Gogol Nikolai Vasilyevich. Nikolai Vasilyevich Gogol

To this day, the story remains one of the most mysterious in Gogol. In the note to her, Gogol pointed out that "the whole story there is a national legend" and that he handed it exactly as I heard, without changing anything. However, not a single folklore product has not yet been discovered, which would be considered as a source of central motive, associated with Viim. First of all, the origin of the image of Viya is mysterious. Some linguists (for example,

V.I. Abaev) believed that the Indo-European Name of God, corresponding to Iranian vayu,the ruthless deity in one of the hymns "Avesta", as well as the Ossetian "Vaugue" - antomorphic evil giant, whose image in archaic ideas was contacted simultaneously with death and with iron (Wed. Wiha final It was iron "). Vyach. Sun. Ivanov writes that one-eyed Gogolevsky Viya, who has exactly the motive of vision, has the closest parallel in the Celtic epic, where the Giant Balor, who worn the nickname "bad eye", said that the eye was usually discovered on the battlefield: " Usually four people with a stake raised the eyelid with his eyes. " But since the actual Celtic legend Gogol could not know, then Ivanov is still inclined to believe that Gogol scream information from the legend similar to Celtic and his relative 132. And because the name of the Vius can be associated with the Ukrainian name of the nominal one: viu.- Eyelash (in this case, the hyperbolicity of the metonimical description of the whole in part foreshadows the later story "Nose"; later at Mayakovsky in "War and the World": "Listen! From me, the blind time is yelling").

The plot of "Viya" was sent to the motive about the deceased witch and a bubble, who served the cause of her death and held three nights of her coffin 133. However, as the modern ethnographer E. Levkievsky, demonic creatures surrounding Viya were rather described in accordance with the manner of European and Russian romantics depicting terrible and incomiring as combining unsecast details 134. So, "Something in the form of a huge bubble, with a thousand stretched out of the middle of the ticks and scorpion", is easily associated with fantastic images of the painting of Bosch "Temptation of St. Anthony. " At the same time, the motive of "reporting" a great sinner who sold the soul to the devil, also associated with Ballada Robert South "Witch from Berkeley", which was in 1814 translated by Zhukovsky called "Ballad, which describes how one old woman drove on black Kone together and who sat ahead. " Moreover, in the description of the night increasingness of the monsters, Gogol clearly followed the text of Zhukovsky ("And the roar, and the noise, and the cracking of the gate and the temple, the door with a knock was shook and collapsed on the floor with the loops ..." - from Zhukovsky; "The whirlwind of the church ... the doors broke down from the loops "- at Gogol).

But fantasy, however, bizarked in a story with the real-living details and descriptions, to which the scenes of Bursak life were and bright "naturalistic" portraits of Bursakov, the philosopher of Homa Bruta, Riftor Tiberius Gorobets, the Cologovo Halyava, which gave rise to even see Some episodes "Viya" echo novel novel "Bursak" (1824). And again, as always, Gogol, with an external simplicity everything was not just done. Of course, the story could be considered (and it was often done) as a rather straightforward opposition of evil - good, democratic folk beginnings (pronounced, naturally, in the image of Bursak Homa Bruta) - the beginning of the anti-democratic (the image of the centurion and his daughter, beautiful, but evil punk) 135. And yet it would be more correct to see the world in this story, "split in two" 136. The hero lives as it were in two dimensions: real life with its sorrows, troubles, to which Khoma Bruut belongs to "as a true philosopher," and the world of fantasy, legends (Pannochka line), invading this everyday life. But ... All complexity begins here. Indeed, in the tradition of romantic dvoemirine (the standard of which in Russia in a certain sense was fairy tales and novels E. T. A. Korfman) It was the surreal fantastic world that possessed an elevator function, leading the hero from the municipality of life, allowing you to overwrite something inaccessible in household life. However, Gogol has exactly the Pannochka line (fantastic), it would seem frankly associated with evil. Pannochka is a witch, which, turning into a dead panley, almost killed a hug in the stage in the stage, with the help of fantastic forces, still achieves his terrible revenge. And yet the image of this can not be interpreted unambiguously, as he is ambiguously interpreted and Gogol himself. Recall the scene of the night jump: "He felt some kind of vibrant, unpleasant and together a sweet feeling, approached his heart. He lowered his head down and saw that her grass, formerly under his feet, it seemed to grow deep and far<…>. He saw instead of the month, some sun shone there; He heard blue bells, tilting their heads, rang. He saw a mermaid saved because of the sources, a spin and leg flashed, a convex, elastic, all made of glitter and trepidation. " I remember the well-known transduction of the German romance of the Vacanroder that if we do not see the mermaids in the forest, we ourselves are to blame. And then, according to the internal logic of the narrative, it turns out that the witch-Pannochka, the veryification of evil, opens the Home earlier invisible to them: allowing you to hear the singing of colors, to see the beauty of the mermaids, awakening in the hero of the gift of the seventh feeling. In other words, awakening it to a new life, but at the end, ultimately, depriving his life of the earth.

This antinomy is necessary, apparently, to consider in a wider context, coming out beyond the news "Viya" (it seems that the attempt at some researchers and commentators are not quite valid Why he disappeared: because he was afraid "; the latter there is only the position of Riotor Gorobz, outlined by Gogol not without irony). The overall context of the story "Vius" is the general ratio of Gogol to beauty, and to female beauty in particular, to its burning force.

