ISSN 1427-549X
Joanna Mianowska
Uniwersytet Kazimierza Wielkiego w Bydgoszczy
ɉɨɥɶɫɤɨɟ ɜ Ʉɪɵɦɫɤɨɣ ɷɥɟɝɢɢ ɇɢɧɵ Ȼɟɪɛɟɪɨɜɨɣ
ɉɨɥɶɫɤɨɟ ɜ ɩɪɨɡɟ ɪɭɫɫɤɨɣ ɷɦɢɝɪɚɰɢɢ ɩɟɪɜɨɣ ɜɨɥɧɵ ɏɏ ɜɟɤɚ ɩɪɨɹɜɥɹɟɬɫɹ ɜ ɪɚɡɧɨɨɛɪɚɡɢɢ ɪɟɦɢɧɢɫɰɟɧɰɢɣ ɢ ɚɫɫɨɰɢɚɰɢɣ. ɋɤɪɨɦɧɵɟ ɩɨɥɶɫɤɢɟ ɫɸɠɟɬɵ ɩɪɟɞ- ɫɬɚɜɥɟɧɵ ɭ Ⱥ. Ʉɭɩɪɢɧɚ ɢ Ɋ. Ƚɭɥɹ1. ɉɨɥɶɫɤɨɟ ɧɚɣɬɢ ɦɨɠɧɨ ɬɚɤɠɟ ɜ ɩɪɨɡɟ Ɏ. ɋɨɥɨɝɭ- ɛɚ ɢ ɂ. Ȼɭɧɢɧɚ2. Ɉ ɪɚɡɨɱɚɪɨɜɚɧɢɢ ɉɨɥɶɲɟɣ Ⱦ. Ɇɟɪɟɠɤɨɜɫɤɨɝɨ ɭɩɨɦɢɧɚɟɬ Ƚ. ɋɬɪɭɜɟ ɜ ɤɧɢɝɟ Ɋɭɫɫɤɚɹ ɥɢɬɟɪɚɬɭɪɚ ɜ ɢɡɝɧɚɧɢɢ3. Ɇɟɪɟɠɤɨɜɫɤɢɣ, ɩɨɫɟɳɚɜɲɢɣ ɜ ɫɜɨɟ ɜɪɟɦɹ ɘ. ɉɢɥɫɭɞɫɤɨɝɨ, ɫɨɦɧɟɜɚɥɫɹ ɜ ɚɧɬɢɛɨɥɶɲɟɜɢɡɦɟ ɩɨɥɹɤɨɜ. ɉɨɥɹɤɢ ɠɟ ɱɢɬɚɥɢ ɜ ɦɟɠɜɨɟɧɧɵɣ ɩɟɪɢɨɞ ɩɪɨɡɭ ɂ. Ȼɭɧɢɧɚ, Ʌ. Ⱥɧɞɪɟɟɜɚ, Ɇ. Ⱥɥɞɚɧɨɜɚ, Ⱥ. Ⱥɦɮɢɬɟɚɬ- ɪɨɜɚ, Ⱦ. Ɇɟɪɟɠɤɨɜɫɤɨɝɨ, Ɏ. ɋɨɥɨɝɭɛɚ ɢ ɦɧɨɝɢɯ ɞɪɭɝɢɯ ɪɭɫɫɤɢɯ ɷɦɢɝɪɚɧɬɨɜ4. Ʉɚɤ ɤɨɧɫɬɚɬɢɪɭɟɬ ɜ ɫɜɨɟɦ ɢɫɫɥɟɞɨɜɚɧɢɢ ə. Ɂɚɦɨɣɫɤɢ, ɢɧɬɟɪɟɫ ɩɨɥɶɫɤɨɣ ɢɧɬɟɥɥɢɝɟɧɰɢɢ ɤ ɪɭɫɫɤɨɣ ɤɭɥɶɬɭɪɟ ɦɟɠɜɨɟɧɧɨɝɨ ɞɜɚɞɰɚɬɢɥɟɬɢɹ ɛɵɥ ɧɟɫɨɦɧɟɧɧɵɦ5.
ɋ ɉɨɥɶɲɟɣ ɤɪɨɜɧɵɦ ɪɨɞɫɬɜɨɦ ɛɵɥ ɫɜɹɡɚɧ Ȼ. Ɂɚɣɰɟɜ. ȿɝɨ ɛɚɛɭɲɤɚ ɫɨ ɫɬɨɪɨɧɵ ɨɬɰɚ, Ɏɪɚɧɬɢɲɤɚ ɋɬɚɧɢɫɥɚɜɫɤɚ, ɛɵɥɚ ɩɨɥɶɤɨɣ ɢ ɤɚɬɨɥɢɱɤɨɣ6. ɗɬɨ ɤɨɥɨɪɢɬɧɚɹ ɨɫɨɛɚ, ɟɡɞɢɜɲɚɹ ɜ ɝɨɫɬɢ ɤ ɫɵɧɨɜɶɹɦ ɫ ɱɟɬɤɚɦɢ, Ɋɚɫɩɹɬɢɟɦ, ȿɜɚɧɝɟɥɢɟɦ ɢ ɦɨɥɢɬɜɟɧ- ɧɢɤɨɦ, ɜɫɩɨɦɢɧɚɜɲɚɹ ɉɨɥɶɲɭ ɢ ɢɧɭɸ, ɧɟ ɫɨɜɫɟɦ ɪɭɫɫɤɭɸ ɠɢɡɧɶ, ɡɚɩɚɥɚ ɝɥɭɛɨɤɨ ɜ ɞɭɲɭ ɛɭɞɭɳɟɝɨ ɷɦɢɝɪɚɧɬɚ, ɜ ɞɟɬɫɬɜɟ ɢ ɸɧɨɫɬɢ ɡɚɥɩɨɦ ɜɩɢɬɵɜɚɜɲɟɝɨ ɜ ɫɟɛɹ ɜɫɟ ɧɨɜɨɟ ɢ ɬɚɢɧɫɬɜɟɧɧɨɟ7. ɉɨɧɹɬɶ ɧɚɰɢɨɧɚɥɶɧɭɸ ɢɞɟɧɬɢɱɧɨɫɬɶ Ɂɚɣɰɟɜɚ ɦɨɠɧɨ, ɩɪɨ- ɫɥɟɠɢɜɚɹ ɫɭɞɶɛɭ ɟɝɨ ɚɜɬɨɛɢɨɝɪɚɮɢɱɟɫɤɨɝɨ ɝɟɪɨɹ ɜ ɉɭɬɟɲɟɫɬɜɢɢ Ƚɥɟɛɚ8.
Ɉɛɪɚɬɢɦɫɹ ɤ ɇɢɧɟ Ȼɟɪɛɟɪɨɜɨɣ, ɝɪɚɠɞɚɧɫɤɨɣ ɠɟɧɟ ȼ. ɏɨɞɚɫɟɜɢɱɚ, ɩɨɥɹɤɚ ɩɨ ɩɪɨɢɫɯɨɠɞɟɧɢɸ, ɜɨɫɩɢɬɵɜɚɜɲɟɝɨɫɹ ɜ ɤɚɬɨɥɢɱɟɫɤɨɣ ɫɟɦɶɟ, ɤɨɬɨɪɚɹ ɭɠɟ ɩɪɨɱɧɨ ɜɨɲɥɚ ɜ ɥɢɬɟɪɚɬɭɪɨɜɟɞɱɟɫɤɢɟ ɢɫɫɥɟɞɨɜɚɧɢɹ ɩɨɥɶɫɤɢɯ ɪɭɫɢɫɬɨɜ9. Ɉɫɨɛɨ ɜɵɞɟɥɹɟɬɫɹ
1 F. Sielicki, Rosyjscy pisarze emigracyjni na scenach i ekranach Polski miĊdzywojennej, „Opuscula Polonica et Russica”, ToruĔ 1994, c. 64–72; F. Sielicki, Co czytali Polacy w okresie miĊdzywojennym z rosyjskiej literatury emigracyjnej, „Przegląd Rusycystyczny” 1994, ʋ 1–2, ɫ. 71–79.
2 J. Oráowski, Z dziejów antypolskich obsesji w literaturze rosyjskiej, Warszawa 1992, ɫ. 176–177.
3 Ƚ. ɋɬɪɭɜɟ, Ɋɭɫɫɤɚɹ ɥɢɬɟɪɚɬɭɪɚ ɜ ɢɡɝɧɚɧɢɢ. Ʉɪɚɬɤɢɣ ɛɢɨɝɪɚɮɢɱɟɫɤɢɣ ɫɥɨɜɚɪɶ ɪɭɫɫɤɨɝɨ ɡɚɪɭɛɟɠɶɹ, ɉɚɪɢɠ – Ɇɨɫɤɜɚ 1996, ɫ. 69 ɢ ɞɪ.
4 F. Sielicki, op. cit., ɫ. 71–79.
5 ə.ȿ. Ɂɚɦɨɣɫɤɢ, Ɋɭɫɫɤɚɹ (ɛɟɥɚɹ ɷɦɢɝɪɚɰɢɹ) ɜ ɉɨɥɶɲɟ ɢ ɟɟ ɩɨɥɶɫɤɢɟ ɫɜɹɡɢ (1918–1939), [ɜ:] Ʉɭɥɶɬɭɪɧɵɟ ɫɜɹɡɢ Ɋɨɫɫɢɢ ɢ ɉɨɥɶɲɢ XI–XX ɜɜ., Ɇɨɫɤɜɚ 1998, ɫ. 179 ɢ ɞɪ.
6 ȿ. Ɂɚɣɰɟɜ, Ɋɭɫɫɤɢɣ ɩɢɫɚɬɟɥɶ ɡɟɦɥɢ ɤɚɥɭɠɫɤɨɣ, Ʉɚɥɭɝɚ 2004, ɫ. 9.
7 J. Mianowska, ɉɨɥɶɫɤɨɟ ɜ ɩɪɨɡɟ Ȼ. Ɂɚɣɰɟɜɚ, [ɜ:] eadem, Ʉɨɧɬɟɤɫɬɵ ɤɭɥɶɬɭɪɵ ɪɭɫɫɤɨɣ ɷɦɢɝɪɚɰɢɢ XX ɜɟɤɚ: Ȼɨɪɢɫ Ɂɚɣɰɟɜ – ɩɟɜɟɰ ɪɭɫɫɤɨɝɨ ɩɪɚɜɨɫɥɚɜɢɹ, ToruĔ 2011, ɫ. 113.
8 Ȼ.Ʉ. Ɂɚɣɰɟɜ, ɋɨɛɪɚɧɢɟ ɫɨɱɢɧɟɧɢɣ ɜ 5 ɬɨɦɚɯ, ɬ. 4: ɉɭɬɟɲɟɫɬɜɢɟ Ƚɥɟɛɚ: Ⱥɜɬɨɛɢɨɝɪɚɮɢɱɟɫɤɚɹ ɬɟɬ- ɪɚɥɨɝɢɹ, Ɇɨɫɤɜɚ 1999.
