic idea, and the placement of stories within the cycle should give each story and the entire cycle additional meaningful meanings compared to what separate, isolated stories carry. IN AND. Tyupa believes that the unifying artistic idea of ​​Belkin's Tales is the popular popular story of the prodigal son: “the sequence of the stories that make up the cycle corresponds to the same four-phase (i.e., temptation, wandering, repentance and return - VC.) model revealed by the German "pictures". In this structure, "Shot" corresponds to a phase of isolation (the hero, like the narrator, tends to retire); “motifs of temptation, wandering, false and not false partnership (in love and friendship) organize the plot of The Blizzard”; "The Undertaker" implements the "fabulous module" by occupying a central place in the cycle and performing the function of an interlude before "The Stationmaster" "with its graveyard finale on destroyed stations"; The Young Lady-Peasant Woman assumes the function of the final plot phase. However, there is, of course, no direct transfer of the plot of popular prints to the composition of Belkin's Tales. Therefore, the idea of ​​V.I. Tupy looks artificial. So far, it has not been possible to reveal the meaningful meaning of the placement of the stories and the dependence of each story on the entire cycle.

The genre of short stories was studied much more successfully. N.Ya. Berkovsky insisted on their novelistic nature: “Individual initiative and its victories are the usual content of the short story. "Tales of Belkin" - five original short stories. Never before or after Pushkin were short stories written in Russia so formally precise, so true to the rules of the poetics of this genre. At the same time, Pushkin's stories, in their inner meaning, are "opposite to what is in the West in classical time was a classic novel. The difference between the Western and Russian, Pushkin's, N.Ya. Berkovsky sees in the fact that in the latter the folk-epic tendency prevailed, while the epic tendency and the European short story are hardly consistent with each other.

The genre core of short stories is, as shown by V.I. Tyupa, legend(tradition, legend) parable and joke .

legend"simulates role-playing picture of the world. This is an immutable and indisputable world order, where everyone whose life is worthy of a legend is assigned a certain role: fate(or debt)". The word in the legend is role-playing and impersonal. The narrator ("speaking"), like the characters, only conveys someone else's text. The narrator and the characters are the performers of the text, not the creators, they speak not from themselves, not from their own person, but from some common whole, expressing the common people, choral, knowledge, "praise" or "blasphemy". The saying is "domonological".

The picture of the world being modeled parable, on the contrary, implies "the responsibility of the free choice...". In this case, the picture of the world appears value (good - bad, moral - immoral) polarized, imperative since the character carries with him and affirms a certain general moral law, which constitutes deep knowledge and moralizing "wisdom" of parable edification. The parable tells not about extraordinary events and not about private life, but about what happens every day and constantly, about regular events. The characters in the parable are not objects of aesthetic observation, but subjects of "ethical choice". The speaker in the parable must be convinced, and it is precisely belief gives rise to a teaching tone. In the parable, the word is monologue, authoritarian and imperative.

Joke opposes both the eventfulness of the legend and the parable. An anecdote in its original meaning is a curiosity, telling not necessarily funny, but certainly something curious, entertaining, unexpected, unique, incredible. The anecdote does not recognize any world order, therefore the anecdote rejects any orderliness of life, not considering rituality as the norm. Life appears in an anecdote as a game of chance, a combination of circumstances or people's different beliefs colliding. An anecdote is an attribute of private adventurous behavior in an adventurous picture of the world. The anecdote does not claim to be reliable knowledge and is opinion, which may or may not be accepted. Acceptance or rejection of an opinion depends on the skill of the narrator. The word in the joke is situational, conditioned by the situation and dialogized, since it is directed to the listener, it is initiatively and personally colored.

legend, parable and joke- three important structural components of Pushkin's short stories, which vary in different combinations in Belkin's Tales. The nature of the mixing of these genres in each short story determines its originality.

"Shot". The story is an example of classical compositional harmony (in the first part, the narrator tells about Silvio and about the incident that happened in the days of his youth, then Silvio talks about his duel with Count B ***; in the second part, the narrator talks about Count B ***, and then Count B *** - about Silvio; in conclusion, on behalf of the narrator, a "rumor" ("they say") about the fate of Silvio is transmitted). The hero of the story and the characters are illuminated from different angles. They are seen through the eyes of each other and strangers. The writer sees in Silvio a mysterious romantic and demonic face. He describes it in a more romantic way. Pushkin's point of view is revealed through the parodic use of romantic style and through the discrediting of Silvio's actions.

To understand the story, it is essential that the narrator, already an adult, is transferred to his youth and appears at first as a romantically inclined young officer. AT mature years, having retired, settling in a poor village, he looks somewhat differently at the reckless prowess, mischievous youth and violent days of officer youth (he calls the count "rake", whereas, according to previous concepts, this characteristic would not apply to him). However, when telling, he still uses a book-romantic style. Significantly greater changes took place in the count: in his youth he was careless, did not value life, and in adulthood he learned the true values ​​​​of life - love, family happiness, responsibility for a creature close to him. Only Silvio remained true to himself from the beginning to the end of the story. He is an avenger by nature, hiding under the guise of a romantic mysterious person.

The content of Silvio's life is revenge of a special kind. Murder is not part of his plans: Silvio dreams of “killing” human dignity and honor in the imaginary offender, enjoying the fear of death on the face of Count B *** and for this purpose takes advantage of the enemy’s momentary weakness, forcing him to fire a second (illegal) shot. However, his impression of the count's tarnished conscience is erroneous: although the count violated the rules of duel and honor, he is morally justified, because, worrying not for himself, but for the person dear to him (“I counted the seconds ... I thought about her ...”), he sought to speed up shot. The graph rises above the usual representations of the environment.

After Silvio inspired himself as if he had taken revenge in full, his life loses its meaning and he is left with nothing but the search for death. Attempts to glorify a romantic person, a "romantic avenger" turned out to be untenable. For the sake of a shot, for the sake of the insignificant goal of humiliating another person and imaginary self-affirmation, Silvio destroys his own life, wasting it in vain for the sake of petty passion.

If Belkin portrays Silvio as a romantic, then Pushkin resolutely denies the avenger this title: Silvio is not a romantic at all, but a completely prosaic avenger-loser who only pretends to be a romantic, reproducing romantic behavior. From this point of view, Silvio is a reader of romantic literature who "literally brings literature into his life until the bitter end". Indeed, Silvio's death is clearly correlated with Byron's romantic and heroic death in Greece, but only in order to discredit the imaginary heroic death of Silvio (this was Pushkin's view).

The story ends with the following words: "They say that Silvio, during the indignation of Alexander Ypsilanti, led a detachment of Eterists and was killed in the battle near Skulyany." However, the narrator admits that he had no news of Silvio's death. In addition, in the story “Kirdzhali”, Pushkin wrote that in the battle near Skulyan, “700 people of Arnauts, Albanians, Greeks, Bulgars and all sorts of rabble…” opposed the Turks. Silvio must have been stabbed to death, as not a single shot was fired in this battle. The death of Silvio is deliberately deprived of a heroic halo by Pushkin, and the romantic literary hero is comprehended by an ordinary avenger-loser with a low and evil soul.

Belkin, the narrator, sought to glorify Silvio, Pushkin, the author, insisted on the purely literary, bookish-romantic nature of the character. In other words, heroism and romance did not refer to Silvio's character, but to Belkin's narrative efforts.

A strong romantic beginning and an equally strong desire to overcome it left their mark on the whole story: Silvio's social status is replaced by demonic prestige and ostentatious generosity, and the carelessness and superiority of the naturally lucky count rise above his social origin. Only later, in the central episode, Silvio's social disadvantage and the social superiority of the count are revealed. But neither Silvio nor the Count in Belkin's narrative take off romantic masks and do not refuse romantic clichés, just as Silvio's refusal to shoot does not mean refusal of revenge, but seems to be a typical romantic gesture, meaning an accomplished revenge (“I won’t,” answered Silvio, - I am satisfied: I saw your confusion, your timidity; I made you shoot at me, that's enough for me. You will remember me. I betray you to your conscience").

"Blizzard". In this story, as in other stories, plots and stylistic clichés of sentimental and romantic works are parodied (“ Poor Lisa"," Natalia, Boyar's Daughter "Karamzin, Byron, Walter Scott, Bestuzhev-Marlinsky, "Lenora" Burger, "Svetlana" Zhukovsky, "groom-ghost" Washington Irving). Although the heroes are waiting for the resolution of conflicts according to literary schemes and canons, conflicts end differently, since life makes amendments to them. “Van der Eng sees in The Snowstorm six variants of a sentimental plot rejected by life and chance: a secret marriage of lovers against the will of their parents due to the poverty of the groom and subsequent forgiveness, the heroine’s painful farewell to the house, the death of her lover and either the suicide of the heroine, or his eternal lamentation by her, etc., etc.” .

The Snowstorm is based on the adventurousness and anecdotal nature of the plot, the “play of love and chance” (she went to marry one, and got married to another, wanted to marry one, and married another, the fan’s declaration of love to a woman who de jure is his wife, vain resistance to parents and their "evil" will, naive opposition to social obstacles and an equally naive desire to destroy social barriers), as was the case in French and Russian comedies, as well as another game - patterns and accidents. And here comes a new tradition - the tradition of the parable. The plot mixes adventure, anecdote and parable.

