The theme of the 20th century filled in Russian literature. The menu of the reading gourmet: Food in Russian literature. Appointment of the poet and poetry

"Demon" Pushkin

"Demon" Lermontov

There is a lyrical hero (pronoun "to me", "our meetings", "me") and there is a demon ("he", "his" - anaphor, "evil genius")

Distance between heroes at the request of the very lyrical hero

There is only "he" (anaphor), distance, inadmissibility

The demon descends to the hero (text space)

Demon in the embroidery, over the world

"Wearing between smoky clouds ...

It is its real throne;

On it, the winds of the winds of the numb ... "

The demon is the world of the past ("in those days when I was new // All the impressions of being ..."; "Then some kind of evil genius // began to secretly visit me.")

The demon is the present ("He loves ... Sits ... // He is incredulously hesitating ... He rejects all the messengers. // He sees the heel indifferentously."); All verbs in the present time

There is no indifference ("stinging speeches, inspired by despised, looked mockingly on life")

Double ("Indifferently sees" but the "voice of passions")

Genre

Poetic cycles

"Panayevsky cycle" (N.A. Nekrasov)

"Denisyevsky cycle" (F.I. Tyutchev)

Cycle of poems Mary Lazich (A. A. Fet)

Cycle poems about block (M.TSvetaeva)

Romani-Epopea

L.N. Tolstoy "War and Peace"

M. Sholokhov "Quiet Don"

Formal form of narration

N.S. Leskov "Enchanted Wanderer"

M. Sholokhov "The Fate of Man"

Utopia and antiutopia

S.-Shchedrin "History of one city"

N.G. Chernyshevsky "What to do?" (4 Son Faith Pavlovna)

E. Zamyatin "We"

O. Huxley "On the wonderful new world"

D. Orwell "1984"

Artistic images

Romantic image of the sea

V. A. Zhukovsky "Sea",

A. S. Pushkin "To the Sea"

The image of a talented Russian people

N.V. Gogol "Dead Souls" (peasants selling Sobesevich)

M.E. Saltykov-Shchedrin "Wild landowner", "The story about how the man of two generals has been punished"

N.S. Leskov "Enchanted Wanderer" ("You are Russian. Russian man can")

The image of twins in the literature

FM Dostoevsky "Crime and Punishment"

S. Yesenin "Black Man"

R. L. Stevenson "Dr. Jekyll and Mr. Heid"

Dreamers heroes

N.V. Gogol "Dead Souls"

FM Dostoevsky "White Nights"

ON THE. Nekrasov "Who lives well in Russia"

Topic

Theme of friendship

A.S. Pushkin "In the depths of Siberian ores", "to the Pushchina", "to Chaaadaev"

A.S. Pushkin "Eugene Onegin"

I.S. Turgenev "Fathers and Children"

EM. REMARK "Three Comrades"

Man (people) and history (who does history)

L.N. Tolstoy "War and Peace" (Roy Life, History as an independent process from one person),

A.S. Pushkin "Captain's daughter", "Boris Godunov" (the story creates people, acting or silent)

M.Yu. Lermontov "Borodino" (Russian soldier -bogatar creates history)

Nature as the world unknown, standing over man

F.I. Tyutchev "Not that Manty You, Nature", "Nature - Sphinx. And it is more faithful ... "

A.A. Fet "Learn from them, Oak, Bereza"

"Strange" love for Russia

F.I. Tyutchev "I can not understand Russia"

M.Yu. Lermontov "Motherland"

M.Yu. Lermontov "Farewell, unwashed Russia ..."

Clash generations

M.Yu. Lermontov "Duma"

I.S. Turgenev "Fathers and Children"

A.P. Czechs "Cherry Garden"

Human attitude to art

N.V. Gogol "Portrait",

O. Wilde "Portrait of Dorian Gray"

I.S. Turgenev "Fathers and Children" (dispute Bazarov and Kirsanova on art)

Attitude to education and enlightenment

DI. Fonvizin "Nepalm"

A.S. Griboedov "Woe from Wit"

I.S. Turgenev "Fathers and Children"

Plot and composition

Ring composition in the artistic text

A.S. Pushkin "Evgeny Onegin", "K ***"

M.Yu. Lermontov "Sleep"

F.I. Tyutchev "Oh, how murdering we love"

N.V. Gogol "Dead Souls"

A. Block "On Vallests, about the exploits, about glory ..."

Inserted episodes as an important structural element (stories, dreams, legends, parables)

A.S. Pushkin "Captain's Daughter", "Peak Lady"

N.V. Gogol "Dead Souls"

FM Dostoevsky "Crime and Punishment", "Brothers Karamazov"

ON THE. Nekrasov "Who lives well in Russia"

Lyrical deviations as an author's presence form in the text

A.S. Pushkin "Eugene Onegin"

N.V. Gogol "Dead Souls"

Antiteza as key reception image of heroes

A.S. Pushkin "Eugene Onegin"

L.N. Tolstoy "War and Peace"

Internal monologues of heroes

FM Dostoevsky "Crime and Punishment"

L.N. Tolstoy "War and Peace"

M. Sholokhov "The Fate of Man"

Separate stories I. Bunin from the "Dark Alleys" cycle are included in the class 9 of the class, so you can attract the work of this writer.

After the events of the first revolution in Russia, A. Block publishes the poem "full". It was a peculiar answer of the poet to the situation that was created in his homeland. The bloody events of the revolution should have changed the device of Russia, to make new trends in the political management of the state. The block itself considered the revolution with a positive phenomenon, because it was a cry of all offended and stranched.

In his poem, the author calls the "satisfying" rich people who lived like cheese in oil, thanks to all oppressed. The block outraged such a state of affairs. After all, there are so many misfortunes and grief in the country, a country in ruins, and her "full" residents rejoice in life, as if nothing had happened.

The lyrical hero of the poetic lines is indignant and the fact that rich has long lost all the opportunity to live in real. The block uses the metaphor of the "White Flowers" metaphor. It perfectly emphasizes the worthlessness of the lives of the rich, their emptiness. The author compares white flowers with human souls that have been empty and started.

In his creative work, the poet does not once use the word "boredom". In his opinion, it is consonant with the lifestyle of the "full". They wereted spent precious time for boring dinners, beyond the tables breeching from food, for communication with beautiful floors. And suddenly, such a "oil" life comes an end. The block suggests that "light electric ground". The rich is looking for candles, asking for light, but it does not help them in a dark position. Their lives have long been extinguished.

The lyrical hero is outraged by the landed needs of the filled. They are worried about the fact that it is not from where it will take them a lightweight bread, without which it will be fed. The block does not hold back its emotions and compares the rich with pigs. Now, after the events that occurred, the "full" will see the true situation that is going around around them.

In the last lines of the poem, A. Block makes a sufficiently unexpected conclusion. He says to just leave the "full" alone. They are punished with fate and their meaningless life. The poet encourages the new generation not to take an example from "full".

The poetic work is full of epithets and metaphors. The author uses exclamation marks to emphasize some phrases, make accent on them. In the poem "full", the author expresses his feelings and emotions after the events of the revolution, he expresses his personal opinion and is trying to convey it to the public.

Come in and sit down, the kind reader, the table is already covered. In our current menu - pies and salt cucumbers, oysters and roast beyf, dumplings, pancakes and other dishes that appeared on the pages of Russian classical literature XIX. Praphrazing the well-known saying of Eugene Evtushenko, I can safely be called "more than food" in Russian classics. And it's not only in the appetizing descriptions: it is often precisely through the "food" images and vocabulars, writers managed to transfer the thinnest nuances of meaning.

Soups against oysters: duel of life philosophy

The first truly exciting appetite rows Russian literature is obliged to G. Daughter. Already in his Ode "Felitsa", he chants the "glorious hammery of Westphalian" and not without ash ash is recognized by the mouth of the lyrical hero: "I drink champagne, and I forget everything in the world." In the "praise of rural life" the poet is going even further and asks the nodular gastronomic dichotomy of Russian literature: Zamar sophisticated food against traditional homemade. He draws a cozy picture of the home landlord dinner in a family of a family with a pot of "hot, kind", after which the oysters and everything else, "what the French" seems to be tasteful.

