Prove that Roman Island Treasure is an adventure. Reading Roman R.L. Stevenson "Treasure Island. Natility feature in the novel "Treasure Island"

1. Introduction

2. Biography R.L. Stevenson

3. The main literary directions in England of the XIX century.

4. The contribution of Stevenson R. L. into literature.

5. Neoromantism R.L. Stevenson

6. The history of the creation of the novel "Treasure Island"

7. Feature of the narrative in the novel "Island of Treasure"

8. Facts and fiction in the "Island of Treasure"

9. Roman "Treasure Island" in Russia

10. Conclusion

11. Footnotes

12. List of references

Introduction

The purpose of this course work is to analyze the creativity of the outstanding English writer of the XIX century Robert Lewis Stevenson. The paper discusses the points of contact with the writer's creativity with a common literary process, and also stands out that new, which is its bright personality.

At the same time, we analyze the "biographical origins" of the formation of a special one - the creative method of R.L. Stevenson and trace the creative dynamics of the writer. Special attention in the work is paid to the central and most well-known work of the writer "Treasure Island" and the characteristics of the narrative in it. However, this work is analyzed in the context of the entire creativity of the writer.

The relevance of the topic is due to the feature of the literary process, in England of the XIX century.

In the UK of the last third of the XIX century, the effectiveness of the concept of "new imperialism" on mass consciousness is largely due to not only deep and qualified working in the works of intellectuals and practitioners, but also by its embodiment in artistic form, in various genres of musical and visual art. Prose and poetry filled with bright and memorable images, their exotic flavor, sharp and stressful compositions, exciting plots become effective means of establishing the control of the psyche of ordinary British. Thus, the basic abstracts of the concept of "new imperialism" were introduced into the Victorian system of values. At the same time, the evolution of artistic images quite accurately reflected the change of priorities for imperial construction, expansion and defense.

We also, we mean the wide distribution of entertainment, plot literature.

For example, we know that many, now the classics of world literature, often walked on compromises with the public and publishers, wrote taking into account market conditions.

And also it is known that R.L. Stevenson initially printed his novel "Treasure Island", which brought him in the future world fame and title of classic, in the respectable children's journal Yang Folks among banal, "mass", as they would now have been identified, works.

Thus, we are talking, in our opinion, about the similarity of the situation of the existence of literature in England of the XIX century and the interests of the reading public. It is known that the public in its reading preferences is characteristic of exotices and adventures or fiction to forget about frightening reality. And also to social literature, in order to know this reality and comprehend.

And the main aesthetic principle of the artistic version of the "new imperialism" was the principle of "courageous optimism" as a creative credo of neoromantism. This course was manifested in almost all genres of art as a challenge, on the one hand, the Victorian routine of managing storm, to life, the darkening and hypocrisy of the middle class, and on the other, the falnial decadent aesthetism of the intelligentsia. Neoromantism was focused primarily on a junior audience, embodulating "not relaxed and painful, and the vitality, a bright globility of healthy adolescence." Neoromantic heroes operated "by no means in a greenhouse environment, came across through an exciting plot with extraordinary circumstances requiring voltages of all forces, energetic, independent decisions and actions. For a neoromantic value system, opposition to spiritual inertia and moral templates, the need of identity in independence, in self-realization, not limited to any household conventions. This naturally associates with the values \u200b\u200bof spiritual and physical forces that manifest themselves in the fight against the hostile external world and in victory over powerful and dangerous opponents.

One of the most striking and most complete expressions of the Imperial System of Values \u200b\u200bof England XIX became fiction, and especially those of her genres that were intended for the youth. "New Romanticism" R.L. Stevenson, J. Konrad, A. Konan - Doyle, R. Kipling, D. Khenty, W. Kingston, R. Ballandine and others embodied the moral credo of debt and self-sacrifice, disciplines and faith, harmonious unity of the spirit of spirit and physical power. Heroes of "New Romantics" are purposeful, ready for risk and struggle, full of thirst for travels and adventures. They rob in touch with the world of monotonous and respectable Meshchansky well-being for the sake of moral obligations of the imperial mission, for the sake of exploration and fame.

In this paper, we will try to emphasize the creative uniqueness of R.L. Stevenson, making his works relevant at all times.

And we will try to resolve the paradox of creativity R.L. Stevenson, who is often the author of one book in readership. Call the name of Stevenson and after him, as an exhaustive explanation, - "Treasure Island". The special popularity of the "Treasure Island" in the school environment has strengthened at the work of Stevenson, the reputation of the book open and very affordable, and for its author - the fame of the writer writing for the youth. This circumstance encourages to see in this novel, as in the work of Stevenson in general, the phenomenon is simpler and most significant (adventures, fascinating, romance) in comparison with its actual meaning, real meaning and impact. Meanwhile, it is known that the most complicated nodes of many literary problems in English soil are converged both before and now to the work of R. L. Stevenson. Stevenson - the creator of such a "light" book, like the "Treasure Island". To understand and understand the peculiarity of Stevenson and its meaning, we must remember it - the author of many others, except for the "Treasure Island", books and disassemble the romance in creativity and, perhaps of life.

Biography R.L. Stevenson

Stevenson, Robert Louis (Lewis)) (1850-1894), English writer Scottish origin. Born on November 13, 1850. In Edinburgh, in the family of an engineer. When baptism, Robert Lewis Balfur received the name, but at a mature age refused him, changing the name to Stevenson, and writing the second name with Lewis on Louis (without changing pronunciations).

The biography of the writer was by no means looked like the life of his heroes - knights, pirates, adventurers. He was born in the family of hereditary builder engineers from the ancient Scottish clan. According to the motherboard, belonged to the old genus of Balfur. The impressions of childhood, songs and fairy tales of the beloved nanny brought love to the past of their country in Roberta, determined the choice of theme for most of his works: Scotland, her story and heroes. The only son in the family of hereditary control engineers of the Northern Lighthouses, Stevenson grew up in a setting, where he said, every day it was possible to hear "about shipwrecks, about reefs, which, exactly hour, stand off the coast ... about the mountain peers covered by heather."

