Zulfyu Livaneli: “We also came out of Gogol’s “The Overcoat.” How and what we came out of Gogol’s “The Overcoat”

We all came out of Gogol's overcoat
The authorship is erroneously attributed to F. M. Dostoevsky, who once uttered this phrase in a conversation with the French writer E. de Vogue. The latter understood it as the writer’s own passions and cited it in his book “Russian Novel” (1886).
But in reality, these words belong, as proved by the Soviet literary critic S. A. Reiser (see: Questions of Literature. 1968. No. 2) to the French critic Eugene Vogüe, who published an article about Dostoevsky in “Rftvue des deux Mondes” (1885. No. 1). . In it, he spoke about the origins of the work of this Russian writer.
In its present form, this expression came into circulation after Eugene Vogüe’s book “Modern Russian Writers. Tolstoy - Turgenev - Dostoevsky" (Moscow, 1887).
Used: to characterize the humanistic traditions of classical Russian literature.

encyclopedic Dictionary winged words and expressions. - M.: “Locked-Press”. Vadim Serov. 2003.

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The request for "Gogol" is redirected here; see also other meanings. Nikolai Vasilyevich Gogol Photo portrait of N. V. Gogol from the group daguerreotype by S. L. Le ... Wikipedia

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The request for "Gogol" is redirected here. See also other meanings. Nikolai Vasilievich Gogol Birth name: Nikolai Vasilievich Yanovsky Nicknames: V. Alov; P. Glechik; N.G.; OOO; Pasichnik Rudy Panko; Rudy Panko; G. Yanov; N. N.; ***... ...Wikipedia

The request for "Gogol" is redirected here. See also other meanings. Nikolai Vasilievich Gogol Birth name: Nikolai Vasilievich Yanovsky Nicknames: V. Alov; P. Glechik; N.G.; OOO; Pasichnik Rudy Panko; Rudy Panko; G. Yanov; N. N.; ***... ...Wikipedia

The request for "Gogol" is redirected here. See also other meanings. Nikolai Vasilievich Gogol Birth name: Nikolai Vasilievich Yanovsky Nicknames: V. Alov; P. Glechik; N.G.; OOO; Pasichnik Rudy Panko; Rudy Panko; G. Yanov; N. N.; ***... ...Wikipedia

Books

• Sentimental stories, Mikhail Mikhailovich Zoshchenko. For most readers, Mikhail Zoshchenko (1894-1958), both during his lifetime and today, is the “king of laughter”, the author of “The Bath” and “The Aristocrat”. Meanwhile, in the 1920s, a book appeared...
• Sentimental stories, Mikhail Mikhailovich Zoshchenko. For most readers, Mikhail Zoshchenko (1894-1958), both during his lifetime and today, is the “king of laughter”, the author of “Bathhouse” and “Aristocrat”. Meanwhile, in the 1920s, a book appeared introducing...

What have you read from Gogol? What are your favorite Russian books in general?

I read so much that it’s impossible to count everything. I love Gogol very much, especially “The Nose” and “The Overcoat”. " Dead Souls", of course, a masterpiece. And all Tolstoy, Dostoevsky, Chekhov, Bulgakov. I read them more than once - I re-read them again and again. Recently I was lucky enough to write the preface to the new edition of Crime and Punishment in Turkish.

Also, of course, Pushkin: he is also very important for us, because he was in Erzurum in 1829 and published a wonderful book - “Travel to Arzurum”. His poems are also excellent.

I heard that Pushkin is not so popular abroad, although in Russia he is called “the sun of Russian poetry.”

No, no, Pushkin is also important for us. In our minds, he is a symbol of the Russian soul, and it can be understood through “ Captain's daughter"and his other works.

I completely agree. You show yourself in the most different areas: in music, in cinema, in literature, in politics. But I didn’t find any political thoughts in “My Brother’s Story.” In Russian literature, the political views of the author are often easily read, but this is not the case in your novel.