In the future, this opposition appeared on the pages of many Russian classics, developing and deepening, but the essence remained the same: French cuisine broke the symbolism of a secular glitter, cut off from the house and the desire of "beautiful life", and the traditional Russian food personified family, ease of morals and The commitment of "habits of cute ancient".

It is bright this clash of two worlds manifests itself in Evgenia Onegin A.S. Pushkin: It is difficult to find two less similar meals than the exquisite feast of Eugene in the St. Petersburg restaurant and the name of Tatiana in the Larina's house. On the same pole "Roast-Beef bloody", truffles, pineapple and expensive French wines, on the other - fatty pie, roast, domestic zimlian champagne and tea with rum. Can heroes with such different habits understand each other? Unlikely. The incorrect of culinary traditions and the relationship to everyday life emphasizes incompatibility and mutual misunderstanding of our heroes even before the final "no" Tatyana sounds.

The incorrect of culinary traditions and the relationship to everyday life emphasizes incompatibility and mutual misunderstanding of our heroes even before the final "no" Tatyana sounds.

However, Pushkin is not a moralizer and does not condemn "all French", paying for each of the two worlds and describing them with the same observation and warmth.

No less expressed conflict of "simple" and "secular" food in Anna Karenina Lion Tolstoy. Gorgeous dinners Steve a blessing with oysters and parmesan are opposed to simple leaf meals, loving soup and porridge and sometimes dividing the crude with peasants. Despite the fact that the sympathies of the author, of course, on the side of the folk cuisine, the feet feet, he paints with knowledge of the case. However, the duality of the gastronomic universes in Anna Karenina is not only for the disclosure of character characters, it contains a much deeper symbolism. Attitude towards food becomes a reflection of attitudes towards life and moral choice.

One of the cross-cutting images of the novel - Kalach, having a metaphorical value of the temptation. In the dialogue with the Oblobsky, this image is chosen in words: Levin compares the treason to his beloved wife with how the full man steals the Kalach, and the Blond objects "Kalach sometimes smells like that you can not hold."

After reading this episode, it becomes clear the symbolic meaning of the scene from the beginning of the novel, where Steve Oblonsky, who has recently changed his wife, is happy to eat Kalach with butter and shakes his crumbs from his chest (there is a parallel with a bought off the forbidden fruit). Levin, the supporter of the position "Do not steal Kalachai" interacts with the ill-fated bakery product otherwise: before asking the hands of Kitty, he orders Kalach in the restaurant, but he does not feel the desire to eat him and in the end ... spits.

Of course, this item can say that in the excitement hero lost all sorts of appetite, but it is impossible to get out of accounts and a metaphorical interpretation.

On this "food" comparisons in the novel do not end. The image of the Kalach is only one of the unworthy chain links, which are connected to the "Anne Karenina" concept of love and passion, hunger and gourmet. "I am like a hungry man who gave there," says his love for the Vronsky Anna. Surviving the cooling of Vronsky, she notes: "Yes, there is no taste for him in me." The difference of perceptions is also noticeable: for her love is a thickening of spiritual hunger, a vital necessity, and for him is just a taste that can fade. In this regard, Anna turns out to be closer to Levin, who eats in order to "quickly improve", and not a little more fellow. At the end of the novel, the taste for food (and life) loses and Anna - it is not trusted to bread and cheese, and at the station, her attention attracts a dirty ice cream in the appearance of ice cream and greedy glasses of boys on him. "We all want sweet, tasty," she thinks with disgust, and, of course, the meaning of this proposal is not only in the statement of universal love for sweets.

Patty with love in Gogol

The theme of food and its correlation with love and passion is found in many works of Russian classical literature of the XIX century. Chaste in the image of the carnal passions, in relation to food pleasures, it was not as ascetic. All wealth of tastes, paints, the whole range of pleasures related to food, are displayed in it, sometimes with voluptuous sensuality. Especially expressively, this relationship is manifested in the works of N.V. Gogol.

The researchers wrote a lot about the meaning of food images in the works of Gogol, primarily for the disclosure of the characters, but we want to focus our attention precisely on the relationship of passion and curding. They are so often going in his books side by side, that you can withdraw the formula "Love \u003d Food", and vice versa.

In the course of further development of events, the equality of love and food turns into the amount: the hero combines both pleasures in one hand, holding a dumplings, and the other hugging "Dorodo Stan" hostess.

The bright embodiment of this Gogol axiom is a parody scene from the Sorochin Fair, where the heroes are flirting with the help of gastronomic vocabulary against the background of the appetizing table. In the course of further development of events, the equality of love and food turns into the amount: the hero combines both pleasures in one hand, holding a dumplings, and the other hugging "Dorodo Stan" hostess.

But the most romantic and even lyrical gluttony describes Gogol in the "Starosvetsky landowners". The ironic ode of the happy life of Afanasiya Ivanovich and Pulcheria Ivanovna is the ot of mutual care, expressed primarily in the desire to feed deliciously. Pulcheria Ivanovna constantly sweats his beloved spouse with pies, dumplings, homemade pickles, fruits and other "products of ancient delicious kitchen." The world outside the fence of the garden for them does not exist, there are no children from old people, and, closed on each other, they seek to fill the life of a beloved creature with pleasures. In essence, it's all that they remain. Love is integrated into the food, and, judging by her quantity, the feeling is huge. The food becomes the only opportunity to create any of their joint love, and this concern turns into self-realization, in the meaning of life.

No wonder the first "household" request of the Pulcheria Ivanovna to the key on the mortal window - "so that in the kitchen it was preparing that he [Athanasiy Ivanovich] loves," and a confused husband, not knowing how to help the dying old woman, inviting her "to eat something" . And, for the first time destroying their lucky food cycle, she does not answer him and dies. But the memory of her is perceived by a widow through the prism of the food: seeing the once-favorite mines of Mnishki with sour cream, Athanasiy Ivanovich, despite all attempts to stay, bitterly and loosely crying. It is noteworthy that the premonition of death comes to the old man in the garden, according to which the spouses loved to walk together and the amazing fertility of which causes clear associations with a paradise garden.

Parallel "Love-Food" is pronounced in other works of Russian literature. Returning to Anna Karenina, let's remember a huge pear that Steve Clonsky brings his wife (and on the same day his, happy and careless, expose in treason). The touching point is as indicative of a much later "walking in torment" A.N. Tolstoy, where Telegin is awkward trying to take care of the Dasha in their first meeting, choosing her the most "delicate" sandwich and offering caramels from his pocket. "Just my favorite caramels," the girl answers, trying to make him pleasantly - and on the metaphoric level takes his courtship, sympathy and, ultimately, Tellagin himself.

Gastronomic paradise or pancakes killer

Another major novel in which the symbolism of food - "Oblomov" IA is infinitely important. Goncharov. Food in it also becomes synonymous with love. The perfect image of a crushing in the imagination of Ilya Ilyich is a paradise picture, woven from love and sleep. The fullness of life is embodied in the dining table bursting from the dining table, and it is not surprising that the bug is clearer the "food" language of love of the troubleshooting hostess of Agafia Timofeevna, which read it with various tastes, rather than attempts to wonderful Olga awaken him to life.

Even the surname of Pshetitsyna - "Talking", and in the novel, its image is still echoing with the theme of baking. That bugs will look at her, like a "hot checker", the hostess treats Barina Pie, which is "not worse than broom."

Moreover, every time this process of treats is emphasized by telenissem and sensual: due to the curtain, the nude hand of Agafias with a plate, which smokes freshly baked pie.

The pleasure of food is connected to the eroticism of the naked body - and immerses the unfortunate Ilya Ilyich is all deeper into the abyss of the sleepy mundane. NEUCH OBLOMOVA - "Heart's Heart" - also associatively associated with the theme of gluttony, and it is also indicative that he, realizing that "overwhelming the daily stomach is a kind of gradual suicide," yet it cannot stop. Here, the theme of food acquires another dimension: its correlation with the theme of absorption and death. Associative examples in the novel abound: afternoon sleep in a crushing, called the author "True Seat Sending"; Mention of rustic geese, which are suspended motionless so that they swim with fat; the thoughts of the Barin on the "uncomfortable" hands of Agafia, who will "feed, will seek, we will put and go to sleep, and when you have closed<…> eyes".