9 A. Paszkiewicz, Ʉɚɤɚɹ ɨɧɚ ɡɥɚɹ. Ⱥɜɬɨɛɢɨɝɪɚɮɢɹ „Ʉɭɪɫɢɜ ɦɨɣ” ɇɢɧɵ Ȼɟɪɛɟɪɨɜɨɣ, [ɜ:] Sáowianie wschodni na emigracji: Literatura – Kultura – JĊzyk, pod red. B. Kodzisa i M. Giej, Opole 2010, ɫ. 363–366;
ɟɟ ɚɜɬɨɛɢɨɝɪɚɮɢɹ Ʉɭɪɫɢɜ ɦɨɣ, ɜɵɡɜɚɜɲɚɹ ɛɨɥɶɲɨɣ ɢɧɬɟɪɟɫ ɟɳɟ ɜ ɷɦɢɝɪɚɰɢɢ10. ȼ ɧɟɣ ɩɨɜɟɫɬɜɭɟɬɫɹ ɧɟ ɬɨɥɶɤɨ ɨ ɩɢɫɚɬɟɥɹɯ, ɧɨ ɢ ɨ ɪɚɡɧɵɯ ɩɪɟɞɫɬɚɜɢɬɟɥɹɯ ɪɭɫɫɤɨɣ ɢɧɬɟɥɥɢɝɟɧɰɢɢ ɜ ɢɡɝɧɚɧɢɢ, ɩɨɥɢɬɢɱɟɫɤɢɯ ɞɟɹɬɟɥɹɯ, ɝɟɧɟɪɚɥɚɯ. ɂ ɯɨɬɹ ɤɪɢɬɢɤɚ ɨɬ- ɦɟɬɢɥɚ ɜ ɤɧɢɝɟ Ȼɟɪɛɟɪɨɜɨɣ ɦɧɨɝɨ ɩɨɝɪɟɲɧɨɫɬɟɣ, ɧɟɬɨɱɧɨɫɬɟɣ ɢ ɞɚɠɟ ɩɪɨɬɢɜɨɪɟɱɢɣ, ɫɜɨɟɣ ɥɟɬɨɩɢɫɶɸ ɪɭɫɫɤɨɣ ɷɦɢɝɪɚɰɢɢ Ȼɟɪɛɟɪɨɜɚ ɩɪɨɱɧɨ ɜɨɲɥɚ ɜ ɥɢɬɟɪɚɬɭɪɨɜɟɞ- ɱɟɫɤɢɣ ɨɛɢɯɨɞ. ɇɚɩɨɦɧɢɦ, ɱɬɨ ȼ. Ʌɟɨɧɢɞɨɜ ɧɚɡɜɚɥ Ȼɟɪɛɟɪɨɜɭ ɫɚɦɨɣ ɡɚɝɚɞɨɱɧɨɣ ɢ ɬɚɥɚɧɬɥɢɜɨɣ ɠɟɧɳɢɧɨɣ ɜ ɢɫɬɨɪɢɢ ɪɭɫɫɤɨɣ ɥɢɬɟɪɚɬɭɪɵ XX ɜɟɤɚ11. ɇɚɛɨɤɨɜ ɠɟ ɨɬɦɟɱɚɥ ɫɟɪɶɟɡɧɨɫɬɶ ɟɟ ɩɨɩɵɬɤɢ ɫɨɡɞɚɬɶ ɨɛɪɚɡ ɷɦɢɝɪɚɧɬɫɤɨɝɨ ɦɢɪɚ ɜ ɟɝɨ ɷɩɢɱɟɫɤɨɦ ɩɪɟɥɨɦɥɟɧɢɢ12. ȼ Ɇɨɟɦ ɤɭɪɫɢɜɟ ɉɨɥɶɲɚ ɭɩɨɦɢɧɚɟɬɫɹ ɞɨɜɨɥɶɧɨ ɱɚɫɬɨ ɢ ɫɜɹɡɚɧɚ ɨɧɚ ɫ ɢɦɟɧɚɦɢ ȼ. ɏɨɞɚɫɟɜɢɱɚ, Ɇ. Ⱥɪɰɵɛɚɲɟɜɚ, Ʉ. Ȼɚɥɶɦɨɧɬɚ, Ɍɚɬɶɹɧɵ Ⱥɞɚɦɨɜɢɱ ɢ ɦɧɨɝɢɯ ɞɪɭɝɢɯ ɬɜɨɪɰɨɜ ɤɭɥɶɬɭɪɵ.
ȼ ɩɨɫɥɟɞɧɢɟ ɝɨɞɵ ɩɨɨɱɟɪɟɞɧɨ ɜɵɲɥɢ ɛɟɥɥɟɬɪɢɡɨɜɚɧɧɵɟ ɛɢɨɝɪɚɮɢɢ ɉ. ɑɚɣ- ɤɨɜɫɤɨɝɨ ɢ Ⱥ. Ȼɨɪɨɞɢɧɚ,ɚ ɬɚɤɠɟ ɪɚɫɫɤɚɡɵ ɢ ɩɶɟɫɚ Ȼɟɪɛɟɪɨɜɨɣ13. Ⱥɤɤɨɦɩɚɧɢɚɬɨɪ- ɲɚ ɢ ȼɨɫɤɪɟɲɟɧɢɟ Ɇɨɰɚɪɬɚ – ɷɬɨ ɩɨɜɟɫɬɢ, ɜɵɲɟɞɲɢɟ ɟɳɟ ɜ 1949 ɝɨɞɭ ɜ ɤɧɢɝɟ Ɉɛɥɟɝɱɟɧɢɟ ɭɱɚɫɬɢ [ɉɚɪɢɠ, ɍɆɋȺ- -Press]. ȼ Ɋɨɫɫɢɢ ɷɬɚ ɤɧɢɝɚ ɜɵɲɥɚ ɜ Ɇɨɫɤɜɟ ɜ 1992 ɝɨɞɭ ɩɨɞ ɡɚɝɥɚɜɢɟɦ ɉɨɜɟɫɬɢ.
ɇɚɲɟ ɜɧɢɦɚɧɢɟ ɩɪɢɜɥɟɤ ɧɟɛɨɥɶɲɨɣ ɩɨ ɫɜɨɟɦɭ ɨɛɴɟɦɭ ɪɚɫɫɤɚɡ Ȼɟɪɛɟɪɨɜɨɣ, ɨɡɚɝɥɚɜɥɟɧɧɵɣ Ʉɪɵɦɫɤɚɹ ɷɥɟɝɢɹ14. ɍɠɟ ɫɚɦɨ ɡɧɚɤɨɜɨɟ ɡɚɝɥɚɜɢɟ „ɷɥɟɝɢɹ” ɜɜɨɞɢɬ ɜ ɦɢɪ ɜɨɫɩɨɦɢɧɚɧɢɣ. ɗɥɟɝɢɹ ɤɚɤ ɩɨɷɬɢɱɟɫɤɢɣ ɠɚɧɪ „ɬɟɪɹɟɬ ɠɚɧɪɨɜɭɸ ɨɬɱɟɬɥɢɜɨɫɬɶ ɢ ɬɟɪɦɢɧ ɜɵɯɨɞɢɬ ɢɡ ɭɩɨɬɪɟɛɥɟɧɢɹ, ɨɫɬɚɜɚɹɫɶ ɥɢɲɶ ɤɚɤ ɡɧɚɤ ɬɪɚɞɢɰɢɢ”15. ȼ ɩɨɥɶ- ɫɤɨɦ ɫɥɨɜɚɪɟ ɩɨɞ ɪɟɞ. ə. ɋɥɚɜɢɧɶɫɤɨɝɨ ɧɚɢɛɨɥɟɟ ɱɟɬɤɨɟ ɨɩɪɟɞɟɥɟɧɢɟ ɷɬɨɝɨ ɠɚɧɪɚ ɫɥɟɞɭɸɳɟɟ: „utwór liryczny o treĞci powaĪnej, refleksyjny, utrzymany w tonie smutnego rozpamiĊtywania lub skargi, dotyczący spraw osobistych lub problemów egzystencjal- nych (przemijanie, Ğmierü, miáoĞü), pozbawiony ustalonych wyróĪników formalnych”16. ȼ ɡɚɝɥɚɜɢɢ ɪɚɫɫɤɚɡɚ Ȼɟɪɛɟɪɨɜɨɣ ɷɬɨ ɫɥɨɜɨ ɨɛɨɡɧɚɱɚɟɬ ɠɚɥɨɛɧɭɸ ɩɟɫɧɸ [ɝɪɟɱ. ele- gia, ɨɬ elegos] ɟɟ ɝɟɪɨɢɧɢ, ɷɦɢɝɪɚɧɬɤɢ-ɩɨɥɶɤɢ, ɤɨɬɨɪɚɹ ɞɨ ɫɟɦɧɚɞɰɚɬɨɝɨ ɝɨɞɚ ɠɢɡɧɢ ɠɢɥɚ ɜ Ɋɨɫɫɢɢ, ɜ Ʉɪɵɦɭ, ɢ ɜɟɪɧɭɥɚɫɶ ɬɭɞɚ ɜɫɩɨɦɢɧɚɬɶ ɩɪɨɲɟɞɲɟɟ.
ɍɠɟ ɫ ɩɟɪɜɵɯ ɫɬɪɨɤ ɪɚɫɫɤɚɡɚ ɢɡɜɟɫɬɧɨ, ɱɬɨ ɘɥɢɹ Ȼɨɥɟɫɥɚɜɨɜɧɚ Ɂ. – ɨɩɟɪɧɚɹ ɩɟɜɢɰɚ. Ɉɬɦɟɬɢɦ, ɱɬɨ ɦɭɡɵɤɚ ɱɚɫɬɨ ɜɜɨɞɢɬɫɹ ɜ ɬɤɚɧɶ ɩɪɨɢɡɜɟɞɟɧɢɣ ɇ. Ȼɟɪɛɟɪɨɜɨɣ.
ȼɟɞɶ ɟɟ ɩɟɪɭ ɩɪɢɧɚɞɥɟɠɚɬ ɭɩɨɦɢɧɚɟɦɵɟ ɞɜɟ ɯɭɞɨɠɟɫɬɜɟɧɧɵɟ ɛɢɨɝɪɚɮɢɢ ɪɭɫɫɤɢɯ
J. Mianowska, Ɂɚɣɰɟɜ ɝɥɚɡɚɦɢ ɇ. Ȼɟɪɛɟɪɨɜɨɣ ɜ ɜɨɫɩɨɦɢɧɚɧɢɹɯ „Ʉɭɪɫɢɜ ɦɨɣ”, [ɜ:] Wschód – Zachód. Dialog kultur, pod red. G. Nɟfaginy, t. 1, Sáupsk 2007, ɫ. 137–143.
10 ɇ. Ȼɟɪɛɟɪɨɜɚ, Ʉɭɪɫɢɜ ɦɨɣ, Ɇɨɫɤɜɚ 1996.
11 ɇɚ ɫɚɣɬɟ: <http://readr.ru/nina-berberova-oblegchenie-uchasti.html> (ɞɨɫɬɭɩ: 19.03.2013).
12 ɇɚ ɫɚɣɬɟ: <http://imhonet.ru/person/14343/opinions> (ɞɨɫɬɭɩ: 19.03.2013).
13 ɇ. Ȼɟɪɛɟɪɨɜɚ, ɂɫɬɨɪɢɹ ɨɞɢɧɨɤɨɣ ɠɢɡɧɢ. ɑɚɣɤɨɜɫɤɢɣ. Ȼɨɪɨɞɢɧ, Ɇɨɫɤɜɚ 2010; eadem, Ⱥɤɤɨɦɩɚɧɢ- ɚɬɨɪɲɚ. Ɋɚɫɫɤɚɡɵ ɜ ɢɡɝɧɚɧɢɢ, Ɇɨɫɤɜɚ 2011; eadem, ɉɨɜɟɥɢɬɟɥɶɧɢɰɚ, Ɇɨɫɤɜɚ 2010. ȼ ɧɚɫɬɨɹɳɟɣ ɪɚɛɨɬɟ ɩɪɨɢɡɜɟɞɟɧɢɹ Ȼɟɪɛɟɪɨɜɨɣ ɰɢɬɢɪɭɸɬɫɹ ɩɨ ɢɡɞɚɧɢɢ ɨɬ 2011 ɝɨɞɚ.
14 ɇ. Ȼɟɪɛɟɪɨɜɚ, Ʉɪɵɦɫɤɚɹ ɷɥɟɝɢɹ, [ɜ:] eadem, ɉɨɜɟɥɢɬɟɥɶɧɢɰɚ, ɫ. 170–176.
15 Ʌɢɬɟɪɚɬɭɪɧɚɹ ɷɧɰɢɤɥɨɩɟɞɢɹ ɬɟɪɦɢɧɨɜ ɢ ɩɨɧɹɬɢɣ, ɝɥ. ɪɟɞ. ɢ ɫɨɫɬ. Ⱥ.ɇ. ɇɢɤɨɥɸɤɢɧ, Ɇɨɫɤɜɚ 2001, ɫ. 1228.
16 M. GáowiĔski, T. Kostkiewiczowa, A. OkopieĔ-SáawiĔska, J. SáawiĔski, Sáownik terminów literackich, pod red. J. SáawiĔskiego, Ossolineum 1998, ɫ. 126.
