The following memoir genres are usually classified as such genres in literary criticism: : memoirs (in the narrow sense of the word), notes, notebooks, autobiographies, obituaries, diaries.

Apparently, without referring to this priceless heritage, it is difficult to understand the current state of literature. Therefore, our task is to analyze the historical changes in the diary as a genre of memoir literature, to clarify the stages of the evolution of the genre using the example of diaries of Russian and foreign authors.

The diary genre is one of the oldest genres in literature, the first information about which dates back to the origins of writing.

Diary as a literary genre

“To learn to write, you have to write. Therefore, write letters to friends, keep a diary, write memories, they can and should be written as early as possible - not bad even in your youth - about your childhood, for example.”(D.S. Likhachev)

A diary is an important and, in a certain sense, famous attribute of school life. But besides the usual diary (as a form of recording student progress), there is a diary as a literary genre, as the oldest form of verbal creativity.

Probably some of you also keep your personal diaries, recording events from your life. Today I would like to introduce you to information from the history of the diary tradition, about the construction of the diary, about its intellectual and artistic capabilities. In short, to help you master the basics of this most popular form of writing.

There are many definitions of a diary. One of them, owned by M.O. Chudakova, precise and clear, seems especially acceptable for school practice: “ A diary is a form of narration conducted in the first person in the form of daily entries."(Short Literary Encyclopedia).

As a rule, diaries begin to be kept in adolescence. Daily entries may contain generalizations, reflections, notes about books read, newspaper news or the weather. Often their keeping is dictated by the desire of the author of diary entries to trace his own spiritual development; The diary also serves as a means of self-education and self-organization.

History of the diary

1. The development of diary entries began in the 10th century. These are texts of various types of diary genre: “walking”, travel, travel sketches, autobiographical notes, which are still difficult to separate from journalism and chronicle narration, for example, the essay by Andrei Kurbsky “The History of the Grand Duke of Moscow...”.
2. From 13th to 19th centuries. in Russia, the publication of notebooks and diaries, travel notes begins (Gildenstedt I. “Diary of a trip through the Sloboda-Ukrainian province of academician of the St. Petersburg Academy of Sciences Gildenstedt in August and September 1774”; “Notes of Prince Boris Ivanovich Kurakin about his stay in England, departure to Russia to join the army, travel with Tsar Peter Alekseevich to Karlsbad and his appointment to the congress in Utrecht 1710–1711–1712”; Vyazemsky P. “From an old notebook”).
3. Since the 20th century, thanks to the use of fragmentary forms of writing by writers, the diary form of storytelling has become widespread in the modern literary process. So, an example of such a diary is Pechorin’s diary in M.Yu. Lermontov’s novel “A Hero of Our Time.” In the novel, the diary is not only a method of authorial characterization and a form of self-expression of the hero, but also a subject for depicting the human soul. In the novel, the diary genre itself is analyzed. It seems to split into two and loses its value-semantic indisputability: the diary introduces us to the complex world of Pechorin, makes us believe in the genuineness of his spiritual movements. The question of the essence of the diary as a genre grows here into a serious social and moral problem. On the one hand, a diary allows for unhindered analysis of the environment and self-analysis, and serves to preserve the memory of what happened and what has changed one’s mind. But on the other hand, the diary leads to spiritual fragmentation - the hero secretly executes those around him with the word of the diary hidden from them.

So, a diary is, first of all, a method of psychological depiction of a hero. By introducing a diary into the text of his novel, Lermontov allows us to see how the complex mental states of the hero are decomposed into elements and thereby explained and become clear to the reader. And finally, in a work that uses a diary as a form of artistic narration, the position of the author is quite sharply separated from the position of the character, so that there can be no question of the individualities of the author and the hero being combined.

Entire works are written in the form of a diary. Thus, “Notes of a Madman” by N.V. Gogol is such a work when the personal memories and impressions of the author, who knew the life and psychology of St. Petersburg officials, are reflected in the form of a diary.

* Blogs consist of “posts” (a post is a message in a diary), each of which contains the date and time of publication, as well as links to pages with photographs, comments and the name of the author. But unlike a household diary, which is a system of entries associated with a specific date, blog entries from different users appear in the news feed and are replaced by others over time; the time intervals that actually exist between them cannot be reflected online.

The main difference between a LJ diary and an everyday diary is the blog author’s focus on finding like-minded people, people who share his position in life, in order to communicate with them. The author creates a communicatively competent text to which the potential recipient would want to react in one way or another.

* Twitter is an analogue of a diary.

Regardless of the form in which the diary will be kept, you need to learn how to thoughtfully make entries in it.

Basic rules for keeping a diary

1. “Not a day without a line” (Yu. Olesha).

2. Date each entry.

3. Be sincere and honest in your notes.

4. Don't read someone else's diary without permission!

In addition to household chores, you can conduct reader's diary, indicating in it:

• author and title of the book;
• imprint: place of publication, publisher, year;
• the time of creation of the work, as well as the time discussed in the book;
• It is advisable to indicate the theme of the work;
• outline the content;
• formulate an idea for a book;
• write down your overall impression of the book.

MM. Prishvin kept a diary all his life. He was convinced that if he collected all the records in one volume, he would get the book for which he was born. According to estimates from Prishvin’s publishers, the manuscripts of his diaries are three times the volume of the author’s actual artistic works. As Prishvin himself wrote, “the form of small diary entries has become more my form than any other” (1940). And shortly before his death, in 1951, looking back at his life, he admitted: “It was probably due to my literary naivety (I am not a writer) that I spent the main forces of my writing on writing my diaries.”

Literary works in diary form(“Demicoton Book” in “Soboryans” by N.S. Leskov, “Pechorin’s Journal” in “Hero of Our Time” by M.Yu. Lermontov, “Chapaev” by D.A. Furmanov, “Diary of an Extra Man” by I.S. Turgenev , “The Diary of Kostya Ryabtsev” by N. Ognev, “The Village Diary” by E.Ya. (Robinson Crusoe by Daniel Defoe)

Z why need a personal diary? What is its use?

Almost each of us has secrets that we cannot even tell our closest people about. Either we are afraid that we will not be understood and judged, or something else... But sometimes these same secrets cause very strong emotional experiences, which, not finding a way out, can eventually affect a person’s behavior. If you throw out your experiences on paper, this will serve as a kind of psychological relief. And then - the paper will endure everything and certainly will not condemn you for your revelations.

In addition, when we describe a problem that we have been struggling with for several days, expressing our thoughts sometimes helps us find the right solution. After all, when we write, we, willy-nilly, have to organize the emotional chaos that is happening inside us, and putting things in order very often helps us find exactly what we are looking for - no matter whether it is a thing or a way out of a difficult situation.

You can also write down ideas that you have in your personal diary. Who knows, maybe after a certain period of time this entry, when you re-read it at your leisure, will give you a new impetus for development.

The diary can also reflect in detail the process of working on yourself if, for example, you decide to develop certain traits in yourself, learn new skills or get rid of an old habit. Such a detailed description will allow you to see from the outside your weaknesses and strengths, as well as how far you have come towards your goal.

Some people write in a journal every day at the end of the day, describing what happened, how they felt, and reflecting on what happened, what worked or didn't work, and why.

Anyway, keeping a personal diary allows you to be more attentive to yourself, to your inner world, to perceive feelings and emotions more consciously and, over time, to understand the reasons for their occurrence.

A personal diary is an excellent interlocutor who will not interrupt you and will always listen to you to the end. Although, of course, whether to conduct it or not is everyone’s personal choice.

The diary is one of the most democratic literary genres. Keeping a diary is accessible to every literate person, and the benefits it brings are enormous: daily entries, even small ones, in a few lines, teach attention to oneself and others, develop self-analysis skills, cultivate sincerity, observation, develop a taste for the word, accurate judgment, strict a polished phrase.

Let us draw conclusions: the diary genre, acquiring various features in the course of evolution, is characterized at the present stage as follows: “A diary is a genre of memoir literature, which is characterized by the form of first-person narration, conducted in the form of everyday, usually dated, synchronous from the point of view of the system of reflection of reality , records. The diary is distinguished by extreme sincerity and trust. All diary entries are usually written for oneself.

D/z: For a week, starting today, every day write down some events from your life, everything that you would like to note in your diary. We'll see what you got in a week.

Robinson Crusoe's Diary

From then on, I started keeping my diary, writing down everything I did during the day. At first I had no time for notes: I was too overwhelmed with work; Moreover, I was then depressed by such gloomy thoughts that I was afraid that they would be reflected in my diary.
But now, when I finally managed to cope with my melancholy, when, having ceased to lull myself with fruitless dreams and hopes, I set about arranging my home, put my household in order, made myself a table and chair, and generally made myself as comfortable and cozy as possible, I started writing my diary...

