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THE IDYLLIC MODEL OF V. A. ZHUKOVSKY IN N. V. GOGOL’S POEM “GANZ KUCHELGARTEN” // Tomsk State Pedagogical University Bulletin. 2022. Issue 3 (221). P. 115-125

Introduction. The genre of idyll, which has been developing in world literature since Antiquity, is crucial for the poetics of Russian literature in the first third of the XIX century. The aesthetics of Romanticism helped it develop, and thus a romantic idyll arose. A great contribution to the development of idyll in Russia was made by V. A. Zhukovsky, the founder of Romanticism in Russian literature. The scale of the poet’s work was quite large and influenced the works of his contemporaries, among whom was N. V. Gogol, who showed considerable interest in idyllic themes in his youth. Aim and objectives. In this regard, the purpose of the article is to determine the features of V. A. Zhukovsky’s idyllic model implementation in N. V. Gogol’s early poem “Ganz Kuchelgarten”. Material and methods. The material of the study is the idyllic poem by N. V. Gogol “Ganz Kuchelgarten”, as well as the works of V. A. Zhukovsky that influenced it, including an idyll “The Village Watchman at Midnight”, “pavlovian poems”, the poems “Theon and Aeschines”, “Anguish” (“toska”), “Lalla-Rookh”, “There the heavens and waters are clear!”, the elegies “Slavyanka” and “Evening”, the romance “Desire”, the song “Traveller”, the article “About a simple and decorated style”. Biographical and comparative research methods are used in the work. Results and discussion. The genre of idyll is very close to V. A. Zhukovsky. An idyllic worldview exists organically in his poetic consciousness. The period of the poet’s strong interest in idyll is synchronized with his youth. In his youth, he draws new poetic forms mainly from European idylls. In them Zhukovsky is attracted by images of simple, everyday life, focus on rural nature, patriarchal mores. The poet is especially inspired by the natural philosophical aspects. The distinctive features of Zhukovsky’s works created in this genre are descriptiveness, an abundance of static natural paintings, free verse. In addition, we will separately highlight the author’s aim at reproducing the natural dynamics of life. The poet acts as a painter who strives to convey in his paintings the smallest details of the inner nature life. However, this is only an explicit part of Zhukovsky’s idylls. Their implicit part is much more important. By it we mean the sacred, the religious and the mystical. We see a certain evolution of Zhukovsky’s idyll. From the glorification of landscapes and the depiction of human life in the bosom of nature, the poet consciously moves to a more complex creative stage, focusing on the mystical and listening to his religious feeling. As for other features of the idyll genre in Zhukovsky’s work, like contrast or two-worldness of romanticism, the works of this genre translated by him are an alloy, a synthesis of the beautiful and the enigmatic in the world. It is no coincidence that many of them open with night landscapes. These were the features of the idyll genre implementation in Zhukovsky’s creative system. It was under their influence that N. V. Gogol wrote his first work, the poem “Ganz Kuchelgarten”. Zhukovsky’s idyllic model in Gogol’s poem “Ganz Kuchelgarten” is identified almost immediately. This is confirmed, firstly, by the topos of the poem (rural hinterland). Secondly, by the fact that the reader is shown pictures of pastoral life. It is also important that at the beginning of the poem there is an image of the family (patriarchy is an important aspect of the idyll). In addition, Gogol’s poem reveals other traditional topos for idyll (house, garden). Following the example of Zhukovsky, Gogol uses the motifs of food, sleep and music in the work. They are widely represented in the text and emphasize the idyllic moments of the poem. The heroic series can also be considered traditional for the idyll (the canons of which in Russian literature were first laid by Zhukovsky), since the author’s detailed representation of Louise’s family is following an idyllic orientation to the fullness of life, which here is the integrity of the family. The poem shows the desire of the characters to achieve happiness, they dream of an idyllic life. However, romantic features are more visible in the main character of the poem. And yet it lacks the passion of Byron’s heroes. At the end, Ganz rather follows the line of behavior of Aeschines, embodied by Zhukovsky. Conclusion. Thus, Gogol, when working on his youthful poem “Ganz Kuchelgarten”, was guided by the idyllic model of Zhukovsky. This is indicated by the traditional elements of the poet’s idylls, which are clearly present in Gogol’s text (the image of a family, pastoral landscapes, natural cycles, the motif of food, sleep and childhood). However, Gogol ignores some important elements inherent in Zhukovsky’s idylls. So, Gogol’s main character demonstrates the features of a romantic hero rather than an idyllic one. In addition, there is no pronounced mystical veil in Gogol’s poem. And finally, dissonance (the substratum of the romantic and idyllic) is certainly felt in it. The reason for it lies in the insufficiently thought-out compilation of leading European and Russian writers’ artistic techniques.