In The Snowstorm, all events are so closely and skillfully intertwined with each other that the story is considered a model of the genre, an ideal short story.

The plot is tied to confusion, a misunderstanding, and this misunderstanding is double: first, the heroine is married not to the lover she has chosen, but to an unfamiliar man, but then, being married, she does not recognize her betrothed in the new chosen one, who has already become a husband. In other words, Marya Gavrilovna, having read French novels, did not notice that Vladimir was not her betrothed and mistakenly recognized in him the chosen one of the heart, and in Burmin, an unfamiliar man, she, on the contrary, did not recognize her real chosen one. However, life corrects the mistake of Marya Gavrilovna and Burmin, who cannot believe in any way, even being married, legally wife and husband, that they are meant for each other. Random separation and accidental unification is explained by the play of the elements. The snowstorm, symbolizing the elements, whimsically and capriciously destroys the happiness of some lovers and just as whimsically and capriciously unites others. Elements in their arbitrariness gives rise to order. In this sense, the blizzard performs the function of fate. The main event is described from three sides, but the story of the trip to the church contains a mystery that remains so for the participants themselves. It is explained only before the final denouement. Two love stories converge to the central event. At the same time, a happy story follows from an unhappy story.

Pushkin skillfully builds a story, bestowing happiness on sweet and ordinary people who have matured during a period of trials and realized responsibility for their personal fate and for the fate of another person. At the same time, another thought sounds in The Snowstorm: real life relationships are “embroidered” not according to the canvas of bookish sentimental-romantic relations, but taking into account personal inclinations and a completely tangible “general order of things”, in accordance with the prevailing foundations, mores, property position and psychology. Here the motive of the elements - fate - a snowstorm - chance recedes before the same motive as a pattern: Marya Gavrilovna, the daughter of wealthy parents, is more appropriate to be the wife of a wealthy Colonel Burmin. Chance is an instantaneous tool of Providence, the "game of life", her smile or grimace, a sign of her unintentionality, a manifestation of fate. It also contains the moral justification of history: in the story, the case not only ringed and completed the novelistic plot, but also “spoke out” in favor of the arrangement of all being.

"Undertaker". Unlike other stories, The Undertaker is full of philosophical content and is characterized by fantasy that invades the life of artisans. At the same time, the “low” way of life is comprehended in a philosophical and fantastic way: as a result of the drinking of artisans, Adrian Prokhorov embarks on “philosophical” reflections and sees a “vision” filled with fantastic events. At the same time, the plot is similar to the structure of the parable of the prodigal son and is anecdotal. It also shows a ritual journey to the "afterlife" that Adrian Prokhorov makes in a dream. Adrian's migrations - first to a new home, and then (in a dream) to the "afterlife", to the dead and, finally, the return from sleep and, accordingly, from the kingdom of the dead to the world of the living - are comprehended as a process of acquiring new vital stimuli. In this regard, the undertaker moves from a gloomy and gloomy mood to a bright and joyful one, to an awareness of family happiness and the true joys of life.

Adrian's housewarming is not only real, but also symbolic. Pushkin plays with hidden associative meanings associated with the ideas of life and death (housewarming in a figurative sense - death, relocation to another world). Undertaker's occupation defines him special treatment to life and death. He is in direct contact with them in his craft: he is alive, he prepares “houses” (coffins, dominoes) for the dead, his clients are the dead, he is constantly busy thinking about how not to miss income and not miss the death of a still living person. This problem finds expression in references to literary works (to Shakespeare, to Walter Scott), where undertakers are depicted as philosophers. Philosophical motifs with an ironic tinge arise in Adrian Prokhorov's conversation with Gottlieb Schultz and at the latter's party. There, the watchman Yurko offers Adrian an ambiguous toast - to drink to the health of his clients. Yurko, as it were, connects two worlds - the living and the dead. Yurko's proposal prompts Adrian to invite the dead to his world, for whom he made coffins and whom he saw off on their last journey. Fiction, realistically substantiated (“dream”), is saturated with philosophical and everyday content and demonstrates the violation of the world order in the ingenuous mind of Adrian Prokhorov, the distortion of everyday and Orthodox ways.

Ultimately, the world of the dead does not become his own for the hero. A light consciousness returns to the undertaker, and he calls on his daughters, finding peace and joining the values ​​of family life.

In the world of Adrian Prokhorov, order is restored again. His new state of mind enters into some contradiction with the former. “Out of respect for the truth,” the story says, “we cannot follow their example (i.e., Shakespeare and Walter Scott, who portrayed gravediggers as cheerful and playful people - VC.) and we are compelled to confess that the disposition of our undertaker was perfectly in keeping with his gloomy trade. Adrian Prokhorov was gloomy and thoughtful. Now the mood of the delighted undertaker is different: he does not remain, as usual, in a gloomy expectation of someone's death, but becomes cheerful, justifying the opinion of Shakespeare and Walter Scott about the undertakers. Literature and life merge in the same way that the points of view of Belkin and Pushkin approach each other, although they do not coincide: the new Adrian corresponds to those book images that Shakespeare and Walter Scott painted, but this does not happen because the undertaker lives according to artificial and fictional sentimental-romantic norms, as Belkin would have liked, but as a result of a happy awakening and familiarization with the bright and lively joy of life, as Pushkin depicts.

"Station Master". The plot of the story is based on contradiction. Usually fate poor girl from the lower strata of society, who fell in love with a noble gentleman, was unenviable and sad. Having enjoyed it, the lover threw it out into the street. In literature, such plots were developed in a sentimental and moralistic spirit. Vyrin, however, knows about such life stories. He also knows the pictures of the prodigal son, where the restless young man first sets off, blessed by his father and rewarded with money, then squanders his fortune with shameless women and the repentant beggar returns to his father, who accepts him with joy and forgives. Literary plots and popular prints with the story of the prodigal son suggested two outcomes: tragic, deviating from the canon (the death of the hero), and happy, canonical (newly found peace of mind for both the prodigal son and the old father).

The plot of The Stationmaster is developed in a different vein: instead of repentance and the return of the prodigal daughter to her father, the father goes to look for his daughter. Dunya and Minsky are happy and, although she feels guilty towards her father, she does not think about returning to him, and only after his death does she come to Vyrin's grave. The caretaker does not believe in Dunya's possible happiness outside his father's house, which allows him to be named "blind" or "a blind watchman" .

The reason for the punning oxymoron was the following words of the narrator, to which he did not attach due importance, but which, of course, are accentuated by Pushkin: "The poor caretaker did not understand ... how blindness came to him ...". Indeed, the caretaker Vyrin saw with his own eyes that Dunya did not need to be saved, that she lived in luxury and felt herself the mistress of the situation. Contrary to the true feelings of Vyrin, who wants his daughter to be happy, it turns out that the caretaker is not happy with happiness, but would rather be happy with misfortune, since it would justify his most gloomy and at the same time most natural expectations.

This consideration led V. Schmid to the rash conclusion that the caretaker's grief is not "the misfortune that threatens his beloved daughter, but her happiness, which he becomes a witness of." However, the misfortune of the caretaker is that he does not see Dunya's happiness, although he does not want anything but the happiness of his daughter, but only sees her future misfortune, which constantly stands before his eyes. Imagined unhappiness became real, and real happiness became fictional.

In this regard, the image of Vyrin doubles and is a fusion of the comic and the tragic. Indeed, isn't it ridiculous that the caretaker invented Dunya's future misfortune and, in accordance with his false conviction, doomed himself to drunkenness and dying? The "station master" vomited "literary critics have so many journalistic tears about the unfortunate share of the notorious little man", - wrote one of the researchers.

Today, this comic version of The Station Agent is decisively dominant. Researchers, starting with Van der Eng, are laughing in every way, "accusing" Samson Vyrin. The hero, in their opinion, "thinks and behaves not so much like a father, but like a lover, or, more precisely, like a rival of his daughter's lover" .

So, we are no longer talking about the love of a father for his daughter, but about the love of a lover for his mistress, where father and daughter turn out to be lovers. But in Pushkin's text there are no grounds for such an understanding. Meanwhile, V. Schmid believes that Vyrin, at heart, is a “blind jealous man” and an “envious person”, reminiscent of an older brother from the gospel parable, and not a venerable old father. “... Vyrin is neither a selfless, generous father from the parable of the prodigal son, nor a good shepherd (meaning the Gospel of John - V.K.) ... Vyrin is not the person who could give her happiness ... "He unsuccessfully resists Minsky in the struggle for the possession of the Dunya. V.N. went furthest in this direction. Turbin, who directly declared Vyrin the lover of his daughter.

For some reason, researchers think that Vyrin's love is feigned, that there is more selfishness, self-love, self-care than about her daughter. In fact, of course, this is not the case. The caretaker really loves his daughter dearly and is proud of her. Because of this love, he is afraid for her, no matter how some misfortune happens to her. The "blindness" of the caretaker lies in the fact that he cannot believe in Dunya's happiness, because what happened to her is fragile and disastrous.