Bronchi disease from three years old laid the boy in bed, deprived him of study and players with peers. Periodically repetitive bleeding from the throat constantly remind him of close death, the artist is derived from the bustle of everyday life into existential "border situations", to the primacy of being. This disease was tormented by Robert since childhood and to the very death, forcing him to feel disabled. "My childhood, he wrote, - a complex mixture of experiences: heat, nonsense, insomnia, dull days and a long night. I am more familiar "Country Beds" than "Green Garden". "

But the passion of life approved by the unwitting settler of the "Bed Countries" flared up. So the fate of Stevenson was, that he, the aborigine "beds", was an almost eternal wanderer for mental needs and on cruel need. He expressed his spiritual need in the poem "Broadcasting", in lines that the motto sounds:

"That's how I would like to live,

I need a little:

Heaven arch, yes the noise of the stream,

Yes, even the road.

. . . . . . . . . . . . . .

Death will ever come

In the meantime, there is

Let the earth blooms around

Let the road goes. "

(Transl. N. Chukovsky)

She found a way out in romantic gusts and forms, which was promoted by the living imagination of the child and early, again, forced admission to the "country of books".

"In children's and youthful years, - recalled Stevenson, - I was believed to be lazy and as a lazy point pointed at me with my finger; but I did not fit, I was busy constantly - to learn how to write. In my pocket, two books were tracked in my pocket: one I read, I wrote to another. I walked for a walk, and my brain diligently ged up proper words to what I saw; sitting down by the road, I started to read or, taking a pencil and a notebook, did not mark, trying to convey the locality, or He recorded the poetic lines for memory. So I lived, with the words. " The records were made by Stevenson not with a foggy goal, they were led by a conscious intention to acquire skills, he was tempting the need for skill. First of all, he wanted to master the skill of the description, then dialogue. He composed about his talk, played the roles, and the successful replicas recorded. And yet it was not the main in training: the experiments were useful, but in this way only "the lower and least intellectual elements of art were mastered - the choice of a substantial part and an accurate word ... Nature was happier achieved the same natural alarm." The training suffered a serious flaw: she was deprived of Meryel and sample.

The story of the creation of the novel "Treasure Island"

A special place in the work of Stevenson occupies a work that glorified the writer for the whole world, "Treasure Island" (1883).

The history of the novel is rather curious: one day a rainy day - and rains in Pitlory go quite often - Robert entered the living room and saw: the boy, the student of the writer, playing, leaned over the papers lying on the table, on which the outlines of some kind of island were depicted , the boy drew the card, and stepfather remarked the game and continued ... Taking a pencil, Stevenson began to draw a card. He marked the mountains, stream, the forest ... Under the three red crosses, made an inscription: "Treasures are hidden here." With its contour, the card resembled a "raised fat dragon" and a multille of unusual names: the hill of a pavement pipe, the island of the skeleton, etc.

After that, leaning the sheet into his pocket, silently retired ... Lloyd was very offended by such a strange behavior always attentive to him stepfather. More than many books Stevenson appreciated the cards: "For their meaningfulness and for not boring them." "I dropped a pensive look at the map of the island," says Stevenson, "and the heroes of my future book moved to the midst of the invented forests ... I did not have time to come to my face, as a clean sheet of paper was found in front of me, and I have already made a list of chapters." And the next day, Robert called the boy into his office and read him the first chapter of the novel "Ship Kok", which today is known to the whole world as the "Treasure Island".

Stevenson continued to write a novel with an amazing speed - on one chapter a day. He wrote as ever, perhaps, he could not write more. And evenings, he read it all his home.

Looks like a goal hit. Before Stevenson, Roman's plan has repeatedly once again and even started writing, but on this, he said, everything ended. And then everything suddenly came to life and moved, every character, it was worth him from under Stevenson's pen, to step under the seven of the invented forest or an imaginary deck, already knew exactly what he should do that the book was ready for the author in the head for a long time.

"Sooner or later, I was destined to write a novel. Why? The idle question, "said Stevenson at the end of life in the article" My first book - "Treasure Island", as if answering the question of the inquisitive reader. The article was written in 1894 at the request of Jerome K. Jerome for the magazine "Idler" ("Slouth"), who then started a series of publications of already famous modern writers on the topic "My First Book." "Treasure Island", actually, did not answer the topic, since this first novel writer was far from his first book. Stevenson meant not one chronological procedure for the emergence of his books, but above all their meaning. "Treasure Island" is the first book of Stevenson, who gained wide recognition and made it world famous. In a number of most significant works, this book is really the first to account and at the same time the most popular. How many times, starting with an early youth, Stevenson was accepted for the novel, changing the intentions and taking of narration, again and again experiencing itself and trying their strengths, prompted by not one considerations of calculation and ambition, but first of all internal needs and creative task to overcome a big genre. For a long time, as mentioned above, attempts turned out to be unsuccessful. "Story - I want to say a bad story," can write anyone who has a diligence, paper and leisure, but not any given to write a novel, at least bad. Sizes - that's what kills. " The volume scared, Izmolivaa strength and killed the creative impulse when Stevenson was taken for the big thing. His health and feverish efforts of creativity were generally difficult to defeat the barriers of the Great Genre. It is not by chance that he has no "long" novels. But not only these obstacles stood on his way when he had to give up the big ideas. For the first novel, a well-known degree of maturity, developed style and confident skill. And it is necessary that the beginning was successful to open the prospect of the natural continuation of the started. This time everything developed well, and the ease of an internal state was created, which was especially needed Stevenson, when the imagination, full strength, spiritualized, and creative thought, as it were, is deployed by itself, without requiring a spur, nor punching.

