Mythologems “holiness” and “passion” as a feminine and masculine element (Ivan Shmelyov’s novel The heavenly ways)
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(12) &! &$ „</” „ /”. 139. `@ >|=|@Q }[`= |[. =^}\ v^_\v| {@|\`> {|^Q\= x@| ^=|>| `^{Q=\v`. |@\ '\@` `v\\v| v\}\=^] v>\] „`v\>|[|^=”, v|{@}vv|^=, v{@`vv|^=. @` =\ v|{@}vv|^= ][]=^] v [@vvQ ^|^=|]v` x@|`v`, \ {|^=|]vvQ, v\[`^`Q |= @\[`[\~^] [@vv|-{@|^=@\v^=[vv| |@x\v`\`` @|\v\. +`v x@|`v` ^[]\v\ ^ }[_] {@^>\~``^] =|{|^\`: |v\^=Q@^>` ` `@^>`. &`@^>| – `^=@`@_= `@ [^[||vQq ^=@\^= ` [^}|[|vv|^=`, ^[|[|`], [ =| [@] >\> |v\^=Q@^>` – ][]=^] `@| ^[]=|^=`. '|\[` =|>|, =| {@\>=`^>` }| v\\\ XX [>\ |@\ v~`v [ @_^^>| `=@\=_@ Q {|^=@|v ^ {||~ }_\v| |{{|``` `||x / , =| ^= |v\ Q\ `| ^[]=| `| ^=@\^=v|. *\[`^`|^= ` @=[vv|^=, }_q|[v\] >@\^|=\, v@\[^=[vv\] `^=|=\, =| = @=Q, >|=|@Q` {@[|v\\v| |{@}]\^ v|@\ {^`q||x`` v~`vQ. \ @_ XIX ` XX [>|[ =` |@\Q {@=@{[\= ^_~^=[vv_ =@\v^|@\`. +v~`v\-|@\ {@^=\= Q= `}\``@|[\vvQ ` _{@vQ, [ vx| [v|^]=^] v|[Q >|v^=\v=Q, >\> ^[]=|^= ` ^=@\^=v|^=. |}\[\] |@\ x@|`v` @|\v\, "[ |@\=`^] > ^=`q|=[|@v` _>`v\ ) , #
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(15) + . `^\=-`x@\v= ^`=\, =| „_>`v }\ _ | v~`v – [\>q\v> ` ^`@vv`”25. @\ v~`vQ, {@}^=\[vvQ [ ^=`q\q {|=\, [| v|x| `|> |@\_ '\@`v>`. }\vv| `x_@ {|^@}^=[| }_\v| |{{|``` ^|}`vvQ `||xQ „^[]=\]” ` „^=@\^=v\]”. %|= |v\ ` „|v\>\ [ `@_” ` [@\ }] v – v `}], v| |^v|[\ Q=`], v _}Q v` x@q|[vQ, v` `@^>` {@`^=@\^=`] – |=\= |_}@|[26. *\{`^` x@|`v` ][]=^] ^[|x| @|}\ `^{|[} [ x@q\q, [@v` `^=|^@}vQq {|>\]v`. |@\\q ^[]=Qq v~`v =\>`q, >\> &\@`] x`{=^>\], _v`\ [}|>`], '\@] `^>\\ |{@\[}\v`] ^[|` =^vQ ^=@\^=] ` {|q|=]. v\ v\^=|>| |^|v\[\\ ^[| x@q|[v|^=, =| ^[|` ^=@\^=` ^`=\\ ^=@\vQ` {@^=_{v`]`. {|^@=v| \{`^> > `v` |v\ {`^\\: „< >|~_v^=[vv| |{@\[}Q[\\ {|q|=` ^[|` {@`@\` ` `=` ^[]=Qq. \vQ[\\ ` \x_\\ ^|[^=, {@`>@Q[\]^ v`^^]>\Q. 25 26. . | v [ \, . + #* , ^. 457-458. . | _ } @ | [, ( # # # # " #/
