Mikhail Kotsiubinsky. Feeling and experience of the lyrical hero of the short story "Intermezzo" by Mikhail Kotsiubinsky Into the sinful world
Mikhail Mikhailovich Kotsyubinsky was born on September 17, 1864 in Vinnitsa. His mother was Glikeria Maksimovna Abaz.
Later, the Kotsiubynskys left Vinnitsa, and moved to live in the village, and then - in the town of Bar. Here Mikhail was sent to elementary school (1875-1876).
In 1876-1880, Kotsiubinsky studied at the religious school in Shargorod. During this period, the works of Taras Shevchenko, Mark Vovchka made such a strong impression on Mikhail that he himself wanted to become a writer. After graduating from the Shargorod Seminary in 1880, Kotsiubynsky went to Kamyanets-Podilsky, intending to study at the university, but this dream did not come true. In 1881, the Kotsiubinsky family, which had been moving from place to place for some time, returned to Vinnitsa. In 1882, Kotsyubinsky was arrested for ties with the People's Will, and after his release he was taken under police supervision.
Due to the difficult financial situation of the family, the young man was unable to continue his education: his mother became blind, and later (in 1886) his father died. Responsibility for a fairly large family (8 people) fell on the shoulders of Mikhail. In 1886-1889, he gave private lessons and continued to study on his own, and in 1891, having passed an external examination at the Vinnitsa real school for a folk teacher, he worked as a tutor.
In 1892-1896, Kotsyubinsky was a member of the Odessa phylloxera commission, which fought against the pest of grapes - phylloxera. Work in the villages of Bessarabia gave him material for writing a cycle of Moldavian stories: “For the common good”, “Pe-koptior”, “At a high price”. Then the writer worked in the Crimea, which ignited the creative imagination of Kotsiubinsky, who was sensitive to the exotic. In 1898 Mikhail Mikhailovich moved to Chernigov. At first he held the position of a clerk at the Zemstvo Council, temporarily headed the desk of public education and edited the "Zemsky collection of the Chernihiv province." In September 1900, he got a job at the city statistical office, where he worked until 1911. In Chernigov he met Vera Ustinovna Deisha, fell in love, and she became his wife. His children grew up here - Yuri, Oksana, Irina, Roman. Every week the literary youth of the city gathered in the writer's house. Such well-known future writers and poets as Vasil Blakitny, Nikolai Voronoi, Pavlo Tychina came here.
Subsequently, M. Kotsiubinsky began to travel. He traveled almost all of Europe. It was not only the call of his soul, but also the need for healing. He often visited the Italian island of Capri, where he received treatment. In 1911, the Society of Supporters of Ukrainian Science and Art awarded M. Kotsiubynsky a lifetime scholarship of 2,000 rubles a year so that he could retire from service. However, the writer felt worse and worse. He suffered from asthma and tuberculosis.
In the hospital, M. Kotsyubinsky learns about the death of his best friend, composer N. V. Lysenko (N. Shurova tells in detail about their friendship in the book “I was all like a song”).
- Two literary and memorial museums are dedicated to Mikhail Kotsiubinsky - in Vinnitsa (1927) and in Chernigov (1935).
- In honor of Kotsiubynsky settlements are named:
- urban-type settlement Kotsiubynske, Kiev-Svyatoshinsky district, Kyiv region;
- village Mykhailo-Kotsyubinskoye, Chernihiv district, Chernihiv region.
- The following streets are named after Kotsiubynsky:
- Mikhail Kotsiubinsky Street in the center of Kyiv, as well as in several other cities of Ukraine;
- Kotsiubinsky street in the west of Moscow
- Kotsiubinsky Avenue in the city of Vinnitsa
- In 1970 at the Film Studio. Dovzhenko was filmed a feature biographical film "The Kotsiubinsky Family" (starring Alexander Gai).
- The name was given to the Nezhin Mobile Ukrainian Music and Drama Theatre.
In the spring of 1913, M. Kotsyubinsky died. The writer was buried on Boldin Hill in Chernigov.
« There was so much warmth on the sea, so much bright blue boundless joy, so much gentle splashing that even the soul laughed ... Blue, unbearably blue, like the Crimean sky, it blew in the heat of a summer day, twitched with haze, merging with gentle tones with the distant sky, enchanted and attracted to its pure, warm and joyful blue- so poetically and figuratively, so inspired and tenderly wrote about the Crimean nature a wonderful writer, a classic of Ukrainian literature Mikhail Mikhailovich Kotsyubinsky.
