The writing
"Story about seven hung" L. Andreeva - the work is deep, psychologically delicate, distinctive. This is the story of seven people standing in hanging and eventually executed. Five of them are political criminals, terrorists. One is the thief and failed rapist, and the seventh is just a robber.
The writer traces the "path" of these, such different, criminals from the court to execution. Andreeva is interested not so much their external life as inner: awareness of these people that they will soon die that death awaits them, their behavior, their thoughts. All this develops into the philosophical reflection of the author of death in general, its entity, manifestations, about her deep connection with life.
One of the hung, Sergey Golovin, belonged to the top five terrorists. It was another young man. Its main quality that emphasizes the author was youth, youth and health. This young man loved life in all its manifestations: he was happy with the sun, light, delicious food, his strong and destructive body, feeling that he had a whole life ahead, which could be devoted to something high and beautiful.
Golovin was the son of the retired colonel, his own officer himself. And he, who gave the oath of loyalty to the sovereign, now chose another field - to deal with the royal regime. But it seems to me that he led him not to conviction in the correctness of the ideas of terrorism, but just the desire of something romantic, sublime worthy of. And now Golovin pays for his actions - he was sentenced to hanging.
At court, this hero behaved calmly and even somehow detached. He looked at the spring blue sky, in the sun, breaking through the court window, and thought about something. Golovin thought focused and tensely, as if not wanting to hear what was going on in court, roaring from it. And only moments he lost control and returned to real events. Then "Earthy, Dead Synese fired; And fluffy hair, with pain rushing out of the nest, squeezed, as in the vice, in the fingers whiskers on the tip. " But the love of life and the joy of youth immediately defeated. And again, the gathering glance became joyful.
Interestingly, even the judges felt the purity and wonderful cheerfulness of this hero. The author writes that they are "sorry" heads. Sergey responded to the sentence calmly, but with some naive annoyance, as if she did not expect him: "In order for their damn them, after all, they hang out."
Golovina had to survive many severe tests in anticipation of death. It is hardly difficult for him to survive a date with relatives. Sergey loved his parents very much, respected and regretted. He could not imagine how the last time he would see his father and mother as they would survive this pain. The head simply broke the heart. On a date, Sergey's father was attached, tried to alleviate the suffering of his son, support him. Therefore, he stopped the mother of the hero when she could not stand and started to break into tears or inhibit. But Nikolai Samageevich himself could not take this torture until the end: he burst into his son's shoulder, saying goodbye to him and blessed to death.
Golovin also kept and was attached from all his might. And only when the parents went away, he lay down on the bed and cry for a long time until she fell asleep.
Further, the author describes the moment of waiting for the hero of death in the chamber, the moments of waiting and reflections. Golovin never thought about death, he was all immersed in life. He was loved by comrades for his purity, naivety, romanticism, strength. And he himself built big plans. And suddenly - the death sentence, inexorably approaching death. At first, the hero saved the idea that another stage of his life came, the purpose of which is "to die well." For some time it distracted Sergey from painful thoughts. He was engaged in having trained, moving, that is, drowned the fear of death with life. But gradually it became not enough.
The fear of death began to pursue the hero. At first it was short moments, "gradually and somehow jogging." Then the fear began to grow to huge scales. The body, the young healthy body of the hero did not want to die. And then Sergey decided to relax him so that it does not give such strong signals about his desire to live. But it helped only for a while. Golovin began to attend such thoughts about which he did not even think before. The young man began to think about the value of life, about her unbearable excellence.
When only a few hours remained to execution, Sergey fell into a strange state - it was not yet death, but no longer life. The state of emptiness and removal from the idea that now he, Sergey Golovin, is, and after some time it will not be. And this began the feeling that you go crazy that your body was not your body and so on. Andreev writes that Golovin reached the state of some kind of insight - he touched in his fear to something incomprehensible, to God himself. And after that, the hero came some calmness, he again became cheerful, returned to the exercises, as if he discovered some kind of secret.
Until the very end, until the death of Golovin remained faithful to himself: calm, childishly naive, pure soul and cheerful. He rejoiced good weather, spring day, unity, albeit the latter, with his comrades.
The hero goes to death first, silently, with dignity, supporting his comrade Vasily Kashirin.
The final story is terrible and lyric at the same time. Life continued - the sun rose over the sea, and at that time he was taken away the corpses of hanged heroes. The disfigured bodies of these people were touched along the same road, according to which they were brought by alive. And nothing has changed in nature. Only life is already flowing without these people, and they never enjoy her in the charm.
Piercingly sad becomes such a detail as the lost Kalosh Sergey Golovin. Only she sadly accompanied the terrible procession on the last path.
I think, in this story, Andreev acts as a humanist and a philosopher. He shows that death is the worst and incomprehensible, which may be in human life, the most difficult for human consciousness. Why and why do people strive for her, and so inevitably approaching?
The writer puts his heroes into a critical situation and watches how they behave in it. Not everyone adequately meet their death. I think Sergey Golovin is among the "worthy". Having survived the crisis, he decided for himself for himself, I understood something and took death worthy.
It is curious that the execution of the seven. This number carries a greater semantic load in Orthodoxy, for example. This is a mystical number, and it is his Andreev who chooses for his observation over people, human nature. It seems to me that the writer himself makes such a conclusion: the test of death is carried out not all. It takes only those who have some kind of support, the idea for which he is ready to die. And this idea is life and death for people, the benefits of humanity.
Andreev from his youth was surprised at the undemanding attitude of people to life, he exposed this undepair. "Time will come," the Andreev-Gymnasisters wrote in the diary, "I draw to people a stunning picture of their lives," and painted. Thought - the object of attention and the main instrument of the author, facing not to the flow of life, but to reflections about this stream.
Andreev does not apply to the number of writers who have a multicolor tone game creates a impression of a living life, such as, for example, A. P. Chekhov, I. A. Bunin, B. K. Zaitseva. He preferred grotesque, a blast, contrast of black and white. A similar expressiveness, emotionality distinguishes the works of F. M. Dostoevsky, Favorites Andreev V. M. Garshina, E. By. He doesn't have a big city, but "huge", his characters oppresses not loneliness, but "the fear of loneliness," they do not cry, but "Wait." Time in his stories "compressed" events. The author as if feared to be incomprehensible in the world of visually impaired and weighted. It seems that Andreev is boring at the current time, it attracts eternity, "the eternal appearance of a person", it is important for him to not depict the phenomenon, but to express his estimated attitude towards him. It is known that the compositions of the "Life of Vasily Fewish" (1903) and "Darkness" (1907) were written under the impression of the events described by the author, according to it completely in its own way interprets these events.
In the periodization of Andreeva's creativity there are no difficulties: he always painted the fight of darkness and light as a fight of equivalent began, but if in the early period of creativity in the subtext, his writings lay a ghost hope for the victory of the world, then by the end of the creativity of this hope was not.
