The Brothers Karamazov by F. M. Dostoevskij [Reprint 2011 ed.] 9783110802023, 9789027917584

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The Brothers Karamazov by F. M. Dostoevskij

D U T C H S T U D I E S IN RUSSIAN LITERATURE | 2

The Brothers Karamazov by F. M. Dostoevskij Essays by JAN VAN DER E N G Amsterdam JAN M. MEIJER Utrecht

1971 M O U T O N · T H E HAGUE PARIS

© Copyright 1971 in The Netherlands. Mouton & Co. N.V., Publishers, The Hague. No part of this book may be translated or reproduced in any form by print, photoprint, microfilm, or any other means, without written permission from the publishers.

LIBRARY OF CONGRESS CATALOG CARD NUMBER: 75-159457

Printed in The Netherlands by Mouton & Co., Printers, The Hague.

Table of contents

JAN Μ . MEIJER

The Author of Brafja Karamazovy

7

JAN M . MEIJER

A Note on Time in Brat''ja Karamazovy

47

JAN VAN DER E N G

'Suspense' Β Epambnx KapaMa3oebix

63

JAN VAN DER E N G

A Note on Comic Relief in The Brothers Karamazov. . . .

149

JAN Μ. MEIJER

The Author of "Brafja Karamazovy"

1. A CHAPTER OF EGOLOGY

An author prepares for his work. After a short or long period of preparation he starts writing. He wants to express himself as fully as possible. Therefore he brings to bear on his work everything he has. There is a constant flow, we are apt to think, from all the corners of his ego towards the work he is writing. This ego is in the service of the work. All it contains is raw material for the work. Yet one wonders whether it is the entire ego that is at the service at the work, whether the resting ego is the same as the ego at work. Perhaps a certain rounding-off takes place that is of some consequence for the work as it eventually appears. The answers to this question will depend in part on one's definition of an ego. This in turn will vary between: the organising centre of an individual, and: the circumference within which this organising centre operates. The ego organises for every willed act. Is such a willed act a clearer expression of our ego than the more direct, unreflected or even unconscious acts? There is an entire scala between these two extremes. Even among our willed and conscious acts there are position-takings that we cannot maintain, not because external pressures force us away from them, but be-

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cause we cannot stick to them for our own sakes: it would bind or misdirect too many of our forces to an end that, as we realise, is not worth this trouble to us. Such questions are getting us into very deep psychological waters. We hurry out of them, but from our foray we retain the following points: a) an author organises his ego in the service of the work he is writing; b) he will use, in representative cases, all the forces of his ego, but not all its material; c) in the process of working, certain roundings-off of the ego occur that are provisional. What interests us in all this is not the psychological side, but its consequences for literary organisation in general, and for the concept of the author figure in particular. In our inquiry we base ourselves on the three points just mentioned. For our purpose the term 'rounding-off', should perhaps be further explained. We mean by it both completing something so that we can walk around it, so that it has obtained its own dimensions and can be left alone, and the discovery that this stage is reached, that, for example, an image or a character lives, so that the addition of further details would only spoil the effect. The rounding-off of the ego will take place under the influence of an ideal or vision. For man as a writer the finished work will (or may) be such a rounding-ofF; for man outside that capacity there may be many, they often will be even conflicting, but mostly there is a certain coherence in them, vaguely expressed in the image of the man we want to be. But does it make sense to speak of an author figure as a literary, and not a psychological entity? The clearest indication that it does is the lyrical T , the Τ of the lyrical poem. It is a commonplace by now that the author as a civilian does not share all the wishes etc. of his lyrical T , and also that this Τ plays an organising role in the poem. For prose and for non-I poems the thing is somewhat more difficult. Even the Τ of the I-narration {Ich-Erzählung) will often not be identical with the author figure, but rather be just one of an author's characters. How, then, do we know whether a

THE AUTHOR OF "BRAT'JA KARAMAZOVY"

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narrating Τ is identical with the author figure, and in general, how can we isolate the author figure of a given work. Last but not least: what do we gain by it? To begin with the last question: if it would prove to be possible to isolate, in a given work of literature, the author figure, we would have a link between writer and the human being behind him that would present a firmer basis for discussion of writers. For example: Dostoevskij the man is much more to the right politically than Dostoevskij the writer. In discussions concerning both the merits and the structure of his novels Dostoevskij the writer is often simply identified with Dostoevskij the man, and conclusions are drawn from this identification that are not borne out by the work itself. In general the author figure will give a deeper insight into the element of transposition proper to any work of fiction. Detailed examples will have to authenticate these claims. Under one aspect the author figure is the writer in his capacity of artistic organiser of the work in progress. His task is to bring the work to a satisfactory close. He orders the material according to a view or vision that receives its final expression in the finished work. He is a more rounded-off figure than the writer himself as a man, who can never organise his life the way he does a work of art. In the author figure parts of the man as he would appear as a character are not operating, are placed in parentheses, so to speak. After the work is finished the author figure dissolves into its ingredients: the man, dominant ideas, opinions and feelings, artistic devices. Parts of him that had been put aside temporarily resume operating. For the next work an author figure is called to life again. The work will be a different one, so the author figure will be a different one. It will be clear that the differences cannot be very large: what is susceptible of being rounded off changes only very little and gradually, and the 'technical' possibilities of rounding-off are restricted. Yet the preceding work will often be a constituting factor in the ego that is rounded off for the new work. The restriction we spoke of is conditioned not only psychologically, but even more by time horizons. The fundamental approaches to the artistic organisation of a work are restricted in number. With all the possibilities of variation of one and the same author and between

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JAN Μ. MEIJER

authors, these are variations on a restricted number of patterns that remain dominant for quite some time. Thus it is possible, in principle, to speak of the romantic author figure, the realistic author figure, etc. It will be clear that both logically and historically the individual author figures precede the more general ones and that the term romantic author figure designates the traits found to be common to quite a number of author figures in any given period of time. This is true from the point of view of the historian of literature. On the other hand it will be clear that the writer does not live in a void and that the 'reigning' author figure will influence him more or less strongly. The urge to round oneself off is not proper to writers or artists only. All humanity shares it. The difference is only that the writer can put this urge to good use. A man may direct a symphony orchestra in his bathroom, with or without help of a looking glass for finding the right gestures, — only rarely will this bring him any nearer to a real orchestra; in fact his self-imposed sequestration with the orchestra of his imagination may even strengthen his inhibitions. Instead of that, the author, rounding off himself in this way, will create a character that performs these acts. Any playful urge can be transformed by him into the property of a character. Now if this is so, should we then not go further and state that each of the characters created is an author figure? Both Dimitrij and Alesa Karamazov are somehow inherent in Dostoevski], as both Andrej and his wife in the Three Sisters are inherent in Cechov, as both Settembrini and Castorp are inherent in Thomas Mann. This is so, but what makes it different from our bathroom example is the fact that the authors mentioned can bring this off within the confines of one work. Every character has something in him of the author. But dividing himself up over his characters, placing them in relationships of conflict and harmony, this is what distinguishes the author from the bathroom hero. Therefore, not the individual character created by the author, but the individual work of art is the fundamental unit for our inquiry. It is typical of the author figure that it has been able to organise so different characters. Each of them is a rounding-off in a certain direction, with varying proportions of technique and projection of self. But

THE AUTHOR OF "BRAT'JA KARAMAZOVY"

11

none of those characters is the author figure. If we succeed in isolating the author figure of a given work this will have the added advantage that we will be spared such quite unproven and unprovable statements as that "here, evidently, the author himself is speaking". The work as a whole is the author's mouthpiece. If we think that he speaks in particular in certain small passages within this book, we will have to argue this point closely. This is the more so as there are artistic dangers in an author speaking for himself. He does this on a plane on which he is not operating in the novel. This damages the texture of the work. If it is done consciously it is mostly for comic affect. There is truth in the dictum that in the final analysis, all literature is autobiographical; but there are important differences. Some writers base themselves on their own actual experiences, others project possible experiences of their characters and see where that leads them. Tolstoj is an example of the former, Dostoevskij of the latter (one need only mention Anna Karenina and The House of the Dead to see the restricted scope of the distinction). In both cases we have an exteriorising of experiences. The process can perhaps be illustrated by two widely different examples, taken from Tolstoj and from Dostoevskij respectively. In chapter XX of Tolstoj's Kazaki, Olenin is sitting in the woods and thinking: "Okojio MeHH, npojieTa« Meayjy jracTbSMH, KOTopwe KaacyTca hm OrpOMHMMH OCTpOBaMH, CTOflT Β B03flyxe Η 5Ky3K5KaT KOMapbl I OflHH, flBa, τρκ, HeTtipe, CTO, TbICHHa, MHJDIHOH KOMapOB, Η BCe OHH HTo-HHÖyAf» Η 3aieM-HH6yAb acyxcHcaT OKOJIO MeHH, Η KaxAbiH H3 HHX TaKoii »;e ocoöeHHbrii οτ Bcex ^mhtphh OjieHHH, Kax η η caM." EMy HCHO HpeflCTaBHJiocb, HTO AyMaioT η »cyacacaT KOMapbi. "Ciofla, cio^a, peöjrra! B o t Koro mojkho ecTb," — xyxoKaT ohh η o6jieiuwK»T ero. Η eMy »CHO CTano, hto OH HHCKOJibKo He pyccKHH ΛΒ0ρ«ΗΗΗ, HJieH MOCKOBCKOIO OÖmeCTBa, ΛΡ>Τ Η ρΟΛΗΗ ΤΟΓΟ-ΤΟ, a npocTo TaKoö »ce KOMap, hjih TSKOH »ce φa3aH, HJIH oneHb, Kax Te, KOTopwe jKHByT Tenepb BOKpyr Hero.

In 1880 Dostoevskij was asked by a correspondent whether man could bear to live a divided life ('dvoit'sja') all his life, without making every effort to end such a situation. He qualified his answer by stating that as a writer he was not well placed to answer

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such a question: A 3HaeTe-jm ητο η caM, HanpHMep, MeHbine neM k t o apyroH cnocoöeH η hmcio npaeo, pemant» Taicae Bonpocw. 3 t o noTOMy, h t o caMoe nojioaceHHe Moe, KaK iracaTeji», cjihuikom oco6jihbo β BHfly TaKHx BonpocoB. Ά HMeio y ce6a Bcer^a roToeyio nHcaTejn>CKyio .aeaTejibHOCTb, κοτοροή npe^aiocb c yBjieiemieM, β KOTopyio nojiaraio Bee crapaHHÄ moh, Bee pa^ocTH η Haae^c^ti MOH, Η flaio HM 3TOH fleJITeJlbHOCTblO HCXOfl. T a K HTO IipeflCTaHb MHe AUHHO TaKofi xce Bonpoc Η a Bcer^a Haxoxcy ayxoBHyio ^eaTejibHocTL·, leoTopaa p a 3 0 M y^ajiaeT MeHa o t Taacejiofi ^eöCTBHTejibHOCTH β flpyroH Map. Hmea TaKoii hcxo,o, π ρ κ Taacejibix Bonpocax 3KH3HH, a κοΗβΗΗο KaKÖbi noflKyiuieii, h 6 o o6e3neneH η jiaxce Mory cy^HTb npHcrpacTHo, no ce6e. H o KaKOBO TeM, y KOTopbix Ηβτ TaKoro Hcxofla, TaKOH γ ο τ ο β ο η fleaTejibHocTn, KOTopa« Bcer^a hx B u p y i a e T η yHocHT .najieico ο τ Tex 6e3BbixoaHbix BOnpOCOB, KOTOpbie HHOTfla Hpe3BbIHaÖHO MyHHTeJIbHO cTaHOB«Tca nepea co3HaHHeM η cep/meM, η KaK 6bi ,a;pa3Ha η τ ο μ ή hx, HacT0ÄTejn»H0 TpeßyioT paapeiuemia. 1 T h e process, illustrated here from opposite sides, is, however, essentially the same for every writer: his self-importance diminishes, but in becoming a common creature he becomes, by the same token, representative. N o t many writers are conscious of this, but the work o f most o f them is built on this premise.

The author represents humanity, he represents human life in his work. There is a playful element in this that does not exclude the highest seriousness. This element of play does not mean the absence of targets, they are there, but they are no longer practical, they coincide with the completion of the work. In other words, the author creates his own world. Rules are essential for this play. They exist, accumulated through the ages. The author cannot butt into his own play with his ego. But neither can he move away from it any distance as long as he keeps to the rules. Beyond a certain distance from the ego the work becomes a technical exercise, the author is no longer involved, i.e. he can mobilise only part of himself, the larger part of his personality remains at rest and cannot contribute its energies to the work in progress. The existence of rules makes it possible to consider the finished 1

F. M. Dostoevskij, Pis'ma, IV, 1878-1881 (Moscow, 1959), p. 194.

THE AUTHOR OF "BRAT'JA KARAMAZOVY"

13

work of art as a structure. This does not seem very helpful when we are in quest of the author figure: the finished product no longer needs an author. But as the finished work is an artistic projection of a model world on a real world (although this is by no means the most essential aspect of the work of art), we can follow back the projection lines until they meet in the author figure. In the case of The Brothers Karamazov this gives us the possibility to check whether the presence of more than one author figure in this novel points to ruptures in the structure, or whether there is underlying unity. This problem has often been presented under the aspect of 'point of view'. This term suggests that a work, in order to be a unity, must be presented throughout from one and the same point of view. But, as Brat'ja Karamazovy will show inter alia, this is not an essential requirement. Not only is an author free as long as he can keep us interested, but one author figure can appear in several guises, and the essential unity of a work need not necessarily express itself in one single point of view. Is the author figure a psychological or a literary entity? It is both. In the author figure the technical supervisor over the construction of the work and the organised ego of the writer are continually present, but in continually changing proportions. Once a character has been put on its feet, it cannot be knocked down at will, such an act must be motivated. Where such a thing happens in a novel, the ego will be more involved, while simply following the character may be more a question of supervising. But even this does not apply to all writers. The place that technical organisation occupies in the total organised ego differs from one writer to another. It is clear that the concept of the author figure is directly connected with that of style. The term has been given many different meanings and should be used with care. Very often it is used to designate the 'handwriting' of a writer, his own way of speaking, more or less independently from what he is saying. It will be clear, however, that his way of speaking has something to do with the work he is writing, that in the process of writing he is influenced by the conception that is being realised. It would seem possible,

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therefore, to regard style as the interference of the original impulse of the sentence and its rebound against the final conception. With each consecutive sentence, what follows is more clearly circumscribed and the number of choices reduced. As regards the author figure this means that it is active everywhere and, in principle, can be found in every single sentence of the work. If the author figure can be found anywhere in the book, how do we go about finding it? It is then either directly evident or untraceable. However, as for an inquiry into style we do not have to analyse every single sentence of a work, — we are finished when we have convincingly demonstrated our case so that further analysis will only confirm our findings, — so it is also with an author figure. While no part of the book can a priori be excluded from our enquiry, this enquiry will be completed as soon as we have established an author figure that explains the structure. The method for finding the author figure is conditioned by the object of inquiry. There are so many author figures that applying general rules would soon result in unnecessary detours. A book may strike the reader by its style, or by its 'contents', or by an unresolved tension between style and 'contents', or by the build-up of the chapters, etc., etc. There is nothing against, and everything in favour of a method that starts from that feature which is the most striking in a given work. In our case this is the existence of more than one author figure. A book consists of words, sentences, paragraphs, chapters, parts. They relate a series of events consecutive in time. Often the sequence is not followed linearly. One distinguishes between fabula i sjuiet,2 roughly the realisation of the plot, and the plot itself. A little clearer perhaps than this distinction is that between different modes of narration, the he-story or the I story, or, according to a more recent proposal,3 between the I story, the personal narration and the auctorial narration. Next there is the distinction between chronicler and omniscient author, according to the sources of infor2

Β. V. TomaSevskij, Teorija literatury (Moscow-Leningrad, 1928), pp. 134 et seq. 3 F. Κ. Stanzel, Die typischen Erzählsituationen int Roman (Wien, 1963) also in his: Typische Formen des Romans (Göttingen, 1967) ( = Kleine Vandenhoeckreihe 187).

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mation. This latter distinction is important for Brat'ja Karamazovy. All these modes could be called systems of expectations that are created in the reader and that may be modulated even while they are being established. In all the above distinctions the author figure is implicitly present, but in none he manifests himself directly. The author figure, the literary face of the structured ego, is itself a structure, in which an attitude towards the reader is incorporated. 2. BRAT J A KARAMAZOVY

We now turn to the novel and for the moment leave aside its foreword. The beginning of the novel is related by a chronicler. He is located in the town where the events described occurred. "Our district" appears in the second line, and the first person singular in the seventh (skaiu).4 In between we learn that the "tragic and dark" death of Fedor Pavloviö Karamazov occurred 13 years ago. The story that is to be chronicled is of the fairly recent past, well remembered, and of which some details have in the meantime become known. He refers to the fact that the locals called Karamazov "a landowner", and in so doing takes a certain distance from the views current in the district. He is not a gossip. By external characteristics this is an I-narrative {Ich-Erzählung). But the narrator does not play a part in the story himself. He does not go on errands for his friends, as the narrator in Besy does. Thus the tension between narrating I and narrated I (erzählendes und erlebendes Ich5) is virtually absent. The narrator's horizon is not restricted to the 4

IX, 11. (All references are to vols. 9 and 10 of the 10-volume "Sobranie soöinenij" (Moscow, 1956-1958). Roman figures indicate the volume, arabic figures denote the page). 6 Stanzel, Typische Formen, p. 32: "... bleibt das Verhältnis zwischen erzählendem und erlebendem Ich ein entscheidendes Element des Sinngefüges des Ich-Romans,..."; see ibid. p. 26: "In Dostojewskijs Die Brüder Karamasoff spielt das Geschehen in 'unserem' Landkreis, doch beansprucht der Erzähler, trotz dieser Rolleneinkleidung als Zeitgenosse und Zeuge der Handlung alle Privilegien eines auktorialen Erzählers." This latter narrator is characterised as follows: "Das atiszeichnende Merkmal dieser Erzählsituation ist die Anwesenheit eines persönlichen, sich in Einmengung und Kommentaren zum Erzählten kundgebenden Erzählers", and it is added: "Die der auktorialen Erzählsituation entsprechende Grundform des Erzählens ist die berichtende Erzählweise"

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town or district. In several cases he gives his opinions and judgements clearly, in some instances somewhat polemically: The old Karamazov belongs to a type that is not so very rare (IX, 11): "the majority of these crazy people is rather clever and shy, ... — and they have a special, a specifically Russian kind of inconsequentialness"(IX, 12); lively, intelligent women figure very often in the present generation {ibid.). The description of Adelaida Ivanovna Miusova abounds with this kind of opinion. A degree of judgement is even implied in the title, in the diminutive of serrfja, 'family', that is used: not just a family, but one that was not really one, that did not live up to being a family. The attitude this implies is taken up towards the end of the novel by the prokuror (X, 237) when he characterises the family life of the Karamazovs. The attitude implied in the title of book 1 is thus not accidental. If the chronicler's horizon is not restricted to the town, he still depends on it for his information. He may be able to interpret them better, but he does not know more about events than the inhabitants know at the moment of narration. He is not a chronicler like PuSkin's Pi men, dobro i zlo vnimaja ravnodusno, he has his sympathies and antipathies among the characters in the story. The fact that certain details of the events described became known only much later is often referred to, but the moment of narration does not itself enter into the story. As a chronicler, the author relates the events in the order in which they occurred. He could tell more, but he restricts himself to the details that are indispensable in order to begin the novel (IX, 17). The fact that the chronicler selects the event from the mass that occurred is in keeping with his limited degree of sophistication and his standard of selection is not contrary to his function of chronicler. He selects what he, according to his lights, thinks that the reader needs for an understanding of what is being described. What the reader is led to expect by this beginning, then, is a novel, a story with a plot and a denouement, related in the form of a chronicle, by an inhabitant of the district who has a wider

{ibid., p. 16). As will be clear from our article we do not think that Stanzel's distinction is fundamental for our inquiry. In B.K. there is not one attitude, but more, and each has its own structure and justification.

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intellectual horizon than his coinhabitants, but who is dependent on them for his information. We can follow this chronicler throughout the novel. In book III, ch. II, (IX, 125 et seq.), although the beginning raises doubts, the chapter as a whole is certainly the chronicler's. The same can be said of book IX, ch. II, considered by itself. He speaks here as informed after the events described by discussions about them. He sometimes alludes to his sources: potom u nas govorili (IX, 562), Uznalos'' ie eto toVko sejcas pred tern, sledujuSSim obrazom (563), et al. We will have to assume that Grigorij's thoughts and words that occur in this chapter are either reconstructions or direct hearsay. This is not the case with our next example of the chronicler, the first chapter of book XII (X, 187 et seq.). Here he relates what he saw, and only what he saw, he has no intermediary for his information. He does not differ much from a reporter. Pusf ne posetujut na menja, öto ja peredam lis'' to, cto menja liönoporazilo. He is very careful to document the few things he did not see: mnepoloziteVno izvestno (189), kak i opravdalos' potom po mnogim nabljudenijam (188). His memory sometimes fails him (192, 193). There are a few general sententions that he is qualified to make, like naSi skotoprigorCevskie mescane pocti te ie kresfjane, daie paSut (192). On a few occasions he relates his feelings about what he heard and saw. He was amazed at the amount of interest in the trial; Mitja's looks made a very unpleasant impression on him, and he was strongly impressed by the act of accusation. The same, essentially, goes for the rest of book XII. It is narrated by a reporter-chronicler who occasionally relates his feelings: ja cholodel i droial slusaja, and: u menja boVno eiilos' serdce (219); sam byl vzvolnovan (227). He has informed us on p. 195 that he has taken down large portions of the speeches of the prosecution and of the defence. They are interspersed either by short resumes of what came in between or by somewhat ironical commentaries or sentences (263, 273). But these are not essentially different from his observations on his own feelings when the witnesses were examined. The chronicler is interested, an avid listener, but relating his feelings occasionally does not interfere with the chronicler's task.

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We thus find the chronicler throughout the novel, but we have had to search for it. We restricted our search to chapters entirely written by a chronicler. If we include smaller units: paragraphs or groups of paragraphs, we find more. The first chapter of book 7 describes events for part of which at least the chronicler mentions his source, in a general way: a cto do Rakitina, to tot, kak okazalos* potom (IX, 409). Especially clear in this respect is p. 410: No eSce ne minulo i trech casov popoludni, kak soverSilos' necto, ο cem upomjanul ja esöe ν konce proSloj knigi, necto, do togo nikem u nas ne oiidannoe i do togo vrazrez obSöemu upovaniju. ito, povtorjaju, podrobnaja i sujetnaja povest' (...) vspominaetsja ν naSem gorode i po vsej naSej okrestnosti. Tut pribavlju e$(e raz ot sebja licno: mne poctiprotivno vspominaf ob etom suetnom i soblazniteVnom sobytii. The author goes on to say that he would have omitted this story but for the fact that povlijalo ono siVnejSim i izvestnym obrazom na dusu i serdce glavnogo, chotja i buduSöego geroja rasskaza moego, Alesi, sostaviv ν duse ego kak by perelom i perevorot, potrjasSij, no i ukrepivSij ego razum uze okoncateVno, na vsju Zizri i k izvestnoj celi. This passage raises strong doubts. Or rather, it can hardly be doubted that the speaker here is not the chronicler. How is he to know about changes in Ale§a na vsju iizn' and even k izvestnij celil Some of it will be explained later on in the novel, but not as a chronicler does who is careful to restrict his responsibility for what he relates (on pp. 451-2, at the end of book 7, he relates one of the most intimate experiences of Ale§a without once bothering to indicate his sources). But one page further on (IX, 411) the author refers again to "our monastery", and about the excitement that some of "our monks" felt about the events described. There are clearly two authors within one chapter here. In chapter VIII of book 2 we learn of things that are beyond a chronicler, but suddenly on p. 116 we read: Opjat'' notabene. Nikogda i nicego takogo osobennogo ne znacil nas monastyr' ν ego zizni, i nikakich gor'kich slez ne prolival on iz-za nego. This is the chronicler speaking {nas monastyr'), but the knowledge of its significance in Karamazov's life, and also the following sentences, point clearly beyond the chronicler. For another example we take chapter I of book 10. It is written largely by the chronicler. The

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scene is "our town" and the information imparted does not come from beyond it. But whereas (in X, 10) at first Kolja Krasotkin's mother, to whom he confessed the act later on, can be regarded as the source, on the next pages, information is given on her and others' feelings and thoughts that cannot come from her; so that one does not know who exactly is the author that mentions himself in the final paragraph of the chapter. In two of the examples where the chronicler is not consistently present we find, incidentally, a kind of transition back to the story realized by: itak (IX, 410, 3rd line from bottom; X, 13, beginning of ch. II). We have found, then, the chronicler at the beginning and at the end of the novel, while in between we meet him repeatedly, but certainly not continually. There are evidently other narrators, or another narrator, in the novel and we shall inquire into their characters. As the chronicler opens and closes the book there is a presumption that he is the essential narrator, at least from the author's point of view. But this can only be decided when we have analysed the other narrators. Before we go on we should clarify the chronicler, because in the literature on forms of narrative the terminology is still wavering. Decisive for the chronicler is the way in which he obtains his information. As a rule he appears in the first person singular, but this is not essential. His presence is also evident in sentences like: 'as later became known', in a paragraph narrated not in the I-form (e.g. IX, 409), while the I who is speaking on p. 424 knows much more than a chronicler and must evidently refer to another narrator, as is also evident from the beginning of the chapter we are referring to, on p. 421. For a narrator that is entirely different from the chronicler let us turn to book V. Right from the beginning of this book the author has at his disposal a different kind of information, and far more of it, than the chronicler. The narrator does not mention himself, nor is mention made of the sources of information. The first sentence of the chapter runs as follows: "Mrs. Chochlakova was again the first to meet AleSa. She was in a hurry: something important had happened: ..." The "something important" is shared by narrator and Chochlakova, but what follows comes straight from Chochlakova, and after that the author takes his distance from her

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by the comment: "as if everything that happened to her before were not serious". There follow dialogues between Chochlakova and AleSa, and between Liza and AleSa. The speakers are interrupted now and then by the narrator's remarks on an interlocutor's reaction or, rarely, by sententious remarks, like kak vsegda pri etorn byvaet, (IX, 268). After AleSa has told Liza that perhaps he does not even believe in God, the author comments: Bylo tut, ν etich sliSkom vnezapnych slovach ego necto sliskom tainstvennoe i sliSkom sub'ektivnoe, mozet byf i emu samomu nejasnoe, no u2e nesomnenno ego mucivsee. What author is this that he needs so many modal adverbs? Part of the answer will be furnished if we leave them out. The foregoing auctorial sentence is bare: no Alesa ne otvetil na eto. If we omit the adverbs from the next one, we have: Bylo ν etich vnezapnych slovach ego necto tainstvennoe i sub'ektivnoe, i emu samomy nejasnoe, no ego mucivsee. In this stripped form the sentence reveals more clearly that we have before us an omniscient author. The dialogue in the chapter is not reported by a chronicler, like the speeches at the end of the book, but an omniscient author lets his characters speak directly. However, the full sentence quoted by us shows that the narrator is not an Olympic figure, but that he is almost personally concerned — almost, for the author is in no way himself a character. The full sentence, moreover, seems to engage not only the author but also the reader. The sliSkom can also imply: 'more than you, reader, could reasonably expect', and this must therefore be mentioned. The information content of the adverbs is not negligible: AleSa's words were more than what could be reasonably called a reaction to his interlocutor, they were too mysterious and subjective for either Liza or the reader to 'place' the statement thus qualified. The qualifications in the sentence suggest than AleSa's words come from deeper layers and are more significant that either Ale§a or Liza or the reader realises, only the reader is made aware somehow, in a way not essentially different from, but perhaps more subtle than, references to later when things will be clearer. The measure of personal involvement with the hero on the part of the omniscient narrator brings him nearer to the chronicler. Neither of them takes a part in the story, and neither position

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necessitates personal involvement, but the omniscient narrator offers more scope for it than that of a towndweller not on intimate terms with the Karamazovs. The similarity in position is largely superficial, the differences are essential. These extend also to the position in time of the narrators. The omniscient narrator does not have a position in time, he can move freely backward and forward as far as the technical possibilities of the tale allow. The chronicler is perhaps writing in 1879. From this fixed point he moves back to 1866, or beyond that, for the prehistory of the characters, or he refers the reader to some unspecified point in time between 1866 and 1879 when certain things became clear. He cannot read his characters' thoughts, he can only hear them. The omniscient narrator need not read them; he knows them. This seems to be contradicted by a statement like: moiet byV i emu samomu nejasnoe. The omniscient narrator, one can say, should decide whether it was clear to AleSa or not. But we have already seen what the function of the adverbs is for the reader, the omniscient narrator is here using his full knowledge by portioning it out. This presentation is certainly a case of interference between the direct information and the rebound from the end. Another element that chronicler and omniscient narrator have in common should be briefly mentioned. Both are occasionally sententious. But that does not place them on an equal footing, it only stresses their differences. The general function of a sententious pronouncement, at least in the book under discussion, can perhaps be described as connecting events in the novel with a general series of events or a general experience that is shared by the reader; its result is often a clarification of the narrator's point of view. In delivering a sententious remark the narrator circumscribes his horizon, but does not change it. The horizons of the chronicler and of the omniscient narrator do not coincide even if both would utter the same sententious remark. Our first example of the omniscient author was exceptional for the amount of involvement expressed in the modal adverbs. But in his more common form he occupies a fairly important place in the novel. There is hardly a book in which he does not at some moment appear, with the exception of the twelfth and perhaps the

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first. Another instance of the omniscient narrator is chapter II of book 2 (IX, 51 et seq.). He is less involved here, but he does seem slightly influenced by his characters, e.g. when he gives paVcy to the ieromonachs and persty to Zosima. He knows his characters' thoughts and feelings and reproduces their conversation. In this chapter he does not take one single point of view, i.e. he can move from Miusov's mind to AleSa's. This is not always the case; in quite a number of chapters the omniscient narrator takes a point of view very close to one of his characters. This is the case e.g. in chapter X of book 3 (IX, 182 et seq.). Many of the chapters in which this occurs begin or end with Alesa coming or going. In this ch. X of book 3 we are given a description of Katerina Ivanovna's looks as AleSa saw them three weeks before and as he sees them this time. The information on Katerina Ivanovna is much more than that on AleSa, but the latter is not negligible: Ale§a is struck by, AleSa felt that ... etc. This chapter also introduces Grusen'ka, but the narrator does not leave everything to AleSa; in describing Grusen'ka's kind of beauty he collaborates with AleSa: he is again struck by, and feels different things, but Alesa, razumeetsja, ne dumal ob etom, no, chof i ocarovannyj, on, s neprijatnym kakim-to o$öu$ceniem i kak by zaleja, sprasival sebja: zacem eto ona tak tjanet slova i ne moiet govoriV naturaVno? GruSen'ka's description is followed by the dialogue between her and Katerina Ivanovna. Just before GruSen'ka's refusal to kiss Katerina Ivanovna the author refers to the latter's fleeting hope: Ona, moSet byt\ sliSkom naivna, — promeVknulo nadeidoj ν serdce Kateriny Ivanovny (IX, 192-3). The fact that in Dostoevskij's novels the author looks at events he describes from the point of view of only one character, the main character of the given book or chapter, has struck several critics.® The above example shows that at least in Brat''ja Karamazovy the author is more mobile. It is not so much a matter of point of view, but rather one of presentation. If events will appear more clearly when presented from more than one point of view Dostoevskij does not hesitate to present them so. Presentation through the eyes • G. M. Fridlender, Realizm Dostoevskogo (Moscow-Leningrad, 1964), pp. 171 et seq., 346; R. L. Belknap, The Structure of the Brothers Karamazov (The Hague, 1967), p. 82.