If so, what does jealousy and envy have to do with it? Whom, one wonders, does Vyrin envy - Minsky or Dunya? There is no mention of jealousy in the story. Vyrin cannot envy Minsky, if only for the reason that he sees in him a rake who seduced his daughter and is going to throw her out into the street sooner or later. Dunya and her new position, Vyrin also cannot envy, because she already unhappy. Perhaps Vyrin is jealous of Minsky that Dunya went to him, and did not stay with her father, which she preferred to Minsky's father? Of course, the caretaker is annoyed and offended that his daughter treated him not according to custom, not in a Christian and not in a kindred way. But envy, jealousy, as well as real rivalry is not here - such feelings are called differently. In addition, Vyrin understands that he cannot even be an unwitting rival of Minsky - they are separated by a huge social distance. He is ready, however, to forget all the insults inflicted on him, to forgive his daughter and take her to his home. Thus, in conjunction with the comic content, there is also the tragic, and the image of Vyrin is illuminated not only by the comic, but also by the tragic light.

Dunya is not without selfishness and spiritual coldness, who, sacrificing her father for the sake of a new life, feels guilty before the caretaker. The transition from one social stratum to another and the collapse of patriarchal ties seem to Pushkin both natural and extremely contradictory: finding happiness in a new family does not cancel the tragedy that concerns the old foundations and the very life of a person. With the loss of Dunya, Vyrin no longer needed his own life. A happy ending does not cancel the tragedy of Vyrin.

Not the last role in it is played by the motive of socially unequal love. The social shift does not cause any damage to the personal fate of the heroine - Dunya's life is going well. However, this social shift is paid for by the social and moral humiliation of her father when he tries to get his daughter back. The turning point of the novel turns out to be ambiguous, and the starting and ending points of the aesthetic space are covered with patriarchal idyll (exposition) and melancholy elegy (finale). From this it is clear where the movement of Pushkin's thought is directed.

In this regard, it is necessary to determine what is random in the story, and what is natural. In the ratio of the private fate of Dunya and the general, human ("young fools"), the fate of the caretaker's daughter seems to be accidental and happy, and the general share is unhappy and disastrous. Vyrin (like Belkin) looks at the fate of Dunya from the point of view of a common share, a common experience. Without noticing the particular case and not taking it into account, he brings special case under general rule, and the picture gets distorted lighting. Pushkin sees both a happy special case and an unfortunate typical experience. However, none of them undermines or cancels the other. The luck of a private fate is solved in bright comic colors, the common unenviable fate - in melancholic and tragic colors. The tragedy - the death of the caretaker - is softened by the scene of Dunya's reconciliation with her father, when she visited his grave, silently repented and asked for forgiveness ("She lay down here and lay for a long time").

In the ratio of random and regular, one law operates: as soon as the social principle interferes in the fate of people, in their universal human relations, then reality becomes fraught with tragedy, and vice versa: as they move away from social factors and approach universal ones, people become more and more happy. Minsky destroys the patriarchal idyll of the caretaker’s house, and Vyrin, wanting to restore it, seeks to destroy the family happiness of Dunya and Minsky, also playing the role of a social rebel who invaded a different social circle with his low social status. But as soon as social inequality is eliminated, the heroes (as people) regain peace and happiness. However, tragedy lies in wait for the heroes and hangs over them: the idyll is fragile, unsteady and relative, ready to immediately turn into a tragedy. Dunya's happiness requires the death of her father, and her father's happiness means the death of Dunya's family happiness. The tragic beginning is invisibly poured into life itself, and even if it does not come out, it exists in the atmosphere, in consciousness. This beginning entered the soul of Samson Vyrin and led him to death.

Therefore, the German moralizing pictures depicting episodes of the gospel parable come true, but in a special way: Dunya returns, but not to her home and not to her living father, but to his grave, her repentance comes not during the life of the parent, but after his death. Pushkin alters the parable, avoids a happy ending, as in Marmontel's story "Loretta", and an unhappy love story ("Poor Lisa" by Karamzin), which confirms Vyrin's rightness. In the mind of the caretaker, two literary traditions coexist - the gospel parable and moralizing stories with a happy ending.

Pushkin's story, without breaking with traditions, renews literary schemes. In "The Station Agent" there is no rigid relationship between social inequality and the tragedy of the heroes, but the idyll with its happy final picture is also excluded. Chance and regularity are equal in their rights: not only life corrects literature, but literature, describing life, is able to convey the truth to reality - Vyrin remained true to his life experience and the tradition that insisted on a tragic resolution of the conflict.

"Young lady-peasant". This story sums up the entire cycle. Here artistic method Pushkin with his masks and facelifts, the play of chance and regularity, literature and life, is revealed openly, nakedly, brightly.

The story is based on love secrets and disguise of two young people - Alexei Berestov and Liza Muromskaya, who first belong to warring and then reconciled families. The Berestovs and Muromskys seem to gravitate towards different national traditions: Berestov is a Russophile, Muromsky is an Anglophile, but belonging to them does not play a fundamental role. Both landlords are ordinary Russian bares, and their special preference for one or another culture, their own or someone else's, is an alluvial fad arising from hopeless provincial boredom and whim. In this way, an ironic rethinking of book ideas is introduced (the name of the heroine is associated with N.M. Karamzin's story "Poor Lisa" and with imitations of her; the war between Berestov and Muromsky parodies the war between the Montagues and Capuleti families in Shakespeare's tragedy "Romeo and Juliet"). The ironic transformation also concerns other details: Alexei Berestov has a dog that bears the nickname Sbogar (the name of the hero of the novel by C. Nodier "Jean Sbogar"); Nastya, Liza's maid, was "a person much more significant than any confidante in French tragedy", etc. Significant details characterize the life of the provincial nobility, not alien to enlightenment and touched by the corruption of affectation and coquetry.

Quite healthy, cheerful characters are hidden behind imitative masks. Sentimental-romantic make-up is thickly applied not only to the characters, but also to the plot itself. The mysteries of Alexei correspond to the tricks of Liza, who first dresses up in a peasant dress in order to get to know the young master better, and then in the French aristocrat of the times Louis XIV so as not to be recognized by Alexei. Under the mask of a peasant woman, Liza liked Alexei and she herself felt a hearty attraction to the young master. All external obstacles are easily overcome, comic dramatic collisions dissipate when real life conditions require the fulfillment of the will of the parents, contrary to the feelings of the children, it would seem. Pushkin laughs at the sentimental-romantic tricks of the characters and, washing off the make-up, reveals their real faces, shining with youth, health, filled with the light of joyful acceptance of life.

In The Young Lady-Peasant Woman, various situations of other stories are repeated and beaten in a new way. For example, the motive of social inequality as an obstacle to the union of lovers, found in "The Snowstorm" and in "The Station Agent". At the same time, in The Young Lady-Peasant Woman, the social barrier increases in comparison with the Snowstorm and even with the Stationmaster, and the father’s resistance is portrayed as stronger (Muromsky’s personal enmity with Berestov), ​​but the artificiality, the imaginary social barrier also increases and then completely disappears. Resistance to the will of the parents is not needed: their enmity turns into opposite feelings, and the fathers of Lisa and Alexei feel spiritual affection for each other.

The characters play different roles, but are in an unequal position: Lisa knows everything about Alexei, while Lisa is shrouded in mystery for Alexei. The intrigue rests on the fact that Alexey has long been unraveled by Lisa, and he has yet to unravel Lisa.

Each character doubles and even triples: Liza on the “peasant woman”, the impregnable coquette of the old times and the dark-skinned “lady”, Alexei on the gentleman’s “valet”, on the “gloomy and mysterious Byronic heartthrob-wanderer”, “traveling” through the surrounding forests , and a kind, ardent fellow with a pure heart, a rabid prankster. If in “The Snowstorm” Marya Gavrilovna has two contenders for her hand, then in “The Young Lady-Peasant Woman” she has one, but Lisa herself appears in two forms and consciously plays two roles, parodying both sentimental and romantic stories, and historical moralizing stories. At the same time, the parody of Liza is subjected to a new parody of Pushkin. "The Young Lady Peasant Woman" is a parody of parodies. From this it is clear that the comic component in "The Young Lady-Peasant Woman" is repeatedly strengthened and condensed. In addition, unlike the heroine of The Snowstorm, with whom fate plays, Liza Muromskaya is not a plaything of fate: she herself creates circumstances, episodes, cases and does everything to get to know the young gentleman and lure him into her love networks.

In contrast to The Stationmaster, it is in the story The Young Lady Peasant Woman that the reunion of children and parents takes place, and the general world order triumphs merrily. In the last story, Belkin and Pushkin, like two authors, also unite: Belkin does not pursue literature and creates a simple and lifelike ending that does not require adherence to literary rules (“Readers will spare me the unnecessary obligation to describe the denouement”), and therefore Pushkin does not need to correct Belkin and remove layer after layer of book dust from his simple-hearted, but pretending to be sentimental, romantic and moralizing (already pretty shabby) literary narrative.

In addition to Belkin's Tales, Pushkin created several other major works in the 1830s, among them two completed (The Queen of Spades and Kirdzhali) and one unfinished (Egyptian Nights) novels.