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(17) 140. ZOJA KUCA. `|^@}` |^{|}v`”27 `` „< ^] @\`x\\ Q^]`, […] {@`{|`v\\ ^\| `^>_\~, =| `=\\ [ =`-&`v` | &\@`` x`{=^>|, | {@{|}|v| \`^``-_}v`, | _v` [}|>``”28. @|`v] ^{@@Q[v| v\q|}`\^ v\ @\}|@| ^[]=|^=` ` ^=@\^=v|^=`. ^` \[\}[\` `@^>` `^>_v`] ` ^|\vQ, |v\ {|x@_\\^ [ v`q |^=\=>\: |v\ [|^q`~\\^ ` [|^=|@x\\^ v\@]}\`, }@\x|vv|^=]`, =\=@\`. =@\^=` |[\}[\` ` |v\ v {@|=`[|^=|]\ `, \ {| |[_ =\. „ @q |^=@\^=`] ` {@|}^=[\”29 {@@|^ }_q|[vQ [||v|^=` {@|=`[|^=|]= _. „|x}\ '\@`v>\ |~_=`\ [|}v`, [Q[\vv| Q` [=\`, ``, Q= |=, >_>||]@Qv, […] `` Q^, >v_[ , – |v\ _^Qq\\ x||^, […] >`v_\ v\ x@_} >|^Q ` \}v| {|\ v\ |[”30. ` >|x}\ }vx\@ _q\ {| }\ [ =@_@x, „^=@\^= |_]\ =| |xv”. |@\ x@|`v` |v| |==`= v>_ >@\v|^= [ {|[}v``, v\ >|=|@_ _>\Q[\ ^\ {@|\`>: „^=@\^=v|^= }| `^^=_{v`] ` \x|^=` }| {|}[`v`^=[\”31. ^` |v\ |`\^, |v\ \Q[\\ | `@^>|, }] v Q [\v =|>| {|=_^=|@|vv` `@. |v\=_, [ >|=|@| |`\^, |v\ v\Q[\\ >. „\ ^=|]` |` {]Q, [`^` }_[vQ `>|vQ – |}^=[\ |\vv\ @^=`=], |}^=[\ |x|@|}`Q, v\^=\^``- |@`=v`Q, ` \ >|[@`> {@} {|}^=\[>| ^ |`=[|^|[|”32. „'\@`v>\ _{\\ v\ >|v` ` ``\^ [ |`=[. […] v [| [ > ` v\ '\@`v>_ v\ {|_, [ \^=Q[`q ^\q, _[^=[”33. &|v| _=[@}\=, =| =\>, >\> x@|`v] |=}\[\\^ |`=[, |v\ {v]\^ |[ > }@_x`. @v`` v\ >v`x_ `=\=@|[ {`=: „'\@`v>\, {| `^=|= v[`vv| }_`, |\]v`] ^[|x| v _= ` _q\`[\v v @\_=”34. >\\vv| [Q >\^\=^] '`Q \x\[\, >|=|@Q |=>@Q=| ^ v `@=|[\, }vv|, v| _[@vv| [] [ ^]. vv\] '\@] v\\\ |=|}^=[]= ^] ^ {_>`v^>| \=]v|,. 27. . " [, 5 / , ^. 96. \ , ^.223. 29 \ , ^. 81. 30 \ , ^. 93. 31 \ , ^. 114. 32 \ , ^. 76. 33 \ , ^. 117. 34 . ` = \ = @ | [, 1 # . v`] v\ >v`x_ . "[\ 5 / , [:
(18) , ˔Ǥ͵͵ʹǤ 28.