This time the map of the fictional "treasure island" gave an impetus to creative intent. "The frozen September morning - a cheerful light burned in the fireplace, the rain drumped into the window glass - I started the" ship cook "- so first called the novel." Subsequently, this name received one of the parts of the novel, namely the second. For a long time, with small breaks, in a narrow family circle and Friends, Stevenson read written in the day - usually the day "portion" was the next chapter. According to the general evidence of eyewitnesses, reading Stevenson is good. Listeners showed a living part to his work on the novel. Some of the details prompted by them were in the book. Robert's father came to listen. Sometimes he even added small details into the text. Thanks to Thomas Stevenson, the Billy Bonsian chest appeared and the items that were in it, and a barrel with apples, the same, climbing into which the hero revealed the cunning plan of pirates. "My father, an adult child and a romantic in the soul, immediately caught fire of the idea of \u200b\u200bthis book," recalled Stevenson.

The novel was not yet completed when the owner of the respectable children's journal Yang Folks, having familiarized himself with the first chapters and a common idea of \u200b\u200bthe work, began to print it. Not on the first pages, and after the other writings, in whom he did not doubt the success, the compositions of trifling, designed for a banal taste, long ago and forever forgotten. "Treasure Island" was published in Yang Folks from October 1881 to January 1882 under the pseudonym "Captain George North". The success of the novel was insignificant, if not dubious: unhappy and indignant responses came to the editorial office, and such responses were not single. A separate publication "Treasure Island" - already under the real name of the author - came out only at the end of November 1883. This time his success was solid and indisputable. True, the first edition did not dissolve immediately, but next year the second edition appeared, in the 1885th third, illustrated, and the novel and his author were widely known. Journal reviews were different gradations - from indulgent to overly enthusiastic, but the tone of approval prevailed.

Roman studied people of various circles and ages. Stevenson became aware that the English Prime Minister Gladston was reading a novel for a long time at midnight with extraordinary pleasure. Stevenson, who did not like Gladstone (he saw in him the embodiment of the bourgeois respectability hates him), said to this: "It would be better if this high-ranking old man was engaged in state affairs of England." The novel of adventure is impossible without a tense and fascinating fabul, it requires the nature of the genre itself. Stevenson diversify this thought versatile, relying on the psychology of perception and the classical tradition, which in English literature began from Robinson Cruzo. Events, "Accidents", their relevance, their connection and development should, in his opinion, to draw up the priority concern for the adventure work. The psychological development of characters in the adventure genre falls into dependence on the strength of the action caused by the rapid change of unexpected "incidents" and unusual situations, it turns out to be unwittingly limited by a tangible limit, as can be seen by the novels of Duma or Marryet.

Let Stevenson did not become the builder of Mayakov, but he writes about the stormies and reefs with the pen of a hereditary maritime man. And borrowing? What is easier to surrender it in the literary stealing. Well, of course, the parrot is taken from defio, and the island as a place of action was robinzone Cruzo. However, anyone somehow did not occur to reproach Stevenson, nor critics in his life, nor the historians of literature in the future. It was not damaged to Stevenson and the fact that he himself admitted: the boy filed an idea, his father was an ophus inventory Billy Bons, and when it took a skeleton, he found at Edgar by, and the parrot was ready, alive, it remained only to teach instead of "poor Robinson Cruzo ! " Repeat: "Piastra! Piastra! ". Even a map for Stevenson a special subject of copyright pride, if it went on, was used more than once, and above all the Gulliver. But the fact of the matter is that Stevenson did not grab all this suddenly, but it knew it deeply, his district, the book - the fictional world, with whom he was burned since childhood.

The boy who played with his father in the invented little men became big and wrote the "Treasure Island".

Natility feature in the novel "Treasure Island"

"Treasure Island" is the first novel Robert Lewis Stevenson, was already created by an experienced writer, the author of many stories and literary essays. As we can see from the above, Stevenson has long been preparing for writing that this novel, in which he could express his mind on the world and on a modern man, which does not prevent that the Roman events are attributed to the XVIII century. Roman is more surprised by the fact that the story in it is conducted on the face of the boy Jim - a participant in the search of the treasure, located on the distant island. The smart and brave jim managed to reveal the plot of the pirates, which were collecting treasures from the organizers of this romantic navigation. Having passed through a lot of adventures, brave travelers reach the islands, find a person there, once for a pirate, and with its help they take hold of a treasure. The sympathy of Jim and his friends does not prevent the reader among all the characters to allocate John Silver. A single-legged ship cook, a colleague of Flint's pirate, is one of the most remarkable images created by Stevenson.

The "Treasure Island" begins with a miser description of the boring life of a small village, where hero lives - Jim Hawkins. His weekdays are devoid of joy: the boy serves the visitors of the restaurant, which contains his father, and counts the revenue. It violates this monotony of the Arrival of a strange sailor, which turned the average life of the townspeople and cool the fate of Jim: "I remember that it was yesterday, how hard stepping, he dotted to our doors, and his sea chest was taken to him on a wheelbarrow." From this point on, extraordinary events begin: the death of the sailor - the former pirate, the hunt for his accomplices for the captain of Flint Captain, stored in the cheese chest, and, finally, the random allowed Jim to become the owner of the map of the Treasure Island: "... - I will praise , "I said, taking a pack of papers wrapped in the oilcloth."

So, Jim, Dr. Livcy and Squire Trekoni - quite respectable people - are the owners of the card and decide to go to search for treasures. It is noteworthy that with all the contempt for pirates, which Squire expresses ("What do they need, except for money? For what, except for money, they would risk their skin!"), He himself immediately buys schooner and equipped the expedition for other people's wealth.

"The spirit of our century, his swiftness, mixing of all tribes and classes in pursuit of money, violent, in its own way a romantic struggle for existence, with the eternal change of professions and countries ..." - that's how it is characterized by Stevenson time in which he lives. And indeed, Polmir rushes into Africa, America, Australia in search of gold, diamonds, ivory. These searches attract not only adventurers, but also the "respectable" bourgeois, merchants who, in turn, become participants in the "romantic" adventures in unknown countries. So Stevenson puts almost a sign of equality between pirates and "respectable" bourgeois. After all, the goal of them turns out one thing - the money giving the right not only to the "fun life", but also to the situation in society.