Andreev from nature was of particular interest in everything inexplicable in the world, in humans, in itself; The desire to look beyond the borders of life. He played the hazardous games that allowed the breath of death. The characters of his works, such as Eleazar, and the Kingdom of the Dead are also peering (Eleazar's story, 1906), who received the "damned knowledge" there, killing the desire to live. Andreeva's creativity corresponded to the crewed eschatological mindside in the intellectual environment, escalated issues of the patterns of life, the essence of a person: "Who am I?", "The meaning, meaning of life, where is he?", "Man? Of course, and beautiful, and proudly, and Impressively - but the end of where? " These questions from the letters of Andreeva lie in the subtext of most of its works1. The skeptical attitude of the writer caused all theory of progress. Suffering from his disbelief, he rejects the religious path of salvation: "So what unknown and terrible borders will make my denial? .. God I will not come ..."
The story "Lie" (1900) ends with a very characteristic exclamation: "Oh, what madness to be a man and look for truth! What a pain!" Andreevsky narrator often compassionates a person who, figuratively speaking, falls into the abyss and tries to grab at least something. "There was no well-being in his soul," G. I. Stulakov argued about each other, "he was all in the premonition of the catastrophe." On the same wrote and A. A. Blok, who felt "horror at the doors", reading Andreev4. In this falling person there was a lot from the author himself. Andreev often "entered" in his characters, shared with them a common one, according to K. I. Chukovsky, "mental tone."
Paying attention to social and property inequality, Andreev had a reason to call himself a student of G. I. Uspensky and Ch. Dickens. However, it is not as M. Gorky, A. S. Serafimovich, E. N. Chirikov, S. Skitalets, other "Writers-Valimians", understood and represented conflicts of life: did not point the opportunity to solve them in the context of the current time. Andreev looked at the good and evil as on the forces of the eternal, metaphysical, perceived people as forced conductors of these forces. The gap with carriers of revolutionary beliefs was inevitable. V. V. Borovsky, crediting Andreeva "Predit" in the "social" writers, pointed to the "wrong" coverage of the vices of life. The writer was not its own among the "right" or among the "left" and was creative by creative solitude.
Andreev wanted to show the dialectics of thought, feelings, complicated inner world Characters. Almost all of them more than hunger, cold, inhibits the question of why life is built so, and not otherwise. They look at themselves, try to figure out the motives of their behavior. Whoever his hero, everyone has "his cross", everyone suffers.
"It doesn't matter to me who" he ", - the hero of my stories: non, official, Dobryak or Cattle. Only one thing is important to me - that he is a man and as such bears the same lifestyle."
In these lines, Andreeva's letters to Chukovsky there is a Tolik of exaggeration, its copyright attitude to the characters differentiated, but also is also there. Critics fairly compared the young prose from F. M. Dostoevsky - both artists showed a human soul as a field of chaos and harmony clashes. However, the essential difference between them is obvious: Dostoevsky eventually, subject to the adoption by Humanity of Christian humility, predicted the victory of harmony, while Andreev, by the end of the first decade of creativity, almost excluded the idea of \u200b\u200bharmony from the space of its art coordinates.
The pathos of the many early works of Andreev is due to the desire of heroes to "other life." In this sense, a story is noteworthy "in the basement" (1901) about embittered people at the bottom of life. This is a deceived young woman "from society" with a newborn. She was not without reason afraid of meeting with thieves, prostitutes, but the stress arising is removing the baby. Unfortunate stretch to a pure "gentle and weak" creature. The boulevard woman wanted to prevent a child, but she demanded: "Give it! .. Give it! .. Give it! .." And this "Careful, two fingers, touching the shoulder" is described as a touch of a dream: "Little life, weak As a light in the steppe, vaguely called them somewhere ... "The romantic" somewhere "passes from a young prose from the story to the story. The symbol of "other", bright life, other relationships can serve sleep, christmas decoration, country estate. The attraction to this "other" in characters Andreev is shown as a feeling unconscious, congenital, for example, as a teenager Saski from the story "Angel" (1899). This unwanted, half-rolled, on the whole world of offended "Volchonok", which "at times ... I wanted to stop doing what is called life," hitting the holiday in a rich house, saw a wax angel on the Christmas tree. A beautiful toy becomes for a child a sign "the wonderful world where he ever lived", where "do not know about dirt and brave." She must belong to him! .. Sasha tormented a lot, defending the only thing that had, - pride, for the sake of the angel he falls on his knees in front of the "prenegenial aunt." And again passionate: "Give! .. Give! .. Give! .."
The position of the author of these stories inherited from the classics pain for all unfortunate, humane and demanding, but unlike its predecessors of Andreev tougher. He scoop meals offended by the characters of peacefulness: their joy is fleeting, and hope is ghostly. "The deceased person" of hijiyaks from the story "in the basement" shed happy tears, he suddenly wound up that he would "live for a long time, and his life will be beautiful," but - the narrator completes his word - the head of his "has been sacing silently predatory death" . And Sasha, playing by an angel, first falls asleep happy, and the wax toy at that time melt empty from the blow from the hot stove, or from the action of some fatal power: ugly and fixed shadows were cut on the wall ... "The presence of this force author dashed out of almost In each of its work. The characteristic figure of evil is built on different phenomena: shadows, night darkness, natural cataclysms, unclear characters, mystical "something", "somety", etc. "The angels were fixed as if for a flight, and fell with soft Skump on hot plates. "A similar drop will have to survive the Sashka.
I will survive the fall and the boy on the blisters from the city hairdresser in the story "Petka at the Dacha" (1899). "The aged dwarf", who knew only the work, beatings, hunger, also sulfted the whole soul in an unknown "somewhere", "to another place he could say anything." Randomly hitting the Gersonian estate, "having entered into complete agreement with nature," Petka is externally and internally transformed, but soon the rocking force in the face of the mysterious owner of the hairdresser eats it from the "other" life. Inhabitants of the hairdresser - puppets, but described in detail in detail, and only the master-duck is captured in Abris. Over the years, the role of the invisible black power in the plot of the plots is becoming more noticeable.
Andreeva has no or almost no happy finals, but the darkness of life in the earliest stories scattered glimpses of light: the awakening of a person in man was found. The motive of the awakening is organically connected with the motive of the desire of Andreeva characters to the "other life". In Bargamot and Garaske, the awakening experience the characters-antipodes, in which everything seemed to forever died. But outside the plot of the idyll of the drunkard and the city ("relative" of the Bloodmaker, M. I. Uspensky, the classics of "shivorota propaganda") is doomed. In other typologically similar works, Andreev shows how difficult and how long the person wakes up in a person ("lived," 1901; "Spring", 1902). With awakening to Andreevsky characters, it is often comes and awareness of their wornities ("The first fee", 1899; "No forgiveness", 1904).
Very much in this sense, the story "Hotel" (1901). The juvenile admission of the Senista in the hospital is waiting for a sazon master. He promised not to leave the boy "sacrifice the loneliness, illness and fear." But Easter came, Sazonka threw and forgot his promise, and when he came, Sienist was already in the dead. Only the death of a child, "as a puppy thrown on the garbage", opened the master of the truth about the darkness of his own soul: "Lord! - Sazona cried<...> Make hands to the sky<...> - Do not we people? "
About the difficult awakening of a person speaks and in the story "theft" (1902). A person who had to "be maybe murder," stopped pity for the freezing puppy. High price pity, "light<...> Among the deep darkness ... "- this is what it is important to convey to the reader a storyteller-Humanist.