ɤɨɦɩɨɡɢɬɨɪɨɜ, ɤɚɤ ɢ ɩɪɨɢɡɜɟɞɟɧɢɹ Ⱥɤɤɨɦɩɚɧɢɚɬɨɪɲɚ, ȼɨɫɤɪɟɲɟɧɢɟ Ɇɨɰɚɪɬɚ ɢ ɦɧɨɝɢɟ ɞɪɭɝɢɟ17.
ɏɨɱɟɬɫɹ ɩɨɞɱɟɪɤɧɭɬɶ, ɱɬɨ ɮɨɪɦɵ ɫɨɬɪɭɞɧɢɱɟɫɬɜɚ ɦɭɡɵɤɢ ɢ ɥɢɬɟɪɚɬɭɪɵ ɛɟɫ- ɤɨɧɟɱɧɨ ɪɚɡɧɨɨɛɪɚɡɧɵ. ɋɚɦɚ ɦɭɡɵɤɚ ɦɨɠɟɬ ɫɬɚɬɶ ɜɚɠɧɟɣɲɟɣ ɢɥɢ ɜɬɨɪɨɫɬɟɩɟɧɧɨɣ ɬɟɦɨɣ ɥɢɬɟɪɚɬɭɪɧɨɝɨ ɩɪɨɢɡɜɟɞɟɧɢɹ, ɚ ɦɭɡɵɤɚɥɶɧɵɟ ɨɛɪɚɡɵ ɢɫɩɨɥɶɡɭɸɬɫɹ ɞɥɹ ɯɚ- ɪɚɤɬɟɪɢɫɬɢɤɢ ɥɢɬɟɪɚɬɭɪɧɵɯ ɩɟɪɫɨɧɚɠɟɣ. Ɇɭɡɵɤɚ ɦɨɠɟɬ ɛɵɬɶ ɦɟɬɚɮɨɪɨɣ, ɫɬɢɥɢɫ- ɬɢɱɟɫɤɢɦ ɩɪɢɟɦɨɦ ɢɥɢ ɫɢɦɜɨɥɨɦ, ɧɚɤɨɧɟɰ ɨɧɚ ɦɨɠɟɬ ɩɪɨɧɢɤɧɭɬɶ ɜ ɤɨɦɩɨɡɢɰɢɸ ɩɪɨɢɡɜɟɞɟɧɢɹ, ɫɨɫɬɚɜɥɹɹ ɧɨɜɭɸ ɰɟɥɨɫɬɧɨɫɬɶ.
Ɇ. Ƚɥɨɜɢɧɶɫɤɢ ɫɩɪɚɜɟɞɥɢɜɨ ɨɬɦɟɱɚɟɬ ɫɥɨɠɧɨɫɬɶ ɜ ɢɫɫɥɟɞɨɜɚɧɢɹɯ ɫɨɨɬɧɟɫɟɧ- ɧɨɫɬɢ ɦɭɡɵɤɢ ɢ ɥɢɬɟɪɚɬɭɪɵ18. ɍɱɟɧɵɣ ɜɵɞɟɥɹɟɬ ɞɜɚ ɫɩɨɫɨɛɚ ɩɟɪɟɞɚɱɢ ɥɢɬɟɪɚɬɭɪ- ɧɵɯ ɫɸɠɟɬɨɜ ɜ ɦɭɡɵɤɟ – ɩɪɢ ɩɨɦɨɳɢ ɡɚɝɥɚɜɢɹ ɢ ɰɢɬɚɬɵ. ɇɚɩɨɦɧɢɦ, ɱɬɨ ɦɭɡɵɤɨɣ ɩɪɨɧɢɡɚɧɵ ɦɧɨɝɢɟ ɩɪɨɢɡɜɟɞɟɧɢɹ ɪɭɫɫɤɨɣ ɥɢɬɟɪɚɬɭɪɵ XIX ɢ XX ɜɟɤɨɜ, ɧɚɱɢɧɚɹ ɫ ɉɢɤɨɜɨɣ ɞɚɦɵ Ⱥ. ɉɭɲɤɢɧɚ, Ⱦɟɦɨɧɚ Ɇ. Ʌɟɪɦɨɧɬɨɜɚ, ȼɨɣɧɵ ɢ ɦɢɪɚ Ʌ. Ɍɨɥɫɬɨɝɨ ɢɥɢ Ɇɚɫɬɟɪɚ ɢ Ɇɚɪɝɚɪɢɬɵ Ɇ. Ȼɭɥɝɚɤɨɜɚ. ȿɫɬɟɫɬɜɟɧɧɨ ɜ ɬɤɚɧɶ ɩɨɷɡɢɢ ɦɭɡɵɤɚ ɜɜɨɞɢɬɫɹ ɢɧɚɱɟ, ɱɟɦ ɜ ɩɪɨɡɭ. ɉɨɷɬɢɱɟɫɤɢɟ ɦɟɬɚɮɨɪɵ, ɥɟɤɫɢɤɚ, ɫɢɦɜɨɥɵ ɟɳɟ ɛɨɥɟɟ ɭɫɥɨɠɧɹɸɬɫɹ ɫɟɬɶɸ ɦɭɡɵɤɚɥɶɧɵɯ ɫɨɨɬɧɟɫɟɧɧɨɫɬɟɣ. ȼ XIX ɜɟɤɟ Ɋɢɯɚɪɞ ȼɚɝɧɟɪ ɩɪɢɜɟɬɫɬɜɨɜɚɥ ɤɨɧɰɟɩɰɢɸ ɫɨɸɡɚ ɢɫɤɭɫɫɬɜ (Gesamtkunstwerk)19.
ɋɥɟɞɭɹ ɷɬɨɦɭ ɩɪɢɧɰɢɩɭ, ɇɢɧɚ Ȼɟɪɛɟɪɨɜɚ ɜɨ ɦɧɨɝɢɯ ɫɜɨɢɯ ɩɪɨɢɡɜɟɞɟɧɢɹɯ ɜɜɨ- ɞɢɬ ɦɭɡɵɤɭ ɜ ɫɨɨɬɧɟɫɟɧɧɨɫɬɢ ɫ ɥɢɬɟɪɚɬɭɪɨɣ. ȼ ɚɧɚɥɢɡɢɪɭɟɦɨɣ Ʉɪɵɦɫɤɨɣ ɷɥɟɝɢɢ ɦɭɡɵɤɚ ɫɨɨɬɧɨɫɢɬɫɹ ɫ ɷɥɟɝɢɟɣ, ɩɥɚɱɟɦ ɩɨ ɭɬɪɚɱɟɧɧɵɦ ɨɛɪɚɡɚɦ ɩɨɬɟɪɹɧɧɨɝɨ ɞɨɦɚ, ɤɨɫɬɟɥɚ.
Ƚɟɪɨɢɧɹ ɪɚɫɫɤɚɡɚ Ȼɟɪɛɟɪɨɜɨɣ ɘɥɢɹ Ȼɨɥɟɫɥɚɜɨɜɧɚ Ɂ. – ɨɩɟɪɧɚɹ ɩɟɜɢɰɚ ɭɟɯɚɥɚ ɢɡ Ʉɪɵɦɚ ɜ ɪɨɤɨɜɨɦ ɫɟɦɧɚɞɰɚɬɨɦ ɝɨɞɭ, ɜɵɯɥɨɩɨɬɚɜ ɩɨɥɶɫɤɢɟ ɛɭɦɚɝɢ, ɫɨ ɫɜɨɢɦ ɨɬ- ɰɨɦ ɢɧɠɟɧɟɪɨɦ ɢ ɞɜɭɦɹ ɦɚɥɟɧɶɤɢɦɢ ɛɪɚɬɶɹɦɢ20. ɋɬɨɢɬ ɨɬɦɟɬɢɬɶ, ɱɬɨ Ȼɟɪɛɟɪɨɜɚ ɧɟ ɜɩɟɪɜɵɟ ɝɟɪɨɢɧɟɣ ɫɜɨɟɝɨ ɩɪɨɢɡɜɟɞɟɧɢɹ ɫɞɟɥɚɥɚ ɨɩɟɪɧɭɸ ɩɟɜɢɰɭ, ɜɟɞɶ ɜ ɟɟ ɩɨɜɟɫɬɢ Ⱥɤɤɨɦɩɚɧɢɚɬɨɪɲɚ ɨɞɧɚ ɢɡ ɝɥɚɜɧɵɯ ɝɟɪɨɢɧɶ, Ɇɚɪɢɹ ɇɢɤɨɥɚɟɜɧɚ Ɍɪɚɜɢɧɚ, ɬɚɤɠɟ ɩɟɜɢɰɚ, ɷɦɢɝɪɚɧɬɤɚ21. ɘɥɢɢ Ȼɨɥɟɫɥɚɜɨɜɧɟ Ɂ. ɟɟ ɜɪɚɱ, ɤɨɬɨɪɵɣ ɨɛɪɚɳɚɟɬɫɹ ɤ ɧɟɣ
„ɩɚɧɢ”, ɫɨɜɟɬɭɟɬ ɟɯɚɬɶ ɨɬɞɨɯɧɭɬɶ ɢ ɥɟɱɢɬɶ ɧɟɪɜɵ ɧɟ ɜ Ɇɚɪɢɟɧɛɚɞɟ, ɤɚɤ ɨɧɚ ɫɚɦɚ ɯɨɬɟɥɚ, ɚ ɜ Ʉɪɵɦɭ. ɋɥɨɜɚ ɞɨɤɬɨɪɚ: „ɉɨɟɡɠɚɣɬɟ ɜ Ʉɪɵɦ. ɑɭɞɧɵɣ ɤɥɢɦɚɬ. ȼɵ ɩɨɩɪɚ- ɜɢɬɟɫɶ, ɩɚɧɢ, ɱɟɥɨɜɟɤ ɞɨɥɠɟɧ ɤɨɝɞɚ-ɧɢɛɭɞɶ ɜɨɡɜɪɚɳɚɬɶɫɹ ɧɚ ɫɜɨɣ ɨɝɨɪɨɞ, ɤɚɤ ɜɫɹ- ɤɚɹ ɨɜɨɳɶ”22, ɹɜɥɹɸɬɫɹ ɫɸɠɟɬɨɨɛɪɚɡɭɸɳɢɦɢ. „Ɉɝɨɪɨɞ” – „ɨɜɨɳɶ” ɚɫɫɨɰɢɢɪɭɟɬɫɹ ɜ ɞɚɧɧɨɦ ɫɥɭɱɚɟ ɫ ɦɨɞɟɥɶɸ ɫɜɨɟɝɨ, ɛɟɡɨɩɚɫɧɨɝɨ ɛɵɬɢɹ ɜ ɨɝɪɚɧɢɱɟɧɧɨɦ ɩɪɨɫɬɪɚɧɫ- ɬɜɟ. „Ɉɝɨɪɨɞ” – ɷɬɨ ɨɝɪɚɞɚ ɫɨɛɫɬɜɟɧɧɨɝɨ ɞɨɦɚ ɤɚɤ ɯɪɚɧɢɥɢɳɚ ɰɟɧɧɨɫɬɟɣ.
ɉɨɥɶɫɤɚɹ ɩɚɧɢ, ɩɪɢɟɯɚɜ ɫɩɭɫɬɹ ɝɨɞɵ ɥɟɱɢɬɶ ɧɟɪɜɵ ɜ ɦɟɫɬɚ ɫɜɨɟɝɨ ɞɟɬɫɬɜɚ, ɜ Ʉɪɵɦ, ɜɢɞɢɬ ɧɨɜɭɸ ɜɥɚɫɬɶ, ɨɞɧɚɤɨ ɷɬɢ „ɤɭɪɧɨɫɵɟ, ɜɟɫɧɭɲɱɚɬɵɟ, ɛɪɢɬɵɟ ɝɨɥɨ- ɜɵ ɞɟɝɬɟɦ ɫɦɚɡɚɧɧɵɟ”, ɧɟ ɦɟɲɚɸɬ ɟɟ ɪɚɞɨɫɬɢ ɢ ɜɨɡɦɨɠɧɨɫɬɢ ɨɩɹɬɶ ɩɨɝɨɜɨɪɢɬɶ
17 ɇ. Ȼɟɪɛɟɪɨɜɚ, Ⱥɤɤɨɦɩɚɧɢɚɬɨɪɲɚ...; edaem, ɂɫɬɨɪɢɹ ɨɞɢɧɨɤɨɣ ɠɢɡɧɢ…
18 M. GáowiĔski, LiterackoĞü muzyki – muzycznoĞü literatury, [ɜ:] Pogranicza i korespondencje sztuk, pod red. T. CieĞlikowskiej i J. SáawiĔskiego, Wrocáaw – Warszawa – Kraków – GdaĔsk 1980, ɫ. 67.