The theme of female beauty that may be god-like, and maybe empty appearance, dead cover, constant oscillation between the need of pure spirituality and the admiration of the external beauty were given to Gogol in the "Woman" mentioned early essay, which will then enter the "Arabesque", where The show of Telekles about a woman as a hellish order argued Plato, which represented a woman in a god-like, heavenly pleasure. Actually, this antinomy of the god-like and demonic beauty and the essence of a woman passed through the cycle of "evenings", where their demonic antipodes (Paraska - Micrya, Oksana - Solok) were opposed to the excellent divine heroines. But there the divine and demonic beauty were still spread over different roles. In "Vie" they became the indivisible essence of one character - Witch Pannochki. And her boggy (and in fact demonic beauty) turned out to be a flame, and not the light that turned into a dust. This danger, which, according to his own recognition of Gogol in a letter to Danilevsky, lunned and his own. The problem of the relationship to the woman and to female beauty, the poetics of the female image in Gogol fited at the same time in the problem of the confessional duality of Gogol, who grew up in Ukraine, where the original Orthodoxy not only fought, but also closely in contact with Catholicism 137 (later, the new temptation of Catholicism Gogol will already survive directly in Rome). Gogol's thrust to external, sensual beauty was in many ways from Western tradition, while the fear of a prevailing appearance - from the tradition of Orthodox (recall the two different iconographic principles of the image of the Virgin Mary: the image of the image of Orthodox Maria, where the face appears as an infretest face, and vitality, the carnival of Maria Catholic, where beauty is often communicated to the maidenhood). In this sense, it is no coincidence that the triumphant, the demonic female beauty of Pannochki in "Vie", burning a hug of Bruta, rhymes in the final of the story with a description of the blast temple - an abandoned church, which "so forever stayed and the monsters worried in the doorways and windows Forest, bunign, and no one will now find the road to her. "

The problem of confessional duality and the problem parallel to it was collapsed by feminine beauty became the central moments of the fourth (in order - the third) of the story "Mirgorod" - the story "Taras Bulba", if not the brightest, then, in any case, the most famous from the Mirgorod cycle ages.

In fact, the story exists in two editions, since Gogol for his first edition of the writings of 1842 was significantly redoned by the Mirgorod version. So the version that usually read the reader of mass publications is already in the later time. But in his first edition, the story fited into the intention of Gogol to create an epopea of \u200b\u200bfolk life, a truly national epic on the material of Ukrainian history. Gogol "attracts such a state of national life when it, despite the internal conflicts, contrary to these conflicts, is able to inspire one idea, one historical business" 138. Another work is testified about the same trend, over which Gogol worked in the same 1835 - an unfinished drama "Alfred". It is about the struggle of Anglo-Saxes under the leadership of King Alfred with the Scandinavian conquerors. In Tarasa Bulbe, it is also narrowing about the struggle of Ukrainians with ingenians (Poles and Turks) during the formation of their national statehood, which, especially in the second edition of the story, was comprehended by Gogol as the statehood of the community: "The eternal need for border protection against three variekteric nations, all this An attached to some free wide size of her sons, "he wrote Gogol about Malorossy in the first edition of Taras Bulba. "The Russian character received here a mighty, wide scope ..." he said in the second edition. From here - a high scale of the main characters, and the main thing is the image of Taras Bulba, "a representative of the life of the whole people, a whole political society in a famous era of life" (Belinsky). And Belinsky wrote: "If a heteric epic is possible in our time, then here's its highest sample, ideal and prototype!" 139.

In the 30s of the XIX century. The model of the historical narrative was set by the novels of Walter Scott, which took the fictional hero on the advancement (historical persons played by Scott, as a rule, the role of episodic), the strength of the circumstances of the history of history 140 (a model of such a novel in Russian literature was "Captain's daughter" Pushkin). In this sense, Gogol was a historical writer in a completely different direction, since his protagonist Taras Bulb was called up to embody the fate of the folk, speaking as a hero of the National Epopea.

But in parallel, the other line was planned in the story: the trend of disappearing from national destiny, the transition from universality (the spirit of the Cossacks) to the individuality, embodied in the image and history of the son of Taras Andria. Plot Andriy turns out to be the "prodigal son" of Taras, which goes to the side of the Poles, yielding to the grace of female beauty and at the same time Catholic faith. It was most brightly manifested in the scene of the temptation of the Catholic temple, which appears simultaneously and as the temptation of Catholicism, and as the temptation of the beauty of art and the beauty of the proud Pole. Of course, the history of Andria, albeit an externally positive meaning (admission to European civilization), but generally thinks negatively, making the hero with a renegument of the genus and ultimately leading it to inglorious death. But at the same time, for Gogol, it turns out to be the narrative assembly in which the main temptations of Gogol itself, writer and man are associated. It is no coincidence that the "author's confession", Gogol, later wrote: "I did not have an adhesion to the past. My subject was modernity and life in her now everyday life may be because my mind was always tilted to materiality and to the benefits more tactile. " The key to this interpretation could serve and well-known lines: "Bay in the past, your word will carry out triplee.

In 2017, Yegor Baranov addressed the heroes of Gogol works. In 2018, the director will suggest the public to the tape called "Gogol. Viy. " The role of the writer will play in the film.

Quotes

Phrases from Gogol "Viya" became aphorisms.

"Detach me the eyelids: I do not see!"

This famous Viya's replica is often used in jokes and in sarcastic statements. It is curious that Khoma Bruut is represented by the author of the philosopher, and therefore a person for whom religion takes not a paramount place. At the same time, Brut knows prayers and invited to send the deceased on the last path. The worldview of the philosopher combines skepticism and god-fearing:

"The man cannot come here, and from the dead and immigrants from that light I have prayers such that as I read, they will not touch me with your finger. Nothing!".