Many characters of Andreev suffer from their isolation, existential maidos1. They are often extreme attempts to free themselves from this ailment ("Valya", 1899; "Silence" and "Story about Sergei Petrovich", 1900; "Original Man", 1902). The city "City" (1902) refers to a small official, depressed and by life, and the Being flowing in a stone bag of the city. Surrounded by hundreds of people, he suffocates from the loneliness of meaningless existence, against which protests in miserable, comic form. Here, Andreev continues the theme of a "little man" and his deigning dignity, asked by the author of "Sineli". The story is filled with participation to a person who has the influenzi disease - the event of the year. Andreev borrows Gogol with the situation of protection by the suffering person of his dignity: "We are all people! All brothers!" - In the state of affect, drunk Petrov is crying. However, the writer changes the interpretation of a famous theme. The classics of the Golden Age of Russian Literature "Little Man" is depressed by the character, the wealth of a "big man." Andreeva, the material and social hierarchy does not play a decisive role: gives loneliness. In the "city" of the Lord Virtimier, and they themselves are the same Petrov, but at a higher stage of the social staircase. The tragedy of Andreev sees the fact that the individuality does not make up the community. Remarkable episode: a lady from the "institution" meets the laughter of Petrov's proposal to marry, but understanding and in fear "squeales" when he spoke to her about loneliness.
Andreev is equally dramatic misconfiguration and intersotion, and intrasloous, and intimidian. The disobedient force in his artistic world has an evil humor, as presented in the story "Big Helmet" (1899). For many years, "Summer and Winter, Spring and Autumn" four people played a screw, but when one of them died, it turned out that others did not know whether he was married to the dead, where he lived ... most of all was struck that the deceased Never recognize about your luck in the last game: "He had a faithful big helmet."
This force amazes any well-being. Six-year-old Jura Pushkarev, hero of the story "Flower under the Nago" (1911), born in a secured family, love, but, depressed by the mutual reconnaissance of parents, alone, and only "pretending to live in the light of the fun." The child "leaves people", fleeing in the fictional world. To the adult hero named Yuri Pushkarev, an externally happy family man, a talented pilot, a writer returns in the story "Flying" (1914). These works constitute a small tragic dilogy. The joy of being Pushkarev was tested only in the sky, there in his subconsciousness was born a dream forever remained in the blue spacious. Rock strength threw the car down, but the pilot himself "to the ground ... no longer returned."
"Andreev," E. V. Anichkov wrote, "made us penetrate the terrible, chilling consciousness about the impermeable abyss lying between a person and man."
Disconnection generates militant egoism. Dr. Kergents from the story "Thought" (1902) is capable of strong feelings, but all his mind he used to the idea of \u200b\u200bthe insidious killing of a more successful friend - her husband's husband's beloved, and then on the game with a consequence. He is convinced that he owns the thought as a fencer with a sword, but at some point the thought betrays and places his carrier. She was bored to satisfy "third-party" interests. Kergents lives their century in a madhouse. Paphos of this Andreevsky story is opposite to Paphos of the Lirico Philosophical Poem M. Gorky "Man" (1903), to this hymn to the creative strength of human thought. Already after the death of Andreeva, Gorky recalled that the writer perceived the thought as a "dead joke of the devil over man." About V. M. Garshina, A. P. Chekhov said they would be conscience. Andreev wake a mind, more precisely, anxiety for his destructive potential. The writer was surprised by contemporaries unpredictable, addicted to the antinomy.
"Leonid Nikolayevich, - the table of ukrurisna wrote M. Gorky, - strangely and painfully, sharply for himself was riveted in two: on the same week he could sing the world" Osanna! "And to proclaim him" Anathema! ".
That is how Andreev revealed the two-sized human essence, "Divine and insignificant", by definition V. S. Solovyov. The artist is back and again returns to the disturbing question: which of the "abyss" prevails in a person? Regarding the relatively light story "On the River" (1900) about how "all someone else's" man, overwhelming the hatred of his offended people and, risking her life, saved them in a spring flood, M. Gorky enthusiastically wrote Andreev:
"You like the sun. And it is great, this love is a source of true art, a real, the very poetry that revives life."
However, soon Andreev creates one of the most terrible stories in Russian literature - "the abyss" (1901). This is a psychologically convincing, artistic expressive study of the fall of human in man.
Scary: Clean girl crucified "Neochoral". But even more terrible when, after a short internal struggle, an intellectual behaves, an amateur of romantic poetry, a flirtary in love with a young man. There is still a little bit "before" he did not suspect that the beast-abyss lures itself. "And the black abyss swallowed him" - this is the final phrase of the story. Some critics praised Andreev for a brave drawing, others called on readers to boycott the author. At meetings with readers Andreev persistently argued that no one was insured against such a fall.
In the last decade, creativity about the awakening of the beast in the man Andreev spoke much more often than about the awakening of a person in man. The psychological story "in the fog" (1902) is very expressive in this row on how the hatred of himself and the world has a successful student who has found the murder of a prostitute. In many publications, the words about Andreev are mentioned, whose authorship is attributed to Tolstoy: "He scares, but we are not scary." But it is unlikely that all readers familiar with the names of Andreeva will agree with this, as well as with his story "lie", written a year before "the abyss", or with the stories of the "Curse of the Beast" (1908) and "Rules of Good" (1911) narrating the loneliness of a person who is doomed to the struggle for survival in the irrational flow of being.
The relationship between M. Gorky and L. N. Andreeva is an interesting page of the history of domestic literature. Gorky helped Andreev to step on the literary field, contributed to the appearance of his works in the almanacs of the partnership "Knowledge", introduced into the "Wednesday" circle. In 1901, the first book of the story of Andreev, which brought the author of the fame and approval of L. N. Tolstoy, A. P. Chekhov to the author. "The only friend called Andreev senior comrade. However, all this did not hide their relationships, which Gorky characterized as "friendship-enmity" (Oxymoron could be born when reading Andreev's letters1).
Indeed, there was a friendship of large writers, according to Andreev, who beat "on one burgher face" of complacency. The allegorical story "Ben-Tovit" (1903) is an example of Andreev's impact. The story of the story moves as if impassive narrative about the externally unlocked events: the "good and good" resident of the village near Calvy is hurting a tooth, and at the same time on the mountain itself leads to the decision of the court over the "some kind of Jesus". The unfortunate Ben-Tovit is outraged by the noise behind the walls of the house, he acts on the nerves. "How they scream!" - This man is indignant, "not loved injustice", offended by the fact that no one is doing to his suffering.
It was a friendship of writers who chased heroic, rebellious principles of personality. The author of the "Story of Seven Hungs" (1908), telling about the sacrificial feat, on more - about the feat of overcoming the fear of death, wrote V. V. Veresayev: "And a man - when he dare and mad and death trampled death."
Many characters of Andreeva are united by the Spirit of opponent, the rebellion is the attribute of their essence. They rebel against the power of gray life, fate, loneliness, against the creator, even if they are opened by protest. Anticipation of circumstances makes man a man - this idea lies at the basis of the philosophical drama Andreev "Life of Man" (1906). Deadly wounded by imaginable angry power, man curses her from the edge of the grave, calling on the battle. But the pathos of opposing the "walls" in the writings of Andreev over the years weakens, the author's critical attitudes towards the "eternal appearance" of man increases.