The first acquaintance of the young thirty-year-old writer with the Crimea took place in the spring of 1895. Unemployed due to police harassment, Kotsiubinsky was forced to accept the position of inspector of the phylloxera committee and came to Crimea to work in the vineyards of the South Shore. Here, in the vicinity of Simeiz, his first acquaintance with the Crimean nature takes place. " Crimea made such a strong impression on me that I walked here as if in a dream. The beauty of nature not only struck me, but also suppressed", - he wrote in a letter to the writer Komarov.
In 1896, Mikhail Mikhailovich was transferred to the Alushta Valley to fight phylloxera, from where he “migrated” to Kuru-Uzen, now Solnechnogorsk.
In a letter to his young wife, he writes: We live in Alushta so-so; the places here are beautiful, there is something to read - but I have no time to read. There is so much work that I can hardly breathe at times». « The most impressions are at the feet, and if the feet had the gift of words, they would tell a lot", he writes further.
In almost all of his Crimean letters, Kotsiubinsky complains about being overburdened with work and the inability to devote himself to literary work. Nevertheless, the writer absorbs the originality of life, customs and customs of the Crimean population, the unusualness of the Crimean landscape: narrow, crooked streets of cities, houses on rocks, like honeycombs, the ruins of a Genoese fortress, medieval towers and, of course, the richest nature of Crimea, constantly changing Black Sea.
« Today we have a holiday, we did not go to work. I spent most of the day at sea. Quiet, sunny. The air is so transparent that Demerdzhi seems to be just about behind him. The sea is blue to black, only white foam hits the shore. Very beautiful. Such days happen only in the Crimea, and then in the fall", he wrote to his wife.
Everything that Kotsyubinsky recorded or kept in his memory found its artistic reflection in his very first Crimean short stories, created, however, not immediately and not in the Crimea, but much later - in Ukraine. These are short stories: "In the Nets of Satan" and "On the Stone". In them, the writer sings a hymn to everything beautiful, young, freedom-loving, rebelling against inertia and violence.
Kotsiubinsky and in his second short story "On the Stone" tells about the bitter lot of the Tatar woman. If a Russian woman was granted the right to freely communicate with people, if she “climbed mountains and forests, entered a mosque, then the faithful daughter of Allah did not dare to cross the threshold of the mosque, like an unclean creature,” Kotsyubinsky writes bitterly in the short story. The scenes of the tragic death of the heroes of the novel are reminiscent of the plots of the Crimean legends. Here, for example, is a picture of Fatma's death. " Over the cliff, like a seagull, Fatma rushed about. On one side was the sea, on the other, the hated, intolerable butcher. She saw his ram's eyes, his evil blue lips, his short leg, and the sharp knife with which he slaughtered the sheep. She closed her eyes in despair and lost her balance. The blue dressing gown in yellow crescents slid behind a rock and disappeared among the cries of frightened gulls.».
The short story "On the Stone" is replete with picturesque descriptions of the landscape and exoticism. " On a bare gray ledge of rock, Tatar houses were molded, built of wild stone, with flat earthen roofs, one above the other, as if made of maps. No fences, no gates, no streets. Everything was black and bare. On the flat roofs, women sat in groups and, like colorful flowers, decorated the gray background of the bare village with festive dresses.».
In addition to the high artistic merit of both of Kotsiubinsky's short stories, the social motives that are so characteristic of all his work are clearly felt in them.
The next visit of Kotsiubinsky to the Crimea took place 8 years later, in 1904. Over the years, the writer has grown as a citizen and an artist. He created such subtly psychological works of various themes as “Duel”, “Dolly”, “At a High Price”, “Witch” and others, reflecting pre-revolutionary moods in all classes of society.
This time the writer came to Crimea in search of new relevant topics, taking advantage of his summer vacation. After a short stay in Sevastopol and Alupka, he and his wife went deep into the Crimean reserved forest, where at the source of the Alma River, in a narrow and wild gorge, the convent of Cosmas and Damian sheltered. The sharp contrast between the majestic charm of the Crimean forest and the mores of the monastery monastery served as the reason for the creation of the short story “Into the Sinful World”.
To match the setting and description of nature in the short story: “ For whole days and nights it snowed and poured and, finally, filled up the gorge. He covered the roads, covered the forests, the valley and Alma. Cut off from the whole world. And when the clouds broke and settled on the mountains, cold fell from the sky, like the wrath of God. The trees crackled in fright, the church crackled, the sisters withered... Secretly, at night, sinking deep into the cold snow, they gathered branches in the forest and warmed the cells».