The guy is not a joke afraid of what is happening, realizing that it remains one on one with a terrible force, which cannot resist. Hama's friends are confident that no unclean forces are guilty to the death of comrade, and his own fear:

"And I know why he disappeared: because he was afraid. And if it were not afraid, then the witch could do nothing with him. It is only necessary to cross, spit on the very tail to her, then nothing will be. "

Homa Brut was a listener-philosopher of the Kiev Church Institute, somehow was released on vacation. He traveled home. On the road, he caught the evening, and he asked for a night to the old woman. At night, he woke up from what the old woman came to him with a wild brilliant eyes. She jumped him on his back and began to customize with a broom. Homo covered panic, because it was a witch.

Bruut jumped in space, msce witch on his back. Reading prayers, he managed to throw an old woman. After that, he himself jumped on her back, and began to beat it with a purul. The old woman cried terribly, hoarse voice. After some time, her voice became more attractive and real. When the witch fell to the ground, he saw that there was not an old woman on Earth, but an unconscious, a very beautiful young girl.

Already at all, the golden domes of Kiev temples were visible. Homa left the girl lying on the ground, and the striking himself rushed to the city. In the near future, he has almost forgot about what happened. At the same time, it was vibrant about the daughter of the rich century. His daughter, returning from the guys, was beaten to death. Her last desire was that after her death all three nights, Homa read the waste prayer on it.

The seminarist worried something wrong, but nothing to do. He had to go to the centurion, but he thought to escape at the first handy case.

Sotnik was surprised, in honor of which his daughter entrusted to sing a waste prayer to some unfamiliar Homa. However, the father decided to fulfill her will. The philosopher was transmitted to the coffin with a body of a young pannie. Looking, Homa immediately recognized the witch in it, settled him in the night.

The coffin was placed in the temple on the outskirts of the village. When Homa sat down in the evening to eat with the Cossacks, he heard everyone said that the deceased was a witch. A lot of evil was seen from her fellow villagers.

Several Cossacks presented a philosopher in the temple, where the body of a young panley was resting. He was very robust, despite the fact that he drank the gorge. During the prayer of Khoma did not give a look from the coffin. Suddenly, Pannachka rose and began to walk on the temple.

In the scare, Homa, painted a circle around his place and began to pray even louder. The witch wanted to catch him, however, to cross through the line of the circle, the dead Pannochka had no opportunity, she constantly slowed down on this line. Pannachka returned to the coffin only after the first roosters were missing.

In the morning, recalling the doors, the Cossacks saw, strongly tired, wage. In the evening he was again translated into church and closed there.

Before starting prayer, the philosopher again drew a circle. The breathless body of the girl rose again from the coffin and stopped right in front of him on the line. She traded his teeth, repeating the vague spells. In the temple, it began to work out, something incredible - a strong wind blew, the wilted, winged creatures were fought in the windows ... everything was over again after singing first roosters. For this night, Homa was barely alive and gray.

Having met with her poober, he told him that he would no longer be praying to church. However, Pan was persistent. He demanded to spend the rest of the night in the temple, promising for non-fulfillment to make a hem of his whip. Homa tried to escape, but was caught and returned back.

Homu with the late locked in the temple was the last time. He, like in the previous nights, painted a circle around himself and began to pray. The deceased reappeared and began to call for various monsters to help her. The flying evil ripped in the temple of the window and the door, rushed around Homa. However, none of them saw a praying philosopher. Then Pannochka shouted to bring Vius to her.

The appeared Wray looked very terribly. His body was covered with the Earth, and the hands and legs were like strong roots, the eyelids went down to the earth itself. We demanded a terrible voice to raise him the eyelids. Something inside Homa whispered to him - "Do not look!", However, he could not stand and looked. "He's here!" - shouted by Viy pointing at Homa. The unclean force immediately pounced on the house. And unfortunate died with fear.

Comrades Homa learning about what happened. They came to the conclusion that his death occurred because of fear.

the main idea

This story teaches faith in God, in your strength. Responsibly refers to the launched, even if not on your own will. As they say, "Nading God, and not bad!"

You can use this text for the reader's diary.

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The most long-awaited event for the seminary is a vacancy when Bursaki (treasure seminars) blooms home. Groups, they are sent from Kiev along a large road, earning food to spiritual chant on wealthy farms.

Three Bursaka: Theologian Halewa, the philosopher Homa Brut and Ritor Tiberius Gorobets, - having gotting up in the night from the road, go to Khutur. The old woman hosted the Bursakov to spend the night with the condition that will put everyone in different places. Homa Brut is going to fall asleep the dead in an empty sheep's shuttle, as the old woman suddenly enters. Shovel with her eyes, she catches Homu and hits him on his shoulders. "Egue, yes this is a witch," Bursak guess, but it is already carrying over the earth, sweat sick with him. He begins to remember all the prayers and feels that the witch is weakening. With the speed of lightning, you have time to jump out from under the old woman, jumps up on her back, picks up the witch is climbing and begins to sit. Wild screams are heard, the old woman falls in exhaustion to the ground - and now the young beauty lies with the last moans. In fear of Bursak, it is started to flee into the whole spirit and returns to Kiev.

Homu calls for himself the rector and orders to go to a distant farm for the richest of the centurion - to read waste prayers on his daughter who returned to walk beaten. The suicide desire of Pannochki: the three nights for her should read the Homa Brut seminarist. So that he did not escape on the road, sent a kibitka and a person six healthy kosakas. When Bursaka is brought, the centurion asks him where he met his daughter. But Khoma himself does not know. When it is summed up to the coffin, he recognizes the very witch in Pannachka.