Another curious relationship between food and death begins in the Roman M.E. Saltykov-Shchedrin "Lord Golovy". Jewish tender, an amateur of diminishing gradual endings and conversations for tea, a strict jealous of the "dinker" and "Panhiddy" is not called the book "Empty-born". This definition can be attributed both to the inner emptiness of the hero and its insatiable hunger to the material benefits. This hunger, the feeling of needs and its tackle gradually envelops all the Barican estate, as Porphyry, Vladimirovich, chooses all new and new ownership to his hands.

Trio "Hunger-taste-satiety" passes through the entire text of the novel. The multi-self-advantages of the Jews are compared with the "stone filed by the hungry person," and the author himself wonders if the hero is recognized, "that this is a stone, not bread," but in any case, "he had nothing else." At the end of the novel, Gollyovo appears the imagination of Anninki as "death itself, evil, empty", as a place where they feed the fierce Solonina and stop each excess piece.

The pleasure of food is connected to the eroticism of the naked body - and immerses the unfortunate Ilya Ilyich is all deeper into the abyss of the sleepy mundane.

The theme of rotting and decomposition becomes a natural "bridge" between the theme of food and death, and the story from the beginning of the book on how the Englishman ate the defense cat for the dispute, is naturally woven into this metaphorical series.

Another food parallel - "Sweet Gorky" - often appears in the speeches of Jews. As a rule, with respect to "bitter", but the well-deserved parents and the desires of "sweet", which must be kept. The only one who in the sweet ledge does not fail to be abandoned - this is his mother who has a son "and warmly, and sate". The conflict with the brothers is also often transmitted through the "food" images, starting from childhood, when Judushka hid an apple to his closet, and Brother Volodya found him and eaten it, and continues with the comparison of children, deprived of inheritance, with "thrown pieces". The separation of these "pieces" deepens the theme of fragmentation, decomposition, division of the whole part and their absorption.

It is noteworthy that, the pie, a symbol of family unity and abundance, so often mentioned in many Russian works, in the "granny gentlemen" appears rarely. However, the context of its appearance is always "talking". In the course of the action, the mention of the fact that the mother does not give the cake to their children, who keeps the injignment - and when they were small and when they grew up. The unloved eldest son Stepka-Balbes as a child climbed into the kitchen and stole there a pie (an indicative metaphor to get love by all means), but, becoming an adult, I understood the hopelessness of my efforts. Having arrived at the mother, he learns that it is expected to dinner, among other things, raspberry cake with cream, and summarizes with bitterness: "Shit, but<мне> will not give".

The only pie for eating in the novel is described by the sophistication - a memorial, connecting symbols and disasters, and death.

The food and death in a small, but very expressive humor of A.P. are directly connected. Chekhov "About the Brinic". In it, Senzkin's supervisory adviser is carefully preparing for eating pancakes: pours their oil, caviar, sour cream, covers fat slices of salt fish, and ... dies from apoplexic strike, not having time to taste delicacies. Was the murderer of the subtyuchin, a ridiculous chance or, at least partly, is the fault of an unlimited passion for food? Speaking "Passion", we mean the erotic shade, which is also looking at this sketch in this sketch: at the sight of the rich appetizers, the face of the survival adviser "crushed sweetness", and the pancakes themselves the front "chubby, like a merchant daughter's shoulder."

This is not the only mention of the writer pancakes in the context of Tanatos. In the passenger story, the "stupid Frenchman" of Chekhov also refers to the theme of death (in all senses) of gluttony. The arrivals of the French clown Purkua witnessed the gluttony of the Russian Kutil, and, looking at how he orders new and new dishes, it comes to the conclusion that he wants to end the life of suicide. The Frenchman decides to save the unfortunate and ends everything as often happens in the works of Anton Pavlovich, confusion. The topic of the curmonary, no longer in the "fatal" context appears in other stories and plays of Chekhov. Sometimes as a tragic counterness of the feelings of heroes (the famous "sturgeon with a shirt" in the "lady with a dog"), and sometimes - as a subject of almost sympathetic irony. The brightest example is the story of "Siren", entirely dedicated to the invincible "food creature".

Sturgeon of the second freshness and Narzan from a different life

From the image of death to the image of Paradise (including lost) - only one step, and many writers (especially in the 20th century) have been trying to eat as a reflection of the "lost paradise". This sensation is created by reading the novel "Summer Lord" I. Shmelev.

Children's joy of life, abundance and multi-stage surrounding world, admiration for each of his trifles - all this creates a feeling of the perfect world, which at the end of the book is destroyed in the eyes of the reader together with the death of the father of the main character.

But, while the fatal event happened, the expressive picture of the launch market appears before us, and covered with various religious holidays, and children's delicacies.

In the "summer of the Lord" food becomes a symbol of bliss, and it is based on certainty. The festive calendar is strictly observed in the family of the main character, and through this series of events, in a stream of strictly regulated time he perceives the world around. The change of traditional dishes on the table month during the month makes tangible and predictable rhythm of life. The stronger the collision of the boy with grief, when due to the fatal disease of the father, the traditional stroke of things is broken. And again it is the food that helps the author to demonstrate the tragic split of the children's universe on "to" and "after": Casting the dying father of the Hero of the Warranty, trying to console children, gives them a "wedding" candy. This inappropriateness of the festive delicacy at the funeral makes a deep impression on the child and becomes the first harbinger of difficult life changes, waiting for him later. In the late work I. Shmelev "The Sun of the Dead" on the difficult times of the civil war, frightenably described "hunger, and fear, and death". The word "satiety" and its derivatives are found in the text of the book only 2 times. (For comparison, the word "hunger" and its derivatives is 67 times). But this "Summer" will forever remain in the memory of the lyrical hero with a lacquer and cloudless.

The only pie for eating in the novel is described by the sophistication - a memorial, connecting symbols and disasters, and death.

Another writer, the attitude towards the food of which can be undoubtedly called "nostalgic" - MA Bulgakov. In the terrible years of the revolution, the subsequent "nonsense" and the global social reorganization of the food culture also changed. A lot of evil irony addressed a writer on the pages of his novels and the leading new world order, paying attention and gastronomic change. How not to remember the "sturgeon of the second freshness" and Krakow sausage, poisonous comments on the "third triablocks" and table "normal nutrition". All these innovations are felt by the author as a violation of the norm, well-established life rhythm, and the author, although not without self-chain, longing about the irrevitable past.

This longguard about the already divided by his heroes: the intellectual Professor Preobrazhensky from the "Dog Heart", which is trying to preserve the home order as it was before the revolution, Fock and Ambrose from the "Master and Margarita", which tastes about sterlies, filleaches, Waldshnepa and Eggs -Kokott. However, on salmon, sliced \u200b\u200bwith the finest slices and calf in the silver rim, covered with snow, is already lying the seal of doom. "Take food" Preobrazhensky and "Harving" Sharicikov are incompatible, both in the semantic and on a purely phonetic level. Lost paradise floats in the past and becomes unattainable. And when the Bulgakov with the jokingly exaggerated delight nostalgies the mouth of two gourmets about the disadvantages of past times and "hissing in the throat of Narzan", then in this hissing there are barely audible tears.

Love and death, satiety and all-consuming hunger, paradise abundance or poison and rot - theme of food is tens of dozens, if not hundreds of possible interpretations. The attitude towards the adoption of food affects both the body and spiritual aspect of the human personality, and it is their merger and mutual enrichment that makes the gastronomic images in the literature be so understandable and tangible. However, the food not only has long entered the literature - the literature itself is often discussed with the help of culinary categories: "good taste", "food for mind", "delicious" text. It remains only to avoid the book fast food and enjoy the art of ingenious word chefs. ■.

Natalia Makuni.

Literature

1. Chekhov A.P. About the brinity, 1886.
2. Saltykov-Shchedrin M.E. Lord Golovy, 1875-1880.
3. I. A. Goncharov. Collected Works in eight volumes. T. 4. M.: State Literature Publishing House, 1953.
4. Gogol N.V. Starlavetsky landowners. // Gogol N.V. Evenings on a Farm Near Dikanka. Mirgorod. Tale. Comedy "Auditor". - Alma-Ata: Zhazushy, 1984.
5. Tolstoy A.N. The Road to Calvary. 1921-1941.
6. Tolstoy L.N. Anna Karenina. // Tolstoy L.N. Anna Karenina: Roman in 8 h. M.: Art. Lit., 1985.
7. Pushkin A. S. "Evgeny Onegin". // A. S. Pushkin. Selected writings in 2 tons. T. 2. Novels. Tale. M.: Ripol Classic, 1996.
8. Derzhavin G.R. Felitsa // GR Derzhanin. Poem. L.: Soviet writer, 1957.