(19) &! &$ „</” „ /”. 141. vx`vQ Q '`\ \x\[, \ v }vx\@. \@]}_ ^ }_[v| `^=|=| ` {@|@\v|^= Q^, {@|\`> {|>\Q[\= `^>_v`], ^=@\^=`, ^|\vQ, ^[]\vvQ ^ _[v` x_^\@| \x\[Q. =` |=v|v`] [| v|x| ][]=^] q| ` @|\v\ 0 # . |[v\] ^[] ^ >v] \x\[Q @`^_= ^|v_ {@|^=@\v^=[vv_ >|v`x_@\`: sacrum-profanum-sacrum. ]`] x@|`v` ^ x_^\@| {@v|^`= v\ >\>|-=| [@] [ {@|\vv|- / ^=@\^=v|- / {|@\vv_ }^=[`=v|^=. |~vv\] \x\[Q, '\@], |`vv\] v\ }vx\@\, v\q|}`\^ [ ^|^=|]v`` }_q|[v|x| |{vv`]. =v|v`] x@|`v` ^ }vx\@| ` \x\[Q \\=v| [{`^Q[\=^] [ ^q_ @\[`=`] ^=@\^=, {@}|vv_ {@{|}|vQ `| `v\^>`. []=| {@\[}v`> [Q}]= ^}_~` =\{Q @\[`=`] ^=@\^=`: {@`|x, ^|=\v`, ^|^|v`, {vv` ` |v }_` 35. " v `= }^=[`], {|=|_ v ][]=^] ^=@\^=. C =` =\{| ^[]\vQ [^[||vQ \^^|`\``: |@\, \{\q, {@}=, ^|[|. =@\^= v\`v\=^] ` }_[v| \`v=@^|[\vv|^=` {@}=| ^=@\^=`, =.. ^ . }_~` =\{ – , }] >|=|@|x| q\@\>=@v| v\{@]vv\] ` `v=v^`[v\] \}\ |\}\v`]. *\= ^}_= =\{ , >\> }_[v| ` =^v| @\^=[|, {|v\] \[`^`|^= |= {@}=\ ^=@\^=`. =| v\^`^=[vv| ` v[|v| [v` ^@}\. {|^}v – =| |@\ – _^`v| ^|{@|=`[v` |@~x|^], >|=|@| \>\v`[\=^] `| {|}| `| {|@\v`36. '_q|[v\] |@\ '\@`v>`, {|^=|]vv\] |{{|``|vv|^= ` }_\v|^= {||v`], {|>\\v\ =\> ^ {||~ v\[\v`] x\[, {@~v`] =\>` |@\| x@|`v` ` ^@Q profanum [ sacrum, > # , ` v\||@|=: „^>_v`”, „ @q|{\}v`”, „v| ^\^=”, „|\v”, „@~v`”, „*| |^=|]v`” ` „@\_v`”, „@^=vQ ^|v”, „|^_\v`”, „@|@\v`”, „^q|}”. @\v^v}`@|[\v` '\@`v>`, {|v`\| >\> _^=@v` > [Q^ @\v|^=`, {|>\\v| v\ [|[| ` |`|v\v| _@|[v @`x`|vQq \>=|[ (|`=[Q, `^{|[}`, =\`v^=[ >\> =\>|[Qq) ` @`x`|vQq {@`[\v` x@|`v`. [|^=[vv| '\@`v> }]=v| _\^=` [ `^=`> ^{\^v`] ][]=^] v {@|^=| ^`{=|\=`^>`, \ `{@\=`[vQ. 35. . ` v \ ^ > ` , /#+/ ++9 " # , [: [ ] = ` = & \ > \ @ ` \ @ ` v ^ > ` , /# 9/ , &|^>[\ 2010, c. 263-264. 36 |: ` | [ \, " # # ! ! +#, c. 59..