And as a contrast to the gloomy scenes of monastic life, the ending of this most poetic of the Crimean short stories sounds. Before the four novices, expelled from the monastery, the harmony of colors and sounds of the morning forest is revealed. The culmination of this episode is the panorama of the sea and the Alushta Valley. " They suddenly stopped. Blinded. A sea of light filled their eyes. Before them lay that distant sinful world from which they had once fled - tempting, cheerful, all radiant, like a dream, like sin itself. The distant sea opened its wide arms to the green earth and trembled joyfully, like a living azure sky ... And all this wonderful land floated somewhere in a sea of warm light in a wide, boundless expanse».
After leaving the Kosmodamianovsky monastery, Kotsyubinsky went to Bakhchisaray "to look for nature," in his own words. The creative result of the short stay of the writer in Bakhchisarai was his journalistic sharp story "Under the Minarets". In it, he strongly opposes the obscurantism and fanaticism of that time. His sympathies are on the side of the young teacher Rustam, a supporter of an alliance with the Russians. " It is necessary to show, - says the hero, - how other peoples live, that they are not unfaithful, but elder brothers, it is necessary to awaken the consciousness". Kotsiubinsky saw that the Tatar nation is heterogeneous, that there is a struggle of various social groups in it, that a new progressive consciousness is being born. There is a struggle not for life, but for death. Therefore, the passions in the story are so heated, its characters are so expressive.
These last Crimean works "Into the Sinful World" and "Under the Minarets" were included in the 1st volume of Kotsyubinsky's stories, published by the Znanie publishing house, which was led by Alexei Maksimovich Gorky. " I read your book with great pleasure, with spiritual joy.", he wrote to the author.
Mikhail Mikhailovich made his last trip to the Crimea in June 1911. This time, the writer was brought to the Crimea by a serious illness of his youngest son - pneumonia. The Kotsiubinsky family arrived and stayed in Simeiz, in the house of the merchant Gafurov. They lived in isolation, went on foot to Alupka, around the neighborhood. The writer felt a surge of fresh energy and reported in a letter to Aplaksina " Physically, I feel good, got stronger thanks to sunbathing. Turned black so you wouldn't recognize me. I walk in the mountains without much fatigue».
The spiritual connection of Kotsiubinsky with the Crimea did not break off outside of it either. Subsequently, he wrote: These regions gave me a lot of impressions, and I remember with pleasure the time of my service in the phylloxera commission, although I had to endure a lot of bitter».
The popularity of Kotsyubinsky's works over the years has crossed the borders of Ukraine and even Russia. It was translated into other European languages: Polish, German, Italian, Spanish. He became one of the foremost and educated people of his time.
« Among the prose writers of the 90s, - Ivan Franko wrote about him, - Kotsyubinsky ranks first».
Having visited Italy for the first time, he compares the beauty of the Gulf of Naples with the Crimean coast and clearly prefers the Crimea.
2 years after the trip to Simeiz, Mikhail Mikhailovich died of a severe heart disease. The difficult years of police persecution, hard work, and constant financial dependence had an effect. " Ukraine has lost a great man, she will remember his good work for a long time and well", - wrote Gorky. And he added in an article dedicated to Kotsiubinsky: “ Humanity, beauty, people, Ukraine - these are Kotsiubinsky's favorite topics of conversation; they were always with him, like his heart, brain, his glorious tender eyes ... His Ukrainian red heart was always in his homeland - he lived for her sorrows, tormented by her torments».
THE PERSON OF THE KRIMSKY VINEYARDS
"Cream has smitten me with such hostility (the beauty of nature has not only struck me, but rotted me), that I walked here like I see ..."
(M. Kotsiubinsky)
Three different reasons come to Krim. Mykhayla Kotsiubinsky first brought here a phylloxer, a shkidnik vineyard, which was especially unsafe in the 19th century. The self-starters of the campaign to fight against the phylloxera, the writer, drunk enough on the beauty of ours, God illumined the earth. I, like licorice grapes are transformed at p "Yankevino, so the krimsky impressions of a writer were transformed at the completion of the artist.
First, Kotsiubinsky arrived to Krim at the warehouse of the phylloxer committee hanging in 1895, after trieric work in Moldova. Having settled in Simeizi, which at that time became a fashionable resort, he soon became covered with rich vineyards, most of which belonged to the magnate Maltsov.
The arm of the robot in the Maltsovsky vineyards was given to Kotsyubynsky awkwardly. At the same time, soldiers practiced with him, who lay down to the Protestant sect of the Menonites, among whom the writer recognized himself as self-sufficient. Nezabar Mykhailo Kotsiubinsky moved to Castropol, but there he could not escape the depressive state: "... nudga zhere less, why am I vaguely, mournfully and tediously at that rich cubbyhole..." The transcendental respect of the agents of the police to the yogic person was disparaging. Soon self-esteem became unbearable.