"The Queen of Spades". This philosophical and psychological story has long been recognized as Pushkin's masterpiece. The plot of the story, as follows from the recorded P.I. Bartenev words P.V. Nashchokin, who was told by Pushkin himself, is based on a real case. Grandson of Princess N.P. Golitsyn Prince S.G. Golitsyn ("Firs") told Pushkin that, once having lost, he came to his grandmother to ask for money. She did not give him money, but named three cards assigned to her in Paris by Saint-Germain. "Try," she said. S.G. Golitsyn bet on the named N.P. Golitsyn's card and won back. Further development story is fictional.

The plot of the story is based on the game of chance and necessity, patterns. In this regard, each character is associated with a specific topic: Hermann (surname, not first name!) - with the theme of social dissatisfaction, Countess Anna Fedotovna - with the theme of fate, Lizaveta Ivanovna - with the theme of social humility, Tomsky - with the theme of undeserved happiness. So, on Tomsky, who plays an insignificant role in the plot, a weighty semantic load: an empty, insignificant secular person who does not have a pronounced face, he embodies an accidental happiness that he did not deserve in any way. He is chosen by fate, and does not choose fate, unlike Hermann, who seeks to conquer fortune. Luck pursues Tomsky, as it pursues the countess and her entire family. At the end of the story, it is reported that Tomsky marries Princess Polina and is promoted to captain. Hence, he falls under social automatism, where random luck becomes a secret pattern regardless of any personal merit.

The choice of fate also applies to the old countess, Anna Fedotovna, whose image is directly related to the theme of fate. Anna Fedotovna personifies fate, which is emphasized by her association with life and death. She is at their intersection. Alive, she seems obsolete and dead, and the dead comes to life, at least in Hermann's imagination. While still young, she received in Paris the nickname "Moscow Venus", that is, her beauty had the features of coldness, death and petrification, like famous sculpture. Her image is inserted into the frame of mythological associations soldered with life and death (Saint-Germain, whom she met in Paris and who told her the secret of the three cards, was called the Eternal Jew, Ahasuerus). Her portrait, which Hermann examines, is motionless. However, the countess, being between life and death, is able to “demonically” come to life under the influence of fear (under the Hermann pistol) and memories (under the name of the late Chaplitsky). If during her life she was involved in death (“her cold egoism” means that she has outlived her life and is alien to the present), then after death she comes to life in the mind of Hermann and appears to him as his vision, reporting that she visited the hero not according to to your will. What this will is - evil or good - is unknown. The story contains indications of demonic power (the secret of the cards was revealed to Countess Saint-Germain, who was involved in the demonic world), of demonic cunning (once the dead countess “looked mockingly at Hermann”, “squinting one eye”, another time the hero saw in the card “ queen of spades”the old countess, who “squinted her eyes and grinned”), to goodwill (“I forgive you my death so that you marry my pupil Lizaveta Ivanovna ...”) and to mystical revenge, since Hermann did not fulfill the conditions set by the countess. Fate was symbolically displayed in the suddenly revived map, and various faces of the countess surfaced in it - “Moscow Venus” (a young countess from a historical anecdote), a decrepit old woman (from a social and everyday story about a poor pupil), a winking corpse (from a “horror novel” or scary ballads).

Through Tomsky's story about the countess and secular adventurer Saint-Germain, Hermann, provoked by a historical anecdote, is also associated with the theme of fate. He tries his luck, hoping to master the secret pattern happy occasion. In other words, he seeks to exclude chance for himself and turn card success into a natural one, and consequently, to subdue fate. However, entering the "zone" of the case, he dies, and his death becomes as random as it is natural.

Mind, prudence, strong will are concentrated in Hermann, capable of suppressing ambition, strong passions and fiery imagination. He is a player at heart. Playing cards symbolizes playing with fate. The "wrong" meaning of the card game is clearly revealed for Hermann in his game with Chekalinsky, when he became the owner of the secret of three cards. Calculation, rationality of Hermann, emphasized by his German origin, surname and profession of a military engineer, conflict with passions and fiery imagination. The will that restrains passions and imagination is finally put to shame, since Hermann, regardless of his own efforts, falls under the power of circumstances and becomes himself an instrument of a strange, incomprehensible and misunderstood secret force that turns him into a miserable toy. Initially, he seems to skillfully use his "virtues" - calculation, moderation and hard work - to achieve success. But at the same time, he is attracted by some kind of force, to which he involuntarily obeys, and, against his will, finds himself at the countess's house, and in his head, premeditated and strict arithmetic is replaced by a mysterious game of numbers. Thus, calculation is now supplanted by imagination, then replaced by strong passions, then it becomes no longer an instrument in Hermann's plan, but an instrument of a secret that uses the hero for purposes unknown to him. In the same way, the imagination begins to free itself from the control of the mind and will, and Hermann is already making plans in his mind, thanks to which he could wrest the secret of the three cards from the countess. At first, his calculation comes true: he appears under the windows of Lizaveta Ivanovna, then he achieves her smile, exchanges letters with her and, finally, receives consent to a love date. However, the meeting with the countess, despite Hermann's persuasion and threats, does not lead to success: none of the incantation formulas of the "agreement" proposed by the hero affects the countess. Anna Fedotovna is dying of fear. The calculation turned out to be in vain, and the enacted imagination turned into a void.

From that moment, one period of Hermann's life ends and another begins. On the one hand, he draws a line under his adventurous plan: he finishes love adventure with Lizaveta Ivanovna, admitting that she was never the heroine of his novel, but only an instrument of his ambitious and selfish plans; decides to ask for forgiveness from the dead countess, but not for ethical reasons, but because of selfish gain - to protect himself from the harmful influence of the old woman in the future. On the other hand, the mystery of the three cards still owns his mind, and Hermann cannot get rid of the delusion, that is, put an end to the life he has lived. Having been defeated at a meeting with the old woman, he does not humble himself. But now, from an unsuccessful adventurer and hero of a social story who abandons his beloved, he turns into a shredded character in a fantastic story, in whose mind reality is mixed with visions and even replaced by them. And these visions again return Hermann to the adventurous road. But the mind is already cheating on the hero, and the irrational principle is growing and increasing its impact on him. The line between the real and the rational turns out to be blurred, and Hermann is in an obvious gap between a bright consciousness and its loss. Therefore, all the visions of Hermann (the appearance of the dead old woman, the secret of the three cards revealed by her, the conditions put forward by the late Anna Fedotovna, including the demand to marry Lizaveta Ivanovna) are the fruits of a clouded mind, emanating, as it were, from underworld. Hermann's memory resurfaces Tomsky's story. The difference, however, is that the idea of ​​three cards, finally mastering him, was expressed in more and more signs of madness (a slender girl is a three of hearts, a pot-bellied man is an ace, and an ace in a dream is a spider, etc.). Having learned the secret of three cards from the world of fantasy, from the world of the irrational, Hermann is sure that he has excluded a case from his life, that he cannot lose, that the pattern of success is subject to him. But again, a chance helps him to test his omnipotence - the arrival of the famous Chekalinsky from Moscow to St. Petersburg. Hermann again sees in this a certain finger of fate, that is, a manifestation of the same necessity, which seems to be favorable to him. The fundamental traits of character come to life in him again - prudence, composure, will, but now they are playing not on his side, but against him. Being completely sure of luck, that he had subjugated chance to himself, Hermann unexpectedly "turned around", received another card from the deck. Psychologically, this is quite understandable: one who believes too much in his infallibility and his success is often careless and inattentive. The most paradoxical thing is that the pattern is not shaken: the ace won. But the omnipotence of chance, this “inventive god,” has not been cancelled. Hermann thought that he excluded chance from his fate as a player, and he punished him. In the scene of Hermann's last game with Chekalinsky, the card game symbolized a duel with fate. Chekalinsky felt this, but Hermann did not, for he believed that fate was in his power, and he was its master. Chekalinsky trembled before fate, Hermann was calm. AT philosophical sense he is understood by Pushkin as a subversive of the fundamental foundations of being: the world rests on a moving balance of regularity and chance. Neither one nor the other can be removed or destroyed. Any attempts to reshape the world order (not social, not public, but precisely existential) are fraught with disaster. This does not mean that fate is equally favorable to all people, that it rewards everyone according to their deserts and evenly, fairly distributes successes and failures. Tomsky belongs to the "chosen", lucky heroes. Hermann - to the "unelected", to the losers. However, rebellion against the laws of being, where necessity is as omnipotent as chance, leads to collapse. Excluding the case, Hermann, nevertheless, because of the case through which the regularity manifested itself, went mad. His idea to destroy the fundamental foundations of the world, created from above, is truly insane. The social meaning of the story also intersects with this idea.