The treasures will be found, you need to kill Captain, Doctor, Squire and Jim, says: "I don't want to go at all to me, when I become a member of the Parliament and will drive around in a gilded carriage, pumped, damn To the monk, one of the tonkonogi striks. "

The desire of the Silver becomes a member of the parliament is not so utopically. Who is what the money is made, it is important that they possess. And this opens into the bourgeois society inexhaustible opportunities to become a friendly person. About the past do not speak. For money you can buy a noble title. But in this replica of Silver, the hidden irony is also concluded, expressing the ratio of Stevenson to those who control the country.

The romantic adventures of the heroes begin with the first minutes of their travel. Jim accidentally overhears the conversation of the Silver with sailors: "... I witnessed the last chapter in history about how the honest sailor was seduced to join this robbery, perhaps, perhaps the last honest sailor on the whole ship. However, I immediately made sure that this sailor is not the only one. Silver quietly whistled, and someone came to the barrel. " And he learns about the danger that increases with every minute. Events on the island, pirates struggle with a handful of devotees, the disappearance of treasures - all this creates a special tension of the plot. And it was in this, the characters of heroes have been identified to the limit to the limit of the situation: a non-smooth, hot-tempered and self-confident Squire, the sensible doctor of Livci, a reasonable and decisive captain, in the boyishness of impulsive jim and a smart, cunning, inborn diplomat of Silver. Each act of them, each word express the inner essence of the nature caused by natural data, upbringing, the situation in society, from which they are now tearing off.

3.049. Robert Lewis Stevenson, "Treasure Island"

Robert Lewis Stevenson
(1850-1894)

The English writer, who left his trail in almost all literary genres, literary critic, poet, the founder of neoromantism, the author of the famous works of "Strange Story of Dr. Jekila and Mr. Heyda", "Black Arrow", "Adventures of Prince Florizel", "Suicide Club", " Diammaz Raji, "The victims of the shipwreck", "Kidnapped", "Catriona", "Vlaboretal Ballantre" and others, Robert Lewis Stevenson (1850-1894) is most famous for his adventure novel who brought him world glory, "Treasure Island" - "Treasure Island" (1881-1883).

"Treasure Island"
(1881-1883)

Inspired by the writer on the creation of the "Treasure Island" Roman D. Defo "Robinson Kruzo"; From him he took the parrot of Captain Flint. Stevenson since childhood was delirden to this book. "Sooner or later, I was destined to write a novel. Why? An idle question, "recalled the writer at the very end of life in the article" My first book is "Treasure Island".

Written on the canons of an adventurous novel, this work became a set of names of nominative and "winged expressions": "Treasure Island", "John Silver", "Captain Flint", "Espanyola", "Admiral Benboou", "Fifteen people on the Dead Man Chest, / Yo-ho-ho, and a bottle of rum "," Piastra! PIAstries! " etc.

The book can be safely recommended not only to teenagers who think of who would make life and want to seek to find out that evil and vice threaten retribution, and good religion is rejected, but also by university listeners as a tutorial on the turnover of finance.

Roman was born out of the game. "In one of the groaning September days" 1881, to entertain his twelve-year-old Pazeck, Lloyd Osborne Stevenson drawn the map "Treasure Island", identified the hill of the pylon tube, the skeleton island, painted the bays and bays and began to tell his story. Steyoko became the prototype of the main character, he also dedicated his romance writer. The image of the Silver, he "wrote off" from his friend, co-author for a number of plays, W. Henley, and the details of the life borrowed from E. by, A. Duma, V. Irving, and others. Writers.

"I spoke the right stroke of the story," Stevenson rejoiced, "and I will prove that Dumas vainly muffled the search for treasures in his" Monte Cristo "; The most interesting is the search, and not what happened later. We know that money spoil a person, and therefore I only for the first half of one of the strongest passions. The second is almost always immoral, always deprived of an element of educational, moral. "

At first, the novel was called the "ship cook". Stevenson wrote daily after chapter, and in the evening he read it native and friends. A number of details prompted by listeners got into the book. "Treasure Island" was printed in the journal Yang Folks in 1881-82. Under the pseudonym "Captain George North". The publication went unnoticed, but when the novel came out with a separate publication under the real name of the author in 1883, 1884 and 1885, he became a bestseller.

"Treasure Island" - not "clean" fiction of Stevenson. Many facts writer learned from the notes of the famous Pirates of Morgan, F. Drake and others. The place of action of the novel, according to the researchers, was the Pinos Island, located 70 km south of Cuba. Pinos with its nature, bays and mountains, small islands and pine forests, as well as the remains of a log fort and cave exactly the same coincide with the island of Stevenson. Pinos for more than 300 years was a piercer for pirates. On the island of Treasure (as it was already in the XX century.) For 300 years, hundreds of pirates were visited, whose treasures are now looking for hundreds of treasures.

In the XVIII century, when the novel occurs, there were still quite a few gentlemen of good luck, from some names whose goosebumps are on the skin. And from the description of their appearance and I want to climb under the bed at all.

Time retained a lot of nice nick Korsarov, one of which is a black beard - he wore the famous Edward Titch, who became the prototype of Captain Flint. Flint, which and then commemorate the characters of the novel, became a gloomy background of the book and hardly the main hero, and a firate-invisible pirate.

In life, a black beard was a two-meter children of an outstanding force and enviable fearlessness, a well-deserved master of the boarding attack. Half of his body from the eyes to the belt occupied a black beard. Before Aborrodzham, the pirate on the kitchen drank a mixture of Roma and gunpowder, put the walled phytili, woven into the beard and putting into his pockets with a dozen charged pistols, with a Tesacian in his hand, all in smoke and with burning like a trait eyes jumped on a deck of a foreign ship, fascinating Behind the team played perfectly. This impressed all the participants of the action. In any case, the name of the pirate, uttered by VSE, instilled in the townsmen and robbers the sacred horror. Captain Flint on the Rights of the successor used exactly the same glory, even after his death.