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of the main character of the scene may have the added function of characterisation of this character; but this is secondary, and certainly not Dostoevskij's main method of characterisation. He is not out to establish a definite point of view, he will vary his presentation of events. A 'normal' chapter by the omniscient author will contain more than one angle, even in description, and dialogue. The resulting dramatisation has often been commented upon. Dialogue is essential in Dostoevskij but here again its formal role has been overstressed; his novels have even been characterised as dialogue plus stage directions. This may serve to make a point but taken at face value it is not true. The practical difficulties of staging Dostoevskij's novels, for one thing, are much greater than would appear from this statement. One cannot show very well on the stage the events from an angle quite near one of the characters and the same goes for the thoughts and feelings the dialogues give rise to. Deviations from the 'normal' position of the omniscient author occur in several directions: towards monologue; towards one auctorial point of view, with little dramatisation; lastly in chapters where a character is on the move. As this happens constantly with AleSa, cases in which the author takes up a position near him are frequent. Book 4 furnishes a good example of this. Here, too, we find instances of other presentation, thus ch. Ill has a number of author's sententiae, while briefly the author enters the mind of other persons (e.g. Katerina Ivanovna, IX, 237 in fine). Such 'AleSa chapters' can be found in book 5, parts of 7 and much of 8, parts again of books 9, 10 and 11. Those hitherto described are not the only author's attitudes in the novel. But before looking into other cases we shall consider the presentation of dialogue. As an example we take Nadryv ν izbejji na cistom vozduche (IX, 246-266), for an emotional, and bunt (IX, 296-309), for an 'ideological' dialogue. The first paragraph of our first example opens and closes with an auctorial sentence; in between, Ale§a's thoughts are rendered directly. In the second paragraph 'half direct speech' (nesobstvenno-prjamaja rec\ erlebte Rede) is used, the third is predominantly the same, with an admixture of direct rendering. The fourth paragraph has quotes from Dimitrij's landlord, from Alesa's thoughts, and information

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from the author. The next paragraph again has thoughts of AleSa quoted. It contains the word dejstviteVno, as an author's certification of what AleSa was made to expect by Katerina Ivanovna's description of the Snegirevs. The next paragraph is the first direct speech really uttered, but the long paragraph that follows is purely descriptive and done entirely from the author's point of view. Even here, though, the use of zemnych blag for drink borrows another viewpoint for a moment. Further we find in the description of one of the daughters: kak skazali potom Alese. This and the other references to AleSa in the paragraph show both the difference and the nearness of the points of view of author and character. They enter the room side by side, so to speak, they have almost the same view of what is where in the room, but the author from time to time connects the view with AleSa and his thoughts: No vsego boleeporazila Alesu ... sverknulipocemu-to spervogo ze vzgljada ν ume AleSi (IX, 248, 249). The ironic other viewpoint that is apparent in the use of zemnych blag moves the author for a split second closer to the reader; he shares it with him, not with AleSa. This descriptive paragraph as a whole, then, is not static or narrated consistently from one point of view in the space it describes. It conveys a high degree of mobility and liveliness and seems to indicate that dramatization is not restricted to direct dialogue, but flows over into the intervening descriptive passages. These then are not stage directions, but fully belong to the story and the drama. Not the establishing of a point of view but dramatic presentation and mobility (often coupled with some reference to later on) are the first important things. After a short exchange between Snegirev and his daughter there follows another descriptive paragraph, introduced by the sentence: Alesa vnimateVno smotrel na nego, on ν pervyj raz etogo celoveka videl. After such verbs of looking, strengthened by the vidimo a few lines later on, one would expect to be given Aleäa's viewpoint throughout, but this is not so. In describing Snegirev the author corrects himself, there is nothing in the context to suggest that AleSa thought this while he was looking, the less so as the next moment he is himself drawn into the perspective (... tot maSinaVno sdelal sag nazad). The vy, in the second simile concerning Snegirev,

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faintly suggests that the author lets in the reader on what is happening. The remainder of the paragraph only strengthens the impression that the author, not Alesa, is looking ("trousers of the kind nobody is wearing any more" is a more general judgement than AleSa's situation at that moment warrants). The author has to move away from his viewpoint in order to introduce him speaking. Thus in this paragraph we find again a very mobile point of view. The roles of author and character are now slightly different, mainly because of their different location within the dialogue: now it is AleSa that is going to speak. On the basis of these two paragraphs one is tempted to conclude that point of view is almost a function of dramatization. This is the point where the dialogue really starts. Ale§a's clauses are given haltingly, they are very short and they are presented virtually without auctorial comment. Snegirev's, on the contrary, are delivered very rapidly. The reader sees him for the first time, and sees him very clearly, through his words and his gestures and in the way he reacts to the interruptions from members of his family. These call for explanations by the author; sometimes also Snegirev's own words are commented upon, but Alesa's are not. In this scene the characters are not presented through their thoughts. This is no deviation from the emerging pattern, but a result of the situation. The author reproduced thoughts only of the main characters. The others are presented clearly enough through their words and acts. There is a kind of wink from author to reader in the error made by madame Snegirev, who speaks of Cernomazov. Snegirev adds to his correction my iz prostych -s, which stresses the effect of the 'Cerno/kara' pun. A similar loosening function is played by Snegirev's irony, his pajasnicanie, his referring to his dwelling as choromy. Such touches illustrate the difference between the early and the mature Dostoevskij. The dialogue is continued outside, Snegirev takes Alesa along in order to speak more freely. His clauses now become longer and calmer, the accent shifts from direct emotions to their causes; the discussion becomes more 'ideological'. The distinction we made between ideological and emotional dialogue is one of degree. When Snegirev returns to his former emotional plane, this is indicated by

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the author. In this second part of the dialogue AleSa is more active than in the first. He is bringing money from Katerina Ivanovna, he has to report what happens, so now it is time to relate his feelings (IX, 261). Qualification directly by the author is rare. The word bednjak on p. 263 is an example. On the next page the word is repeated, this time almost as issuing from AleSa. Snegirev's crisis is introduced by an expression (resivSego poleteV s gory) which Dostoevskij often uses in similar occasions, from Raskol'nikov onward. After that, in line with the place of the chapter, AleSa's feelings are described, i.e. his sadness is inexpressible and, perhaps for that reason, what follows is given with pathos: Ο, on ponimal cto tot do samogo poslednego mgnovenija sam ne znal, öto skomkaet i svyrnet kreditki. This line also gives the reader direct information, while engaging his feelings. Erlebte Rede, especially with O's and AlasJ's, is sparingly used in Brat'ja Karamazovy, and when it is, it strikes the reader as unexpected. In this case, the last paragraph of book 4, the O! is preluded by the preceding Nevyrazimoju grusfju, as erlebte Rede frequently is preceeded in Brat"ja Karamazovy by adjectives indicating the impossibility of expression by the author himself. While the sentence illustrates both the mobility of the author and his tendency towards dramatization this is not at the expense of its informative value: we learn that Snegirev did not know beforehand that he would throw down the money, that this insight comes to Alesa as a revelation, and — through the erlebte Rede — that this insight is somehow connected with AleSa's deep sympathy for Snegirev. This sentence by itself shows that the paragraph is much more than a stage direction. The dialogue of which this paragraph is the conclusion occupies the last two chapters of book 4, nadryvy. From the point of view of composition this is extremely convenient. The grouping together of the different nadryvy is more than formal, it conveys a notion of solidarity and of equality of situation between Snegirev and Katerina Ivanovna. This is in addition to the role this book plays in the dynamics of the novel. The third chapter of book 5, Brat ja znakomjatsja, is also part of a dialogue that extends over more than one chapter. Like our

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first example, the subsequent chapter modifies to some extent the set-up of the dialogue. Let us first look at ch. Ill alone. The auctorial comment is minimal, and restricted to a few indications of how the brothers Ivan and AleSa look when they are talking. The author does not enter into the minds of the speakers. An ideological dialogue, apparently, speaks for itself more than an emotional dialogue does, and requires less comment from the author. Probably this kind of dialogue is responsible for the opinion that Dostoevski's novels can be characterised as dialogue plus stage directions. It should be noted, however, that not so much ideology itself, but rather the tension caused by it makes the author remain invisible. In this dialogue Ivan does most of the talking, his clauses are much longer than Alesa's. The latter's answers do more, however, than keeping Ivan going, they carry their own weight. Throughout the novel Alesa moves on the boundary between reason and feeling, the two never loose touch entirely. Here, too, there is no lack of intelligence on Ale§a's part, but when he scores a hit he does so intuitively. Ivan's longest clause occupies two pages in our edition and the author himself characterises it as long. Yet it is not a masked monologue. It is definitely directed at AleSa and is taken up by him. In the following chapter, Bunt, Ivan's part is even more considerable. Again this is not an interrupted monologue. Ivan is definitely addressing AleSa, he is unburdening himself and 'trying out' Alesa. He presents his stories in a very lively manner, using direct speech, both in the story on Richard and in his stories on children. This, and occasional interruptions like ob etom u menja podrobno zapisano (IX, 302), and also the direct questions to AleSa, show that his entire tirade is organised around its directedness towards AleSa. As a storyteller Ivan dramatises no less than the author himself. These are, perhaps, the main types of dialogue, but not the only ones. There is AleSa's dialogue with Liza, Chochlakova holding forth on the goldfields to Dimitrij, and Ivan's talks with Smerdjakov. The scala of dialogue goes from the utterly comic to the deeply serious, from the purely emotional to the almost purely ideological.

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What all dialogues, except perhaps the purely comic ones, have in common is that they are never simply a device to inform the reader, that they are never simply a presentation of material that could, in principle, be presented as well in another fashion. The speakers are deeply involved. They are speaking to a definite person, not propounding ideas. The more important a character is, the more fully he expresses himself in his dialogues, but he remains directed at his interlocutor. When a character wants to propound an idea he becomes an author himself, like Ivan in the Great Inquisitor. At the end of the chapter discussed above Ivan announces his "poema" which, as such, is taken out of the dialogue. Ale§a interrupts him a few times, but this does not make the presentation into a dialogue. We have a different approach here. The situation is comparable to the zitie of Zosima and to Dimitrij's Ispoved* gorjacego serdca, though to a lesser extent. We find each of the brothers in turn appearing as authors themselves, and what they state in this capacity is extremely important for the ideological aspect of the novel. This is relevant for Dostoevskij the writer. He was certainly one of the writers most occupied with ideas, but not in the abstract. He embodies them, thereby testing them and testing people. He was not a writer of ideas in the sense that he had a message for which he chooses the medium of the novel. One would be hard put to formulate the message of the Brafja Karamazo\y in a way that every sensible reader would agree to and that could be demonstrated by an analysis of the work. The world in which Dostoevskij and the literature of his time moved was saturated with ideas and it certainly required much effort not to become their servant and not to let them dictate the work of art. From about 1848 the arsenal of Russian literature includes much armour to keep ideas in their proper place. Ideas as such are dangerous to literature because their 'natural' context is not a literary one. Ideas are articulated more naturally in the form of publicistics or of a philosophical treatise. The danger is enhanced when the ideas concern an author's strong convictions. In that case the work tends to become a form of harangue. If human beings live with ideas they are prone to enounce them monologically and tend to forget artistic considerations. One wonders whether the Great Inquisitor

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presents an instance of this. The intermediary author would then in part serve as a safeguard against direct involvement of the real author and against ideas influencing too directly the style and composition of the chapter. The ideas propounded by Ivan would then be more directly 'Dostoevskian' than those treated in normal dialogues. The point is arguable. But it is clear that the innermost, the most 'moving' ideas present the most serious artistic problems. Dostoevskij was very conscious of artistic requirements and a very keen craftsman. In an article in Vremja in 1861 he enters into polemics on the subject with the utilitarians: "the utilitarians do not openly attack artistic requirements (Chudozestvennost'), but at the same time they do not admit they are essential. "If only the idea is visible, and the end to which the work was written, — that is enough; artistic requirements are unimportant, third rate, virtually unnecessary" — that is how the utilitarians think. But inasmuch as non-artistic work never and under no condition attains its purpose; rather even does more harm than good, the utilitarians, by not accepting artistic requirements themselves, do most harm to their own cause, because they do not want to harm, but to do good. We will be told that we made all this up, that the utilitarians never turned against artistic requirements. On the contrary: they not only did just that, but we have noted that it even gives them special pleasure to direct their anger at certain literary works whose main feature is their artistic character. They hate PuSkin, for example."7 7

In the article: "G.-bov i vopros ob iskusstve" (Vremja, February 1861), as quoted by: V. E. Vetlovskaja, "Nekotorye osobennosti povestvovatel'noj manery ν «Brat'jach Karamazovych»", in: Russkaja literatura (1967), 4.68. We give here the Russian text of the quotation: Β cTaTbe "Γ.-6ΟΒ η eonpoc 06 HCKyccrae" ("BpeMa", φββρ&ιπ. 1861 rofla)flocroeBCKHftimmer: "... ynajmTapacTU, He nocsras HBHO Ha xyAOxecTBeHHOcrb, β TO x e epeMs cOBepmeHHO He npH3HaioT ee hcoGxoahmocth. «Buna 6 u BHÄHa hack, 6wjia 6bi TOJH>ko BHßHa aejn>, ajui κοτοροή nporoeeAeHHe HaimcaHO, — η aobojibho; a xyqoxecTBeHHOCTb flejio nycrroe, TpenecreneHHoe, ΠΟΗΤΗ HeHyxHoe». BOT KaK AyMaioT yTHJiHTapHCTbi. A Tax KaK npoH3BeaeHHe HexyAOxecrBeHHoe ηηκογ,γ» Η hh πόα KaKHM ΒΗΑΟΜ He flocraraeT ceoefi uejiH; MaJio ΤΟΓΟ: 6onee epeAHT AeJiy, HeM hphhocht nojn>3H, το, crraJio 6kitb, ynumTapHCTH, He npH3HaBae

xyAoxecTBeHHOCTH, caMH ace 6ojiee ecex epeAJrr AeJiy, a cneACTBeHHo hajht πρπΜο προτΗΒ caMHx ceöa, noTOMy hto ohh fflnyT He BpeAa, a nojn>3w. HaM CKaxcyr, h t o mi>i 3 t o Bee BbmyMajui, i r o yTHJiHTapHCTM HHKorAa He num προτΗΒ xyAoxecTBeHHOCTH. HanpoTHB, He tojibko num, h o mm 3aMeTHjra, h t o

hm Aaxe οοοδβΗΗο dphhtho no3JiHTbca Ha HHoe JiHTepaTypHoe npoHaeeACHHe,

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Similar considerations appear in his letter to Pobedonoscev of September, 1879, when the latter had complemented him on what had appeared so far and wondered what he would reply to Ivan: "That precisely is my main care and trouble right now. Because as the answer to all this negative side I had in mind this sixth book, the Russian monk, which will appear August 31. And therefore I am anxious for it in this sense: will it be a sufficient answer. The more so as the answer, precisely, is not a direct one, point by point going into the positions taken before (in the Great Inquisitor and before that), but is only indirect. Here is presented something directly opposed to the abovementioned view of the world, but, again, not point by point, and so to speak in an artistic picture. That is what troubles me, i.e. will I be understood and will I attain my purpose to even a small extent. Added to this are artistic requirements : I had to present a modest and majestic figure, and life is full of comedy and is majestic only in an interior, hidden sense, so that willy-nilly I had, out of artistic considerations, to touch upon the banausic aspects of my monk's biography, in order not harm artistic realism."8 We are witnessing, as it were, a debate between the man and the writer. What the man wanted to do interests us less here than what the artist did; but his artistic anxieties were entirely real. In Zosima's case there was more cause for it, perhaps, than with Ivan. AleSa's zapiski are more even and flat and have less tension than Ivan's poema because they are much nearer to gospel truth. In order to make them more effective he used both the title and style elements of the Zitie and had Ale§a condense his notes from Zosima's actual sayings. The indirectness of AleSa's notes stands out when compared to the directness of the auctorial notes on the trial in book 12. This illustrates the difference in approach to factual and ideological material. Both the zapiski and the poema are external to the plot as such and interrupt the flow of events. To a large extent both have the character of a confession, and so has Ispoved' gorjacego serdca. ecjm Β ΗβΜ rjiaBHoe AOCTOHHCTBO — xyaoxecTBeHHOCTb. OHH, HanpHMep, HeHaBHfljrr riymKHHa." 8 Letter to K. P. Pobedonoscev of 24.VHI/13(sic).IX.1879, in: Dostoevskij, Pis'ma, IV (Moscow, 1959), p. 109.

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The latter is not set apart as the other two are, but they have enough points in common to justify lumping them together as indicative of extra indirectness in, ideologically speaking, key situations. In the cases of Ivan and Alesa and to some extent in the Ispoved' we find a situation in which the author entirely disappears from the relationship between reader and character and confronts the two directly. His role as presentator of material is taken over by a character. While the narrated events are once removed (an author presents a character that turns author) the effect is nevertheless one of directness because it is a living character — much more so than the author — that narrates. Both factors, viz. the separate tale and the 'live' authorship, seem important for the presentation of highly ideological material that sums up a human life. This is also indicative of a disinclination for monologue. If we distinguish between chronicler and omniscient author it is clear that we have here the latter, and at his most omniscient. If we distinguish between Ich- und Er-Erzählung we should perhaps speak of an Er-Er-Erzählung; for although the author is present and identifiable, and although before the story begins he speaks in the first person singular, he does not figure in the story or in the notes and in relation to the events he narrates he is a third person. There are other instances in the novel where the above distinctions do not help much. If the author mentions himself one expects to find the chronicler. But we find several cases of an omniscient author mentioning himself which yet cannot be considered a Tersonalerzählung'. The seventh chapter of book 5 is a point in case. It begins with an ot avtora description of Ivan coming into his father's house after his discussion with Smerdjakov. In the second paragraph, which has the same point of view, the author mentions himself. The following long paragraph changes the point of view and enters into Ivan's mind. In its beginning the author emphatically mentions himself: no my ne stanem peredaxaC vse tecenie ego myslej, da i ne vremja nam vchodW ν etu dusu: etoj duse svoj cered. There are references to later, one even to vsju zizn' svoju potom (IX, 347). In the rest of the chapter, largely dialogue, the omniscient author does not mention himself. Let us take another look at book 7. Its first chapter begins as

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straight storytelling from which it is not clear right away whether the chronicler or the omniscient author is speaking. In the description of the first preparations for Zosima's funeral we come across father Paisij, sam pozelavsij citat' (IX, 408), and also across a passage like: a cto do Rakitina, to tot, kak okazalos' potom, ocutilsja tak rano ν skite po osoblivomu poruceniju gospozi Chochlakovoj. Sija dobraja, no bescharakternaja zensöina vdrug proniklas' stoV stremiteVnym ljubopytstvom, cto ... (IX, 409). The author knows Paisij's intentions, gives a character judgement about Chochlakova, but needs specific information after the fact in order to know how Rakitin happened to be in Zosima's cell. Further down on the same page Paisij remembers AleSa, which only an omniscient author can know. What we have up to now is an Er-Erzählung by an omniscient author. But on the next page we find: no esöe ne minulo i trech casov populudni, kak soversilas' neöto, ο cem upomjanul ja eSce ν konce prosloj knigi. So we have an omniscient I-author. But the passage continues: ..., necto do togo nikem u nas ne ozidannoe (...), öto, povtorjaju, podrobnaja i suetnaja povest' ο sem proizsestvii daSe do sich por s crezvycajnoj iivosVju vspominaetsja ν nasem gorode ipo vsej na$ej okrestnosti. Tut pribavlju eSöe raz ot sebja liöno: mne pocti protivno vspominat'' ob etom suetnom i soblazniteVnom sobytii, ν suScnosti ze samom pustom i estestvennom, i ja, koneöno, vypustil by ego ν rasskaze moem vovse bez upominovenija, esli by ne povlijalo ono siVnejsim i izvestnym obrazom na dusu i serdce glavnogo, chotja i buduSöego geroja rasskaza moego, Alesi, sostaviv ν duSe ego kak by perelom iperevorot, potrjasSij, no i ukrepivsij ego razum uze okoncateVno, na vsju zizn' i k izvestnoj celi. This passage began to be written by the chronicler, in an almost gossipy style. It is the chronicler who justifies before the reader the inclusion of this story into the narrative. But towards the end of the passage the author figure takes off from the town level on which he had been located, and when he speaks of his main, even if future hero, we are back with the omniscient author who, without mentioning himself, was also in the beginning of the paragraph. In one paragraph, then, we have the omniscient author not mentioning himself, the chronicler, and the omniscient author mentioning himself. The mixing of the different narrative levels goes

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on even in the adjectives: of neozidannoe i (...) vrazrez (the latter has an adjective function here), while connected by i, one is an adjective referring to the finished event, the other an adverbial expression refering to the process; podrobnaja i suetnaja: the first characterises the story, the other the reaction to it; a few lines further on the event is suetnyj and soblazniteVnyj: the first refers to the people's reaction to the event, the second implies a measure of characterisation of these reactions by the author. Similar observations can be made about pustom i estestvennom, about siVnejsim i izvestnym, and about glavnogo chot' i budusöego. The coupling of two adjectives or nouns by i is so persistent in the second part of the paragraph that it cannot be considered accidental. It illustrates the extreme mobility and, notwithstanding his mentioning himself, elusiveness of the author. And these effects are only strengthened by the beginning of the next paragraph Itak, k rasskazu, because as has been noticed, these or similar words are often used in the novel after what could be termed excursions by the chronicler into the city. On the next pages, describing the public reaction to the smell from Zosima's body, the author mentions himself repeatedly and there is no doubt that the chronicler is speaking. With the exchange between Paisij and Ferapont the I-author disappears from sight and the end of the chapter is definitely written by an omniscient author, looking at Ale§a from a point very close to Paisij. The second chapter of book 7 also shows a very mobile author. He acknowledges his difficulty in transmitting the real significance of etoj strannoj i neopredelennoj minuty ν iizni stoV izljublermogo mnoju i stoV eSce junogo geroja moego rasskaza (IX, 421). He places himself squarely between AleSa and the reader: ja, konecno, mog by s tverdosfju otvetif za Alesu, and, a little further on: poprosil by toVko citatelja ne spesit' eiie sliskom smejafsja nad cistym cerdcem moego junoSi. Sam ze ja ne toVko ne nameren prosit' za nego proScenija, ... on the contrary: tverdo zajavlju, ito cuvstvuju iskrennee uvazenie k prirode serdca ego, and he goes on a little in the same vein, indulging in polemics with the reader. This reader has not been led into the position in which the author supposes him to be. So we might think that at this place the artistic texture

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is becoming threadbare and that we witness a relapse to Dostoevskij the man. But a close look at the position that the author defends makes it clear that this is not a position Dostoevskij the man could take. This is definitely the author, creating dialogue where there is none, bringing the reader in the mood for the personal character of Alesa's feeling for the starec, rather than his belief in miracles, and for the events that follow. In quite a number of chapters Ale§a himself is on the move; now he is found, sitting still and very much moved, by Rakitin of all people. In this scene the author dramatizes Alesa's inner movements. When this has been effected the I-author disappears again. The omniscient author at the end of this chapter knows Rakitin's thoughts. In the next chapter, Lukovka (IX, 428 et seq.), we are back in town with the chronicler (u nas ν gorode). His sources are what the town knew and has since learned. We look at events from the moment of narrating: boVsoj delec (teper' davno pokojnyj) IX, 429. But with the arrival of Alesa and Rakitin at Grusen'ka's place the omniscient author takes over and informs the reader of both AleSa's and Grusen'ka's thoughts. When he comments on Rakitin (IX, 439) he indirectly addresses the reader. In the short fourth chapter of this book the omniscient author who does not mention himself remains. Strong inner movements in the characters are described in this chapter too. Why does the author remain under cover here? A renewal of polemics with the reader, so soon, would probably spoil the effect. As so often, this scene is still a kind of dialogue, first between Ale§a and the Bible texts being read and then between him and Zosima's spirit. Intervention by the author would spoil this scene. Instead there is an element of erlebte Rede in the last paragraph but one, with a single O!, which brings out the pathos of this cathartic scene. Towards the end this confluence of author's narrative and direct quotation separates again into its elements: I nikogda, nikogda ne mog zabyt'' AleSa vo vsju zizrC svoju potorn etoj minuty, and: "Kto-to posetil moju duSu ν tot das". And after that the chapter concluded with a short factual paragraph, once more on AleSa's movements. The quotation of Alesa's thought not only is an effect of dialogisation, but also stresses the intimate character of these thoughts. As a rule intimate thoughts of some

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importance are quoted and not given in indirect speech. In this case, moreover, the quote will be vaguely remembered when in book 8 a very similar expression by Dimitrij occurs. This is probably not entirely accidental. Situation rhyme is not uncommon in Brat'ja Karamazovy, serving as a kind of counterweight to the many forward references, apart from its usual role of suggesting similarities that are not fully expressed. In sum, book 7 shows an extremely mobile author without, for all that, giving the impression that the contours are blurred. On the contrary, one has a feeling that this mobility helps in getting the narrative across to the reader. There is a kind of orchestration of authorship to this end. From the examples given above it will be clear that this conclusion is independent from the criteria of auctorial position that are used; it makes no difference whether one takes the Ich and the Er-Erzählung as the main division, or distinguishes between scenic and dramatic description. It is also clear that this mobility is an essential feature. The essentialist tradition in Dostoevskij criticism has obscured the view of the author's mobility and stimulated the equation between Dostoevskij and some of the ideas in the novel. If one distinguishes between scenic and dramatic novelists, Dostoevskij belongs to both categories. According to Bayley9 Dostoevskij's method "is a dramatic and not a scenic method, and his references to the past (...) are not intended to fill out a character but to contribute to the general dramatic atmosphere". We have already seen how strong the tendency towards dialogisation is in Dostoevskij's works, at least in this novel. But this does not make the scenic parts less autonomous. Thinking so is a renewal of the view that what Dostoevskij gives is really a dialogue plus stage directions. It is not true, for example, that the beginning of chapter III of book 7, Lukovka, is just an introduction to the talk that follows, or that the story of the decay of Zosima's body, with which the book begins, is an introduction to the small dramatized scene with Ferapont. Perhaps the opinion rests on a double use of the term dramatic, once for method and once for effect. As to method, both the scenic and the dramatic approaches are essential for him, •

J. Bayley, Tolstoy and the Novel (London, 1966), pp. 208-209.

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both contributing to the highly 'dramatic' effect on the reader of the novel as a whole. The scenic passages we have mentioned so far happen to be I-author passages. By any standard the author figure is a highly mobile one. One more example of this mobility is furnished by the first chapter of book 8. We find both the chronicler and the omniscient author. The first lines of the chapter presuppose the latter, as they describe Mitja's inner situation, but towards the end of the paragraph we learn that: Vse eto vposledstvii vyjasnilos'1 ν samom podrobnom ρ dokumentärnom vide, no teper' my nametim fakticeski lis' samoe neobchodimoe iz istorii etich uzasnych dvuch dnej ... (IX, 453). This seems to indicate that we are in the domain of the chronicler. The word dokumentaVno seems to suggest that this chronicler has his knowledge from the trial. But the information that follows in the next paragraphs on the inner situation of Mitja strains our belief that all this later came to the chronicler's knowledge. On p. 455 we have: Zamiraja dusoj, on ezeminutno zdal resenija GruSen'ki..., and further down on the same page: Mitja, vprocem, ne znalt cto budet togda, do samogo poslednego casu ne znal, ν etom nado ego opravdat\ The author here intervenes between reader and character with more than a chronicler's knowledge. On the next page this omniscient author mentions himself, when speaking of Mitja's loathing the idea of taking money from GruSen'ka: Ne rasprostranjajus, ides' ob etom fakte, ne analiziruju ego, a lis' otmecaju: takov by I sklad ego dusi ν etu minutu. The author mentions himself not only here, but also towards the end of the chapter (IX, 461), when he says: No my ne budemprivodit' doslovno vsju ego rec'; he does not wish to quote Mitja liberally but evidently he could if he wanted to. Some parts of Samsonov's talk are quoted. At the end of the chapter the author remembers, as it were, that he is the chronicler and refers to Samsonov as his source (bottom of p. 464). On the next page he "does not know" (ne znaju) what exactly drove the old man, but the very last paragraph of the chapter again presupposes more than 'documentary' knowledge. We see once more that the I is not identical to the chronicler, nor the omniscient to the he-author, nor does either of them square with the opposition scenic-dramatic. The chronicler speaks

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in the first person, but the use of the first person does not necessarily refer to the chronicler; the omniscient author as a rule narrates without mentioning himself; but the chapter that perhaps is the apotheosis of the omniscient author begins with the author appearing in the first person. We are referring to the ninth chapter of book 9, entitled: Cert. Kosmar Ivana Fedorovica (X, 159 et. seq.),

the first words of which are: ja ne doktor. The author mentions himself four more times before the devil appears — from then on he is absent. It makes his presence before the devil's appearance all the more striking. He speaks about Ivan's health, about doctors and hallucinations. He wants us to know that what follows is in fact hallucination. But the detailed description of the "Russian gentleman" will make us forget this and that effect is certainly intended. Finally, as regards the opposition scenic-dramatic, from the fact that dialogue belongs to the omniscient author (again with the exception of those overheard by the chronicler, e.g. those at the trial) it does not follow that the scenic parts are all by the chronicler. The description of the "Russian gentleman" is one of many proofs to the contrary: most dialogues are preceded or interrupted by descriptive parts written by an omniscient author. The author of Brat'ja Karamazovy, then, is an extremely mobile one. It is clear that the author figure, the writer as he is organised for his work, cannot be identical to any of the forms in which he appears in the novel. If he were, the others would stand out as deviations and would have to be motivated accordingly; this they are not. For choosing more than one author figure the writer must have had his reasons. The novel could not be encompassed by one only. If one had been sufficient it would have been the omniscient author: what the characters think, feel and speak is his province. He needs less explaining than the chronicler. The first justification for the appearance of a chronicler is that he, like any chronicler, is concerned with time. From a fixed point in time Dostoevskij's chronicler relates events that have happened before the story begins. He begins the story and brings it to a close. The omniscient author does not have a fixed place in time. But, his realm being in principle unlimited, could he, perhaps, take up such

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a position? The effect would probably be very artificial but, if he did, the story would become much more quiet. "Our town" would be replaced by: "the town of Skotoprigon'evsk", all the declarations of wonder and lack of knowledge on the part of the chronicler would have to go. Not factual information would be lost, but a way of presenting it, a liveliness and sense of movement. The references to later would lose much of their sense, to the extent that they are documentary, the presentation would be levelled out, the characters would have a much more definite past and a much more definite future: the author would know everything about the thirteen years that elapsed between the story and its telling. The omniscient author would, in fact, know too much to realise the open-ended time perspective that the novel has. If we cannot do without this time perspective, we cannot do without the chronicler: he is an essential manipulator of time and distance. 10 That this is so is demonstrated by the transitions between different author figures in the novel. Chapters in which more than one author figure appears can, for that reason, be expected to encompass more 10

In a subchapter entitled "'chronicle time* with Dostoevskij", in his book Poetika drevnerusskoj literatury (Moscow, 1967), pp. 319-334, D. S. Licha£ev also distinguishes between chronicler and author but, if we understand him rightly, the author is considered identical to Dostoevskij the man. LichaCev holds the opinion "that both author and narrator are hardly ever in Dostoevskij's works represented in their 'pure' form. Dostoevski's narrator figure is conditioned (usloveri), it is impossible in reality, just as a second Dostoevskij would be" (p. 327). The final part of this statement applies to every writer. Failure to distinguish between the man and the writer is the direct cause for the above statement and of its consequence that "there are no 'pure' heroes in Dostoevskij's works any more than there is a 'pure' author" (p. 331). This closes a paragraph which posits the inadmissibility of identifying Dostoevskij with his heroes, but Lichaöev goes on to state that no writer spoke through his heroes so often as Dostoevskij did. He adduces no proof of this and would probably be hard put to it if he had to adduce paragraphs in the novel in which it is not clear whether the author is speaking or a character. Belknap (op. cit., chapter: "The Narrative Structure") distinguishes between primary and secondary etc. narrators. The primary narrator is evidently the chronicler ("The essential fact about the primary narrator is his remembered knowledge", p. 78). He finds that "obviously, all secondary narrators exist in the awareness of the primary narrator, while none of them is aware of him" (p. 95). But the chronicler no more implies the omniscient and other author figures than any of these imply the chronicler. While Belknap does make a distinction between Dostoevskij the man and the narrator, the statement on his p. 95 comes close to a denial of this position.