The social order is not equal to the world order, but the operation of the laws of necessity and chance is also inherent in it. If changes in social and personal destiny affect the fundamental world order, as in the case of Hermann, then they end in failure. If, as in the fate of Lizaveta Ivanovna, they do not threaten the laws of life, then they can be crowned with success. Lizaveta Ivanovna is an unfortunate creature, a "domestic martyr", occupying an unenviable position in the social world. She is lonely, humiliated, although she deserves happiness. She wants to escape from her social fate and is waiting for any "deliverer", hoping with his help to change her fate. However, she did not pin her hopes exclusively on Hermann. He turned up to her, and she became his unwitting accomplice. At the same time, Lizaveta Ivanovna does not make prudent plans. She trusts life, and the condition for a change in social position for her still remains a feeling of love. This humility before life saves Lizaveta Ivanovna from the power of demonic power. She sincerely repents of her delusion regarding Hermann and suffers, acutely experiencing her involuntary guilt in the death of the countess. It is her that Pushkin rewards with happiness, without hiding the irony. Lizaveta Ivanovna repeats the fate of her benefactress: with her, "a poor relative is brought up." But this irony refers rather not to the fate of Lizaveta Ivanovna, but to the social world, the development of which takes place in a circle. The social world itself is not becoming happier, although individual participants social history Those who went through involuntary sins, suffering and repentance were honored with personal happiness and well-being.

As for Hermann, unlike Lizaveta Ivanovna, he is dissatisfied with the social order and rebels both against it and against the laws of being. Pushkin compares him to Napoleon and Mephistopheles, pointing to the intersection of philosophical and social revolts. The game of cards, symbolizing the game with fate, has been reduced and reduced in content. Napoleon's wars were a challenge to humanity, countries and peoples. Napoleonic claims were all-European and even universal in nature. Mephistopheles entered into a proud confrontation with God. For Hermann, the current Napoleon and Mephistopheles, this scale is too high and burdensome. New hero focuses his efforts on money, he is only capable of scaring an obsolete old woman to death. However, he plays with fate with the same passion, with the same ruthlessness, with the same contempt for humanity and God, as was characteristic of Napoleon and Mephistopheles. Like them, he does not accept God's world in its laws, he does not take into account people in general and each person individually. People for him are tools for satisfying ambitious, selfish and selfish desires. Thus, in the ordinary and ordinary person of the new bourgeois consciousness, Pushkin saw the same Napoleonic and Mephistopheles principles, but removed from them the halo of "heroism" and romantic fearlessness. The content of the passions shrank, shrank, but did not cease to threaten humanity. And this means that the social order is still fraught with catastrophes and cataclysms, and that Pushkin was distrustful of universal happiness even in the foreseeable future. But he does not deprive the world of all hope. This is convinced not only by the fate of Lizaveta Ivanovna, but also indirectly - on the contrary - the collapse of Hermann, whose ideas lead to the destruction of the personality.

The hero of the story "Kirdzhali"- a real historical person. Pushkin learned about him at the time when he lived in the south, in Chisinau. The name of Kirdzhali was then covered with legend, there were rumors about the battle near Skulyan, where Kirdzhali allegedly behaved heroically. Wounded, he managed to escape from the persecution of the Turks and appear in Chisinau. But he was extradited to the Russian Turks (the act of transfer was carried out by the official Pushkin's acquaintance M.I. Leks). At the time when Pushkin began writing the story (1834), his views on the uprising and on Kirdzhali changed: he called the troops that fought near Skulyan "rabble" and robbers, and Kirdzhali himself was also a robber, but not devoid of attractive features - courage , resourcefulness.

In a word, the image of Kirdzhali in the story is dual - it is both a folk hero and a robber. To this end, Pushkin merges fiction with documentary. He cannot sin against the "touching truth" and at the same time he takes into account the popular, legendary opinion about Kirdzhali. The fairy tale connects with reality. So, 10 years after the death of Kirdzhali (1824), Pushkin, contrary to the facts, depicts Kirdzhali alive (“Kirdzhali is now robbing near Yassy”) and writes about Kirdzhali as if he were alive, asking: “What is Kirdzhali?”. Thus, Pushkin, according to the folklore tradition, sees in Kirdzhali not only a robber, but also folk hero with its undying vitality and mighty strength.

A year after writing "Kirdzhali" Pushkin began to write the story "Egyptian Nights". Pushkin's idea arose in connection with the record of the Roman historian Aurelius Victor (4th century AD) about the Queen of Egypt Cleopatra (69–30 BC), who sold her nights to her lovers at the cost of their lives. The impression was so strong that Pushkin immediately wrote a fragment of "Cleopatra", which began with the words:

Enlivened her magnificent feast ...

Pushkin repeatedly embarked on the implementation of the idea that captured him. In particular, the "Egyptian anecdote" was supposed to be part of a novel from Roman life, and then used in a story that opened with the words "We spent the evening at the dacha." Initially, Pushkin intended to process the plot in lyrical and lyrical form (poem, long poem, poem), but then he leaned towards prose. The first prosaic embodiment of the theme of Cleopatra was the sketch “Guests were coming to the dacha…”.

Pushkin's idea concerned only one feature in the history of the queen - the conditions of Cleopatra and the reality-unreality of this condition in modern circumstances. In the final version, the image of the Improviser appears - a link between antiquity and modernity. His intrusion into the idea was connected, firstly, with Pushkin’s desire to portray the mores of high-society Petersburg, and secondly, it reflected reality: performances by visiting improvisers became fashionable in Moscow and St. Petersburg, and Pushkin himself was present at one session with his friend D.F. . Fikelmont, granddaughters of M.I. Kutuzov. There, on May 24, 1834, Max Langerschwartz spoke. Adam Mickiewicz also possessed the talent of an improviser, with whom Pushkin was friendly when he was a Polish poet in St. Petersburg (1826). Pushkin was so excited by Mickiewicz's art that he threw himself on his neck. This event left a mark in the memory of Pushkin: A.A. Akhmatova noticed that the appearance of the Improviser in Egyptian Nights bears an undeniable resemblance to that of Mickiewicz. D.F. could have had an indirect influence on the figure of the Improviser. Ficquelmont, who witnessed the session of the Italian Tomasso Strighi. One of the themes of the improvisation is "Death of Cleopatra".

The idea of ​​the story "Egyptian Nights" was based on the contrast of bright, passionate and cruel antiquity with an insignificant and almost lifeless, reminiscent Egyptian mummies, but outwardly a decent society respecting decency and taste of people. This duality also applies to the Italian improviser, the inspired author of oral works performed on commissioned themes, and the petty, obsequious, mercenary person, ready to humiliate himself for the sake of money.

The significance of Pushkin's idea and the perfection of its expression have long ago created the reputation of one of the masterpieces of Pushkin's genius, and some literary critics (M.L. Hoffman) wrote about the "Egyptian Nights" as the pinnacle of Pushkin's work.

Two novels created by Pushkin, Dubrovsky and The Captain's Daughter, also date back to the 1830s. Both of them are connected with Pushkin's idea of ​​a deep crack that lay between the people and the nobility. Pushkin, as a man of statesmanship, saw in this split the true tragedy of national history. He was interested in the question: Under what conditions is it possible to reconcile the people and the nobility, to establish agreement between them, how strong can their union be, and what consequences for the fate of the country should be expected from it? The poet believed that only the union of the people and the nobility could lead to good changes and transformations along the path of freedom, education and culture. Therefore, the decisive role should be assigned to the nobility as an educated stratum, the "reason" of the nation, which must rely on the power of the people, on the "body" of the nation. However, the nobility is not homogeneous. Farthest from the people are the “young” nobility, who came close to power after Catherine’s coup of 1762, when many old aristocratic families fell and fell into decay, as well as the “new” nobility - the current servants of the tsar, greedy for ranks, awards and estates. Closest to the people is the ancient aristocratic nobility, the former boyars, now ruined and having lost influence at court, but retaining direct patriarchal ties with the serfs of their remaining estates. Consequently, only this stratum of nobles can enter into an alliance with the peasants, and only with this stratum of nobles will the peasants enter into an alliance. Their union may also be based on the fact that both are offended by the supreme power and the recently advanced nobility. Their interests may overlap.

"Dubrovsky" (1832–1833). The story of P.V. Nashchokin, about which there is a record of Pushkin's biographer P.I. Barteneva: “The novel Dubrovsky was inspired by Nashchokin. He told Pushkin about a Belarusian poor nobleman named Ostrovsky (as the novel was called at first), who had a lawsuit with a neighbor for land, was ousted from the estate and, left with some peasants, began to rob, first clerks, then others. Nashchokin saw this Ostrovsky in prison. The specificity of this story was confirmed by Pushkin's Pskov impressions (the case of the Nizhny Novgorod landowner Dubrovsky, Kryukov and Muratov, the morals of the owner of Petrovsky P.A. Hannibal). The real facts corresponded to Pushkin's intention to put an impoverished and land-deprived nobleman at the head of the rebellious peasants.