Our ship, caught in the open sea by a terrible storm, was wrecked. The entire crew, except me, drowned; I, unfortunate Robinson Crusoe, was thrown half-dead onto the shore of this damned island, which I called the Island of Despair.
Until late at night I was oppressed by the darkest feelings: after all, I was left without food, without shelter; I had neither clothes nor weapons; I had nowhere to hide if my enemies attacked me. There was nowhere to wait for salvation. I saw only death ahead: either I would be torn to pieces by wild animals, or killed by savages, or I would die of starvation.
When night came, I climbed a tree because I was afraid of animals. I slept soundly all night, even though it was raining.

Waking up in the morning, I saw that our ship had been refloated by the tide and driven much closer to the shore. This gave me hope that when the wind died down, I would be able to get to the ship and stock up on food and other necessary things. I cheered up a little, although the sadness for my fallen comrades did not leave me. I kept thinking that if we had stayed on the ship, we would certainly have been saved. Now from its wreckage we could build a longboat, on which we would get out of this disastrous place.
As soon as the tide began to go out, I went to the ship. First I walked along the exposed seabed, and then I started swimming. The rain did not stop all that day, but the wind died down completely.

Today I noticed that I have very few crackers left. Strict frugality must be observed. I counted all the bags and decided to eat no more than one cracker a day. It's sad, but nothing can be done.

The genre of the diary The genre of the diary in Russian literature in Russian literature of the 19th and 20th centuries. XIX and XX centuries. Presentation prepared Presentation prepared by Student of 11th grade “A” Student of 11th grade “A” GOU Secondary School 983 GOU Secondary School 983 Egereva Anastasia Egereva Anastasia Igorevna Igorevna Scientific supervisor: Scientific supervisor: Pavlova Elena Valerievna Pavlova Elena Valerievna Moscow, 2009.

Contents: - Brief history of the genre; Definition of the diary genre: - Definition of the diary genre: - Features of the genre; - Works of the 19th century (N. Gogol, M. Lermontov); M. Lermontov); - Works of the 20th century (E. Zamyatin, I. Bunin); I. Bunin); - Features of the use of the genre in the literature of the 19th and 20th centuries; - List of references.

FEATURES OF THE GENRE: - the narration is told in the first person, - often there are incomplete sentences with the subject “I” omitted and definitely - personal sentences with verbs in the form of the 1st person singular. ; - the assessment of events is given from the position of the main character, and therefore subjectivity, introspection, confession, and reflections of the hero about the world and about himself appear in the narrative;

FEATURES OF THE GENRE: - a special type of presentation of material: regularity of records, their connection with current, and not long ago, events; - journalistic nature of the narrative (subjectivity, social significance, analysis, reflections and generalizations).

References: Belinsky V.G. “Hero of our time.” Essay by M. Lermontov." M., 1967. Bunin I. A. “Easy breathing: stories, stories.” M., Eksmo, 2005. Gogol N.V. “Notes of a Madman” M., “Young Guard”, 2004. Zamyatin “We”. M., Eksmo, 2006 Natalya Koltsova. “Evgeny Zamyatin’s novel “We and the “St. Petersburg text” of Russian literature.” In the journal "Questions of literature, 1999, 4. K. Corbin "Praise to the diary" "New Literary Review", 2003, 61. Kuznetsov A.N. "Culturological allusion in Notes of a Madman." Lermontov M. Yu. “Hero of our time.” Poems. Poems. M., Eksmo, 2009. Nedzvetsky B. M., “Hero of our time”: the formation of genre and meaning.” In the book “From Pushkin to Chekhov.” M., Moscow State University, 2002.

The genre of the diary The genre of the diary in Russian literature in Russian literature of the 19th and 20th centuries. XIX and XX centuries. Egereva Anastasia Igorevna Egereva Anastasia Igorevna student of 11th grade “A” GOU secondary school 983 T: Scientific supervisor: Pavlova Elena Valerievna Moscow, 2009

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Dissertation - 480 RUR, delivery 10 minutes, around the clock, seven days a week and holidays

Nikolaicheva Svetlana Sergeevna. “Diary fragment” in the structure of a work of art (based on Russian literature of the 30s - 70s of the 19th century): dissertation... candidate of philological sciences: 01/10/01 / Nikolaicheva Svetlana Sergeevna;[Place of defense: Nizhny Novgorod State University named after N.I. .Lobachevsky].- Nizhny, 2014.- 174 p.

Introduction

Chapter I. Diary as a sociocultural and literary phenomenon

1.1. Diary as a cultural phenomenon 26

1.2. Diary and “diary fragment”. “Diary fragment” - the boundaries of the concept (theoretical aspect) 31

Chapter P. Artistic originality of diary fragments

2.1. Principles for naming diaries of literary heroes 54

2.2. Ways to include a diary fragment in a literary text 61

2.3. Psychological motivations for accessing the diaries of literary heroes 71

2.4. Dating in diary fragments 84

2.5. Graphic features of the diaries of literary heroes 90

Chapter III. Typology of diary fragments

3.1. Typology of diaries as a scientific problem 117

3.3. Typology of diary fragments 132

Conclusion 147

Bibliography 153

Introduction to the work

A diary in any of its manifestations (a writer’s diary, a literary hero’s diary) acts as a phenomenon of literature, society, culture, history, and era. Diary entries recreate both events and the internal state of the individual, therefore they demonstrate certain iconic features of the sociocultural space of their time, help to clarify and rethink the problematic areas of Russian culture, history, sociology, and to better understand the spiritual world of contemporaries.

In literary studies, three types of diary texts are traditionally distinguished as an independent object of study: writers' diaries (or real diaries of writers), a diary as a genre variety of literary prose, and diaries of literary characters in the structure of a work of art. The latter represent a “text within a text”, since the character’s notes represent a separate, specially introduced part of the work. There are many examples of the use of a diary in the structure of a work: “Pechorin’s Journal” in “A Hero of Our Time” by M.Yu. Lermontov, Onegin’s album remaining in the drafts of Pushkin’s “Eugene Onegin”, Ammalat-Bek’s diary entries from the story by A.A. Bestuzhev-Marlinsky “Ammalat-bek”, Arkady’s diary from the story by N.I. Polevoy “Painter”, “Patriarchal customs of the city of Malinov” from “Notes of a young man” by A.I. Herzen, “Demicotone Book” by Savely Tuberozov in the chronicle of N.S. Leskova “Soborians”, “Levitsky’s Diary” from “Prologue” by N.G. Chernyshevsky and others.

This study is devoted to the study and analysis of a “diary fragment” 1; this is the term used in this work to refer to a diary in the structure of a literary work and

1 Kudasova V.V. Diary as a genre strategy for Apollon Grigoriev’s creativity // Sinful Readings – VII. Collection of scientific works. Nizhny Novgorod, 2008. No. 5. P. 74.

it is defined as follows: a diary fragment is a part, a significant component of a work of art, representing the diary entries of one of its heroes 2.

Typically, a work that contains diary entries belongs to one of the traditional well-known genres (story, novel, chronicle, etc.), and “diary” will give it additional specificity and has a significant impact on the structure of the work, the features and nature of the narrative . As V.V. notes Kudasov, the “diary fragment” takes on all the possible properties and signs of the genre within which it is to be realized” 3 . When studying a diary fragment, one should take into account the fact that such diaries have their own specifics. Therefore, the rigid, formal framework of a diary in the structure of a literary text must be carefully applied to diary entries - often these entries are diaries in essence, but not in form.

The diary in the structure of a work of art is a phenomenon that occurs quite often in Russian literature of the 19th century, but has been relatively little studied. At the same time, the presence of a significant number of well-known works that include a similar form of depiction of the protagonist’s inner world opens up great opportunities for research in the field of diary writing and ego literature in general.

For example, the problem of interaction in the diary between artistic and documentary principles, “truth” and fiction, remains debatable. The main question in publications on this topic is: to what extent the authors follow a certain real-life diary. However, doubt arises

2 Hereinafter the following writing is accepted: in quotes– “diary fragment”, if
this refers to the phenomenon of Russian literature studied in the dissertation; without quotes,
if we are talking about a part of a work of art representing diary
recordings of one of his heroes.

3 Kudasova V.V. Diary as a genre strategy of Apollon Grigoriev’s creativity
// Sinful Readings – VII. Collection of scientific works. Nizhny Novgorod, 2008. No. 5. P.
74.

how necessary it is to discover such a primary source, because what is important is not the correspondence to some primary text, but the reconstruction of the “inner voice” of the hero taking notes.