I also have books with political overtones. More precisely, works with political thoughts. But I'm not a politician. I became famous and could influence millions of people, especially the young citizens of my country. Political parties they wanted to benefit from it, so they pushed me towards it, begged me. I was a member of the party, in general I am leftist political views. Many leftists, democrats, in general modern people They grew up listening to my music and books, which is why they asked me to go into politics. But I didn't like it. I was in parliament and still receive offers, for example, to participate in presidential elections or join some party, but this is not my thing. Politics and art are two different things. As an artist you have to dig into your heart, but in politics you have to hide yourself and say only what you need to say. I couldn't put this puzzle together.

This is somewhat different from the situation in Russian literature, when many writers thought that they should promote political change and write precisely with the goal of changing the current situation in their homeland.

Yes, but we have a common feeling - responsibility. They tell you: you are famous, you have followers, why don’t you do something? This is a classic question, rooted in the events of 1968. Gabriel García Márquez was also asked: why are you participating in political life? Just one day someone knocks on your door and asks for something. Of course, when there is a famine in Turkey, a brutal regime comes to power and a military coup occurs. We have to continue even now: for example, one of the Turkish presidential candidates [interview was conducted in early June, before the end of the presidential race in Turkey- approx. ed.] is in prison. How can you remain silent about this? There is a lot of turmoil in Turkey right now, a lot of upheaval, so we have to explain our ideas. Russian writers asked the same question in the 19th century: how can we save the country? Which way? In whom to believe: in the people, in their soul, in Orthodoxy? Who will save us?

Is there a special image of Russia in Turkish literature?

Each country has its own level of awareness and different ideas about other countries. The narrowest of them is the tourist's view. I looked at the country for a week and said: yeah, this is how it is. The media also gives a very narrow view. There are also many stereotypes and clichés about different states. Russia? Vodka. America? Cowboys! We need to go beyond these boundaries, and the role of literature is also important in this. She can describe the country and folk spirit much better than other media. For example, I read and watched a lot documentaries about the Second World War. But when I read Günther Grass, I felt the German soul. It’s the same with Russian literature: it helps you delve deeper into a topic. However, there is other literature that only exacerbates stereotypes, a kind of tourist, exotic literature. For example, if you are an Indian writer (especially in the West), write about poverty and cruelty. If you are from Africa, write about hunger; from Russia, write about communism. No, we are all human, and societies are similar everywhere. I was in Thailand and saw the same films that were in Istanbul, in Paris, in New York. Society is changing, but we still retain old ideas. Although now Russia is best friend Turkey, my only friend. During times Cold War they didn’t like her, and now everyone around them says: Russia is our only friend.

Why? Because of business?

Because of politics. The Russian authorities are helping Turkey, they are good relations. Türkiye is moving closer to Russia against America.

And for ordinary people? Do politics influence their opinion of the country?

No, it seems to me that everyone in the media praises Russia and Putin, so now the situation is like this. In any case, there is nothing wrong with this.

In the novel "Happiness" main character Uncle oppresses. It seems to me that this is something very patriarchal, when a woman is defenseless due to the closeness of the family. Where is the line between tradition and cruelty? Are you more of a traditionalist or a humanist?

There is only one answer to this question. I defend women's rights, especially in eastern Turkey. Our country is connected with many other civilizations, and if the northeastern part reaches out to the Russian and Georgian culture, then our southeast is Arabic. This is a completely different culture, Mesopotamian. In my opinion, Turkey needs to move from East to West, from land to sea, from male dominance to women's liberation. I believe in a bright future for Turkey and this explains many of my ideas.

Tradition is Magic word. Everyone thinks that traditions are a good thing, but there are also many bad traditions that we need to get rid of. I heard this joke. One person says to another: “I am proud of my traditions.” The second one asks him: “What are your traditions?” - “Cannibalism!” Of course, this is just a joke. But there really are a lot of bad things, including ignorance, incredible pressure on women in Islamic culture. We need to fight this. In Judaism, religion is received from the mother, and when a woman gives birth, there is no doubt about the child's religious identity. But Islam comes from the father, so you need to be sure of paternity, which means locking the woman in a cage.