The single-line nature of the original plan was overcome in the course of work on the novel. The plan did not include Father Dubrovsky and the history of his friendship with Troekurov, there was no discord between lovers, the figure of Vereisky, which is very important for the idea of ​​stratification of the nobility (aristocratic and poor "romantics" - thin and rich upstarts - "cynics"). In addition, in the plan, Dubrovsky falls victim to the betrayal of the postilion, and not to social circumstances. The plan outlines the story of an exceptional personality, daring and successful, offended by a rich landowner, court and avenging himself. In the text that has come down to us, Pushkin, on the contrary, emphasized the typicality and ordinariness of Dubrovsky, with whom an event characteristic of the era happened. Dubrovsky in the story, as V.G. Marantsman, “not an exceptional personality, accidentally plunged into a maelstrom of adventurous events. The fate of the hero is determined by social life, the era, which is given in a branched and multifaceted way. Dubrovsky and his peasants, as in the life of Ostrovsky, found no other way out than robbery, robbery of offenders and rich noble landowners.

The researchers found in the novel traces of the influence of Western and partly Russian romantic literature with a “robber” theme (“Robbers” by Schiller, “Rinaldo Rinaldini” by Vulpius, “Poor Wilhelm” by G. Stein, “Jean Sbogar” by C. Nodier) “Rob Roy” by Walter Scott, "Night Romance" by A. Radcliffe, "Fra-Devil" by R. Zotov, "Corsair" by Byron). However, when mentioning these works and their heroes in the text of the novel, Pushkin everywhere insists on the literary nature of these characters.

The novel is set in the 1820s. The novel presents two generations - fathers and children. The history of the life of fathers is compared with the fate of children. The story of the friendship of fathers is “the prelude to the tragedy of children”. Initially, Pushkin named the exact date that separated the fathers: “The glorious year 1762 separated them for a long time. Troekurov, a relative of Princess Dashkova, went uphill. These words mean a lot. Both Dubrovsky and Troekurov are people of the Catherine era, who started their service together and strived to make a good career. 1762 is the year of Catherine's coup, when Catherine II overthrew her husband, Peter III, from the throne and began to rule Russia. Dubrovsky remained faithful to Emperor Peter III, as the ancestor (Lev Alexandrovich Pushkin) of Pushkin himself, about whom the poet wrote in My Genealogy:

My grandfather when the rebellion rose

In the middle of the Peterhof courtyard,

Like Minich, he remained faithful

The fall of the third Peter.

They fell in honor of the Orlovs then,

And my grandfather is in the fortress, in quarantine.

And subdued our stern kind...

Troekurov, on the contrary, took the side of Catherine II, who brought closer not only the supporter of the coup, Princess Dashkova, but also her relatives. Since then, the career of Dubrovsky, who did not change his oath, began to decline, and the career of Troekurov, who changed his oath, began to rise. Therefore, the gain in social status and material terms was paid for by the betrayal and moral fall of a person, and the loss was paid for by fidelity to duty and moral purity.

Troyekurov belonged to that new service noble nobility, which, for the sake of ranks, titles, estates and awards, did not know ethical barriers. Dubrovsky - to that old aristocracy, which revered honor, dignity, duty above any personal benefits. Therefore, the reason for the disengagement lies in the circumstances, but for these circumstances to manifest themselves, people with low moral immunity are needed.

A lot of time has passed since Dubrovsky and Troekurov parted ways. They met again when both were out of work. Personally, Troekurov and Dubrovsky did not become enemies of each other. On the contrary, they are connected by friendship and mutual affection, but these strong human feelings are not able to first prevent a quarrel, and then reconcile people who are at different levels of the social ladder, just as their loving children, Masha Troekurova and Vladimir, cannot hope for a common fate. Dubrovsky.

This tragic thought of the novel about the social and moral stratification of people from the nobility and the social enmity of the nobility and the people is embodied in the completion of all storylines. It generates inner drama, which is expressed in the contrasts of the composition: friendship is opposed by a court scene, Vladimir’s meeting with his native nest is accompanied by the death of his father, stricken by misfortunes and a fatal illness, the silence of the funeral is broken by the formidable glow of a fire, the holiday in Pokrovsky ends with a robbery, love with flight, wedding - battle. Vladimir Dubrovsky inexorably loses everything: in the first volume, his patrimony is taken away from him, he is deprived of his parental home and position in society. In the second volume, Vereisky robs him of his love, and the state robs him of his predatory will. Social laws everywhere win over human feelings and affections, but people cannot but resist circumstances if they believe in humane ideals and want to save face. Thus, human feelings enter into a tragic duel with the laws of society, which are valid for everyone.

To rise above the laws of society, you need to get out of their power. Pushkin's heroes strive to arrange their own destiny in their own way, but they fail to do so. Vladimir Dubrovsky is testing three options for his life lot: a wasteful and ambitious guards officer, a modest and courageous Deforge, a formidable and honest robber. The purpose of such attempts is to change one's destiny. But it is not possible to change fate, because the place of a hero in society is fixed forever - to be the son of an old nobleman with the same qualities that his father had - poverty and honesty. However, these qualities are in a certain sense opposed to each other and to the position of the hero: in the society where Vladimir Dubrovsky lives, such a combination cannot be afforded, because it is severely punished without delay, as in the case of the elder Dubrovsky. Wealth and dishonor (Troekurov), wealth and cynicism (Vereisky) are inseparable pairs that characterize the social organism. Maintaining honesty in poverty is too much of a luxury. Poverty obliges to be complaisant, moderate pride and forget about honor. All Vladimir's attempts to defend his right to be poor and honest end in disaster, because the spiritual qualities of the hero are incompatible with his social and social position. So Dubrovsky, by the will of circumstances, and not by the will of Pushkin, turns out to be a romantic hero who, due to his human qualities, is constantly drawn into conflict with the established order of things, trying to rise above it. In Dubrovsky, a heroic beginning is revealed, but the contradiction lies in the fact that the old nobleman dreams not of exploits, but of simple and quiet family happiness, of a family idyll. He does not understand that this is precisely what he was not given, just as neither poor ensign Vladimir from the Snowstorm, nor poor Yevgeny from the Bronze Horseman was given.

Marya Kirillovna is internally related to Dubrovsky. She, "an ardent dreamer", saw in Vladimir romantic hero and hoped for the power of feelings. She believed, like the heroine of The Snowstorm, that she could soften her father's heart. She naively believed that she would also touch the soul of Prince Vereisky, awakening in him a “feeling of generosity”, but he remained indifferent and indifferent to the words of the bride. He lives by cold calculation and rushes the wedding. Social, property and other external circumstances are not on the side of Masha, and she, like Vladimir Dubrovsky, is forced to give up her positions. Her conflict with the order of things is complicated by the internal drama associated with a typical upbringing that spoils the soul of a rich noble girl. The aristocratic prejudices peculiar to her inspired her that courage, honor, dignity, courage are inherent only in the upper class. It is easier to cross the line in relations between a rich aristocratic young lady and a poor teacher than to connect life with a robber torn out of society. The boundaries defined by life are stronger than the hottest feelings. The heroes understand this too: Masha firmly and resolutely rejects Dubrovsky's help.

The same tragic situation develops in folk scenes. The nobleman stands at the head of the rebellion of the peasants who are devoted to him and carry out his orders. But the goals of Dubrovsky and the peasants are different, because the peasants ultimately hate all the nobles and officials, although the peasants are not without humane feelings. They are ready to take revenge on the landowners and officials in any way, even if they have to live by robbery and robbery, that is, to commit a forced, but a crime. And Dubrovsky understands this. He and the peasants lost their place in a society that cast them out and doomed them to be outcasts.

Although the peasants are determined to sacrifice themselves and go to the end, neither their good feelings for Dubrovsky nor his good feelings for the peasants change the tragic outcome of events. The order of things was restored by government troops, Dubrovsky left the gang. The union of the nobility and the peasantry was possible only on short term and reflected the failure of hopes for a joint opposition to the government. The tragic questions of life that arose in Pushkin's novel were not resolved. Probably, as a result of this, Pushkin refrained from publishing the novel, hoping to find positive answers to the burning life problems that worried him.

"The Captain's Daughter" (1833-1836). In this novel, Pushkin returned to those collisions, to those conflicts that disturbed him in Dubrovsky, but resolved them differently.

Now in the center of the novel is a popular movement, a popular revolt led by a real historical figure - Emelyan Pugachev. The nobleman Pyotr Grinev is involved in this historical movement by force of circumstances. If in "Dubrovsky" the nobleman becomes the head of the peasant indignation, then in " Captain's daughter"The leader of the people's war turns out to be a man from the people - the Cossack Pugachev. There is no alliance between the nobles and the rebellious Cossacks, peasants, foreigners, Grinev and Pugachev are social enemies. They are in different camps, but fate brings them together from time to time, and they treat each other with respect and trust. First, Grinev, not allowing Pugachev to freeze in the Orenburg steppes, warmed his soul with a hare sheepskin coat, then Pugachev saved Grinev from execution and helped him in matters of the heart. So, fictional historical figures are placed by Pushkin in a real historical canvas, they became participants in a powerful popular movement and history makers.

Pushkin made extensive use of historical sources, archival documents and visited the places of the Pugachev rebellion, visiting the Volga region, Kazan, Orenburg, Uralsk. He made his narrative exceptionally reliable by writing documents similar to the real ones and including in them quotations from genuine papers, for example, from Pugachev's appeals, considering them amazing examples of folk eloquence.