At first, misunderstanding arose between the writers, then, especially after the events of 1905-1906, - something really resembling hostility. Gorky did not idealize man, but at the same time he often expressed the conviction that the shortcomings of human nature are in principle corrected. One criticized the "Balance of the Abyss", the other - "Bodyless Fiction". Their paths were separated, but even in the years of alienation, Gorky called his contemporary "most an interesting writer... all European literature. "And it is unlikely that you can agree with the opinion of Gorky that their controversy prevented the case of literature.
To a certain extent, the essence of their disagreements reveals a comparison of the Gorky Mother's novel (1907) and the novel Andreeva "Sasha Zagulev" (1911). In both works, we are talking about young people who went into the revolution. Gorky begins with a formation of naturalistic, finishes - romantic. Andreeva feather comes in the opposite direction: it shows how the seeds of light ideas of the revolution germinate with darkness, rebellious, "meaningless and merciless".
The artist considers phenomena in the prospect of development, predicts, provokes, warns. In 1908, Andreev finished work on the philosophical psychological tag-pamphlet "My Notes". Main character - The character is a demonic, a criminal convicted of a triple murder, and at the same time a truth seeker. "Where is the truth? Where is the truth in this world of ghosts and lies?" - The prisoner will ask himself, but as a result, the newly connected inquisitor in the thrust of people see an evil of life, and to the iron lattice on the prison window that opened him the beauty of limitations, feels "gentle thanks, almost love." He reaulates the famous formula and approves: "Insecreed - conscious need." This "masterpiece of the controversy" embarrassed even the friends of the writer, as the narrator hides its attitude towards the beliefs of the poet of the Iron Grille. Now it is clear that Andreev went to the popular in the XX century. Antuteopia genre predicted the danger of totalitarianism. Builder "Integral" from Roman E. I. Zamyatina "We" in their records, in fact, continues to reason this character Andreev:
"Freedom and a crime are also inextricably linked, as ... well, as the movement of Aero and its speed: the speed of Aero is 0, and it does not move, the freedom of man is 0, and he does not commit crimes."
Is there one truth "or their, as their minimum, two", sadly joked Andreev and considered the phenomenon with one, then on the other hand. In the "Story about seven hanged", he opens the truth on one side of the barricades, in the story "Governor" - on another. The problems of these works are indirectly associated with the affairs of revolutionary. In the "Governor" (1905), the representative of the authorities doomed to the fulfillment of the death sentence issued by him by the People's Court. The crowd of strikers "a few thousand people" came to his residence. At first, impracticable requirements were put forward, and then began the pogrom. The governor was forced to order open shooting. Among the killed were children. The narrator is aware of the justice of the people's wrath, and the fact that the governor was forced to take violence; He sympathizes both the other side. The general tormented by the flour of conscience in the end himself condemns himself to death: he refuses to leave the city, goes without security, and the "Avenger Law" overtakes him. In both works, the writer indicates the absurdity of life in which a person kills a person, for the unnaturalness of knowledge of his death of his death.
The right were critics, seeing a supporter of universal ownership in Andreev, off-party artist. In a number of works on the topic of revolution, such as "in the Dark Dal" (1900), "Marselyza" (1903), most importantly for the author - to show something inexplicable in man, paradox act. However, the "black hundred" considered him a revolutionary writer, and, fearing her threats, Andrei family lived for a while abroad.
The depth of many works Andreeva was not opened immediately. It happened with the "red laugh" (1904). Newspaper news from the fields of the Russian-Japanese war was pushed to writing this story. He showed war as madness, generating madness. Andreyev stylizes his narration to the sake-up memories of the Officer-Frontovik mutilated
"This is a red laughter. When the earth goes crazy. She begins to laugh so much. It has neither flowers nor songs, it has become a round, smooth and red, like a head with which we crushed the skin."
A participant in the Russian-Japanese war, the author of realistic notes "In War" V. Veresov criticized Andreev's story for not matching reality. He spoke about the property of human nature "used to" to any circumstances. On the work of Andreev, just directed against the human habit to raise the norm that should not be the norm. Gorky called on the author to "improve" the story, reduce the element of subjectivity, introduce more specifics, realistic images of war1. Andreev answered sharply: "Well, it means to destroy the story, his basic idea ... My topic: madness and horror. " It is clear that the author paid a philosophical generalization concluded in Red Little, and his projection in the coming decades.
And already mentioned by the story of "Darkness", and the story "Judas Iskariot" (1907) were not understood by contemporaries that correlate their content with the social situation in Russia after the events of 1905 and the author's condemned author for the "apology of betrayal." They left the most important - philosophical - paradigm of these works.
In the story of "Darkness", the selfless and bright young revolutionary, hiding from the gendarmes, is struck by the "truth public house", which opened on him in the question of a prostitute of a loving: what does he have the right to be good if she is bad? He suddenly realized that his comrades were bought by the fall of the fall of many unfortunate, and concludes that "if the lanterns cannot illuminate the entire darkness, so the lights and all get into the darkness." Yes, the author illuminated the position of an anarchist-maximalist, to which the bombist was crossed, but he highlighted the "new Labor", which recovered to join the ranks of the "good" fighters for another life. This turn of the plot was omitted with critics that condemned the author for how it seemed to them, a sympathetic display of the renegade2. But the image of a love, which bypasses and later researchers, plays an important role in a meaningful story plan.
The story "Juda Israariot" is tougher, the author paints the "Eternal appearance" of mankind, who did not perceive the Word of God and who killed the one who brought him. "For her, he wrote A. A. Block about the story, - the author's soul is a living wound." In the story, the genre of which can be determined as "the Gospel of Judas", Andreev has little changes in the storyline, outlined by evangelicals. He attributes episodes that could take place in the teachers and students' relations. Episodes are distinguished by all the canonical gospels. At the same time, Andreevsky, so to speak, the legal approach to the characteristic of the behavior of participants in biblical events opens the dramatic inner world of the "traitor". This approach reveals the predestination of the tragedy: without blood, without a miracle of the Resurrection, people do not recognize the Son of the Human Savior. The duality of Judah, who said in his appearance, his throwing, mirror reflects the duality of the behavior of Christ: they both foresee the course of events and both had the reason to love and hate each other. "And who will help poor Crikariot?" - Christ Peter's Christ is responsible for a request to help him in power games with Jew. Christ is sad and knowingly tend to the head, having heard the words of Judas that in another life he will be next to the Savior. Judas knows the price of evil and good in this world, it is painfully going through its right. Judas execute himself for a betrayal, without which the coming would not take place: the word would not come to humanity. The act of Judah, who, until the most tragic final, hoped that people in Calvary were about to see, they will see and realize who they are executed, "the last bet of faith in people." The author condemns all humanity, including the apostles, for unresponsibility to good3. On this topic, Andreeva has an interesting allegory created simultaneously with the story, "the story of the snake about how poisonous teeth appeared." The ideas of these works will germinate with the final essay of the prose - Roman "Satan Diary" (1919), published after the death of the author.
Andreeva has always attracted an art experiment in which he could reduce the inhabitants of the world of the world and residents of the world. It is quite original to those and others he brought in the philosophical fairy tale "Earth" (1913). The Creator Schail on the Earth of Angels, wanting to know the needs of people, but, with the "truth" of the Earth, the envoys are "nad", they cannot save their clothes that are not returned to heaven. They are ashamed to be "clean" among people. Loving God understands them, forgives and looks at the Messenger who visited the land, but who preserved his white clothes in purity. He himself can not take off to the ground, for then they do not need people heaven. There is no such indulgent attitude towards humanity in the last novel, joining the inhabitants of opposite worlds.