For dinner, Bursak listens to the stories of the Kozaki about the tricks of the Witch Pannochka. By night, he was locked in the church where the coffin is. Homa goes down to the closer and begins to read prayers. The witch gets up of the coffin, but stumps the circle outlined around him. She returns to the coffin, flies in it along the church, but the loud prayers and the circle protect the hop. The coffin falls, the green corpse stands out of him, but the remote crude of the rooster is heard. The witch falls into the coffin, and the lid slams him.

Day Bursak sleeps, drinking the gorge, wanted to the village, and in the evening everything is becoming thoughtful. He is again diverted into the church. He draws a saving circle, reads loudly and raises his head. The corpse is already nearby, in which it seems to be dead, green eyes. The terrible words of the witch spells wind carries the church, the unable unclean power will be broken into the door. Creek Rooster again stops the demonic action. Having become the gray-haired found in the morning barely alive. He asks the centurion to let him go, but he threatens a terrible punishment for disobedience. Homa is trying to run, but he is catching.

The silence of the third hellish night inside the church explodes the cod of the coffin of the coffin. The witch's teeth are knocking, spells are rushing with a screech, the doors are broken off with the loops, and the irrelevant power of monsters fills the room with wing noise and scratching claws. Homa already sings prayers from the last forces. "Bring Viya!" - shouts witch. A squat closure monster with an iron face, the leader of the unclean strength, hard steps enters the church. He orders to raise him the eyelids. "Do not look!" - hears the inner voice of Homa, but not being held and looks. "Here it is!" - Indicates the iron finger on it. The unclean power throws on the philosopher, and the Spirit crashes out of it. For the second time it shouts the rooster, the first listened to the spirits. They rush away, but do not have time. So it remains forever to stand the church with the monsters bracing in the doors and windows, turns the bungyan, and no one will find a road to her now.

Introduction ..................................................................................3

1. Poetics of Gogol (on the example of the story "Viy") .......... .... ...... ..4

2. Analysis of the story N. V. Gogol "Viy" .................................... .13

Conclusion ............................................................................ 20

References ............................................................... 21

Introduction

Poetics N. V. Gogol became the object of studying many critical and literary work: from contemporaries writer to researchersXXI century. The writer's creativity is so multifaceted that his works acquired a new reading and interpretation with each subsequent generation of readers.

The story "Viy", first published in the collection "Mirgorod", was perceived for a long time simply, it was seen to the connection of long-matter with folk folk motifs, and in Soviet times the story was perceived as a social satire. Despite such interpretations of the work, it can be said that the creative method of the writer comes far beyond the image of social reality, to religious and mystical categories. Therefore, a symbolism reflected in "VIA" becomes key to understanding the work.

The analysis of the poetics of the story, in our opinion, should include not only the consideration of the system of characters and artistic space, but also this character code reflected in numerous details, at first glance, minor, but having tremendous importance for understanding the creative design of N. V. Gogol.

1. Gogol's poetics (on the example of the story "Viy")

The mystical story "Viy", first published in the collection "Mirgorod" of 1835, immediately attracted the attention of critics, and since then there have been many interpretations of this work. Many of them, both early and more modern, concerned only the fabul of the work and its place in a realistic or romantic tradition (for example, communication with German romanticism as a mysterious and unknown).

For researchersXIX. Century is characteristic of the understanding of the work as a satirically domestic with the inclusions of fantastic elements taken from folk beliefs.

From the very beginning, the study of the story was conducted around two main artistic spaces: realistic desisted bursa of the yofantastic visions of the Hama Bruti seminarist. V.G. Belinsky enthusiastically perceived the description of the bursa and the image of a ragged "philosopher" of Homa: "Let it judge anyone who wants, but for me so the philosopher Homa costs the philosopher frying pan!" On the contrary, FB Bulgarin in Northern Pchele published a letter from N. I. Grech from Paris, in which he presented to the content of Gogol's story reproach in distortion of Russian reality: "In which strange form is one of the most useful and most important educational institutions in Russia, in which they were formed in it. Many, not only worthy respect, but also really great people. We see in these pictures a fun caricature, and foreigners take it all for clean money. "

At the same time, it can be noted that the image of the seminar life in "Vius" is quite conditionally. Like the image of the Zaporizhia life in Tarasa Bulbe, sometimes not fully corresponding to historical sources - but it is in the direction of satirical "understatement" - it is subordinated to a certain artistic plan. Gogol seeks to portray the coexistence and the opposite of spiritual and worldly "consolations" not so much in the actual Burstsk, but - wider - in nationwide everyday life. On the one hand, the joy of the execution of military duty is to sacrifice "for his other", on the other, - the cradle, charm, gambling: in Czechhard, in emphasis and default; Passion to Pannochkow and the Eustice of the Bloody Scecies ... These are the infancy of the Burstsky life depicted in the "vii". On the one hand, the future debt of the shepherd, the minister of the Church, on the other, - a variety of games and entertainment, various temptations and temptations, up to walking towards the "bunster" ... At the same time, Gogol seminary itself considers, in accordance with its valid then appointment , not only as a spiritual school that is preparing future priests, but also as a general educational institution, in which the "hardening" and simple "knights" are being held - such as the sons of Taras Bulba (other schools at that time simply did not exist).

It is characteristic that the image in the "vii" of the "battles" of Bursakov in the classroom before the arrival of the teacher Gogol did not take from Burscsky, and not even from school dodge, but from a wide nationwide life. To create these scenes, he took advantage of the articles of his school friend Plato Lukashevich "On the noteworthy customs and entertainment of Malorosyan for the holiday of the Nativity of Christ and in the New Year," published in 1826 in the journal "Northern Archive".