A significant role was played in Pushkin's work on The Captain's Daughter and the testimonies of his acquaintances about the Pugachev uprising. Poet I.I. Dmitriev told Pushkin about the execution of Pugachev in Moscow, the fabulist I.A. Krylov - about the war and the besieged Orenburg (his father, a captain, fought on the side of government troops, and he and his mother were in Orenburg), merchant L.F. Krupenikov - about being in Pugachev's captivity. Pushkin heard and wrote down legends, songs, stories from the old-timers of those places through which the uprising swept.

Before the historical movement captured and swirled in a terrible storm of cruel events of the rebellion of the fictional heroes of the story, Pushkin vividly and lovingly describes the life of the Grinev family, the unlucky Beaupre, faithful and devoted Savelich, Captain Mironov, his wife Vasilisa Yegorovna, daughter Masha and the entire population of the dilapidated fortress. The simple, inconspicuous life of these families, with their old patriarchal way of life, is also Russian history, going on invisibly to prying eyes. It is done quietly, "at home". Therefore, it should be described in the same way. Walter Scott served as an example of such an image for Pushkin. Pushkin admired his ability to present history through life, customs, family traditions.

A little time passed after Pushkin left the novel "Dubrovsky" (1833) and finished the novel "The Captain's Daughter" (1836). However, in Pushkin's historical and artistic views on Russian history, much has changed. Between "Dubrovsky" and "The Captain's Daughter" Pushkin wrote "History of Pugachev" which helped him form the opinion of the people about Pugachev and better understand the severity of the problem of "nobility - people", the causes of social and other contradictions that divided the nation and hindered its unity.

In Dubrovsky, Pushkin still harbored the illusions that dissipated as the novel progressed towards the end, according to which union and peace are possible between the ancient aristocratic nobility and the people. However, Pushkin's heroes did not want to obey this artistic logic: on the one hand, regardless of the will of the author, they turned into romantic characters, which was not foreseen by Pushkin, on the other hand, their fates became more and more tragic. Pushkin did not find at the time of the creation of "Dubrovsky" a national and all-human positive idea that could unite peasants and nobles, did not find a way to overcome the tragedy.

In The Captain's Daughter, such an idea was found. The way was also outlined there for overcoming the tragedy in the future, in the course of historical development humanity. But before that, in “The History of Pugachev” (“Remarks on the Revolt”), Pushkin wrote words that testified to the inevitability of the split of the nation into two irreconcilable camps: “All the black people were for Pugachev. The clergy favored him, not only priests and monks, but also archimandrites and bishops. One nobility was openly on the side of the government. Pugachev and his accomplices wanted at first to persuade the nobles to their side, but their benefits were too opposite.

All Pushkin's illusions about a possible peace between the nobles and peasants collapsed, the tragic situation was exposed with even more obviousness than before. And the more clearly and responsibly the task arose of finding a positive answer, resolving the tragic contradiction. To this end, Pushkin skillfully organizes the plot. A novel whose core is love story Masha Mironova and Petr Grinev, turned into a broad historical narrative. This principle - from private destinies to the historical destinies of the people - permeates the plot of The Captain's Daughter, and it can be easily seen in every significant episode.

"The Captain's Daughter" has become a truly historical work, saturated with modern social content. Heroes and secondary persons are displayed in Pushkin's work as multilateral characters. Pushkin does not have only positive or only negative characters. Everyone acts as a living person with his inherent good and bad features, which are manifested primarily in actions. Fictional characters associated with historical figures and included in the historical movement. It was the course of history that determined the actions of the heroes, forging their difficult fate.

Thanks to the principle of historicism (the unstoppable movement of history, striving towards infinity, containing many trends and opening up new horizons), neither Pushkin nor his heroes succumb to despondency in the most gloomy circumstances, they do not lose faith in either personal or general happiness. Pushkin finds the ideal in reality and thinks of its realization in the course of the historical process. He dreams that in the future there will be no social stratification and social discord. This will become possible when humanism, humanity will be the basis of state policy.

Pushkin's heroes appear in the novel from two sides: as people, that is, in their universal human and national qualities, and as characters playing social roles, i.e. in their social and public functions.

Grinev is both an ardent young man who received a patriarchal upbringing at home, and an ordinary undergrowth, who gradually becomes an adult and courageous warrior, and a nobleman, officer, "servant of the king", faithful to the laws of honor; Pugachev is both an ordinary peasant, not alien to natural feelings, in the spirit of folk traditions protecting an orphan, and a cruel leader of a peasant rebellion, who hates nobles and officials; Catherine II - and an elderly lady with a dog walking in the park, ready to help an orphan if she was treated unfairly and offended, and an autocratic autocrat, ruthlessly suppressing the rebellion and creating a harsh court; Captain Mironov is a kind, inconspicuous and accommodating man, who is under the command of his wife, and an officer devoted to the empress, without hesitation resorting to torture and reprisals against the rebels.

In each character, Pushkin discovers the truly human and social. Each camp has its own social truth, and both these truths are irreconcilable. But each camp is characterized by humanity. If social truths separate people, then humanity unites them. Where the social and moral laws of any camp operate, the human shrinks and disappears.

Pushkin depicts several episodes, where first Grinev tries to rescue Masha Mironova, his bride, from Pugachev's captivity and from the hands of Shvabrin, then Masha Mironova seeks to justify Grinev in the eyes of the empress, the government and the court. In those scenes where the characters are in the sphere of the social and moral laws of their camp, they do not meet with understanding of their simple human feelings. But as soon as the social and moral laws of even a camp hostile to the heroes recede into the background, Pushkin's heroes can count on benevolence and sympathy.

If temporarily Pugachev, a man, with his pitiful soul, sympathizing with the offended orphan, did not prevail over Pugachev, the leader of the rebellion, then Grinev and Masha Mironova would certainly have died. But if in Catherine II, when meeting with Masha Mironova, human feeling had not won instead of social benefit, then Grinev would not have been saved, delivered from the court, and the union of the lovers would have been postponed or not taken place at all. Therefore, the happiness of heroes depends on how people are able to remain people, how human they are. This is especially true for those who have power, on whom the fate of subordinates depends.

The human, says Pushkin, is higher than the social. It is not for nothing that his heroes, due to their deep humanity, do not fit into the play of social forces. Pushkin finds an expressive formula to designate, on the one hand, social laws, and, on the other hand, humanity.

In his contemporary society, there is a gap, a contradiction between social laws and humanity: what corresponds to the social interests of one or another class suffers from insufficient humanity or kills it. When Catherine II asks Masha Mironova: “You are an orphan: you are probably complaining about injustice and resentment?”, The heroine replies: “No way, sir. I came to ask for mercy, not justice.” Mercy which Masha Mironova came for is humanity, and justice- social codes and rules adopted and operating in society.

According to Pushkin, both camps - both the noble and the peasant - are not humane enough, but for humanity to win, it is not necessary to move from one camp to another. It is necessary to rise above social conditions, interests and prejudices, rise above them and remember that the title of a person is immeasurably higher than all other ranks, titles and ranks. For Pushkin, it is quite enough that the heroes within their environment, within their class, following their moral and cultural tradition, will retain honor, dignity and will be true to universal values. Grinev and captain Mironov remained devoted to the code of noble honor and oath, Savelich - to the foundations of peasant morality. Humanity can become the property of all people and all classes.

Pushkin, however, is not a utopian; he does not portray the matter as if the cases he described have become the norm. On the contrary, they did not become a reality, but their triumph, even in the distant future, is possible. Pushkin refers to those times, continuing the important theme in his work of mercy and justice, when humanity becomes the law of human existence. In the present tense, however, a sad note sounds, amending the bright history of Pushkin's heroes - as soon as big events leave the historical stage, the cute characters of the novel become invisible, lost in the flow of life. They touched historical life only for a short time. However, sadness does not wash away Pushkin's confidence in the course of history, in the victory of humanity.

In The Captain's Daughter, Pushkin found a convincing artistic solution to the contradictions of reality and all of life that confronted him.

The measure of humanity has become, along with historicism, beauty and perfection of form, an integral and recognizable sign of Pushkin's universal(also called ontological, referring to the universal, existential quality of creativity, which determines the aesthetic originality of the mature works of Pushkin and himself as an artist) realism, which absorbed both the strict logic of classicism and the free play of the imagination introduced into literature by romanticism.

Pushkin was the end of an entire era literary development Russia and the initiator of a new era of the art of the word. His main artistic aspirations were synthesis of the main artistic trends - classicism, enlightenment, sentimentalism and romanticism and the establishment on this foundation of universal, or ontological, realism, which he called "true romanticism", the destruction of genre thinking and the transition to thinking in styles, which ensured the dominance of an extensive system of individual styles, and also the creation of a single national literary language, the creation of perfect genre forms from a lyric poem to a novel, which have become genre models for Russians writers of the 19th century, and the renewal of Russian critical thought in the spirit of the achievements of European philosophy and aesthetics.

prosaic

prosaic

What is connected with the everyday, everyday, material side of life, what is boring, everyday, ordinary.

Dictionary Efremova. T. F. Efremova. 2000 .