Ivan Sergeevich Shmelev (21.IX / 3.X.1873, Moscow - 24.VI.1950, Buress-An-Ot, buried near Paris) made his debut as a prose in 1895, published in the journal "Russian wealth" the story " Mills. In 1897, his book of travel essays "on the cliffs of Valaama" was published, which did not have success from readers. He returned to literary work after ten years. His works of the 1900s were written on modern material, their hero is the "small" person ("Wahmistra", "Ivan Kuzmin", "on a rush case", "decay", "citizen of Uklayikin").

Literary glory I. Shmelev brought published in 1911 in the XXXVI collection of "knowledge" The story "Man from the restaurant", in which it was expressed in the traditions of prose N.V. Gogol and "Poor People" F.M. Dostoevsky Theme of the poor and dysfunction, "small" people, as well as the Knanevskaya orientation on social conflicts and protests, to condemn satisfied and full. In the narrative of the waiter of Yakov, the Skornohodis about the prosperous visitors of the restaurant is a social cut of rich Russian estates. However, already in this story, I. Shmelev declared his interpretation of the traditional, established in Russian literature the topic. He focused on the reader not on the compassion of the "small" man for Dostoevsky and not on his social confrontation on bitter, but to save a person, his spiritual revival through the mobilization of the domestic forces given to him by the Lord. Slorvers in some extent a moralist-Christian, he is comforted by the highest fishing. The theme of the inner victory of a person, the concentration of its spiritual and physical possibilities as the result of the Orthodox worldview, declared by I. Shmelev in the "man from the restaurant", dominates in all his work.

The next step in the creative destiny I. Schmelev was associated with the "book publishing of writers in Moscow", with the circle of writers whom the criticism united the concept of "neorealism". Social topics, orientation on an objective reflection of reality, the events gave way to other, neoralistic, trends, priority became author's vision of the world, the impressions of the characters from what is happening, lyricism in the image of reality, plot incompleteness, etc. In "Rosstany" (1913) I. Shmelev paid the maximum attention to household details, which not only served as an artistic background, but first of all the emotional, subjective start of the narrative.

In the same period, I. Shmelev turned to another hero - to the patriarchal peasant. Already in its pre-revolutionary creativity, the concept of a national nature began to form and in connection with this, the topic of anticipation, RUSSIAN (for example, the "Sigor Days" cycle, 1916), which is on par with the theme of the Renaissance of a person, overcoming them the earthly evil becomes one of the main in the post-revolutionary work of the writer .

As many intellectuals, the writer believed in the February Revolution and categorically did not accept the October. Together with his family, he settled in Alushta. Here he created the story "Inspromandable Bowl", the cycle "In Siberia for the liberated", "spots", fairy tales. He still retained the hopes for overcoming the ruin, the strength and consciousness of the owner, the restoration of the usual mistake. However, in the Crimea, he witnessed the tragedy of a thousand voluntary army, mass executions of the White Guards. In the same red, his son was shot.

In the spring of 1922, I. Shmelev returned to Moscow, he managed to overtake permission to leave Russia, on November 20, together with his wife he left his homeland. Schmelev settled in Berlin, then since January 1923, - in Paris. In Russia, he published 53 books of his works, their re-edition was an eight-rate meeting of the ages and stories.

The revolution was perceived by the shlelev as a Russian apocalypse. In 1923, he wrote an autobiographical prose about the Crimea of \u200b\u200bthe Time of the Bolsheviks "The Sun of the Dead", about the dying of the world once created by the Lord, the genre of which he marked as "Epopea". Contemplating the death of the earthly paradise Hero-narrator, surrounded by a hungry Crimean graveyard, in his thoughts, like a Old Testament husband, appeals to eternity - the burst of the sun, the sea, the wind and finds a consolation in God. The Lord strengthens his faith in the infinity of the world, in the eternal life of the soul, helps to preserve peace and will, not to be their own in the animal, ancient, cavemen, where cats eat, steal cows, confiscated libraries, drive out of their own houses, where wheat handles are more expensive man and where to "kill go".

Written in the parable manner The head of the punitive mission of the red "who kill walk" expresses the eschatological, apocalyptic theme "Epopesi": the time turned to reverse, to the cave ancestors, devils are about to be "started to beat into the walls, shake our house, dance on the roof", And a lot of work was added to those "who kill walk" - "beyond the mountains, under the mountains, by the sea," they were tired, "you needed to make a slaughter, to make figures for balance, to sum up," you had to kill a lot, more than one hundred and twenty thousand .

Two characters of the "Sun of the Dead" - the narrator and the doctor are a dispute about history, time, death and eternity. If the Crimea has become a "jealous cemetery" with unnecessarily days and if "from Bela Kuan's freedom to kill", then the watch, as the doctor notes, are strictly relent, and the time for him stopped, and it smells like a quench. The doctor stops believing in the immortality of the soul. He is sure that now the human life is stacked between the "garbage", in which the Red turned the earth, and non-existence ("from the garbage in nothing"). The doctor perceives a new power to Providence: "Hooligan" came and threw a veil with "secrets".

In the personal life of Dr. Being "Lumping" was expressed in the death of his wife and the inability to bury her in human. She finds his last shelter in his own dowry - the coffin serves as a closet, in which the apricot jam once was stored. The doctor is ready to create a philosophy of real irreality, the religion of "non-existence", in which a nightmarish fairy tale becomes the best and Bakhchisaray Tatar, like Baba Yaga, sues and eats his wife. Throughout the Crimea, for three months, the doctor counted eight thousand cars of human meat, the corpses of people who were shot without a trial and the investigation was "contribution to the story ... of socialism."

The tragedy of the doctor is not only that the world dies, but also that his soul has lost faith, the state of peace and will. He performs an experiment on himself and concludes that hunger paralyzes will. His death during a fire - as if the punishment of hellish fire for disbelief in God's help, the power of good and immortal soul. He was granted to his faith.

The opponent of the doctor, the narrator, believes in the "bright end of life", in his eternal soul, the infinite coexistence of it with the blue Crimean mountains. The concept of life I. Shmelev is close to the philosophical theme of the infinity of being in the work of I. Bunin. The "Sun of the Dead" is expressed the idea that underlies the philosophical essay I. Bunin 1925 "Night". Hero "Epopesi" argues: "When these deaths end! There will be no end, all the ends - the ends start, life does not know the ends, began ... "The Lord gives the hero for his faith - and the old Tatarin sends him a gift: apples, flour, tobacco. The hero perceives this parcel as the sky. Shmelev is important to convey to the reader the topic of righteousness: Not one narrator is faithful to God, the girl Lyal believes on the resurrection of the dead, and the righteous people still live in the falling off Crimean Sea and with them their "life-giving Spirit."

Symbol of the Sun of the Dead Dan Schmelev in accordance with the Orthodox faith. It defines as a dead life of those who are fed, well-being, takes life on newspapers and deaf to human grief, who did not love the neighbor.

Author's concentration on the topics of the struggle for the soul, spiritual overcoming evil, rewarding on faith, on the conflict of apocalyptic phenomena and the resurrection distinguishes "epic" from the genre close to it, on autobiographical material, in diary form, on the enhanced subjective lyrical beginning of the "popy days" and . Bunin and "Zavigar Rusi" A. Remizova. However, the critics of Russian emigration were allocated in the "Sun of the Dead" and in the work of I. Shmelev as a whole, very different motives, for the writer, in fact, no longer the main, secondary: the opinion of the influence on his prose of the Emigrant Period of the Art World F.M. Dostoevsky with his themes of pain and suffering. So, the city of Struve metaphysical meaning of the doctor's image has reduced the rectilinear Association with the heroes of Dostoevsky's works: "Polesmous-sedentiary Dr. Mikhail Vasilyevich in the" Sun of the Dead ", who suffers from some incontinence of speech, telling the" advanced "stories jumping out from the subject and cumming that burns herself at his dacha and his burnt stops learn about some special bandage, which he loved to say, as if he came out of pages of Dostoevsky, although in the truthfulness and vitality of his image no doubt arises. " In writing later, the Romans of Shmeleva G. P. Struve watched "Dostoevshchina".