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than auctorially homogeneous chapters do. Those we have discussed as 'mixed' chapters, viz. the first chapter of book 7 and also of book 8, do this. In both cases the circumstances and consequences of a crisis in one of the Karamazov brothers are depicted by bringing together at one point in time a number of events and experiences. These chapters show a curious combination of inner movements and physical movement, and also of the given timefocus with a widening of the time perspective by realisation of past events by the character, enlightenment from his later memories of this moment, and events occurring now but carrying the suggestion that their significance will be revealed later. Not the characters' awareness is made more complete by this, but the reader's. To present crisis situations one point of view is clearly not enough. The same can essentially be said of Ivan's nightmare although here it is not the chronicler and the omniscient author, but the omniscient I-author and the omniscient author not mentioning himself. If the division between more than one author figure is essential for essential chapters in the novel it may be considered as essential for the realisation of the authors intentions, i.e. for the novel as a whole. The further conclusion from this is that not any one viewpoint is final. We find added support for this conclusion in the curious fact that, while it is the chronicler that relates the story and begins and closes it, this story is suspended, so to speak, between a foreword and an epilogue that stem from an omniscient author. Both refer to the future. We shall briefly consider them. The foreword presents the author in something of a hide-andseek manner. It breathes so much reserve, and in such an ironical way, that it can hardly be taken seriously and would seem superfluous. But the future-ness of Alesa and his unclarified (nevyjasnivsijsja) character, on which it insists, are central for the structure of the novel. As we know he is often represented as saying more than he has thought out and his mind is most active on the borderline between feeling and intellect. The irony of the foreword is not directed at AleSa, but at possible critics, while establishing a certain rapport with the reader. He is addressed; he, the reader, is the most important figure of the foreword. "The reader is warned" is both

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true and not true, as irony always is, and it could be rendered in the sense of: reader beware, you do not know enough for a final interpretation. It almost amounts to a statement of principle on the part of the author and might, therefore, be supposed to stem directly from Dostoevskij the man and not to belong to the novel. However, this foreword is not a statement on the external history of the novel, but it contains an auctorial statement. The first sentence of the novel proper can be considered as a transition from the foreword to the story. Some statements in the foreword are repeated in the text of the novel, e.g. when AleSa's realism is discussed. We must therefore consider it part and parcel of the novel, and essentially different in character from the author's note to the Zapiski iz podpoVja, which does not belong to the book as such. The epilogue is no less future-oriented than the foreword and, like it, does not fulfill the expectations a reader has of a normal epilogue. He does not learn what happened to the characters afterwards. It is simply the continuation of the story for one day and belongs entirely to the novel. It closes with a speech on the future occasioned by Il'juSa's death. We are not, by this epilogue, returned to the flow of time, this is not a piece of storytelling coming to an end. The author does not have the last word. In this connection we might refer once more to some of the references to the future in the body of the novel; they serve to stress the importance of the event or thought that occasions the reference. Here, too, importance and future are linked. The fact that the author does not have the last word would seem to be an essential trait of the multiple author. It is also connected with what Bachtin11 has called the polyphonous or dialogical character of Dostoevskij's novels. Dialogue is perhaps even more prominent in Brat''ja Karamazovy than it is in the other novels. But the connection we want is not there at first sight: dialogue is clearly the realm of the omniscient author. It is, further, born 11

M. Bachtin, Problemy poetiki Dostoevskogo, izd. 2-e (Moscow, 1963). It is clear from the above that we do not agree with all the positions taken in this fundamental book. It is beyond the scope of this article to go into this here. The book would require a separate study, which could include an analysis of the discussion to which it gave rise in Russia.

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with the character, so to speak, and not a presentation of matter that could, in principle, be presented in other ways also. What has been published of the notes for the Karamazovs12 shows a large proportion of dialogue. The large majority of these notes is situational, that is, they show a direct connection between the dialogue and the situation the speaker is in and it is not possible to establish a priority. They are presented mostly from the point of view of an omniscient author and without point of view problems like those that appear in the notes to Podrostok. Only towards the end of the notes is the author figure sometimes mentioned. The author of the notes saw separate scenes before him. These must somehow have been linked in his mind, but there is very little on such links in the notes. This is where the chronicler comes in. He furnishes the time and the succession of events and as such is a necessary prerequisite for the dialogue even if his own realm is, essentially, indirect speech. It may be noted in passing that although these notes point to a genetical priority of the omniscient author, this does not make the chronicler less essential for the novel in its final form. None of Dostoevskij's great novels is without dialogue, yet some are without a chronicler. The latter cannot, therefore, be considered as a necessary prerequisite of dialogue. Still, the chronicler-cwmomniscient-author is only the last and most complete expression of a tendency towards polarisation which is present in all the later novels. Separately all the author figures appear in Dostoevskij's earlier works, but the polarity we are speaking of appears only with Zapiski iz podpoVja. What we mean by polarity is not dialogue as such, even if that, too, appears here in full force: the first part of the Zapiski is, as Bachtin has said, a dialogue without a partner. What we mean is a tension between two complementary elements of which dialogue as such is one. The other is the 'factual', or the chronicle part. This is represented in the Zapiski iz podpoVja by the piece po povodu mokrogo snega. There is a tendency to bring this polarity also under the category of dialogue. We do not follow it. Facts, however 'eloquent', after ia

F. M. Dostoevskij, Materialy i issledovanija, pod red. A. S. Dolinina (Leningrad, 1935) (Literaturnyj archiv), pp. 81-346.

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all do not talk back. Facts are not partners in, but objects of dialogue. One can 'collect little facts', as Ivan Karamazov did, but not effect an exchange with them, they are hard-core. The simple division into two parts that we observed in the Zapiski iz podpoVja could not be easily used in the larger form of the novel. Crime and Punishment shows a different solution, or handling, of the polarity of fact and dialogue. In this case the two were originally separated. The novel is a fusion of a predominantly dialogue part — Raskol'nikov's confession — and a social novel about drunks, which was predominantly factual. The novel could nevertheless be presented by an omniscient author because it was made into a crime story of which the reader shares the author's knowledge concerning the culprit and also because a number of the 'social' characters contribute to dialogues more by relating events than by exchanging ideas. In the Idiot the fact that the main hero is returning to Russia after a long absence furnishes the framework in which both fact and dialogue can find a place. The unaccustomed eyes of the main hero cause him to register events, while on the other hand his complete openness and vulnerability make people talk and make things happen. This makes it possible to combine the presentation of fact and of dialogue in the hands of the omniscient author. In line with this there is no reference to a future that will reveal the essential: the idiot has done that by being what he was. The final chapter (conclusion), although not formally an epilogue, in actual fact is much more of a conventional epilogue than the formal one of Brat'ja Karamazovy. In Besy we find two author figures, the chronicler and the omniscient author. But this division does not simply coincide with that between fact and dialogue. In this case the chronicler resembles an Ich-Erzähler because he participates himself to some small extent in the events that he describes. This allows for more dialogue on the part of the chronicler than would normally be the case, while the amount of action in this novel makes the omniscient author relate more action than would normally be expected. Still, the most important dialogues are of the province of the omniscient author and most of the facts are related by the chronicler. The

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matter is complicated in this case by the problem of distance, more important here than in the other novels, because the risk of involvement of the man Dostoevskij was greater here. The problem is solved in several ways. Firstly, while the action of the preceding novels unrolled largely or entirely in the capital(s), this novel is located in a provincial town. Yet the theme is essentially one of the capitals and the events that served as a basis for the plot occurred in Moscow. Secondly the events are related by a chronicler who is an inhabitant of the town where they occur. He thus provides the mobility that in the two preceding novels was assured by the main hero and that in Besy had to be solved in another way, in view of the absence of a central character. But besides that the participation of the chronicler may point to an objectivisation of involvement on the part of the final author. A single omniscient author, not having any features of a character, could not furnish this. Yet one wonders whether this semi-involvement of the chronicler does in fact serve this possible purpose. It may have been more of a defence mechanism on the part of the author than a requirement of the plot. The necessary mobility can also be provided by a 'pure' chronicler. A comparison with Brat'ja Karamazovy shows how much more scope is offered by a neutral chronicler in combination with one or more characters on the move. Podrostok offered definite difficulties of presentation and the writer's groping for an approach is best documented for this novel. What on the face of it is a reversal to the zapiski form is in actual fact more than that. The I-form of relating events that happened about a year ago to the narrator, a youth, allowed for both the dialogue and the description of events to remain in one hand. A larger time-distance would have made the book into straight memoirs, with corresponding loss to the dialogue — it would have become a simple device —, while a considerable shorter intervening period would have reduced or taken away the perspective and would have blurred the lines of the plot. The somewhat inarticulate plot now becomes both a virtue and a necessity. ^ After this short survey it will at once be clear how much more scope the multiple author of Brat'ja Karamazovy offers for the presentation, and also that this is not a new departure for Dostoev-

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skij but a refinement of an approach and of a technique already used by him. The chronicler has more scope because he is not personally bound to the story. He can be both understanding and not understanding, according to what he is told and at what time. The scope of the omniscient author is widened by characters becoming in their turn omniscient author or chronicler (AleSa and Ivan) or taking off from dialogue into confession or profession defoi (Dimitrij). The location in a provincial town is much more natural here than in Besy. We have seen the uses to which the multiple, or rather mobile author figure has been put and the justification that they furnish for it. Fact and dialogue have been fully integrated into one single field of tension. Each of the novels from Zapiski iz podpoVja onwards can be considered as a stage on the road to this end, — end also in the sense that one does not see how a writer could go further on this road. From the time that dialogue began to occupy a central place in Dostoevskij's artistic work it always had a 'factual' counterpart. The integration of the two was brought in different ways, dependent on theme and plot and on the writer's growing craftsmanship. We have also seen that the division of tasks between an omniscient author and a non-involved chronicler presented the widest possible field for this integration. Both dialogue and fact were essential. Dialogue was Dostoevskij's carrier wave, it furnished the essential difference between the man and the writer. Once the writer had launched his characters on dialogue, when every idea called forth its opposite, it drove them far beyond the limits to which Dostoevskij the man and publicist was ready to go, far beyond the opinions Dostoevskij the man held. The difference was not one of conscience, but of scope. None of his characters is Dostoevskij, all of them are might-have-been Dostoevskijs. He drove them on until sometimes even they disintegrated under the strain. The dialogue in principle never stopped, but it did not operate in the void. It was concerned with facts, first with reducing them to their core and then with placing them in the context of life. The suffering of small children, the death of Fedor Karamazov were facts that could not be dialogised, they were the point of departure of dialogues, never their conclusion. The dialogue had to find the

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real context of the fact that itself had to be real. In this sense we have to support Dostoevskij's claims to realism. The man noted contemporary facts; the writer tried to determine their place in life through dialogue. It never arrives at a fixed position, but nearly always shows a position to be untenable. What are discussed are never abstract problems with a logical solution, but problems of life for which only a life can answer. The natural conclusion of such a discussion is a moral judgement, but this stage is a limit: it is constantly approached and never reached, but without it life would lose its sense. Dostoevskij the writer does not suspend judgement, but he shows what it takes to judge a life. The future is never closed out, the judgement is never entirely final. One never knew where the Karamazovscina, the hateful vitality would lead human beings in facing and living up to their conscience. The only final judgement, the limit is, one is tempted to say, the Last Judgement, only then will life be completely revealed. The reference to a future that will show the way and the solution is an essential ingredient of all the great novels: either that or death and darkening of the mind. In Brat''ja Karamazovy both of these are suggested. Here too the final point of view is not established, this would lead to a premature harmony which, to borrow an expression from Ivan, would be bought too dearly. The context is not complete, the future is as essential for a complete view of life as past and present are. Seen in this light the Brat'ja Karamazovy is the full realisation in artistic terms, on all levels of the novel, of a deeply held conviction concerning human life. But if this is so, do we not have, in Brat''ja Karamazovy, a direct expression of a metaphysical conviction held by F. M. Dostoevskij? Do we not have to give up as a fiction, finally, the distinction between the writer and the man? On the contrary: this notion can arise only because this is the novel in which Dostoevskij has realised himself most completely, i.e. the artist succeeded in mobilising the man to a larger extent than ever before. It is, by the same token, farthest from his ideological positions as a publicist. The work is not a well-worked message that could and should be distilled in order to grasp the meaning of the book (as is shown by the many different messages that have been distilled from it).

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Thus, contrary to some expectations, the author of the Brat''ja Karamazovy stands before us as the artist par excellence who succeeded in expressing in artistic terms more than any of his contemporaries who dealt in ideology. And his main and for this purpose necessary instrument was the mobile author. One wonders, finally, whether Dostoevskij does not present us with a clear and specific illustration of a general tendency. The choice of the means of expression is always more than a matter of technique alone. The majority of writers make do with the expressive possibilities they find in use in their time. But perhaps every writer of stature instinctively selects that form of expression and that author figure which enable him to express himself and his view of the world most adequately. But it is given only to the great to fuse completely their technique and what they do with it, what they say and how they say it, in short, to create their own author figure. On that count, too, Dostoevskij is one of the great writers.

J A N Μ. M E I J E R

A Note on Time in "Brat'ja Karamazovy"

In view of Dostoevskij's 'passion for topicality' (toska po tekus~ cemu) an inquiry into the problem of time in B.K. might begin with the relationship of calendar time to narrated time. The space between narrated events and the moment of narrating is thirteen years (IX, 11). If we count backwards from the year of writing the novel (1879) we arrive at 1866. This is also the conclusion of the annotation to the 10-volume edition (X, 488). But are we allowed to shift so easily from narrated to historical time, if we have to do with fictional events? In so doing we posit a parallelism that binds the writer more than is justified. Why should fictional events take place in real time? The requirement seems illogical, unless certain historical dates are made to play a role in the novel. There is no direct mention in the novel of the year 1866. As there are some references to "our time" one would perhaps expect that Karakozov's attempt on the tsar was at least mentioned. It has been suggested that the name Karamazov is derived from Karakozov's, but the link is tenuous. There is nothing Karakozov-like in any of the Karamazov's. There are references to juridical problems that were topical in the middle sixties. They can be squared with the year 1866. Some of the events of the novel, on the other hand, are modelled on events that occurred only in the seventies. This goes

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in particular for some of the examples Ivan gives in the chapter Bunt. But this in itself is not enough to invalidate the computation of 1866, unless Ivan's examples were of a character that would be typical of the seventies and next to impossible in the sixties. And this is not the case. The Karamazovs would, then, be roughly contemporaries of Raskol'nikov. This conclusion seems to make the very shift we found problematical. But it does so at one remove, if at all: a novel written thirteen years later than an emphatically contemporary novel and in which events of thirteen years ago are described can be said to be contemporaneous without having recourse to the calendar. Besides, our question is still open. If some historical event in the novel's past serves as point of reference this may even force us to apply a historical daring to the novel's events. We do in fact have such a point in B.K., but it poses more problems than it solves. The reference is to the revolution of 1848 in France. It was a great event in the life of Miusov. Because of it he forgot about Mitja, on whose behalf he had intervened shortly before and whose guardian he had become together with Mitja's father. When he did this Mitja was four years old and had remained with him for a year. Mitja, therefore was born not later than 1844, more likely in 1843 (IX, 15-18). On coming of age he visited his father, i.e. about 1864, and again some four years later, which would bring us to 1868 (IX, 17-18). Fedor Pavloviö Karamazov remarried about a year after Mitja had left the house, which according to the above computation would be about 1848. The first son of the second marriage, Ivan, was born in the first year of marriage, i.e. ab. 1849, and AleSa three years later (IX, 20) which would be in 1852. This marriage lasted for eight years, thus from 1848 to 1856. Thus we have Dimitrij born in 1843 or 1844, Ivan in 1849 and Alesa in 1852. But a little later (IX, 26 and for Dimitrij again on p. 88) we learn that at the time of the events to be described Alesa is twenty, Ivan twenty-three and Dimitrij twenty-eight years of age. The difference in age between the brothers is in according with the other data, but their ages themselves are not. Counting from 1848 the events described would have to occur in 1871 or 1872, and certainly not in 1866.

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The year 1866 was arrived at by counting back 13 years from the time of writing and taking into account the fact that trial by jury was introduced factually only in April 1866. Further support for this date is found on IX, p. 372, where Zosima refers to 1826 as forty years ago. The case seems strengthened by the fact that the interval of thirteen years is mentioned not only in the first sentence of the novel proper, but also in the foreword (IX, 10), and there in opposition to "our present moment of time" (v nase vremja, imenno ν nas teperemij tekuscij moment). This would be irrefutable if the foreword were to be taken at its face value, as a straightforward statement of the physical author. We have already seen that it is not, and therefore this does not clinch the argument for 1866. There are few other calendar references. On IX, 87 Miusov refers to events that occurred in 1851, but in a general way ("already some years ago"). On the other hand Von Sohn is mentioned two times by Fedor Pavloviö, and the murder of Von Sohn occurred in 1869. Applying the calendar to the novel we find thus three different years it refers to for the same events: 1866, 1869 and 1871. These can be called errors only if calendar time is decisive for fictional time, and even so these irregularities will have bothered few readers. They do not interfere with the reader's pleasure. Although one can imagine novels in which calendar time is essential, it is clear that in Β. K. time is not simply calendar time. The thirteen years that elapsed between the murder and the story could have been twelve, or fourteen as well. It is a period that is sufficient for memories to be alive still and several things to have emerged in the meantime. It makes possible a certain overall perspective, and yet the distance is short enough to make B.K. essentially a contemporary and not an historical novel. The fixed calendar points that we have found have no direct bearing on the story. Looking back from the present is only the chronicler who, some thirteen years later, still speaks of "my beloved but future hero". None of the characters is presented to us at the moment of narration, nor does the chronicler play a role in the events he describes. The tension between the time of narrating and narrated time which plays a constructing role in the Ich-Erzählung is absent here. The fact that the 'errors' against the calendar all go in the direction of reducing the

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distance in time makes it likely that the interval has been chosen as a minimum distance necessary for a coherent view of the narrated events. Some similar observations can be made about the intervals between events within the novel, in particular about the period between the story proper and the trial. It is a little over two months — from the end of August until the beginning of November (IX, 45 and X, 7) and in the novel it is consistently referred to as two months (X, 24, 70,78, 82,187, 202, 231). This period is taken up by the preparation of the trial. It is probably a minimum period for such a resounding event which drew attention from all over the country (X, 187-188). We learn nothing of the preparation of the trial and few new insights seem to have been gained by the authorities in this period. In this respect the period is not 'filled out'. For the other events that fall in this period the interval could also have been either a little more or a little less. Ivan visits Smerdjakov three times: five days after the murder, again two weeks later, and on the eve of the trial (X, 120). These subintervals also are not filled out, the visits are spaced in this period. During these months HjuSa's final illness aggravates. A few weeks are missing here: for about a month after he bit AleSa's finger IljuSa could still walk and after that he is in bed for about two weeks (X, 39). The remaining two weeks or so are not accounted for. This confirms our finding that — while time itself is very important in this novel — calendar time does not play an important role. It helps in establishing the before and after but in the same time interval much more may happen to one character than to another. With this difference in interior time between characters simultaneousness of outer time becomes important for the composition. In Β. K. this is generally a matter of days. Over longer periods the time indications become rather vague. A striking difference in 'personal' time is furnished by book 7 as compared with book 8. In the former we read what happens to Ale§a in the course of one day, viz. the day after Zosima's death. Not much actually happens to him, but it is an essential day. Before three o'clock in the afternoon we only meet him in the short scene with Paisij. After that we find him at the end of the scene with

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Ferapont. When dusk sets in Rakitin takes him to Grusen'ka: she has returned from Kui'ma Kuz'miö although she had promised Mitja to stay there. Ale§a remains with Grusen'ka for a few hours, for he returns from her to the monastery after nine o'clock. There he has the vision of Zosima, leaves the cell and embraces the earth. The final scene breaks through the boundaries of time, this is not a breakthrough into eternity; it is only that outer time is made relative by an experience of great intensity. There are references in this book to both before and after the events it describes, e.g. to the scene with Ivan on the previous day, to the scene, one day earlier, between GruSen'ka and Ekaterina Ivanova, and to the future, the day three days later when AleSa will leave the monastery, and some to an even later future in order to stress the importance of what is now happening. Book 8 takes up Mitja's story "at that moment" (IX, 453). Or so it seems. Actually we return to the morning of the previous day, when he visits Samsonov. We accompany him to Ljagavyj. He arrives there in the evening and after his failure to contact Ljagavyj sleeps for a few hours, and hurries back to town, but at first he cannot find transport. In town he goes straight to GruSen'ka, accompanies her to Samsonov, goes home, pawns his pistols, visits Chochlakova. On his departure he runs into a servant of Samsonov's and learns that Grusen'ka has returned home. Mitja hurries to her house, does not find her and concludes that she is with his father. After the scene in the garden he hurries back and learns that Grulen'ka has left for Mokroe. That is near the moment to which reference is made in the beginning of book 8 (IX, pp. 432, 473-476, 476,485,492), but on p. 510 we learn that he is on his way to Mokroe on the night, "and perhaps, on the very hour" that Ale§a embraced the earth. We follow him to Mokroe, are present at the feast to end all feasts "pir na ves' mir" (IX, 537) which lasts until the law officers enter. The frantic character of Dimitrij's movements is strengthened by the way time is handled: the beginning which we referred to, the anticipations ("but I anticipate", IX, 476), and the references to later when things would become clearer, and also the occasional back references ("this was the very time when Grusen'ka had left

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for Mokroe, a quarter of an hour had not yet passed after her departure", IX, 485 and that on IX, 510, mentioned above). These examples demonstrate two things. First there is the difference in the brothers' movement through time—or time's movement through them. It reflects the difference between their characters. There is much more external, physical movement in Mitja's book than in AleSa's and much more time is crowded into book 8 than into book 7, notwithstanding the semblance of strict contemporaneousness established by the beginning of book 8. This brings us to our second point: the technical similarities. Both books show many references to earlier and later. If we extend the comparison beyond the two books we have discussed we can add that both brothers have a dream that breaks through the time boundaries. The same goes for Ivan ("The nightmare of Ivan FedoroviÖ"). In fact by very similar technical means the three brothers are each given their own sense of and position in time. In regard to them, time is not a fixed outward entity. We do not see the heavy march or the even flow of time, but time enters into each situation. It might be expected that, as a result, the contemporaneousness between events would be expressed in a rather mechanical way. This is not so. The time links are highly suggestive as the examples taken from book 8 show. The combined effect is one of 'open' time, at least for the main characters; open, but quite real: each of the brothers comes up against 'his' time, which is ineluctable. Against this it is striking that those characters that 'move with the times' are all secondary figures and are all treated with irony, — Miusov, Rakitin, to a certain extent Chochlakova, and the prosecutor and the defence council. Every one of these is lacking in understanding, their horizons are closed. The Karamazov brothers have an awareness that makes them look beyond to-day. Only they (apart from the author, in particular the chronicler) are allowed to get insight later and to place things in perspective from a vantage point beyond narrated time. The narrated time is too short to let such insights ripen, and they are essential to make the characters tick. Occasionally they come in flashes, but this is a device that can be used only sparingly. One form in which time manifests itself in the novel is physical

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movement. W e have spoken of Mitja's frantic rushing. Ivan's movements are less intense and frequent and far more deliberate. When he moves, the reason is a mixture of self-interest and wider considerations. This is in line with his attitude towards time: living the Karamazov life up to thirty and then hand in the admission ticket. Alesa is continuously on the move, but mostly in the service of others. His movement sometimes has the function of taking the story along, but this is of restricted importance. The division of labour between the author figures offers enough scope for transition between scenes. If he has to hurry, it is on behalf of others, he has no strong time urge himself, in fact he gravitates towards the timeless world of the monastery, and has to be sent out into the world, i.e. into time, by his elder. He embraces the earth before leaving the monastery: this gesture can be considered, in this respect, as an accepting of time. The sense of movement of each of the brothers is a direct expression of his attitude to time, and vice versa. Dimitrij's haste, because time is catching up with him; Ivan's deliberate movements, because he is staking out his claim on time. He therefore moves freely in history and has the widest perspectives ; and Alesa moving freely, but less expressedly, because he has more future than either of his brothers. This correspondence of time and movement suggests that the handling of time in the novel is more than a mere device. The fact that there is more than one main character makes time shifts necessary. But there are more of these than this fact itself necessitates. Some are a direct result of the plot. Thus we learn only just before the trial that Smerdjakov committed the murder. The trial itself, going over the facts already known by the reader, offers wider possibilities for time shifts, in particular where the witnesses are heard. The facts are given in two different time perspectives. The later view reveals more than, sometimes contradicts, the earlier one, but is not final. Time is necessary for obtaining the real view of the facts in their significance for the participants, and in the novel there is no end to this process: it goes on into the future. The mobility in time and space that we observe in the novel makes a fixed frame of time reference all the more necessary. This is

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given by the chronicler who relates events that occurred exactly thirteen years ago. But this fixed frame is opened up, as we have seen, by the mobility of the author figure; there is also an omniscient author, with intermediate forms between these two. There are numerous references to later on the part of the author and they, too, constitute a time shift. These references are made both by the chronicler and by the omniscient author, but their function is not the same. When the chronicler refers to later, this mostly serves to document the story: as later became known, as the monks later realised with astonishment (IX, 411), etc. These references are to some point in time between now and thirteen years ago. With the omniscient author the thing is more complicated. To what moment does he refer when he has a character remember something either incidentally, or for a long time, or even his whole life? It can only be in the same period as that to which the chronicler refers. But taken literally this would mean that those heroes that remembered a thing for their whole life — and this is said both of Alesa and Ivan — would be dead at the moment of narration. There is nothing else in the novel that supports this conclusion and the references to Alesa's future, for example, rather suggest the contrary. The function of references to the future by the omniscient author is not, however, to document what happened but to stress the importance of thoughts, feelings and events that occasion these references. And in so doing he is not bound by the thirteen years, as he does not have a fixed position in time. He refers to the future as a measure of the importance of events. The use and the frequency of the time shift show that the future forms an essential part of time in this novel. It also lends force to the notion that the handling of time is more than a technical matter, even if this handling itself is done with great mastery. It seems odd to stress the importance of the future in a novel that is presented as a chronicle of events thirteen years back. But we have seen that even the chronicler frequently refers to what is future in regard to the period described in the novel. And with the end of the novel we are not returned to the proper flow of time, the story is not rounded off, not all the interest it has awakened

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has been satisfied. The fact of the death of Fedor Pavloviö was known from the beginning; that it was a murder became known at the same time as the suspicion that Dimitrij committed it. The novel proper closes with a wrong verdict at a time when the reader already knows the real murderer. Thus it is not a whodunit which is essentially complete with the discovery and conviction of the murderer. The problems of time and ending thus raise the question of the genre of this novel. It has been much debated, and we cannot go into it here. We only want to show that the question of time poses this problem anew. The end of the novel proper is certainly dramatic, but to call the book as a whole a drama raises more problems than it solves. If one accepts the term roman-tragedija, it must be said that there is no catharsis unless one considers AleSa's final speech as such, as Ivanov does.1 But this would give the epilogue a tilt that formally and functionally it does not have. The reader turns to an epilogue expecting to find there the answer to questions that the novel left open. Mitja has been sentenced to twenty years hard labour: will he escape or not? Will Ivan live? AleSa and Dimitrij think so, but we do not know. Ale§a is as much the hero with a future as he was in the beginning. The epilogue covers only one day, the fifth after the trial. It does not give a single hint of what actually happened after that day, but it does convey a strong sense of future, both through Dimitrij's plans of escape and AleSa's speech near the stone. Presented as an epilogue it underscores both the finality of the verdict and the fact that it does not settle the future, even for Dimitrij. The epilogue has as much future in it as has the foreword. We thus find the novel proper suspended in time, as it were, between the foreword and the epilogue, and thereby it is strongly referred to the future, not in the sense of events still to be related, but as a source for revelation about the life of the heroes. The future does not run on uninterruptedly into eternity, but it does carry eschatological implications. Alesa is a man with much future, but notwithstanding all the references to later in the novel there is not one hint in the novel that the promised second novel 1

Vyacheslav Ivanov, Freedom and the Tragic Life. A Study in Dostoevski/ (Third Edition, 1960), p. 14.

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will answer our question. A half-promise of a further novel is also given for Ivan. His passion for Katerina Ivanova "could perhaps serve as the basis of another story, another novel, of which I do not yet know whether I shall some time undertake it" (X, 129). Although there is an epilogue, B.K. presents perhaps the least formal ending of the great novels. Raskol'nikov in Siberia is a 'proper' ending. So is the sinking back into mental darkness of the Idiot, the arrests and deaths in Besy, and the sending of the zapiski to a friend in Podrostok. He had experience in handling endings, and therefore, if that of Β. K. is different, we are entitled to draw conclusions from the fact. On the other hand, there are parallels with the other novels in regard to the handling of the future, which suggest that the sense of future in Β. K. is not essentially different, but only more strongly expressed than in the other novels. To some small extent, Alesa's future-ness can be compared to the Rothschild ideal of Podrostok, with the difference that what was a feature of the hero only in Podrostok is here shared by author and hero. The reference to a further novel that will picture the resurrection or a better period of a hero is present also in Crime and Punishment. There is either death or a strong suggestion of future. In the course of our inquiry we have come across the suggestion that the handling of time is more than a technical matter. It is clear that that is so. The author, like any human being, is never completely free from time. We cannot draw ourselves by our own hairs from the bog of time in which we find ourselves. Every man has his own sense of time. This sense of ours 'speaks for itself', even when, or precisely when we do not think about time. We can try to objectivate it, we can develop a philosophy of time but, for all the intrinsic value it may have, that philosophy still is a product of, and subject to time. The great freedom the writer enjoys in the handling of time is still subject to this human condition. The very way he makes use of this freedom is an expression of his own sense of time. The modern novel almost started with a dazzling display of time pyrotechnics. It, too, was indicative of Sterne's feeling of time. The same can be said for the liberties Virginia Woolf takes with time.