Keywords: N. V. Gogol, V. A. Zhukovskiy, “Ganz Kuchelgarten”, idyll

THE ECHO OF V. A. ZHUKOVSKY’S WORKS IN N. V. GOGOL’S STORIES “NEVSKY PROSPEKT”, “THE PORTRAIT”, “THE OVERCOAT” // Tomsk State Pedagogical University Bulletin. 2022. Issue 4 (222). P. 107-120

Introduction. The creative heritage of N. V. Gogol to this day encourages many literary critics to productive studies. In particular, researchers are interested in the intertext of V. A. Zhukovsky in the works of the writer. When considering the works dedicated to the personality and creativity of Gogol, it is really difficult not to find a mention of this Russian poet, since he was important for Gogol’s creative consciousness. In this regard, the purpose of the article is to determine the degree of Gogol’s acquaintance with Zhukovsky’s work during the writing of the “Petersburg Stories”. It is also important to identify and analyze the motives, plots, allusions and reminiscences of Zhukovsky’s works in Gogol’s stories. This will help to see the peculiarities of Gogol’s mastering of the poet’s works, to identify the transformations that Zhukovsky’s discoveries used by him have undergone in Gogol’s artistic system. Material and methods. Since most of the references to Zhukovsky’s work are present in Gogol’s stories “Nevsky Prospekt”, “The Portrait” and “The Overcoat”, the study will be organized on the basis of them. Biographical and comparative research methods are used in the work. Results and discussion. In the story “Nevsky Prospekt”, the narrator describes a refined, creative nature. A similar type often appears in Zhukovsky’s lyrics. In addition, the features of Zhukovsky’s idyll are revealed in the description of the image of the stranger Piskarev met: simplicity is glorified in it and the hero’s desire for harmony and purity is obvious. You can also pay attention to the fact that the artist deifies the young person he met. Probably, in her image, the author tried to reflect the highest manifestation of female beauty on earth, which for Gogol-Christian, of course, was the Madonna. In this case, the feelings of the young man are similar to those described by Zhukovsky in the aesthetic manifesto “Raphael’s Madonna”. However, the beauty leads Piskarev to a brothel. His idealistic consciousness cannot admit that beauty and vulgarity can be synonymous. This correlates with the principles of kalokagatiya, which were common in the Russian literature of the Romantic era and were reflected in the works of Zhukovsky. Having failed to resolve the conflict between reality and dream, Piskarev resorts to opium sleep, which, replacing life for him, becomes one of the factors that led to the tragic denouement, because, seeing his personal paradise in a dream, the artist increasingly moves away from reality and, ultimately, loses the ability to real life. In the features of the story’s plot, one can see the transformation of the idyllic motifs of Zhukovsky’s works. Faced with reality, Piskarev loses his mind. Such a finale is correlated with the plots of ballads which were translated by Zhukovsky. In them