(20) 142. ZOJA KUCA. \>=|@|. Q^|>\] @`x`|v\] |@\ ` v@\[^=[vv| ^|[@v^=[| v^>| `x_@Q – =| _ @_=\= =\>|x| {|}q|}\. \> _ Q| |=v|, [ @|\v 5 / `||xQ ^[]=|^= ` ^=@\^=v|^= {|{@vv| [Q}[`x\=^] v\ {@[Q {\v. &|= Q= =| ` ^= |}v\ ` {@``v, {| >|=|@| . |_}@|[, v^|=@] v\ [|@>|[vv|^= '\@`, [Q^|>_ |@\ ` v@\[^=[vv|^=, v\q|}`= [^>` \@x_v=Q ` \>=Q, |{@|[@x\~` ^=\=_^ [|@>|[vv| x@|`v`. ^^}|[\= }\= v` =| `v|, >\> {|{Q=>_ „@\^@>|[v`]” x@|`v`. [| vv` _vQ \@x_v=`@_= ^}_~`` [Q[|}\`: [| [^q [`}v`]q, ^v\q, v\>\q '\@] [`}\ `v| ^Q^, {@\>=`^>` [^ {@}=vQ `@ ^=\ }] v ^`[||, v\>| `@\ v[`}`|x|, =|, {|}@>`[\= |_}@|[, |=}\]= x@|`v |= q@`^=`\v^>|x| `@|[|^{@`]=`]. v\ ^=\v|[`=^] _= ` v \}{=| `|^|`` ^`[|`^=|[, x} [^ ][v`] }^=[`=v|^=` @\^^\=@`[\=^] >\> v\> =|x|, =| v}|^=_{v| {@|^=|_ ^|@\v`37. }_~` |v= „@\^@>|[v`]” '\@` `^^}|[\= v\q|}`= [ „{@^=`” ` „[|^=|@x”, >|=|@Q |>\Q[\=^] {|^=|]vvQ >\^=[|, |^|vv| [| [=|@| =|. {|^}v`, ^\Q {|>\\=vQ ^[`}=^=[| „@\^@>|[v`]” '\@`, |_}@|[ ^`=\= {|[}v` [ q@\, v\{|`v\~ ^>|@ v>| ^\>@\v| }^=[| ^ [=\`, |`=[_. ^\Qq, >\\|^ Q, ^=@|x`q |v=\q ^_Q x@|`v] \v]=\ [=\`, Q^]` | v`q, =| \= {|x@_`=^] [ ^||@v| |`=[|^|[`38. \> `` `v\ ][]=^] ` '\@] „[|@>|[vvQ” `` „@\^@>|[vvQ” x@|, [\v| }@_x|, \x|}\@] }vx\@ {@|@, |v {|^=`x |x\ ` {|[@` [ @|Q^ |`. ^>{=`>\-\=`^=\, >@\vx| @\`|v\`^=\ |v, {@`[ ^|[^=vQ \>=, {@[|{|~\=^] [ [|@>|[vv|x| |[>\. |[ x@|[ >\> ^|`}\~ _[^=[| ^=\v|[`=^] |^v|[| @|\v\. [| |[ '\@`] ^_\ {|v]= [ }vx\@ x| `@|[|@v`, {|>\\= ` {@`|~`= x| > `v| `@\@q`` vv|^=, [ >|=|@| ^`@v`, >@|=|^= ][]=^] [\v`` }|@|}=]`, v\>|v, |=>@Q= @\vv _| }] vx| `@ – `@ @\[|^\[`], [ >|=|@| |x ][]=^] [|@| [^x| v|x| ` v^v|x|. . `=\=@|[, [ @v``. 37 38. . | _ } @ | [, ( # # # # " #/
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(22) &! &$ „</” „ /”. 143. v\ >v`x_ "[\, x@|`v @|\v\ |{@}` >\> „^[]=\] {@|^=|=\”, x@|] – „x@v\] {@_}@|^=”39. []=\], v| ` x@v\] |[ ^=\v|[`=^] }] ||`q x@|[ |}v|[@vv| ` x_]~ ` ^{\^\~. @[|v\\v| |v\ ^[|}`=^] > |=v|v`] |[-@|^, |}v\>| ^| [@v |v\ {@`|@=\= | x_`vvQ ^Q^ ` |}`v]= [ ^ @|^-|[-}@__, |^[||}\] x@|[ |= {\x_v| ^=@\^=` ` |= =^v| \[`^`|^=` }@_x |= }@_x\. =v|v`], [Q^=@\`[\~`^] =\>` |@\|, }\= x@|] ^[||}_ `v` }_q\. '|\[`, =| v~`v\ _ "[\40 ^[]\v\ ^ |^=[vv| ^_~v|^=, [v| >@\^|=| ` v| +v^=[vv|^=. |@\ | v~`vQ {`^\= ^|}`v]= |^=[vv| ` v|. +v~`v\ – =| |>= [`, ^ {||~ >|=|@| ^=\v|[`=^] [||vQ {|v\v` =\vQ ^vv|. +v~`v\ v ][]=^] |>=| ||\v`], |v\ ^[]\v\ ^ v| +v^=[vv|^=, ^| ^Q^| `v`, }_q|[v| >@\^|=| ` \^|=v| |[. \>v` > [Q`|vv|_ \v\`_ v|q|}`| ^}\= _=[@}v` | =|, =| . "[ [ @|\v 5 / ^ {||~ |{{|``` „^[]=|^=” ` „^=@\^=v|^=” [ `=@\=_@v| @\>_@^ ^_ {@}^=\[`= >\^^`^>_ q@`^=`\v^>_ |} [|^q|}v`] |[>\ > |x_ ` =q {@{]=^=[`, >|=|@Q \= v\ =| {_=`. }\v| =| Q| ^ q\@\>=@vQ {@`| |=|@\v`] `^>_v` ` }@_x`q ^=@\^=vQq {@{]=^=[`, >|=|@Q }\ \x|^=`[|x| |[>\ |x_= ^`= ^ {@\[}v|x| {_=` ` [ =| [@] v\||@|=, |[>\ }\>|x| |= [@Q ` }_q|[v| `v`, [^}^=[` ^=|>v|[v`] ^ |^=[vv| ^[]=|^=, – {@`[^=` >| ^{\^v`.. !