19 L. Brogowski, Sztuka i czáowiek, Warszawa 1990.
20 ɇ. Ȼɟɪɛɟɪɨɜɚ, Ʉɪɵɦɫɤɚɹ ɷɥɟɝɢɹ, ɫ. 171.
21 ɇ. Ȼɟɪɛɟɪɨɜɚ, Ⱥɤɤɨɦɩɚɧɢɚɬɨɪɲɚ...
22 Ibidem, ɫ. 171.
ɩɨ-ɪɭɫɫɤɢ23. ɗɬɚ ɢɡɜɟɫɬɧɚɹ ɢɫɩɨɥɧɢɬɟɥɶɧɢɰɚ ɚɪɢɣ Ɋɨɡɢɧɵ, Ɇɚɪɝɚɪɢɬɵ ɢ Ⱦɠɭɥɶ- ɟɬɬɵ, ɩɨɬɨɥɫɬɟɜɲɚɹ ɤ ɫɨɪɨɤɚɦ ɝɨɞɚɦ, ɭɠɟ ɡɚɞɵɯɚɥɚɫɶ, ɜɡɛɟɝɚɹ ɧɚ ɢɫɤɭɫɫɬɜɟɧɧɨ ɨɫɜɟɳɟɧɧɵɣ ɜɟɪɨɧɫɤɢɣ ɛɚɥɤɨɧ, ɢ ɩɟɪɟɠɢɜɚɥɚ ɫɥɨɜɚ ɫɜɨɟɝɨ ɞɚɜɧɟɝɨ ɞɪɭɝɚ, ɩɟɪɜɨɝɨ ɬɟɧɨɪɚ, ɩɨɞɲɭɱɢɜɚɜɲɟɝɨ, „ɱɬɨ ɜ ɫɰɟɧɟ ɨɛɴɹɬɢɹ ɜ Ɏɚɭɫɬɟ ɨɧɚ ɛɨɤɨɜɵɦ ɥɨɠɚɦ ɤɚ- ɠɟɬɫɹ ɢ ɲɢɪɟ ɢ ɜɵɲɟ ɧɟɝɨ”24. Ɉɞɧɚɤɨ ɩɨ ɤɨɥɨɪɚɬɭɪɧɨɦɭ ɫɨɩɪɚɧɨ ɫɨɩɟɪɧɢɰ ɭ ɧɟɟ ɧɟ ɛɵɥɨ. ȼɫɸ ɫɜɨɸ ɠɢɡɧɶ ɩɨɫɥɟ ɨɬɴɟɡɞɚ ɢɡ Ɋɨɫɫɢɢ ɩɨɥɶɫɤɚɹ ɩɚɧɢ ɫɱɢɬɚɟɬ „ɛɟɡɨɛɥɚɱ- ɧɨɣ, ɩɨɥɧɨɣ ɬɪɭɞɨɜ ɢ ɭɫɩɟɯɨɜ”. ȼ ɫɬɪɚɧɭ ɫɜɨɟɝɨ ɞɟɬɫɬɜɚ ɨɧɚ ɟɯɚɬɶ ɧɟ ɛɨɹɥɚɫɶ (ɦɭɠ, ɥɟɜɵɣ ɞɟɩɭɬɚɬ ɜ ɩɨɥɶɫɤɨɦ ɫɟɣɦɟ), ɚ ɜ ɟɟ ɩɨɥɶɫɤɨɦ ɞɨɦɟ ɛɵɜɚɥɚ ɜɫɹ ɨɩɩɨɡɢɰɢɹ, ɞɚ ɢ ɩɨɥɩɪɟɞ ɫ ɫɭɩɪɭɝɨɣ „ɩɟɜɲɟɣ ɩɨ-ɦɨɫɤɨɜɫɤɢ”. Ɉɞɧɚɤɨ ɜ ɪɚɫɫɤɚɡɟ ɩɨɞɱɟɪɤɧɭɬɨ:
„[...] ɧɟɦɧɨɠɤɨ ɫɦɟɲɧɨ ɟɯɚɬɶ ɡɚ ɝɪɚɧɢɰɭ – ɧɟ ɡɚ ɬɭ, ɚ ɡɚ ɷɬɭ”25.
ɋɥɨɜɚ „ɬɭ” ɢ „ɷɬɭ” ɫɬɨɢɬ ɪɚɫɫɦɨɬɪɟɬɶ ɜ ɤɨɧɬɟɤɫɬɟ ɤɨɧɰɟɩɬɨɜ „ɫɜɨɢ” ɢ „ɱɭɠɢɟ”.
Ɉɩɩɨɡɢɰɢɹ ɷɬɚ ɩɪɨɧɢɡɵɜɚɟɬ ɤɚɠɞɭɸ ɤɭɥɶɬɭɪɭ26. ɘ. ɋɬɟɩɚɧɨɜ ɜ ɷɬɨɣ ɫɜɹɡɢ ɨɬɦɟɱɚ- ɟɬ: „ɉɪɢɧɰɢɩ «ɫɜɨɢ» – «ɱɭɠɢɟ» ɪɚɡɞɟɥɹɟɬ ɫɟɦɶɢ – ɧɚɫ ɢ ɧɚɲɢɯ ɫɨɫɟɞɟɣ, ɪɨɞɵ ɢ ɤɥɚ- ɧɵ ɛɨɥɟɟ ɚɪɯɚɢɱɧɵɯ ɨɛɳɟɫɬɜ, ɪɟɥɢɝɢɨɡɧɵɟ ɫɟɤɬɵ, ɫɟɤɫɭɚɥɶɧɵɟ ɦɟɧɶɲɢɧɫɬɜɚ ɢ ɬ.ɞ.
ɂ ɭɠɟ ɜɩɨɥɧɟ ɤɨɧɰɟɩɬɭɚɥɶɧɨ ɢ ɤɨɧɰɟɩɬɭɚɥɢɡɨɜɚɧɧɨ ɨɧ ɨɬɥɢɱɚɟɬ «ɫɜɨɣ ɧɚɪɨɞ» ɨɬ
«ɧɟ ɫɜɨɟɝɨ», «ɞɪɭɝɨɝɨ», «ɱɭɠɨɝɨ»”27. ȼ ɫɥɭɱɚɟ ɝɟɪɨɢɧɢ ɪɚɫɫɤɚɡɚ Ȼɟɪɛɟɪɨɜɨɣ „ɱɭ- ɠɨɟ” – ɷɬɨ ɯɨɬɹ ɢ ɧɟ ɫɜɨɟ, ɨɞɧɚɤɨ ɧɟ ɫɨɜɫɟɦ ɞɚɥɶɧɟɟ ɢ ɩɨɫɬɨɪɨɧɧɟɟ. ȼɨɫɩɨɦɢɧɚɧɢɹ ɞɟɬɫɬɜɚ ɢ ɪɚɧɧɟɣ ɸɧɨɫɬɢ – „ɫɢɬɰɟɜɵɣ ɩɟɪɟɞɧɢɤ, ɤɨɬɨɪɵɣ ɩɨɜɹɡɵɜɚɥɚ ɟɣ ɦɚɬɶ (ɚ ɫɨɫɟɞɫɤɢɟ ɞɟɬɢ ɤɪɢɱɚɥɢ ɟɣ ɜɫɥɟɞ: ɤɚɬɨɥɢɱɤɚ ɜ ɮɚɪɬɭɤɟ), [...] Ȼɨɠɶɹ Ɇɚɬɟɪɶ ɢɡ ɪɨɡɨɜɨɝɨ ɝɢɩɫɚ ɜ ɝɨɥɭɛɨɦ ɩɥɚɳɟ”28 ɨɬɧɨɫɹɬɫɹ ɤ ɩɨɧɹɬɢɸ „ɫɜɨɣ”, ɯɨɬɹ ɢ ɧɚ ɱɭɠɛɢɧɟ.
Ʉɨɫɬɟɥ, ɤɭɞɚ ɜɨɞɢɥɢ ɞɟɜɨɱɤɨɣ ɘɥɢɸ Ȼɨɥɟɫɥɚɜɨɜɧɭ Ɂ., ɢ ɝɞɟ ɨɧɚ ɞɨ ɩɨɫɥɟɞɧɟɝɨ ɞɧɹ ɩɟɥɚ ɫ ɨɪɝɚɧɨɦ, ɜɨɫɩɪɢɧɢɦɚɟɬɫɹ ɝɟɪɨɢɧɟɣ ɤɚɤ ɫɜɨɟ ɛɟɡɨɩɚɫɧɨɟ ɩɪɨɫɬɪɚɧɫɬɜɨ.
ɍɠɟ ɜ ɩɨɟɡɞɟ Ɇɨɫɤɜɚ – ɋɢɦɮɟɪɨɩɨɥɶ ɘɥɢɹ Ȼɨɥɟɫɥɚɜɨɜɧɚ ɩɵɬɚɥɚɫɶ ɝɨɜɨɪɢɬɶ ɩɨ-ɪɭɫɫɤɢ „ɯɨɬɹ ɢ ɧɟ ɫɨɜɫɟɦ ɩɪɚɜɢɥɶɧɨ” ɢ ɜɨ ɜɪɟɦɹ ɞɨɥɝɨɝɨ ɩɭɬɢ ɪɚɫɫɤɚɡɚɬɶ ɨ ɫɟɛɟ ɞɜɭɦ ɫɨɫɟɞɤɚɦ. ɉɨɫɥɟ ɩɪɢɟɡɞɚ ɜ Ʉɪɵɦ, ɜ „ɫɚɧɚɬɨɪɢɣ ɞɥɹ ɨɬɜɟɬɫɬɜɟɧɧɵɯ ɪɚɛɨɬɧɢ- ɤɨɜ”, ɝɞɟ ɩɪɟɛɵɜɚɥɢ ɢ ɥɟɱɢɥɢɫɶ ɢɧɬɭɪɢɫɬɵ, ɝɟɪɨɢɧɹ Ȼɟɪɛɟɪɨɜɨɣ, ɯɨɬɹ ɢ ɧɚɯɨɞɢɥɚɫɶ ɜ „ɱɭɠɨɦ” ɩɪɨɫɬɪɚɧɫɬɜɟ, ɩɵɬɚɥɚɫɶ ɡɚɧɨɜɨ ɨɬɫɬɪɨɢɬɶ ɜ ɧɟɦ ɦɟɫɬɨ ɫɜɨɟɝɨ ɞɟɬɫɬɜɚ ɢ ɩɪɨɲɟɞɲɟɣ ɸɧɨɫɬɢ. ȼ ɜɨɫɩɨɦɢɧɚɧɢɹɯ „ɜɫɟ ɨɫɬɚɜɚɥɨɫɶ ɬɚɤɢɦ ɩɵɲɧɵɦ, ɲɢɪɨɤɢɦ ɢ ɝɪɭɫɬɧɵɦ”, ɚ ɧɚɹɜɭ „ɞɨɦɚ ɛɵɥɢ ɬɚɤɢɟ ɜɟɬɯɢɟ, ɤɪɨɲɟɱɧɵɟ ɢ ɞɟɪɟɜɶɹ ɢɝɪɭɲɟɱɧɵɟ ɩɵɥɶɧɵɟ, ɫɨɜɫɟɦ ɧɟ ɫɨɜɩɚɞɚɥɢ ɫ ɬɟɦɢ, ɜ ɩɚɦɹɬɢ”29.