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In fact, the novel is called a time art.2 Novels sometimes refer to a definite philosophy of time, and readers show a tendency to see such a novel as an illustration of such a philosophy. If the book is of any value, this is not the case. The novel no more illustrates the philosophy than the other way round. In fact a new sense of time is usually expressed in a novel, or in general in works of art, before it finds its reflected expression in philosophy. In the lower reaches of fiction the sense of time often is little developed and not differentiated between characters. It is generally only characters endowed with an individual sense of time that are memorable. We have observed the difference between the brothers Karamazov individually, and between the three of them taken together and the secondary characters, in regard of time. But how do we distinguish between the technical aspect of the handling of time and the expression of the author's time sense? The answer will, of course, differ from one writer to another, and few general rules can be given. The first distinction is perhaps in the amount of time-handling devices used. At one extreme there is the novel with the even, uninterrupted flow of time, and on the other the frantic movement to and fro in time and place and in the mind. The degree of consciousness could in principle be almost equal at both extremes: an even flow of time can be as contrived as wild movement. It follows from our general considerations that the handling of time can never be a hundred percent conscious or a hundred percent unconscious. The unconscious handling of time will be more directly revealing than the conscious use of devices. Such use of time as is not motivated in the novel, either by plot or by character, will often be the more unconscious and therefore more directly indicative of the writer's sense of time. At one remove the choice of devices itself will be indicative of a writer's sense of time, but in this respect one novel will be often too little to go on, the possibility of other choices being not clear enough to allow of definite conclusions. In Dostoevskij's case, the reference to a future novel, in Crime and Punishment, which will depict the hero's resurrection, con2

Hans Meyendorf,' Time in Literature (Berkeley and Los Angeles, 1955); A. A. Mendilow, Time and the Novel (London, 1952).

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sidered by itself could be just a way to end the novel. Only after we find similar references in his other novels are we entitled to consider this as indicative of his sense of time. Another device that by dint of repetition becomes indicative is suspense. It is used more consciously than the reference to a future novel, in our view. Suspense keeps the reader's interest alive by referring to the future, but this future often points beyond the climax for which suspense prepares the reader. We must refrain from a detailed consideration of time handling devices in Β. K. So far, suspense, anticipation and memory, physical movement as a reflection of time have been mentioned. Their appearance is not in itself significant; only if their relative proportion were markedly different could any conclusions be drawn. Another caveat is appropriate: the avid analyst often uncovers devices that are no more than concomitants of devices or style features. The term 'device' should be reserved for technical means of expression and presentation that have been used more or less consciously. It is our view that in B.K. no new time devices have been introduced, but that some have been refined as compared to the earlier novels. This refinement is noticeable in the realisation of the different sense of time of the three brothers. The sense of time predominant in the novel is reflected also on the plane of ideology, i.e. the views of life and the world of the main characters. The same applies here as was said about devices in general: only if we find a feature reflected in more than one character can conclusions be drawn. As regards Alesa, his views issue directly from his feelings, they are clear enough, but not etched sharply like Ivan's. He is too much concerned with life to enjoy general concepts, and he is still learning; he has taken down Zosima's pronouncements. One striking feature in AleSa's make-up is his suspension of final judgement. He is never out to establish someone's guilt, not because he is lacking in moral fibre, but because he lets the future enter into his judgement. An example is furnished by his "literary theft" (IX, 331). It is directly connected with his being future-oriented. It is not AleSa's future experiences that give him his place in the novel — there is never a hint of what happened to him during the thirteen years' interval between the

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moment the events occurred and the time at which they were narrated — but the fact that he has a future. Human law, which does not take the future into account, pretends to pass final verdict, but commits a sudebnaja osibka. Ale§a feels free to tell Mitja that he should flee and not bear a cross that is too heavy for him, and he adds, typically: "I am not your judge in how you shall act. But remember that I shall never condemn you" (X, 322). He does not accept this finality of human judgement. A similar protest against the finality of human law can be found in Ivan's discussion of secular law as against church law (IX, 81-82). The same element is present in his insurrection against a system that is built in the suffering of children. The price is too high, and Alesa agrees with him (IX, 308). The system, the closing out of the future by the present power, — that is a central issue also in the Great Inquisitor. Harmony, Ivan says, is paid too dearly. This is echoed by what Dimitrij says about beauty (IX, 138-9). It implies a distrust of harmony. Beauty is a fight between good and evil in the human soul. Such similarities are all the more striking because, as we have seen, each of the brothers has his own sense of time and his own character. If nevertheless one identical element can be observed in the ideology or views of all three we seem entitled to consider this to be a prominent element in the sense of time of the novel as a whole. We thus find one single sense of time permeating the novel at all levels:3 on the level of the calendar time, where a seemingly fixed framework is loosened up into a narrative sequence in which one never knows how much past and future the next chapter will encompass; in the dichotomy between the external events and the experiences they give rise to, reflected in the mobile author figure; in the suspension of the chronicle between a foreword and an 3

There is doubtless a close connection between views and aspects, and the sense of time of an author is certainly reflected in his use of aspects. This is an interesting problem, but it goes beyond the scope of this article. It presents important methodological problems, because of the number of conditions that has to be taken into account. For a start one would probably have to find two stories very similar in theme and composition written in the same period by two different writers.

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epilogue that both refer to the future and do not bring the story up to date; in the physical movement of the main characters; and in the time premises of the ideas and views of the main characters. It can perhaps be rendered in this form: the future will furnish the essential context of human life, every effort at understanding that does not take into account this future may result in harmony and system, but they will become unbearable. The future is essential, unpredictable and revealing. For a final judgement we need revelation that only time can bring. This sense of time borders on the eschatological, but stops short of it. There is no fixed viewpoint sub specie aeternitatis. It is the human future that will bring revelation, the earth is embraced. With this statement we find ourselves in disagreement with Bachtin and also with Lichaöev. The latter's article on " 'chronicle time' in Dostoevski)"4 is part of a chapter on the fate of artistic time in the newer literature, at the end of his book on the poetics of OldRussian literature. His view of time in Dostoevskij is conditioned by this. According to Lichaöev, Dostoevskij is not really concerned with time, but rather with eternity. If this were so the tension that is proper to time in Dostoevskij, essentially that between past and future, would snap. Dostoevskij, as we have seen, stops short of eternity. His sense of time is the opposite of the tranquil view sub specie aeternitatis. The Old-Russian chronicler feels no need to refer to later, the later is given and will come in its own time. If in a given year nothing memorable happened, the year was still put down. Lichaöev admits that difference but still insists that Dostoevskij used the chronicler as a guide in his search for signs of eternal truth, and that "Dostoevskij, like the chronicler, attributes the same importance to the significant and the unsignificant and in his exposition combined the important and the secondary" (o.c.p. 332). But who decides on the relative importance of the events, and what are the criteria? The answer is essentially 'Dostoevskij' and we are back with Dostoevskij the ideologue. Also the chronicler is not all that much on the heels of events. In the case of the Raw Youth it is a year (and after the recent publication of 4

D. D. Lichaiev, Poetika drevnerusskoj literatury (Leningrad, 1967), pp. 319-334.

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the notes we know how essential this interval was for the presentation of the events), while in the case of Β. K. it is fully thirteen years. For Bachtin, in his well known work,5 the criterion for deciding of important and unimportant is time: "The possibility of coexistence at one time, the possibility of being side by side or up against each other is for Dostoevskij the criterion, as it were, for separating the important from the unimportant" (o.c.p. 39). This is a statement of principle rather than one of fact. One wonders whether it is not taken too factually when Bachtin adds that his heroes do not have a memory, that they do not have a biography in the sense of past and lived-through {ibid., p. 40). One is reminded of Ale§a's memory of his mother which is said and suggested by the author to be decisive. There is furthermore the reference to the future memory of events as a measure of their importance. Also it is not unessential for the Great Inquisitor to be placed far back in history. There is more time mobility in Dostoevskij, not only forward, but also backward, than Bachtin's general statement seems to imply. The narrative distance of thirteen years points in the same direction. The width of time that Dostoevskij encompasses is somewhat wider, at least in Β. K., than Bachtin allows for. Bachtin says somewhere that Dostoevskij did not see the deep economic causes of the 'objectisation' of man. We doubt that. Precisely because capitalism was not the villain of the piece (and could not be, in view of the polyphonous character of his writing) the faktiki collected by Ivan, and Dimitrij's statement that a rich man is everywhere accepted are all the more striking. But his general attitude did not allow Dostoevskij to consider economic factors as a ready frame of reference. The somewhat larger mobility in time and the keen eye for economic causes that Dostoevskij has are not very weighty objections against Bachtin's conception. The less so as we do agree with the fundamental 'uncompleteability' of Dostoevskij's heroes that Bachtin repeatedly stresses. But as a result we place the time accent differently. The incompleteability and the polyphony that condition each other imply that time is still open in a foreward direc8

M. Bachtin, Problemy poitiki Dostoevskogo, izd. vtoroe (Moscow, 1963).

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tion. This, in turn, conditions the contemporaneousness of Dostoevski's novels of which Bachtin speaks; but this contemparaneousness is the secondary phenomenon, and therefore the time compass is somewhat wider than Bachtin presumes (the devil and the trillion years). The incompleteness of the heroes is the not-yet, is a tension. Time is tension between the now (or the past) and the future, a striving towards harmony, every realisation of which in human time has a wrong finality. Therefore it cannot be said that the contemporaneousness can be transferred to eternity (o.c.p. 39). Essentially it cannot. But without the striving for harmony, without the future, Dostoevskij would never have written his novels, least of all Β. K. If we make this final remark in connection with Bachtin's work, this is because his work made it possible. It is therefore to be considered as a critical tribute.

JAN VAN D E R

E N G

'Suspense' β

"EpambHX

KapaMa3oeux"

I (BBEAEHME) Π ο CBoeö pojm Β nocTpoemm poMaHa Η no 3φφβκτγ, κοτορκΐί OH np0H3B0ÄHT Ha HHTaTeji«, suspense M O Ä H O onpe^ejiHTb, xaK BBOÄ OTpBiBOHHbix TeMaTHnecKHx aneMeHTOB Β poMaH, H3Jio»eHne Η flonojmeHHe κοτορΗΧ oTcpoHHBaeTca c nejn>io Bbi3BaTb iHTaTejibCKyK) 3aHHTep€COBaHHOCTb Β HHX 3aOAHO C OpHeHTHpOBKOH Ha 6y^ymHH paccxa3. Β Β Ο Λ ΟΤΡΗΒΚΟΒ Η noaieayiomHH oTKa3 οτ ^OnOJIHHTejIbHOrO paCCKa3a MOJKeT CJiyHHTCH ΠΟ ΟΤΗΟΙΠΒΗΗΚ» κ nponwoMy, κ HacToHmeMy η κ ÖyaymeMy nepcoHaaca. K a K oT^ejibHwe npneMbi TaKoro pa3pbiea JiorHHecKoö ΠΡΗΗΗΗΗΟΒρβΜβΗΗΟΗ CBA3H MOTHBOB, M05KH0 pa3JIHHHTb: npeflBOCXHmeHHe H30jmp0BaHHbix ΦΕΚΤΟΒ H3 6ynymero nepcoHaaca, yKa3aHHe noΛΟ6ΗΒΙΧ o6oco6jieHHbix φaκτoB H3 ero npouuioro, nponycKH Β ποτοκε TecHo CBJoaHHLix φάκτο β HacToamero, nepepbiB β cepe,mme pjwa nocjieflOBaTejibHbix φaκτoB H3 npouuioro, HacToamero HJIH öyzjymero nepcoHaaceii, npoTHBopeiHBocTH Β MHHMOH nocjie^oBaTejibHOCTH pa^a φακτοΒ H3 jnoöoro acH3HeHHoro nepHoaa nepcoHaaca, Η Ο τ Tnna paccKa3HHKa 3aBHCHT CTeneHb ßocTOBepHocra BBCACHHblX OTpblBOIHblX flaHHblX: paCCKa3HHKH OTJIHHaiOTCH CTeneHblO

64

JAN VAN DER ENG

3HaHHfl, KOTOpLIM OHH OÖJia^aiOT.1 BceBeAymHH paCCKa3*!HK c aBTopHTeTOM MoaceT p,arb oTpbiBo«£Hbie CBe^eHH» caMoro o ö m e r o Η caMoro ΗΗΤΗΜΗΟΓΟ XapaKTepa. OTpblBOHHbie COOÖmeHH» Β TaKOM cjiynae o6o3HaHaioT aKTbL H o ecjiH paccKa34HK ÄBJMeTC« xpoHHKepoM, Toiyja Ηβτ 3 τ ο γ ο aBTopHTeTa: xpoHHKep aojiaceH oTBeTCTBOBaTb 3a Bce c b o h cooömeHH», h t o ö w MHTaTejib μ ο γ BepHTb Β B03M03KH0CTb ΠρΟΒβρΚΗ. OaKTbl BHyTpeHHefi 5KH3HH nepcoHaaca Haxo^ÄTca B H e Kpyro3opa xpoHHicepa. E c j i h , KaK pacCKa3HHK, BbicrynaeT nepcoHaac, τ ο o h TOJibKO MoxeeT flau» οτpblBOHHbie COOÖmeHHH Ο CBOeM npOIIIJIOM Η Ο npome^meH 3KH3HH a p y r a x nepcoHaaceö. OaKTbi H3 ö y a y m e r o o h He 3HaeT, o h t o j i m c o β c o c t o ä h h h onepTHTb 6oJiee h j i h MeHee TyMaHHo B03M0»CHbie coöbiTHJi Ha ocHoee onaceHHÖ, npe^HyBCTBHH η τ . λ . n o o t h o uieHHK) κ ceöe, KaK η κ jjpyrHM. To »ce caMoe npoHcxo^HT, Kor,o;a paccKa3HHK He HBjiaeTca nepcoHaaceM, ho uejiHKOM opneHTHpyeTC« Ha pa3MbiuuieHH«, 3 m o i i , h h η 3pHTejibHbie npe^CTaBJieHHH ο λ η ο γ ο nepcoHaaca. H a ^ o cHHTaTbc« c τβΜ, h t o nacTo noBecTBOBaTeJibHbiH Me^nyM He npHaepacHBaeTca ο λ η ο γ ο H3 τ μ π ο β paccKa3HHKOB, h o He pa3 MeHHeT noBecTBOBaTejibHyK) MacKy η cjie^OBaTejibHO pacnojiaraeT pa3HbiMH CTeneH»MH 3HaHHH. ÜHor^a M03KH0 HaiiTH CBoero pofla c h m 6 h o 3 oTßejibHbix pacCKa3«ffiKOB. ßnponeM, KaK h h M e H n e T c a noeecTBoBaTejibHaa MacKa, 1

ΠοΠΗΤΚΗ pa3JlHHHTb HeCKOJIbKO BHflOB pOMaHa Ha OCHOBaHHH pa3JIHlIHMX ΤΗΠΟΒ paCCKa3HHKOB, HBJIHIOTCH, ΠΟ HameMy MHeHHK), Hey6eÄHTejn.HHMH, HacKojibKo Kaaczibiö β η λ npeanojiaraeT ο λ η ο γ ο paccicaCTHKa, Be^ymero paccxa3 c nepeofi ρ,ο noc;ie,aHe0 crpaHHiiti. Cp. Franz Stanzel, Die typischen Erzahlsituationen im Roman. Dargestellt an Tom Jones, Moby-Dick, The Ambassadors, Ulysses u.a. (Wien-Stuttgart, 1955); Wayne C. Booth, The Rhetoric of Fiction (Chicago, 1961). Robert L. Belknap, γ ο β ο ρ η τ cneayiomee ο KHHre Booth: "In the confusion of possible narrative techniques examined by Wayne Booth and all his predecessors, one rule has often been proclaimed: although the value and use of different scopes and modes of narrator-awareness promise to be argued for centuries, the structure of verisimilitude should collapse if the narrator's identity with himself is undermined by overradical changes in his mode or scope of awareness. The narrator's point of view must be stable enough to give him a continuous identity. If the author's purpose demands a changing view-point, he must use some device to explain the change. The Brothers Karamazov is an obvious defiance of the rule just enunciated. The narrator leaps from one kind of awareness to another." Cf.: The Structure of The Brothers Karamazov (The Hague, 1967), p. 81.

65

'SUSPENSE* Β "EPATLAX KAPAMA30BWX" 3a Heii CKptiBaeTc« e#HHbiH aBTop, κ ο τ ο ρ Μ Η

aBjweTc«

p o ^ a p e » H c c e p o M 3a tcyjiHcaMH, κοτορωκ caM He 6ej>eT

CBoero

cjiobo,

CBOHX paCCKa31HKOB. Ero MOXCHO H a 3 B a T b "ΚΟHCTpyKTHBHbIM ΙφΗΗΙίΗΠΟΜ", paCCHHTMBaiOmHM 3φφβΚΤ BCÄκογο noBecTBOBaTejibHoro npweMa, Kaie β ero oöocoöjichhom BH^e, TaK Η Β CBH3H C flpyTHMH npHeMaMH'. OH yiHTMBaeT 3φφβΚΤΜ p a 3 H o i i cTeneHH 3HaHH« cbohx paccKa3iHKOB npn npexc^eBpeMeHHO B3BeinHBaeT CJIOBa

HOM

BBOfle

MOTHBOB 2

HH^pMauHH. Oh 3to KaK η juι» cjioea

Η

OTKa3e

OT

ßOIIOJIHHTeJILHOH

yHHTHBaeT ßjiH Kaacuoro cjiyna« oxziejibHo,

c o o T H o m e H H i i pa3HLix cjiy^aeB. 3 τ ο 3HaiHT, h t o

hmciot cboio KOTopwe r o B o p a T ο

paccKa3HHKOB

paccKa34HKoB, TBep^o

HyJKHOH

Hwqero He 3HaioT. T a x

ece

η Tex KOTopwe ohh

ycjioBHocTb,

Tame

Bemax, π ρ ο

c j i o e a nepcoHa»ca ο

öyzjymeM

jih MeHee 3HaHHMM tcm npe^BocxHiaeHH« BceBe^ymero paccKa3HHKa, χοτλ β nepeoM cjiynae roBopHTC« ο B03M03KH0CTHX 6yz*ymero, bo B T o p o M ο 4>aKTax. ( M m yen^HM

HHor^a

eme,

Bpaa

KaK

oTzjejibHbie

BbiCKa3biBaHH»

nepcoHaxca-paccKa3HHKa

n o j i y n a i o T c a H K i y i i o TaKHMH xce c o o 6 m e H H » M H [b c o ß c e M a p y r o M MecTe]

Bceeeaymero

Me^wyMa,

nepcoHa»a-paccKa3HHKa pe3KHMH,

cjie^cTBeHHo

ho

MoryT öojiee

BMecTe

6biTb

öojiee

c

τβΜ

CBejjeHH«

ο6ιπηρημμη

nopa3HTejn»HbiMH.)

η

PeajibHOCTb

aBTopa, KaK KOHCTpyKTHBHoro npHHUHna aaeT 3KBHBajieHT φ a κ τ a BbicKa3biBaHH«M

nepcoHaaca

ο

öyaymeM:

aoBecTH

ao

οτρμβοηημμ ^aHHbiM TpeöyeTca npe^cae Bcero, i t o 6 h 3th aaHHbie öwjih npe^CTaBJieHbi KaK cnrHajibi BaacHbix κομποηβητοβ TeMaTHKH. npe,aejia o m y r a M o c T b

KpoMe

otcpohkh

mto6w

τογο Hcnojib3yioTC»

AonojiHeHHH

juia

κ

MaKCHMajibHoro

3φφεκ™

ΟΠείίΗφΗΗβΟΚΗβ CTHJIHCTHHeCKHe Η K0Mn03HUH0HHbie ΠρΗβΜΜΙ Β 3TOM OTHOUieHHH HrpaiOT B a Ä H y i O pOJIb B03M05KH0CTH nOBeCTBO-

BaTejibHoro Me^HyMa. TaK xpoHHKep MoaceT HacraHBaTb Ha t o m , 2

ΠΟΗΗΤΗβ "KOHCTpyKTHBHWfi ΓφΗΗΙίΗΠ" BOCXOflHT Κ TblHHHOBy. 3TOT TepMHH oöo3HaHaeT (j)axTop, noaHHHHfoiiiHÖ ceße Apynie ({mxTOpw jurrepaTypHoro ΠρθΗ3ΒβΛ6ΗΗΗ. TaK BCe Cn0C06bl nOBeCTBOBaHtUI, BCe ΓφΗβΜΜ HepeAOBaHHJI, conocTaBjieHH» η npoTHBonocraBJieHHH noBecTBoeaTejibHMx KycKOB, ece npHeMbl HX CTHJIHCTHHeCKOÖ ΑΗφφβρβΗΐνΐ3Ι1ΗΗ> nOAHHHHIOTCH OpraHH3ylomeMy Haiany, κοτοροβ MM, 3a HeHMeHHeM Jiynnero TepMima, Ha3Bajin aBTOpOM/KOHCTpyKTHBHbIM ΓφΗΗΙΙΗΠΟΜ. Cp. K>. TbIHHHOB, ΠροδΛβΜα cmuxomeopHozo H3UKQ, photomechanic reprint (The Hague, 1963), crp. 10.

66

JAN VAN DER ENG

H e r o o h He 3 H a e T . P a 3 H b i e CTHjiacTHHecKHe c p e ^ c r a a , KaK H a n p n Mep

npneMM

oTHomeHHio n03B0JiaeT

3Μφ3ακ&, κ

λπη

3τογο

κομπο3ηε(ηοηημμ

ββολ

mothbob

h3

β

ero

pacnopjiaceHHH.

cpeflCTBaM,

nepnoßa

6ojiee

3τοτ

Πο

Me^ayM

no3fl;Hero,

HeM

n e p n o f l o x ß a T t i B a i o m H H TeMaTHKy: λ ρ υ γ η μ η cjioßaMH, xpoHHKep β c o c t o h h h h n e p e n p b i r H y T b B p e M e H H o f i o 6 i » e M τβΜΒΐ η b h c c t h p a c c x a 3 c b o h paccyaqjeHHH

H 3

β

6 o j i e e n o 3 , z p i e r o BpeMeHH. P a 3 H b i e

paccKa3HHKH β p a 3 H t i x M e c T a x p o M a H a M o r y T He3aBHCHMo

#pyr

ΟΤ flpyra η 6 e 3 c e o e r o B e ^ o M a ( h o c B e ^ o M a a B T o p a / K O H c r p y K T H B ΗΟΓΟ

npHHIiHna)

COfleHCTBOBaTL·

ΠρΗ

BMBeßeHHH

OTpblBOHHblX

MOTHBOB, KOTOpwe OTHOCHTCÄ Κ TOMy 7KQ CaMOMy TeMaTHHeCKOMy KOMnjieKCy.

ΠοΒΤΟρίΙΪΟΙΙίΗβΟίΙ

OpHeHTaiiHH

Ha TaKOH

KOMIIJieKC

n o p a a c a i o T He t o j i b k o π ο Β τ ο ρ ο Μ , h o He p a 3 η h o b b i m h

oTptmoH-

HblMH « a H H t l M H ΠΟ ΟΤΗΟΠΙβΗΗΚ) Κ HeMy. T a K H e ΠΟΒΤΟρΗ M o r y T Λ a T b 6ojn>iiiHH B e e BbiCKa3biBaHHHM p a c c K a 3 H H K a - n e p c o H a » c a ,

He

o Ö J i a ß a i o m e r o 3HaHHeM φ a κ τ o B : x p o H H K e p h j i h B c e B e ^ y m H H p a c CKa3HHK M o r y T o Ö H a p y a c H T b n p o p o n e c K o e 3 H a i e H H e β o n a c e H H a x , H a a e a c a a x , y r p o 3 a x η a p y r a x nepeacHBaHHax n e p c o H a a c a , κ ο τ ο ρ κ ε , Tan cKa3aTb, n y c x a i O T κορΗΗ β ß y a y m e e . OcoßeHHo

ecjm

paccKa3

cKa34HK0B-c06eceßHHK0B

Be^eTcs

Ha

πρκ

cneHe,

το

πομοπιη

pa3m>ix

cooßmemra

hx

pacHacTo

JIBJUHOTC« MHOΓOφyHK^HOHaJIL·HL·IMH KaK CTHJIHCTHTOCKH, TÜK Η Κ0ΜΠ03ΗΙίΗ0ΗΗ0.

TeMbI

Η CTHJIHCTHHeCKa« o ö p a ö o T K a

HX

r o B o p o B η c o o ö m e H H H cjiy^caT, HanpHMep, xapaKTepHCTHKe

pa3οτ-

AeJitHbix nepcoHaacefi, 3 φ φ ε ι α ^ Μ K ) M o p a η h p o h h h , KOHTpacTa η C K ) p n p H 3 a , OÖOCTpeHHIO ΚΟΗφϋΗΚΤΟΒ MOMeHTa Η BMeCTe C T e M 6 o j i e e HanpaxceHHOH o p a e H T a i i H H Ha e m e He p a c c K a 3 a H H b i e B e m H . TaKaa

MyJϊbTHφyHκ^H0HaJIbH0CTb

MoxceT

^ejiaTb

3JieMeHT

οτ-

epOHKH 6 o j r e e CyÖTHJIbHMM Η n o p a 3 H T e J I b H b I M . Konja xyjaeTca

opHeHTaiiHH Ha e m e apyniMH

^φφeκτaMH,

He p a c c K a 3 a H H o e ^ e J i o omyTHMOCTb

conpoßo-

opneHTauHH,

KaK

npaBHJio, noBbimaeTCH. Β 3 T o m ο τ η ο π ι θ η β η BecbMa aeöcTBeHHbiM «BJiaeTCH, H a n p H M e p , KOHTpacT M e a m y TeKynjHMH c o 6 b i t h h m h

η

φ a κ τ a M H o p n e H T a i y m , h j i h 3JieMeHT c i o p n p H 3 a β o p n e H T a i i H H , KaK CJieflCTBHe

BHe3anHbIX

Η

COBCeM

HeOHCHßaHHblX

OTpblBOHHblX

^ a H H b i x K a K o r o - T o , RO 3 τ ο γ ο MOMeHTa H e M b i c j i H M o r o ,

coöhthh.

i i p y r O H 3φφβΚΤΗΜΗ CIIOCOÖ ÖOJiee CHJIbHOH OpHeHTaitHH 4 H T a -

67

'SUSPENSE' Β "EPATbÄX KAPAMA30BbIx"

T e j M HA n o K a e m e He H3JI03KEHHI.IE φaκτL·I, COCTOHT Β CHMBOJIH3aiIHH KOHKpeTHblX H30JlHp0BaHHBIX M O T H B O B - C H r H a J I O B O T f l ß J l b Hbie MOTHBbl-CHrHajIbl

HCnOJn.3yiOTCfl

HanpHMep

KaK

BHeiHHHe

3H3KH K a K o r o - τ ο H e o c j o a e M o r o y a c a c a Η τ . λ . 3 t o t n p n e M n a m e B c e r o BCTpenaeTCH n p n c o B n a ^ e H H H nepcneKTHBbi p a c c K a 3 * i H K a Η nepcoHaaca. MO)KHO PA3JIH4HTB HecKojibKo

ocHoee

NOEECTBOBATEJIBHOH

OTCpOieHHWX KacaeTc«

aonOJIHeHHH

φορΜ

MO^EJIH Η

ΚΟΜΠΟ3ΗΙΙΗΟΗΗΟΗ

Κ H30 JIHpO BaHHbIM

noBecTBOBaTejibHOH

HHTaTejia Ha

OPHEHTAIIHH

Moziejm:

Mti

POJIH

MOTHBaM.

cKa3ajiH,

CKA3IHK MOACET ΓΟΒΟΡΗΤΊ» c ABTOPIRRETOM HJIH 6 e 3

HTO

*ΪΤΟ pac-

ABTOPHTETA,

K p o M e T o r o OH MoaceT 6 b i T b H a ß e x H b i M HJIH HeHaflexcHbiM. Η τ ο x a c a e T c a ΚΟΜΠΟ3ΗΙΙΗΟΗΗΟΗ POJIH : o H a ONPEAEJWETCH CUENJIEHHEM

H30Jrap0BaHHbIX

MOTHBOB

C

ΠρββΜ^ΙΙΙΗΜΗ

Η

CJie^yiOmHMH

TeMaTHHeCKHMH KOMnOHeHTaMH. Π ο Α BJIHUHHeM 3THX CUeilJieHHH HX 3HaHeHHe n o j i y n a e T HOBbie OTTCHKH, a H H o r ^ a κορβΗΗΟ H3Me-

HaeTCH. ^ H T a T e j i b C K a a opneHTaitHÄ, ocHOBaHHaa Ha STHX H 3 0 j m p 0 BaHHblX

OTpblBOHHblX

MOTHBaX,

Η

HK»aHCHpyeTCH

H3MeH«eTCJi

BMECTE c HHMH. I l p H x o f l H T c a HAMETHTB c j i e a y i o m H e

pyöpHKH:

Hecjio»cHbie, cjioxcHbie, coMHHTejibHbie,

Η oÖMaH-

flBycMbicjieHHbie

HHBbie φ ο ρ \ α » ι o p n e H T a u H H . H e c J i o x H a a φ o p M a nojiynaeTCsi, e c j r a o p H e H T a i i H « HHTaxejia, e r o B o n p o c w Η n p e ^ n o j i o a c e H H f l , p o a c ^ a lOmneCH

OT

nOÄCHeHHH,

OTpblBOHHblX OCTaiOTCÄ

npe^BwymHMH

aaHHblX

Η

He3aTpOHyTbIMH

Η cjie^yiomHMH

OTCpOHKH npH

φaκτaMH.