The diary as a type of documentary literature is the subject of research by O.G. Egorova “Diaries of Russian Writers” (2002) and “Russian Literary Diary of the 19th Century. History and theory of the genre" (2003); E.G. Novikova “Features of the speech genre of the diary” (2005); M. Mikheeva “Diary in Russia of the 19th – 20th centuries - ego-text, or pre-text” (2006); A.M. Kolyadina “Specificities of the diary form of narration in the prose of M. Prishvin” (2006), Yu.V. Buldakova “A Writer’s Diary as a Phenomenon of Russian Abroad Literature of the 1920s – 1930s.” (2010) and others.

A number of works are devoted to identifying the artistic originality of the diaries of individual writers. So, for example, A.M. Kolyadina, in her PhD thesis, analyzes the form of narration in M. Prishvin’s prose. At the same time, she makes a number of interesting theoretical generalizations when she considers the diary as a literary phenomenon, traces the history of the diary form in Russian literature, and identifies the basic principles of the organization of M. Prishvin’s diary. She also manages to make successful generalizations because Prishvin’s diaries were studied not in isolation, but in the context of Russian literature of the 19th – 20th centuries.

Of particular interest, in our opinion, is the study

V.V. Kudasova “Diary as a genre strategy in the creativity of Apollon Grigoriev.” Considering individual works of the writer (“Leaves from the manuscript of a wandering sophist”, “Vitalin’s Diary” and “Diary of Love and Prayer”), the author of the article comes to the conclusion that Apollo Grigoriev’s diaries “have a number of stable features that contribute to the formation of a specific genre model » 4. An important methodological observation in the work of V.V. Kudasova is the idea that

4 Kudasova V.V. Diary as a genre strategy for Apollo Grigoriev’s creativity // Sinful Readings: Sat. scientific works. Vol. 5. Nizhny Novgorod, 2008. P. 76.

“Theoretical science tends to evaluate a literary diary from a functional position, first of all, considering it as an essential component of the whole (novel, story or report)” 5 ; ignoring its genre potential. V.V. Kudasova raises the question of the need to study the genre fragment, since without this a comprehensive examination of a work of art is impossible. This approach allows us to more deeply analyze various aspects of the psychologism of the prose of Russian writers. A.B. followed this path. Esin (“Psychologism of Russian classical literature”), L.Ya. Ginzburg (“On Psychological Prose”), I.S. Novich (“Young Herzen: pages of life and creativity”), N.S. Pleshchunov (Leskov’s novels “Nowhere” and “Soborians”), G.N. Guy (“Novel and story by A. I. Herzen of the 30-40s”, etc.). Their observations are related to individual works, so there is a need to consider a group of works in which the diary is used as part of the text in a comprehensive manner.

There are a number of works that, at first glance, have a cultural orientation, but help to penetrate into the atmosphere of the era, to understand the peculiarities of the thinking of a person of another time. This is the study of I.S. Finishing “Diary of a Guards Officer” 6. The article is unique in that it carries out a comparative analysis of the diaries of the main character of the novel M.Yu. Lermontov “Hero of Our Time” by Grigory Aleksandrovich Pechorin, a fictitious person, and General Konstantin Pavlovich Kolzakov, a person who really existed. I.S. It is no coincidence that Chistova compares two diaries - a fictional one, located in the structure of a literary text, and a real one. The fact is that, despite their different origins, these diaries have amazingly much in common, which allows the researcher to assume that Lermontov, when writing

5 Kudasova V.V. Diary as a genre strategy of Apollon Grigoriev’s creativity
// Sinful Readings – VII. Collection of scientific works. Nizhny Novgorod, 2008. No. 5. P.
74.

6 Chistova I.S. Diary of a Guards officer // Lermontov collection. L., 1985.
pp. 152 – 180. // .

Pechorin's diary relied heavily on Kolzakov's diary, which existed historically at that time.

Another direction is to study the problem of the “nature of the diary” as
“a hybrid genre formation containing both moments

reality, as well as an orientation towards literature, associated with the need to select material and its combination according to certain laws of verbal art”: Yu.V. Shatin “Kuchelbecker’s Diary as an Artistic Whole” 7, A.M. Kolyadina “Specificities of the diary form of narration in the prose of M. Prishvin” 8 and others.

The linguistic features of the diary text were considered in the works of N.Yu. Donchenko (1999) 9, N.A. Nikolina (2002) 10, E.G. Novikova

(2005) 11 et al.

As we see, the attention of researchers is often attracted to writers’ diaries. Diaries of heroes, a diary in the structure of a work of art have been studied less. Moreover, they are sometimes deliberately ignored by researchers. So, for example, in 1978, Natalya Borisovna Bank in her monograph “The Thread of Time: Diaries and Notebooks of Soviet Writers” made a reservation that “in [her] field of vision are only writers’ diaries and notebooks, and only such diary books, such works of modern prose, in which the diary entries of the author himself play a large role. Analysis of works that use the diaries of heroes or real-life persons and participants

7 Shatin Yu.V. “Kuchelbecker’s Diary as an Artistic Whole” // http: //
/ literature2 / shatin – 88. htm.

8 Kolyadina A.M. Specifics of the diary form of narration in M.’s prose.
Prishvina: Dis. ...cand. Philol. Sci. Samara, 2006. 215 p.

9 Donchenko N.Yu. Poetics of antonymy in the diaries of M. Prishvin: Dis. ...cand.
Philol. Sci. Moscow, 1999. 255 p.

10 Nikolina N.A. Poetics of Russian autobiographical prose. M., 2002. 424 p.

11 Novikova E.G. Linguistic features of the organization of classical and
network diaries: Dis. ...cand. Philol. Sci. Stavropol, 2005. 255 p.

events (so, for example, in “Reflection of the Fire” by Yu. Trifonov), is not part of [its] task” 12.

These works constitute the main body of research on
this problem. As we see, studying the “diary fragment”, that is,
diary in the structure of a literary text, in modern

literary criticism is in the nature of an initial consideration of this phenomenon, and therefore belongs to the category of little-studied. Although the broad impact of diaries on all literature and their peculiar “landing” into works of other genres and the renewal of traditional genres has been talked about for quite some time, one of the first studies here is worth noting the above-mentioned work of N.B. Bank 13.

In addition, currently one of the actively developing
directions in domestic literary criticism is artistic
anthropology 14. Anthropology is a widely known term

philosophical and highly specialized content: “the science of the origin and
human evolution" 15. In the 20th century its meaning is constantly expanding,
philosophical, religious, and also

artistic. Artistic anthropology, which interests us, is the knowledge of the inner world of an individual in artistic depiction. But the human personality, from the point of view of Academician D.S. Likhachev, “always constitutes the central object of literary creativity. Everything else is in relation to the image of a person: not only the image of social reality, everyday life, but also nature, the historical changeability of the world, etc. In close contact with how

12 Bank N.B. Thread of time: Diaries and notebooks of Soviet writers. L.,
1978. pp. 8 – 9.

13 Bank N.B. Thread of time: Diaries and notebooks of Soviet writers. L.,
1978. P. 28.

14 See Orlova E.A. Cultural (social) anthropology. M., 2004; Belik A.A.
Cultural (social) anthropology. M., 2009; Rudneva I.S. The art of words
portraiture in Russian memoir-autobiographical literature of the second half
XVIII - first third of the XIX centuries: Author's abstract. ...dis. Ph.D. Philol. Sci. Orel, 2011. P. 4.

15 Soviet encyclopedic dictionary. Ed. 4th. M., 1987. P. 66.

a person is depicted, and all the artistic means used by the writer are also found” 16.

Based on the above, relevance research

due to the presence of the problem of studying a diary in the structure of a work of art and insufficient results in solving it. A comprehensive analysis allows us to expand our understanding not only of the work in which the diary fragment is included, of the skill of the writer who used such a method, but also to enrich and systematize the theoretical information about the diary that is already available in science. Turning to the diary in the structure of a literary text allows us to develop a typology of the diary, as well as identify the specifics of the narration in the diary, and trace the evolution of this form throughout the period of time that interests us in this study - the 30s - 70s. XIX century.

Thus, the problem under consideration is important not only when analyzing individual works of art, but also in the aspect of studying the diary as a general cultural phenomenon.

Object research are works of art of Russian literature of the 30s - 70s. XIX century, including in their structure the diaries of literary heroes (the story by A.A. Bestuzhev-Marlinsky “Ammalat-Bek” (1832), the story by N.A. Polevoy “The Painter” (1833), the novel by M.Yu. Lermontov “Our Hero time" (1840), "Notes of a young man A.I. Herzen (1840 - 1841), N.S. Leskov's chronicle "Soborians" (1872)), presented in the Complete Works of these authors. The choice of the object of study is determined by the significance and significance of these works at this time stage, the inclusion of a “diary fragment” in works of art of different genres and their attribution to various literary movements of the 19th century.