Andreev has long tried to the "stray" plot associated with the earth's adventures of the crude devil. The implementation of long-standing ideas to create "Devil's notes" preceded the creation of a colorful painting: Satan Mephistofel sits above the manuscript, fooles the feather in Cherci-Chernilnitsa1. At the end of the life of Andreev worked enthusiastically over the work of the leader of all unclean with a very nontrivial finale. In the novel "Diary of Satan" Caught Hell - a person suffering. The idea of \u200b\u200bthe novel is visible already in the story of "my notes", in the image of the main character, in his thoughts that the devil himself with all his "reserve of hellish lies, tricks and villains" a person is able to "led by the nose." The idea of \u200b\u200bthe writings could be born at Andreeva when reading the "Karamazovy brothers" F. M. Dostoevsky, in the chapter on the feature that dreams of incarnation in naive checkpoint: "My ideal is to enter the church and put a candle from the pure heart, to God, then. Then the limit My sufferings. " But where the features of Dostoevsky wanted to find peace, the end of the "suffering." Prince of Darkness Andreev, only begins with their suffering. An important peculiarity of the work is the multidimensionality of the content: one side of the novel turn to its creation, the other in the "Eternity". The author trusts Satan to express its most disturbing considerations about the essence of a person, in fact, questioning many ideas of their earlier works. "Satan's Diary", as the longtime researcher of creativity L. N. Andreeva Y. Babicheva, is also a "personal diary of the author himself."
Satan in the bottom of the killed merchant and on his own money decided to play with humanity. But the mediaters decided to take possession of some Thomas Magnus. He plays the feelings of the alien to a kind of Maria, in which the devil is unrelieved Madonna. Love transformed Satan, he was ashamed of involvement in evil, it was decided to become just a man. Opping past sins, he gives Magnus money that promised to become a benefactor of people. But Satan is deceived and Oszyan: "Earth Madonna" turns out to be a false face, a prostitute. Thomas climbed the devilish altruism, mastered the money to blow up the people's planet. In the end, in a scientist, Satan's scientist sees a side son of his native father: "It is hard and insulting to be this thing, which is called man, cunning and greedy worm on Earth ..." - Satan1 reflects.
Magnus is also a tragic figure, a product of human evolution, the character, having stood his misantropy. The narrator equally understands Satan and Foma. It is noteworthy that the writer gives Magnus to appearance, reminiscent of his own (in this you can make sure, comparing the portrait of a character with a portrait of Andreeva, written by I. E. Repin). Satan gives a person an assessment from the side, Magnus - from the inside, but their assessment coincide. The culmination of the top parodian: the events of the night are described, "when Satan was tempted by Satan." Satan crying, who saw his reflection in people, laughs the earthly "on all the finished devils."
Plach - Leitmotifs of the works of Andreev. Many and many of his characters offended by powerful and angry darkness are poured away. Light cried Light - Turned Darkness, the circle closes, nobody exit a pet. In the "diary of Satan" Andreev came close to the fact that L. I. Shestov called "apotheosis of groundlessness."
At the beginning of the XX century in Russia, as in the whole of Europe, theatrical life experienced a heyday. People of creativity argued about the ways of development of scenic art. In a number of publications, primarily in two "letters about the theater" (1911 - 1913), Andreev presented his "the theory of new drama", his vision of the "Theater of Pure Psychiatry" and created a number of plays that correspond to the tasks put forward2. He proclaimed the "End of everyday life and ethnography" on the stage, opposed the "outdated" A. II. Ostrovsky "Modern" A. P. Chekhov. Not that moment is dramatically, Andreev argues when the soldiers shoot with rebeling workers, and the one when the manufacturer of beweded at night is fighting "with two truths". Entertainment he leaves for the site of the cafeshantan and cinema; The scene of the theater, in his opinion, should belong to the invisible - the soul. In the old theater, critic, the soul was smuggling. In Novator, the playwright recognizes Andreev-Prosaik.
The first essay of Andreev for theater is a romantic-realistic play "to the stars" (1905) about the place of intelligentsia in the revolution. This topic was also interested in Gorky, and for some time they jointly worked on the play, but the co-authorship did not take place. The reasons for the break are becoming clear when comparing the problems of two plays: "To the stars" L. N. Andreeva and "Children of the Sun" M. Gorky. In one of the best plays of Gorky, born in connection with their common idea, you can find something "Andreyevskoye", for example, in opposition "of the children of the Sun" "Children of the Earth", but a little. Gorky is important to present a social miga nation entering the intelligentsia into a revolution, for Andreeva, the main thing is to relate the purpose of scientists with the purposefulness of revolutionaries. It is noteworthy that Gorky's characters are engaged in biology, their main tool is a microscope, Characters of Andreev - Astronomers, their tool is a telescope. Andreev gives the floor to revolutionaries who believe in the ability to destroy all the "walls", shunt-skeptics, neutrals that are "over the fight", and all of them "their own truth". The movement of life forward is an obvious and important idea of \u200b\u200bthe play - determined by the creative obsession, and it does not matter whether they give themselves revolution or science. But he has only happy people living with soul and thought facing the "triumphant vastness" of the Universe. The harmony of eternal cosmos is opposed to the insane text of the life of the Earth. Cosmos remains in harmony with the truth, the earth was wound with the collision of "PRD."
Andreeva has a series of plays, the presence of which allowed contemporaries to talk about the "Theater Leonid Andreeva" theater. This series opens the philosophical drama "Human Life" (1907). Other most successful works of this series - "black masks" (1908); "King Hunger" (1908); "Anatem" (1909); "Ocean" (1911). The psychological writings of Andreeva called the Pieces are close, for example, such as "dog waltz", Samson in Okovs (both - 1913-1915), "Requiem" (1917). The playwright called his writings for the "ideas" theater, thereby emphasizing that this is not a display of life, but the game of imagination, the spectacle. He argued that the scene is generally more important than private, that the type says more than the photo, and the symbol is eloquently type. Critics celebrated found by Andreev language modern Theater - Language of philosophical drama.
In the drama "Man's life" presented the formula of life; The author "is exempt from life," goes towards maximum generalization1. Two central characters in the play: Human, in the person of which the author offers to see humanity and Someone in gray, referred to as he, - something connecting human ideas about the Supreme Third Party: God, Rock, Fate, Devil. Between them - guests, neighbors, relatives, prechaits, villains, thoughts, emotions, masks. Someone in gray is the Bulletin of the "Circle of Iron Prealtance": Birth, poverty, labor, love, wealth, fame, misfortune, poverty, oblivion, death. The frequency of the human stay in the "Iron Circle" resembles a candle burning in the hands of mysterious someone. The presentation participates characters familiar to the ancient tragedy, - Bulletin, Moyry, Choir. When laying a play, the author demanded from the director to avoid halftones: "If kind, then as an angel; if stupid, then, as the minister; if ugly, then so that the children are afraid of. Sharp contrasts."