So, all the characters of the novel went in search of the treasure, buried the late Flint on the island of treasure.

The story was conducted on behalf of Jim Hawkins, whose quiet life in the Bristol tavern "Admiral Benboou" (he was the son of the hostess) was interrupted by pirate "disassembly". Billie Bonca Restaurant was deadly afraid of a certain sailor on a wooden leg. After a fight with an uninvited guest, a black dog was enough for an apoplexy blow, and he told Gima, which served as a navigator from the captain of Flint and that his former "colleagues" hunt for the contents of his sailor chest. Soon, the Bill was compared to the guests to the guests, who presented it with a black mark, testifying to the seriousness of the intentions of bandits. The heart of the Bons could not stand. Without waiting for the robbers, Jim hurried to take the deduction of the dear due to the money. Together with the money, he took from the chest and some package.

The package was the map of the treasure island. Jim gave her to Dr. Livcy and Squire Trekloni. Gentlemen were not mistaken and decided to go treasure. Trekloni had a rare in Bristol about his plans, bought Schoon "Espanyol" and hired captain of the resistant and the team consisting, as it turned out, from the departed thugs. Helped hiring the crew single-legged owner of the tavern "Pipe pipe" John Silver, who was so afraid of Billy Bons. Sylovers took on the ship Kok, and Jim Junga.

When "Espanyola" approached the island of treasures, Jim was overhearding the conversation of Coca with sailors, from which he learned that almost all of them were pirates, and their leader Silver was an apartment in Flint. The robbers were going to find treasures, and then finish off all "outsiders." Jung informed friends about the idea of \u200b\u200bthe Silver, and they developed their alternative plan.

However, the Silver plan was barely disrupted the pirates themselves, upgraded rebeling ahead of time. Captain Smalllett asked Coca to subscribe friendships and relax with them on the shore. Leaving the accomplices on schoon, Silver with pirates went to the island. Jim jumped into one of the boats, and immediately escaped, barely boat stuck to the shore.

On the island, he met Ben Ghana left by pirates three years ago for convincing them to engage in unsuccessful search for the treasures of Captain Flint. Ben Gan was ready to help Jim and his friends and provide his boat.

At this time, Captain, Doctor, Squire and a few more people on the yalik fled from the vessel and took place in the Siruba for the Palque. Seeing the British flag over the Fort, Jim hurried to friends. To take possession of the card, the pirates took the attack, a shot down garrison. Jim without permission left the fort and on the boat Ben Ghana went to Espanyol.

One of the two pirates guarding the ship, in a drunken fight was killed, and the second, wounded, in pursuit of Junga broke down from Rii and died. Jim took the ship to the secluded bay, after which he returned to the fort. However, there he found Pirates, and if it were not for the intercession of the Silver, they would have dealt with him.

Kok perfectly understood that the game was played, and Jim became the only saving trump card for him. Soon, Dr. Livci gave to Silveliver a map, promising him to save him from the gallows.

Shocked pirates instead of the treasure found an empty pit and almost accepted with Kok and the boy - well, they were saved by Dr., Squire and K;. As it turned out, Zolotishko Flintin Ben Gan has long shifted to his cave.

Immersing the treasures on Espanyol, "ours" went home, and pirates left on the island. In one of the ports, Silver escaped, grabbing a bag with gold coins. The rest reached Bristol and divided the values \u200b\u200bof "by justice".

Roman is translated into many languages. In Russian, he was first published in 1886. The best translation was made by N.K. Chukovsky, although he sins with some inaccuracies in the name of sea and ship terms.

The shields of the "Treasure Island" dozens. In our country there were three artistic and one animated painting.

Reviews

Thank you for finding an analogy with "Robinzone Cruzo." Ben Gan is, of course, Cruzo himself. Suspiciously similar to his surname on the name of the Cruiseiro monetary unit. "Fifteen people at the Dead Man's Chest" is kind of like a real antique song. I heard her in English, on the titers of the same film. Although it can, it is stylization. The song was not fun at all. And very sad. From the shields, inimitate the Soviet cartoon with famous songs, which came to the restructuring, apparently in order to prepare children to the coming Lichim ninetieth. Well, and a three-sireme film, after which I was impossible to accept any other John Silver. I had the same with Sherlock Holmes and Dr. Watson. Only Livanov and Solomin.

L.Yu. Fuchson

Reading Roman R.L. Stevenson "Treasure Island"

The proposed article is an attempt to interpret Roman R. L. Stevenson "Treasure Island". This interpretation, firstly, is based on identifying internal value and symbolic liabilities. Secondly, the description of the figurative logic of Roman Stevenson brings to clarify its adventurous artistic mechanism, which provokes the corresponding reader behavior.

Keywords: R.L. Stevenson; adventure novel; delaying events; instability of life; way; Halfling man.

The title of the book "Treasure Island" ("Treasure Island") immediately promises a completely defined plot: you need to somehow get to the island, and the treasures appear to the search, mining, revelation (which is visualized in the Russian word translation). Therefore, the reader is configured, first, on the journey, and secondly - to solve the secrecy (opening of hidden). But together with such a plot in the title, a completely defined genre encoding of an adventurous novel is found. So already by name sometimes you can identify the art language of the work that you start reading. However, the decoding of the language is although the necessary condition of understanding, but, of course, is completely insufficient, since we are trying to understand mostly a message in this language. In addition, artistic text is not even so much a message as an appeal, which is not just an addressee, but a response. Therefore, the step itself from the sphere of ready-made (code) values \u200b\u200bin the scope of occasional, specifically situational meaning requires special efforts to correlate the details of the text that appear on the reader's horizon and predetermining is completely unique, the experience is relevant only for the reading novel.