Likhachev D.S. Man in the literature of Ancient Rus'. M., 1970. P. 3.

Subject This study consists of diary entries contained in the structure of these works.

Target of this dissertation work is to explore the artistic originality and functions of the diary fragment based on a comprehensive analysis of the above works.

Research objectives:

determine the specifics of the concept of “diary fragment”;

identify the functions of a diary fragment;

analyze ways of incorporating a diary fragment into a work of art;

consider the graphic features of diary fragments;

to develop a typology of diary fragments in the structure of a work of art and correlate it with the types of literary heroes (diary authors) presented in Russian literature of the 30s - 70s. XIX century.

Methodological basis The research was based on the theoretical and literary works of M.M. Bakhtina, L.Ya. Ginzburg, A.B. Esina, N.B. Bank, O.G. Egorova, N.A. Nikolina, M.Yu. Mikheeva, S.I. Ermolenko, V.E. Khalizeva et al.

The work uses typological, comparative-historical, biographical, and structural research methods.

Scientific novelty dissertation consists of a targeted, comprehensive study of diary entries in the structure of works of art as an artistic device. In particular, for the first time in work:

the specified subject of research is indicated;

a selection and systematization of artistic works of Russian literature of the 19th century were carried out, corresponding to the subject of the study, including the diaries of literary heroes for a specific period of time (30s - 70s);

3) a typology of diary fragments has been developed, taking into account their
correlation with the hero-author of the diary;

4) the problem of the addressee in the diary fragment is posed separately;

5) the artistic features of diaries in
structure of the work.

Theoretical value The research is associated with the development of a typology of diaries of literary heroes, updating ways of including a diary fragment in a work of art, a comprehensive study of the concept and phenomenon of a diary in the structure of a literary text, its functions and forms of existence, and deepening ideas about psychologism.

Practical significance work is determined by the possibility of using its theoretical principles in the further study of the work of A.A. Bestuzhev-Marlinsky, M.Yu. Lermontov, A.I. Herzen, N.A. Polevoy, N.S. Leskov and in the practice of teaching the course “History of Russian Literature of the 19th Century” (sections “The Works of A.A. Bestuzhev-Marlinsky”, “The Works of M.Yu. Lermontov”, “The Works of A.I. Herzen”, “The Works of N.A. Polevoy” ", "Creativity of N.S. Leskov"), in the work of special courses and special seminars. The dissertation materials are valuable for such sciences as cultural studies, communication theory, and psychology.

Main provisions submitted for defense:

1) Existing definitions and interpretations of literary criticism
the term “diary” does not provide a comprehensive idea of ​​the specifics
diary in the structure of a work of art. Diaries

literary characters are often analyzed by analogy with everyday characters
writers' diaries, which leads to a simplified, superficial and often
their standardized understanding, and this does not allow revealing
the true originality and features of records of this type. Diary in
structure of a work of art (diary fragment)

original in relation to its predecessor - the everyday diary,

he borrowed a lot from him, but in many ways he was different. In particular, dating is used more freely in nm, which ceases to be a rigid, mandatory criterion for diarism itself. Therefore, the diary of a literary hero is more flexible, open, it is at the junction of literary genres: diary, notes, memoirs, letters - it absorbs their characteristic features in varying proportions (depending on the specific work) and creatively melts them.

2) The nature of the diary entries and their volume to a large extent
determined by the genre to which the work belongs, which has in its
the structure of these records (story, novel, chronicle, notes). Novel and chronicle -
these are large epic genres, stories and notes are average, which affects
on the size of the diary fragment and its content.

3) The problem of the addressee in the diary is fundamental
moment. Despite the fact that a characteristic historical feature
diary is its addresslessness, in our opinion, the need for
literary hero - the author of the diary in the addressee, real or
supposed, still exists, which is reflected on the pages
analyzed diary fragments. For example, Pechorin in his
notes mentally addresses the “probable” lady, Savely Tuberozov with
writing a diary considers him as a possible observer
only himself, Ammalat-Bek, like Pechorin, focuses on
external reader in the person of Seltaneta, while Arkady in Polevoy’s “Painter”
reads his own notes out loud, deliberately making them public
interlocutor. As for the young man Herzen, for him
the dominant focus is on the external addressee rather than on the
myself. Thus, three main systems of orientation towards
addressee in diary fragments: the author of the diary – “I” (Tuberozov),
diary author - interlocutor, hero-narrator (Arkady), diary author -
likely reader (Pechorin, Ammalat-bek, a young man from Herzen).

4) The diary fragment expands space and time
work of art, performing the function of “expanding the plot
framework." As a result, a diary in the structure of a literary text allows
take the reader beyond the central plot line, significantly
expanding his ideas about the work as a whole and the character of the characters.

5) Incorporating diary entries into a work of fiction –
This is a plot-compositional approx. Ways to enable a diary can
be different: prefaces, “found manuscript”, author’s appeals to
to the reader, “dedication to the diary,” “prejudice about the diary.”

6) The psychological motivations for treatment are diverse
literary heroes to diaries. Each specific case of management
diary entries is a consequence of the action of some important
their creator cause. As a rule, such psychological moments
form a consistent chain: loneliness - memory -
reflection.

7) A fundamentally important role in the structure of the diary is
graphic features of its design, allowing you to see hidden
layers of the writer's literary intention, his desire to search
additional ways of expressiveness (playing with font (italics),
pauses, defaults, omissions, indicated in the text by ellipses,
punctuation and underlining).

8) Diaries of literary heroes can be classified
as follows: “diary-love confession”, “diary-
analytical confession", "biography diary", "confession-
biography", "satirical diary". This typology expands
prospects for further study of diaries in the structure of artistic
works. Diaries of literary heroes can be classified as
certain types corresponding to the characteristics of these heroes.

9) One of the factors that significantly influenced the development of the phenomenon
diary, is a change in literary trends (sentimentalism,

romanticism, realism), which was associated with a shift in emphasis from the external
aspects of a person’s emotional manifestations on his inner world
personal states and experiences. Over time, enriching and
accumulating artistic practice of depicting and explaining spiritual
ideological aspects of personality, the diary contributed
the formation of Russian psychological prose.

Testing and implementation of results Research: Materials
dissertations were repeatedly discussed at meetings of the Russian Department
Literature of Nizhny Novgorod State University. Ideas,

the provisions and conclusions of the work were presented by the author at scientific
conferences of different levels: international (“Language, literature, culture
and modern globalization processes" (Nizhny Novgorod, 2010),
“Problems of the linguistic picture of the world at the present stage” (Nizhny
Novgorod, 2009, 2010); All-Russian (“The life of the province as a phenomenon
spirituality" (Nizhny Novgorod, 2008, 2009, 2010), "Orthodoxy and Russian
literature: university and school aspects of study" (Arzamas, 2009),
“Current problems of studying and teaching literature at universities and
school" (Yoshkar-Ola, 2009), "Russian Orthodox Church and modern
Russian society" (Nizhny Novgorod, 2011); regional

(“Sinful Readings” (Nizhny Novgorod, 2008, 2010, 2012),

“Nizhny Novgorod session of young scientists” (2008, 2009, 2010),

“Responsibility and dignity of the individual in the era of “new media” (2013), etc.

The main provisions and results of the study are presented in 17 publications on the research topic, including 4 articles in publications included in the list of the Higher Attestation Commission.

Work structure. The dissertation of 174 pages consists of Introduction, 3 chapters, Conclusion. The bibliography includes 266 titles.

Diary and “diary fragment”. “Diary fragment” - the boundaries of the concept (theoretical aspect)

A diary is not only a daily record of events occurring in life or a stream of emotional outpourings on paper, it is a very complex and multifaceted phenomenon that requires a thorough comprehensive analysis and attentive approach.

The massive spread of diaries in culture and literary creativity has led to the emergence in modern science of such concepts as “diary writing” and “diary scholar,” which indicates a natural growth in the interest of a number of researchers in the diary as a cultural phenomenon. Let's consider two meanings of the word “diary”. One of them can be interpreted as “keeping a diary” - making regular entries in a specially designated notebook that reflect daily events, current affairs, thoughts and experiences of the author, his spiritual and mental state, moral position, worldview, cultural and educational level36. The second is to “keep a diary,” that is, to know the features of keeping a diary, to consciously imagine the purpose and objectives of this activity, the place and meaning that a diary should acquire in the author’s personal life, to have information about classic examples of diary-keeping. If the first is quite comprehensively interpreted by the explanatory dictionary of the Russian language, then the second is an extensive topic for study and creative search.