For good luck, in the fall, її ruined the name of Mikhail Kotsyubinsky Vira Deisha, with some kind of dovkіlla, it turned into a fairy tale. Particularly memorable for both was a walk in the tract of St. Trinity (24 spring), as the young people later planned how important it was to move in the їhnіy spilnіydolі. vineyards of Simeїz, Kastropol, Kuchuk-Koy, Kikeneїz. For the winter season, the members of the philoxenic committee were given a resignation, like a wine rozpochav near the native land in Vinnytsia.
The young rulers of Aluptsa are friends with their Timchas house, and in red stench they settle in Alushta, the star Kotsiubinsky told B. Grinchenkov: “We live in Alushta so sob; Robots (not so robots, like a walk) are so rich that I can’t breathe for an hour.” Indeed, I had to walk up to 30 versts to the vineyard for an hour, before that the “African speck” was up to school. турботою. Коцюбинськівинаймали окрему дачу, щодня купались в морі. Але у вересні Віра Устинівнавиїхала до Вінниці, і тепер за письменником стежила тільки невсипуща поліція.Після від"їзду дружини Коцюбинський намагався їй писати майже щодня, гостровідчуваючи свою самотність і розполовиненість, миттєвості перетворювались длямолодого чоловка eternity. Month without squad Kotsiubynsky (Musya is signed on the sheets) calling "his hero" "without Viry", on the sheets he means this: "day 1st", "day 2nd" and so on.
The messages of the messenger are lower, loving the heart of the writer, his spiritual closeness with the retinue. Крим надовгозберігся в пам"яті Коцюбинських, і літню відпустку 1904 року вони вирішилипровести саме тут, сподіваючись благотворного впливу тих чарівних вражень, якіне забули протягом восьми років. Тиждень подружжя мешкало в Севастополі, апотім здійснило подорож по Південному березі Криму, зупиняючись в знайомихмісцях, де if the commissariat was practicing phylloxera: in Aluptsa, Alushta. A letter to us to act as a new novice, "put on a cassock, go to church, eat and sleep together with the brothers," in order to select the material for the story, the plot for which has already been born and vimahav is inspired by living guards.
I crucified my wines, when at that time the monastery had already become a wife. To that z-pіd of the yogo pen was written only the opision "Into the sinful world", written "z vіdchayu". Alepragnennya reclaim your treasury of hostility for the farther creativity of the hymnwriter far away, and continue your pranks in Bakhchisaray. The Crimean Tatar flavor of this place did not deceive the spodіvannya of the writer, intended for other cultures. The rest of M. Kotsiubynsky's Zustrich from the Pivdenniy shore of Krym was born in 1911. Three days later, after visiting Sevastopol, one day in Yalta, and then we ruled in Simeiz, which at that hour had already changed, transforming into a utopian misto-garden on Mayzha. "It was life-loving, I wanted to see new ones, for which I planned to go out at night with fishermen near the sea. I often chose high-rise routes for walks, the two went with children to Alupka.
Nebobar of the creative planning of the Zmosility of Simit SIM "Yu in Siimeai і Vihati in Odessa, and Zvidti Ledordon, in Karpati, Yaki Owlm Ochіkuvan Natkhnnnya. Михайла Коцюбинського.Кримські спогади повсякчас супроводжували його під час закордонних мандрівок.Навіть на курорті в Італії, письменник згадував Сімеїз, коли любувавсяцвітінням дроку, палаци Константинополя здавались йому схожими наБахчисарайський, берег в Ніцці нагадував Алушту, а море в Криму він вважавкрасивішим, ніж в Італії .
I am Mykhailo Kotsiubynsky became a symbol of high-quality Ukrainian writing at the beginning of the 20th century, and we should write, having cast our gold traces on the Pivdenny birch of Krym, zooming in to create a yogo-bagatonal coloring in our creativity.
Oleksandra Visich , candidate of philological sciences, senior scientific specialist of YaILM.
The short story "Intermezzo" occupies a special place in the work of M. Kotsyubinsky. It was written in sad times, when, after a freedom-loving revolutionary breakthrough in the political and artistic life of the Russian Empire, the time of reaction came, when many of the progressive artists and politicians declared the need for waiting tactics, when literature turned away from modernity and looked for topics in an idealized past or in frank perversions of individualism and selfishness.
The name "Intermezzo" comes from Italian. Once upon a time it was a musical and theatrical term denoting a piece of music that was performed between acts of a play or opera. Using the term as the title of a short story, Kotsyubinsky turned to the direct meaning of the word. It means "break", and this coincides with the philosophical content of the novel. A break is the time to stop, to comprehend what has been done, to reflect on the eternal theme of the artist's vocation, his responsibility to himself and the people. Kotsiubinsky has already used a peculiar form of philosophical and psychological prose in the short story "Apple Blossom" and prose poems "From the Depth". The short story "Intermezzo" is the pinnacle of this form in the writer's work.