evil tempts and lures the unfortunate victim into a trap, and then takes his / her life (“Der Taucher”, “Erlkönig”). Thus, beauty for Gogol is no longer a sign of good. He comes closer to understanding the true beauty and the false beauty of Zhukovsky’s balladeer, shows the fragility of harmony in the world. The novel “Portrait” is considered by some researchers as an aesthetic manifesto of Gogol. This also suggests following the traditions of Zhukovsky. In addition, the two-part structure of the story may refer to the architectonics of Zhukovsky’s story “The Twelve Sleeping Maidens”. Her two ballads “Gromoboi” and “Vadim” are also opposite in their ethics and have ideological similarities with Gogol’s story. In the work, one can also find plot echoes with such works of the poet as the ballads “Lyudmila” (Lyudmila’s grumbling at fate is similar to Chartkov’s behavior) and “Varvik” (the character’s sin also provokes the appearance of otherworldly forces, which is a kind of warning and test). It can also be mentioned that Zhukovsky’s rebel heroes, dissatisfied with their lot, as a rule, suffer a painful defeat and their soul goes to hell. Something similar is happening with Chartkov. As for the second part of the story, it also has common features with Zhukovsky’s manifesto “Raphael’s Madonna”, because Gogol’s icon painter creates a picture that literally “breathes” divine grace. In the story “The Overcoat”, humanistic and Christian motives are revealed. The main character does not expect a better fate, but humbly fulfills his official duties. Children’s enthusiasm and sincerity, coupled with a truly zealous service, turn him into a real ascetic. Bashmachkin’s purity and love for people, as well as his self-sacrifice, allow us to say that his behavior is akin to chivalry, which was characteristic of the main character of “Don Quixote of La Mancha”, the translator of which was Zhukovsky. However, having received “God’s mercy” in the form of a greatcoat, which could well personify a “beautiful lady”, Bashmachkin is no longer so zealously performing his service. The tragic ending of the work can be connected with this. Similar ethical laws apply in the art world of Zhukovsky. Nevertheless, after death, the official returns to true service: by returning in the form of a ghost (which is the image characteristic of Zhukovsky’s works) to a significant person and other high-ranking officials to pick up overcoats, he restores a certain balance in the world. Thus, the universal justice inherent in the artistic world of Zhukovsky is being actualized again. Conclusion. The “Petersburg period” of Gogol’s work is closely connected with Zhukovsky’s creative activity. Gogol gets acquainted with the poet’s lyrics and publicism, actively reflects on what he found in it. It is important to emphasize that Gogol directly assimilates the aesthetics and poetics of Zhukovsky, after which he reproduces certain aspects of the poet’s creativity in his works, subjecting them to his own creative processing, which in general contributed to the formation of the writer’s unique genius.