In addition, the study of diaries continues within the framework of the study of ego literature, and the diary is called an “ego-text” or “pre-text”.

Ego literature (“ego” in Latin for “I”) is literature addressed to one’s inner self. Today, the literature addresses issues related to the understanding of the documentary principle in artistic creativity. Domestic philologists are trying to define such concepts as “documentary fiction,” “ego-document,” “literature of fact,” and “auto-documentary text.” Most of them do not have a clear definition and a strong status. In this regard, discrepancies arise in the field of genre designations (diary, memoirs, notes).

Speaking about ego literature, one cannot help but recall such a psychological concept as “egocentrism” of nature. It is in direct connection not only with the study of the inner world of a person, but also with diary writing. As the famous Russian philologist, psychologist, honorary academician of the St. Petersburg Academy of Sciences, founder of the psychological school in literary criticism D.N. Ovsyaniko-Kulikovsky, egocentrism “reduces, first of all, to a constant, lingering and too distinct feeling by the subject of his “I”: it is difficult for people of this type to escape from this feeling, it is difficult, sometimes impossible, to forget, at least temporarily, about their “I”, which they are unable to dissolve in an impression, in an idea, in a feeling, in passions.” From our point of view, it is precisely egocentric natures that are most likely to keep a diary, personal notes addressed to oneself. In addition, “a characteristic feature of egocentric natures is the tendency to oppose themselves to everything else. Their social well-being is expressed, willingly or unwillingly, in antitheses: “me and society,” “me and the fatherland,” “me and humanity”40... We see such a contrast on the pages of the diary of Pechorin, Ammalat-bek, Arkady and other heroes.

In dictionaries, monographs, and articles we find several of the most significant definitions of the term “diary”. Let's consider different approaches to the interpretation of the concept of “diary” and try to determine the boundaries and scope of this concept, its specific features, and selection criteria.

Based on the intuitive understanding of Russian speakers, M.Yu. Mikheev gives the following definition of a diary: “any text in which entries are separated from each other, most often by time dates”41. As follows from this formulation, dating is not a significant structure-forming feature of a diary; its fundamentally important feature is the intermittency, fragmentation, and “fragmentation” of the records kept. But then it is not clear how to distinguish between “notes”, “notes” and the diary itself. That is why in definitions, as a rule, special emphasis is placed on the presence of dating. So, according to the definition of A.N. Nikolukina is “a periodically updated text consisting of fragments with a specified date for each entry.” Moreover, “the correspondence between the record itself and its date is quite conditional: the date and sequence of records are sometimes unimportant.”

A.N. Nikolyukin also identifies a number of features that can be implemented to a greater or lesser extent in each diary:

1) frequency, regularity of recording;

2) the connection of records with current, and not with long-past events and moods;

3) the spontaneous nature of the recordings (too little time has passed between the events and the recording, the consequences have not yet manifested themselves, and the author is not able to assess the degree of significance of what happened;

4) literary lack of processing of records;

5) addresslessness or uncertainty of the addressee of many diaries;

6) intimate and therefore sincere, private and honest nature of the recordings.

In the 19th century, the old name, borrowed from French, was used as synonymous with “diary” - journal. In the 19th century it was even more common. This is exactly how V.I. Dal interprets the meaning of the word: “A diary - daily notes, a journal, in all meanings”45. In this case, the author gives the definition of the word “diary” through the word “magazine”, thereby indicating the closeness, synonymity, and interchangeability of these concepts.

“Journal - m., French, diary, daily note. Journal of meetings, dean; travel, road, travel book. Time-based publication, weekly, monthly, published according to established deadlines; conscript"46. Based on the etymology of the French word, “journal” is a daily entry.

In Pushkin’s dictionary the word diary is absent altogether - there is only the word “journal”, with a fairly high frequency (285), including some outdated uses, for example, with the management of what (siege journal kept in the governor’s office...)47.

In modern Russian, the meanings of these words are distributed as follows: a diary is personal records kept day after day; magazine (from French journal, originally “diary”) - a printed periodical.

Ways to include a diary fragment in a literary text

When a diary is part of a text, the writer is faced with the need to motivate its inclusion.

The method of including a diary is a plot-compositional device, the use of which allows the writer to successfully achieve his goal of deeper penetration of the reader into the inner world of the hero. There are different ways to include a diary in works of fiction: prefaces, direct addresses from the narrator to the reader, remarks from a minor character directly related to mentions of the main character’s diary, etc.

So, in “Hero of Our Time” M.Yu. Lermontov's "Pechorin's Journal" is introduced with the help of prefaces. Both prefaces as part of the plot of the novel fulfill their direct function - they are an introduction, firstly, to the “physical phenomena of human nature”, and secondly, to its spirituality.

The preface to “Pechorin’s Journal”, and diaries in the 19th century, as a rule, we repeat, were called “magazines”, switches the narrative: from the external world, which was described in the notes of a traveling officer, there is an appeal to the world of the personality of the “hero of the time”. The author-narrator, previously present in the novel, leaves the pages of the work, as if completely losing power over the hero. It should also be noted the semantic and logical weight of the preface to the magazine, the use of which in the future will become a widely used technique in Russian literature. The traveling officer who publishes Pechorin's Journal explains the reasons and motives that led him to the decision to publish the notes: “I recently learned that Pechorin died while returning from Persia. This news made me very happy: it gave me the right to print these notes... . Re-reading these notes, I became convinced of the sincerity of the one who so mercilessly exposed his own weaknesses and vices. The history of the human soul, even the smallest soul, is perhaps more curious and useful than the history of an entire people, especially when it is the result of observations of a mature mind on itself and when it is written without a vain desire to arouse participation or surprise. ... So, one desire for benefit made me print excerpts from a magazine that I got by chance.” Thus, the preface introduces the reader to the “Journal”, directly prepares us for the perception of events in the life of the main character, and for a deep insight into his character

A significant point in the preface is the comparison of “Pechorin’s Journal” with “Confession” of Jean-Jacques Rousseau, which focuses on the reflective and confessional nature of the word “hero of the time” to a greater extent than the public revelation of the French writer: “Rousseau’s Confession already has the disadvantage that he read it to his friends." Pechorin is distinguished by a stern frankness of his position; he wrote about himself truthfully and openly.

Thus, we have already noted that in the preface, the traveling officer who publishes Pechorin’s notes recalls: “Re-reading these notes, I was convinced of the sincerity of the one who so mercilessly exposed his own weaknesses and vices.” This point was touched upon in the article by Ya.M. Markovich “Confession” of Pechorin and its readers: “The more vices the confessor ascribes to himself, the more doubtless his “sincerity” will appear. ... It is impossible to achieve absolute sincerity in confession due to the objective properties of our memory, which is prone to a certain aberration and selectivity.” With the approval of Ya.M. We can partially agree with Markovich, since selectivity is characteristic of our memory and Pechorin’s memory as well, but selectivity and sincerity cannot be correlated as phenomena of different orders. Despite the fact that a diary is characterized by a selection of material, those materials that are reflected in the entries can be absolutely sincere, since the fact that the author records them for himself in the diary indicates the high personal significance of these materials for him. In other words, the author emphasizes in his memory precisely specific memories that are the most vivid and significant for him, and therefore he strives to restore them in a diary, which, as expected, no one will see, with the utmost sincerity. From this we can conclude that the memories presented in the diary are extremely objective, since the subject spends much more internal energy on processing and recording them. Naturally, complete objectivity is impossible for the subject, but the desire for this objectivity is possible; an example of such a desire is diary entries, which are initially written only for oneself. For example, in the “Journal” Pechorin writes extremely sincerely and critically about women and the female mind, while accumulating all his spiritual strength and the most important life experience for him: “Since poets write and women read them (for which we have our deepest gratitude ), they were called angels so many times that they, in fact, in the simplicity of their souls, believed this compliment, forgetting that the same poets for money called Nero a demigod...”

In addition, the promise to publish another part of Pechorin’s notes, which he finds in the preface, gives rise to additional interest among the reader: “I placed in this book only what related to Pechorin’s stay in the Caucasus; I still have a thick notebook in my hands, where he tells his whole life. Someday she too will appear at the judgment of the world; but now I do not dare take on this responsibility for many important reasons.” The promise is aimed at the reader in order to attract him to the text. This technique creates a kind of dialogue between the hero and the reader, bringing them closer, and at the same time making the reader imbued with the idea of ​​​​the inexhaustibility of the hero as an individual. In addition, in this case the idea of ​​incompleteness of the narrative and the possibility of new discoveries is realized.