The plot of the novel is outwardly simple: the lyrical hero comes to the village with the aim of resting, thinking, listening to the music of nature. Love for the native land, a keen perception of its beauty help a person to gather strength, restore the desire to fight, and most importantly - help to better understand oneself. The hero of Kotsyubinsky, enjoying the singing of larks and the melody of the fields, analyzes his inner world and comes to the conclusion that isolation, individualism, loneliness are not for him. “I can’t miss a man. I can't be alone." These words seem to introduce a new theme into the music of the novel. The force of nature cannot distract the artist from the people dying on the beautiful land. He hides in the heart "suffering and pain, broken hopes and despair" of the offended people. This pain is personified in the short story in the image of an “ordinary man” who fought for the land, and now has only a shred that cannot feed his family. The people's grief appears before the artist as a real, helpless, defenseless person, and Kotsiubinsky knows why God gave him talent and skill. The insignificance of the motto "art for art's sake" becomes clear.
The break ends, the hero plunged into the world of nature for a while, drank from its sources, enjoyed the sun, which he loves the most. Sun worshiper - that was the name of Kotsiubinsky after the appearance of "Intermezzo". There is one more side to this emenni: the sun for Kotsiubynsky is a symbol of freedom, love for life and a person, a symbol of victory over the darkness of reaction.
The short story "Intermezzo" is one of the outstanding works in Ukrainian literature. This is the creative credo of the great artist, his vision of the relationship between life and poetry, society and art, embodied in beautiful images, outlined in a rich and pure language.
- Specialty HAC RF10.01.08
- Number of pages 197
Chapter I. Detail in artistic, structure, short stories . leaves of M. Kotsiubinsky.13
Chapter P. The role of details in the disclosure of psychology. character in the short stories by M. Kotsiubinsky. 60
Chapter III Compositional function of the detail. in. short stories. .
M. Kotsiubinsky.134
Recommended list of dissertations in the specialty "Theory of Literature, Textology", 10.01.08 VAK code
The concept of man in short stories S. Vasilchenko. Features of genre and style forms of expression 1984, candidate of philological sciences Turgan, Olga Dmitrievna
A.P. Chekhov and Guy de Maupassant: national originality of short prose 2005, candidate of philological sciences Sokolovskaya, Zhanna Viktorovna
National originality of artistic detail in Tuvan prose 2004, candidate of philological sciences Bady-Monge, Elena Tadar-oolovna
The specifics of the short story genre in the work of Isaac Bashevis Singer 2005, candidate of philological sciences Slepova, Alexandra Valerievna
The Formation and Development of the Short Story Genre in English Literature of the Victorian Period: Based on the Works of Ch. Dickens, W.M. Thackeray, T. Hardy 2009, candidate of philological sciences Eremkina, Natalya Ivanovna
Dissertation conclusion on the topic "Theory of Literature, Textology", Kuznetsov, Yuri Borisovich
CONCLUSION
The evolution of a detail in the artistic system of M. Kotsyubinsky as an element of realistic poetics is associated with an increase in its typifying functions, an increase in the figurative and expressive principle. The writer masters the artistic experience of the realist prose writers of the 19th century, but goes further along the path of developing psychological realism, achieving special depth in revealing the psychology of character, developing original means of hu-. dozhestvennogo generalization of objective phenomena.reality. 7
The first stories of M. Kotsyubinsky "Kharitya", "Yalinka", "P" I am a tyzlotnik", "Little sinner" were written in the spirit of social and everyday works of the 19th century. In them, the Ukrainian prose writer pays considerable attention to everyday, ethnographic details. They serve as a means of - a truthful depiction of the actual circumstances of life, heroes, carry objective information about the cultural, historical, cultural and everyday features of a given era.And in this sense, the details in early works appear predominantly, in their mass, in a symbolic meaning. In the works of this period of creativity, the figurative and expressive beginning is noticeably enhanced, however, so far only individual details.First of all, the emotional-figurative side of the details, especially the landscape, becomes brighter.As evidenced by the notebooks, M. details He continues and develops the features of the realistic poetics of Nechuy-Levitsky with his desire for plasticity, relief awn of the image, the play of light and shadow, contrasts.
The expressive beginning of the detail also deepens. Without losing its symbolism and figurativeness, it becomes a means of artistic generalization. In this regard, M. Kotsyubinsky masters the artistic experience and socio-psychological features of Panas Mirny's prose. The detail of the portrait /"Little Gryshnik"/, the reality of everyday life /"P" yazlotnik"/, the landscape /"Tsshov" yaz"/ serve the writer as a means of conveying individual features of the characters' psychology.