It seemed to me that you are a person with pro-Western views on politics and human rights. At the same time, the influence of Eastern culture is noticeable in your books: when I read “The Story of My Brother,” I saw parallels with the novel “The White Castle” by Orhan Pamuk. He also writes about brothers and sisters, about similar people and about those who try to understand themselves and others.

At the beginning of the twentieth century, one famous Turkish philosopher said: “We are people who are running on a ship to the West, but this ship is moving to the East.” There is a struggle between these two cultures because we are all very closely connected, and this connection means that you can cross the line, you cannot just freeze. We are everything at once, we have elements of everything. Our culture is very rich, but also very difficult to understand. In one Turkey you can find many Turkeys at once.

Kalashnikova O. L. Doctor of Philology, Prof. Dnepropetrovsk national University - Dnepropetrovsk (Ukraine) / 2009

Universal influence on the domestic, or even more so on world literature- the lot of very few (even great) writers. N.V. Gogol is one of them, and his “Overcoat”, as soon as it appeared, took one of the leading places in the national cultural cosmos. A short story, rightly claiming to be a national cultural myth, was created as if on the sidelines of the writer’s main plans: conceived back in 1834, it was published only in volume 3 of Gogol’s collected works in 1842, when the writer had already become famous for his “Evenings on farm near Dikanka", "Mirgorod", when the passions around his "Inspector General" had already subsided, and when the first volume of " Dead souls", which caused long-term, even centuries-old controversy around the name and creation of the writer. Due to these circumstances of its birth, “The Overcoat” could well have remained in the shadow of Gogol’s pinnacle creations, but this did not happen. Moreover, it was this little story that became business card new direction in Russian literature. And the thought of F. Dostoevsky, which has long acquired the weight of an aphorism ( “We all came out of Gogol’s “Overcoat””), expressed by him in a conversation with the French critic M. de Vogüe, went beyond stating the fact of Gogol’s indisputable influence on the natural school, and through it on the subsequent development Russian literature and acquired the meaning of a formula decoding the mental essence of Russian post-Gogol literature.

WITH light hand Gogol " small man", an example of which was the hero of "The Overcoat" Akaki Akakievich Bashmachkin, became already in the 1840-60s. perhaps the main hero of Russian literature. And although the attitude contemporary writer criticism of the story and the stream of countless imitations it generated on the theme of the poor official was not unambiguous, the very fact of the birth of a new one, often identified by contemporaries with Gogol natural school in Russian literature (which gave rise to the discussion of Slavophil criticism with Belinsky in the 1840s) turned out to be significant. Gogol’s contemporaries praised and reviled “The Overcoat” for the same thing: sympathy for a small, poor official and a truthful depiction of the petty life of the “eternal titular adviser”: although they guessed that with Gogol a new, “Gogolian” stage in the development of Russian literature began, but disagreed as to whether this was good or bad.

How is this realized today? How do you see the literature and society that emerged from N.V. Gogol’s “The Overcoat”? Did Gogol’s “The Overcoat” fit into the “textualized” hyperreality modeled by postmodernism? How and what kind of people did we emerge from Gogol’s “The Overcoat”? The answer to these questions seems relevant not only for literary criticism, but also for the interpretation of the current sociocultural situation.

All the more curious is the answer proposed by the writer who entered literature in the late 60s. of the last century, who survived all the “perestroikas” with it, but never coincided with any of the “isms” - V. Makanin. Belonging both to realism and the era of postmodernism, this writer turned out to be the “wrong” son of postmodernism, for he stubbornly demonstrated and continues to demonstrate his umbilical connection with the traditions of Russian classics, on which his work is “insisted”.

Looking at modern Russia through the prism of literary myths internalized by the national collective unconscious, V. Makanin tries to comprehend literary origins processes occurring in society, moving away from the priority of deconstruction of “sacred places”, ideologies of the Soviet collective unconscious, characteristic of socially engaged conceptualists of the 70-80s. (D. Prigov, V. Sorokin), and “undressing” the usual mythological models of the world and man born from classical literature. It is literature (according to Makanin) that helps to “read” and understand the perceived catastrophic Russian reality of the period of the collapse of the former Great Empire.