Obviously, the task that put in front of him, creating these scenes, Gogol, was not at all in satire at the "morals of Bursa", as it, judging by the content of the controversy, and the Greek, and Belinsky. The intention of Gogol was explained by the desire to reproduce one of the common (not perfect) features of a folk nature as a whole.

A slightly large degree of understanding was found from readers "Viya" "fantastic" images of a story. Obviously, with all the seeming arbitrariness, these images are subordinated to a deep inner meaning. According to the pre-revolutionary researcher V. N. Mochulsky, whose work has been published until recently in foreign publishing houses, modern Gogol criticism "could not be dedicated from his gaze on popular legends as something empty-fantastic. But for the people, these legends and legends were not a product of fantasy: they were belly for him<...> Embedded<...> One of the foundations of being.<...> Sturnus life has always been closely connected with the mother of Russian cities - Kiev, his Pechersk Lavra<...> It is not surprising that many of the legends about the Kiev Saints, where they say about the goats of the Diavolian, about the fight against them and about the victory of them over the demonic power, passed the folk beliefs<...> These folk beliefs and make up that fantastic element, which in a big dose entered his Little Russian stories. " The same opinion on "Vii" was subsequently expressed by Metropolitan Veniamin (Fedchenkov), Alexey Fedorovich Losev (Monk Andronik) and many other researchers. According to Vasily Zenkovsky (in one of his early articles), Gogol "Much more than Dostoevsky, felt the peculiar half-definition of fiction, the proximity of pure fiction to the hidden essence of things."

Innocent Annensky, in turn, pointed out that the "seriousness" of the image in the "vii" of the supernatural reality causes the tragic finals necessary to complete the plot: "Hama's death<...> There is a necessary end of the story - make it wake up from drunk sleep, you destroy all the artistic meaning of the story. "

A completely different interpretation of the story received in Soviet times, which is associated with the historical and cultural context of this era. The artistic intent of the writer was understood through the prism of materialistic, class and other views characteristic of the society of those years.

The following decrease in the moral norms after 1917, in particular in the theory of "free love", in the spread of Freuddism, was reflected in the appropriate interpretation of Viya by Professor of the State Institute of Words in Moscow I. D. Yermakov, who saw in Gogol Tale (and In the work of the writer as a whole) the embodiment of the underlying sexual anomalies, in particular, "Father's (Odipovsky) complex" - "immoral desires, peculiar to any child" - according to Ermakov. Such reading the story and creativity of Gogol as a whole caused a sharply negative assessment of almost all the then leading literary critics.

Vulgar sociological and atheistic interpretations "Viya" became traditional for Marxist criticism. According to I. M. Mashbits-Verova, "Lightly" to see in "Vii" "semi-infantastic, humorous story": "The terrible image of a crushed, crushed, barbaric Russia stands behind these works, if they seriously penetrate them."

Subsequently, with the theme of the social struggle, the oppression of the people associated the images "Viya" in their monographs and individual works on Gogol (repeatedly reprinted) a number of researchers of creativity of the writer of the Soviet period: V. V. Yermilov, M. B. Strapchenko, N. L. Stepanov , Yu. M. Lotman and others.

The ignoring of the genuine spiritual content of the story often led to conclusions, not only who do not have anything in common with Gogol intent, but also directly to him contradictory. For example, G. A. Gukovsky saw in the "Night" paintings "Viya" "High approval of the legend expressing the essence of a person, in front of the insignificant" land "of the market, bursa and kabak," and in the Skakanya Homa with a witch saw "Free Creative Flight to Beauty And the greatness of the human. "

However, the most promising description of the description of Gogol poetics, it seems to be the analysis of this work is not in the plane of social views, but in the context of the artistic world of the writer as a whole. It is impossible to build an analysis of this story solely on the principles that apply to "critical realism" in its pure form. It is impossible, first of all, because this thing has a deep mystical character. In such angle, the story appears in all its multidimensionality: not as a "linear" product with a folk basis defined by the plot and composition, but as a multidimensional artistic phenomenon, in which symbols and associative communications acquires the most important importance.

The soil on which such symbolic images and associative ranks arise, Christianity becomes. So, K. V. Mochulsky notes that the main feature of the religious education received by Gogol in the orphanage was that faith came to him "not from love, but from fear" (indeed, according to the writer, the strongest child's impression - Mother's story about a terrible court, about those flour, which underwent sinners) that "his religious consciousness grows out of the harsh image of retaliation." The urochulsky came to the conclusion that Gogol's soul is primarily the experience of cosmic horror and the spontaneous fear of death, and Christianity was perceived on this pagan basis as a religion of sin and retaliation. Exactly after 55 years, this point of view repeated the modern Gogoleved Yu. V. Mann, who also claimed that the formation of Gogol's religious views was influenced by the Christian "ESKATOLOGY (prophecy about the terrible court) and the idea of \u200b\u200bthe diploma".

"Viy" is one of the most mysterious and at the same time the most meaningful and multi-layered and conceptually significant works of Gogol; The work that contains the quintessence of the most important copyright ideas, a work in which the writer embodied many of his disturbing mystical insights. Many semantic lines "Viya" are semi-promoted, "encrypted", are manifested only in subtext, in the system of symbolic images and motifs. That is why for the "decryption" of the deep meaning of the work, the system of its symbolic images can be elected - that is, the images that are located somewhere on the verge between physical and metaphysical, real and irreal.