In other words, in “A Hero of Our Time,” diary entries are organically included in the text of the work, imperceptibly leading the reader to a “personal” acquaintance with the main character, revealing to us the mysterious veil covering his contradictory inner world. Already the prefaces to Pechorin’s diary set a unique system of ideological, value and semantic coordinates, within the framework of which we subsequently perceive and recognize the hero in many ways, getting closer to him and his fate. Thus, it seems, Lermontov not only uses the diary on the pages of his work, but purposefully prepares the reader for it, and due to this preparation, the diary entries themselves sound more sincere and authentic.

Another way of including a diary is as a "found manuscript". We find a similar example of the inclusion of diary entries in a literary text in the third part of “Notes of a Young Man” by A.I. Herzen - “Years of Wandering.” This part contains a story in the form of a diary, “The Patriarchal Morals of the City of Malinov,” which opens with the introduction “From the Finder of the Notebook” and ends with a “Note from the Finder of the Notebook.” Entries in the “Patriarchal Morals of the City of Malinov” are not kept day by day, but: “in a week”, “in two weeks”, “in a month”, “in a month and a half”, “the next day”, “in six months”, etc. .d.; then they move into a new story from the narrator’s “I” about Trenzinski and his meetings with Goethe. The message “why did we get a notebook” is a traditional, widely accepted literary device of that era; events do not arise “spontaneously”, but are presented on behalf of the author himself (remember, for example, “Belkin’s Tale” by A.S. Pushkin or the novel “A Hero of Our Time” M.Yu. Lermontov): “The young man’s notebook was forgotten, probably by the young man himself at the station; The caretaker, having taken the book to the provincial town for inspection, presented it to the postal official. The postal official gave it to me - I didn’t give it to him. But before me, he gave it to a black quasi-Danish dog to play with; the dog, more modest than I, without appropriating the entire notebook for itself, tore out only the places that especially appealed to its quasi-Danish taste; and, frankly speaking, I don’t think these were the worst places. I will mark where the leaves have been torn out, where only towns remain, and ask you to remember that the only culprit is the black dog; her name is Plutu s." The final “Note from the Finder of the Notebook” organically ends the work with the narrator’s justification for Trenzinski’s story regarding Goethe: “It would pain me to think that this story would be considered a small stone thrown at the great poet, before whom I revere.”

Graphic features of the diaries of literary heroes

Among the graphical features we primarily include play with font (italics), pauses, omissions, omissions, indicated in the text by ellipses, underscores and underscores. The largest theorist and authority on the history of punctuation A.B. Shapiro points out that in such writers as Pushkin, Lermontov, Tolstoy and others, punctuation marks are recorded only in complex and special places, and in other, “ordinary” cases, a careless attitude towards them is observed 109. Currently, from the point of view of modern researchers of this issue, such situations are quite typical for punctuation: “In punctuation, along with general norms that have a certain degree of stability, there are situational norms, adapted to the functional qualities of a particular type of text. The former are included in the required minimum punctuation. The latter provide special information and expressiveness of speech"110

Existing comments to the novel by M.Yu. Lermontov’s “Hero of Our Time” does not give a complete idea of ​​some of the graphic features of this work. First of all, this formulation of the problem concerns the story “Princess Mary”, which is the key to understanding the character of the main character - Pechorin, since it is a diary and the confessional character is expressed more clearly here than in other stories related to “Pechorin’s Journal”.

The text of “A Hero of Our Time” has “a single, internally consistent author’s dotted layer of italics”111. Words in italics appear in the story of the wandering writer, and in the story of Maxim Maksimych, and in “Pechorin’s Journal” (they are only absent in the prefaces). Changing the font is a significant author’s pause, when a word is endowed with new meanings thanks to graphic design. The study of such a phenomenon is justified by the psychological attitude of the author of the novel.

Starting to talk about italics, it should be noted that at the end of the 18th and 19th centuries. many Russian writers and poets used italics to write “someone else’s word” (quote), that is, italics replaced quotation marks. And the selection of “alien words” in a similar way is noted by almost all writers. However, a large semantic load falls on italics, regardless of this function. In modern publications, signs are placed in accordance with modern standards.

There is not much italics in Pechorin’s diary, but each highlighted element has its own explanation, interpretation and in one way or another “hints” at certain events and changes in the hero’s fate. The volume of syntactic constructions in italics in M.Yu. Lermontov - from words to phrases and sentences (unlike other authors: for example, A.P. Chekhov, in addition to words, phrases and sentences, singled out individual letters and morphemes in this way).

The first case of such text design is “water youth”. Evidence from memoirists confirms the accuracy of Lermontov’s characterization of the “water society.” At that time, there were numerous congresses to the Caucasian waters; sick people from all over Russia gathered to the springs in the hope of healing. And, of course, this concept is directly related to the life of the hero. After all, the expression “water society” is used as an equivalent to the phrase “secular society,” and it was light that raised Pechorin. This means that in this expression one meaning is layered on top of another, in a certain way “weighting” the original meaning.

Analyzing Grushnitsky’s behavior, Pechorin writes the following: “It should be noted that Grushnitsky is one of those people who, speaking about a woman with whom they barely know, call her my Mary, my Sophie, if they had the good fortune to like her.” So, the name Mary becomes iconic. Grushnitsky's expression and his style are included in the reflections of Reiser S.A. Fundamentals of textual criticism: Textbook. A manual for students of pedagogical institutes. L., 1978. P. 62. Pechorina. Pechorin quotes Grushnitsky, borrows words from the speech of another character - thus the “internal quote” appears on the pages of the protagonist’s diary. Pechorin further adds: “He even had a silver ring with niello... I began to look at it, and what? "Mary's name in small letters." M.Yu. Lermontov, using italics, focuses the reader’s attention on the person who will subsequently reveal himself as a character participating in the development of the plot.

In the entry dated June 6, we see a kind of typical solution to the previous italics: “When I returned home, I noticed that I was missing something. I didn't see her! She's sick! Have I really fallen in love?.. What nonsense!” . This is Pechorin’s inner speech, his emotions, the hero, in fact, for the first time verbalizes what is only “wandering” in him. Here the whole sentence is in italics, but the emphasis falls mainly on the pronoun.

Princess Mary’s word in italics, “everything,” also deserves due attention. To Pechorin’s question about whether all her fans are “boring,” she, blushing, but still decisively answers: “Everyone!” Thus, the italics here indicate not only “alien speech,” but also the exclusivity of the main character, his difference from everyone else, and Princess Mary’s interest in him. In addition, in this case of using italics, another thing is important: both characters understand that we are talking about Grushnitsky, but do not mention his name.

The identity of the diary author and the nature of the entries

Much depends on the social status, education, profession, personal qualities, interests, and worldview of the diary author. The hero's position in society often determines the nature of diary entries, themes, style, design, etc. Diaries are kept by different heroes: representatives of secular society, military personnel, clergy, representatives of creative professions, etc.

In real life, as a rule, for the first time we evaluate a person based on his external data, speech, facial expressions, gestures, etc. The eyes play a decisive role, since they often reveal a person’s state of mind. Looking at them, you can try to understand a person, understand his inner world. In a work of art, we do not have the opportunity to see the characters with our own eyes (as, for example, in a theater on stage); we are provided with only texts that we read and analyze. Consequently, the words of the heroes fall into the spotlight of readers. The hero’s word is the most important means of characterizing them: it is subordinated, first of all, to the task of revealing the hero’s self-awareness. The heroes are not alike, and their words are also different. This finds clear expression in the diaries of the heroes. Each diary author has his own type of statement about the world, an idea of ​​current events, awareness of himself in society, etc. Each of them, through words in diary entries, recreates and reproduces reality, creating their own world. Thus, the type of consciousness and method of self-expression of the hero becomes decisive in the typology of heroes-authors of diary entries.

We will try to identify the specifics of each type of hero-diary author, based on the following examples of “diary prose” of Russian literature of the 19th century: the story by A.A. Bestuzhev-Marlinsky “Ammalat-Bek”, novel by M.Yu. Lermontov “Hero of Our Time”, “Notes of a Young Man” by A.I. Herzen, story by N.A. Polevoy “Painter”, chronicle of N.S. Leskov "Soborians". Let us highlight different types of authors of diary entries, often found in the works of this period, and which we will further correlate with the types of diary. "reflective hero"

In the literature of the 19th century, he is most often a young man (usually a nobleman, a socialite), striving for his “I” (Pechorin from M.Yu. Lermontov’s novel “A Hero of Our Time”, a certain “young man” from “Notes of One young man" by A. I. Herzen). He tries to find answers to the eternal questions of existence, wants to understand the meaning of life, determine his place in the existing world. Such a hero tells about past or passing youth, love, sometimes adolescence and youth, about his position in society and the feelings, experiences, and emotions associated with this. And the environment in which this hero finds himself is alien to him, its boundaries are cramped. The recordings of such heroes are characterized by an analytical character. "natural man"

The role of such an author of diary entries in a work of fiction is played by a hero who grew up in the lap of nature, organically connected to the natural world. The antithesis typical of a classic novel: the hero of civilization (a secular person) - a “natural” person in the 30s receives a different solution. Until this stage, traditional in Russian literature was the idea that only educated, enlightened, well-read people who are representatives of secular society are capable of truly thinking, thinking, and reflecting. And during this period, the hero, who had not previously been endowed with such a right, unexpectedly acquires the right to reflection - it was not assumed that his life could be stormy, intense, meaningful.