Carrying out archaeological excavations in the national cultural unconscious, the writer seeks to identify a certain national topic, national constants of culture, a synonym for which for the Russian consciousness from the moment of the birth of secular writing was precisely literature: those signs introduced into the consciousness by literature that determined not only the national artistic code, but also the very social model of life of Russians.

That is why, in the final result for the writer’s work in the 1990s. In the novel “Underground, or Hero of Our Time” (1999), he replaces the principle of transculturalism and multireligiousness, characteristic of postmodernism as a sociocultural phenomenon, with an emphasized, declared monoculturalism. In the “endless Babylonian library of already created texts,” Makanin selects only “his own,” limiting the circle of iconic images national culture, reflecting infinite number since those cultural signs that have long been included in mass consciousness, becoming " commonplace”, and already because of this they determine the appearance of a national, “our” hero of our time. And here Gogol’s “Overcoat” is among the most important Russian cultural myths, born of literature and designated in mythological names chapters of Makanin's novel: Dulychov and others. Little man Tetelin. I met you. Dog scherzo. Winter and flute. Chamber number one. Another. Double. One day of Venedikt Petrovich.

In the very first phrase of the chapter Little Man Tetelin: “Tetelin died when he bought himself such coveted tweed trousers in a trading tent that is right under our windows (The plot of “The Overcoat”),” not only the literary pretext is directly indicated, but also the genetic connection is emphasized the name of the modern “little man” Tetelin with Gogol’s Akakiy Akakievich, who in the first edition of Gogol’s story received a significant surname - Tishkevich, which doubled the root trait for the character of Gogol’s hero, also indicated in the name (Akakiy is the quietest). But this identification is not enough for the author. Underground...”, and immediately after the declared parallel with Gogol’s myth, he calls Tetelin “quiet,” although he immediately denotes the other side of the forced humility of such a person - aggression: “Tetelin thought that his trousers were too long, quiet, but how bold he became : threw the trousers back into the mouth of the tent, demanding money back from the Caucasians." And only then, so that the obsessively emphasized identity does not disappear in the reader’s mind, he calls Tetelina, who dreamed of tweed trousers and died because they turned out to be long, “this Akaki Akakievich.”

However, in modern world The plot of “The Overcoat” unfolds differently than in the iconic text for Russian literature. The meagerness and pettiness of not only the very dream of the current Akakiy Akakievich (tweed trousers), but also the unjustified suffering due to the fact that they turned out to be long, is enhanced by the demonstration of a completely friendly attitude towards Tetelin from the Caucasian sellers, who offered him to simply hem his long trousers. The involuntary “killers” are not at all aggressive, but rather confused, because the reason for the unexpected cardiac arrest of the nervous Tetelin seems insignificant to them, and to the reader of the novel. Therefore, in the description of the actions of Caucasians, the key definition for the Gogol type “quiet” naturally arises: “... Akhmet came to the wake (to seek peace). A quiet, almost silent step, no one noticed how and when he entered - he appeared.” Moreover, travestying the mythologeme, Makanin put Gogol’s famous “I am your brother” into the mouth of a Caucasian: “Brother,” said one. “Brother,” echoed the other.”

In “Underground”, as in Gogol, Tetelin’s “pity” is consistently pumped up, accumulating in his characteristics (“quiet, taught trademark pity..., pitiful, insignificant, and eyes like a rabbit.” But in this accumulation there are degrees of pity Negogolev’s, different, condemning intonation is heard, and then proclaimed directly: “... by the end of the year, Mr. Tetelin finally evolved into a petty watchman-penny-pincher... they overlooked the little one.”

Falling among the literary constants of the national collective unconscious, being designated by the author as such, (we note in passing that the iconicity of “The Overcoat” also determined the presence of the nomination of the same name in the well-known literary prize Russia - prizes named after. N. Gogol) “The Overcoat”, among other cultural national myths, allows Makanin to realize literary centricity not only as mental trait, but also how decoder of the psychology of an entire generation of Russians, called by the writer a generation of “soldiers of literature”, ousted from the new time by a “generation of politicians and businessmen” with their own, no longer literary, and therefore not “superfluous” (!!) - new hero.