< ` = \ = @ | [ ., 1 # . v`] v\ >v`x_ . "[\ 5 / , [: ( + : 1 +, * # , , ^|^=. {@}`^. . &. |_}@|[, &|^>[\ 2009, ^. 329-343.. 39. . ` = \ = @ | [, 1 # ǡ ˔Ǥ͵͵ͳǤ | | |^=[vv| [ |@\ v~`vQ _ "[\ ^.: D. H o r c z a k, Sacralizacja przestrzeni jako przezwycienie opozycji swoje-obce na przykadzie Putiej niebiennych Iwana Szmielowa, [: Swoje i cudze. Kategorie przestrzeni w literaturach i kulturach sowiaskich, t.II, Sowiaszczyzna Wschodnia, red. Cz. Andruszko, B. Zieliski, Pozna 2005, s. 72. 40.
(23) 144. ZOJA KUCA. | x ` v ., " . 5 # . 1. . 0. + (19271950), [: # #/
(24) + XX , @}. +.-!. +\>>\@\, . "`}\, .-=@_@x 2008, ^. 98-116. ' \ ., #+
(25) " # " , .-=@_@x &|^>[\ 1909, =. IV, ^. 567-568. { ` ^ > | { \ @ v \ [ \ ( ] [ ), , `v` |[x|@|} 2009. ` | [ \ C., " # # ! ! +#, .-=@_@x 2004. | _ } @ | [ ., 8"__ \ . ( # #* +/ . 1. , [: ( + , ^. 227-283. | _ } @ | [ ., ( # # # # " #/
(26) + . 8. . 3 ' . 1. , .-=@_@x 2003. ` v \ ^ > ` ., /#+/ ++9 " # , [: []=`= &. \ @ ` v ^ > ` , /# 9/ , &|^>[\ 2010, c. 263-265. | v [ \ ., . + #* , &|^>[\ 2007. " [ ., 5 / , &|^>[\ 2011. H o r c z a k D., Sacralizacja przestrzeni jako przezwycienie opozycji swoje-obce na przykadzie Putiej niebienych Iwana Szmielowa, [: Swoje i cudze. Kategorie przestrzeni w literaturach i kulturach sowiaskich, t.II, Sowiaszczyzna Wschodnia, red. Cz. Andruszko, B. Zieliski, Pozna 2005, s. 67-75.. MYTHOLOGEMS “HOLINESS” AND “PASSION” AS A FEMININE AND MASCULINE ELEMENT (IVAN SHMELYOV’S NOVEL THE HEAVENLY WAYS) Summary The present article is devoted to analysis of the mythologems “holiness” and “passion” on the example of the feminine and masculine elements in Ivan Shmelyov’s novel The Heavenly Ways. Passion is shown as a binary opposition to holiness. Hence, holiness is understood, among others, as perfection, a moral virtue achieved by a man in the course of his personal development, and passion – as a state of strong and irresistible emotion directed at another person. In the case of the main protagonist of the novel this way leads from holiness to passion, which appears at the moment when a masculine element appears; on the contrary, the male hero who is characterized by passion, at a definite moment, owing to a relation with the main female protagonist, becomes a religious person. Key words: Holiness, passion, character, feelings, temptations, humility. Translated by: Tadeusz Karowicz.