Starting from the very name, the work stacked the border of natural and artificial existence plans. Treasure Island is not only a geographical point in the natural space, but also the place of hidden treasure, because of which unnatural villains were committed and continued. The following detail is characteristic of this regard: the body of the killed pirate of Allardais does not indulge in the earth, and blasphemously used as a pointer to that which caused the murder (as John Silver says, this is one of the "jokes" of Flint).

To a number of unnatural (violent) deaths in the novel, images of physical ugliness are adjacent: blind drinking, biased black dogs, Billy Bons with a saber scar on the cheek, single-legged Silver. All these are traces of dashing robbing life, that is, antiprodic fishery of wealth. Therefore, physical ugliness in the work of Stevenson is a symbolic meaning of the noting of the deformity of the soul.

If you look at the affair from this point of view, then the meaning of some apparent, at first glance, insignificant details will become clear. For example, the moment when the "Spaniard" swims to the island (Chapter XIII), the narrator describes this way: "Zaverkat, falling, our anchor, and whole clouds of birds, circling and shouting, rose from the forest ..." (Per. N.K . Chukovsky). This item indicates the mentioned border of nature and man, the living shouts of the birds and the metal sounds of civilization for a long time that have not been heard here. And treasures, money is also metal, because of which blood sheds and because of which all swimming is performed.

It is not by chance that the novel ends with an impaired Jim Hokinsu crying parrot Captain Flint "Pieces of Eight! Pieces of Eight! " (N.K. Chukovsky in his translation is not on the path of literal conformity, but poetically transfers this expression: "Piastra! Piatras!"). The same cry we hear in the X Chapter, when John Silver talks about predicting a good sailing parrot. This is "Piastra! PIAstries! " Immediately gives the meaning of the journey. The unnatural attribute of the adventures of the heroes is sharper than the young teller who admits that "at first glance, the treasure island" (XIII chapter, per. N.K. Chukovsky). In the XXXIV chapter describing, in particular, arrival on the coast of Latin America, Jim Hawkins speaks about the contrast of this charming (Charm) places and "gloomy, bloody stay on the island." And at the very end of the Roman Stevenson, the narrator calls the island of Treasure Cursed (accursed).

The aversion of the Hawkins boy to the island of treasure detects the value border of natural naturalness and deformity, romantics of travel and its mercenary motive, bold enterprise people and horror of villains.

Throughout the work, the Pirates song sounds several times:

Fifteen Men on The Dead Man's Chest -Yo - Ho - Ho, And A Bottle Of Rum!

Drink And The Devil Had Done for The REST -YO - Ho - Ho, and a bottle of Rum!

We will make a reservation at once that we are interested in this case are not folklore or literary sources, which based on the author, but exclusively internal figuations of the novel, its value-resolution logic. This song, which is already at the beginning of the novel, sings Billy Bons, essentially about him: because his chest is mentioned here. Later, the reader finds out about his death and that the whole chayka hunt ("15 people") behind the chest). But at the same time the "Dead Man's Chest" is the treasure of Flint. The image of the chest represents the image of treasures (hidden values), which we found in the name of the novel. "Dead" is Billy Bons, and Flint (who also died of Roma: the devil "calmed down", as he comes in the song. "REST" here, of course, - death metaphor. N.K. Chukovsky translated it like this: " Pey, and the devil will bring you to the end. "

"Dead Man's Chest" connects values \u200b\u200bwith the danger of their extraction. The chest seems to continue to belong to the dead and death itself. This also includes the already mentioned skeleton of the Sailor killed by Flint, which is used as a pointer to the places of hidden treasures, -simalous travel. "Skeleton Island" (Skeleton Island) is not just a topographical name; It means the true essence of the island of treasure. Such a duality as the neighborhood of a valuable and terrible, attractive and disgusting is an essential feature of an adventurous work.

With Billy Bons in Roman comes the topic of the sea, aitated by the title. Already a description of its appearance is saturated with marine details. This image and maritime theme is ambivalent: they connect opposite experiences of all characters (and reader). "Captain" brought excitement (excitement) to a quiet rustic existence. And such an excitement is a dual character. For a house, accustomed to sustainable, quiet life, this is an excitement for fear, and visitors' Admiral Ben-Bow "are frightened (Were Frightened) by his stories. But the same excitement in each of them awakens the traveler and indicates the attractiveness of the other - open - the world, the abradelities of the twisted (growing) sea, filled with adventures of life.

Jim Hawkins, who "Captain" pays for visiting a single-legged sailor and whom the nightmares torment the nightmares, admits: "I had no one for my four penns." This situation is constantly repeated: the price of money is danger, risk. Four Pensa - compensation of terrible dreams of Hawkins, similar to the fact that in the "Dead Man's Chest" from a song that hides the entire plot of the novel, the treasures (map) and fear (death) are connected. The same ambivalent neighborhood is observed in the episode, where Jim's mother near the corpse of Billy Bons counts money on his debt. Fear and curiosity are connected in the description of the feelings of different characters, but most often - Jim Hokins, which is explained by his central position in the plot and the role of the narrator (here also refers to his young age - and adventurism, and fear). Moreover, curiosity associated with danger, it is sometimes saving, which shows, for example, an episode with a barrel (XI chapter), where the only apple is not accidentally on the day (the terrible truth, overheard by Jim). Or capture the hero of the ship after escape at the end of the fifth part.