Ɉɫɦɵɫɥɟɧɢɟ ɩɨɤɢɧɭɬɨɝɨ ɝɨɪɨɞɤɚ ɜɢɞɢɬɫɹ ɝɟɪɨɢɧɟ ɫɤɜɨɡɶ ɧɟɭɡɧɚɜɚɟɦɵɟ ɯɨɥ- ɦɵ, ɤɪɟɫɬɵ ɢ ɩɥɢɬɵ. „ɋɜɨɢ” – „ɑɭɠɢɟ” ɫɨɡɞɚɟɬɫɹ ɧɟ ɬɨɥɶɤɨ ɨɛɴɟɤɬɢɜɧɵɦɢ ɞɚɧ- ɧɵɦɢ, ɧɨ ɢ ɫɭɛɴɟɤɬɢɜɧɵɦ ɨɬɪɚɠɟɧɢɟɦ ɜ ɫɨɡɧɚɧɢɢ. ɉɪɢɟɯɚɜɲɚɹ ɜ ɦɟɫɬɚ ɫɜɨɟɝɨ ɞɟɬɫɬɜɚ ɢ ɸɧɨɫɬɢ ɨɩɟɪɧɚɹ ɩɟɜɢɰɚ, ɜɨɫɩɪɢɧɢɦɚɟɬ ɭɜɢɞɟɧɧɨɟ ɞɪɭɝɢɦ, ɱɟɦ ɡɚɩɨɦɧɢɥɚ.
ȼ ɩɨɢɫɤɚɯ ɞɚɜɧɟɝɨ, ɛɵɜɲɟɣ ȿɤɚɬɟɪɢɧɢɧɫɤɨɣ, ɝɞɟ ɨɧɚ ɠɢɥɚ, ɧɚɯɨɞɢɬ ɱɭɠɨɟ: „[...] ɨɬ ɩɪɨɫɩɟɤɬɚ ɨɬɯɨɞɢɥɢ ɜɫɟ ɤɚɤɢɟ-ɬɨ Ʉɚɪɥɚ Ɇɚɪɤɫɚ ɢ Ɋɟɜɨɥɸɰɢɢ”. ɂ ɜɞɪɭɝ ɤɚɤ ɜɨ ɫɧɟ:
23 Ibidem.
24 Ibidem, ɫ. 170.
25 Ibidem, ɫ. 171.
26 ɘ. ɋɬɟɩɚɧɨɜ, Ʉɨɧɫɬɚɧɬɵ: ɫɥɨɜɚɪɶ ɪɭɫɫɤɨɣ ɤɭɥɶɬɭɪɵ, Ɇɨɫɤɜɚ 2001, ɫ. 126–143.
27 Ibidem, ɫ. 126.
28 ɇ. Ȼɟɪɛɟɪɨɜɚ, Ʉɪɵɦɫɤɚɹ ɷɥɟɝɢɹ, ɫ. 172.
29 Ibidem, ɫ. 173.
„[...] ɧɟɜɟɪɨɹɬɧɨ ɫɬɚɪɵɣ, ɨɫɟɜɲɢɣ ɧɚ ɮɭɧɞɚɦɟɧɬ, ɨɛɧɚɠɢɜɲɢɣ ɫɜɨɢ ɬɟɦɧɵɟ, ɤɚɦɟɧ- ɧɵɟ ɹɡɜɵ, ɫɬɨɹɥ ɤɨɫɬɟɥ”30. ɇɚɤɨɧɟɰ, ɭɜɢɞɟɧɧɨɟ – ɷɬɨ ɧɟ ɛɟɡɵɦɹɧɧɨɟ, ɚ ɫɜɨɟ, ɞɭɯɨɜ- ɧɚɹ ɫɭɳɧɨɫɬɶ, ɧɟɨɬɞɟɥɢɦɚɹ ɨɬ ɠɢɬɟɥɟɣ. ɂ ɯɨɬɹ ɪɹɞɨɦ ɛɵɥɢ „ɪɚɛɨɱɢɟ ɜ ɛɚɥɚɯɨɧɚɯ ɢ ɬɸɛɟɬɟɣɤɚɯ”, ɤɨɬɨɪɵɟ ɪɭɛɢɥɢ ɞɟɪɟɜɨ, ɭɠɟ ɧɟ ɬɨɥɶɤɨ ɜ ɫɨɡɧɚɧɢɢ, ɧɨ ɧɚɹɜɭ ɨɛɫɬɭ- ɩɢɥ ɩɟɜɢɰɭ ɡɚɩɚɯ ɦɢɧɭɜɲɟɝɨ – „ɩɚɯɧɭɥɨ ɢɡ-ɩɨɞ ɫɜɨɞɨɜ (ɫɨɜɫɟɦ ɧɢɡɟɧɶɤɢɯ, ɩɨɬɨɦɭ ɱɬɨ ɨɧɚ ɬɟɩɟɪɶ ɛɵɥɚ ɬɚɤɨɣ ɛɨɥɶɲɨɣ) ɫɵɪɨɫɬɶɸ ɢ ɜɟɱɧɨɫɬɶɸ”31.
ȼ ɷɬɨɣ ɤɚɪɬɢɧɟ ɩɪɨɫɬɭɩɚɟɬ ɢɫɬɨɪɢɱɟɫɤɨɟ ɫɨɞɟɪɠɚɧɢɟ – ɫɬɨɥɤɧɨɜɟɧɢɟ ɫɨɜɟɬɫ- ɤɨɝɨ – „ɱɭɠɨɝɨ” ɫ ɛɵɜɲɢɦ „ɫɜɨɢɦ”, ɤɨɬɨɪɨɟ „ɩɨɲɚɬɧɭɥɨɫɶ, ɡɚɪɨɫɥɨ ɢ ɫɦɟɲɚɥɨɫɶ ɧɚ ɜɟɤɢ”32. ȼ ɷɬɨɦ ɨɬɫɱɟɬɟ ɜɪɟɦɟɧɢ, ɤɨɬɨɪɨɦɭ ɧɟ ɩɨɞɜɥɚɫɬɟɧ ɤɨɫɬɟɥ, ɢɦɟɧɧɨ ɨɧ ɫɬɚɧɨɜɢɬɫɹ ɦɟɫɬɨɦ ɩɨɞɜɟɞɟɧɢɹ ɢɬɨɝɨɜ ɠɢɡɧɢ. „ɋɜɨɟ” ɢ „ɱɭɠɨɟ” ɩɪɨɫɬɪɚɧɫɬɜɨ ɜ ɷɬɨɦ ɦɟɫɬɟ ɫɦɵɜɚɟɬɫɹ. Ƚɟɪɨɢɧɹ ɜɯɨɞɢɬ ɧɚ ɯɨɪɵ, ɭɡɧɚɟɬ ɪɨɡɨɜɭɸ Ɇɚɞɨɧɧɭ ɜ ɝɨ- ɥɭɛɨɦ ɩɥɚɳɟ ɢ ɩɸɩɢɬɪ ɫ ɧɨɬɚɦɢ. ȼɡɹɜ ɢɯ ɜ ɪɭɤɢ, ɨɧɚ ɭɡɧɚɥɚ Ave Maria ɒɭɛɟɪɬɚ.
Ɉɞɧɚɤɨ ɞɚɥɟɟ ɨɩɹɬɶ ɩɨɹɜɥɹɟɬɫɹ „ɱɭɠɨɟ”, ɧɟɡɧɚɤɨɦɨɟ ɟɣ, ɢ ɨɩɟɪɧɚɹ ɩɟɜɢɰɚ ɭɡɧɚɟɬ, ɱɬɨ ɫɥɭɠɛɭ ɜ ɤɨɫɬɟɥɟ ɡɚɩɪɟɬɢɥɢ, ɚ ɤɫɟɧɞɡ ɪɚɛɨɬɚɟɬ ɫɬɨɪɨɠɟɦ ɜ ɤɨɨɩɟɪɚɬɢɜɟ. ȼɫɬɪɟɱɟɧ- ɧɵɣ ɜ ɪɚɡɜɚɥɟɧɧɨɦ ɤɨɫɬɟɥɟ ɱɟɬɵɪɧɚɞɰɚɬɢɥɟɬɧɢɣ ɦɚɥɶɱɢɤ, ɩɨɤɥɨɧɢɜɲɢɣɫɹ ɚɥɬɚɪɸ ɢ ɜɧɨɜɶ ɩɨɹɜɢɜɲɢɣɫɹ ɫ ɜɟɧɢɤɨɦ ɢ ɬɪɹɩɤɨɣ ɞɥɹ ɦɵɬɶɹ ɩɨɥɚ, ɢɧɮɨɪɦɢɪɭɟɬ, ɱɬɨ ɩɨɦɢ- ɦɨ ɜɫɟɝɨ ɥɸɞɢ ɜ ɤɨɫɬɟɥɟ ɫɨɛɢɪɚɸɬɫɹ ɪɚɡ ɜ ɧɟɞɟɥɸ, ɱɟɥɨɜɟɤ ɬɪɢɞɰɚɬɶ ɢɥɢ ɫɨɪɨɤ33.
Ⱦɚɥɟɟ ɢɡ ɞɢɚɥɨɝɚ ɩɚɧɢ ɫ ɦɚɥɶɱɢɤɨɦ: „– Ⱥ ɬɵ ɤɬɨ ɬɚɤɨɣ? – ə ɡɞɟɫɶ ɢɝɪɚɸ. – ɂɝ- ɪɚɟɲɶ? Ʉɚɤ? – ɇɚ ɨɪɝɚɧɟ ɢɝɪɚɸ. – ə ɫɩɟɬɶ ɯɨɱɭ – ɫɤɚɡɚɥɚ ɨɧɚ ɩɪɨɫɬɨ, – ɫɚɤɤɨɦɩɚɧɢ- ɪɭɣ ɦɧɟ, ɩɨɠɚɥɭɣɫɬɚ, ɜɨɬ ɷɬɭ Ave Maria. – ɉɨɞɨɠɞɢ ɦɚɥɟɧɶɤɨ, ɫɟɣɱɚɫ ɧɚɪɨɞ ɩɪɢɞɟɬ.