^ajibHeöuiHX

COnOCTaBJieHHH

HecjioacHan

c

φopMa

MacTo Haxo^HTCH Β H a n a j i e p o M a H a R^E ycjioscHÄiomHecÄ φ a κ τ o p b I , KaK n p a B H J i o , e m e oTcyTCTByioT. T o ace c a M o e MOKHO CKa3aTb ο φ p a Γ M e H τ a p H b l x ^ a H H b i x , CBjnaHHbix c 6 o j i e e HJIH MeHee o ö o c o ÖJieHHblMH TeMaMH, C COÖblTHHMH Η φ3ΚΤ3ΜΗ BHe TJiaBHOH JIHHHH p o M a H a . N P H CJIOHCHOH φ ο ρ Μ ε 0TpUB0HHi.ie yKa3aHHa H a x o # f l T c a Β HaTHHyTbix o T H o m e H H f l x κ npe,m>mymHM Η c j i e ^ y i o u m M a a m n i M . TpyAHO CjioacHaa

corjiacoBaTb φopMa

hx

Jierne

co Bcero

CTapbiMH

Η

B03HHKaeT

HOBbiMH Β

caMOM

φaκτaMH. pa3rape

coßbiTHH, Koi\na p o M a H yace A a j i e K o y r n e j i ο τ H a n a j i a Η CHTyaiiHH ΗΗΤΡΗΓΗ BCe yCJIOJKHfllOTCHCIieiDieHHe OTpblBOHHblX MOTHBOB C ApyrHMH TeMaTHHecKHMH KOMnOHeHTaMH B e a e T H H o r a a κ n a p a ^ O K c a M , npoTHBopeHHBocT«M Η Τ.Λ. Η n p e ^ n o j i o a c e H H s i Ha o c H o e e

JAN VAN DER ENG

68 3THX ΜΟΤΗΒΟΒ CTaHOBÄTCÄ ΠΟΗΤΗ HCMbICJIHMbl. CoMHHTejibHa«

φορΝω

noaBJiaeTca,

Kor^a

paccKa3

Be^eTC«

MOHOJIOrHHeCKHMH paccyayjeHroiMH ΟΛΗΟΓΟ nepCOHa»Ca HJTH üpH noMomn

nepcoHaaceö

Ha cueHe.

ΗΗφορινΉΐίΗίΐ nepcoHaxca

He-

HAZIEACHA Η no οτΗοπιβΗΗΐο κ ÖYAYMEMY HEBO3MOXCHA, KaK M M yace ycTaHOBHJiH. T o ace caMoe yTBepac^aeTCH nun paccKa3HHKa, KOTopwfi iiejiHKOM BocnpHHHMaeT HHTejiJieKTyajibHyio η nyBCTBeHHyio nepcneKTHBy ΟΛΗΟΓΟ nepcoHaxca HJIH, no onepeflH, HecKOJibKHX nepcoHaaceii. ^BycMbicjieHHa» φορΜ^ BCTynaeT Β CBOH n p a e a , ecjiH OTPWBOHHbie YKA3AHHH OTHOCÄTCH Κ pa3HbiM Η MEAC^Y c o 6 o i i ΗβηρΗΜΗρκMbiM KOMnjieKcaM ΦAΚΤOB. OÖMaHiHBaa φopMa co3^aeTca, Kor^a φpaΓM6HτapHL·Ie AaHHbie no

nepBWM

npe^nojioaceHHJiM

OTHOCHTCH

Κ

onpe^EJIEHHOMY

TeMaranecKOMy KOMnoHeHTy, noKa He BLIHCHHTCH, HTO OHH ÖMJIH Ha caMOM ßejie CBioaHbi c COBCCM FLPYRHM KOMnjieKCOM MOTHBOB. 3HaieHHe ΟΤΡΗΒΟΗΗΜΧ AaHHbix Η nocjie^yiomaH opHeHTaiiH« Ha TeMaTHiecKoe pa3BHTHe MoryT —

KaK CKa3aHO —

nojiyHHTb

HOBbie ΟΤΤΒΗΚΗ HJIH JX&Xie COBCeM H3M6HHTbCfl Β ΤΒΗΒΗΗΒ pOMaHa. Β 3TOM CKa3bIBaeTCH OÖIUHH 3aKOH CeMaHTHKH n03THieCK0H BeLUH: HHKaKOH 3JieMeHT TaKofi eemn

He HMeeT c e o e

oKOHnaTeJibHoe

3HaHeHHe noKa n p o u e c c BocnpnaTH« ΗΗφορ\^αΗΗ He KOHHHTC». B O BpeMa 3ΤΟΓΟ n p o u e c c a iHTaTejib He pa3 .aojiaceH BepHyTbca κ yace προπτβΗΗΜΜ naccaacaM, HTOÖH oCMWCjiHTb HX 3aHoso Η nepeoueHHTb

HX Β ceeTe

HOBHX aaHHbix.

Ho

3Ta CMbicjioeaa

KOJieÖHMOCTb OCOÖeHHO aefiCTBeHHa no ΟΤΗΟΠΙΒΗΗΚ) Κ OTpblBOHHbiM TeMaTH*iecKHM CHraajiaM. MOJKHO

co3^aTb

HecKOjibKo Η

B3aHMHO npOTHBOpeHHBblX p^QOB OTpblBOHHblX AaHHblX, CHrHaJIH3HPYIOMHX TOT » e

φ a κ τ . TaKHM 0Öpa30M ΒΟ3ΗΗΚ3ΙΟΤ pa3Hbie

npe^nojioaceHHH 0 6 oöcTOjrrejibCTBax, Be^yuiHX κ 3T0My φ a κ τ y . 3 T H pJMbl Η OpHeHTailHH, OCHOBEHHbie Ha HHX, aHTHHOMHHeCKH OTHOCHTCH flpyr Κ flpyry; OflHH p«A CTpeMHTCH Κ JIHKBHaHpOBaHHK) ^ p y r o r o ; ΗΛβτ KaKoe-To copeeHoeaHHe Me»ziy HHMH. ÜHORNA OHH BJIHJHOT A p y r Ha flpyra Β TOM CMbicjie, HTO Ha ocHoee ^Byx cepHH CHraaJIOB

B03HHKaeT

TpeTbH

B03M03KH0CTb

OpHeHTai],HH3ΤΟ

3HaHHT, HTO opHeHTauHH, KOTopbie oT^eJibHo 6bLiiH npe^cTaBJieHbi KaK HecjiojKHbie, npn conocTaBjieHHH HX npeepamaiOTca Β c j i o x H w e

'SUSPENSE' β "ßPATbflX KAPAMA30BMX"

69

aaxce flBycMbicjieHHtie φορΜΜ opHeHTauHH Ha xon Beiueä. IIonbiTKa corjiacoBaTb HX apyr c apyroM Be^eT κ HO BUM npeanojioxceHHHM ο He paccKa3aHHLix pa3BHTHHx. Taxne onepeflHwe, B33HMH0 npOTHBOpe*iHBbie φορΜΜ OpHCHTai^HH Ha TOT φ3ΚΤ, HJIH TaKHe xaMejieoHTHHecKHe npHcnocoÖJieHHH Β OPHEHTAUHH Ha Hero, HrpaioT, KaK H3BCCTHO, 6ojibmyio pojib Β ^ T C K T H B H O M poMaHe. Ho ecTb eme apyrne xaMejieoHTH^ecKHe ABHaceHH« no OTHomeHHio κ HHTepnpeTauHH oTpbiBOHHbix, npexmeepeMeHHo BBe^eHblX MOTHBOB TCMbl. ΒΒΟΛ TeMaTHHeCKHX OTpblBKOB Η nocjieayiomaH opHeHTaima Ha ΧΟΛ COÖMTHH HacTo noKa3biBaeT c caMoro Hanajia pa3Hbie CTopoHbi, HanpHMep, coöbiTHHHyio Η nCHXOJIOrHHeCKyiO. OflHa H3 3THX CTOpOH HBJiaeTCH ^OMHHaHTOH: HHTaTejib NPEXC^e Bcero MoaceT 6biTb 3aHHTepecoBaH Β COÖHTHHHOH nacTH Η noKa 3a6biBaeT ο ncHxojiorHiecKHX 3ara#Kax. OAHaKo ncHxojiorHiecKa» CTopoHa AejiaeTca BajKHOH, Koraa Bonpoc o BHeuiHeM BH/ie φa6yJIbI perneH: nocjie oöbÄCHeHH« Bonpoca "KaK 3το cjiynuiocb" oie^yeT Bonpoc "noieMy 3το CJiyHHJIOCb". HJIH

KpyTbie nepeMeHbi opweHTHpOBKH Ha eme He paccKa3aHHbie HaCTH TeMbI He TOJIbKO npOHCXOÄHT BCJieflCTBHe pa3HbIX ρ a AO Β OTpblBOHHblX AaHHblX ΠΟ OTHOmeHHK) Κ TOMy 3«e COÖWTHK), Κ TOH xce CHTyauHH Η Τ.Λ., Η He TOJD»KO ΠΟΛΟ6ΙΠ>ΙΗ ΟΛΒΗΓ ABJIJIETCA pe3yjn>TaTOM nepeocMbicjiemwi φpaΓMeHτapHbIx AaHHbix c apyron CTopoHbi (cKaaceM c ncHxojiorHHecKofi) nocjie τοτο, KaK 3TH φpaΓMeHTbI ßOnOJIHHJIHCb HyÄHbIMH CBefleHHHMH C COÖblTHHHOH CTopoHbi, — TaKHe KpyTbie nepeMeHbi noJiyiaioTca Η πρπ BbiHCHeHHH K3KHX-T0 φ3ΚΤΟΒ Η COÖblTHH, C KOTOpbIMH HHbie H3 IiepCOHaxcefi coßceM He cHHTajracb Η προ κοτορωβ OHH HHor^a HHiero He 3HajIH. BblHCHeHHe 3T0 HHOT^a Γρθ3ΗΤ Β KOpHe H3MeHHTb oTHomeHHH MCJKffy nepcoHaxcaMH. Hoßbie Bonpocbi, HHoraa ΡΟΚΟΒΟΓΟ xapaKTepa, poamaKyrc« 3a cieT HX BocnpHHTH« ΗΟΒΟΓΟ nOJIOJKeHHa Η OTHOCHTCJIbHO ΗΧ HOCTyilKOB Β CBH3H C ΗΗΜ. BbieaioT cjiyqaH, Kor^a Ha ocHoße Tex ace caMbix ΟΤΡΗΒΟΗΗΜΧ AaHHbix B03HHKaK>T opHeHTaitHH Ha HecK0jn>K0 eme He pacCKa3aHHbIX ΚΟΜΠΟΗΒΗΤΟΒ TeMbi: MyJIbTHφyHK^HOHaJIbHOCTH ΟΤpblBOHHWX aaHHWX COOTBeTCTByiOT pa3Hbie OpHeHTHpOBKH. 3 τ ο name Bcero cjiynaeTca, Kor^a paccKa3 Be^eTC« πρπ ΠΟΜΟΙΗΗ

70

JAN VAN DER ENG

HecKOJibKHx COßECEFLHHKOB Ha cijeHe (HJIH Tournee Β CHTyaiyra cu;eHHHecKoro

xapaicrepa).

Tor^a

φpaΓMeHTL·^ HX p a 3 r o ß o p o B

MOryT KOCHyTbCH OÖOCOÖJieHHblX φ3ΚΤ0Β H3 5KH3HH nepcoHaafeen, KOTopwx ΗΕΤ Ha e u e r e HJIH flaace e m e He ΒΒΟ^ΗΗΒΙΧ Β poMaH. 3TH φρ3ΓΜ6ΗΤΒΙ MOryT BLI3BaTb CÜOp MeiKfly rOBOpamHMH Η C03AaTB ΚΟΗφΛΗΚΤ, pOKOBbie nOCJieflCTBHÄ ΚΟΤΟρΟΓΟ paHbine ÖbLJIH OTMe^ieHw Β caMHx o ö n m x c j i o e a x . TaKHM o ß p a s o M coßeceßHHKH, HanpaBjiaioT BHHMaHHe iHTaTejia Ha &BQ TeMaTHHecKHe r p y n n w , KOToptie

BO

ΜΗΟΓΗΧ

HeH3BecTHbiH

OTHOMEHHHX

nepcoHaac:

EME

OCRAIOTCH

ΚΟΗΦΛΗΚΤ, BeayimiH

κ

Β

τεΜΗοτβ:

KaTacTpc^e.

BMecTe c TeM φpaΓMeHτapHbIe ßaHHbie MoryT 6biTb TaKHMH, *rro yxee

HyecTByeTca

CB«3I> M e x ^ y

nepcoHaacaMH

Η npHHHHaMH

κοΗφιοικτΑ c nocjie^yiomeH ^ τ 3 < ; τ ρ ο φ θ Η . C ß o e r o p o ^ a TpeTb» opHeHTaiiHH po)K^aeTca

οτ

3τογο

neperuiexeHHii

OTpbiBorabix

AaHHbix HJIH, TOHHee, ο τ T o r o , HTO φpaΓMeHTbI ΟΛΗΟΗ r p y n n w MOTHBOB (CBH3aHHbIX C HeH3BeCTHbIM IiepCOHa)KeM) CTaHOBflTCfl H φpaΓMeHTapHbIMH AaHHWMH ApyrOH rpynnw MOTHBOB (CBü3aHHWX c ρ ο κ ο Β Η Μ KC^JIHKTOM). Β

flajibHefinieM

MBI ÖY^EM HCCJIEAOBATB

Ha MaTepnajie Epambee KapaMa3oebix oTflejibHbie npHMepbi BBo^a OTpblBOHHblX

MOTHBOB

C

nOCJieflyiOmeH

OpneHTHpOBKOH

Ha

oTcponeHHbie TeMaTHnecKae KOMnoHeHTbi. Πρκ 3TOM MM HaMepeHbi npHHHTb Β paccneT ΤΗΠ paccKa3*taKa, npneMbi φpaΓMeHτapH0Γ0 paccKa3a, cneu^HHecKHe cpe^CTBa noBbiineHHH e r o Bwpa3HTejn>HOCTH, φ ο ρ Μ Η opneHTauHH Ha e m e He paccKa3aHHbie ΚΟΜΠΟΗ6ΗΤΜ TeMbi, ycjiOÄHeHH« Η npeepameHHJi 3THX φ ο ρ Μ Β TeqeHHe p a c CKa3a. Cjie^oBaTejibHo, Hain pa3Öop oxBaTbieaeT

Becb

poMaH

^OCTOEBCKORO.

Π Β

nepBOM

npe^JioaceHHH

poMaHa

xpoHHKep

npe^BocxamaeT

3araaoiHyK> CMepTb O e ^ o p a IlaBjioBHHa K a p a M a 3 o e a Η o ß e m a e T flau»

flajibHeHimie

KapaMa30B

CBe^eHH» Β CBoe BpeMa: " A j i e K c e ö O e ^ o p o B M

6biJi TpeTbHM

CMHOM

noMeiiiHiea

Hamero

ye3.ua

O e ^ o p a IlaBjioBHHa K a p a M a 3 o e a , CTOJIB H3BecTHoro Β CBoe BpeM« (zja Η Tenepb e m e y Hac npnnoMHHaeMoro) n o TparaiecKOH Η ΤΒΜΗΟΗ

KOHIHHe CBOeH, npHKjnOHHBUieHCH pOBHO TpHHaAaaTb JieT

'SUSPENSE' β "bPATbaX KAPAMA30BbIx" Ha3aa

η ο

κοτοροή

coo6my

71

β cbocm MecTe."

fljia

öojTbmefi

BbipaSHTeJIbHOCTH ΟΤρΜΒΟΗΗΟΓΟ φ α Κ Τ α Η BMeCTe c Τ β Μ JJJW 6ojn>iiieH 3aHHTepec0BaHH0CTH i H T a T e j i a β

3yeTCH οπείίΗφκιβοκΗΗ 3φφεκτ Me^nyMa: a

HeM, 3,n,ecb n c n o j i b -

ziaHHoro no BecTBOBaTejibHoro

hmchho, bo3mo»choctL· n e p e i r r a

η π ρ κ oiieHKe npe^ßocxameHHoro

3a φ a 6 y J I b H o e BpeMa

φpaΓMeHτa

ncxo^HTb H3 MOMeH-

T a 3aimcbiBaHHH x p o H H K H : TpHHa^n;aTb JieT n o c j i e y n o M a H y r o r o φaκτa

H3 n p e a c r o a m e r o paccKa3a. TaKoe p a c c T o a H H e JieT aBJiaeTca

c p e ^ c T B O M H3MepHTb e r o

3Ha*ieHHe. Oica3biBaeTca, h t o

Oeaopa IlaBJioBHHa e m e yaepacHBaeTca xpoHHKepa HeCKOH Η oßemaeT

β n a M a r a coBpeMeHHHKOB

("aa

η Tenepb e m e y Hac n p n n o M H H a e M o r o n o T p a r n ΤβΜΗΟΗ KOHHHHe CBOeft"). IlpHHHHa npHnOMHHaHHÄ

pan; nHTpuryioiiiHx c o 6 b i T H i L 3 τ ο o c o ö e H H o ^ e ö c T B y e T

Ha 3Ha*mTejibH0CTb o T c p o i e H H b i x φ 3 κ τ ο Β η HocTb

CMepTb

β

hhx

cooömaeMWH

HHTaTejia.

Ero

opHeHTaijHa

ajieMeHT ö o j i e e hjih CTaporo

3aHHTepecoBaH-

Ha

3τοτ

3apaHee

MeHee o n p e ^ e j i a e T B o c n p H S T a e

cjieayiomero paccKa3a, ocoöeHHo ecjra o6cToaTejibCTBax

Ha

pe^b π^βτ

KapaMa30Ba,

ο

ero

ο

3KH3HeHHbix

ceMeÖHOH

η

OÖmeCTBeHHOH 5KH3HH Η Τ.^. OpneHTaiiH« HHTaTejia noica HBJiaeTca HecjiOÄHOH. Β caMOM Hanajie poMaHa Ηβτ

ηηκεκηχ ycjioacHaiomnx ^aHHbix, κοτορυβ noABeprajiH 6bi coMHeHHio "TeMHyio KOHHHHy". H o ποτομ, no προΗτεΗΗΗ poMaHa, min npoHHnaTejibHoro HHTaTejia cooömeHne ο κοΗΏΐΗβ CTaporo OTija Morjio 6bi HMeTb BeAb

hto-to HenoHATHoe.

hh RJin HHTaTejia, hh Ana cpeflbi, npe^CTaBHTejieM κοτοροκ

«BJiaeTca xpoHHKep, 3Ta CMepTb He aBJiaeTca "TeMHbiM aejioM".

Moäho npeAnojioacHTb T0JibK0, hto nocjie cyaa /Ι,μητρηη KapaMa30Ba HOBbie φaκτL·I ocnopHjm 6bi πρκτοΒορ. H o β poMaHe

3tom He roBopHTca. Mohcho η noayMaTb, ι τ ο xpoHHKep jihiho CHHTaeT, mto HeocnopHMwe AOKa3aTejn>CTBa bhhm ^MHTpHa 06

KapaMa3oea He npHBe^eHbi. H o β flajibHefiiueM o h h h pa3y He flaeT noßofla

mta

xpoHHKep co

Taxoro

npe^no jioxceHHa.

OöcToaTejibCTBo,

ιτο

ποτομ τ ο η ^eno BbicTynaeT H3 ceoeö pojm η cjmßaeTca

BceeeflyniHM

noßecTBOBaTejibHbiM

Me^nyMOM,

Taicxce He

noMoxceT BbiacHeHHio aaHHoro cooömeiraa. BnpoieM, aBTop MoaceT paccHHTbiBaTb Ha το, η τ ο Ηβτ wraTejia, KOTopbifi πρκ-

πομηητ MajieHbKyio npoTHBopenHBocTb β nepBOM npeoJioxeHHH

72

JAN VAN DER ENG

poMaHa. TeM 6ojiee, hto äjm HHTRTejw .nojiro π ο τ ο μ eme yÖHHCTBo C T a p o r o KapaMa30Ba o c T a e T c a H e a c H U M aejioM.

in Φηηεηοοβη^ c c o p b i C T a p u i e r o c t m a c otijom. Oh paccKa3MBaeT β 3κοιο3ηοηοηηοη HacTH poMaHa, ητο ,Ο,μητρηη He B e p H T 3 a « B j i e H H f l M c T a p m c a , ß y ^ T o 6 b i t o t y » c e ^ β η η μ - ^ β η ο

XpoHHKep H3jiaraeT

"MajibiMH

no^aHKaMH",

hto

^ o j i Ä H o e , Bee

nocbuncaMH

aeHer,

oT^aji

hmchhä ποκοηηοη

cjie^yeT c

eMy

MaTepH.

ece

^ajit-

HeöiiiHe c o o ö m e H H H xpoHHKCpa K a c a i O T c a o ö o c r p e H H a AeHejKHoro

κoHφJIHκτa, 3 a n o A 0 3 p e B a H H « o Ö M a H a y ,Ο,μητρηη η pa3apa»CHTejibHoro coctoähhh M o j i o ^ o r o H6JIOB6KE. Ποτομ c j i e a y e T 3aMeiaHHe,

κοτοροε

npeflBocxHmaeT

Βε,π,ετ c c o p a ο H a c j i e a c T B e . Π ρ κ BwcrynaeT caM aBTop.

Abtop

3tom

κaτacτpoφy,

κ

κοτοροϋ

H3-3a x p o H H K e p a

Bßpyr

ο ceoeM poMaHe a e H e a c H o r o κοηΦληϊο^

HaHHHaeT r o ß o p H T b

η o Ö H a p y x c H B a e T OTHOCHTejibHoe 3HaHeHHe jum κ a τ a c τ p o φ b I : κοηΦληκτ s t o t n p e a c T a B J i a e T c o ß o f i TOJibKO BHcniHHH βηλ p o M a H a . 3 t h m a B T o p H a M e K a e T Ha 6 o j i e e c y m e CTBeHHbiH paccKa3 3a bhcihhhmh φaκτaMH. " B o t s t o - t o oöctohTejibCTBO

η

npHBejio

κ

κaτacτpoφe,

H3Jio»ceHHe

κοτοροκ

cocTaBHT π ρ ε ^ Μ β τ M o e r o n e p B o r o BCTynHTejibHoro poMaHa, j i y n u i e CKa3aTb, e r o

bhciiihioio

CTopoHy." IIojiyHaeTca

OpHeHTai^HH HHTaTeJI«. ΜΗΤβΗΟΗφΗΙίΗργίΟΙΙίΗΗ φ 3 Κ Τ θ ρ

η

hjih,

^BOHHa« OpHeHTa-

Uhh ^BJiaeTC« ana iHTaTejia npeAnojioHCHTejrbHoÄ CBH3bio Me3K,ay CMepTbio craporo oTua η κaτacτpoφoH BCjieflCTBHe ccopbi c cbihom: npe^bmymaK opHeHTaijHH (raöejib OTua) AeöcTByeT Ha cjieayiomyio (rHÖejib cbma). Πρκ stom oacH^aeTCfl AJiHHHaa ixenb coöbiTHH, Bce öojibme η öojibme noA^CHraiomHX ncxoAHbra ΚΟΗφΛΗΚΤ. flpyrHMH CJIOBaMH, HyBCTByeTCa, MTO OpHeHTaUHH oxBaTbieaeT 3HaHHTejn>HyK> äojiio TeMaTHKH, KaK BnponeM yace CKa3aji aBTop: "H3jio»ceHHe κοτοροκ η cocTaBHT npe^MeT Moero nepBoro BCTynHTejibHoro poMaHa." X a p a K T e p a a H H b i x οτρΜΒοπω,ιχ μοτηβοβ η n o c j i e ^ y i o m e H o p n e H T H p o B K H Ha T e M a T H K y

Ηβτ ΜΟΤΗΒΟΒ,

KOTOpbie

moäho

KaSCyTC«

I l p a B f l a , o p u e H T H p o B K a HMeeT

Ha3BaTb HecjioxcHbiM.

HenpHMHpHMbIMH

äbohhoh βηλ, ho

C

ÜOKa HHMH.

3th Äße cTopoHbi

'SUSPENSE' Β "EPATWIX KAPAMA30BMX"

73

noKa He npoTHBopenaT apyr apyry. H o BCKope 3aTeM 3Ta HecjioxHocTb oTna^eT. Eme β 3κοπο3ηιιηη xpoHHicep ββολητ HOBbie oTpbiBOHHbie ^aHHbie, xoTopwe opHeHTHpyioT MHTaTejia Ha coBceM flpyroii xoa coömthh, πρηβοαηιηηχ κ CMepTH CTaporo KapaMa3oea. ,H,Be BepcHH aenaiOT opweHTHpoBKy ^BycMbicjieHHofi. IV

XpoHHKep cnpauiHBaeT ce6a, 3aneM HeaH KapaMa3oe npnexaji Tor^a κ oTiiy. ^MφaτHι^ecκHMH, jiexcHHecKHMH cpe^cTBaMH oh

BbmejiaeT 3τοτ Bonpoc TaKHM 06pa30M, mto "Tor^a" η "ποτομ" xax öy^TO cjiHBaiOTC» β o^Hy nepcnexTHBy 6ecnoKoficTBa η HeHCHocTH.3 ITpe^BocxHmeHHe npoHcxo^HT, TaK cKa3aTb, ^ByM« 3TanaMH: cnepea xpoHHKep npeABocxHiuaeT poKOBbie cjie^cTBHs npHe3^a, He oÖHapyacHBa«, β ieM οηη coctoht; ποτομ oh bciiomh-

HaeT β HecKOJibKHx cjioeax, KaK nocjie 3thx pokobwx coömthh, Aojito, ho HanpacHo, oh CTapaeTC« BbiacHHTb ce6e πρΗε3Λ HeaHa β ροληοη äom. Onpe^ejieHHe "ποητη Bcer^a" noica3biBaeT, mto β Könne kohuob 3tot Bonpoc fljw Hero BhiacHHjicH: "3aneM npnexaji Tor^a κ HaM HeaH Φβ,αοροΒΗΗ, — λ πομηιο, Aaxe η Torna eme 3aaaBaji ce6e 3τοτ Bonpoc c KaKHM-το ποητη 6ecn0K0iicTB0M. CTOJIb ΡΟΚΟΒΟΗ ΠρΗβ3Λ 3TOT, nOCJiyjKHBIUHH HaHaJIOM KO CTOJn»khm nocjieACTBHHM, fljia MeH« flojiro ποτομ, ποητη Bcerßa ocTaBajica aejioM HeacHbiM." 3MoimoHajibHoe coe^HHeHHe pa3Hbix BpeMeHHbix nepcnexTHB BbipaxeHo β cjioeax "aaace η Torna eme" Η "CTOJIb ΡΟΚΟΒΟΗ Πρκε3Α 3TOT, nOCJiyXCHBUIHH HanaJIOM KO CTOjn>KHM nocjieflCTBH»M". fljiH ycHJieHHa 3φφει^ npeflBocxnuteHHfl η nocjieayioiueH opHeHTHpoBKH HHTaTejia, xpoHHKep npHBOflHT MHeHHfl COBpeMeHHHKOB, KOTOpbie BMeCTe C HHM cHHTajiH B03BpameHHe ÜBaHa HenoHHTHbiM η aoöpoe corjiacne c otijom napa^oKcajibHbiM aejiOM (oh He nbeT, pa3BpaT eMy oTBpaTHTejieH, Ha fleHbrn oTija oh cobccm He paccHHTbieaeT η KpOMe ΤΟΓΟ Β φΗΗ3ΗΟΟΒΗΧ ΟΤΗΟΠΙβΗΗΑΧ OH He3aBHCHM, Η T.fl.).

3

Β. E. BeTJiOBCKaa Haimcajia craTbio 06 oco6eHHocT«x n0BecTB0BaTeju>H0tt

MEHepw xpoHHKepa: "OcoöeHHOcni n0BecTB0BaTe;n.H0ä MaHepu β Epambnx KapaMa3oebtx", PyccKaH JIumepamypa, 4 (JleHHHrpaa, 1967), οτρ. 67-78.

74

JAN VAN DER ENG

ß p y r o e cpeßCTBo ποΑΗερκΗγτι» TeMHyio npHHHHy

MeaHa, xpoHHKep

Β CBoero p o ^ a

Haxo^HT

B03BpameHna

BcnoMoraTejibHoö,

ΒτορκΗΗΟΗ φ ο ρ Μ ε npeflBocxHmeHHH: 3a6eraHHe Bnepefl Β TaKOM c j i y i a e B03HHKAET Β CBH3H C i i p e / j B o c x H m e H H e M ß o j i e e c y m e c T B e H HLIX

φaκτoB

φaκτ,

Η

ycHjiHBaeT

KOTOpbiH no3)ice

HX

3HaHeHHe. TaK xpoHHKep ynoMHHaeT

flomeji

BbiacHaeT npne3fl MßaHa.

^o

Η KOTOpbiö

Hero

OKa3LiBaeTCx,

HTO H e a H

lacraHHO npHexaji

κ

O T i i y n o n p o c b ö e ,Ο,ΜΗΤΡΗΛ. X p o H H K e p n p H Ö a ß j i a e T , Ϊ Γ Ο OH e m e BepHeTca

3TOMY,

κ

HO

noKa

orpaHHiHBaeTca

cooömeHHeM:

" [ . . . ] aaxce T o r a a , K o r ^ a Λ yace 3 H a j i Η π ρ ο 3 τ ο o c o ö e H H o e OÖCTOÄTejiLCTBo,

MHe H ß a H

Oe^opoBHH

Bee K a 3 a j i c a

3ara^OHHbiM,

a

Π ρ Η 6 3 β e r o Κ H a M B C e - T a K H Heo6l>JICHHMbIM." ^ H T a T e j i b He MoaceT He CBH3aTb pOKOBbie n o c j i e ^ C T B H » e o 3 B p a m e H H a H e a H a c o C M e p T b i o C T a p o r o K a p a M a 3 0 B a . H o T a K o e »ce conocTaßjieHHe co CMepTbio CTapHKa OTpbiBOHHbiM ^MHTpHH

ßaHHhiM

ο

KapaMa30Ba.

Gyaymefi TaKHM

bo3mo3kho

no oTHomeHHio κ

κaτacτpoφe,

oöpa30M

nopaacaiomeö

B03HHKaeT

flBoimaii

opHeHTauasi Ha cMepTb OeAopa üaBjioBHHa. IlpeflBocxHmeHHe κ a τ a c τ p o φ L · I , n o p a a c a i o m e i i ^ M H T p H a , Η p 0 K 0 B b i x CO6MTHH n o B03Bpam;eHHH H e a H a B e ^ y T κ ß B y c M b i c j i e H H O H ο ρ κ β Η Τ Η ρ ο Β κ ε H a T e M H y i o KOHHHHy o m a : MOHCHO a y M a T b , HTO HJIH

MßaH, HJIH

MHTÄ,

HJIH 0 6 a Β K a K o i i - T o c T e n e H H oTBeTCTBeHHbi 3 a C M e p T b o m a .

V B o BpeMH COÖpaHHH HJieHOB CeMbH K a p a M a 3 0 B b I X Η HeCKOJIbKHX A p y r H x JIHIX (cBeTCKHx Η a y x o B H b i x ) Β Kejibe C T a p n a Η,αετ p a 3 r o ß o p . Π ρ Η 3TOM C T a p b i i i o T e u η e r o CMH ^ M H T P H H c o o ö m a i o T ο τ ρ Η Β ο π Hbie AaHHbie ο ΛΚ>6ΟΒΗΜΧ npmcjiioHeHHflx

Ο^ΗΟΓΟ η

apyroro.