Andreev sought to unambiguously, allegicity, to the symbols of life. Symbols in the symbolist sense he does not have. This is a manner of drawers of the chest of lobular pictures, artists-expressionists, icon painters, reflected the earthly path of Christ in the squares bounded by a single salary. The play is tragic and heroic at the same time: despite all the blows of a third-sided strength, a person does not give up, and the edge of the grave throws a glove to the mysterious someone. The final of the plays is similar to the final of the story "Life of Vasily Fewish": the character is broken, but not defeated. A. A. Blok, looking at the play in the formulation of V. E. Meyerhold, noted the non-sufficiency of the profession of the hero - he, in spite of everything, the creator, architect.
"The" human life "is a vivid proof that a person is a person, not a doll, not a pitiful creature, doomed, but a wonderful phoenix, overcoming the" ice wind of limitless spaces. "Maja wax, but not decreasing life."
A peculiar continuation of the play "Man's life" is seen by the play "Anatema". In this philosophical tragedy reappear again Someone, enclosing inputs - the impassive and mighty keeper of the gate, followed by the beginning began, the great mind. He is the keeper and servant of the truth eternity. He is opposed to him Anatema the devil, cursed for the Bunar intentions to learn the truth
The universe and to be compared with the great mind. The evil spirit, cowardly and vainly visiting the keeper, - the figure in its own way is tragic. "Everything in the world wants good, - reflects the damned, - and does not know where to find it, everything in the world wants life - and meets only death ..." It comes to doubt about the existence of the mind in the Universe: Does not lie the name of this rationality ? From despair and malice, that it is not possible to know the truth on the other side of the gate, Anatema is trying to know the truth on this side of the gate. He puts cruel experiments over the world and suffers from unjustified expectations.
The main part of the drama telling about the feat and death of David Leaser, the "beloved son of God," has an associative connection with the biblical legend of humble Jew, with the evangelical history about the temptation of Christ in the desert. Anatham decided to check the truth of love and justice. He gives David with huge wealth, pushes him to the creation of the "miracle of love" to the neighbor, contributes to the formation of the magical authority of David over people. But the devilish million lacks for all those who suffer, and David, as a traitor and a deceiver, breaks the beloved people to death. Love and justice turned in deception, good - evil. The experiment was delivered, but Anatema did not receive a "clean" result. Before his death, David does not curse people, but regrets that he did not give them the last penny. The epilogue of the play repeats its prologue: the gates, silent guard of someone and the seeker of the truth of Anatham. An annular composition of the play The author speaks of life as an infinite struggle of opposing principles. Shortly after writing a play in the formulation of V. I. Nemirovich-Danchenko, successfully walked into the MHT.
In the work of Andreeva, artistic and philosophical started were merged. His books feed the aesthetic need and will be thought, anxious conscience, awaken sympathy for man and fear for his human component. Andreev sets up to a demanding approach to life. Critics talked about his "cosmic pessimism", but his tragic is not directly connected with pessimism. Probably, providing an incorrect understanding of his works, the writer has repeatedly claimed that if a person cries, it does not mean that he doesn't want to live, and vice versa, not everyone who laughs, the optimist and fun. He treated the category of people with an exacerbid sense of death by virtue equal to the acute sense of life. On the passionate love of Andreeva, his people wrote close to life.
"Story about seven hanged" L. Andreeva - the work is deep, psychologically delicate, distinctive. This is the story of seven people standing in hanging and eventually executed. Five of them are political criminals, terrorists. One is the thief and failed rapist, and the seventh is just a robber.
The writer traces the "path" of these, such different, criminals from the court to execution. Andreeva is interested not so much their external life as inner: awareness of these people that they will soon die that death awaits them, their behavior, their thoughts. All this develops into the philosophical reflection of the author of death in general, its entity, manifestations, about her deep connection with life.
One of the hung, Sergey Golovin, belonged to the top five terrorists. It was another young man. Its main quality that emphasizes the author was youth, youth and health. This young man loved life in all its manifestations: he was happy with the sun, light, delicious food, his strong and destructive body, feeling that he had a whole life ahead, which could be devoted to something high and beautiful.
Golovin was the son of the retired colonel, his own officer himself. And he, who gave the oath of loyalty to the sovereign, now chose another field - to deal with the royal regime. But it seems to me that he led him not to conviction in the correctness of the ideas of terrorism, but just the desire of something romantic, sublime worthy of. And now Golovin pays for his actions - he was sentenced to hanging.
At court, this hero behaved calmly and even somehow detached. He looked at the spring blue sky, in the sun, breaking through the court window, and thought about something. Golovin thought focused and tensely, as if not wanting to hear what was going on in court, roaring from it. And only moments he lost control and returned to real events. Then "Falling Earthy, Dead Shane; And fluffy hair, with pain rushing out of the nest, squeezed as in the vice, in the fingers whiskers on the tip. " But the love of life and the joy of youth immediately defeated. And again, the gathering glance became joyful.
Interestingly, even the judges felt the purity and wonderful cheerfulness of this hero. The author writes that they are "sorry" heads. Sergey responded calmly on the sentence, but with some naive annoyance, as if she did not expect him: "In order for their damn them, after all, they hang out."
Golovina had to survive many severe tests in anticipation of death. It is hardly difficult for him to survive a date with relatives. Sergey loved his parents very much, respected and regretted. He could not imagine how the last time he would see his father and mother as they would survive this pain. The head simply broke the heart. On a date, Sergey's father was attached, tried to alleviate the suffering of his son, support him. Therefore, he stopped the mother of the hero when she could not stand and started to break into tears or inhibit. But Nikolai Samageevich himself could not take this torture until the end: he burst into his son's shoulder, saying goodbye to him and blessed to death.
Golovin also kept and was attached from all his might. And only when the parents went away, he lay down on the bed and cry for a long time until she fell asleep.
Further, the author describes the moment of waiting for the hero of death in the chamber, the moments of waiting and reflections. Golovin never thought about death, he was all immersed in life. He was loved by comrades for his purity, naivety, romanticism, strength. And he himself built big plans. And suddenly - the death sentence, inexorably approaching death. At first, the hero was saved by the idea that the other stage of his life came, whose goal was "to die well." For some time it distracted Sergey from painful thoughts. He was engaged in having trained, moving, that is, drowned the fear of death with life. But gradually it became not enough.
The fear of death began to pursue the hero. At first it was short moments, "gradually and somehow jogging." Then the fear began to grow to huge scales. The body, the young healthy body of the hero did not want to die. And then Sergey decided to relax him so that it does not give such strong signals about his desire to live. But it helped only for a while. Golovin began to attend such thoughts about which he did not even think before. The young man began to think about the value of life, about her unbearable excellence.
When only a few hours remained to execution, Sergey fell into a strange state - it was not yet death, but no longer life. The state of emptiness and removal from the idea that now he, Sergey Golovin, is, and after some time it will not be. And this began the feeling that you go crazy that your body was not your body and so on. Andreev writes that Golovin reached the state of some kind of insight - he touched in his fear to something incomprehensible, to God himself. And after that, the hero came some calmness, he again became cheerful, returned to the exercises, as if he discovered some kind of secret.
Until the very end, until the death of Golovin remained faithful to himself: calm, childishly naive, pure soul and cheerful. He rejoiced good weather, spring day, unity, albeit the latter, with his comrades.
The hero goes to death first, silently, with dignity, supporting his comrade Vasily Kashirin.