In the early works of M. Kotsiubinsky, various ones are outlined. techniques for achieving artistic typification with the help of a detail. Among them, for example, are such techniques for enhancing the expressive qualities of a single detail: a description of the history of some, everyday reality; the use of a detail whose background is easily recreated from the context; reinforcement of the detail with a trail; personification of the detail. Or. the use of interconnected cross-cutting details / "Tsshov" yaz "/ for the purpose of artistic generalization.. Such techniques were already known in realistic literature and were found in the works of L. Tolstoy, A. Chekhov, I. Franko. Here M. Kotsyubinsky, as - V. Stefanik, Marko Cherem-shina, Les Martovich, "only masters the artistic experience of their predecessors. However, the strengthening of the expressive beginning of the artistic detail fundamentally distinguished the works of realism from naturalistic ones. In the latter, the detail acted in an informational sense., . as an element of protocol recording of the details of everyday life, traditions.A certain element of naturalism was also inherent in the works of social and everyday life.M.
Creativity of M. Kotsiubinsky 1901-1908 Well subsequent years develops in line with the socio-psychological currents in realism. The basis of this trend was laid in Russian literature by L. Tolstoy, F. Dostoevsky, A. Chekhov, in Ukrainian - by Panas Mirny, I. Franko. The psychologism of M. Kotsyubinsky's short stories was prepared both by general trends in the development of literature and by socio-historical conditions, in which writers' interest in personality psychology increased markedly.
Detail in. works of the novelist of this period, serves as a means of artistic generalization, primarily of the psychology of character. At the same time, M. Kotsyubinsky, within the framework of. small short stories, reaches a special depth and. almost scientific, accuracy in the transfer of continuous mental. processes. M. Kotsiubinsky succeeds. . to recreate the personality. of the hero. in everything, its diversity. mental manifestations. Various mental phenomena, complex mental processes, consciousness and self-consciousness, the dialectics of the hero's inner self become the subject of artistic representation in the writer's short stories. The novelist does not confine himself to an artistic analysis of the psychic sphere, heroes; on its basis, he reveals social processes that are relevant for his contemporary society. The problem is getting deeper and more complicated. works, from psychological problems, and moral and ethical ones. / "Dv1t yabdun!" / he. moves to. social problems ^ . psychological /"Lyalechka", "In doroz1"/ and socio-philosophical /"Bertegg o"/.
In this regard, the ideological and artistic load of details in the short stories by M. Kotsyubinsky is increasing. In addition to the symbolic, figurative, they also acquire a pronounced symbolic meaning. However, such a realistic symbolism of the detail) is completely different from the functions of the detail in the system of symbolism.
In the latter, the detail-symbol is directed towards the generalization of processes. individual-psychological, soul-searching of heroes. in his soul and does not affect the problems of social significance. In that. sense, although the detail in symbolism is a means of typification, however, the results of such an artistic generalization do not correspond to reality. . Human.behavior, its activity and mental processes are socially conditioned, to reveal such a determination on the basis of a true reflection of the laws of the subjective sphere of a person-- means to achieve.realistic.image. Exactly this. M. Kotsyubinsky succeeds with the help of various techniques of artistic detail. . . . . V. short stories 1901-1908 these techniques are qualitatively different from those used in earlier works. Here M. Kotsiubinsky achieves the acquisition by the detail of an additional symbolic meaning due to their special organization, association into a system of micro-images. M. Kotsiubinsky combines single details into integral, figurative microsystems. Cross-cutting interconnects to achieve new, artistic values. And, finally, he achieves an almost complete synthesis of microsystems of single and through details, their merging into a harmonious.system with a capacious.artistic meaning. These types of organization of details in each particular work manifest themselves in different ways, depending on the aesthetic patterns that the writer puts in their basis. At the same time, the development of the writer's creativity is connected both with an increase in the degree of organization of details, methods of their connection, and with an increase in the expressive beginning of a detail.
The methods of organizing details are not so much novelty, some of them are found in A. Chekhov, V. Stefanik,. M. Cheremshina, how much diversity, deeply thought-out synthesis and breadth of those artistic generalizations that the writer achieves with their help. Impressionistic effect, . achieved due to such a high degree of figurativeness and deep subtextual meaning of details, is for M. Kotsiubinsky only a stylistic device that allows the most powerful and truthful transmission of the mental processes of the hero’s spiritual life. .