G. Adamovich in the book "Loneliness and Freedom", published in New York in 1955, also interpreted the emigrant creativity I. Shmelev in the framework of the tradition of Dostoevsky and reproached the writer in "Dostoevshchina", T e. In the image of only the atmosphere created by Dostoevsky , namely, pity, resentment, suffering, powerlessness, and other things, while the philosophy of Dostoevsky, doubts of Ivan Karamazov or longing Stavrogin escaped from him.

Another view of the creativity I. Shmeleva expressed the philosopher I. Ilyin. In a number of articles and book "About dark and enlightenment", published in Munich in 1959, he determined the main theme of the writer - overcoming suffering and grief, without which there is no history of Russia, through the "spiritual burning", prayer, "climbing the soul to true , all overcoming reality. "

The idea that the people can defeat Bolshevism only with God, was based on the publicity of I. Shmelev. In 1924, he wrote the art soul of the Motherland, in which the Russian pre-revolutionary intelligentsia reproached: she "scratched at Lietzsche's lowraights and walked into the Marxist Bog," she rejected the true God and made the man of man; She joined the people of conscience, inspiring him the ideas of freedom, equality and fraternity; Instead of God, she showed the people "malice, envy and - team." But the writer expressed faith in the fact that there are still Russian people who are "god in the soul, the soul of Russia is kept in themselves." The first of these is our "hot youth of our", "the brown blood of Russia, with a quiet Don and Kuban, - Cossack power," they are "alive." I. Shmelev was the faithful monarchy, close to the ideas of a white case, one of whose inspirationors was I. Ilyin. In the "small" people, former people, he first sought to show those who are able to hold in the name of God and liberation of Russia: "And then only all the blood and all flour will pay off; Only so darking! "

In the 1920s, I. Shmelev issued collections of stories "About one old woman. New stories about Russia "(1927)," Mind Light. New stories about Russia "(1928)," Entry to Paris. Stories about Russia overseas "(1929); In 1931 he saw the Light Collection "Native. About our Russia. Memories".

The theme written in the story-style stories, United I. Shmelev, in the collection "About one old woman", - the tragedy of the "former" man who survived the revolution, lost his family, the work, which was rejected from the normal life, unnecessary Soviet Russia, unprotected, but attempting not only to survive , overcome evil, but also to regain the ruined way. The heroine of the story "About one old woman" becomes a "bag", "speculatting", the production of products for his starving grandchildren, she curses the Son Expropriator for the fact that that "robble-mocking".

In the "letter of a young Cossack" in the form of a claim-crying, an uneven Cossack withdrew, who lost his homeland, which was in emigration; It comes to him rumors about the execution, shooting and worm in the quiet Don. In the story of the tragedy of "the former", it gets along with his faith in the fact that not long for him "strangers to hurt", which will help him and parents on Don Nikolai, the Most Holy Mother of God and saved him. In the vocabulary and syntax of the letter, the folklore and ancient Russian book tradition of the people affected, it was saturated with classic for popular consciousness images: the horse "Shelkov washing" and "White legs", the wind "whisper", and "Black Bird Slap, Belas Swan Changs sharpening" , "Blood white hands cry", quiet Don - "Batyushka", the Sun "Red", month "Clear", etc. The story is written in the rhythm crying: "Why are you silent, do not say how in the ground learn? Al already and quiet Don does not teach, and the wind does not carry, the flying bird does not shock? Can not this be, my heart is not feeling "- etc. In the speech of the "former" person, the spiritual culture is laid, which gives him the strength to overcome evil.

This is the case of personality, gaining strength to confront a new order, the desire to preserve its familiar lifestyle, contrary to the course of the story, and in the fate of Crimean - deceived by the revolution of the romance-intellectual Ivan Stepanovich and the calculating Ivan ("Two Ivana"), and the Russian sailor Ivan Bebein, I understand that at the advice of the "Russian power not to see" and "Sukina children" - the revolutionaries were deceived ("Eagle"), and the "former" person Feoganoste Alexandrovich Melcheev, with the old power - professor, and with Soviet - phantom, emanation, from Which stinks with a sovereign from wobble eyes and a cross lamb, which turned into a "European" ("on hemp").

From the topic of confrontation of evil, overcoming the sufferings by the power of the spirit I. Shmelev in the 1930s, in the 1930s, logically switched to his ideal - to the themes of Holy Rus, to Orthodox canons, and this choice opposed him to the prose of Russian literature with a critical trend characteristic.

Creating in 1930-1931 the autobiographical prose "Bogomol" and "Summer Lord" (1934-1944), the writer appealed to the past of Russia. In the "Lord" metaphysical content and related themes of the aspiration of the soul and life of a Russian person to the kingdom of the Heavenly, Orthodox cyclic world order and national mentality are connected with the motives of the labor cycle, the family text of the Zamoskvoretsky courtyard of the "Middle Hand" of the merchants of the Schmelevie, Moscow of the Eighties of the XIX century. The composition "Summer of the Lord" corresponds to the annual cycle of Orthodox holidays, which in turn is consistent with the history of Christianity. If the "Sun of the Dead" it was about the destruction of the world, then in "Lozhem" - about his emergence from the birth of Christ and eternal development. Boy Vanya and his mentor Gorkin do not just live the earthly life with her Annunciation, Easter, the holiday of the Iverland of the Mother of God, the Trinity, the Transfiguration of the Lord, Merry Christmas, Holie, Baptism, Carnival, not only live on the canon, according to which apples are removed on sav-transfiguration And on the eve of Ivan-lean cucumbers, but believe in the Lord and the infinity of life. This is the concept of Genesis in Shmelev.

The emergence of a new topic in creativity I. Shmelev caused an ambiguous reaction in Russian abroad. National and even household accent, which the writer intentionally introduced into a religious topic, served as the reason for the G. Adamovich for reproaches to the writer. In the "loneliness and freedom", the critic expressed the view that the religious feeling of I. Shmelev is inconsistently from the "conditional and national tone" associated with everyday structure, whose death for Shmelev is more significant, as Adamovich believed than the "Increased Essence" itself.

The opposite look expressed I. Ilyin, who noted in the domestic and metaphysical principles of prose I. Shmelev is not a contradiction, but synthesis. I. Ilin, reflecting on unity in the Russian consciousness of two suns, "material", otherwise - "planetary", and "spiritual and religious", wrote: "And here the shmelev shows us and the rest of the world, how this series of two-fun rotations lay on Russian People's Promotional life and as a Russian soul, in centuries building Russia, filled these deadlines of the year of the Lord and his prayer. Here, from where it is the title "Summer Lord", denoting not so much an art object, how much borrowed from the two God's Suns and rhythm of the figurative system. "

Henri Truway in his article about I. Schmelev identified a voltational, generalistic meaning of the "summer of the Lord" - works of "Calendar of conscience", about the "movement of the inner sun of the soul":

"Ivan Shmelev, who himself did not know, went on his goal. He wanted to be only a national writer, and became the world writer. "

In the history of literature "Summer Lord" and "Bogomol", perceived in a row with such works about the formation of a children's soul, as "childhood" and "adolescence" L. Tolstoy, "Children's Years of Bagrova-grandson" S. Aksakova, "Steppe" A. Chekhov. "Bogomol" is a narrative of the pilgrimage of Vanya, a carpenter Gorkina, the old Coucher Antipa, Fed-Baranochnik. Doms Panferovna with granddaughter from Zamoskvorechye in Trinity-Sergiev Lavra. The plot of Woven from the road episodes, whose witness becomes Vanya, from the description of the fate of the Bogomoltsev: young and dumb beautiful, who lost the gift of speech, leaving his firstborn, and during pilgrimage healed, a paralyzed Orlovsky guy, the Banochnik Fedi.