Keywords: N. V. Gogol, V. A. Zhukovsky, “Nevsky prospekt”, “The Portrait”, “The Overcoat”, story

“Arzamas Code” and V. A. Zhukovsky’s Creative Models in “The Tale of How Ivan Ivanovich Quarelled with Ivan Nikiforovich” by N. V. Gogol // Tomsk State Pedagogical University Bulletin. 2023. Issue 1 (225). P. 132-142

In the collection of stories “Mirgorod” N. V. Gogol discusses what is behind the folk idyll. He shows the absurdity of any deviation from his harmonic model (the mixing of superstition and dogmas of Christianity in the “Viy”, the landlords’ quarrel over a stupid question in the “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich”). The illogicality of the last story is particularly frightening. It signals the disintegration of the culture of good neighborhood, friendship and patriarchy. In the first third of the XIX century, when Gogol wrote “Evenings on a Farm Near Dikanka”, friendly societies appeared en masse in Russia and the genre of “epistle to a friend” was actively developing, so the motive of the quarrel, already represented in the nomination of the work, could cause negative associations. The genre of the “epistle to a friend” was actively developed by the participants of the literary society “Arzamas”, which could well become the subject of Gogol’s reflection. The business card of “Arzamas” was “galimat’ya” (nonsense), friendly gatherings. Absurd speeches of friends acquired a written form. The poet V. A. Zhukovsky almost always recorded the comic texts of “Arzamas” meetings. In this regard, we consider it legitimate to refer to this facet of Zhukovsky’s talent in the further analysis of Gogol’s “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich”, in which absurdism and caricatures are everywhere revealed. The purpose of the article is to identify the “Arzamas code” and analyze the creative models of Zhukovsky’s works in Gogol’s text. This analysis is being conducted for the first time and will expand the range of interpretations of the “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich”. The choice of Zhukovsky’s works models is justified by the fact that the poet was the permanent secretary of “Arzamas”; in addition, the poet continues to a certain extent the sentimental line in Russian literature, which correlates with the subjectivity of epistles to a friend chosen for analysis. The material of the article is the work of N. V. Gogol “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich”, “Arzamas” protocols of V. A. Zhukovsky, as well as such his works as the dramatic poem “The Maid of Orleans”; the poem “Theon and Aeschines”; articles from the journal “Herald of Europe”; ballads “Lenore”, “Lyudmila”, “Svetlana”; epistle to a friend “To Batyushkov”, etc.; fable, “The Quarrel of the bald”, etc. Comparative and biographical research methods are used in the work. The final story of the tetralogy is characterized by absurdity, not harmony. There is a mixture of contexts in the story: the bright, idyllic side by side with destructive denial, the base and sinful penetrates into the consciousness of Gogol’s characters. In addition, the narrator puts an equal sign between a person and a thing. The man in the final story of “Mirgorod” gradually turns into a predator and pest. The main characters destroy the natural harmony by quarreling, which contradicts the principles of Zhukovsky’s creativity. The poet often sings friendship, love and harmony in his lyrics, but in Gogol’s story we see a crisis of these values. In Gogol’s story there are not enough components of friendly messages like those that Zhukovsky wrote. The idyllic model of Zhukovsky, which was still visible in the “Old-World Landowners”, completely disappears in the “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich”. Firstly, patriarchy is leveled. A carefree stay in the bosom of nature is no longer enough for a person. Secondly, the reader in the “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich” does not see families and couples (Ivan Ivanovich and Ivan Nikiforovich are single and have no children). Idyll in “Mirgorod” is now impossible, and harmonious relations between the characters are also impossible. The heroes do not seek to learn new things, do not want to give up harmful passions. No one can reason with those who have quarreled. Ivan Ivanovich and Ivan Nikiforovich turn into litigators, and litigation for former friends becomes a cult, an obsession. They do not hear the voice of conscience, nor the advice of others. The development and resurrection of the characters is postponed forever. The famous “Arzamas galimat’ya” plays the role of a facilitator in the quarrel of the heroes. Gogol’s narrator deliberately uses it to demonstrate the uniqueness of the phenomenon of friendship. There is a substitution of concepts everywhere in the work. Friendship turns into anti-friendship, idyll turns into anti-idyll, and the base replaces eternal values. The absurdity of Gogol’s story resembles “Arzamas” carnival. The narrator is characterized by high pathos when describing lowly objects. Thus, in “The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich” we see a decisive rejection of Gogol’s youthful aspirations to comprehend and reproduce Zhukovsky’s high idyllic and elegiac models. It is clear from the writer’s text that friendship is now a rare spiritual phenomenon. This destroys the model of epistle to a friend and creates a kind of antagonism, uncharacteristic of Zhukovsky’s creative thinking. Gogol’s exaltation and imitation of the poet in “Mirgorod” are weakening. Zhukovsky believes that all changes in the world are for the better, but Gogol’s opinion on this is somewhat different. He often shows a distorted, deformed world. By the end of “Mirgorod” there is no place for the aesthetic, because Ivan Ivanovich and Ivan Nikiforovich are disgusting in their pettiness. Gogol shows the result of man’s falling away from patriarchal traditions and Christian values, which leads to a violation of the universe logic (this was seen earlier in the death of the main characters in the novels “Old World Landowners”, “Taras Bulba”, “Viy”).

Keywords: N. V. Gogol, V. A. Zhukovsky, epistle to a friend, tale, naturalness, norm, “Arzamas” literary society, absurd