See what "Prosaic" is in other dictionaries:

legend- a prose narrative with a historical or legendary plot, clothed in a literary form, written or oral. There are mythological (most ancient) and historical (later) S. Varieties of S.: myth, tradition, legend, true story, etc ... Dictionary of literary terms

new novel- a prose work, which, in contrast to the traditional novelistic narrative, the author tries to create without the slightest admixture of politics, ideology, morality, etc., setting himself the task of pure knowledge of life. Rubric: genera and genres ... ... Terminological dictionary-thesaurus on literary criticism

HIGHER LITERATURE- a section of the Christian literature, uniting the biographies of Christian ascetics, canonized by the Church as saints, miracles, visions, words of praise, tales of finding and transferring relics. As a synonym for J. l. in modern domestic ... ... Orthodox Encyclopedia

Alexander Afanasyevich (1835 1891) One of the outstanding linguists late XIX century, leaving a deep mark in various fields scientific knowledge: linguistics, folkloristics, mythology, literary criticism, aesthetics, art history. P. graduated in ... Encyclopedia of cultural studies

PROSE, prosaic, prosaic; as a short use prosaic, chna, chno (book). 1. full only Written in prose; ant. poetic (lit.). Prose translation. 2. Used prem. in prose, recalling prose, suitable ... ... Explanatory Dictionary of Ushakov

One of the means of communication based on the ability of a person to produce sounds (articulation) and correlate complexes of sounds with objects and concepts (semantics). Communication in a language is called speech. The need for speech led to the study and description of language... Literary Encyclopedia

AND; pl. genus. zok, dat. zkam; and. 1. A narrative work of oral folk art about fictitious events, with the participation of magical, fantastic forces. Folk tales. Fairy tales. Household fairy tales. S. about the frog princess. S. about the fox ... ... encyclopedic Dictionary

- (Arabic narration), literary term among the peoples of the East and South East Asia. Denotes any more often narrative poetic or prose work, in the narrow sense, the genre of an anonymous book prose epic. * * * HIKAYAT HIKAYAT… … encyclopedic Dictionary

This term has other meanings, see Molinet. Jean Molinet offers his book to Philippe of Cleves. Miniature from the manuscript of the prose arrangement of the Romance of the Rose by Jean Molinet (fr. Jean Molinet; 1435 (1435), Devres August 23 ... Wikipedia

Offers his book to Philip Klevskoy. Miniature from the manuscript of the prose transcription of the Romance of the Rose Jean Molinet (fr. Jean Molinet, 1435 August 23, 1507) French poet, head of the school of "great rhetoricians". Molinet was born in Devre (Pas de Calais), ... ... Wikipedia

Books

• Alexander Blok. Collected works in 6 volumes (set of 6 books), Alexander Blok, Collected works of Alexander Blok in six volumes includes the author's prose and poetic heritage, dramatic works, letters ... Category: Classical prose Series: Alexander Blok. Collected works in six volumes Publisher: Fiction. Leningrad branch,
• Ostinato. Poems by Samuel Wood, Louis-Rene Deforet, M. Greenberg, The book includes the final prose work of the author - "Ostinato", combining the genre features of an autobiographical story, a lyrical fragment and an essay about language, memory, writing, ... Category: Contemporary prose Publisher:

Meaning

T.F. Efremova New dictionary Russian language. Explanatory- derivational

prosaic

prose and chesky

adj.

1) Related by value. with noun: prose associated with it.

a) Peculiar to prose (1), characteristic of it.

b) trans. Associated with the everyday, everyday, material side of life; boring, everyday, ordinary, devoid of poetry.

3) Written in prose (1).

4) Belonging to prose (2).

Dictionary of foreign words

PROSAIC

1. pertaining to prose. prose speech. Prose work.

2. trans. everyday; limited by worldly interests; the same as prosaic. The work of an investigator is a very prosaic occupation. prosaic worries.

Small academic dictionary of the Russian language

prosaic

Written in prose, being prose.

Gogol, Zhukovsky, Prince Vyazemsky took part in Pushkin's journal. The publisher himself worked extremely hard for the magazine, putting in it especially many prose articles. Dobrolyubov, A. S. Pushkin.

A story, or even more so a novel --- - both of these prose genres seemed to me inaccessible. Bondarev, To my readers.

Unpoetic, devoid of sublimity.

Sometimes rainy the other day I, turning into a barnyard ... Ugh! prosaic nonsense, the Flemish school motley rubbish! Pushkin, Eugene Onegin (Excerpts from Onegin's travels).

- You, perhaps, do not like music? .. - On the contrary, - especially after dinner. - Grushnitsky is right when he says that you have the most prosaic tastes. Lermontov, Princess Mary.

Uninteresting, everyday; mundane.

- He's so prosaic, Liza, you can't fall in love with him. Chernyshevsky, The story of a girl.

Maria was now thinking about the most prosaic things. Her felt boots turned out to be too big, and straw insoles should have been put in them. Popovkin, The Rubanyuk family.

Business, practical.

- My uncle --- human very prosaic, always in business, in calculations. I. Goncharov, Ordinary history.

Compiled dictionary of foreign words of the Russian language

prosaic

PROSAIC

(from the word prose). Unpoetic. In a figurative sense: everyday, everyday, monotonous. - Prose view. Practical, utilitarian.

(Source: "Dictionary of foreign words included in the Russian language." Chudinov A.N., 1910)

PROSAIC

1) written in prose (not poetry); 2) ordinary, ordinary, rational, leaving no room for sensitivity and imagination.

prosaic

prosaic, prosaic; as a short forms of use prosaic, chna, chno (book).

only full. forms. Written in prose; opposite poetic (lit.). Prose translation.

Used advantage. in prose, recalling prose, suitable for prose, and not for poetry (lit.). prosaic expression. This expression is prosaic. Sometimes on a rainy day the other day I turned into a barnyard... ugh! prosaic nonsense! Pushkin.

Unpoetic, devoid of fascination, entertainment. Reluctantly, I turn to the events of this story, as much truthful as prosaic. Grigorovich.

Boring, everyday, the most ordinary. Prose conversation. prosaic relationship. The life of an unsecured person has its prosaic interests. Chernyshevsky.

Business, practical, selfish (iron.). Pursue prosaic goals.

Explanatory dictionary of the Russian language. S.I. Ozhegov, N.Yu. Shvedova.

prosaic

ohm. prose.

The same as prosaic.

New explanatory and derivational dictionary of the Russian language, T. F. Efremova.

prosaic

Corresponding in value. with noun: prose associated with it.

1. Peculiar to prose (1), characteristic of it.

   trans. Associated with the everyday, everyday, material side of life; boring, everyday, ordinary, devoid of poetry.

Written in prose (1).

Belonging to prose (2).

Examples of the use of the word prosaic in literature.

For one reason or another, from completely prosaic to quite mystical, in different cities and regions of our former vast homeland, the development of the Underground proceeded differently.

Nature in general, plants and animals in particular, are revered for their beneficence - if expressed in religious or poetic language, for their usefulness - if we speak in a language not religious, but ordinary or prosaic, for their necessity, the impossibility of existing without them - philosophically speaking.

She aroused the exclusive attention of her contemporaries, caused many, mostly anonymous, imitations, poetic and prosaic, and brought to us a true picturesque picture of her time with all its disturbing ideological inquiries and searches on the eve of Wyclif's sermon and the great peasant uprising of 1381.

Mikhalkov never belonged to the professional clan of the so-called stagers, who are better or worse, but adapt one or another prosaic works to the specific laws of the stage.

Lagerquist won the Nobel Prize in 1950 and has since written a number of prosaic of things.

This fleet was an unimaginary reality of Venice, prosaic underpinnings of her fabulousness.

And with all this, Utamaro was able to discern with his inquisitive, searching eye the extraordinary charm of a woman in her most prosaic lesson.

One of them, chest, in the Rothermere collection in London, was conceived in prosaic bourgeois spirit, in neat clothes with a starched collar and a wide-brimmed hat.

Meaning prosaically of the described scene with the participation of the gravedigger, we have already dismantled.

The play must have its own beginning, middle, end, verified effective climax, and it is desirable to build episodes without prosaically, and dramaturgically - in one state the characters enter, in another they leave - there are many of them purely dramatic understandings and techniques, according to which the theatrical action is formed.

Very soon, Tobo and Howler appeared above the forest and began busily bombarding the Taglians. prosaic incendiary bombs.

But first, let's get very prosaic deed - the so-called recapitulation, or, simply put, repetition, which we will try to organize as, perhaps, even a catechism.

In the end, he saw through an infinitely long and narrow air shaft how the star withered, and the rhomboid of the night sky prosaically turned gray

Herzen, as a brilliant aesthetician of the 1940s, was disgusted, first of all, by the very image of this average European figure in a top hat and a frock coat, petty, persistent, industrious, self-satisfied, in his own way, perhaps, and stoic and in many cases, undoubtedly, honest, but also in a chest that does not carry any other ideal, except for the transformation of everyone and everything into something similar to itself and even seemingly unheard of prosaic since the Stone Age.

He sought to subordinate the rhythm of verse to the rhythms of everyday speech, bringing poetry closer to the newspaper, introducing extensive prosaic fragments and emphatically dry factual evidence, at first glance devoid of artistic content.