(27) &! &$ „</” „ /”. 145. MITOLOGEMY „ WITO ·” I „NAMITNO ·” JAKO PIERWIASTEK
(28) E©SKI I MSKI (POWIE · IWANA SZMIELOWA DROGI NIEBIASKIE) Streszczenie Niniejszy artyku zosta powicony analizie mitologemów „wito ” i „namitno ” na przykadzie pierwiastka kobiecego i mskiego w powieci Iwana Szmielowa Drogi Niebiaskie. Namitno jest pokazana jako binarna opozycja do witoci. A wic wito jest rozumiana midzy innymi jako doskonao , cnota moralna osigana przez czowieka w trakcie osobistego rozwoju, namitno – jako stan silnego i nieodpartego uczucia do drugiej osoby. W przypadku gównej bohaterki powieci ta droga rysuje si od witoci do namitnoci, która si pojawia w momencie pojawienia si pierwiastka mskiego, natomiast bohater, którego charakteryzuje namitno , w okrelonym momencie, dziki relacji z gówn bohaterk, staje si ureligijnion osob. Sowa kluczowe: wito , namitno , bohater, uczucia, pokusy, pokora.. &! &$ „</” „ /” + & & +& % (& "& 5 )7871)7). '\vv\] ^=\=] ][]=^] {|{Q=>| \v\`\ `||x „^[]=|^=” ` „^=@\^=v|^=” [ v^>| ` _^>| v\\\q v\ {@`@ @|\v\ [\v\ "[\ 5 / . =@\^=v|^= ][]=^] `v\@v| |{{|`` > ^[]=|^=`. &`||xQ „^=@\^=v|^=” ` „^[]=|^=” v@\@Q[v| ^[]\vQ ^ @_^^>| >_=_@|. _^^>| v\@|}v| {@\[|^\[v| ^|v\v` ^|}`v`| [ ^ q\@\>=@`^=`>` }[_q =`q >|v{=|[. []=|^= {|}@\_[\= ^|[@v^=[| |[>\, >\> v@\[^=[vv| >\^=[|, }|^=`x\| [ {@|^^ }_q|[v|x| @|^=\. |} ^=@\^=v|^= {|v`\=^], {@} [^x|, ^|^=|]v` ^`v|x| [v`] > }@_x|_ |[>_, \v` `` ^=@v` {|v|x| ` |\}\v`]. &`||xQ „^[]=|^=” ` „^=@\^=v|^=” [ ^_\ x\[vQq x@|[ @|\v\ [\`|{@|v`>\=. ^\|x| v\\\ @|\v\ v^>|_ |@\_ {@`{`^Q[\=^] „^[]=|^=”, _^>|_ „^=@\^=v|^=”. +v^>| v\\| [|^{|v]=^] „^=@\^=v|^=” {@` {|][v`` _^>|x| v\\\, >|=|@| [ ^[| |@} v\{|v]=^] „^[]=|^=” \x|}\@] {|][v` v^>|x| v\\\. : C[]=|^=, ^=@\^=, x@|, _[^=[\, `^>_v`, ^`@v`..
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