The “literary” generation perceived Gogol’s hero as the national cultural tradition: a “little man” requiring unconditional sympathy, who, along with another no less iconic type for Russian literature - the “superfluous man” (Lermontov’s formula is stated in the title of Makanin’s novel “Underground, or Hero of Our Time”) - shaped the worldview of more than one generation of Russians . The sacralization and mythologization of Gogol’s hero in the Russian consciousness is eloquently evidenced by numerous attempts to compare the hero of “The Overcoat” with Saint Akaki and his life or to name him as real prototype Gogol's hero of the Kyiv holy fool, wanderer Ivan Bosogo, a former clerk, about whom Gogol could have learned during his trip to M. A. Maksimovich in Kyiv in July 1835. In this regard, the opinion of Peter Weil, expressed during a discussion on Radio Liberty regarding modern humorous television programs, is interesting: “In the Russian tradition, in general, there is a rather strange attitude towards laughter; they loved it, but were embarrassed, loved it, but did not respect it. Even Gogol was always appreciated for his pity for the little man, and not for his grandiose, amazing humor. This was allowed if not for his “The Overcoat”, or some other works in which the suffering little man is depicted, then, I’m afraid, Gogol would never have gotten into the pantheon of Russian literature. ".

For a Russian educated in literature, the hero of “The Overcoat” takes on an anthological meaning. This is a hero-tester, allowing the reader to evaluate the humanism of his own soul, the measure of humanity in his own conscience, and to repent if this measure turns out to be insufficient. It is the “little man” who forms that generation of “Dostoevsky’s students - repentant intellectuals” against whom D. Merezhkovsky rebels in “The Defense of Belinsky” (1915). But in this “little man” psychoanalysts easily identify “two opposite, disagreeing natures - the nature of an insulted and humiliated creature and an aggressive, frightening one that brings terror to all living things.” It was this “double bottom” that V. Ermakov, who stood at the origins of Soviet psychoanalytic literary criticism, saw in the hero of “The Overcoat”. And B. Eikhenbaum, in the famous essay “How Gogol’s “Overcoat” was Made,” disputes the conclusions of “naive and sensitive literary historians, hypnotized by Belinsky” regarding the conceptual role of the famous “humane” passage of the story: “Leave me alone, why are you offending me?” - and in these penetrating words other words rang: “I am your brother.” This “sentimental-melodramatic declamation” is assessed by Eikhenbaum as “an unexpected introduction into the general punning style” of the work, which is a game where “the facial expressions of laughter are replaced by the facial expressions of grief.”

Moving away from the opposition to the postmodern artistic code of constants indicated in the works of Russian “late postmodernism” (T. Tolstaya, V. Pelevin, D. Galkovsky) national culture as a kind of counterbalance, Makanin revises the constants themselves, revealing their inadequacy to the new time, the modern socio-cultural universe of another Russia with “new Russians” and “new beggars”, revealing "tragic guilt" of these constants in development Russia. New times debunk Gogol’s myth of the “little man,” which is key for the consciousness of the Russian intelligentsia, revealing behind the external pitiable defenselessness of Gogol’s Akaki Akakievich the meagerness of the soul of a vain and vile little man: “As a type, Akaki is only a pretype for us, and the classics in the 19th century put an end to the little man too early , without guessing the dynamics of his imitative development - without seeing (behind the St. Petersburg fog) such a precocious, vain twister. The pettiness of desires turned into the pettiness of the soul at the historical exit. They didn’t finish checking the little one.” A certain game with the “Overcoat” code is also present in the iconic coincidence of the names of Gogol’s tailor - Petrovich, and the main character of “Underground”, a former intelligence officer and writer Petrovich, passing sentence on the reincarnated Akaki Akakievich - Tetelin. Both Petrovichs cut or reshape their overcoat for the “little man.”