The moment of recognition, the exposure of the pirates in the episode at the barrel coincides with the cry of "Earth!", As well as with the fact that in the barrel, where Hawkins attached, hit the moonlight beam. This chronological intersection is significant: gaining soil hardness, changing darkness with light, and ignorance - knowing it is a single, symbolically multidimensional event. Here, as always, symbolic, and at the same time - the value, nature of the elements of the artistic world, in fact, and forces (and also sends) the efforts of interpretation. Water and land means in the work of Stevenson (like generally all the adventure literature) various life attitudes and human status, and not just purely topological characteristics. For example, the name of the XXIII chapter ("The EBB-Tide Runs") translator (N.K. Chukovsky) read as "in power". Literal accuracy here is not observed, but the spirit of the chapter and the entire translation of the translation fully corresponds, as it turns out with those numerous situations where the recklessness defeats the spiritual analogue of the physical substance of water. The tide carries the hero, who has given up the power of the circumstances, in an unmanaged shoon right to the "Spaniard" (XXIII). This and the next chapter of the adventures of Jim Hawkins on the sea ("My Sea Adventure") represent the concentration of imbalance images, no offability. The element of water in the world of works is undoubtedly dominant, and so much so that even the earth in an adventurous novel loses its usual characteristics of sustainable reliability. Therefore, the adventures of Jim Hawkins on the shore ("My Shore Adventure") demonstrate the same as the sea, the desperate, desperate position and the loss of the hero (Entirely Lost), when he, for example, mentally says goodbye to his friends (the end of the XIV chapter).

To the topic of water as a substance of unreliability and recklessness refer to the images of Roma. Rum is symbolically equalized with the sea, as a person - with a ship, for example, in Moluba Billie Bons in the III chapter: "... ... If i" Ma Not to Have My Rum Now I "Ma Poor Old Hulk On a Lee Shore" (" I will not drink rum now, then I will be like a poor old sudine, thrown by the wind ashore "). Rum - Mad, Devil Water ("Drink and The Devil Had Done for The Rest") - constitutes an analogue of the recklessness and risks of the marine travel. Rom ruffles heroes as well as the sea. Moreover, the madness merges here with incense: ".buccaneers Were As Callous As The Sea The Sailed ON" - Pirates are insensitive, "As the sea for which they float" (XXIII).

Water (sea) is equal with death in another pirated song:

But One Man of Her Crew Alive, What Put to Sea with Seventy-Five.

The nomination in the novel of the substance of water, and together with it - the instability, the uncertainty of the person's position in the world, generates not only images of death, fear, loneliness, etc., but also, on the other hand, the experience of anything not limited freedom of personal Initiatives, search for good luck.

The expression "Gentlemen of Fortune" (Gentlemen of Fortune) related to pirates, against the background of the gentlemen actually (Dr. Livi, Squire Telleon, Captain Smalllett) is important in the novel. The Billy Bons Bons and Dr. Livcy, in the first chapter of the Roman, represents not just the opposite of the gentleman and the gentleman of good luck, but also a number of associated opposites: the law and the discharge; Mind and recklessness; calculation and rates in case of luck; order and chaos; Sustainability of the coast and the exciting element of the sea; Houses and ways. However, between gentlemen and gentlemen of good luck in the adventure novel, there is significant proximity, the connection (with the entire difference of the motives of their actions) is the moment of adventurism. In the admiration of young visitors "Admiral Benboou" Billy Bons ("True Sea-Dog", "Real Old Salt" - I), delighted with Squire Truloni from the Silver team ("Toughest Old Salts" - VII); In the sympathy of Hawkins to Silver, which turned out to be "The Most Interesting Companion" (VIII), - in all this there is an archetype of a destructive temptation. It is clear that he seduces the heroes of adventurers. Thus, the concept of treasures is becoming complex, symbolic meaning. "Treasures" in the novel means not only money, but also those personal qualities of a person who are usually hidden in the sustainability of existence and open only in the face of danger, when a person can count only on himself.

An adventurous mood captures even such a "sensible" Hero of Roman, as Dr. Livcy. But especially - Squire Trotoni, the biggest adventurist. Treloni becomes like a child to a greater extent than even the boy Jim Hawkins, who notices, reading the letter of Squire, that the doctor will not like his chatty. For example, in the hired boots of Squire, first of all attracts what he "knows how to stick the signals on the Botthasky Dudka." This also likes Jim (end VII chapter). But where and the young Hawkins doubts, Squire Teloni discovers the perfect simplicity and naivety. His letter ends with an expression of impatience to quickly go on the road: "Seaward, Ho! Hang the Treasure! IT "Sue Glory of the Sea That Has Turned My Head" (VII) ["To the sea! Plee on the treasure! The splendor of the sea - that's why my head is spinning."] Only his antipode - Captain Smalllett - absolutely immune to travel poetry. Therefore, he initially does not make up relations with any accumulation, nor with Hawkins. He is a man of debt, therefore "Pet" (Favorite) for him - a swift word. The captain does not play the sailor, but is a sailor, and the sea itself for him - the space of hard work , not the game. His adult itself and thus a completely prosaic mood reminds of the danger of an enterprise for which he takes responsibility. We see that the image of Captain Smallt is being built as a contrast to romance of adventures. In general, it is not difficult to notice the confrontation of concern adult characters and child careflay. The last very essential for an adventurous novel. Still Mr. Eorg Zimmel brought the phenomenon of adventure with the game (Fortune search), as well as with youth1 . The reader of the "Treasure Island" is keen on the narration on the border of the children's and adult installations and it turns out that in essence, forced to pay tribute to both parties of the dual situation of the novel. The work of Stevenson sometimes relates to children's literature. No wonder before the release of a separate book, it was published by parts in the children's journal "Young Folks", and also translated into the USSR by the publishing house "Children's literature". This is partly justified by the appeal of the novel to the children's experience of recking the horizon of not yet realized opportunities, which is necessary to become involved and adult reader returning to the dizzying feeling of freedom inherent in the rising life.

For the plot of the journey, the collision of the house and the path is important, which in the novel "Treasure Island", as we have already noted, is related to the opposite of earth and water. The tavern "Admiral Benboou", from the image of which the story begins, is related to both these substances. The tavern is a place for the passerby, a random visitor, but at the same time you can settle here. In other words, this is the border of the House of Jim Hawkins and the paths for which the old sailor comes here, and with him - the mystery itself. For Hawkins, the restaurant his father is a native home. Stopped in Admiral Benboome Billie Bons applies purely marine definitions to him: Berth (Anchor Parking, Pier). Or: "Silence, There, Between Decks!" (Translated by N.K. Chukovsky: "Hey, there, on the deck, be silent!"). In the III chapter, Billy Bons says: "... board at the admiral benbow" (aboard Admiral Benboou). The opposite of topological definitions (house - ship) here represents the opposite of household installations and a sailor.