The final story is terrible and lyric at the same time. Life continued - the sun rose over the sea, and at that time he was taken away the corpses of hanged heroes. The disfigured bodies of these people were touched along the same road, according to which they were brought by alive. And nothing has changed in nature. Only life is already flowing without these people, and they never enjoy her in the charm.
Piercingly sad becomes such a detail as the lost Kalosh Sergey Golovin. Only she sadly accompanied the terrible procession on the last path.
I think, in this story, Andreev acts as a humanist and a philosopher. He shows that death is the worst and incomprehensible, which may be in human life, the most difficult for human consciousness. Why and why do people strive for her, and so inevitably approaching?
The writer puts his heroes into a critical situation and watches how they behave in it. Not everyone adequately meet their death. I think Sergey Golovin is among those worthy. " Having survived the crisis, he decided for himself for himself, I understood something and took death worthy.
It is curious that the execution of the seven. This number carries a greater semantic load in Orthodoxy, for example. This is a mystical number, and it is his Andreev who chooses for his observation over people, human nature. It seems to me that the writer himself makes such a conclusion: the test of death is carried out not all. It takes only those who have some kind of support, the idea for which he is ready to die. And this idea is life and death for people, the benefits of humanity.
Writing on literature on the topic: Analysis of the work of L. Andreeva "Story about seven hanged" (Sergey Golovin)
Other writings:
- During the response, Andreev created a number of works, in one way or another belonging to the topic of the 1905 revolution. Among them are imbued with romantic barricade fights "from the story that will never be over" (1907) and "Ivan Ivanovich" (1908). In the second story, the writer Read more ......
- The story of seven haired old, fat, exhausted diseases people sits in someone else's house, in a stranger bedroom, in a stranger chair and in bewilderment examines his body, listens to his feelings, is being strengthened and can not fully align his thoughts in his head: "Fools! Read more ......
- The question of life and death occupied very many Russian writers. It is especially brightly expressed in the works of F. M. Dostoevsky and L. N. Tolstoy, will later worry Bulgakov. Dostoevsky remember me the story of Prince Myshkin on the state of a person before execution. (Tolstoy dedicated read more ......
- My favorite story of Andreeva is Bargamot and Garska. This is the first story of the writer who brought him the recognition of readers and who celebrated Maxim Gorky. But this is the most advanced story of Leonid Andreeva, in which he expressed himself as a genuine Russian realist and in Read more ......
- Leonid Andreev is a wonderful writer, author of many stories close to children on the topic. For example: "Petka at the cottage", "Hotel", "Kusaka" and others. One of the characteristics of which a kind person should possess, according to L. Andreeva, - careful attitude To animals. Andreev emphasizes read more ......
- The main motives of the story story contains three main topics - a woman, death, "Plague": "But she did not turn around, and again in the chest it became empty, dark and scary, as in an extinct house, through who passed the sullen plague, killed all living and boards Kept up Read more ......
- Hero of the story L. Andreeva "Angels" - a man with a recalcitrant soul. He cannot calmly treat evil and humiliation and tweems the world for the suppression of his own personality, individuality. Sasha makes it the ways that come to his head: hits his comrades, rude, Read more ......
- "Psychology of betrayal" is the main topic of the story of L. Andreeva "Juda Israbiot" -. Images and motives of the New Testament, ideal and reality, hero and crowd, true and hypocritical love - these are the main motives for this story. Andreev uses the Gospel plot about the betrayal of Jesus Christ of His Read more ......
"Man's life" Andreeva L.N.
"I want to reform drama," wrote Andreev A. Serafimovich in November 1906 after the end of the work on the play "Human Life". In the letter of Chuikov Andreev also noted innovation of his plan: "The fact is that I took a completely new form - neither realistic, nor symbolistic, nor romantic, - that I do not know ..." In the work on the play, the writer experienced a lot Difficulties. "I will say frankly," he admitted. Nemirovich-Danchenko, - I myself was dissatisfied with the "life of a person." I had to make a touch positively, the thought was stubbornly shot down on the old, habitual, and the minutes did not have any opportunity to figure out, are you doing well or badly. In the very process of work, the form developed and figured out the form, and only ending the play, I understood her essence myself ... Let it be the first experience. "
According to the author, the "life of a person" was to be the first in the cycle of philosophical plays, "associated one-sidedness of the form and the inseparable unity of the main idea." "The human life" life "goes" Life ", which will be depicted in four pieces:" King Hunger "," War "," Revolution "and" God, Devil and Man, "Andreev Nemirovich-Danchenko wrote in May 1907 of the year. "Thus, the" human life "is the necessary entry into the form and content, in this cycle, to which I dare to attach very important." And although this idea in his original version was not carried out (from the named was written only by the play "King Holness"), in itself the intention of Andreeva to create a cycle of dramatic works, in which the fate of individual people should have been linked to the fate of humanity, clearly correlated With the most philosophical demands of time and in its own way reflected the need for a new level of philosophical and historical and artistic thought.
Themes and problems of the play. In the prologue to the play immediately declared her main topic - A timeless tragedy of a person depending on the will of rock. Someone in the gray, referred to as he, - the conditional character, personifies everything that prevents the freedom of man - fixes the orbit of human life: "There is no customer intensive time, he will continuously pass all the steps of human life, from the bottom to the top, from the top to the bottom. Limited by vision, he will never see the next stage, which does not raise the harassment of him; Limited knowledge, he will never know that he carries him the coming day, the coming hour is a minute. And in the blind ignorance, Tommy premonitions, he submracts the circle of iron presenter. " All five paintings of the play ("The Birth of a Man and Mother Flour", "Love and Poverty", "Human Ball", "Man's Misfortune", "Man's Death"), demonstrating five stages of a person's life from birth, respectively - "from the bottom To the top, from the top to the bottom, "illustrate this thesis.
The emphasis in dramatic action is put on the peripetia of a person's collision with "immutable." And the tragic outcome of the conflict is due to the fact that the person's sweeps to break this "circle of iron destiny" are in vain, invariably encounter on the stone indifference of some in gray with a burning candle in their hands, monotonously repeating: "Ho decreases wax eating fire. - Ho wakes wax. "
Ho, recognizing the power of fatally irresistible forces over the person, the writer did not humble with reality, did not refuse to attempts - let the doomed on failure - to confront the strikes of fate. In the second picture of the play, the person shown by the young, energetic, who believes the mind, challenges the fate itself when she becomes on his way. Turning to a certain room that stands in the corner of the room, a man hurts: "Hey, what's your name is there: rock, devil or life, I throw you a glove, call you to fight! .. We will beat the swords, let's take the shields that hit the heads, From which land tremendous! Hey, go to battle! " Alexander Blok, literally "shocked", according to his recognition, "life of a person" (in February 1907 he had a chance to see the performance of Be. Meyerhold on the stage of the St. Petersburg Theater V. F. Commissioner), felt the true greatness and tragedy that Andreevsky A person does not give up, and fights to the end. At the time, the mood of the mood of the "last despair", violent, although fruitless, the hatred of the artist to the "terrible world", was closely close to the "life of the man", and in this aspect, he comprehended a man's revolution that caused a "inexorable, square, Cursed fate. " In Andreevskaya Drama, the block saw "the bright proof that a person is a person, not a doll, not a pitiful creature, doomed, but wonderful phoenix, overcoming the" ice wind of limitless spaces. " "Wax melts, but life does not decrease," he concluded his thought.