The event series, the earth's path of heroes towards the Lavra is connected in the work with the world, spiritual, with the ascent of the pilgrims to God's truth. The blessing of the elder of the Varnava becomes the crightest of pilgrimage. Meeting with the elder causes tears of religious delight and cleansing from a boy: "And it seems to me that the light shines from the eye. I see his sulfur beard, a sharp slap-scaffle, a bright, kind face, a contrast, dried by dense wax. I feel good from his caress, my eyes poured with tears, and I, I do not remember myself, I touch the wax with my finger, scratching the contractor. "

However, Lavra, the symbol of faith, cannot replace the Miiryanu, which is presented to him by fate. The man, on the thought of I. Shmelev, and in the world makes his Orthodox feat, because the old man of Varnava does not approve the desire of Fedi to go into the monastery: "... Lord with you, you need a good world! .."

The same theme of the execution of its debt in the world was performed in the story of I. Shmelev 1918. "An inparable bowl", the hero of which, a fortress artist, instead of the monastery, chooses mobility worldly, goes to study in Europe. In an art essay, I. Shmelev "Old Valaam" (1935) Writer and his young wife, during a wedding trip on Valaam, feel grace, consolation, enlightenment, which, as he notes, will not experience any of the Strauss, nor from Spencers, nor from Strausss nor from Shakespeare; Young returned to the sinful world, and it is in him after the Valaam they are ready to live on inspiration, taking the joy of being and believing in the future.

The narrator of the "Old Valaama" comongs to the Father Nicholas from Olonets Gubernia, who is exiled on the Valaam "under the beginning, for correction," for three years it worsels his sins there and longing about life in the world - about Popel, six of his children and freedom, "on a sinful The will is torn, "as the old obedient notes," in the cutting off the will, it is not prioblik. " The narrator "scary from these words", the drama of the father of Nicholas is clear to him - the peasant veil was strong in Palevka.

The "old Valaam" describes the abode of the righteous, elders and novices, who, unlike Father Nicholas, adopted monastic life as their feat. I. Shmelev describes people in favorites. They do not please the bodies, "because it is as dust, and they are baked about the soul, they feel humble, finding the path to salvation. For them, Valaam - the image of Paradise. As the obedient says, an old man in a skafea, in the spring there is paradise, "nightingry", "Angelic breath of air, flowers of the Lord." It is on Valaam olderity, "Lord Sowing", indestructible.

Valaam gives young even faith in the immortality of the soul. Challenge is characterized by the conversation with the father of antipa. They are oppressed by the conversations of death, about the crosses, about the graves, it is difficult for them to accept the image of the earthly life only as a preparation for death, to which the father of the antipa responds: "Over the grave, it will open ... Eternal life. In Christ ... The spiritual one is a man, "and from this" Intrusion "it became easily and believed in infinity.

"Summer Lord", "Bogomol", "Old Valaam", as well as the story "Kulikovo Field" (1939-1947) reflected the conviction of I. Shmelev in the exclusiveness of the Russian people, who, as he believed, was created to search for God's truth. Trying to find an explanation for the very fact of the victory of the Bolsheviks in Russia, he argued that it was in the name of the search for God's truth "the Russian people" went both for Bolshevism, but it was brutally deceived and offended. He naively believed in the "truth" of Bolshevism. The writer believed in the impression of the people. In the June letter of 1926, M. Vishnyaku, he wrote that he would soon "beat twigs ... Socialism carriers."

The heroes of the story "Kulikovo Field" occur in mystical events, which confirm the idea of \u200b\u200bI. Shmelev about the historical chosenness of the Russian people. The Orthodox people, as Shmelev writes, cannot part with faith in the truth of "almost fi-zicke." Mystical events symbolize the highest indication, finger of God. Vasily Sukhov, Forest Upper for the merchants and at Soviet power, a person who experienced and personal grief (one son was killed in the war, another "The Committee of the Poor was climbed for the hot word"), and the folk, cathedral ("Everything died, and for nothing" ), It is in the Kulika field of Saint Sergius Radonezh, with whom he conveys an old copper cross, the sign of salvation, his gentlemen in Sergiev Posad.

Heroes of the story - "former" (former investigator, former professor, former student V.O. Kuevsky). And the believing in God's fishing daughter Professor Medneshade Olya, and the materialist Professor Middlewick, and Maloss the narrator, the investigator, are forced to believe that the posterior messenger who appeared in Sergiev - Sergiy Radonezhsky.

The internal transformation of the heroes of the story reveals the philosophical theme of all creativity I. Shmelev - immortality and peace of mind as a god of happiness. As soon as the investigator decides to understand the mysterious history with the cross, it comes to him that " time did not become... century closed ... there will be no future, but now "; Olya after a meeting with the old man felt "as if the time was missing, did not become the past, and all - there is," and the deceased mother and the late brother - with her, because "whether we live, or die, always the Lord", "the Lord is not nothing Dies, and all - there! No loss, but ... always lives everything" From the words of the elder to Vasily Sukhova, Reaped the rest; In the middle house there was a "tranquility of the reputation of the disappeared world," after the meeting, the professor became the professor as a traveler, "desired peace found"; Father and daughter after the blessing of the elder are experiencing a feeling of "serene rest"; The investigator seemed that from the Lavra "Weighing Region", and when he still believed in the phenomenon of Saint, he himself became "light calm", and therefore his "heart snakes" and he experienced a "feeling of liberation." The stories that came to the heroes brings them a feeling of will. With the help of God, the narrator wins the inner victory "over the void in herself."

In the emigration, I. Shmelev created several novels: "Love story" (1929), "Nanny from Moscow" (1936), "Ways of Heaven" (1937-1948); Roman "Soldiers" remained unfinished, the publication of which began "modern notes" in 1930, and "foreigner", published in "Russian notes" in 1930

The novel "Nanny from Moscow" was written by I. Shmelev in the style of the say: the old Russian nanny, who turned out in emigration, told for a cup of tea about Russian troubles - the revolution of 1917, flight from Russia, the lives of refugees, as well as a adventurous novel of love story Her pupils of Kati and a young neighbor. The tale artistically motivated the displacement of the time periods - emigrant and Moscow. The nanny of Daria Stepanovna Sinitsyna was for Schmelev's personification of the people: in a letter to K.V. Denikina, he pointed to the connection of this character with a "man from the restaurant", for the right of nanny to judge the Lord in his, People's truth. So, from the story of Nianny, the reader learned that the father of Kati, the famous Moscow doctor, spent money not only in the contents and runs ("And for what the money these went, and ... in a burst, to the dambling, in his Mamon"), But also on the revolution. The nanny considers it appropriate to spend the Lord's money "for the soul" ("Well, to the church would have served, for the soul, or would help the orphans ..."). Only before his death, the doctor realized that he was deceived by revolutionary ideals.

"Love story" tells about how the young sneak under the impression of the "First Love" I. Turgenev is experiencing the enthusiasm and flour of love for the Maid Pashe and to the young neighbor Serafim. Love Tomorrow dies as soon as he discovers during a love date that beautiful Seraphim is the owner of a glass eye. The dead gaze of the tempted of seraphim is the image of a carnal sin: on the eve of the Orthodox holiday, she fascinates a tonya in the devil of the ravine and there decides to teach his love. Pasha goes into the monastery, in the metaphysical sense - his savior. I. Shmelev opposed love-instinct Love saving.

In the "Ways of Heavenly", the writer put his heroes before choosing the "ways of earthly", sinful, carnal, or "heavenly ways", virtuous. Viktor Alekseevich Vaydenhammer, carried away by the German philosophy and natural sciences, "became none of faith"; He grew up the passion "spiritually empty himself." He believed that "the whole Universe is a free game of material forces," without God and Devil, without good and evil. In love, there was no concepts of morality and debauchery for him, since the love itself is "only the physiological law of selection, call, which, as a natural phenomenon, is more useful to obey than resist." Thus, the theme of love as the natural need of a person was already declared in Russian literature, I. Shmelev in this novel negatively - in the absurd version.

Spiritual ripening of the hero, comprehending the "ways of heaven", faith in God - all this developed into a hero as his love had flourished for Darinka, "Gold Solon", Syrotez, an obedient in the monastery. The spiritual mission of the heroine - lead to God of his beloved; In this sees her earthly duty Older Varnaba.