Since the substances of instability and sustainability in the adventure novel, as already noted, unequal, the image of the house here is only the framing of the plot path.

In the center, starting from the name of the novel, there is a treasure image, and the person in the world of works also carries something hidden, secret. This includes, for example, a deceptive first impression produced in Squire and Hawkins by captain Smollett, or the madness and unpredictability of Jim Hokins. The character of the character of the novel "Treasure Island" is built not as a changeable, but as the opening something hidden. Such a "treasure" may be courage (the old volume is redundant, whom Hawkins despised at the beginning, dies like a hero) or not the deceased nature (Abraham Gray). On the other hand, cunning, duplex pirates opens. Captain Smalllett admits that the team managed to deceive it (XII). The worst of the pirates "soft stele", as extremely successful N.K. Chukovsky passed the phrase: "Silver Was That Genteel"; He is good-natured and cheerful, but he was afraid of Billy Bons and Flint himself. The first part of the novel is called "The Old Buccaneer" ("Old Pirate"), while the first chapter - "The Old Sea-Dog At The Admiral Benbow" ("Old Sea Wolf in Admiral Benboou"). The name of the chapter, in contrast to the more frank name of the part, introduces the point of view of the visitors of the restaurant, as well as the Hokins himself, then still not knowing that Billy Bons - Pirate. Such a divergence of the name is the dual image of a person, the evil essence of which is hiding behind the appearance of a brave sailor.

The opening of the mystery can be considered a common, abstract formula for building an artistic subject and the word of Roman "Treasure Island", which predetermines special reading behavior. We will look, in connection with this, to the episode in the VI chapter. Before opening a package with papers from the Billy Bons chest, which will not wait with all three characters, and with them - and the reader follows the returation - a conversation about Flint. It is delayed, owning, the most important moment is the revelation of hidden: "Dead Man's Chest" hides a bundle about which he was sewn (WAS Sewn Together). Cut, in turn hides the map of the island. But the card also hides, because it needs to be decoding, and so on. Thus, it focuses on the opening of how to overcome a number of obstacles, which, in fact, and deploys a work as a whole thanks to the definition of the final disclosure. Full disclosure of treasures means therefore a significant (and not random) end of the novel. We are dealing in this case with treasures as aesthetic value, since the novel itself ends with the disappearance of secrets (hidden).

The given episode of the work shows all its artistic mechanism. Refrontation is not just one of the properties of adventure text - this is the way to build it itself, as well as the way to read it. In the XXX chapter, Dr. Livci gives the map to pirates, which is surprised by Hawkins, who still does not know that Ben Gunn has already rewritten the treasure. Thus, the disclosure of the mystery is postponed again. Since the story is conducted on the face of Hawkins, then for him, as for pirates, in captivity of which it is (XXXI-XXXII), the map retains its power, as for the reader at that time. Therefore, the reading horizon of anticipation of opening partly coincides with the horizon of characters.

Speaking about the knight's novels and implying adventure literature in general, H. Ortega-I-Gasset makes the following remark: "We neglect the characters that we are presented, for the way that they are presented to us." Roman Stevenson fully confirms this thought. Here, the characteristics of the characters are interesting only inspired, as they are related to the event. For example, the XXVI chapter is called "Israel Hands", which, it seems, indicates the main item. However, the reader at this point already knows about the cunning and double-density of the Boatswain, so the interest of the chapter focuses just not on who is the Israel Hands, but in the way that it seems. An adventurous hero, as the Bakhtin expressed exactly, "not a substance, but a pure function of adventure and adventure." It is how the hero will act and what it will behave is the subject of the description. And here, as in all the novel, the revelation struggles with the concealment and thereby fails. Hands sends Jim from the deck to hide his intention to arm a knife; Hawkins, in turn, solved the cunning of the Boatswain, pretends that he did not suspect anything, and watches him. But as soon as one trick is revealed, there is another to change another, when the Israel Hands comes in words recognizes his defeat, and then makes the last attempt to kill the lost vigilance of Hokins. Losing vigilance in this case means to remain in the illusion of the disclosure finishes.

So constantly postponed the outcome of the event; So the reader seems to be quite understanding who is who is involved in how one trick is facing another. The revelation event is carried out as delayed due to the active phased concealment. Thus, the reader is placed on the position of anticipation, the busy expectation of each subsequent incident.

Refrontation is often explained by psychologically - as maintaining reader interest. And this, apparently, the correct interpretation, but not the deepest, since it remains unclear why the deferred event is more interesting directly. In anticipation of the event on the spot of his immediate experience there is an openness of the horizon of opportunities, combining the hero and reader. The event in the status of a possible and intended requires a reader with completely special mental efforts, other than an event in the status of valid and, so to speak, noticeable. In this latter case, the reading horizon is closed with hopeless "already", with which nothing can be done. Event as sales radically different from the event of a commercially ready to come true. Retardation as a delay puts an event for the question asked by the reader. The reader enters the sphere of its influence. Therefore, the case is not so much in the psychological features of the experience of the event, already events, even, and in the special architectonics of the expected event in question, as well as in the special way of peace and person - as opening.

Waiting for life (told) Events is, at the same time, the implementation of the aesthetic event telling. In this expectation, which, with active braking, the story gradually comes true, and consists of a special exciting nature of the adventure novel.

1 See: Zimmel Favorites. T. 2. M., 1996. P. 215.

2 Ortega-I-Gasset H. Aesthetics. Philosophy of culture. M., 1991. P. 126

3 bakhtinm. Cathedral So.: In 7 tons. T. 2. M., 2000. P. 72