ɋ ɯɨɪɨɦ ɢ ɫɩɨɟɲɶ”34. Ʌɸɞɢ ɩɪɢɲɥɢ, ɪɚɡɪɟɲɢɥɢ ɟɣ ɫɩɟɬɶ ɫɨɥɨ, ɡɧɚɹ, ɱɬɨ ɨɧɚ ɭɠɟ ɡɞɟɫɶ ɩɟɥɚ, ɚ ɫɚɦɢ ɜɫɬɚɥɢ ɧɚ ɤɨɥɟɧɢ, ɦɚɥɶɱɢɤ ɠɟ ɢɝɪɚɥ ɧɚ ɨɪɝɚɧɟ. ȼɞɪɭɝ ɨɞɢɧ ɢɡ ɩɪɢɫɭɬɫɬɜɭɸɳɢɯ ɫɤɚɡɚɥ: „ɉɚɧɢ, ɩɨɡɜɨɥɶɬɟ ɧɚɦ ɫɯɨɞɢɬɶ ɡɚ ɤɫɟɧɞɡɨɦ, ɟɦɭ ɷɬɨ ɛɭɞɟɬ ɪɚɞɨɫɬɶ”35. ɉɪɢɲɟɞɲɢɣ ɤɫɟɧɞɡ ɛɵɥ „ɛɨɫɨɣ ɢ ɫɬɚɪɵɣ, ɩɨɞɜɹɡɚɧɧɵɣ ɜɟɪɟɜɤɨɣ ɢ ɛɟɡ ɬɨɧɡɭɪɵ”. ɘɥɢɹ Ȼɨɥɟɫɥɚɜɨɜɧɚ ɩɟɥɚ. Ʉɫɟɧɞɡ ɨɛɪɚɬɢɥɫɹ ɤ ɧɟɣ ɫ ɩɪɨɫɶɛɨɣ: „ɉɚɧɢ, ɩɨɡɜɨɥɶɬɟ ɠɟ ɧɚɦ ɫɯɨɞɢɬɶ ɬɟɩɟɪɶ ɡɚ ɩɪɚɜɨɫɥɚɜɧɵɦ ɫɜɹɳɟɧɧɨɫɥɭɠɢɬɟɥɟɦ, ɱɬɨɛɵ ɢ ɟɦɭ ɛɵɥɚ ɪɚɞɨɫɬɶ”36. ɋɩɭɫɬɹ ɤɚɤɨɟ-ɬɨ ɜɪɟɦɹ ɩɨɹɜɢɥɫɹ ɱɟɥɨɜɟɤ „ɜ ɛɟɥɨɣ ɪɭɛɚɲɤɟ ɢ ɧɚɫɬɨɹɳɢɯ ɥɚɩɬɹɯ ɬɚɤɨɣ ɫɬɚɪɵɣ-ɫɬɚɪɵɣ, ɱɬɨ ɧɟ ɦɨɝ ɩɨɞɧɹɬɶ ɝɨɥɨɜɵ”, ɩɪɢɲɟɞ- ɲɟɦɭ ɨɛɴɹɫɧɢɥɢ, ɱɬɨ ɩɨɸɳɚɹ ɩɚɧɢ ɫɬɨɢɬ ɧɚɜɟɪɯɭ ɭ ɨɪɝɚɧɚ. ɋɜɹɳɟɧɧɢɤɭ ɩɨɦɨɝɥɢ ɜɫɬɚɬɶ ɧɚ ɤɨɥɟɧɢ. Ɍɪɟɬɢɣ ɪɚɡ, ɩɪɢɟɯɚɜɲɚɹ ɥɟɱɢɬɶɫɹ ɩɨɥɶɫɤɚɹ ɩɚɧɢ, ɩɟɥɚ ɜ ɫɜɨɟɦ ɤɨɫɬɟɥɟ Ave Maria ɒɭɛɟɪɬɚ. „Ƚɨɥɨɫ ɟɟ ɩɨɞɧɢɦɚɥ ɫɜɨɞɵ, ɪɚɡɞɜɢɝɚɥ ɫɬɟɧɵ, ɥɨɦɚɥ ɜɫɟ, ɱɬɨ ɡɚ ɦɧɨɝɨ ɥɟɬ ɫɬɟɫɧɹɥɨ ɡɞɟɫɶ ɤɚɦɧɢ ɢ ɥɸɞɟɣ”37 – ɷɬɢ ɫɥɨɜɚ ɫɜɢɞɟɬɟɥɶɫɬɜɨ ɨɬɫɭɬɫɬɜɢɹ ɪɚɡɝɪɚɧɢɱɟɧɢɹ ɫɜɨɟɝɨ ɩɪɨɫɬɪɚɧɫɬɜɚ ɢ ɱɭɠɛɢɧɵ. ɇɟɪɚɡɞɟɥɢɦɨɟ ɟɞɢɧɫɬɜɨ ɯɪɢɫɬɢɚɧɫɬɜɚ ɞɚɠɟ ɜ ɱɭɠɨɦ ɩɪɨɫɬɪɚɧɫɬɜɟ ɜɵɡɜɚɥɨ ɤɪɚɣɧɢɟ ɷɦɨɰɢɢ – ɥɢɰɨ ɩɚɧɢ ɫɬɚɥɨ ɜɥɚɠɧɵɦ ɢ „ɨɧɚ ɜɨɜɫɟ ɧɟ ɛɨɹɥɚɫɶ ɩɟɪɟɯɜɚɬɚ ɜ ɝɨɪɥɟ. ȿɣ ɤɚɡɚɥɨɫɶ, ɱɬɨ ɨɧɚ
30 Ibidem, ɫ. 174.
31 Ibidem.
32 Ibidem.
33 Ibidem, ɫ. 175.
34 Ibidem.
35 Ibidem, ɫ. 176.
36 Ibidem.
37 Ibidem.
ɞɨɲɥɚ ɞɨ ɤɪɚɣɧɟɣ ɬɨɱɤɢ ɫɜɨɟɣ ɠɢɡɧɢ”38. ɂ ɯɨɬɹ ɦɚɥɶɱɢɤ ɧɚɠɢɦɚɥ ɧɚ ɫɬɟɪɬɵɟ ɩɟ- ɞɚɥɢ, ɜɨɡɞɭɯ ɝɭɞɟɥ ɞɨɥɝɨ ɢ ɛɵɥ ɛɥɚɝɨɩɪɢɹɬɧɵɦ, ɟɣ ɛɵɥɨ ɬɚɤ ɯɨɪɨɲɨ. ɍɠɟ ɜɵɯɨɞɹ ɢɡ ɤɨɫɬɟɥɚ, ɩɨɥɶɫɤɚɹ ɩɚɧɢ ɡɚɦɟɬɢɥɚ ɫɬɨɹɳɢɯ ɜ ɞɜɟɪɹɯ ɞɜɭɯ ɪɚɛɨɱɢɯ ɫ ɧɟɩɨɤɪɵɬɵɦɢ ɝɨɥɨɜɚɦɢ ɢ «ɫɬɟɩɟɧɧɵɦɢ» ɥɢɰɚɦɢ ɢ ɟɜɪɟɹ ɜ ɭɡɟɧɶɤɨɦ ɝɚɥɫɬɭɱɤɟ. ɘɥɢɢ Ȼɨɥɟɫɥɚɜɨɜ- ɧɟ ɩɨɤɚɡɚɥɨɫɶ, ɱɬɨ ɨɧ ɯɨɬɟɥ ɟɣ ɱɬɨ-ɬɨ ɫɤɚɡɚɬɶ, ɧɨ ɥɢɲɶ ɩɨɲɟɜɟɥɢɥ ɥɢɰɨɦ. Ⱥ ɞɚɥɟɟ, ɭɠɟ ɧɚ ɭɥɢɰɟ „ɧɟ ɞɜɢɝɚɹɫɶ, ɫɬɨɹɥ ɤɬɨ-ɬɨ ɜ ɤɪɚɝɚɯ ɢ ɫ ɜɢɧɬɨɜɤɨɣ”39.
ɂ ɥɢɲɶ ɜ ɤɨɧɰɟ Ʉɪɵɦɫɤɨɣ ɷɥɟɝɢɢ Ȼɟɪɛɟɪɨɜɨɣ ɩɨɹɜɥɹɟɬɫɹ ɨɛɪɚɡ ɑɟɪɧɨɝɨ ɦɨɪɹ
„ɫ ɲɟɥɤɨɜɵɦ ɲɭɦɨɦ”, ɤ ɤɨɬɨɪɨɦɭ ɟɯɚɥɚ ɥɟɱɢɬɶ ɧɟɪɜɵ ɢ ɩɨɜɫɩɨɦɢɧɚɬɶ ɩɪɨɲɥɨɟ ɩɨɥɶɤɚ ɘɥɢɹ Ȼɨɥɟɫɥɚɜɨɜɧɚ Ɂ., ɨɛɥɚɞɚɬɟɥɶɧɢɰɚ ɤɨɥɨɪɚɬɭɪɧɨɝɨ ɫɨɩɪɚɧɨ. ɉɨɥɶɫɤɚɹ ɩɚɧɢ ɟɯɚɥɚ ɧɟ ɜ ɫɜɨɸ ɪɨɞɧɭɸ ɫɬɪɚɧɭ, ɚ ɜ ɫɬɪɚɧɭ ɩɪɨɜɟɞɟɧɧɨɝɨ ɬɚɦ ɞɟɬɫɬɜɚ ɢ ɸɧɨɫ- ɬɢ. Ɉɛɪɚɡ ɨɬɰɚ, ɩɪɢɜɨɡɢɜɲɟɝɨ ɢɡ ɩɨɟɡɞɤɢ ɨɝɪɨɦɧɵɟ, ɬɹɠɟɥɵɟ ɹɛɥɨɤɢ, ɢ ɦɚɬɟɪɢ, ɨɡɚ- ɛɨɱɟɧɧɨɣ ɢ ɧɨɱɚɦɢ ɨɠɢɞɚɜɲɟɣ ɟɝɨ ɜɨɡɜɪɚɳɟɧɢɹ, ɢɯ ɞɨɦ ɜ ɛɥɚɝɨɪɨɞɧɨɦ ɤɜɚɪɬɚɥɟ, ɠɟɧɫɤɚɹ ɝɢɦɧɚɡɢɹ, ɥɚɜɤɢ, ɭɩɪɚɜɥɟɧɢɟ ɠɟɥɟɡɧɨɣ ɞɨɪɨɝɢ ɢ, ɧɚɤɨɧɟɰ, ɤɨɫɬɟɥ – „ɜɫɟ ɩɨɲɚɬɧɭɥɨɫɶ, ɡɚɪɨɫɥɨ ɢ ɫɦɟɲɚɥɨɫɶ ɧɚ ɜɟɤɢ”40. ȼ ɷɬɨɦ ɛɵɜɲɟɦ ɫɜɨɟɦ – ɱɭɠɨɦ ɞɨɦɟ ɫɩɭɫɬɹ ɝɨɞɵ ɩɨɥɶɤɚ ɧɚɯɨɞɢɬ ɤɪɟɫɬɵ ɢ ɩɥɢɬɵ ɢ ɨɬɱɟɬɥɢɜɨ ɫɥɵɲɢɬ ɤɪɢɤ, ɩɟɧɢɟ ɢ ɳɟɛɟɬɚɧɢɟ ɩɬɢɰ ɢ, ɟɫɥɢ ɛɵ ɧɟ ɨɧɢ, ɬɨ „ɫɥɵɲɧɨ ɛɵɥɨ ɛɵ, ɤɚɤ ɦɨɥɹɬɫɹ ɦɟɪɬɜɟɰɵ – ɤɬɨ ɑɟɧɫɬɨɯɨɜɫɤɨɣ, ɤɬɨ Ʉɪɚɤɨɜɫɤɨɣ...”41. Ɉɫɬɚɥɚɫɶ ɥɢɲɶ ɧɚɞɩɢɫɶ „Ɉɬɱɟ ɧɚɲ”, ɚ ɜɟɞɶ ɛɵɥɚ ɭ ɧɟɟ ɡɚɞɭɦɤɚ ɱɬɨ-ɬɨ ɜɵɤɨɩɚɬɶ ɢ ɭɜɟɡɬɢ ɫ ɫɨɛɨɣ. ɉɨɥɶɫɤɚɹ ɩɚɧɢ ɪɟɲɢɥɚ ɩɟɪɟɞɚɬɶ ɨɬɰɭ ɭɜɢɞɟɧɧɨɟ ɢɧɚɱɟ – ɩɭɫɬɶ ɞɭɦɚɟɬ, ɱɬɨ ɜɫɟ ɨɫɬɚɥɨɫɶ ɩɨ-ɩɪɟɠɧɟɦɭ ɜ ɩɨɥɧɨɦ ɩɨɪɹɞɤɟ ɢ ɱɬɨ ɨɧɚ ɭɫɩɟɥɚ ɧɚ ɦɨɝɢɥɟ ɩɨɫɚɞɢɬɶ ɚɧɸɬɢɧɵ ɝɥɚɡɤɢ.
Ƚɥɚɜɧɵɦ ɜ ɷɥɟɝɢɢ ɨɤɚɡɚɥɫɹ ɤɨɫɬɟɥ ɢ ɫɜɹɡɚɧɧɵɟ ɫ ɧɢɦ ɪɟɦɢɧɢɫɰɟɧɰɢɢ. ȼɨɫɫɬɚ- ɧɚɜɥɢɜɚɹ ɩɪɨɲɥɨɟ, ɩɨɹɜɥɹɟɬɫɹ ɜɨɡɦɨɠɧɨɫɬɶ ɩɨɱɭɜɫɬɜɨɜɚɬɶ ɧɚɫɬɨɹɳɟɟ. ȼɧɨɜɶ ɜɨɡ- ɜɪɚɳɚɟɬɫɹ ɰɟɧɬɪ ɛɵɲɟɝɨ ɞɨɦɚ – ɤɨɫɬɟɥ – ɨɪɝɚɧ – ɩɸɩɢɬɪ – ɧɨɬɵ Ave Maria ɒɭɛɟɪ- ɬɚ ɢ ɩɟɧɢɟ ɧɟ ɞɟɬɫɤɨɟ, ɡɜɨɧɤɨɟ, ɚ ɦɨɳɧɨɟ ɤɨɥɨɪɚɬɭɪɧɨɟ ɫɨɩɪɚɧɨ. ɇɟɩɪɨɢɡɜɨɥɶɧɚɹ ɩɚɦɹɬɶ, ɫɜɹɡɚɧɧɚɹ ɫ ɤɨɦɩɥɟɤɫɨɦ ɨɳɭɳɟɧɢɣ ɢ ɜɩɟɱɚɬɥɟɧɢɣ, ɡɚɩɚɜɲɢɯ ɜ ɫɨɡɧɚɧɢɟ, ɞɨɥɝɢɟ ɝɨɞɵ ɯɪɚɧɢɥɚɫɶ ɩɨɥɶɤɨɣ ɜ ɧɟɩɪɢɤɨɫɧɨɜɟɧɧɨɫɬɢ ɢ ɥɢɲɶ ɩɪɢɟɡɞ ɢ ɭɜɢɞɟɧɧɨɟ ɜɨɫɫɬɚɧɨɜɢɥɢ ɤɚɪɬɢɧɭ ɩɪɨɲɥɨɝɨ. Ʉɨɫɬɟɥ – ɨɪɝɚɧ – ɩɟɧɢɟ – ɷɬɨ ɯɪɚɧɢɥɢɳɟ ɰɟɧɧɨɫ- ɬɟɣ ɝɟɪɨɢɧɢ. ȼ ɤɨɫɬɟɥɟ ɜɫɬɪɟɬɢɥɢɫɶ ɤɫɟɧɞɡ ɢ ɩɪɚɜɨɫɥɚɜɧɵɣ ɫɜɹɳɟɧɧɨɫɥɭɠɢɬɟɥɶ.