The novel ended by God's Forgiveness of the Earth Passions of Heroes, their carnal sins. Waydenhammer after Darinka appealed to Heavenly Paths. Star shower at the end of the novel became signs of the sky. As I. Shmelev wrote, "" The path of climbing ", in the joys and tomorrows of the earthly, begins, begins with the deaf o'clock in the morning. As in the final "Crime and Punishment" F.M. Dostoevsky Raskolnikov, turning to the sledge-brought the Gospel, close to the thought of the consent, the unity of her beliefs and feelings with his convictions, feelings and aspirations, and in the final of the "Ways of Heavenly" presented by Darinka Viktor Alekseevich Gospel became a sign of their spiritual unity in God.

Their forbidden love, an impassable cohabitation of I. Shmelev condemned as a sin. If Viktor Alekseevich Darinka became a means of "release from dot", then for her love was "sinful happiness, the suffering of the achievement." Life "In Bluda" was punished by the Lord - Darinka becomes fruitless. Jewelers, Girls, Passage, Love in Krasavtsa Vagayeva, Chernoburai Rotonda and Other - All this in the perception of Darinki was temptation, seduction. Her "earthly way" turned into a spiritual flour, her soul lost peace. The names of the heads of the novel are characteristic - "seduction", "permanent", "Falling", "Elemental", "Despair", "Devilic Sensation", etc. Significantly mention that Viktor Alekseevich read Roman L. Tolstoy "Anna Karenina".

Any event is understood as heroine as a sign, a sign, a reminder of the sorrowful and eternal. St. Petersburg hobby of Viktor Alekseevich Hungarian in the green velvet is interpreted by I. Shmelev as a demonic temptation, Eustion of Chuma: A repentable hero, this love plot reminded Pushkin lines "And the Virgin Roses Drink Dyhanye - / Being a full plague!"

Darinki's soul, like the soul of Viktor Alekseevich, is represented in the novel in Christian traditions - this is the "Field of Brahi between the Lord and Angry Darkness". The heroine manages to avoid fall: she sacrifices his passion to Vagayev. From the carnal sin with him, she was saved by the "Great Sleep": she saw her own crucifixion on the cross and those "took place the Lord." In its image, it was definitely affected by the influence of moral norms of life, it has features of righteous wives from the works of Old Russian literature.

In the "Heavenly Insurance Roads", the author is half alarms with those writers who occupied a durable place on the literary Olympus. So, the philosophical definition of love in Roman I.S. Schmeleva was the opposite to the fact that no longer one decade suggested in his prose I.A. Bunin, for which every love, including sinful, unaccustomed, secret, - holy. Having rejected the idea of \u200b\u200bsinfulness of love, without sharing in love the earthly and heavenly principle, he justified this feeling of Christian morality. In the story of 1914, the "Saints" Bunin, contacting the tradition of the agiographic genre, was narrated by the sinful love of the harlot and the martyrs of Elena, who received forgiveness, because love, in the apostolic teaching, covers the inconspicuous many sins. Such a conclusion of the narrator of Arsenic was essentially a free quotation from the first message of the Apostle Peter. It is noteworthy that Darinka, carried away by Vagayev, "Missed", called himself a harlot and at the same time I was looking for excuses to our saints in saints of saints of saints, turning to the lives of Rev. Taisiy Bludnica, who had taken many of his beauty of the Martyr Evdokia, the depletion of the charming martyr; She wanted to "donsense to fall all the lower, sin to rush and cub with repentance." However, God's fishery retained the heroine from the fateful test. Thus, the Christian doctrine in the works of Schmelev and Bunin was an excuse for excluding each other concepts of love. It is noteworthy that the shmelev condemned the Bunin for the cycle "Dark Alleys".

The first Tom of Roman was published in 1937, the second - in 1948. I. Shmelev suggested to write two more volumes, but the idea was never implemented. The author called the "Ways of Heavenly" "the experience of the spiritual novel." His main topic is the salvation of the soul, overcoming the abyss between the person and God. To a certain extent, Roman I. Shmelev opposed the philosophical concepts of existentialists. The love plot has become a means of expressing spiritual, religious searches for him. The scene line of the hero of the novel was significant - at the beginning of the century, during the First World War, some Russian intellectuals took a monasticism.

However, contemporaries celebrated sentimentality, religious mysticism and morality in the novel. So, G. Struve wrote: "In the novel, almost every step - symbols and" miracles ", the most abundance of which (and sometimes the triviality of them) weakens their action and soon cheats and tires the reader ... Neither the darinka nor her relationship It is impossible to recognize the Waydenhammer. Shmelev, apparently, rushed with the thought of writing the third volume, so that we do not know how ultimate fate he prepared his heroes, but the topic of "Providence" and in the first two volumes was held with an excessive pressure of the pedal ... but in general "ways Heavenly "produce a waist impression. Often, when Shmelev wants to achieve a pathetic effect, he calls the reader a unwitting smile. " The metaphysical meaning of the "heavenly ways" recognized A. Amphitheators, which in Article 1937 "Holy Easy" stated that writing a novel with the confession of solid faith in the era of materialism - a feat.

Above the second part of the "ways of heaven" I. Shmelev worked during the war. After the war, he was reproached in collaborationism. In May 1947, the article "Needless answer" was forced to give explanations on his cooperation in the Paris Bulletin, the Russian newspaper, published with the permission of the occupying authorities. I. Shmelev wrote: "And I argue quite the opposite: I worked against the Germans, against the goals pursued by them - in relation to Russia." Publishing in the "Paris Bulletin" chapter from the "Summer of the Lord", the story of "Christmas in Moscow", he sought to show the true face of Russia at that time when German propaganda represented it with a "historical misunderstanding", "Great Stepha", Russians - "Sky" .

I.S. Shmelev died on June 24, 1950. In the abode of the cover of the Most Holy Theotokos in the Buress-An-Ott 150 kilometers from Paris from a heart attack.

A. Volos. "By tea table"

In the descriptions of the feast, Russian literature literally comes closer with painting - "verbal still lifes" of great writers capture the imagination no less than still lifes, applied by famous artists on canvas or cardboard, and some others are not inferior in brightness and "goodies."

Let's start with Pushkin - Evgeny Onegin visits the restaurant " Talon. "(Petersburg, Nevsky Prospect) :

Entered: and a plug in the ceiling,
Wine comet splashed the current
Before him roast-beef bloody,
And truffles, luxury of young years,
French cuisine best color
And rhinestic cake non-permanent *
Between cheese Limburg alive
And Pineapple Golden.

*) A special way to prepare pate from duck liver, truffles and rippers in a thin crispy shell of the test.

After the restaurant, Onegin immediately rushed to the theater:

Still glasses thirst asks
Pour hot fat kitlet,
But the ringing of Breghet is born,
That the new ballet began.

In the "passages from Travel Onegin", another restaurant is mentioned - Odessa Restaurant Otona and its famous oysters:

What is oysters? Came! About joy!
Flies increasing infestion
Swallow marine sinks
Gate fat and alive,
Slightly sprung by lemon.
Noise, Disputes - Light Wine
From cellars brought
On the table with helpful separation;
The clock is flying, and a formidative account *
Meanwhile, it is invisible.

*) Oysters in the 1st half of the 19th century were very expensive pleasure - the cost of hundreds of oysters reached in a restaurant to 100 rubles (for example, the army headquarters-captain earned these very 100 rubles per month, and 1 kg of fresh meat cost 40-50 kopecks .).

Ivan Andreevich Wings:

The famous Russian Basinople was endowed with many other talents: five foreign languages \u200b\u200bknew perfectly; perfectly played the violin; He had mighty health - to the coldests were bought in the Neva, the smash of the young ice was a huge body, weighing far over 100 kg. But his main joy was the food. Just say, Ivan Andreevich Krylov was a rare, just a monstrous incineration. As he again responded about the wing of P. Vyazemsky, it was easier for him to survive the death of a loved one, than to skip lunch. Here is the memory of the contemporary: "For one dinner, which Ivan Andreevich dedicated no less than three hours, he absorbed a unthinkable amount of food: three dishes of the oars, two dishes of Pupils-pleate, a few calf chops, half of the fried turkey, for dessert - a large pot of Guryevskaya Kashi" . * Pushkin, from which we started our story, loved Krylov and called it a "pre-original carcass."