Recoding in "Underground, or Hero of Our Time" of one of the most popular in Russian classical literature Gogol's cultural myth, allows you to show etymology of helplessness brought up on the literary myths of the generation of the 1960s, who became new Russia « extra people”, the generation that lost the battle of the aliterary, pragmatic generation of the 1990s - “the generation of businessmen and politicians”. The pathetic “little man” as well as the “superfluous” “hero of our time” cannot become creators, cannot write new the myth of the new Russia. In addition, brought up on the idea of ​​sympathy for the “little man” - a kind of ideal of a poor creature, neglected by fate, in need of protection, the reader also perceived the corresponding model of behavior: fruitless and useless “pity” for oneself, the unfortunate one, while only the search model can be creative exit, and therefore action.

Having crossed the threshold of the new millennium, Makanin formulates even more sharply the idea of ​​​​the development of the pitiful “little man” in the conditions of a new society based on the ideal of profit and benefit. In the novel "Fright" (2006), a chapter appears “Who will the little man vote for?”, reintroducing Gogol’s mythologeme, but now into the social, politicized context of the new realities of Russia in the third millennium. The writer shows the further evolution of an inactive, and therefore asocial, personality. The current “little man” is not capable of any action, even for his own good. Therefore, Petrovich, the hero who migrated to Makanin’s new novel from “Underground...”, decides to vote for the candidate at whose television appearance he will complete his sexual intercourse, accompanied as an accompaniment by the broadcast of pre-election television debates.

It is curious that other-mental perception completely transforms and central image Gogol's story, and the very idea of ​​"The Overcoat". Thus, the American choreographer Noah de Gelber offered his interpretation of Gogol’s work, staging a ballet to the music of D. Shostakovich at the Mariinsky Theater, the premiere took place on March 21, 2006. The American read the story of Akaki Akakievich as a failed attempt of this hero break into a world of stability and prosperity. But the ballet performed by Russian actors turned out to be different from the declarations of the famous director, because it came into a certain contradiction with the Russian mentality, brought up on Gogol’s “The Overcoat”, on that “philanthropic” (according to K. Aksakov), “humanistic” (as Belinsky called it, Chernyshevsky, A. Khomyakov, Yu. Samarin), a “pitying-sentimental” (according to Chernyshevsky) attitude towards man in general and towards the “little” in particular, which another American, Professor D. Fanger, calls “ethical”, based on the “humane place” of the story. . This is exactly how Andrei Ivanov danced Akaki Akakievich, touching, naive, desperately pitiful.

However, inactivity, incomprehensible to an American and completely justified by the Russian mentality, also activates that second nature of Akaki Akakievich, about which the psychoanalyst Ermakov wrote: aggressiveness. This is the other side of pity, because the weak most often does not thank those who pity him, but is secretly envious. The reader of The Overcoat, on which several generations of Russians were raised, received an inoculation of such secret envy. This hidden or concealed envy is the germ of that aggression that results in class and social conflicts. Small soul, caught in power dark forces, under certain conditions can do terrible things. Isn’t this what Gogol prophetically warned about, did he only want to awaken pity in the Russian soul?

Cultural myths explain the world, guide development, provide social direction, and respond to the spiritual needs of society. Will Gogol's myth be reconstructed or deconstructed in modern literature will deprive the author of “The Overcoat” of the prophet status he so coveted? I think not. Rather, this is a rereading of “The Overcoat” - evidence of a new, postmodernist mythologization of a cult text. But Gogol was and remains a prophet. The question is, are you ready? We truly hear and understand his prophecy.

We all came out of Gogol's overcoat
The authorship is erroneously attributed to F. M. Dostoevsky, who once uttered this phrase in a conversation with the French writer E. de Vogue. The latter understood it as the writer’s own passions and cited it in his book “Russian Novel” (1886).
But in reality, these words belong, as proved by the Soviet literary critic S. A. Reiser (see: Questions of Literature. 1968. No. 2) to the French critic Eugene Vogüe, who published an article about Dostoevsky in “Rftvue des deux Mondes” (1885. No. 1). . In it, he spoke about the origins of the work of this Russian writer.
In its present form, this expression came into circulation after Eugene Vogüe’s book “Modern Russian Writers. Tolstoy - Turgenev - Dostoevsky" (Moscow, 1887).
Used: to characterize the humanistic traditions of classical Russian literature.

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