Probably, in this work Gogol, using a non-standard perspective, sought to get closer to the essence of the essence of the national nature and thus predict the Russian future, tried to determine the nature and degree of religiosity of Maloros and in general the Russian people (and this issue was key to Gogol). Finally, she tried to say something new about the eternal confrontation of good and evil, cosmos and chaos, light and darkness (including those cosmic in scale to the inner world of the chief hero). Of course, there are other semantic layers and branches in the story, but it is these semantic lines that we consider the main ones, and they will stop our preferential attention.

Obviously, the story in "VIA" is built not only on the plot deploying of events and human destinies, but also on associative connections that are repetitive symbolic images. The symbols form a hierarchical structure, line up around the central, dominant in the product of the symbol (in this case - around the integrated image of the church). The symbolism "VIA" is associated with interconnecting relations with symbol images of other works, with symbolic images and motifs that have developed in the world cultural tradition, including in Christianity and mythology. However, Gogol not only actualizes, but also transforms, "recoding" traditional characters. Symbolic images "VIA" form "metaphysical", mystical reservoir of the artistic picture of the world, thus creating the effect of multidimensionality of the depicted being, while the symbols found in the story of Gogol are almost always material, real, are included in the interior, landscape, etc. Symbolic images - the most important form of the embodiment of worldviews (including mystical inspections) of the writer, and modern research is devoted to their decoding.

In the "Vie" Repeat is the most important form of the embodiment of symbolic content and one of the main ways to help switch the reader perception from the sphere of direct objective-events to those deep and mysterious layers of being, which cannot be comprehended only with rational knowledge. Repeating and varying both in the borders of this work, and in the whole work of Gogol as a whole, the symbolic images form through leitmotifers involved in the formation of a common semantic frame of a holistic artistic world, which are largely determining the nature of the reader's perception. Numerous repeated symbolic images and parts that form in the work of Gogol through motifs and leitmotifs, and fulfill the role of similar "associative trajectories" of the artistic thinking of the writer.

For example, one of the central characters encrypting the message of Gogol, which he invested in his story is the names of the heroes. They are too colorful that they can be ignored when analyzing the work. The entire Trinity of Bursakov is clearly non-random names: Ritor Tiberius Gorobets, theologian Halewa and Philosopher Homa Brut. As you know, in the classic Russian literature of the last two centuries there is an uncommitable rule: the literary hero, as a rule, receives such a name that corresponds to its entity, its nature. This aesthetic principle is close and Gogol. Throughout the creative path, the writer paid a selection of names for characters (names in a broad sense - that is, both personal, family) special attention. And the names that Gogol gives their characters not only embody the individual features of the person, one way or another characterize the character and attitude to the author of him, but also reflect some of the most characteristic domestic and social phenomena.

As for the named heroes "Viya", the anti-or-Christian semantics or etymology of their personal and family names is attracted. So, Ritor Gorobets is the name of Tiberius, which one of the most worst Christianity persecutors - the Roman emperor from the Yuliyev-Claudiyev dynasty. Theologian Khalyava - the owner is extremely unsuitable for his status, for the future profession, but at the same time very precisely corresponding to his inclinations of the surname. The word "freebie" means a lung profit, for which there is no need to work. And the Gogol Hero-Kleptoman with his behavior as if he would prove that he was deserved himself: "All that neither lay, it happened, near him, he certainly steals." That is, we see that in this case the author shows the connection between the semantics of the name and the internal content of the personality. In other words, the names can be a way to penetrate into the inner world of heroes, a way to know internal through external.

The main character of the story is called the keen bruta, and this circumstance also deserves attention. The name of the hero clearly echoes the name of Thomas, which, in turn, makes you remember one of the students of Christ, who doubted the Sunday of the teacher - the fomet of the unbeliever. This name in Russian has become nominated. Is such an associative parallel justified in the work of Gogol? Of course. And the point is not even that at the end of the story the philosopher did not believe inner voice, looked at Viya and died. Like a gospel character, the philosopher Khoma does not believe in the Savior, so he, like his forerunner, can be deservedly called the chime (Foma) unbelievers.

The surname for his hero Gogol also picked up quite intentionally: Brut - in ancient Rome, the head of the conspiracy against Julia Caesar. According to legend, one of the first he hit him a dagger. "And you Brute!" - I was amazed by his betrayal Caesar. Since then, the name Bruut has become associated with betrayal. Is there anything common in the Roman senator and Gogol Hero? Only the fact that he (and in general the Russian people) made a betrayal towards the Christian faith, to the Savior (it's not by chance that Dante in the "Divine Comedy" placed Bruta in the most terrible circle of hell with a traitor Juda).

Creating literary work that unites all levels of reading "Viya" - obviously, the case of the future. And it is also obvious that the thought of Gogol extended far beyond the scope of socio-political teachings or folk folklore and went to the basics of the universe. But the conclusions and generalizations that the writer does in their work are not available for the surface reader: for their decryption, special knowledge and ability to see the meanings hidden behind artistic images are necessary.

2. Analysis of the story N. V. Gogol "Viy"

At the level of the composition, the story consists of a plurality of mini-episodes associated with the deployment of the plot and the presence of general heroes, first of all it is a choma brut. But already at the level of the title, it contains an intrigue that is revealed for the reader at the end of the work, when the Pannochka appeared on the calls of the gnome swirl points the finger on a hop, after which the killings kill it.