Features of the dramaturgical form. The large-scale philosophical content of "human life" is embodied in an innovative drama form. "If in Chekhov ... A scene should give life," said Andreev in one of the letters K. S. Stanislavsky, is here - in this representation - the scene should only give a reflection of life. For no one minute, the viewer should not forget that he stands in front of the picture that he is in the theater and in front of him the actors depicting something and that ". In contrast to the traditional theater of the immediate emotional experience of Andreev, it creates its "presentation" theater, the theater of philosophical thought, refusing life-like and resorting to conventional generalized images. "From the outside - this is a stylization, - explained Andreev the idea of \u200b\u200bthe" human life "in a letter to Vl. I. Nemirovich-Danchenko. - Characters, provisions and conditions should be given to their basic ideas, simplified and at the same time deepened due to the absence of small things and secondary. "
The figurative system of "human life" presents several types of characters. There are identity characters, but extremely distant from individual, concrete, deprived of name (man, man, doctor, old woman). There are images of "choral", embodying collective - moral or social - the essence of a large group of people (relatives, neighbors, guests at the ball). The functions of these images are commenting the events, scenic environment, suggesting the audience of a certain mood required by the author's intent. For example, in the second picture, drawing youth, poverty, the beauty of a person, the replicas of the neighbors are filled with touching attention and love, contain many good wishes. On the contrary, the dialogues of the drunks and the sinister old woman in the 5th picture foreshadow the darkness of non-existence, in which the dying person should be immersed. There is finally a character carrying a distracted symbolic meaning (someone in gray).
In connection with the general idea of \u200b\u200bthe "presentation" theater, there is another artistic principle used in the "human life". "Due to the fact that there is no life, but only the reflection of life, the story about life, the presentation, as they live, - in well-known places there must be underlining, exaggeration, bringing a certain type, properties to its extreme development, - Andreev noted in a letter K. S. Stanislavsky. - There is no positive, quiet, but only excellent ... sharp contrasts. " The very condition of the world depicted in the "human life" encouraged the author instead of "quiet, gentle, fine moods" to turn to the "sharp, distinct, angry sounds of the pipe."
In Andreeva's play, there is really no place for "quiet degree": or a satirical grotesque (3rd picture "Ball in a person"), or impassing a hopeless horror (the 5th picture of the "death death"), or a sublime light system of feelings and thoughts is transmitted (2nd picture "Love and Poverty"). Exaggeration, grotesque, contrasts are needed by a writer in order to neutralize the possibility of emotional empathy, with the utmost visibility to express a purely intellectual philosophical content.
With the same purpose, Andreev widely uses in the "human life" means of related kinds of art - painting, music, plastic elements. In the receptions of the outcome of stylized characters, the emotional stage "background", L. N. Andreeva affected the art of the great Spanish artist Francisco Goya, especially the series of the "Caprician" etching and "distress of war". Such properties of graphic letters of Goya, like grotesque, hyperbolization, uncertainty of fiction, contrasting "game" of light and dark colors, lack of particularities, "shadows", the desire to expose the contradictions to the highest degree - they were initially criticized in the Andreyevskaya selection of "busy paintings" representing Human life. The color palette in the play is very mobile: every picture, permeated with a certain mood and recreating a certain stage in a person's life, is its own gamma of colors. So, in the 2nd picture of the youth of the youth of man and his wife strengthen the "bright, warm light", "absolutely smooth light pink walls", "bright, funny dresses", "a wonderful bouquet of wildflowers." On the contrary, in the 5th picture, the topic of death, as it were, accompany the "indefinite, oscillating, flashing sump light", "smooth dirty walls", "an infinite variety of disgusting and terrible".
As much as significant in the "human life" of music symbolism. A short, in two musical phrases, crying "polka with tough, fun and extremely empty sounds", which diligently dance "girls and young people", expressively emphasizes the fullest impersonality of the guests of guests - puppets covered by the expression "complacency, chumped and stupid Respubords before human wealth. " And the geometrically proper premises in which the action takes place and in the windows of which the night always looks, deepens the idea of \u200b\u200bthe depressing monotony of Being: forever the predetermined form of the world - cells.
Each picture is preceded by a special exposure that seeks the connection of all parts of the play. These expositions entering the atmosphere of what is happening on the stage are built either in the form of dialogues secondary characters (for example, the conversation of the old woman in the 1st picture, the conversation of the neighbors in the 2nd), or the monologue of some acting person (for example, in the 4th picture, where the maid tells that "the man fell into poverty") . The unity of the storyline in the play is achieved only by a prologue, the idea of \u200b\u200bwhich consistently reveal all the pictures, and a figure of some in gray, which is always present on the stage with a candle, which is gradually melting, as if noting the stages of life path.
Many features of the dialogue in the "human life" are also explained by the author of the author on the limit generalization in the image of the characters and the scenic situation. Within each thematic section, the dialogue is built according to a given scheme and usually explains the attitude of the characters to a particular statement, an event that happens is usually behind the scene. Such, in particular, the replicas of guests on the ball: "How richly! How magnificent! How light! How rich! " - Pronounced monotonous and sluggish. These are mostly the author's remarks. For example, someone in gray says "hard, cold voice devoid of excitement and passion"; Guests on the ball talk "Not happily, not laughing, almost without looking at each other ... Ottivily uttering, exactly burning ... words"; Human servant says "even voice, addressing the imaginary companion."
Art features of the play are subordinated to one task - to reveal in the relations of man and rock tragedy of all mankind. With this basic idea of \u200b\u200bthe play is associated with a refusal of the intense dynamics of the storyline, from the disclosure of the internal experiences of the heroes. For the author, there can be no interest in one or another combination of specific life positions - before eternity, everything is negligible and predetermined, therefore there are no psychological or other "real" motivation of plot events in the "human life". The actions of the heroes, the situation in their lives are submitted by them by random: the accident is rich, by chance his son is killed, by chance he becomes poor again. All events in the Hero's life are motivated only by the elemental, "blind" laws of fate. The man in the play Andreeva does not torment, does not suffer, does not feel joy or despair - he makes only marks, signs of his emotions, reports to the audience that he is experiencing in this minute. However, the random of plot situations is external: it justifies in the prologue because the person "persogently performs" the fate of the "Circle of Iron Prealtance" defined by the fate. To show the "blind ignorance" of a person, Andreev eliminates realistic motivation, depensive characters, develops a stage action exclusively as an expression of the main author's idea. That is why Andreevsky man is not endowed with the motive of tragic guilt - the doomedness, suffering, death is the result of not an internal mental struggle, but an external incruise Rock.
In the "human life" (as in some subsequent plays), Andreev managed to anticipate the characteristic features of the expressionist drama, which most developed in German literature 1910-1920s (in the play of Kaiser, E. Toller and other writers). Like German expressionists, he acted out the tragedy of the existence of an alienated human "I", helpless before the power of rock. Having put forward a reflection of events, but an emotional, subjective attitude towards them, Andreev created the "art of experience", in which the paintings of real reality were deformed under pressure of the turbulent, confused experiences of the artist, anxiously responded with the scinting dissonants of history.