The system of artistic details also determines the features of the poetics of M. Kotsyubinsky's short stories as a whole. The logic of artistic generalization in the works of the writer reveals two main tendencies associated with two types of narrator, in whose field of vision artistic details are organized. For. The first type - the subjective narrator - is characterized by such a construction of the narrative, such a logic of artistic generalization, which is based on the real interconnection of events, the real course of life. For the second type - the objective narrator - the logic of the artistic, generalization is determined by the facts and. the laws of the subjective life of the hero, through the prism of which the narration is being conducted. The first type of narrator determines the predominance of the. works of M. Kotsiubinsky epic beginning, the second - lyrical. In general, in the poetics of M. Kotsyubinsky's short stories, there is a change in the position of the narrator, the interpenetration of the epic and lyrical principles, with the predominance of the narrator of an objective type and increased lyricism of the narration. In this sense, it can be said that the writer
177-. gives a new kind of short story - a psychological-lyrical one, distinguished by the depth of psychological analysis and special emotionality.
The logic of artistic generalization leaves its mark on the ways of organizing details, on the artistic structure of the Work as a whole. In M. Kotsiubinsky's short stories, this artistic structure is also distinguished by an increased psychological load, synthesizing the semantic meanings of the system of artistic details. ,
During the last years of creativity, M. Kotsiubinsky continues to improve the pictorial and expressive qualities of the detail. It achieves an organic combination in one micro-image of sign, vivid concrete imagery and a high degree of symbolism. At the same time, the artistic structure of his short stories becomes even clearer. Depending on the organization of the system of artistic details, the following structural types are distinguished in it: ring, mosaic and mixed. All three types. structures have high aesthetic properties: harmonious. naya integrity, proportionality of parts, figurative plasticity, rhythm, that. determines the emotional force of the impact of M. Kotsiubinsky's short stories on readers. The art of detail by M. Kotsiubinsky enriched the realistic poetics with new artistic techniques. It showed.unlimited possibilities, the depth.of.psychologism that can be achieved with the help of a realistic image as a way of artistic reflection of life in the forms of life itself.
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Mikhail Mikhailovich Kotsyubinsky(Mikhailo Mikhailovich Kotsiubinsky) - Ukrainian writer, public figure, classic of Ukrainian literature.
Born in the city of Vinnitsa in the family of a petty official. Father - Mikhail Matveevich, mother - Glikeria Maksimovna Abaz; in addition to Michael, they had four more children - two brothers and two sisters. The childhood and youth of the future writer were spent in the cities and villages of Podolia, where his father was transferred to work. Educated at the Bar elementary school (1875 - 1876) and Shargorod theological school (1876 - 1880). At the school, 12-year-old Mikhail fell in love with a girl 4 years older than him, this episode made him sit down harder to study in order to achieve something and attract her attention. During this period, books by Taras Shevchenko and Marko Vovchok made a strong impression on Mikhail, so he himself wanted to become a writer.
After graduating from college in 1880, Kotsiubynsky went to Kamenetz-Podolsky, intending to study at the university, but this dream did not come true. In 1881, the Kotsiubinsky family returned to Vinnitsa. Kotsiubinsky took an active civic position from an early age, promoted revolutionary and liberation ideas, and in 1882 was arrested for ties with the People's Will. Several searches were made at the Kotsiubinsky's apartment, and after the release, the Podolsk gendarmerie department established secret supervision over Mikhail.
Due to the difficult financial situation of the family, the young man was never able to continue his education: his mother became blind, and later, in 1886, his father died. Responsibility for a family of four fell on Michael's shoulders. In 1886-1889 he gave private lessons and continued to study independently. In 1891, he took an external examination at the Vinnitsa real school for a folk teacher, and continued to tutor.
In the early 1890s, a part of the young Ukrainian intelligentsia, imbued with liberal educational ideas, formed the Taras Brotherhood, with whose members Kotsyubinsky kept in touch for some time. In 1892-1896, Kotsyubinsky was a member of the Odessa phylloxera commission, which fought against the pest of grapes - phylloxera. The five-year service in the phylloxera commission, rich in creative achievements, became a period of intensive growth for the writer: work in the villages of Bessarabia gave him material for writing a cycle of Moldavian stories, then the writer worked in the Crimea, which ignited the creative imagination of Kotsiubinsky, sensitive to the exotic.