In the literature of the period we are interested in, one of the authors of diary entries is a mountaineer - a resident of the Caucasus - a bearer of a special character and temperament, pouring out his feelings with a special intensity and in a unique manner. In the story by A.A. Bestuzhev-Marlinsky, the main character is the one whose name is included in the title of the work, Ammalat-bek. This is a typical romantic hero, a highlander. The image is bright, ambiguous, dramatic, charismatic and attractive. And it is the diary, which plays a significant role in the story, despite its small volume, that helps us understand and comprehend the sad story of his life more fully, in more detail.

The tradition of the Caucasian theme comes from A.S. in Russian literature. Griboyedova, A.S. Pushkina, A.A. Bestuzhev-Marlinsky and M.Yu. Lermontov. But each of the listed authors had its own solution, embodiment, interpretation and meaning.

In the story by A.A. Bestuzhev-Marlinsky’s “Ammalat-bek”, the most attractive aspect for literary scholars was sometimes precisely the theme of the Caucasus. This is not accidental, since detailed descriptions of life and ethnography of the peoples of the Caucasus occupy a significant place in the story. In addition, the researchers paid attention to the notes and digressions contained in the text, with the aim of drawing the author a detailed sketch of this “severely majestic” region. But, as V. Bazanov rightly noted, “... we should not forget the main thing: Bestuzhev’s story is a work of art, and not an ethnographic article and not just a record of the Caucasian “was.” Therefore, it is more appropriate to look at “Ammalat-bek” first of all as a literary work, which has its own characteristic features both compositionally and thematically. “creative personality” - a person of art

Issues related to the study of romantic art were and remain relevant, but in the literature of the 30s and 40s of the 19th century they received a deeper understanding. It was then that romanticism focused its attention on such significant concepts as personality, soul, ideal, creativity. According to G.A. Gukovsky, the basis of romanticism is the idea of ​​personality: “Romantic personality is the idea of ​​the only important, valuable and real thing, found by romantics only in introspection, in individual self-awareness, in the experience of one’s soul as a whole world and the whole world”126. A separate series of works at this time addressed the theme of art and the nature of creativity. Writers are concerned about the image of the artist and his place in the world. Story by N.A. Field's "Painter" is a prime example of this.

The basis of the content of the story is the relationship between the “world of fantasy, the world of the artist” - the sublime world and the earthly world, the world where you need to “work for your daily bread.” The main character of the work, Arkady, is a talented artist who is capable and ready to create on his own, independently, in an original way. At the same time, he understands the problems of art and is preoccupied with philosophical reflections. But on his creative path he encounters complete misunderstanding on the part of the people around him: “I carried in my soul an unconscious but high ideal of painting as an art depicting the divine. And people understood this art as some kind of drawing of houses, eyes, noses, flowers. And they pointed out to me such an activity as an insignificant matter, empty fun.” The nature of his personality is dual: an ordinary person, a layman and a poet coexist in it.

“A diary is another life lived. Not external, but internal... Nowhere do literature and life come into contact so shamelessly, nowhere does the human soul appear so naked..."

Text: Pavel Basinsky (writer)
Photo: Diary of Leo Tolstoy/realnoevremya.ru

His Majesty's Diary

For me personally, a pleasant event happened recently. In a number of media outlets, the seemingly rather strange “anniversary” was unexpectedly widely celebrated:

170 years ago, on March 30 (March 17, old style), 1847, Leo Tolstoy began keeping his diary.

I don’t remember a case when the start of a diary by any writer was ever celebrated as an anniversary date.

It is clear that the point here is not in the diary, but in Tolstoy. The level of interest in it all over the world is growing at an incredible pace. It’s not even entirely clear what this is? But it's like a prophecy is coming true Igor Volgin, poet and explorer . At the beginning of the 2000s, he expressed the idea that the 20th century was the century of Dostoevsky, and the 21st century, perhaps, will be the century of Tolstoy.

Women's diaries are a special kind of literature.

They are always different from diaries written by men. The diary is masculine. We can talk for a long time about why it is more difficult for a woman to write them, but we cannot talk about it at all. In general, you can make general demands - objectivity, reliability, etc. But believe me, these demands are completely meaningless in relation to all diaries, of any kind - no matter whether women's or men's. This is not what the diary is about.

Of course, a diary can also serve as evidence of its era and the people who lived in it. We study the past tense more from diaries than from literary works. And yet, only a naive reader can consider the diary a real document of the era. I will say more, the more reliable and convincing such a “document” seems to you, the more fear and suspicion you should treat it with. And vice versa:

The most truthful diaries are those that, upon first reading, evoke resistance: no, that doesn’t happen! it couldn't be! not true!

This is precisely the impression left by, say, the front-line diaries of unknown participants in the Great Patriotic War of 1941-1945. When you read them, you are amazed at how their simple truth diverges from even the most truthful novels about this war. As if it was some other war, not the one we know.

In any case, the diary is another life lived. Not external, but internal. This is the great power and magic of diaries, which is why they are so interesting to us.

And they will become even more interesting over time. Because

nowhere do literature and life come into contact so shamelessly, nowhere does the human soul appear so naked.

Original article:
His Majesty’s Diary - Rossiyskaya Gazeta, 04/09/2016

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The most famous writers' diaries

There are three types of use of the diary as a genre in literature.

The actual diary(diaries of Anne Frank, Yura Ryabinkin, Tanya Savicheva).

Literary works in diary form(“Pechorin’s Journal” in “Hero of Our Time” by M.Yu. Lermontov, “Chapaev” by D. Furmanov, “Diary of an Extra Man” by I.S. Turgenv, “Village Diary” by E.Ya Dorosh, etc.)

Writer's Diary. The Writers' Diary remains a significant artistic and journalistic phenomenon in Russian literature.

Let's start our conversation with the diaries of A.S. Pushkin.

A. S. Pushkin

Lyceum diary

Chisinau diary

Diary 1833

Diary 1834

Diary 1835

Memoirs, autobiographical notes, and diaries were a common genre among the local nobility of the Pushkin era. Pushkin himself began to keep “everyday notes” while still in the lyceum: an anecdote, a literary event, an epigram alternated here with an intimate lyrical entry, an everyday sketch, a creative self-report... In the Chisinau exile of the twenties, the diary entries continued. The surviving sheets have several dates per week. The diary was enriched with new themes, Bretter irony, mature literary opinions, and received socio-political richness - the names of Ypsilanti, Pestel, Chaadaev speak eloquently from the surviving sheets about Pushkin’s range of interests. Separate records of the same kind, laconic, sometimes encrypting significant meetings, marking memorable events, have been preserved from later years.

Diaries of Leo Nikolaevich Tolstoy- an integral part of his biography, his literary heritage. They capture the tireless work of the writer’s thoughts, deep thoughts about life, and social and moral quests.

Not a single Russian writer left behind a Diary as extensive in time and rich in content as Leo Tolstoy. Leo Tolstoy kept Diaries with some interruptions throughout almost his entire life. He began them in 1847 as an 18-year-old student and finished them in 1910 as an 82-year-old world-famous writer. Diaries, notes, confession as a genre were close to Tolstoy’s creative individuality. Many of the writer’s contemporaries and friends felt this and encouraged him to keep a Diary. Tolstoy himself believed that a diary helps a person concentrate in his thoughts about life, obliges him to sincerity, frankness, and honesty with himself, because, as he said, here “every falsity is immediately felt by you.”

Sofia Tolstaya: Love and rebellion. Diary 1910(2013). The book is based on the 1910 diary of the writer's wife. Sofya Andreevna Tolstaya lived with Leo Tolstoy for almost half a century; for many decades she was the center of a crowded and happy life. But 1910 became the most difficult year in the history of the relationship between the writer and his wife. Essentially, behind the dramatic pictures of the Yasnaya Polyana battles of that year, there arises a dispute about the meaning of life, into which the entire Tolstoy circle was drawn.

The pinnacle of artistic journalism in the diary genre in the 19th century was“The Diary of a Writer” by F. M. Dostoevsky.