From the very beginning of the action on the road in the work there is a motive of darkness, darkness, mirations, uncertainty, which is implemented in key parts associated with the artistic space: "But meanwhile there was no night, and the night is quite dark. Small clouds strengthened gloomy, and, judging by all the signs, it was impossible to expect not stars nor months. Bursaki noticed that they were confronted from the way and did not go on the road for a long time. "

The vicinity of the church is enveloped by darkness: "They finally entered, for the old church fence in a small courtyard, behind which there was no sorny and one empty field was opened by a meadow absorbed." Even in the church itself, in which the philosopher performs prayers over the body of Pannochki, the darkness is: "The high old iconostasis has already shown deep dilacies; Through carving it, covered with gold, also glistened only by sparks. Gilding in one place opal, in the other in the other at all; The faces of the saints, completely darkened, looked somehow gloomy. "

Darkness seems to be captured, envelops the whole world and acts on the hero in depressing. She scares, terrifies him - that is, in it he sees not just ordinary darkness, weak illumination, and something threatening, representing a deadly danger: "... Fear climbed into it together with dummy." Judging by these descriptions, darkness in Vie has not only physical character, but also metaphysical, mystical.

This can be traced the image characteristic of Gogol, built on connecting the opposite of objects in the image. So, the golden chapters of the Kiev churches of Homa Brut sees the witch reflected in the eyes, which he has just beaten to half-term. In the work it was not shown that the philosopher saw in the eyes of Viya, but it can be assumed in this case a similar image.

The image of the church is the key image of the story. It is here that all the basic characters are found and the story junction comes. In the spatial field of the church of the chief hero inexorably and purposefully, some unknown, but irresistible powerful force. Whatever the philosopher Khoma Bruut did, for whatever tricks and tricks it is started to avoid what it is destined, nothing can change the vector of his disastrous movement.

This church in many respects is strange, unusual and remarkable. Starting with her location: Contrary to the Orthodox custom, prescribing to build God's temple at the highest and visible place, in the center of the settlement, the church in the estate of Pannachka's father "sadly stood almost on the edge of the village." Usually, God's temple decorates any terrain, it looks festive, produces a light, joyful impression. Everything else here. The next warning fact with the symbolic subtext: the dome in the church "cone-shaped", and not ordinary, reminiscent of their spherical form, the heavenly arch and thereby causing associations with the world mountain, that is, Divine.

Another important oddity: Despite the wealth of the centurion and the abundance of people in his estate, the church has a completely neglected look: "The blackened, cleaned with a tiny moss." The dilapidation and neglence are not random, they are explained by negligence to faith, to God: "They approached the church and entered under her old wooden vaults, which showed how little the rule of the estate about God and about his soul"; "It was noticeable that no ministry was sent in it for a long time."

One way or another, but it is quite obvious that the church in the story of Gogol is not only a church in the literal, everyday life sense - that is, the structure of a special kind, intended for the collective administration of Christian rites, and something more voluminous, symbolic in its meaning. In the expansion sense, the Church (in accordance with the Orthodox Christian Canon) is from God the established society of people connected by the Orthodox faith, the law of God, the Sacred, and the sacraments. None of these conditions depicted in the story of Gogol does not match. She does not unite anyone in the Christian faith, there are no religious mysteries (the sacraments if there is, then, rather, devilish). The most striking is that the church does not attract any living soul to him, on the contrary, scares, catching up and horror.

The very space of the church is also rethinking and appears in the opposite quality. In it, there are only demons in her business. The church in the work of Gogol is not spiritualized, there is no life in it. In the center of the church is a coffin with a witch, and the church itself falls into full power of unclean power.

The limit concentration of black in "VIA" indicates a clear symbolic subtext. Gogol relies here on the traditions of Christian color symbolism. But in mythology, the blackness is interpreted in the same way as in Christianity: darkness is a sign of evil, an image of hell, sewage, rudiment of the original chaos. The very fact of the limit saturation of the artistic world of Gogolovsky's lead to the darkness, darkness, black has a deep symbolic meaning: the church and the surrounding area - the space in which the Dark Demons dominate.

The darkness in the church cannot dispel wax candles, which in a set of lights during the night expectations the protagonist. But the church candle is not just a light source. It is not by chance it is applied in religious rituals. In accordance with Christian performances, the burning wax candle is a symbol of a living human soul, drawn to immortality. But in the story of Gogol, burning candles do not withstand competitions with darkness. What does this mean? Maybe then we have already written about - the absence in the artistic world of Gogol's story "living souls", the celebration of the shower "dead"? In this world, the primitive darkness, void, evil, witchcraft, black magic. It is they who dominate "Vie", inspiring not only the reader, but also the author of horror and despair. Black - the color of the initial chaos, indicating that God in this world or was not born elsewhere or, most likely, defeated by the Evil (at least he is ousted, expelled from human souls).

Also, black is traditionally considered to be the color of death. The church filled with darkness is dead. There is not a single tree around it, but there are no insect in the walls: "If any sound, some kind of living being, even a cricket responded in the corner!" In addition to the Infernal Darkness, silence owes in the church, but also an unusual - terrible, dead: "The silence was terrible ..."; "... his voice struck church wooden walls, long-silent and flax. Lonely, without echo, he looked a thick bass in completely dead silence. " This oppressive dead silence is broken, basically sounds that enhance the feeling of fear and horror - crushing claws, teeth or metal. One of these sounds is the Wolf Cold: "Several times only heard a weak slaughter, similar to Wolf Wolf"; "The night was hellish. Wolves dropped away the whole packs. " The use of wolf is in a story - the reception to injected an atmosphere of horror. Phrase Dorosha "It seems as if something else will how: this is not a wolf!" Powers the reader to a certain conclusion. It is clear that this war is not belonging to forest predators, but to the demons in the surroundings. It's not by chance that before the appearance of Viya in the church first "wolf's wolf" heard, "and after this," soon there were heavy steps. "

The stories repeatedly mentioned objects made of iron, which is also symbolic. The iron cover at the coffin of Pannochka, the iron frames of church windows (through these frames penetrate the church demonic creatures), the iron face and finger. As is known, iron - the material from which almost all the instruments of murder and torture were manufactured. Numerous references to iron, along with the lack of an image of copper objects, suggest that we are cold, cruel, infernal space. In the story more than once there is a crossing of a metal, from which the hero of goosebumps run on the skin: "He heard the wings in the glass of church windows and in the iron frames, as scratched with screams of claws in the gland ...".