B M e c T e c τ β Μ Β p o M a H ΒΧΟΛΗΤ η n e p B b i e φ p a Γ M e H τ a p H b I e C B e ^ e H H « ο ÄeHCKHX n e p c o H a ^ a x . Β c y m H o c T H c o o ö m a e T c a Koe-πτο ο

flßyx

r p y n n a x BjnoöJieHHbix. K a a c ^ a a r p y n n a COCTOHT H 3 T p e x TCJIOBCK. Β n e p B o f i r p y n n e c T a p w a OTeij η ,Ο,ΜΗΤΡΗΗ p e B H y i o T flpyr κ A p y r y T y ace aceHiHHHy. B o Β τ ο ρ ο κ r p y n n e H e a H p e B H y e T κ CBoeMy 6 p a T y /Ι,ΜΗτρΗΚ) " Ö J i a r o p o ^ H y i o ^MHTpHeM.

fleBHuy",

KOTopaa BCTynnjia Β CB«3b c

Ο Τ Η Ο Π Ι β Η Η Η yCJIOXOUHOTC« ΤβΜ, HTO CpaBHHTeJEbHO

A O J i r o e BpeMfl CBiI3b ^ M H T p H H C AByMfl JKeHIHHHaMH

OCTaeTC«

75

'SUSPENSE' Β "EPATbHX KAPAMA30BtDi"

HeacHOH η npoTHBopeiHBofi. T o xce caMoe moäho CKa3aTb ο cb«3h ÖJiaropoflHoii ^eBHiiti c HeaHOM η ,Π,ΜΗτρΗβΜ. flpyroe

ycjio»cHeHHe β tom, ητο pjmoM c ^chokhoh pacnpeii

copeBHOBaHHe Β JIK>6BH Mexcay OTIJOM η CMHOM CTaHOBHTC« 3JieMCHT0M KOHφJIHKTa. Cjie^OBaTeJIbHO, OpHeHTaiiHH Ha CBH3b Meamy

MOTHBaMH

κaτacτpoφL·I,

MOTHBaMH TeMHOH CMepTH, TojibKO n o c T e n e H H o ,

nopaHcaiomeii

OHCHflaiOmeH OTIia,

,Ζϊμητρηη,

η

yCHJIHBaeTCH.

no Mepe τογο xaK oTpbiBOiHbie flaHHbie

yMHoacaioTca, HHTaTejn» opneHrapyeTCH β stom jiaGnpHHTe nepenjieTeHHtix TeMaTHiecKHx KOMmieKcoB. E r o opneHTaiiHÄ προχοΛΗΤ Hepe3 iiem. 3TanoB; οτ oähoh cTa^HH κ apyrofi nojiyHaioTC« HOBbie οττεΗΚΗ, a HHor^a npoHexoflHT xaMejieoHTHiecKHH c^bht β τοΗκβ 3peHH», c κοτοροΗ HaöjüOflaiOTCH Te »ce caMbie φβΗΟΜβΗΜ.

othoiiichhh /Jmhtpha κ ^ByM »ceHmHHaM BHe3anHO ποηβλλιοτοη β poMaHe. CTapbifi KapaMa3oe ex abrupto HaHHHaeT roBopHTb ο jho6obhmx η pacTOHHTejibHbix OöocoßjieHHLie

3JieMeHTti

acKana^ax ceoero CTapuiero cbiHa. O h ieaK-το ntiTaeTca onpaB^aTb

cbok) Bbixo^Ky, coothoc« pacTOHHTeJibCTBO cbiHa-Kaeajiepa η (JmHaHcoBbie aejia c h h m (ztna peineHH« nocjieflHeS npo6jieMbi KapaMa30Bbi η coöpajmcb β Kejibe CTapna). O h paccKa3bieaeT, KaK

MhTÄ H3M6HHJI CBOefi "ΗβΒβΟΤβ H3 ÖJiaropOflHOH CeMbH" I "[...] OH, Ha rjia3ax ee, κ οληοη 3fleuiHeö o6ojn>cTHTejibHime xoäht. H o xoTb oßojiBCTHTejibHHua 3Ta η xcHJia, TaK CKa3aTb, β rpaxmaHCKOM 6paxe c οληημ πο^τθηημμ qejioBeKOM, ho xapaKTepa He3aBHCH-

μογο, KpenocTb HenpHCTynHaa fljia Bcex, Bce paBHO hto »ceHa 3aK0HHaa, h6o ^oöpo^eTejibHa, — m-c\ οτιρ»ι CBSTbie, oHa aoöpoÄeTejibHa! Α ,Ο,μητρηη ΦεΛοροΒΗΐ χ ο ι ε τ 3Ty KpenocTb 30Λ0τμμ kjdotom oTnepeTb, λ-ίη Hero oh Tenepb Ha^o μηοη η KypaacHTca, xoieT c MeHÄ aeHer copeaTb, a noxa yac tmcähh Ha 3Ty oöojibcthTejibHHiiy npocopaji; Ha το η aeHbrn 3aHHMaeT öecnpepbiBHO η , Meacny προ^ΗΜ, y κογο KaK β η ayMaeTe? CKa3aTb ajib Ηβτ,

Mhta? — M o j n a T b ! — 3aKpn*iaji ,Ο,μητρηη Φε,αοροΒΗΗ, — ποÄ o a m H T e n o K a a Bbifi^y, a π ρ κ MHe He CMeÖTe M a p a T b

6naro-

po^HeSiiiyio AeBHity ..." OparMeHTapHbie CBe^eHHa craporo KapaMa30Ba noKa3biBaioT oöojibCTHTejibHHiiy β jBycMBicjieHHOM CBeTe: β ee oßpa3e öyzjTo co^eTaioTC« poMaHTHiecKHe HepTbi xeemi;HHi>i jierKoro noBefleHHÄ

76

JAN VAN DER ENG

Η BbicoKofi .zjoöpoÄeTejiH. PenjiHKa /Ι,μητρηη napaaoxcajibHa: ero HerofloeaHHe Ha oma, no3opamero ero HeeecTy, He corjiacyeTC« c 6e3MOJIBHtIM npH3HaHHeM, HTO OH paCTOHHJI CC AeHbTH C "OÖOJIL·CTHTejibHHuefi". nojiyiaioTCH ΛΒβ φορΜΜ ABycMbicjieHHofi opweHTailHH: Ha JIHHHOCTb OÖOJIbCTHTeJIbHHUbl Η Ha OTHOUieHHÄ ίΙ,ΜΗτρΗ« κ HeeecTe. rioKa eme TOT cjie^a peBHocTH, KOTopyio oTeu Η CWH HcnwTWBaioT Äpyr κ apyry. Ho BCKope ΠΟΤΟΜ MHTH OÖHAPYXCHBAET "BCK> nrpy" oTua Η onaTt npH 3TOM OÖOCTPAETCII aeHexcHoe ßejio.flMHTpHiipaccKa3hiBaeT, KaK ero οτευ, npeanaraji u 3TOH ÄeHmHHe" (oöojibCTHTejibHmte) BeKceji», TTOÖ oHa no^ajia Ha Hero no STHM ^oxyMCHTEM. Πρκ 3TOM MHTH noflTBepßHJi, HTO CTapHK xoTeji 3aca^HTb ero, Tax KaK OH caM "npHCTynaTb Ha«raji κ 3T0H »eHIIIHHe CO CBOeiO JIK)60BbK)". BbIXOflHT, ΤΓΟ ΚΟΗΦΛΗΚΤ MEXC^y ΟΤΙΪΟΜ Η CbIHOM HMeeT CBOK) φHHaHCOByIO Η peBHHByiO CTopoHy Η Ητο flee CTopoHbi nepenjieTaKDTca: οτεη; cneKyjmpyeT Ha HHmeHCKOM nojioaceHHH cbma, HTOÖW 3aca^HTb ero Η H3ÖaBHTbca ΟΤ conepHHKa, CMH TpeöyeTfloxo^bico ceoero Hacue^CTBeHHoro HMeHHH no MaTepn η no BceM npHMeTaM HyacßaeTca Β HHX I T O 6 w npoflOJiacaTb yxa»CHBaHHe 3a acemiiHHOH, KOTopyio OTeu peBHyeT κ HeMy. TaKHM 0Öpa30M κοΗφϋκκτ .zjejiaeTca ΠΟΗΤΗ 6e3BbixoAHBIM. Β pe3yjibTaTe npeanoJioaceHHe CB«3H Meac^y ^Τ3στροφθΗ Β 5KH3HH CbIHa Η ΤβΜΗΟΗ ΚΟΗΗΗΗΟΗ OTUa nOJiylaeT eme ÖOJIbUIHH Bec Β rjia3ax HHTaTejia. Ho Meawy τβΜ MHoroe eme ocTaeTca Β τβΜΗοτβ: HHTaTejn» cMyrao aora^HBaeTca ο Hanajie 3HaKOMCTBa Meac^y ^ΜΗΤρΗβΜ Η "oÖOJIbCTHTeJIbHHUeH", HO OH He 3HaeT, KaKaa OHa coöofi, hh Β KaKHx OTHoineHHax OHa Haxo^HTca κ HeMy Η κ omy. Π Ο Τ Ο Μ , HHHero He BbiacHeHo HacneT CB»3H ,Π,ΜΗτρκβ Κ flpyroö »ceHmHHe. Cpa3y nocjie pennHKH ,ZJMHTPHH BBOÄÄTCJI Β poMaH MOTHBbi, BbipaacaiomHe napa^oKcajibHoe cocymecrBosaHHe npOMÄHOCTH Η CBHTOCTH y OflHOH H3 ΪΚβΗΐμΗΗ. OAHH H3 CBeTCKHX noceTHTejiefi, MaycoB, yeepaeT CTapna: "Barne npenofloßwe, noBepbTe, h:TO a Bcex oÖHapysceHHbix 3^ecb ποΛροβΗοοτβκ Β TOIHOCTH He 3Haji, He xoTeji HM BepHTb Η TOJIMCO Tenepb Β nepewfi pa3 y3Haio ... Οτεΐί peBHyeT cbma κ CKBepHoro noeeßeHHa »ceHmHHe Η caM c 3τοκ) ace TBapbio croBapHBaeirca 3acaflHTb cbiHa Β nopbMy ..." Oeflop IlaBJioBHH, pearnpya Ha pa3o6jiaieHH« cbma, Β nepBbiö

'SUSPENSE' Β "BPATbHX KAPAMA30BbIX"

77

MOMeHT Ο6ΧΟΛΗΤ M0JI4EHH6M Bwxo^Ky MnycoBa. O H Η He OTBENAET NP«MO HA O6BHHCHHH ^ M H T P H H , RAX 6yflTo HE yaocraHBaa HX B03pa»ceHHÄ, HO Tpe6yeT BoccTaHOBJieHH» CBoeit necTH, KaK KaKOH-το poMaHTH^ecKHÖ repoö: "[...] Ha .aysjih ... Ha nacTOJieTax [...]" Η Τ.Λ· O H "npoaicrepcTBOBaji" no cjioeaM Bceeeflymero paccKa3iHKa. M e a m y τβΜ ycjioBHÜ ΑΛΆ npHMHpeHHS öojibiue He ÖWJIO . HaoöopoT oTHomeHH» MejKAy ΟΤΗΟΜ Η CWHOM cTajiH HanpHHceHHee, neM Koraa-HHÖy^i». .UMHTPHH, KaK paHbiue οτειι, He npsMo OTBenaeT, HO HA HeyMecTHhifl BW3OB crrapHKa oT3biBaeTC« cjioeaMH, KOTopbie, Tax cKa3aTb, 3aneiaTJieBaioT 6e3Ha^eDKHHH ΚΟΗΦΛΗΚΤ. BMecTe c TeM ero cjioea .geJiaioT 6oJiee 3ara^04HbiMH Η npoTHBopeiHBbiMH oTHOiueHHa ero κ HeeecTe: " — Ά AyMaji ... λ ayMaji, — xaic-το ΤΗΧΟ Η CAepxaHHo nporoBopHji OH, — 4TO npneay Ha poflHHy c aHrejioM ayuiH Moew, HeeecTOK) Moeö, HTOÖM jiejieaTb ero CTapoCTb, a BHacy jiniiib pa3BpaTHoro cjiaflocrpacTHHKa Η nozyieiimero KOMe^naHTa!" Π Ο Τ Ο Μ oöpameHHH Η penjiHKH HßyT 3Hr3araMH, nooiepe^Ho BblAejr«« 6e3BbIXOAHbIH ΚΟΗΦΫΗΚΤ Η JIHHHOCTb "oÖOJIbCTHTejIbHHUbi". CrapHK cnepea noBTopaeT cjioea "Ha aysjib!", HO cpa3y ΠΟΤΟΜ oöpamaeTCÄ κ MnycoBy: "3HaiiTe, cy^apb, «rro, MoaceT 6biTb, BO BceM BarneM po^e Ηβτ Η He ÖWJIO Bbiiiie Η necTHee — cjibiuiHTe, necTHee — »ceHmHHbi, xax 3Ta, πο-BaiiieMy, TBapb", ΠΟΤΟΜ on»Tb a^pecyeTca κ ,C(MHTPHK> cjioeaMH, HrHopHpyiomHMH HyBCTBHTeJibHbie BbipaaceHHa cbma ο ero HeeecTe, HO HacTaHBa« Ha noKJioHeHHH ero apyroMy aceHdcoMy HflOJiy: "A BW, .ZJMHTPHH Oe^opoBHi, Ha 3Ty »ce «TBapb» Barny HeeecTy npoMeHfljm, CTajio öbiTb caMH npHcyAHJiH, HTO Η HeBecTa Barna noaoiiiBW ee He CTOHT, BOT Kaxoea 3TA TBapb!" PeiuiHKH npncyTCTByiomHx OTHOCÄTCH Β nepeyio onepe^b κ HenpHCTOHHbiM HaMexaM cTapHKa: " — CTbi^Ho! — BbipBajiocb Bßpyr y OTua H o c ^ a " , Η τ.β. Bo-BTopbix Mbi cjibiLLiHM cjioea ,β,ΜκτρΗίΐ, KOTOpbie HOCST Ha ceöe pOKOByiO nenaTb Öy^ymHX Κ3Τ30ΤΡΘΦΗΊΒΟΚΗΧ pa3BHTHH: " — 3aieM JKHBeT Taicon HejioBeic!" ΦβΛορ IlaBjioBHH KapaMa30B HEMEFLJIEHHO H3BJIEKAET H3 HHX 3 T O P 0 K 0 B 0 E 3HAIEHHE, Η ΠΡΗΤΟΜ OH OCAACHBAET MOHAXOB, 3A6OTJIIUHXCH ο aejiax IIPHCTOHHOCTH, HO 3AÖBIBAIOMHX ο HACTOAMEÜ npecTynHocTH; OH HANA^AET Ha HX ΠΟΗΗΤΗΗ CBHTOCTH Η JIK>6BH, CTaBJI H M Β npHMep OÖpa3 3ΚΗ3ΗΗ TAK

JAN VAN DER ENG

78

Ha3tiBaeMoö TBapn: " — CjibiuiHTe JIH, cjibiuiHTe JIH BLI, MOHEXH, OTUEYÖHIINY, [...] BOT OTBCT Ha Barne «CTMAHO»! HTO CTMAHO? 3Ta

«TBapb», 3Ta «CKBepHoro

noße^eHHa »ceHmHHa»,

6MTL·, CBHTee Bac caMHx, rocno^a cnacaiomHeca

MOÄCT

nepoMOHaxH!

OHA, Mo«eT 6wTb, Β IOHOCTH najia, 3AE^EHHAFL cpe^oH, HO oHa «B03JIK>6HJia

ΜΗΟΓΟ»,

2l

B03JIK>6HBIIiyK)

ΜΗΟΓΟ

Η

XpHCTOC

npOCTHJI ..." TaK FLO HeCKOJIbKHX pa3 CMeHflIOTCH BapnailHH B ΟρΗβΗΤΗρΟΒΚβ Ha ΤβΜΜφΗΗΕΗΟΟBblH ΚΟΗφ,ΠΗΚΤ CTapUieiO CBIHa c OTUOM, copeBHOBaHHe Β JIK>6BH MEACFLY HHMH, JIKHHOCTL· npe^MeTa HX peBHOCTH, CBa3b ^MHTpHa C HeBeCTOH. flCHO, HTO 3TH τβΜΒΐ O6YCJIOBJIHBAIOT a p y r apyra. OHH CBA3AHBI c ÄBOHHMM ΚΟΗφ-ΊΗΚΤΟΜ MeaCAy OTIiOM Η CbIHOM. ^yBCTByeTC« HX pOKOBOH xapaKTep Β 3ΚΗ3ΗΗ ,Ο,ΜΗΤΡΗΛ. 3 T O Η noaiepicHBaeTca nocjie^Heii ciieHoö Β Kejn>e: CTapen; KJiaHaeTca Β ΗΟΓΗ ^MHTPHIO Oe^opoBHHy. TeMHoe CHMBOJia^ecKoe 3HaHeHHe 3Toro noKJioHa, AOJEKHO 6biTb, Β npHÖJiH»caiomeHCH ^ τ 3 ο τ ρ ο φ ε , icoTopaa nocTHraeT ^MHTpaa. CHMBOJT

3TOT

HBjiaeTca

Kyjn>MHHaitHOHHWM

nyHKTOM

pa/ta

cyöteKTHBHbix CHraajioB HeciacTHa, B03HHKaK>mHx Β "MOHacrbipCKHX" pa3roBopax Η npHMMKaiomnx κ npexcHHM οδιβκτΗΒΗΜΜ cooömeHHaM

xpoHHKepa

ο

TparanecKOH

cy^böe

^Ι,ΜΗΤΡΗΗ

KapaMa30Ba. Pa3yMeeTCH, ΤΓΟ ΗΗΤ6Η0ΗφΗ]^£(Ηβ OpHeHTHpOBKH Ha OTCpOHeHHbie nacTH TeMbi noßbiuiaeTca

noBTopeHHaMH Η BapnaaHaMH

OTpblBOHHHX φ&ΚΤΟΒ 3ΤΗΧ ΤβΜ. IIpH 3T0M HepeflOBaHHe 3THX φpaΓMeHT0B Be^eT κ aBHOMy KjraMaKcy. TaK τ ρ κ pa3a napaaoKcajibHoe oTHonieHHe ^MHTpna κ HeeecTe BbipaacaeTca Β COÖCTBCHHUX cjioBax ero. ITepBbiH pa3 3ΤΟ cjiynaeTca, KaK M H BH^CJIH, Kor^a ο τ ε ΐ ί "ocMejiHBaeTca" 3aBecTH peHb ο

Heß. HejienocTb

öemeHOH peaKujm ^MHTpna COCTOHT Β TOM, HTO, HecMOTpa Ha HeroflOBaHHe, OH He OTpHijaeT H3MeHbi HeeecTe Η yxaacHBaHHe 3a "oöojibCTHTejibHHqeii". Β τ ο ρ ο κ pa3 OH ο τ κ ρ κ τ ο npH3HaeTca Β CBOHX oTHomeHHax κ Heö, HO BMecTe c TEM OH eme öojibuiHH Bec npH^aeT cBoeMy 6jiaroroBeHHio nepe^ HeeecTOH, o6i>acHaa, τ τ ο aaace "HMCHH He [cMeeT] npoH3HecTH Bcye". TpeTHH pa3 napa^oKc KyjibMHHHpyeT. T o r ^ a OH ΓΟΒΟΡΗΤ Bbirne npHBefleHHhie cjioea: "—

Ά AYMAJI ... a FLYMAJI, [ . . . ] HTO NPAE^Y HA PO^HHY c AHREJIOM

ayiuH Moeö, HeBecTOK) Moefi, π τ ο β ω jiejieaTb ero CTapoCTb [...]"

79

'SUSPENSE' Β "BPATbÄX KAPAMA30BbIX" T p H p a 3 a TaKace, c o Bee G o j i b i n e S B t i p a s H T e j i t H o c T b i o ,

.naioTca

BapnauiHH HecorjiacyeMLix OTPMBOHHMX flaHHbix n o o T H o m e H H i o κ o6ojibCTHTejn>HHiie. E e "necTHocTb" η " n p o A a a c H o c T b "

προτΗΒο-

cTaBjiHioTCH. n e p B W H p a 3 cTapbrä K a p a M a 3 0 B COOTHOCHT ΠΟΗΛΤΗΗ "oöojibCTHTejibHHiia" Η "HenpHCTyimaa K p e n o c T b " ;

Βτοροκ p a 3

C T a p H K B03pa»caeT M n y c o e y : " [ . . . ] 3HafiTe, cyzjapb, HTO, MoaceT

6biTb, BO BceM B a m e M po^e ΗΕΤ Η He 6MJIO Bbime Η necTHee

—

cnbiuiHTe, H e c r a e e — aceHiyHHw, Kaie 3Ta n o - B a i n e M y TBapb [ . . . ] " ,

τρετΗΗpa3 OH BcnbuibiHBO y e e p a e T : " — 3 T a « T B a p b » [ . . . ] MOMCCT 6biTb, CBflTee B a c c a M H x , r o c n o a a c n a c a i o m H e c a H e p o M O H a x H ! "

CTHjracTHiecKHe cpe,acTBa BaacHbi JXJM öojibiiieH Bbipa3HTejn>HOCTH

OTpblBOHHblX

ßaHHblX

Η

IIOCJießyiOIUeH

OpHeHTHpOBKH

Ha BpeMeHHO OTCpOHeHHbie KOMIIJieKCbl TeMaTHKH. Hcnojib3yK)Tca ΑΙΕΙΊΗΦΗΗΕΟΚΚΕ crarracTHHecKHe Η ΚΟΜΠΟ3ΗΗΗΟΗHBie B03M03KH0CTH Β "CIieHax". npHeMbl Κ0ΜΠ03ΗΗΗΗ Η CTHJIHCTHKH Β AHajiore HHor^a TecHo CBinaHbi. T a x CTapbrä KapaMa30B 3a^ep»CHBaeT HHCHHynpyiomHM B o n p o c o M c o o 6 m e H H e ο TOM, HTO MHTÄ 3aHHMacT aeHbrn y CBOCH HeeecTbi: "[...] yac TMCHHH Ha 3Ty ο6oJibCTHTejibHHiiy n p o c o p n j i ; Ha τ ο Η aeHbni 3aHHMaeT 6ecn p e p b i B H o H, Mexyjy npoHHM, y Koro, KaK BBI ayMaeTe? Cica3aTb a j i b Ηβτ, M H T H ? " /JMHTPHH c e f i i a c c Hero^oßaHHeM npepbiBaeT ero: " — MojinaTb [...] nofloacßHTe noKa a Bbifi^y, a πρκ MHe He CMeÖTe MapaTb Ö J i a r o p o a H e f i m y i o a e B H i x y . . . " Β ΚΟΜΠΟ3ΗΗΗΟΗΗΟΜ oTHomeHHH 3^ecb Ha BH^y oTCpoHKa meneTHjibHoii ^eTajra OTpblBOHHblX ΜΟΤΗΒΟΒ ΠΟ OTHOUieHHK) Κ JIIOÖOBHblM Η paCTOHHTejibHbiM acKana^aM JjMHTpna Oe^opoBH^a: nojiynaeTca ceoero po^a "0TCp0HKa Β OTCpOHKe". Β CTHJIHCTHHeCKOM ΟΤΗΟΗΙΒΗΗΗ 3fleCb CTOJIKHOBeHHe pa3HbIX HHTOHaUHOHHblX MOMeHTOB npH HHTaTeJM

CMeHe r o ß o p H i n H x jrau;: HHCHHyHpyiomee 3a^ep»cHBaHHe c o o 6 m e -

npepwBaHHe. BTopaa opMa "oTcpoHKH Β OTcponice" COCTOHT Β tom, hto Β paMKax HHH B o n p o c a M H Η n o c j i e a y i o m e e cepjXHToe

CepHH OTpblBOHHblX ΜΟΤΗΒΟΒ ΠΟ ΟΤΗΟΙΠΒΗΗΚ» κ onpeflejieHHOMy TeMaranecKOMy xoMnoHeHTy, ΒΒΟΛΛΤΟΛ ΦΡ3ΓΜ£ΗΤΜ, x o T o p w e He npaMO oTHOcaTca κ 3TOMy KOMnoHeHTy. H e n p a M y i o CBa3b 3Ty M03KH0 BOCCTaHOBHTb TOJIbKO Ha OCHOBe nepBHHHblX OTpblBOHHblX ^aHHbix, ΒΒΟΛ κ ο τ ο ρ Η χ c j i e / i y e T ΠΟΤΟΜ. T a x CTapbiii K a p a M a 3 o e Ha^HHaeT c o BTopHHHbix φ 3 κ τ ο Β , KOTopbie Ha nepBbiH B 3 r j i a a He

80

JAN VAN DER ENG

KacaKJTca e r o (fwHaHcoBoro flejia c ,ΖΙ,ΜΗτρΗεΜ h j i h e r o conepHHnecTBa c h h m .

Oh

paccKa3broaeT KaK M h t h

h3Öhji acajiKoro

HeJIOBeKa, OTUa MHOrOHHCJieHHOH CCMbH, 3a TO TOJIbKO, h t o coctoäji

HerjiacHbiM

noeepeHHbiM

πο

οληομυ

H3

tot

jjejiHineK

CTapHKa. Φ ε , α ο ρ üaBJioBHH π ρ η β ο λ η τ 3 τ ο τ cjiynaH öyflTO 6 w β npHMep HacHjibCTBeHHoro x a p a i r r e p a CBoero cbiHa. H o

ποτομ

0Ka3biBaeTC«, c o c j i o b CbiHa, h t o o h Taic c y p o e o o ß p a m a j i c a c 3 t h m nejioBeKOM, noTOMy h t o t o t CTapajica n e p e ß a T b "oßojibCTHTejibHHue" BeKcejia Ha Hero c u;ejibK> n o a a T b Ha Hero η 3aca,qHTb e r o ΠΟ 3THM BeKCeJIHM. Π ρ Η 3TOM ^MHTpHH OÖHapyJKHBaeT, ΤΓΟ 3 t o 3aKJiK>4eHHe β .ziojiroByio TiopbMy noHaßoÖHJiocb ο τ η γ , TaK KaK t o t CTaji peBHOBaTb κ HeMy ynoMHHyryio jKeHmaHy. TaKHM 0Öpa30M 3HaHeHHe 3 τ ο γ ο c j i y n a a h 3 6 h c h h h MeHbine 3aKJiioHaeTca β HJiJiiocTpaitHH HacHjn»CTBeHHoro x a p a i r r e p a ^ m h t p h ä , HeM β φρ3ΓΜβΗΤ3ρΗΟμ o6o3HaieHHH cjioacHoro noJioxeeHHa COnepHHHecTBa. ^Ι,ΜΗτρΗΗ caM, BnponeM, n p o z m e e a e T opHeHTHpoBKy Ha 3 t o t cjiynaii, KaK Ha npHMep HacHJiHa. Β s t o m npofljießaHHH o n a T b CKa3biBaeTC5i cnjieTeHHe npneMOB κ ο μ π ο 3 η ι * η η η c t h j i h c t h k h . O h oTo^BHraeT oöbHCHeHHe CBoero HacHjibCTBeHHoro o 6 p a m e H H a c HerjiacHbiM noeepeHHtiM o T u a , HacTaHBaa Ha n 0 3 0 p H 0 M sjieMeirre CBoero noße^eHHÄ. O h s t o .aeJiaeT τ η π η η 6 ο κ η μ η ß j i a Hero η 3 μ κ ο BblMH φορΜΕΜΗBapHaiXHHMH Η ΠΟΒΤΟρβΗΗίΙΜΗ, OTHaCTH MCTaφορΗΗβοκοΓο

xapaKTepa,

τοηομ

Hapacraiomeii

3M0u;H0Hajib-

h o c t h : " — Ά c b o h nocTynKH He o n p a e ^ b i B a i o , aa. BceHapo^Ho npH3Haiocb: a nocTynwji KaK 3Bepb c 3 t h m KanHTaHOM η T e n e p b coacajieio η c o ö o h r H y m a i o c b 3a 3BepcKHii raee [ . . . ] "

^3wk cTaporo oTu;a aBJiaeTca aeöcTBeHHbiM cpeacTBOM ana ΗΗΤεΗΟΗφΗΚ&ΐχΗΗ, Bbipa3HTeJIbHOCTH OTpblBOHHblX MOTHBOB. ErO cooömeHHH o jiK>6oBHbix η pacTOHHTeJibHbix 3CKana#ax CTapuiero CbiHa, nopa»caK)T pa3roßopHbiMH μ .aaace ByjibrapHbiMH oßopOTamh pen η ("copeaTb", "KypaacHTca", "npocopHJi"). Pa3roBopHbiö 3JieMeHT η BbipajKaeTca β ero "oöbmeHHbix" Meτaφopax: β hhx naxHeT nHKaHTHocTbio aHeK^oToe ("KpenocTb HenpHCTynHaa", "xoneT 3Ty KpenocTb 3 o j i o t w m k j i k > i o m oTnepeTb"). ΠοαπβΛΗΗΗ p a 3 , iTo cTapbiii K a p a M a 3 0 B Haeeji peib Ha o6ojibCTHTejn»HHiiy, o h noflHepKHyji HHTpnryiomyK) npoTHBopeiHBOCTb ee j i h u h o c t h ynoTpe6jieHHeM apxannecKHX οβοροτοΒ Hapaay co uiTaMnaMH

'SUSPENSE* Β "ΕΡΑΤΒΗΧ KAPAMA30BWX"

81

nepeaoBoii npeccbi ("3ae^eHHaH cpeaofi" HapaBHe c "B03jno6mia

μηογο"). KoHTpacr «3LiKa OTija co cnocoöoM cjioeecHoro BbipaateHHX ctiHa

HHor^a

η noeuiuaeT

Bbipa3HTejibH0CTb

otpmbohhmx

c o o 6 m e h h η h x ^najiora, τβΜ 6ojiee h t o CTHJiHCTHHecKOMy kohTpacry He pa3 cooTBeTCTByeT

TeMaTHHecKHH KOHTpacr. TaK mohcho conocTaBHTb cjie^yiomHe cjioea ^mhtphji c peiuiHKoö craporo KapaMa3oea: "npne^y Ha pojmHy c aHrejioM Äynm Moeii, HeBecToio Moefi" η " c r a j i o 6biTb, caMH npHcy^HJiH, h t o η Heeecra Bauia no^ouiBbi ee

He ctoht, bot KaKOBa 3Ta TBapb". 3^ecb

noaTHiecKas Meτaφopa npoTHBOCTOHT ononuieHHOH, npocTopeqHoit Bojiee

hjih MeHee iiosthtcckhh phtm «3biica ^ΜΗτρΗ», T.e. KaKaH-το ycraHOBKa Ha ynop$moHeHHocTh cjiob, oTJiHHaeTca οτ ecTecTBeHHoro phtmh »3biKa craporo OTiia, y κοτοροτο TOJibKO Mbicjib ziHKTyeT phtm η τθμπ ρβ3κο MeHiieTC». Ητο ποτομ eme noBbimaeT TeMaTHHecKHH KOHTpacr η BMecTe c τβΜ HHTeHCHBHpyeT HHTepeC HHTaTeJIÄ

Κ 3THM OTpblBO *iHbIM flaHHbIM — 3TO KOCBCH-

HOCTb β οτΒετε craporo KapaMa30Ba: o h He npaMO oTBenaeT Ha THpa/jy ^MHTpna, h o HaHHHaeT ocnapHBaTb M0Hax0B, cnpaeeAjraBOCTb HX npe3peHH» Κ OÖOJIhCTHTejIbHHHe Η ΠΟΤΟΜ npHBOÄHT

noßeaeHHe ,ΖΙ,μητρη», KaK fl0Ka3aTejn>CTB0 hchhocth stoh aceHIHHHbl. 3tHM OH CBeJI Ha HeT 3HaiHMOCTb nOSTHieCKHX CJIOB crapiuero cbiHa. TaK K0Mn03iiaH0HHbie npHeMbi HepeAOBaHH* CUeHHieCKHX KyCKOB, HapJWy C CTHJIHCTHHeCKHMH KOHTpaCTaMH MesK^y hhmh, aejiaioT 6oJiee nopa3HTejn»HbiMH 3φφβκτω φpaΓMeHTapHoro paccKa3a η nocjie^yiomeH opHeHTHpoBKH Ha flajibHenniee pa3BHTHe. 3φφβΚΤ

OTpblBOHHblX

MOTHBOB H, CJieflCTBeHHO,

6ojn>meH

3aHHTepecoBaHHocTH β h h x HHTaTejia oöycjioßjiHBaioTca Taioice MHOrOCTOpOHHHMH φyHK^HHMH, KOTOpbIMH He pa3 Ha^eJIÄiOTCH

mothbm β cueHHHecKHx MOMeHTax. 3 τ ο ocoöeHHo nopa»caeT πρκ ynacTHH β pa3roBope Tpex hjih 6onbine nepcoHaaceä. CooömeHH» nepcoHaaca MoryT npnoöpecTH pa3Hbie 3HaneHHÄ λ ί η xaamoro H3 yiacTHHKOB. KpoMe

τογο roBopjuimfi nepcoHaxc mohcct paccmrbiBaTb Ha 3to flHφφepeH^HpoBaHHoe BocnpmiTHe. H a 3το ημθηηο paccHHTWBaeT CTapbiö KapaMa30B, noztCTpeKaioimm ^MHTpH« CBOHMH paCCKa3aMH

Η 3aMe^aHHHMH Ο flßyx ÄeHmHHaX Η ΟΛΗΟ-

82

J A N V A N DER ENG

B p e M e H H o c K a i m a j i H 3 H p y K > m n H M O H a x o B . Ü H o r ^ a aaace KaxceTca,

hto oh

npeame

Bcero

χ ο π β τ o3aflaHHTi»

jihu η

flyxoBHtix

ocy^HTt

HX o 6 p a 3 3KH3HH, Η &JIH 3ΤΟΓΟ TOJIbKO HCnOJIb3yeT C K a H ^ a J i e 3 H H e η n p o B O K a i i H O H H B i e a e T a j r n H3 n p o m j i o r o ^ M H T p H a . B M e c T e c T e M β e r o np0B0Kan;Hax x p o i o T c a o c T p o y M n e η HpoHHa, KOTopwe bo36y»cflaioT HHTepec HHTaTejia κ e r o MfleT HenpaMaa ero ΠρΗ

3TOM

HpOHHH,

pejiHrao3Horo

o ö p a 3 y Mbicjiefi.

xapaKTepncTHKa β nocTynKax

B03HHKaK)T

KOTOpHe

jihhhocth η

MOMeHTtl

He

COBCeM

3HaHeHH«.