“A person who has joined the world of Dostoevsky becomes a new person; other dimensions of existence are revealed to him.” “In terms of strength and sharpness of mind, of the great writers, only Shakespeare, the great mind of the Renaissance, can be compared with him,” wrote N.A. Berdyaev.

As a writer and publicist F.M. Dostoevsky was interested in almost everything that was happening in his contemporary world, everything found a response in his work.

“A Writer’s Diary,” in addition to discussing a variety of topics, from deep philosophical and moral issues to analysis of the foreign policies of powers, includes a direct appeal to the reader as a direct participant in the events of his time. Pacifists (and not only them) may not accept many of the author’s passages in this work (war is better than peace, during war people of one nation unite, etc.), however, this journalistic fervor of the writer seems to drown in the abundance of fair and deep thoughts about the social structure of the world, the situation in Russia, the literary events of the time. For our time, the relevance of the diary lies in the insight of F.M. Dostoevsky, revealing the unchanging essence of phenomena.

IN "Literary Diary" of the poetess Zinaida Gippius,one of the most prominent representatives of the Silver Age, a broad picture of Russian artistic culture is presented - an alarming picture, reflecting the crisis of spiritual foundations and the irreconcilable struggle of currents within the Russian intelligentsia. Gippius's gaze knows no authority, her pen spares no one, and above all her literary opponents - writers guided by the traditions of classical realism. But we, unlike the author who published the “Literary Diary” in 1908, know that less than a decade later, 1917 will trample all those who so enthusiastically fought with each other on the ruins of the social ideals of the 19th century - both the Symbolists and realists, and representatives of other less noticeable movements. He will force some, like Gippius, to leave their homeland, while others, like Gorky, will force them to seek compromises with the authorities and their own conscience. And this knowledge of ours encourages us to carefully read the “Literary Diary”, written on the topic of the day a hundred years ago, and look in it for answers to the questions of our modern life.

"Cursed Days" - a book-diary of the famous Russian writer I. A. Bunin, reflects the terrible events of the first years of the revolution in Russia. Having experienced the death of the country as his own execution and trying to understand the reasons for what happened, the author addresses his testimony to “future historians” - and that means to all of us who still care about the fate of the Fatherland. Almost a century has passed since the incident: the time has come to think once again about the origins of the Russian tragedy, about what happened and is happening in our history, in our home, in our souls.

Korney Chukovsky: Diary. 1901-1921. 1922-1935. 1936-1969. In 3 volumes.

"Diary" of Korney Ivanovich Chukovsky is his most revealing and most dramatic book, spanning nearly seven decades of his life. The first volume included recordings from 1901-1921. Here are impressive portraits of Chaliapin and Repin, Kuprin and Leonid Andreev, Blok and Gumilev, Gorky and Korolenko, Mayakovsky and Akhmatova, Merezhkovsky and Zamyatin, Koni and Lunacharsky... All of them, as well as many other famous figures of Russian culture, come to life on the pages of the diary - this merciless testimony about the 20th century.

Konstantin Simonov: Different days of the war. Writer's Diary. 1941

The diaries of Konstantin Simonov, which he kept as a war correspondent in 1941-1945, are one of the most striking evidence of the war. It is no coincidence that the tragedy of the military-political failures of the Soviet leadership in the first year of the war makes this book about its beginning in 1941 so voluminous. Trying to be an impartial witness, the author called the memoirs “Different Days of the War,” leaving contemporaries and descendants the right to make their own judgment about the described events and determine their historical significance.

Vera Inber: Almost three years. Leningrad diary

Vera Mikhailovna Inber was born in Odessa in 1890, graduated from high school, entered the historical and philological faculty of the Odessa Higher Women's Courses, then lived in Europe for four years. In 1912, her first collection of poems, “Sad Wine,” was published in Paris, which once Blok praised. In 1918, Inber read her poems at Moscow evenings together with Balmont, Bely, Khodasevich, Mayakovsky, and Tsvetaeva. By the beginning of the war, she and her third husband, Ilya Davidovich Strashun, a professor of medicine, found themselves in Leningrad. They survived the blockade together. Inber spoke on the radio, read in hospitals, traveled to the front line and kept a diary. Throughout her creative life, Vera Inber tried to forget her decadent past, wanted to be and became an officially recognized Soviet poet. Her poems and stories about the revolution and Soviet leaders were successfully published, and she was on the board of the USSR Writers' Union. “Stalin’s laureate and relative of Leon Trotsky,” as Yevgeny Yevtushenko wrote about her, “to understand what it was like to live in the era of terror, you need to feel in the shoes of those people who feared not only for themselves, but also for their loved ones.” She Until her old age she remained “mortally frightened, being extremely loyal” both in life and in her work. But her blockade diary “Almost Three Years” is perhaps the most honest and poignant evidence of that terrible and heroic time...

The diaries of M. M. Prishvin are a fundamental and unique source in terms of volume and reliability of observations, images and author’s thoughts for studying not only the writer’s work, but also the dramatic history of the individual and Russian society in the half-century period between 1905 - with his premonitions of an upcoming critical breakdown life and until 1954 - with expectations of possible changes that emerged after Stalin’s death.

Prishvin developed the tradition of writer's diaries, creating an independent literary work in which the personal is intertwined with the chronicle of observations and awareness of the essence of man in all forms of life - in nature and society, in everyday work and creativity, in peaceful life and war, in love and religion.

Diaries in general and in certain aspects have become the subject of numerous publications and studies.

The writer and philologist, biographer of Prishvin A.N. Varlamov called his diary entries “the great Diary” and wrote that it is “a book with the broadest content, designed for future reading... The diary was a kind of literature parallel to his own literary texts and was with the last one in constant dialogue.”

As Prishvin himself wrote, “the form of small diary entries has become more my form than any other” (1940). And shortly before his death, in 1951, looking back at his life, he admitted: “It was probably due to my literary naivety (I’m not a writer) that I spent the main energy of my writing on writing my diaries.”

Alexander Gladkov- a man of the book who showed great promise, but did not do everything he could and should have done. He himself admitted that he was “too scattered” - now he was carried away by Byron, now by the Napoleonic wars, now by Pasternak, now by someone else and something else. I collected materials, delved into details, made sketches, and then suddenly lost interest in the topic. He was a man of contradictions. “I am not a bright person or an eccentric, but a person who thought a lot and intended to do a lot and did very little, who loved life more than fame and success.” Agree that nowadays you won’t find people like Alexander Gladkov who don’t love fame and success. He loved talented people. He was literally in love with other people's talents and was a book fanatic. And also a bibliomaniac. An avid theatergoer. What's the end result? Gladkov wrote 7 plays, 3 scripts, individual articles and a work (something between a memoir and a study) about Meyerhold. Gladkov was always incredibly demanding of himself; he believed that he had done “insignificantly little.” And he also appreciated the poems that he wrote: “Troubles, mistakes, smiles, sins... / Their account is quite accurate, / These are nothing more than poems, / But no less, however.”

At the same time, Gladkov seems much more significant than his reputation as a playwright, the author of one remarkable play and several other now forgotten plays and film scripts (“The Green Carriage”, “The Incredible Yehudiel Chlamida”, etc.). Fate connected twenty-three-year-old Gladkov with Meyerhold and his theater. His posthumously published memoirs about the Master and GosTIM (“Meyerhold.” In 2 volumes. M., 1990) are remarkable and underestimated, but the diary, which served as the basis for Gladkov’s books about Meyerhold, Pasternak, and essays about Yuri Olesha.

For any diary, the psychological make-up of the author is especially important. Gladkov was not very sociable, and even earned the reputation of a “sweetheart.” Loved solitude. Even in his diary from 1937, there is an entry that he could not feel good in his family, and constantly feel “someone’s breath nearby.” But at the same time, among his friends and acquaintances over the years were Mikhail Svetlov, Erast Garin, Yuri Olesha, Boris Pasternak, Ilya Erenburg, Boris Slutsky, Viktor Shklovsky, Nadezhda Mandelstam, Anna Akhmatova, Varlam Shalamov, Konstantin Paustovsky, Yuri Trifonov, Roy Medvedev, Italian translator Cecilia Kean. Gladkov did not envy anyone that. Gladkov’s diary is also important because the author does not disdain the “trash of the era,” its “aroma,” small details that seem insignificant to contemporaries, but later turn out to be irreparable. This living life, this “Pushkin’s Button” (as the Italian researcher Serena Vitale called her book) is hundreds of times more important for Gladkov than pompous philosophies and declarations. “Writing history the way I like to read it is my whole writing system,” Lamartine once said. Gladkov could subscribe to this statement...