ɘɥɢɹ Ȼɨɥɟɫɥɚɜɨɜɧɚ Ɂ. ɟɳɟ ɜ ɞɟɬɫɬɜɟ, ɷɬɨɣ ɛɟɡɦɹɬɟɠɧɨɣ ɩɨɪɟ ɠɢɡɧɢ, ɢɦɟɥɚ ɫɜɨɸ ɢɟɪɚɪɯɢɸ ɰɟɧɧɨɫɬɟɣ, ɜ ɤɨɬɨɪɨɣ ɪɟɥɢɝɢɹ ɢ ɞɭɯɨɜɧɨɫɬɶ ɢɝɪɚɥɢ ɩɟɪɜɨɫɬɟɩɟɧɧɭɸ ɪɨɥɶ.
ɍɠɟ ɬɨɝɞɚ ɨɧɚ [ɤɚɬɨɥɢɱɤɚ] ɠɢɥɚ ɜ ɨɤɪɭɠɟɧɢɢ ɞɪɭɝɢɯ ɪɟɥɢɝɢɣ ɢ ɜɟɪɵ – ɧɟ ɬɨɥɶɤɨ ɩɪɚɜɨɫɥɚɜɧɨɣ. ȼ ɟɟ ɜɨɫɩɨɦɢɧɚɧɢɹɯ: „ȼɥɟɜɨ ɨɬ ɜɨɤɡɚɥɚ ɫɛɟɝɚɥ ɩɨ ɝɨɪɛɚɬɵɦ ɩɟɪɟ- ɭɥɤɚɦ ɝɪɟɱɟɫɤɢɣ ɢ ɬɚɬɚɪɫɤɢɣ ɝɨɪɨɞɨɤ”, ɚ ɜɟɡɞɟ „ɠɢɥɢ ɤɚɤɢɟ-ɬɨ Ɋɚɟɱɤɢ, Ɇɚɧɟɱɤɢ, ɇɢɧɨɱɤɢ, ɫ ɤɨɬɨɪɵɦɢ ɨɧɚ ɞɪɭɠɢɥɚ ɢ ɫɟɤɪɟɬɧɢɱɚɥɚ”42. ȼɫɟ ɷɬɨ ɧɟ ɦɨɝɥɨ ɧɟ ɡɚɩɚɫɬɶ ɜ ɞɭɲɭ ɜɩɟɱɚɬɥɢɬɟɥɶɧɨɣ ɢ ɬɚɥɚɧɬɥɢɜɨɣ ɩɨɥɶɤɢ.
ɂɫɬɨɱɧɢɤɨɦ ɜɞɨɯɧɨɜɟɧɢɹ ɛɵɥ ɧɟ ɬɨɥɶɤɨ Ⱦɨɦ Ȼɨɠɢɣ – ɤɨɫɬɟɥ, ɤɭɞɚ ɟɟ ɜɨɞɢɥɢ ɧɚ ɦɨɥɢɬɜɭ, ɧɨ ɢ ɨɪɝɚɧ, ɫ ɤɨɬɨɪɵɦ ɨɧɚ ɩɟɥɚ ɜ ɞɟɬɫɬɜɟ. ɇɚɩɨɦɧɢɦ, ɱɬɨ Ave Maria ɫɨɫɬɚɜɥɹɟɬ ɜ ɨɩɪɟɞɟɥɟɧɧɵɟ ɞɧɢ ɰɟɪɤɨɜɧɨɝɨ ɝɨɞɚ ɩɨɫɬɨɹɧɧɵɣ ɤɨɦɩɨɧɟɧɬ ɦɟɫɫɵ.
38 Ibidem.
39 Ibidem.
40 Ibidem, ɫ. 174.
41 Ibidem.
42 Ibidem, ɫ. 173.
ɂ ɯɨɬɹ ɩɟɫɧɹ ɤɚɬɨɥɢɤɚ Ɏɪɚɧɰɚ ɒɭɛɟɪɬɚ ɩɨɞɜɟɪɝɚɥɚɫɶ ɪɚɡɧɵɦ ɨɛɪɚɛɨɬɤɚɦ ɢ ɩɟ- ɪɟɥɨɠɟɧɢɹɦ, ɥɚɬɢɧɫɤɢɣ ɬɟɤɫɬ [ɛɟɡ ɩɨɜɬɨɪɨɜ] ɹɜɥɹɟɬɫɹ ɩɪɢɧɹɬɵɦ ɜ ɤɚɬɨɥɢɱɟɫɤɨɣ ɥɢɬɭɪɝɢɢ43.
ɋɸɠɟɬ ɭ Ȼɟɪɛɟɪɨɜɨɣ, ɫɜɹɡɚɧɧɵɣ ɫ ɨɪɝɚɧɨɦ ɢ ɤɨɫɬɟɥɨɦ, ɧɚɩɨɦɢɧɚɟɬ ɩɪɨɢɡɜɟɞɟ- ɧɢɟ ȼ. Ⱥɫɬɚɮɶɟɜɚ Ⱦɚɥɟɤɚɹ ɢ ɛɥɢɡɤɚɹ ɫɤɚɡɤɚ, ɫɨɫɬɚɜɥɹɸɳɟɟ ɜɜɟɞɟɧɢɟ ɜ ɟɝɨ ɉɨɫɥɟɞɧɢɣ ɩɨɤɥɨɧ44. ȼ ɧɟɦ ɩɨɥɶɫɤɨɟ ɫɜɹɡɚɧɨ ɫ ɢɫɬɨɪɢɟɣ ȼɚɫɢ – ɩɨɥɹɤɚ, ɢɝɪɚɜɲɟɝɨ ɧɚ ɫɤɪɢɩɤɟ ɩɨɥɨɧɟɡ Ɉɝɢɧɫɤɨɝɨ. Ⱥɜɬɨɛɢɨɝɪɚɮɢɱɟɫɤɢɣ ɝɟɪɨɣ ɜɨ ɜɪɟɦɹ ɨɫɜɨɛɨɠɞɟɧɢɹ ɩɨɥɶ- ɫɤɨɝɨ ɝɨɪɨɞɚ ɧɟɨɠɢɞɚɧɧɨ ɭɫɥɵɲɚɥ ɡɜɭɤɢ ɨɪɝɚɧɚ45. Ɉɧɢ ɧɚɩɨɦɧɢɥɢ ɟɦɭ ɫɤɪɢɩɤɭ ɢ ɢɫɬɨɪɢɸ ȼɚɫɢ (ɋɬɚɧɢɫɥɚɜɚ) – ɩɨɥɹɤɚ, ɱɟɥɨɜɟɤɚ, ɤɨɬɨɪɨɝɨ ɥɢɲɢɥɢ ɫɚɦɨɝɨ ɞɨɪɨɝɨɝɨ – ɟɝɨ ɪɨɞɢɧɵ, „ɞɚɥɟɤɨɣ ɞɟɪɠɚɜɵ ɉɨɥɶɲɢ”46. Ɂɜɭɤɢ ɨɪɝɚɧɚ ɪɚɡɥɢɜɚɥɢɫɶ „ɨɬ ɞɨɦɚ, ɩɪɢ ɛɨɦɛɟɠɤɟ ɤɨɬɨɪɨɝɨ ɨɬɜɚɥɢɥɫɹ ɭɝɨɥ, ɨɛɧɚɠɢɜ ɫɬɟɧɵ ɫ ɧɚɪɢɫɨɜɚɧɧɵɦɢ ɧɚ ɧɢɯ ɫɭɯɨɳɟɤɢɦɢ ɫɜɹɬɵɦɢ ɢ ɦɚɞɨɧɧɚɦɢ [...] ɞɨ ɩɨɬɟɦɨɤ ɝɥɚɡɟɥɢ ɷɬɢ ɫɜɹɬɵɟ ɢ ɦɚɞɨɧɧɵ [...] ɇɟɥɨɜɤɨ ɛɵɥɨ ɡɚ ɫɟɛɹ, ɡɚ ɥɸɞɟɣ ɩɨɞ ɭɤɨɪɹɸɳɢɦɢ ɜɡɝɥɹɞɚɦɢ ɫɜɹɬɵɯ”47.
ȼ ɩɪɨɢɡɜɟɞɟɧɢɢ Ⱥɫɬɚɮɶɟɜɚ ɬɚɤɠɟ ɫɜɨɹ ɢɟɪɚɪɯɢɹ ɰɟɧɧɨɫɬɟɣ. Ɉɞɧɚɤɨ ɭ Ȼɟɪɛɟɪɨ- ɜɨɣ ɤɨɫɬɟɥ „ɨɛɧɚɠɢɜɲɢɣ ɫɜɨɢ ɬɟɦɧɵɟ ɤɚɦɟɧɧɵɟ ɹɡɜɵ”, ɛɟɡ ɤɫɟɧɞɡɚ, ɫ ɟɠɟɞɧɟɜɧɵɦɢ ɦɟɫɫɚɦɢ ɫɨɯɪɚɧɢɥ ɨɪɝɚɧ, ɤɨɬɨɪɵɣ ɩɪɨɡɜɭɱɚɥ ɩɨɦɢɦɨ ɥɸɞɟɣ, ɫɬɨɹɳɢɯ ɭ ɩɨɪɨɝɚ ɯɪɚɦɚ ɫ ɜɢɧɬɨɜɤɨɣ, ɛɥɸɫɬɢɬɟɥɟɣ ɧɨɜɵɯ ɩɨɪɹɞɤɨɜ. Ɇɭɡɵɤɚ ɨɪɝɚɧɚ ɢ ɩɟɧɢɟ ɩɨɥɶɤɨɣ Ave Marii ɒɭɛɟɪɬɚ ɬɪɢ ɪɚɡɚ ɩɨɞɪɹɞ – ɷɬɨ ɬɨɪɠɟɫɬɜɨ ɞɭɯɚ ɢ ɫɜɟɬɚ ȿɜɚɧɝɟɥɢɹ, ɪɟɥɢ- ɝɢɨɡɧɨɝɨ ɩɨɞɴɟɦɚ ɜ ɩɟɪɢɨɞ, ɤɚɡɚɥɨɫɶ ɛɵ, ɨɛɟɡɛɨɠɟɧɢɹ ɨɛɳɟɫɬɜɚ.