KOMHieCKOrO

ΛΗΙΗβΗΜ

η

cjioeax.

OCTpaHeHHÄ

Η

nCHXOJIOrHHeCKOrO

Η

MHorocTopoHHaa

φyHK^H0HaJTbH0cτb

O T p H B O H H b l X MOTHBOB ü p H f l a e T H M TOHKOCTb, K O T O p a f l ,

ΜΟΙΚβΤ

6mtL·, 6 o j n » m e B c e r o nozpKHraeT H H T e p e c H H T a T e j i a η a B J i a e T c a C a M b l M CHJTbHblM C p e ^ C T B O M H H T e H C ^ H K a i i H H CHrHaJIOB ^aJTbHeH-

UIHX

pa3BHTHH

Η φ3ΚΤ0Β

H3

p a 3 r o ß o p a CTapHKa. Π ο φ ο ρ Μ β Haflo

ΠρΟΠΙΛΟΓΟ,

COCTaBJIflK>UIHX Μ,ΖφΟ

pa3Hwe o p n e H T a a H H

o n p e ^ e J i H T L · , Kaie " c o M H H T e j i h H b i e " ,

Tax

npe»me Bcero

KaK

OTpbiBO'ffibie

A a H H w e e m e He p a c c K a 3 a H H t i x l a c T e f i n o a B j i a i o T c a β p a 3 r o ß o p a x nepcoHaacefi. H x CBe^eHH» HeHa^eacHH, n o B e c T B O B a T e j i t H a « p o m »

HX BTopHHHaa η

hx

ijejih

p a 3 r o ß o p a He a B J i a e T c a

οβιβκτΗΒΗοκ

Η Η φ ο ρ κ ω ι ρ ι ε Η . 3 τ ο aaace H a p o H H o n o f l H e p K H B a e T c a

Bceee^ymnM

paccKa3^HKOM β KOMMeHTapaax κ n o c T y n K a M η c j i o e a M CTapnxa:

bck> 5kh3hi> cbok> n p o a K T e p c T B O B a B n i H X , οηη αο τογο 3 a p n c y K ) T c a , ητο y»ce BOHCTHHy

" E c T b y c r a p t i x jiryHOB, MHHyrbi, flpo^aT

Kor^a

η n j i a n y T ο τ BOJiHeHHa, H e c M O T p a H a t o , h t o a a x c e β 3 t o

c a M o e MTHOBeHHe

(hjih

tojibko

cexyH^y

μογλη

cnycTa)

6bi caMH

u i e n H y T b c e ö e : « B e ^ t t l i j m e i m > , c r a p b i H öeccTbiflHHK, Be^b aKTep

η

T e n e p b , HecMOTpa H a Becb

tboh 'cbhtoh'

raeB

η

tw

'cßaTyio'

MHHyTy rHeBa»." Bee

xce

flOJia

flOKa3MBaeT

β

npaB^bi

ecTb

β

o6Hapy»ceHHax

peaKiijia e r o cbma. CoMHHTejibHocTb

OTqa,

KaK

3το

opHeHTHpoBKH

hmchho

Kor^a

n p o H C x o ^ H T o p n e H T a i j H a H a ρ ο κ ο Β ο κ x a p a K T e p κοΗφ-JiHKTa

Me»wy

pa3Hbix

cjiyqaax,

BnponeM,

yMeHhmaeTca:

a

OTIJOM Η CblHOM. P a H b H i e ΒΒβΛβΗΗΜβ O T p H B O H H b i e M O T H B b I — HMeHH x p o H H K e p a —

noffTBep5KAaioT

ee n p a B ^ H B o c T b .

o T H o m e H H H He 6 e 3 p a 3 J i H H H b i Η c o o ö m e H H a HeaHa.

Οηη

co3^aioT

flßycMbicjieHHocTb

Β stom

xpoHHKepa ο β

OT

pojm

opHeHrapoBKe

Ha

KOHHHHy o T i j a : e a r n β M O H a c T b i p c K H X c i j e H a x n a x H e T O T i i e y Ö H Ö -

'SUSPENSE' β "bPATbÄX KAPAMA30BbIx"

83

CTBOM pyKaMH /^ΜΗΤρΗίΙ, npe»(HHe COOÖmeHHH Ο pOKOBblX ποcjie^cTBHax npHe3^a BToporo cbma noflCKa3biBaioT zipyroH χολ COÖblTHH. VI TpeTba, HeTBepxaH η imTaa niaBbi TpeTbefi κηηγη hocht oömee Ha3BaHHe: "Hcnoße^b ropanero cepaua". Ρηλομ c oöiiihm 3arjiaBHeM Kaac^aii rjiaea HMeeT cboh n0fl3ar0Ji0B0K: "B CTHxax"; "B aHeK^OTax"; "Bßepx naTaMH". Β nepBoii H3 Tpex rjiae pacCKa3biBaeTca ο BCTpene ^mhtphh η Ajiemn β öece^Ke ca^a OTua. OKa3biBaeTca, hto Mhta, KaK oh caM roBopHT, "3^ecb Ha ceKpeTe", "yace n«Tb flHeii", "mto Haflo roßopHTb [...] τηχο, ποτοΜγ hto 3^ecb [...] MoryT OTKpbiTbca caMbie HeojKHflaHHbie yiun". Oh o6emaeT Bce 3το oötacHHTb ποτομ, ho OTcpoHHBaeT 3το o6i>HCHeHHe λο nocjie^Heö nacTH CBoefi "HcnoBeßn" (β πητοη rjiaee). TaKHM ace 06pa30M oh nocTynaeT c οτρμβοηημμη yKasaHHHMH hoboh »CH3HH, icoTopa« 3aBTpa öy^TO 6w HaHHHaeTca. Oh cKpweaeT 3HaHeHHe 3TOH HOBOH 3KH3HH 3a paaOM CHHOHHMHHeCKHX ΜβΤ3φθρ, KOTopbie BbipaacaioT ero smoijhoHajibHbiö ot3hb 06 stoh hoboh äh3hh; oh OTOABHraeT o6i»«CHeHHe noBTopeHHbiMH yBepeHHHMH, hto o6i>acHeHHe cjieayeT η hto oh Hyac^aeTca β Ajienie, htoöh paccKa3aTb eMy 0£H0My "ece". Ho ποτομ oh yBjiexaeTca cthxoTBOpeHHÄMH Η ΠΟ nOBOfly HX HaHHHaeT TOBOpHTb Β OÖmHX TepMHHax ο 3ara,aoHHOH 3kh3hh HejioBeKa, He o ö m c h « » hh noneMy oh npaneTCH β 6ece#Ke othobckoio ca^a, hh β neM coctoht 3Ta 5KH3Hb Ha HOBbifi Jiajj, KOTopaa 3aBTpa HacTynaeT. HHTaTejn» β Hanajie, Mo»ceT 6biTb, HecK0jn»K0 cÖHBaeTCJi c TOJiKy, ηο ποτομ ycMaTpHBaeT β "φκϋοοοφΗΗ" ^μητρηη CBoero pofla ajureropHnecKoe nepecKa3biBaHHe Bcero, hto Mhth Hcm>rraji η HcnbiTbiBaeT no oTHomeHHK) κflßyMxemmmaM, TeM 6ojiee, hto oh He pa3 CBH3biBaeT coöcTBeHHbie nepeacHBaHHa c o6mefi Mo^ejibK). 3ara^Ka jkh3hh asm Hero β 3ara,zpce KpacoTbi. KpacoTa HMeeT flBa jnma: oHa BonjiomaeTca β »ch3hh, KOTopyio cjie^yeT ocy^HTb, KaK no3opHyio, η OHa oöJieKaeTC« φορΜοκ, KOTopyio moxcho o6o3HaHHTb MeτaφopaMH ceeTa η pa^ocTH. Πρκ 3tom HHoraa coeceM He «cho, KaKaa φopMa KpacoTbi o^ymeBJiaeT η yejiexaeT HejioBeKa.

84

JAN VAN DER ENG

"Ä

NNY Η HE 3Haio: Β BOHI» JTH a n o n a j i Η no3op, HJTH Β CBCT Η

pa,nocn>'\

KpoMe

ΤΟΓΟ HejioBex cnocoÖeH 0AH0BpeMeHH0

Ha-

cjiaacAaTbca AByM« opMaMH KpacoTW. ^ M H T P H Ö yeepaeT, ΗΤΟ ÄJIÄ Hero KpacoTa Η KpoeTca Β caMOM rjiyöoKOM no3ope pa3BpaTa. H o Β 3T0M COCTOHHHH "H BflpyT ΗΕΗΗΗΕΙΟ ΓΗΜΗ. EtyCTb Λ npOKJMT, nycTb a HH3OK Η noflJi, HO nycTb Η a u;ejiyio Kpaö TOH pH3br, Β KOTopyio OßJIEKAETCFL 6or MOH; nycTb a HAy Β TO »ce caMoe BpeMa BCJiefl 3a nepTOM, HO a Bce-TaKH Η TBOH CMH, ΓΟΟΠΟΑΗ, Η j n o 6 j n o Te6a, Η o m y m a i o paAOCTb, 6e3 κ ο τ ο ρ ο κ Hejib3a MHpy CToaTb Η 6biTb." Β AajibHefimeM OH pa3jinMaeT xpacoTy CoAOMa Η KpacoTy MaflOHHbi Η OH noflHepKHBaeT TaHHCTBeHHOCTb Η yacac EJUHHOBpeMeHHoro HacjiaÄAeHHe

cocymecTBOBaHHH OÖOHMH

AByx

φορΜ

npoTHBopeHHBWMH

AJia

nejioeeKa

MHpaMH

Η

Kpaconbi.

HyBCTByeTCÄ, HTO 6BH CO C T o p o H w ^MHTpH»,

xax

Η

Heo^oöpeHH«

ee

Äo6po^ETEJIB JIIO6HT, a He ΜΒΗΗ, —

3roTH3Ma:

"—

OHA

CBOK)

HeeoJibHo, HO ΠΟΗΤΗ 3JIO6HO

B b i p e a n o c b B A p y r y ^ M H T P H H O e a o p o B H H a . " Π Ο Τ Ο Μ OH c r a p a e T c « CMÄrHHTb CBOK) BbIXOflKy KJIHTBaMH HaCHeT HCKpeHHOCTH ee HyBCTB, HO,

HecMOTpa

Ha

3το,

oium>

CKpbiTOH KPHTHKH: " Η τ ο MHpyeT?"

BbipbraaeTca

y

Hero

3aMenaHHe

Β ΤΟΜ, HTO Hejioeex x a n e j i b x y

Π Ο Λ KOHeu Μ Η Τ Λ COBCCM ο τ κ ρ ω τ ο

AeKJia-

H3JiaraeT A j i e i u e

HeB03Mo»CHoe NOJIO3KEHHE CBoe, n p H neM OH He B03AepxcHBaeTCfl OT KPHTHKH K a T e p H H b i ÜBaHOBHbi. Ο

c e ö e c a M O M OH π ο Λ Τ Β β ρ -

acflaeT TO, HTO HHTaTejn» yace n o Η«JT CO npoBOKaiiHHHbix CJTOB CTapHKa B x e j i b e c r a p u a : yxaacHBaHHe 3a ^ p y r o f i Η ß e ö o i i m p c T B O , π ρ κ HeBecTe. Ο noneMy

TaxoMy

K a T e p H H e H e a H O B H e OH oT3biBaeTC« H3Bepry,

xax

OH,

ΟΤ,ΖΦΗΟ

MßaHOM? O H c p a 3 y /iaeT OTBCT: " A

juisi

BonpocoM:

npeanoHTeHHe

Ha,a

ΤΟΓΟ, HTO zieBHua H3

ÖJiaroflapHocTH )KH3Hb Η c y ^ b ö y H3HacHJioBaTb χ ο π ε τ ! H e j i e n o c T b . " MOÄHO,

KoHenHo,

CHHTaTb

HeoAoßpeHHe

Η yxopw

no

aapecy

K a T e p H H M MBaHOBHbi a o c a f l o f i H e e e p H o r o 5KeHHxa, HO BMecTe c TeM 3 ^ e c b BhipaacaioTCfl nepBbie H30JiHp0BaHHbie φ a x τ b I H e j i e n o r o POFLA JIIO6BH. fljIH

OÖlHCHeHH»

flOBOJIbHO

3ΤΟΗ

pa3JIHHHbIX

HeJieilOCTH

(JiaKTOpa1

^.MHTpHH

3ΓΟΤΗ3Μ,

ΙφΗΒΟΛΗΤ

TpH

ßeXJiaMHpOBaHHe,

JAN VAN DER ENG

86

Eme

ce6a 3HATB, KOR^A OH HATOHAET roeopHTb Ο nepBbix HE^EJWX nocjie HX oöpyneHHa eme ΛΟ HaxajibHoro yxaacepcTBa 3a ^pyrofi Ha ee rjia3ax: "B MocKBe »ce Η ΜΗΟΓΟ [ . . . ] c KaTeü neperoßopHji, ά eö Bcero ce6« paciracaji, ÖJiaropoflHo, Β TOHHOCTH, Β HCKPEHHOCTH. Bce BLicjiyuiajia: ÖJIAROFLAPHOCTI..

APYROH Φ Α Κ Τ Ο Ρ ß A E T

EMJIO

MHJioe

CMYMEHHE,

BI»IJIH H e a c H b i e c j i o e a . . .

Hy,

cjioBa-To

BejiHKoe

6i»IJIH

oöemaime

o6Hapy>KHBaeTCH

η

O H a BWHy^HJia y MeH« T o r ^ a

ropßbie.

HcnpaBHTbca.

ceoero

po^a

Ά

oTKpbui

ΠΟΤΟΜ

KoMapoBHH

noxa3aji,

M H T

AeflTejibHOCTb,

no^ßep»ceHHoro crpacTiiM nopaacaiomee

o ß c T O H T e j i b C T B a x B b i H y x c a e H H O H BCTpeHH M e x ^ y c ΟΛΗΟΗ C T o p o H b i η M e x c ^ y A

3,aecb

BocnHTaHHe, KOTopoMy ÖJiaro-

p o ^ H a Ä »ceHutHHa n o ^ B e p r a e T c e o e r o KoMapoBHi

oöemaHHe."

neflarornnecKa«

HanoMHHaioma« ceHTHMenrajibHoe jnoöoBHHKa.

^aji

P

H e M

KaK

H

CXO^CTBO

Mauprat η

β

Edmee

KaTepHHofi c ^pyroft.4

ÖJiaro^apHOCTb

flyuiHoe oTnymeHHe 3aKjnoHeHHoö xceHiimHbi β

3a

ΟΛΗΟΜ

BCJIHKO-

η apyroM

c j i y i a a x B e a e T κ OÖIHCHCHHIO β JHOÖBH Η κ n o c j i e a y i o m e H " c e H T H -

MeHTajibHo-neAarorHHecKofi" AeaTejibHocTH. H a caMOM aejie, MOHCHO c p a B H H B a T b T a K H e B b i p a a c e H H a KaK " j e n ' a i m e q u ' u n e c h o s e a v e c e n t h o u s i a s m e c ' e s t m o n d e v o i r " ( E d m e e β OTBCT H a B o n p o c , JIIOSHT JIH

OHa Mauprat) η "oHa

CBOIO

AoöpofleTejib

JHOÖHT,

a He

MeHÄ", " j u r e z - m o i q u e v o u s n e p r e n d r e z p a s p a r t i s u r q u o i q u e c e soit, s a n s m e c o n s u l t e r [...] C o r r i g e z - v o u s , i n s t r u i s e z - v o u s " η

"Hy

cjioBa-To öbijiH Η r o p ^ b i e . O H a BbiHyaHjia y mcha Tor^a BejiHKoe o ö e m a H H e HcnpaBHTbca". T a K ΟΠΜΤΗΜΗ H H T a T e j i b ΤΟΓΟ B p e M e H H , BocnHTaHHbiö H a KHHrax G e o r g e Sand, ΜΟΓ 6 b i p a c m H φ p o B a τ b n p H B « 3 a H H O C T b K a T e p H H b l ÜBaHOBHbl Κ ^MHTpHK), KaK JIHTepaTypHyn) n o 3 y . CJIOBO " a e K J i a M H p o B a T b " , κοτοροβ Bbipeajiocb y fl,MHTpHH,

Β 3 T O M OTHOUieHHH M H O I O 3 H a H H T e J I b H O . O f l H a K O 3 T H M

He o6"bHCH«eTCH "Hejienocn." (no cjioeaM /^ΜΗτρκβ) noBe^eHH« K a T e p H H b i . H e n e n o c T b 3TA COCTOHT — KaK OH caM τοΒορκτ — Β 4

C p . W . K o m a r o w i t s c h , " D o s t o j e w s k i u n d G e o r g e S a n d " i n F. M.

Dostojew-

ski, Die Urgestalt der Brüder Karamasoff. Dostojewskis Quellen, Entwürfe und Fragmente. E r l ä u t e r t v o n W . K o m a r o w i t s c h . M i t e i n e r e i n l e i t e n d e n S t u d i e v o n S i g m . F r e u d ( M ü n c h e n , 1928), CTp. 167-235.

'SUSPENSE' Β "BPATbÄX KAPAMA30Bb!X"

87

HeCMOTpa Ha TO, HTO MHTÄ H3MCHHJI eft caMWM HaxajibHMM 06pa30M. ^ep3xaH H3M6Ha ero Bbi3BbiBaeT KaKHe-το n0flC03HaTejibHbie cTpeMjieHHH Β Heii, xoTopbie, Μ0)κβτ öbiTb, nyTeM ncHxojiorHHecKoro aHajiH3a Η oÖHapyacHBaioTCH Β HaBÄ3«IHBOCTH EE JIIOÖBH,

POMAHE

George Sand,

HO KOTOPWE Β OTJIHMHH OT STOTO POMAHA, Β

pOMaH ,H0CT0eBCK0r0 C03HaTeJIbH0 BBOÄaTC» β BHAe OTpblBOHHblX ^aHHbix. 3TH CHrHajibi n0flC03HaTejn>Hbix CTpeMJieHHÜ ρβ.ιπ»βφΗο BbicTynaioT Ha φοΗε HaxajibHofi H3MeHbi, κοτοροκ MHTH ocKopÖJiaeT KaTepHHy HeaHOBHy. Tax Β ^ajibHeiiiiieM HHTaTejib 0C03HaeT CKpblTbie CHJIbl 3a HaBH3HHBOCTbK> KaTepHHbl. riOKa OH opHeHTHpyeTc« Ha 3το, Kaie Ha HejienocTb, KOTopa« He ycrpaHJieTC« ajieMeHTOM jiHTepaTypHOH no3bi β noBe^eHHH KaTepHHbi. OH CMyTHO ^ora^biBaeTca, HTO OTcpoHeHHbie φaκτbI Bbi»CH»T eMy ncHxojiorHiecKyio, πτοδω He CKa3aTb, naTOJiorHHecKyio ycjioxHeHHocTb 3Toii "JIIOÖBH". OöoJibCTHTejibHHiia, rpymeHbKa, β öojibiueH Mepe npe^cTaBJiaeT coöoii xpacoTy Co^OMa, HCM KaTepHHa MeaHOBHa BoniromaeT β ceöe KpacoTy MaaoHHbi. Β paccKa3e ΛΜΗΤΡΗΛ rpymeHbKa BwcTynaeT Kax »cecTOKa« coöjia3HHTejibHHua, KOTopaa HrpaeT CBOHMH acepTBaMH, aeJiaeT H3 npocTHTyuHH ceöe peMecjio η BAo6aeoK ^aeT aeHbrH β AOJIT ΠΟΛ öojibiiiHe npoiieHTbi. C Heft oh pacTomrc τρκ TMCHHH, κοτορωβ KaTepHHa ÜBaHOBHa nopyrnna eMy nocjiaTb β MocKBy. fljia ^ M H T P H Ä ee onapoBaHHe TaK BejiHKo, HTO caMbie ποροκκ ee xa>KyTCH co6jia3HHTejn>HbiMH HepTaMH. He pa3 3ÄaeTCH BneHaTjieHHe, HTO npHMHTHBHaa KpacoTa 3Ta njieHaeT HMCHHO ero CBoeö »cecTOKocTbio Η HaxajibHocTbio. ECJIH Bee 3το HHTpnryeT HHTaTejw, He MeHbine nopaacaeT ero HeconiacoBaHHocrb TOMKH 3peHH« ^ΜΗτρΗΑ co MHeHHeM crapHKa: xapairrepHCTHKa rpyrneHbKH, ^aHHaa ^MMTpaeM, noKa3biBaeT npaMOJiHHeÖHocTb oöpa3a COÄOMCKOH KpacoTbi, xapaKTepHCTHKa, aaHHaji OTUOM, noKa3bieaeT ^Bye^HHCTBo HaxajibCTBa Η HCCTHOCTH. YcHJiHBaeTCÄ omymyeHHe HenojiHoii HHφopMa^nH. CTpacTb ^MHTpH» κ rpymeHbKe, KaK κ H^ojiy CO^OMCKOH KpacoTbi, OBJia^eBaeT HM Η OH "BBepx iurraMH" Β "COÄOM" öpocHTc». O H 0K0HHATEJIBH0 χοπβτ nopBaTb c KaTepHHOH HeaHOBHOH Η Β Ajieuie HyacAaeTca, HTOÖM nepe3 Hero CKa3aTb efi, iTo öojibme He πρκ,αετ. Β STOM KpoeTca CMWCJI 3ara,noHHbix CJIOB

88

JAN VAN DER ENG

Haqajia NCNOBE/IN, MTO 3aBTpa »H3Hb a n a

Hero

HannHaeTC«.

ΠΟΗΛΤΗΟ, ΗΤΟ 3TO IIOJIOXCeHHe AO HejIb3Ä OÖOCTpHeT ΚΟΗφϋΤίΚΤ C OTn,OM-COnepHHKOM Η yCHJIHBaeT OpweHTaitHIO Ha pOKOBOH HCXOfl. 3 T a opneHTauH« ocoÖeHHo HaBfl3biBaeTca, Kor^a oÖHapyxHBaeTca, noneMy

/^ΜΗΤΡΗΗ

npHieTC« Β ca^y

oma:

OH

ÖOHTCÄ,

HTO

rpymem>Ka πρκ,αετ Ha npHMaHKy Β ipH TMCHHH, KOToptie crapmc oTjioiKHjiFLJMHee. H a Bonpoc A j i e u m , HTO 6y,zjeT, ecjiH 0Ha ΠΡΗΑΒΤ, OH oTBenaeT, HTO yöbeT CTapHKa. TpeeoacHbifi οτ3ΗΒ A j i e n n i BwpwßaeT y Hero cjioea, κοτορι>ιβ KaK öyzjTo npe^BocxnmaioT ({mTaJibHbiH ΜΟΜΒΗΤ: " —

Ά Be^b He 3Haio, He 3Haio ... MosceT

öbiTb, He yöbio, a MoxeeT, yöbio. Eoiocb, HTO HeHaBHcreH OH B^pyr MHe CTaHeT CBOHM JIHIIOM Β Ty caMyio MHHyTy. HeHaBHacy e r o Ka^buc, ero HOC, e r o rna3a, e r o öeccTbiflHyio HacMeuiKy. JIHHHOC OMep3eHHe nyBCTByio. Β ο τ 3ΤΟΓΟ 6oiocb. BOT Η He yaepxcycb . . . " TaK π ο ρ τ ρ β τ rpyineHbKH Β npeAcraBJieHHH #ΜΗΤΡΗΗ HHTCHCHBHpyeT opneHTaiiHK) Ha

flonojraHTejibHbie

aamibie ο Heft Η

ocrpee B03ÖyxiiaeT HHTepec κ ee JiHHHOMy noaBJieHHio. BMecre c τεΜ flonojmeHHfl κ oTcpoieHHbiM aaHHbiM paccKa3a (npeßbiBaHae Β

caay» Hanajio HOBOH 2KH3HH ^ M H T P H « ) onaTb Η C 6ojibiiiHM

BecoM opneHTHpyiOT HHTaTejia Ha H3BecTHbie poKOBbie CO6WTH«. BBOÄ

0TpbiB0HHbix ΜΟΤΗΒΟΒ Η ορκβΗΤΗροBKa Ha He paccKa3aH-

Hbie nacTH TeMbi, HHTeHa^HUHpyioTca Β AaHHbix cjiynaax npe»me Bcero CTHJIHCTHHeCKHMH npneMaMH. n p H 3T0M 3TH CTHJIHCTHnecKHe npneMbi »BJIHIOTCH He Tojibxo ycHjiHBaiomHM 4>aKTopoM, HO Η 3JieMeHTOM, 3aflepMCHBaiOmHM nOJIHyiO ΗΗφορΝ^ΗΚ). 3 τ ο Β

cooTBeTCTBHe c nosTHHecKHM xapairrepoM penn

^MHTPHH,

BbicTynaiomero co CBoeii HcnoBeflbio, xax c e o e r o po^a paccKa3HHK. T a x cooömeHH« Ο npHHHHe Taimoro npeöbiBaHHH Β ca^y Η Ο CMbICJie HOBOH 5ΚΗ3ΗΗ OTOflBHTaiOTCH pHAO Μ TaBTOJIOTHHeCKHX yBepeHHH, KaK HanpHMep: " e c e O6i»HCHK>, npoflOJixceHHe enpe^b", "6y,ay Bee roeopHTb", "Te6e OÄHOMy Bee CKaaAa BepcT,

MeHa

Β KapMaHe,

OTCK>£a c H e ß Β

uwraH

Tyzta

y

Μοκροβ,

AOÖMJI, u b i r a H O K ,

93

'SUSPENSE' Β "BPATbÄX KAPAMA30BMX"

uiaMnaHCKoro, ecex MyacHKOB TaM inaMnaHCKHM nepenoHJi, Bcex 6 a 6 Η ΛΒΒΟΚ, FLBHHYJI THCJIHAMH. Hepe3 τ ρ π ÄHÄ TOJI, HO COKOJI. T M ^yMaji, AOCTHr Hero COKOJI-TO?

Ra.y&e

Η3Λ&ΤΙΗ He noKa3ajia.

roBopio Te6e: Η3ΓΗ6. Υ ΓργιπβΗΐ,κΗ, mejibMbi, ecTb TaKOH OÄHH Η3ΓΗ6

Tejia, OH Η Ha H05KKe y Heft oTpa3HJic&, AAXCE Β najibiHKe-

MH3HHHHKe Ha JieBOH H05KKe 0T03BaJICH." Β nepBoii HacTH aÖ3aita, MHTH KaK ßyirro SKCNOHHPYET CBOK> CTpacTb

Β

KOHTpacTHOM

ocßemeHHH:

OH

roBopmr

ο

HJIOXHX

nocrymcax rpyineHbKH. O H HaiHHaeT c φpa3bI, x o T o p a s «BJIAETCH Bee,qeHHeM

κ

3TOMY.