*) Porridge, prepared frommanna Crupes on milk with the addition of nuts (walnical, hazelnut,almond), dried fruits, creamy foam.

N.V. Gogol - "Dead Souls" (Chichikov listened to the owner of the estate Petr Petrovich Roosch ordered his "Decisive lunch" to his chef):
- Yes Culebyaka do four corners. In one corner you put me a sturgeon yes nazigu, in another launch a buckwheat cleaner, and mushrooms with the left, yes the sweet milk, yes of the brain, and something else you know there ... so so that with one side she, you understand - it would be shuffled, and from another Let it be easier. Yes, the architect, the architects are proppays it so that it crumpled, so that her all carried away, you know, juice, so that I did not hear in the mouth - how the snow would be melted ... Yes, you make me a swine schuch *. Put in the middle a piece of ice so that he sweeps up well. Yes, in order to stroke, the side dish, the side dish, then to be cooled! To sort his crayfish, yes toasted little fish, but I carry the stuffing from the snacks, yes, a fear of small sections, a horn, yes, sweets, and dupushki, yes carrots, yes Bobkov, but there is no more root? .. ..

*) Swine stomach with swine sub-products (liver, kidneys, tongue, ears), different vegetables and spices baked in the oven; Placed inside a piece of ice in the oven turns into pairs and makes the schuch porous, soft and gentle.

I. A. Goncharov - "Oblomov":

The dinner was advised by a whole home ... everyone offered his dish: who soup with guts, who is noodles or stomach, who scars who are red, who is white gravy to sauce ... Caring for food was the first and home life concern in the crushing. What calves were covered there for annual holidays! What a bird was brought up! .. Turkey and chickens, appointed to the names and other solemn days, fought out nuts, geese deprived the mosquito, were forced to hang in a bag motionless a few days before the holiday so that they were swimming fat. What stocks there were jams, pickles, cookies! What kind of honey, what kids were cooked, which pies were baked in a crushing!

A.P. Chekhov - from the story "Siren" (the case is happening in the court hotel room, where everyone gathered to make a decision):

"Well, with, when you enter the house," began the secretary of the court, "the table must already be covered, and when you sit, now the napkin is for a tie and slowly pulling the tape with a vodka. The court secretary depicted bliss on his sweet face. - As soon as they drank, now it is necessary to eat.

"Listen," said the chairman, raising his eyes to the secretary, "Speak Potache!" I have been damaged because of you for you.

- Ah, to blame-s, Peter Nikolaich! I will be quiet, "said the secretary and continued with a hemispot:" Well, svvich's soul, my soul, too, you need to know. We must know what to eat. The best snack, if you wish to know the herring. You ate her piece with a loaf and with mustard sauce, now, my benefactor, while you still feel sparks in the stomach, eat caviar by myself or, if you wish, with a lemimple, then a simple radish with salt, then again herring, but only better , benefactors, the Ryzhiki salty, if they are cut in finely, like caviar, and, do you understand, with a bow, with olive oil ... Harmony! But Namie Lamyka is a tragedy!

- M-yes ... - agreed Honorary Morning Judge, his cracker. - For snacks are good as well, that ... Dressing white mushrooms ...

- Yes, yes, yes ... with a bow, you know, with a laurel sheet and all sorts of spices. Divide the saucepan, and from it a couple, mushroom spirit ... Even the tear is spoiled sometimes! Well, as soon as Culebyak was drilled out of the kitchen, immediately, immediately, you need a second to drink.

More Chekhov - from the story "About the Brinization":

Supervisor Semen Petrovich Podtykin sat at the table, covered his chest with a napkin and, with impatience, began to expect the moment when they start to serve pancakes ... But finally, a cook with pancakes appeared ... Semyon Petrovich, risking her fingers, grabbed two tops, the most Hot pancake and appetizingly slapped them on their plate. Pancakes were fringe, porous, chubby, as the shoulder of a merchant daughter ... Podtykin smiled pleasantly, pushed from delight and poured them with hot butter. We will envisage, as if burning your appetite and enjoying the anticipation, he slowly, with the arrangement, cooked by caviar. The places that I did not hit the caviar, he poured sour cream ... It only remained there, isn't it? But no! .. Podtykin looked at the hands of his hands and was not satisfied ... Thinking a little, he put on the pancakes the fattest piece of salmon, sparkle and sardine, then, Mlex and choking, turned both pancakes into the phone, with a feeling drank a glass of vodka, Fucking, revealed his mouth ... But here it was enough to the apoplexy.

L. N. Tolstoy - "Anna Karenina":

When Levin entered the hotel in the hotel, he could not help but notice some of the characteristics of the expression, as if restrained radiance, on the face and in the whole figure of Stepan Arkadych. The waiter of Tatar appearance immediately flew up.

- If you order, your clay, a separate office is now wondering: Prince Golitsyn with a lady. Oysters freshly obtained.

- BUT! Oysters.

Stepan Arkadych wondered.

- Do not change the plan, Levin? He said, stopping his finger on the map. And his face expressed serious bewilderment. - Are oysters good? You look!

- Flensburg, your fortification, no Ostend.

- Flensburg, Flensburg, is it fresh?

- yesterday received-s.

- So, not to start with oysters, and then the whole plan to change? BUT?

- I do not care. I am best hub and porridge; But here this is not.

- Porridge a la raus, order? - Tatar said, as a nanny over the child, bending over Levin.

- Still would! What do not say, this is one of the pleasures of life, "said Stepan Arkadych. - Well, let you give us, brother you, oysters two, or a little - three dozen, soup with roots ...

- Pentaner, - picked up Tatar. But Stepan Arkadić, it can be seen, did not want to give him a pleasure to call in French Kushan.

- With roots, do you know? Then Turbo under thick sauce, then ... Rost Berth; Yes, look to be good. Yes, klunov, or canned food.

Tatar, remembering the manner of Stepana Arkadyich not to call the Kushan in the French card, did not repeat him, but delivered himself a pleasure to repeat the entire order on the map: "Soup of the Pubaner, Turbo Sosha, Pulard and Lestragon, Massean de Fruce ...".

M. Bulgakov – "Master and Margarita" (Foka, in a conversation with the poet Ambrose, not wanting the current "boiled portion of ships," recalls near the entrance to the Griboedov restaurant "At the cast-iron lattice", * as it was until the October Revolution):

- Eh-ho-ho ... Yes, it was, it was! .. Remember the Moscow old-timers of the famous Griboedov! What boiled portion ships! Cheap it, cute amvelosis! And the sterlet, the sterlet in the silver saucepan, the sterling of pieces, overlined cancer and fresh caviar remember? And Cocott eggs with champinon puree in cups? And you didn't like chicketers from the dropments? With truffles? Quail in Genoese? Ten with half! Yes jazz, yes polite service! And in July, when the whole family is in the country, and you have urgent literary affairs in the city, - on the veranda, in the shade of the climbing grapes, in the golden spot on the purest tablecloth soup-rebuner plate? Remember, amvrosy? Well asking! On your lips I see that remember. What now your ships! And the dupels, garne, becasy, Waldshneps on the season, quail, remember honey? Hissing in the throat of Narzan?! ..

*) Here, Bulgakov described the real Moscow building, Tverskaya Br 25, he also "Herzen's House", now there is a literary institute. Gorky.

Isaac Babel - "Odessa Stories":
... And now ... We can return to the wedding twins Creek, sisters of the king. In this wedding, Turkis filed to dinner , fried chicken, geese, stuffed fish and ear, In which the pearl lakes were pulled by lemon lakes. Flowers swayed over dead goose heads, like lush plumes. But did the fried chicken take the shore to the shore of the Odessa Sea? All the noblest from our smuggling, everything that Slavna Earth from the edge to the edge made in that star, in that blue night his destructive, its seductive business. The stomach dismissed wine warmed up, sweets sweetly, dope the brains and caused belching, sonorous as the call of the combat pipe. Black Coc with Plutarch, who arrived third day from Port Said, carried out for the customs line puzzled bottles of Jamaica Roma, m. assensy Madera, Cigars with Pierponta Morgan Plants and Oranges from the surroundings of Jerusalem. This is what the shore is a foamy surf Odessa Sea ...

Collection and comments Mikhail Krasnoyansky

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