Leaving work in the commission in 1897, Mikhail Mikhailovich made an unsuccessful attempt to get a job in Chernigov, where he hoped to get the position of head of the book warehouse in the Chernigov provincial zemstvo council. After that, Kotsiubinsky temporarily settled in Zhitomir, where from November 1897 to March 1898 he held various positions in the editorial office of the local newspaper Volyn. In 1898, Mikhail Mikhailovich finally moved to Chernigov, where he first held the position of clerk at the Zemstvo Council, temporarily headed the desk of public education and edited the Zemsky collection of the Chernigov province. In September 1900, he got a job at the city statistical office, where he worked until 1911. In Chernigov, he married Vera Ustinovna Deisha, a noble family, whom he met at the end of 1894 in Kyiv at the first congress of the Gromada. His children grew up here - Yuri, Oksana, Irina and Roman. Son Yuri - Ukrainian Soviet statesman and party leader, was a member of the first Soviet government of Ukraine, was repressed; the rest of the children are also connected in one way or another with the Soviet regime.
Every week the literary youth of the city gathered in the writer's house. Such well-known future writers and poets as Vasil Blakitny, Nikolai Voronoi, Pavlo Tychina came here.
There was another woman in the life of the writer - Alexandra Ivanovna Aplaksina, 16 years younger than him. His numerous letters to her - more than 300 - became an important source of information for the biography of the writer. Kotsiubinsky's relationship with Aplaksina ended in 1907, when the writer's wife found out about them from an anonymous letter.
Subsequently, M. Kotsyubinsky began to travel. He traveled most of Europe, in particular visited Austria, Germany, Italy, Switzerland. It was not only "the call of his soul", but also the need for treatment, he was tormented by asthma and tuberculosis. He often visited the Italian island of Capri, where he received treatment.
In 1911, the "Society of Supporters of Ukrainian Science and Art" awarded M. Kotsiubynsky a lifetime scholarship of 2,000 rubles a year so that he could retire from service. However, the writer felt worse and worse. The last time while in the hospital, M. Kotsyubinsky learned about the death of his best friend, composer N. V. Lysenko. And soon, in the spring of 1913, the writer himself died. M. Kotsiubinsky was buried on Boldina Hill in Chernihiv, a favorite place for his daily walks.
Kotsiubynsky is one of the most original Ukrainian prose writers. In addition to Ukrainian and Russian, he knew nine foreign languages, including Greek, Crimean Tatar, Gypsy; but the main source of enrichment of the language of literature, he considered the speech of the people. Kotsiubynsky was one of the first in Ukrainian literature to realize the need for its reformation in the direction of modern European prose. His work has always been the subject of controversy among literary critics. Until now, some researchers of Kotsiubinsky's modernism cautiously call him an impressionist in literature.
Kotsyubinsky began to try his hand at literature early, he took up poetry, translations, essays, but soon the main field of his writing activity, a real vocation, was fiction. From the first experiments of Kotsiubinsky the prose writer, the stories “Andrei Soloveyko, or Learning is light, and ignorance is darkness” (written in 1884), “December 21, for an introduction” (1885), “Uncle and Aunt” (1885) have come down to us. He began to print in 1890 - the Lviv children's magazine "Dzvinok" (Call) published his poem "Our Hut". In the same year he visited Lvov, establishing creative contacts with local writers and publishers, in particular Ivan Franko. The trip marked the beginning of Kotsiubynsky's permanent collaboration with Western Ukrainian publications. At the beginning of 1891 he went to the village. Lopatintsy in Vinnitsa, where he combined the work of a home teacher in the family of a local employee (an accountant of a sugar factory) with the beginning of serious literary work. Only in 1891, the stories “Kharitya”, “Yolochka”, “Pyatizlotnik”, the story “On Faith”, the poetic fairy tale “Envious Brother” came out from under his pen.
The author's first collection of only three stories ("Kharitya", "Yolochka", "Little Sinner") was published in early 1985 in Chernihiv. The story “On Faith”, due to the problematic moral and ethical background of the work at that time, the author initially signed when submitting the manuscript to the publishing house with the pseudonym Zakhar Kozub.
The years of Kotsiubinsky's stay in government service in Moldova and the Crimea gave vital material for his works "For the Common Good", "Ambassador of the Black Tsar", "Witch", "In the Bonds of Satan", "At a High Price", "On the Stone", "In sinful world”, “Under the minarets”. One of the evidences that Kotsiubinsky, with his works of the Moldavian-Crimean cycle, went beyond local problems, is that his story "For the Common Good" was published in Russian translation in the journal "Life" (1899, book 12).
An important moment in Kotsiubynsky's ideological and literary evolution was the story "The Doll". In The Doll, Kotsiubinsky appeared as an outstanding master of psychological analysis. Focusing on psychological conflicts becomes a defining feature of his work. Romantic-sublime, heroic tonality combines works on themes from the past of the Ukrainian people - "On the Wings of a Song" and "At a High Price".
The short story "Apple Blossom" was innovative in Ukrainian literature