ɍ Ⱥɫɬɚɮɶɟɜɚ ɬɚɤɠɟ ɡɜɭɱɢɬ ɦɭɡɵɤɚ ɨɪɝɚɧɚ ɜ ɪɚɡɜɚɥɟɧɧɨɦ ɛɨɦɛɟɠɤɨɣ ɩɨɥɶɫɤɨɦ ɤɨɫɬɟɥɟ. Ɇɭɡɵɤɚ ɚɫɫɨɰɢɢɪɭɟɬɫɹ ɚɜɬɨɛɢɨɝɪɚɮɢɱɟɫɤɨɦɭ ɝɟɪɨɸ ɫ ɩɨɬɨɦɤɨɦ ɩɨɥɶɫɤɢɯ ɫɫɵɥɶɧɵɯ, ȼɚɫɟɣ – ɩɨɥɹɤɨɦ: „Ɇɭɡɵɤɚ ɨɪɝɚɧɚ [ɂ.Ɇ.] ɜɥɚɫɬɜɨɜɚɥɚ ɧɚɞ ɨɰɟɩɟɧɟɧɧɵɦɢ ɪɚɡɜɚɥɢɧɚɦɢ, ɬɚ ɫɚɦɚɹ ɦɭɡɵɤɚ, ɤɚɤɭɸ, ɫɥɨɜɧɨ ɜɡɞɨɯ ɪɨɞɧɨɣ ɡɟɦɥɢ, ɯɪɚɧɢɥ ɜ ɫɟɪɞɰɟ ɱɟɥɨɜɟɤ, ɤɨɬɨɪɵɣ ɧɢɤɨɝɞɚ ɧɟ ɜɢɞɟɥ ɫɜɨɟɣ ɪɨɞɢɧɵ, ɧɨ ɜɫɸ ɠɢɡɧɶ ɬɨɫɤɨɜɚɥ ɨ ɧɟɣ”48.
ȼ ɫɜɟɬɟ ɩɪɨɜɟɞɟɧɧɨɝɨ ɚɧɚɥɢɡɚ ɫɬɨɢɬ ɩɪɨɰɢɬɢɪɨɜɚɬɶ ɫɥɟɞɭɸɳɢɟ ɫɥɨɜɚ: „Ƚɪɚɧɢ- ɰɚ ɧɟ ɬɨɥɶɤɨ ɪɚɡɞɟɥɹɟɬ, ɧɨ ɢ ɩɪɢɬɹɝɢɜɚɟɬ ɪɚɡɴɟɞɢɧɟɧɧɵɯ. ɗɬɨ ɩɪɢɬɹɠɟɧɢɟ ɟɫɬɶ ɩɪɨ- ɹɜɥɟɧɢɟ ɬɟɯ ɰɟɧɬɪɨɛɟɠɧɵɯ ɫɢɥ, ɤɨɬɨɪɵɟ ɢɡɧɚɱɚɥɶɧɨ ɨɛɴɟɞɢɧɹɸɬ ɱɟɥɨɜɟɱɟɫɬɜɨ”49. ɂ ɯɨɬɹ ɩɨɥɶɫɤɚɹ ɩɚɧɢ, ɨɩɟɪɧɚɹ ɩɟɜɢɰɚ ɘɥɢɹ Ȼɨɥɟɫɥɚɜɨɜɧɚ Ɂ. ɜ „ɫɜɨɟɦ” – „ɱɭɠɨɦ”
ɩɪɨɫɬɪɚɧɫɬɜɟ ɭɜɢɞɟɥɚ ɛɨɥɶɲɢɟ ɢɡɦɟɧɟɧɢɹ, ɞɭɦɚɹ ɨ ɩɪɨɲɥɨɦ, ɨ ɦɟɪɬɜɟɰɚɯ, ɦɨɥɹ- ɳɢɯɫɹ „ɤɬɨ ɑɟɧɫɬɨɯɨɜɫɤɨɣ”, „ɤɬɨ Ʉɪɚɤɨɜɫɤɨɣ”, ɨɧɚ ɫɜɨɟɣ ɦɭɡɵɤɨɣ, ɢɫɩɨɥɧɟɧɢɟɦ Ave Maria ɒɭɛɟɪɬɚ ɢɯ ɜɨɫɤɪɟɫɢɥɚ.
ɂ ɧɟ ɫɥɭɱɚɣɧɨ ɜ ɤɨɧɰɟ ɪɚɫɫɤɚɡɚ, ɭɠɟ ɩɪɢ ɜɵɯɨɞɟ ɢɡ ɤɨɫɬɟɥɚ ɩɚɧɢ ɭɜɢɞɟɥɚ ɤɨɝɨ- ɬɨ „ɫ ɜɢɧɬɨɜɤɨɣ” ɢ ɜ ɬɨ ɠɟ ɜɪɟɦɹ „ɫ ɤɪɵɲ ɫɬɪɟɥɹɥɨ ɩɨɥɞɧɟɜɧɨɟ ɫɨɥɧɰɟ”. Ɉɞɧɚɤɨ ɱɟɥɨɜɟɤ „ɜ ɤɪɚɝɚɯ ɢ ɫ ɜɢɧɬɨɜɤɨɣ” ɧɟ ɞɜɢɝɚɥɫɹ, ɨɧ ɫɬɨɹɥ, ɡɚɫɬɵɜ ɩɟɪɟɞ ȼɟɱɧɨɫɬɶɸ,
43 ɇɚ ɫɚɣɬɟ: <http://www.maykapar.ru> (ɞɨɫɬɭɩ: 27.03.2013).
44 ȼɩɟɪɜɵɟ ɜ „Ɉɝɨɧɶɤɟ” 1963, ʋ 47, ɫ. 11–15.
45 ȼ. Ⱥɫɬɚɮɶɟɜ, Ⱦɚɥɟɤɚɹ ɢ ɛɥɢɡɤɚɹ ɫɤɚɡɤɚ, [ɜ:] Ɇɢɪɢɚɞɵ, [online] <http://russian-prose.myriads.ru>
(ɞɨɫɬɭɩ 27.03.2013).
46 Ibidem.
47 Ibidem.
48 Ibidem.
49 Ⱥ. Ʌɢɩɚɬɨɜ, ɇɚɰɢɨɧɚɥɶɧɨɟ – ɦɟɠɧɚɰɢɨɧɚɥɶɧɨɟ – ɭɧɢɜɟɪɫɚɥɶɧɨɟ (Ɇɢɪ ɧɚɬɭɪɵ ɢ ɦɢɪ ɤɭɥɶɬɭɪɵ:
ɧɚ ɩɪɢɦɟɪɟ ɷɬɧɢɱɟɫɤɨɝɨ ɩɨɝɪɚɧɢɱɶɹ ɉɨɥɶɲɢ), [ɜ:] Studia Polonorossica. Ʉ 80-ɥɟɬɢɸ ȿɥɟɧɵ Ɂɚɯɚɪɨɜɧɵ ɐɵɛɟɧɤɨ, ɨɬɜ. ɪɟɞ. ȼ. ɏɨɪɟɜ, Ɇɨɫɤɜɚ 2003, ɫ. 29.
ɢ ɧɟ ɩɨɫɦɟɥ ɜɨɣɬɢ ɫ ɨɪɭɠɢɟɦ ɜ Ȼɨɠɢɣ ɯɪɚɦ. ȿɦɭ ɩɢɫɚɬɟɥɶɧɢɰɚ ɩɪɨɬɢɜɨɩɨɫɬɚɜɥɹɟɬ ɫɨɥɧɰɟ, ɢɛɨ ɨɧɨ ɧɟɩɨɛɟɞɢɦɨ (sol invectus) ɢ ɥɢɲɶ ɟɝɨ ɢɫɱɟɡɧɨɜɟɧɢɟ ɭɩɨɞɨɛɥɹɟɬ- ɫɹ ɫɦɟɪɬɢ. Ɍɚɤ ɤɚɤ ɫɨɥɧɰɟ ɹɜɥɹɟɬɫɹ ɢɫɬɨɱɧɢɤɨɦ ɜɵɫɲɢɯ ɰɟɧɧɨɫɬɟɣ ɢ ɞɭɯɨɜɧɨɝɨ ɚɜɬɨɪɢɬɟɬɚ, ɟɝɨ ɞɜɢɠɟɧɢɟ – ɷɬɨ ɡɧɚɤ ɨɡɚɪɟɧɢɹ, ɚ ɬɚɤɠɟ ɞɭɯɨɜɧɨɝɨ ɩɨɫɜɹɳɟɧɢɹ50. ȼ ɞɚɧɧɨɦ ɫɥɭɱɚɟ, ɡɚɜɟɪɲɚɹ ɫɜɨɣ ɪɚɫɫɤɚɡ, Ȼɟɪɛɟɪɨɜɚ ɞɚɟɬ ɩɨɧɹɬɶ, ɱɬɨ ɫɨɥɧɰɟ „ɢɡɥɢ- ɜɚɟɬ ɧɚ ɡɟɦɥɸ ɩɨɬɨɤ ɠɢɡɧɟɬɜɨɪɧɵɯ ɫɢɥ” ɢ ɩɪɢɟɯɚɜɲɚɹ ɥɟɱɢɬɶɫɹ ɟɟ ɝɟɪɨɢɧɹ – ɩɨɥɶ- ɤɚ, ɢɡɥɟɱɢɬ ɧɟ ɬɨɥɶɤɨ ɫɜɨɟ ɬɟɥɨ, ɧɨ ɢ ɞɭɲɭ, ɩɨɦɧɹ, ɱɬɨ ɢɫɬɢɧɧɚɹ ɜɟɪɚ ɜ ȼɵɫɲɟɟ ɧɚɱɚɥɨ ɩɪɢɡɧɚɟɬ ɜɟɱɧɨɟ ɢ ɧɟɩɪɟɯɨɞɹɳɟɟ, ɭɧɢɜɟɪɫɚɥɶɧɨɟ.
Streszczenie
Polska tematyka w „Elegii krymskiej” Niny Berberowej
Autorka bada polskie motywy w opowiadaniu Elegia krymska znanej pisarki i memuarystki, emigrantki pierwszej fali uchodĨstwa rosyjskiego XX wieku Niny Berberowej. Polskie motywy w prozie rosyjskich emigrantów wystĊpują czĊstokroü jako reminiscencje (proza A. Kuprina, R. Gula, B. Zajcewa i wielu innych). W Elegii krymskiej Berberowej znana Ğpiewaczka operowa Julia Bole- sáawowna Z. przyjeĪdĪa na leczenie skoáatanych nerwów na Krym – miejsce swojego dzieciĔstwa i wczesnej máodoĞci – i odnajduje tam bezpieczną krainĊ. I choü to obczyzna, to koĞcióá i związane z nim reminiscencje odgrywają pierwszoplanową rolĊ. KoĞcióá, organy i Ğpiew okazują siĊ skarbnicą najwyĪszych wartoĞci bohaterki Berberowej. I chociaĪ wáadza na Krymie zmieniáa swoje oblicze, to
„czáowiek z bronią” nie Ğmiaá wejĞü za nią do Domu BoĪego. Polka-katoliczka muzyką i wykonaniem pieĞni Szuberta Ave Maria niejako wskrzesiáa zmaráych, którzy niegdyĞ modlili siĊ na tej ziemi do Matki Boskiej CzĊstochowskiej lub Krakowskiej.
Summary
Polish themes in „The Crimean Elegy” by Nina Berberova
This academic paper explores Polish themes in the novel The Crimean Elegy written by a well-known novelist and memoir writer, the first wave Russian emigrant in the 20th century, Nina Berberova. Polish themes in the prose of Russian emigrants, the representatives of the first wave of the Russian Emigration in the 20th century, often appear as reminiscences (the prose of A. Kuprin, R. Gul, B. Zaytsev and others). In Berberova’s The Crimean Elegy a famous opera singer Julia Bolesáawowna Z. goes to the Crimea, the land of her childhood and adolescence, in order to calm her strained nerves and, although it is a foreign land, she finds it safe, where the church and the memories associated with it play a leading role. As it turned out, the church, the sound of barrel organs, the chants, Shubert’s Ave Maria performed by Julia Bolesáawowna Z. appeared to be a treasure trove of the highest moral values for Berberova’s heroine. And even though the government has changed its appearance on the Crimea and before the church stood now a freckled, snub-nosed “man with a gun”, he would not dare to enter the house of God. A Pole, a catholic, with her music and the performance of Shubert’s Ave Maria, she has revived the passion of the deceased, who once prayed on this land to Black Madonna of CzĊstochowa or to Our Lady of Kraków.
Key words: The Crimean Elegy, Nina Berberova, opera singer, church, memory.
50 ɗɧɰɢɤɥɨɩɟɞɢɹ ɫɢɦɜɨɥɨɜ, ɡɧɚɤɨɜ ɢ ɷɦɛɥɟɦ, ɚɜɬ. ɫɨɫɬ. ȼ. Ⱥɧɞɪɟɟɜɚ ɢ ɞɪ., Ɇɨɫɤɜɚ 2002, ɫ. 463–464.