The story mentions the other metal material - gilding. Gilding, as you know, personifies the radiation of the Divine Power. But in "VIA" does not fulfill the gilding of such a function. However, only traces remained in the church: "High ancient iconostasis has already shown deep disrepair; Through carving it, covered with gold, is still glittered by one sparks only. Gilding in one place opal, in the other at all hungry. " A messy picture drawn by Gogol not only creates a feeling of a heavy atmosphere, but also indicates the predominance of dark forces. The gilding dropped or blackened - it means that the Divine power left this place, and the road inside is open for unclean.

Not only the church, but also bursa is devoid of spirituality. Her servants and students indulge in sins, such as laziness, curd, which deliberately grotesque is shown on the pages of the story. The disciples arrange the fist fights and are engaged in other skyless things, not even theft: "... Senate, consisting of philosophers and theologians, sent grammar and ritizers under the leadership of one philosopher, - and sometimes he joined himself, - with bags on his shoulders empty the barks. And in Bursa appeared porridge from pumpkins. Senators have so much spoken watermelons and melons that, on another day, the Avditors heard from them instead of one two lessons: one took place from the mouth, the other grumbled in the senatorial stomach. "

Discipline in Bursa is not supported on the principles of the Law of God, but exclusively due to corporal punishments, which are described in detail on the pages of the story: "The professor who was in class and who participated once himself in such battles, in one minute, on the defeated persons of his listeners, recognized that the battle was not afraid, and at the time when he rods on the fingers rhetoric, in another class another professor was finished with wooden blades by philosophy. With the theologians, it was actually actually actually: they, according to the expression of the professor of theology, was squeezed by the measure of a large peas, which consisted in short leather canchons. "

Khoma Brut goes away to span a panley contrary to his will also under the threat of punishment, the rector tells him: "I will tell you only that if you still show your trot yes, I will order you on the back and, for others, to toss out a young birch that and You will not need to go to the bath. "

But the Homa himself is not only a victim of this system, it is shown Gogol as not too virtuous and decent Christian. Homa Bruut among other Bursakov and among the inhabitants of the Soviet estate practically nothing. He is always ready to rejuvenate what lies badly, constantly lying, heavenly, heels, it turns out to be able to sin even in the "most passionate Thursday". With His mouth constantly breaks down by the foul language: "Hang, the devils of the Son!", "The features of the Yathta! I would take you, so for my feet ... And your frozen face, and everything that neither is on you, we would beat the oak log, "" Match to you in the language, damned curb! "

Homa Bruut has not yet completely moved away from God, so prayers help him lose the witch from his back, and therefore the circle shown by him saves him from evil spirits. But Pannachochka with the help of Viya find the gap and in this circle. Moreover, the philosopher demons did not even have time to touch: "I flew out the spirit of it from fear." Bruut does not consider himself a beige, and, apparently, does not expect an intercession from God, and therefore the demons are afraid. After the second night, he all went out, and the reader appears complete confidence that the next night will become the last for him. Finally, Homa Brut did not listen to his inner voice, which he told him not to look into the eyes of Viya. But the philosopher did not suffer and looked, and as a result - he died before the dawn. The monsters skipped the first cry of the rooster of the monsters in the windows and the doors of the Church, trying to run from the occurrence of the day. "The entered priest stopped at the sight of such a decree of God's shrines and did not dare to serve a memorial service in such a place. So forever and there was a church with monsters bracing in the doors and windows, he covered with forests, roots, bungyan, wild thorns; And no one will find now the road to it. "

So, the forces of darkness in the artistic world of the story "Viya" win the victory due to the fact that they won the souls of people who forgotten the church and God, who observe only sometimes the external side of the Scripture, but not living according to its principles. This world is filled with evil spirits, shorts, dwarves and other infernal beings, but there is neither God or the angels, and from the icons it comes to darkness.

Conclusion

The story "Viy" is an important work for the study of Gogol's poetics, and to understand its assessment of reality. Realistic is connected in a story with fantastic, and these two reservoirs are not excluded, and complement each other. Their interaction turns out to be very important for understanding the ending of the work and death of Homa Bruta shortly before dawn during his last service.

The dark colors of nature, the delicacy of the church, which is in an abandoned place, indicate the wellness of the heroes of the story. Thoughts about the salvation of the soul acquire a formal nature and are reflected only in the external investigation by Christian rites, while even the Sotnik, the father of Pannachka, is not present in service.

As a result - everywhere, including churches, evil forces reign. The church becomes a refuge of the monsters who create a massacre over the watery bruta. The lack of a true faith in the philosopher, his lifestyle and the nature of thoughts do not give him a chance to salvation. Life description Bursa suggests that even it has no place to honor God, her servants also indulge in sin, like worldly people.

As a result - in the hero's lost faith, the hero is not able to save from the evil strength neither the church, no prayer, nor the circle described by it around themselves.

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