BAPHAHTW

3TOH

4>pa3bi

B03BpamaK>Tca

HecKOJibKo pa3 Η BbipaxaiOT cepuHTyio peaKUHio Ha no3opHoe a e j i o 3 t o h ÄeHiHHHbi: "iT rpymeHbKy η ABHHyncH ÖHTb"; " I l o n i e j i a ÖHTb ee". H o nocjie^HHH pa3 pa3a ÄBJMeTc« nepBoft HacTbio ÄByxcocTaBHoro npeanoaceHH» Η BTopaa Hacrb BbißejweT cMHpemie nepefl Heio: " F l o m e j i Η 6ΗΊΊ» ee, άζ

y Heä Η ocTajica". MOTHBW

oTpHuaTejibHOH xapairrepHCTHKH Hcnojn.3yioTCH ΛJW nofliepKHBaHHa

BceMorymero

oöaHHHH

xceHuiHHbi:

OHH

norjiomaioTcx

pHTMHHecKHM ryjioM, KOTOpbin noJiynaeT ano(J>eo3 Β p j w y n r a e p öojnwecKHx M e τ a φ o p cTpacTH. PHTMHICCKHH r y j i 3 τ ο τ προχοΛΗΤ iepe3

cepHio

cpaBHHBaeMbix

CHHTaKCHiecKHx

ceKUHii,

cpaBHH-

BaeMbix no o ö p a 3 y HepezioBaHH« npeaJioaceHHH Η IJICHOB n p e a jioxceHHH (6eccoK)3H0CTb), no noBTopaiomeMycH racjiy c j i o r o a ( ο τ AByx flo leTbipHaflaaTH) Η n o noBTopaiomHMca yaapeHHJiM ( ο τ ΟΛΗΟΓΟ ΛΟ Tpex). M O Ä H O CKa3aTb, HTO Bbiiue ynoMHHyroe n p e a jiojKeHHe Η npHBe^eHHbie BapnaHTbi ero, ΒΜΠΟΛΗΛΙΟΤ φyHK^HK> pHTMHHecxoro

carHajia: cpaBHH HanpHMep

"norneji ee

ÖHTb",

"HcnyraTb xoTejra", "oHa He nopaacaeT", "HHKJI BpeMeH coeepnieH". 3Ta

φyHκ^HH,

MoaceT

6bm>,

BH/iHee

β pacnpocrpaHeHHbix

cjioacHtix npeAJioaceHHHX. T a M npoHCxo^HT

Η

HHor^a HecKOJibKO

HCKycHoe apoöJieHHe c HHBepcuxMH, HTO6w BHÖCTH β pe*o> »cejiaTejibHoe pHTMo-CHHTaKCHiecKoe HJieHeroie: "[...] TpymeHbRe STOH 6MJI 3THM LUTaöc-KanHTaHOM, OTUOBCKHM noBepeHHbiM, BeKcejib Ha MeHa nepe^aH", "paccjia6jieH jieacHT" Η T.Ä. B c r p e i a e T c a Η φopMa

HHBepcHH,

KOTopa«

BeaeT

κ

nceB^o-HenojmtiM

npea-

jiojKeHHHM nocraHOBKOH onpeAejieHHH n e p e a cKa3yeMbiM, KaK Η n o c j i e Hero: "[...] iibiraH Ty^a ^oöbui, ubiraHOK, uiaMnaHCKoro, ecex MyiKHKOB TaM inaMnaHCKHM nepenomi, ecex 6 a 6 Η a c b o k [...]"

Ά

94

JAN VAN DER ENG

BMecTe c KHBepcaeH ncnojib3yioTca η öojiee hjih MeHee τ&βτολογη-

^ecKHe οβοροτω: "[...] aeHBry HaacHTb jik>6ht, Ha»HBaeT, Ha 3jn>ie npoiieHTti ^aeT, npofifloxa, uiejibMa, 6e3 acajiocTH." A63aii; pacna^aeTcn Ha ΛΒβ qacTH.Kaamaji HMeeT cboh Kyjn>MHHaHHOHHMH IiyHKT. Β IiepBOH HaCTH, pHTMHTCCKHH ryjl, KaK öy^To cTpeMHTejibHo npH6jm»caeTCH κ p$wy cacaTtix MeTa4>opHnecKHx φopMyJmpoBoκ

ranepöojiHHecKoro

xapaKTepa.

Phtmh-

HecKaa Bbipa3HTejibHocTb s t h x MeTacJjop-npeajioHceHHH noBbimaeTca KaK 3ByKOBbiMH noBTopaMH BHyTpH npe^JioaceHHÄ, TaK η no OTHouieHHK) h x flpyr κ Äpyry. Πρκ s t o m CKptiTa« HanpaxceHHocrb β OTpHuaTeJibHbix cooömeHHiix ο FpymeHbKe pacKpbiBaeTca, KaK HanpHMceHHocTb CTpacra. OTpHuaTejibHocTb hocht Ha ce6e nenaTb noJiy-o^o öpaiomero pyraTejibCTBa, ηηογ,ζ^ npHMO BbiCKa3aHHoro: "npoäfloxa, uiejibMa". BejiHHHHa cTpacTH, KaK 6yjxro H3MepiieTCH Mepoil njioxHx KanecTB. Η

βμχολητ,

KaaceTca, ητο

eTpaeTb

^MHTpH« oöpaTHo nponopuHOHajibHa BejmiHHe pacnymeHHocra rpyuieHbKH. 3 τ ο o6o3HaiaeTCH β cjioßax, K0T0pbie BbipaacaioT cKpbiTyio MyBCTBeHHyio 3M0nH0Hajn>H0CTi> npeAMAymnx cooÖmeh h h : 'TpaHyjia rpo3a, yaapHJia nyMa, 3apa3HJica η 3apa»ceH Aocejie, η 3Haio, mto y»ce Bce κοη^θηο [...] LJhkji BpeMeH coßepiueH." 3aKJnoHaK>maH nmepöojia npH^aeT KJiHMaKC nepBofi Hacra aÖ3aua. KyjIbMHHailHOHHblH nyHKT BTOpOH HaCTH npHXOflHT C HaCTO miTHpoBaHHbiMH y»ce cjioBaMH KOHna aÖ3aiia. TaM yaee πρ»Μθ Bbipa^caeTC» cTpacTb ^MHTpna β onncaHKH j i h h h o c t h rpyuieHbKH. PyraTejibCKoe cjiobo "mejibMa" othochtch HenocpeflCTBeHHo κ ee 3pOTHHeCKOH CyTH. H3jm»HHe HyBCTBeHHOrO BOCTOpra ΒΒΟΛΗΤΟΗ s j u i h h c h c o m : Bce cjie^yioinee aBJiaeTca pacKpbiraeM 3MoimoHajibHoii Haflrpy3KH sjurancHca ( " ü roßopio Te6e: η3γη6"). HenojiHbie pa3roBopm>ie oßopoTbi o ä h b j w i o t pe*n»: β nepBofi nacra: "OHa He nopaacaeT"; bo Βτοροκ: "Mbi oTCK>,aa c Hefi β Μοκροβ", "MBUHyji TbicanaMH", "flaace H3^ajra He noKa3ajia". TaKoü aceHenojmbiii οδοροτ οληη pa3 cTpoHTc« xax nrpa cjiob, ocHoeaHHaa

Ha OJIbKJIOpHOM HflHOMe: "Hepe3 TpH ffHSl toji, ho cokoji". Mw ysce oTMeTHjra nceB,n;o-HenojiHbie npeajioaceiffla KaK pe3yjn>TaT HHBepCHH. HHBepCHpOBaHHbie KOHCTPJTCUHH, KaK Η 3JUnmTHieCKHe Η

Henojfflbie,

HHTeHCHBHpyiOT

pHTMHHeCKHM

OÖOCOÖJieHHeM

'SUSPENSE' Β "EPATbJIX KAPAMA30BbIx"

95

CHHTaKCHHeCKHX CeKUHH CMtlCJIOByiO CTOpOHy. Β 3TOM OHH TaK »ce fleficTBeHKbi, KaK MeτaφopbI, oöopoTbi oöbmeHHOH penn Η τ.,α.

CTpacTb /Ι,ΜΗΤΡΗ« CHJibHo BbipaaceHa. BoJIbUie Bcero nopaacaeT, MoaceT 6biTh, MTO crpacTb ero HyBCTByeTca Β pHTMHTOCKOM CTpOeHHH peHH Η TaM, r^e CJIOBa COflepÄaT KpHTHKy, HEO^OÖPEHHE. Bo3HHKaeT KaKaa-το 3ΗΤΟΗΗΜΗΗ Me>K,ay PHTMHKOHHTOHaiiHOHHblM Η CeMaHTHHeCKHM CTpOSMH. MOÄHO IIO,IiyMaTb HHor^a, HTO ποροκΗ oöoxcaeMoro npe^MeTa aBJiawyrca aneMeHTaMH ero oöaaHHa. Bce 3το, κοΗβΗΗο, CHJU>HO HHTpHryeT HHTaTejia: CTHJIHCTHieCKHe npHeMbl He TOJEbKO yCHJIHBaiOT Bbipa3HTeJIbHOCTb oTpbiBOMHbix MOTHBOB Η nocjieayiomeH opHeHTaiiHH HHTaTejia Ha flajibHefiuiHe ceeaeHHa ο rpyineHbKe, HO ^axce Β CKPMTOM BH^e, CHJIOH 3KCnpeCCHBHOCTH, CHrHaJIH3HpyiOT HOBblH TaHHCTBCHHblH φaκτ, TpeöyiomHH aonojiHHTejihHoro paccKa3a: a HMCHHO cocymecTBOBaHHe nopoxa Η oöaaHHa Β rpymeHbiee Η yBJieneHHa J[I,MHTpHH 3TOH CMeCblO. ΟΛΗΗΜ CJIOBOM,

Mto xacaeTca φορΜ opneHTaimä Ha Hepaccica3aHHbie nacTH TeMbl, OHH HBJIÄIOTCa COMHHTejIbHbIMH, TaK KaK OTpblBOHHbie aaHHbie 3thx

HacTeü noaBJiaioTca

Β MOHOJiorHHecKoö

penn

flMHTpna. HcKJiioMeHHe, MoxceT 6biTb, cocTaBJiaeT opHeHTHpoBKa Ha ocHoße aaHHbix ο npeöbiBaHHH ,Π,ΜΗτρκβ Β ca^y oTua: 3TH MäHHiie lacTbK» B03HHKaK)T Β paccxa3ae Bceee^ymero paccKa3*n«ca, noßecTBoBaBiiiero ο BCTpe^e AjieoiH c ^MHTpweM, nacTbio Β COOÖmeHHHX ^MHTpHa. ΠΟΤΟΜ pa3Hbie COMHHTeJIbHbie φορΜΒΙ nOJiynaiOT ΟΤΤΕΗΚΗ yCJKMKHCHHa, OÖMaHHHBOCTH Η flByCMblCJieHHOCTH. T a x

oßmHe paccyameHHa ο ^Byx φopMax KpacoTbi,

opHeHTHpyioiime HHTaTejia Ha o6pa3bi KpacoTbi, BonjiomeHHbie Β MByx aceHHiHHax, oKa3biBaioTca oÖMaHHHBbiMH no oTHouieHHK) κ KaTepHHe HeaHOBHe, xoTopaa He npeßCTaBJiaeT coöofi Haeaji Ma^oHHbi, BHymeHHbiH 3THMH paccyacaeHHaMH. HacMeT

Tpy-

meHbKH, opaeHTauHa Ha ee JiHHHocTb, KaK Ha o6pa3 COÄOMCKOH KpacoTbi,

ycjioacHfleTca

npexcHHMH

ΟΤΡΗΒΟΗΗΗΜΗ

Α^ΗΗΗΜΗ,

KOTopbie 0xapaKTepH30Bajm ee, KaK cMecb ^ecTHocTH, fleTejibHocTH Η npoflaacHocTH. KpoMe

floöpo-

ΤΟΓΟ oöpa3 KpacoTbi

Co,zjoMa, Β ojiHiieTBopeHHH rpymeHbKH, noKa3biBaeT Ha ßejie Hejienoe coneTaHHe, κοτοροε eme Tpy^Hee BocnpHHaTb, teM 3το 6biJio Β oömnx paccyxc^eHHax: HMCHHO aHTOHHMHa ÜOAJIOCTH Η

96

JAN VAN DER ENG

oöaflHHfl η BKjnoieHHe πολπγοοτη β npe^ejiti ee oiapoBaTejibHoii jthhhocth. Β ^aJifcHeHUieM, ΒπροπβΜ, noAJiocTb ee Bee 6ojn»nie η 6ojrbiue cMarnaeTca η πολ kohcij OTpbiBOHHwe φακτΗ no noeofly

ee co^omckoh KpacoTbi ποητη aejiaioTca HeoöocHOBaHHHMH. OpHeHTauH« Ha 0Tiiey6HHCTB0, κοτοροε β KOHiie nocjiejpieH nacra HCnOBe^H C CHJIOH BblBOAHTCfl, nOJiyiaeT OAHaKO OTTeHKH ABycMbicjieHHocTH β cbh3h c paHbiue BMBe^eHHOH opHeHTaqHeii Ha poKoßoe 3HaieHHe npHe3fla HßaHa. ^BycMHCJieHHoCTi» 3Ta co3^aeT, KaK noöo^HWH 3φφβκτ, 3JieMeHT Spannung:5 H^eT ceoero po^a copeBHoeaHHe Mexcay ÄByMfl pa^aMH μοτηβοβ β cbjoh c κaτacτpoφoH η tcmhoh kohhhhoh CTaporo KapaMa3oea; οαηη p«A βμβολητ MßaHa, KaK rjiaBHbiö φaκτop Syaymnx φaτaJΠ>ID>IX coöwthh, zipyroö ρ«^ /Ι,μητρη«. MHHaTejiL· HanpaaceHHO «Λβτ BblXOfla, KOJieÖJIHCb B CBOeÖ O p H e H T H p O B K e .

VII Β KOHu,e BocbMoö η βfleBHTOHrjiaeax Βτοροίί ΚΗΗΓΗ opHeHTaitH« Ha ,Ο,ΜΗτρΗ«, KaK Ha noTeHimoHaJibHoro OTueyÖHHiiy, ho BMecTe c τβΜ η Ha poKOByK) pojib MeaHa, Haxo/urr caMoe CHJibHoe BbipaaceHHe. OpHeHTauH« 3Ta ocHoeaHa Ha cjioeax flMHTpna, üsaHa η CTaporo KapaMa30Ba. /Jmhtphh, npe^nojiaraa, hto rpymeHbKa npauuia, BopBajic« β rocTHHyio OTiia. CTapHK β s t o t MOMeHT BbiKpHKHBaji: " — Y6beT, yöbeT! He Aaeafi mchh, He AaBan!" riocjie τογο, KaK ^MHTpHH y^apHJi oTua 06 noji, HeaH KpHKHyji eMy: " — CyMacnieauiHH, ee^b τ η yÖHji ero!" PenjiHKa ^MHTpH« o6o3HanaeT Βτοροκ μομθητ opHeHTauHH: " — TaK eMy η Ha^o! [...] A He y6HJi, TaK eme npn^y yÖHTb. He ycTepeaceTe!" Cjie^yiomne μ ο μ θ η τ μ oÖpamaioT BHHMaHHe Ha h t o - t o 3JioBemee β cjioeax η noBe^eHHH MeaHa. O h roBopHT menoTOM Ajieuie: " — HepT B03bMH, ecjin 6 η He OTOpBaji ero, noacajiyü, oh 6bi TaK η yÖHJi. Μηογο j i h Haflo 33ony?" Ha cjioea Ajienm 8

3neMeHTbi "Spannung" η "suspense" He pa3 oToacflecTBJieioTCH. Β HameM cnoBoynoTpe6jieHHH "Spannung" npeonojiaraeT copeBHoeaHHeflßyxb3ähmho npoTHBopewBUx Hanau. 3τοτ φακτορ Λ&πεκο He eceraa CBJoaH c bboaom OTpblBOHHMX ΜΟΤΗΒΟΒ Η C OTCpOHKOÖflODOJIHeHIlflΚ HHM.

'SUSPENSE' Β "EPATBFLX KAPAMA30BbIx"

97

"Eoxce c o x p a H n ! " , o T B e i a e T OH " e c e τ β Μ zee m e n o T O M , 3JIO6HO cKpHBHB JIHUO": " — A 3 a i e M coxpaHH? Ο AH Η r a f l c b e c T a p y r y i o Η Aopora!" CrapHK ΠΟΤΟΜ caM B b i p a x a e T

RA^HHY, O6OHM ryaa

A j i e i n e CBOH c T p a x : " — A j i e r n a , 3 a u i e n T a j i OH o n a c j i H B o , — M e a H ? [...] q

T

o

r^e

roBopHT H e a H ? A j i e r n a , MHJIMH, e^HHCTBeHHWH

CBIH MOH, A MEAHA 6OK>CI>; A HEAHA 6ojn>me, HEM ΤΟΓΟ, 6 o i o c b . " Ilocjie

pa3r0B0pa

c

OTUOM

Bbimeji Η BCTPETHJIC«

Aneina

c

MEAHOM Β cany. O H 3A^aeT e M y B o n p o c : " — B p a T , n03B0Jib e m e c n p o c H T b : Heyacejra HMeeT n p a e o BCHKHH nejioBeK pernaTb, CMOTpa Ha ocTajn»Hbix j n o a e i i : ΚΤΟ H3 HHX AOCTOHH JKHTT» Η KTO 6oJiee HeflocTOHH?" κοτοροΜ

ΠΟΤΟΜ

MeaH

acHo

HaHHHaeTca aaeT

cjie/iyiomHH

noHyBCTBoeaTb

CBOHMH »cejiaHHflMH Η nocTynKaMH n o KapaMa30By:

"—

Κ

ii0CT0HHCTBy?

3tot

HeMy Bonpoc

»ce

TyT

Bcero

pa3r0B0p,

aHTHHOMHK)

oTHomeHHK) κ

BMCiiiHBaTb

name

Meamy

CTapOMy

pemeHHe

peuiaeTca

Β

Β

no

cepauax

jnoflefi coBceM He Ha ocHoeaHHH AOCTOHHCTB, a no jupyrHM npHHHHaM, r o p a 3 ^ o

6 o j i e e HaTypajibHbiM. A

HacHeT n p a e a , TaK

κ τ ο ace He HMeeT n p a e a acejiaTb? —

H e CMepTH »ce j j p y r o r o ?

—

Α χ ο τ ί ΐ 6bi flaace Η CMepTH? Κ HeMy xe

jiraTb n p e a CO6OK>,

K o r a a Bee JnoflH TaK acHByx, a noacaJiyfi, TaK Η He M o r y T HHane XHTB. T b i 3TO HACIET FLABEUIHHX MOHX CJIOB Ο TOM, MTO "FLEA RAAA noe^HT A p y r a p y r a " ? Il03B0Jib Η T e 6 a c n p o c H T b β TaKOM c j i y n a e : Tbl Η MeH», KaK JlMVTpufi cnocoÖHbiM npojiHTb KpoBb

CTHTaeuib

3 3 o n a , Hy, y6HTb e r o , a ? [...] 3Haft, η τ ο λ e r o Bcer^a 3aiitfimy. H o Β

JKeJiaHHMX

MOHX

Λ OCTaBJWIO

3a

C06010

Β

flaHHOM

CJiyHae

nOJIHblH npOCTOp." Β

AajibHeftiueM —

HaMeKH

Η

ΤΟ ecTb Β ΠΕΤΒΕΡΤΟΗ Η ΠΗΤΟΗ KHHrax

OTpblBOHHbie

flaHHbie

no

ΟΤΗΟΠΙΒΗΗΚ)

—

Κ CJIOJKHOH,

TeMHoö pojiH H e a H a yMHoxcaioTca, T o r n a KaK ο noTeHUHaJibHOM OTueyÖHÖcTBe pyKaMH .ZJmhtphä ΠΟΗΤΗ Ηβτ Β noMHHe. Ο ,Π,ΜΗΤΡΗΗ TOJibKO ABa p a 3 a , Η Kaacflhiii p a 3 n o c j i e ΤΟΓΟ, KaK H e a H aoBOJibHO flojiro

CTOHJi Β ueHTpe

BHHMaHHH,

ΜΗΜΟΧΟΛΟΜ

ynoMHHaeTcs.

ΓΤερΒΜΗ p a 3 3 τ ο c j i y n a e T c a n o c j i e p a 3 r o e o p a Mexc^y A j i e m e f t Η OTUOM, BOCnpOH3Be^EHHORO BO BTOpOH TJiaBe ΗβΤΒβρΤΟΗ ΚΗΗΓΗ. Ajierna Toraa —

yace Β H a i a j i e TpeTbeii rjiaBbi —

^ y M a e T , HTO

,Ο,ΜΗΤρΗΗ, KaK Η OTeU, 3a HOHb n o c j i e HaCHJIbCTBeHHblX CUeH Β

98

JAN VAN DER ENG

rocTHHOH, οκρβπ η BCTaji pasflpaaceHHWH η 3jioh : " Ο , HenpeMeHHO Ha^o ceroziHa ero ycneTb pa3bicKaTb bo mto 6 h hh CTajio ..." H o

Ho ποτομ oh 3a6biBaeT ο HeM, BCTpeTHB ιπκολβηηκοβ, npeöbiBaH β aτMocφepe Haapbraa pa3Hbix γοοτηημχ η τ.β. Βτοροκ pa3 3το cjiynaeTca nocjie #ojithx pa3roBopoB c HeaHOM ο cMbicjie 5kh3hh,

ο Bore, ο pojiH ιιερκΒΗ η T.fl. Β KOHii;e π«τοη rjiaBbi πητοη κηηγη BCeBe^ymHH paccKa3iHK 3aMenaeT: "ΠΟΤΟΜ OH C bcjihkhm He^oyMeHHeM npHnoMHHaji HecKOJibKo pa3 β CBoeö jkh3hh, KaK μογ oh e#pyr, nocjie Toro KaK paccrajic» c HeaHOM, TaK coeceM 3a6biTb ο ÖpaTe ^.MHTpHH, ΚΟΤΟρΟΓΟ yTpOM, BCerO TOJIbKO HeCKOJIbKO HacoB Ha3a^, nojioacHJi HenpeMeHHO pa3bicKaTb η He yxo^HTb 6e3 τογο,

xoth 6bi npHiiiJiocb aa»ce He BoporaTbc» Ha 3Ty ho Hb β MOHaCTblpb." 3 t h ÄBe H30JIHp0BaHHbIX OpaeHTaiiHH Ha ,Π,ΜΗΤρΗΑ nopaacawT cbohm tohom, KaK 6yflro Ajieme npeACTOHT npeflynpe,n;HTb hto-to ^τ3θτροφΗ*ΐ6θκο6. A bo btopom naccaace co^epxcHTca ßaace TeMHbiii HaMeK Ha το hto Ajierna ono3^aji, mto κaτacτpoφa yace coBepniHJiacb. (Cp.: "Ποτομ oh c bcjimkhm HeaoyMeHHeM npHnoMHHaji hcckojibko pa3 β cBoefi 5KH3HH [...]") ΡοκοΒοε 3HaHeHHe npHe3^a HeaHa το η ßejio BbinjibiBaeT β pa3roBope CTaporo KapaMa30Ba c Mjia^iiiHM cwhom Hepe3 aeHb nocjie öyiiHoro noße^eHH» ,Ζ^μητρηλ β tocthhoh. Πρκ 3tom oh HaxajibHO BbipaacaeT pa3Hbie npeflnojioaceroiii, KOTopwe η 6e3 Hero MorjiH 6bi npHHTH Ha yM HHTaTejia no noBoay HacTHHHbix oÖHapyjeccHHH κaτacτpoφHHecκHx coöbiTHH β HHTpo^yKTHBHOM paccKa3e xpoHHKepa. Ποτομ CTapHK noflHepKHBaeT conepHHiecTBo HeaHa c ,Ζ^ΜΗτρκβΜ β jik>6bh κ KaTepHHe HeaHOBHe, ο neM HHTaTejn» nojiyran yace pe3KHe HHCHHyauHH npH nocpe^CTBe PaKHTHHa nocjie no3opHbix ctteH β Kejn.e CTapua. TaK ocBeßOMjraacb ο 3^opoBbe CTapua η KaK öyijTO He cjiymaa otbct Ajiernn, CTapHK BHe3anHo HaHHHaeT roeopHTb 06 HeaHe: " — MeaH yrneji. [...] Oh y Mmtmch H3o Bcex chji HeeecTy ero

oTÖHBaeT, ßJW τογο 3#ecb η »chbct, — npHÖaBHJi oh 3jio6ho h, cKpHBHB ροτ, nocMOTpeji Ha Ajierny. — HeyacTo χ oh BaM caM TaK cKa3aji? — cnpocHJi Ajierna. — ffa, η aaBHo eme CKa3aji. KaK τω ayMaeuib: He^eJiH c τρκ, KaK cKa3aji. He 3ape3aTb ace ΜβΗΛ tehkom η oh npnexaji cio^a? ßji» Hero-HHÖyAb ßa npnexaji »ce?"

'SUSPENSE* β "ΕΡΑΤΜΧ KAPAMA30BbIx"

99

CnycTH HecKoJibKo μομθητοβ, cTapHK BbmenraeT apyrne npe^nojioaceHHa HacneT HeaHa: "3aneM oh He γοβορητ co mhoh? Α η γοβορητ, Tax JioMaeTca; nojuieu t b o h MeaH! A Ha TpyiiiKe ceönac sceHiocb, t o j ü k o 3axony. IToTOMy hto c ^eHbraMH c t o h t t o j & k o 3axoTenb-c, AjieKceö Φβ,ηοροΒΗΗ, Bee η öy^eT. B o t HßaH-το 3τογο caMoro η 6ohtch η CTopoacHT MeHH, hto6 Ά He ÄeHHJiCH, a ajih ΤΟΓΟ HaTajiKHBaeT MnThicy, η τ ο 6 μ t o t Ha TpyuiKe aceHHJica: TaKHM 0Öpa30M χοπβτ η MeHH οτ TpyniKH yöepenb (6y,HTO 6w « eMy ßeHer ocTaBjiio, ecjra Ha TpyuiKe He acemocb!), a c ^pyroii CTopoHM, ecjiH MHTbKa Ha rpyiiiKe xeHHTC«, Tax MeaH ero HeeecTy öoraTyio ce6e B03bMeT, b o t y Hero pacneT Kaxofi! Ilofljieii t b o h ÜBaH!" TpeTHii pa3 cTapbiö KapaMa30B HawHaeT cboh onaceHHH c 3aMeMaHHH, hto M h t i o pa3flaBHT, xax TapaxaHa, npHÖaBJWH: "Teoü MHTbKa, noTOMy hto τ η ero jnoöniiib. Α icaöbi HeaH ero jüoöhji, η 6w 3a ce6» öoajica τογο, hto oh ero jik>6ht. H o HeaH HHKoro He jiioöht, HeaH He Ham nejioBex, s t h juo^h, Kax H e a H , 3to, 6paT, He H a i i m juo^h, 3to nwjib no^HHBmaaca ... IloziyeT Ββτερ, η nbiJib προϋ^ετ ..." TaK onaceHHAMH cTaporo OTua, npeAnoJioMceHHHMH οτΐίβyßHÖcTBa pynaMH HßaHa, oöbhhchhhmh β 3aMbiuttieHHH ηητρηγ, pojib HeaHa Bbi/iBHHyTa Ha nepBbifi njiaH η πρκτοΜ cooömeHH« xpoHHKepa β Hanajie poMaHa npnxoflflT Ha yM HHTaTejno. MHTeHC^HKaHHH 3ΤΟΗ OpHeHTaUHH npOHCXO^HT CMeHOH MOTHBOß, BbmeJiHiomHx ^mhtphji, KaK noTeHiiHajrbHoro yÖHÖiiy, MOTHBaMH ΤΟΓΟ 3Ke 3HaHeHH« no OTHOIIieHHK) Κ ÜBaHy. ΠρΗ 3TOM cMeHa cjiynaeTCH β momcht caMofi CHJibHoii opHeHTHpoßKH Ha npe^cTOHmee oTiieyÖHHCTßo pyxaMH βΜκτρΗΑ. IIopaHcaiomHM φακτοροΜ π ο τ ο μ aBJiaeTCH το, HTO Bbicjca3biBaHHa cTapHKa ο 3aMbiiiuieHHÄX HeaHa nojiynaioT öojibinoH Bec πρκ HecKOJibKO He6pe»CHbix 3aMeHaHH»x ο pojm ,Π,ΜΗτρΗίΐ : CTapmero cbiHa oh MeHbnie 6OHTCH. PeaKHe npe^nojioaceHH» HacneT HeaHa ^eJiaioTCii TaKHM 06pa30M npesMepHo μηογο3HaHHMbIMH Η MaCCa yKa3aHHH Ha JImHTPHH jjo HeKOTOpOH creneHH 3aöbiBaeTCÄ HJIH paccMaTpHBaeTca β ÄpyroM ceeTe. EcTb TeH^eHHHH cHHTaTb ero »epTBOH MaxHHauHÖ HßaHa (no yßepeHHHM CTaporo KapaMa30Ba). }KHBbie, a HHor^a npocTopeHHbie oöopoTbi

100

JAN VAN DER ENG

o m a ("y MHTbKH HeeecTy ero oTÖHBaeT"; "tük JioMaeTC«") noBHinaioT, KOHeHHO, Btipa3HTejibHOCTb ero onaceHHH η HHCMHyaIJHH. O o p M a opHeHTauHH, o c h o b e h h o h Ha BbicKa3biBaHHxx nepcoHaxcefi, coMHHTeJibHaa. O^naKO, φaκτbI κaτacτpoφH^^ecκoΓo coöbiTH«, TeMHoii KOHiHHbi oTua, poKOBOH pojiH HßaHa Η T.A. cooömeHbi npe^BapHTejibHo xpoHHKepoM η BceBeaymHM pacCKa3HHKOM: coMHHTejibHocTb yMeHbinaeTCH. 3aTo B03HHKaeT AByCMbICJieHHOCTb Β OpHeHTHpOBKe ajIbTepHaTHBHbIMH CMeHaMH MOTHBOB, BbmBHraiOmHX TO ^MHTpH«, TO HßaHa, KaK TJiaBHblX ^BHraTejieH ροκοΒΗΧ ο ο 6 η τ η η . VIII

HenojiHa« xapaKTepHCTHKa rpymeHbKH ^OBOJibHo λ ο λ γ ο npojnoji»caeTca, τ ο ecTb oxuejibHbie 3aMcnaHHH ο ee " c b h t o c t h " , "iecTh o c t h " hjih "floöpofleTejibHocTH" ßojiro He £onojiHHK>TCH. 3aTo npHBO^HTCH Bce 6ojibine η öojibine CBe^eHHH ο ee c o ^ o m c k o h cyTH. O h h noHBJunoTca β ΜΟΜβΗτω caMoxapaKTepHCTHKH "Ha cueHe". flaxce MOMeHTH, KOTopbie 6y^To 6bi no^epKHBaroT CBeTJiyio CTopoHy ee 3ΚΗ3ΗΗ, π ο τ ο μ , xaaceTca, cHrHajiH3HpyioT ee KOBapHocTb. rioaoÖHbie 3aMeHaHHH mo»cho c^ejiaTb no oTHomeHHio κ KaTepHHe MßaHOBHe. Bce pe3*ie oMepHHBaioTca ee caMOBJiacTHocTb η 3Γ0ΤΗ3Μ, Ha KOTOpbie yace HaMeKHyjiH pa3Hbie BbicKa3biβ3ηηλ ^,ΜΗτρΗίΐ. Bce CHJibHee CKa3biBaeTC« HaBa3HHßocTb ee j h o 6 b h κ ^ΜΗτρΗίο β ymep6flOJieBejiHKo^yniH«, ο κοτοροΜ M h t ä Tax 5KHBOIIHCHO paCCKa3bIBaeT B CBOeÖ HCnoeeAH. Aße JKeHmHHbl noKa3biBaioT κ ο γ τ η β CTbiHKe apyr c ^pyroM, β cueHHHecKOM npe^cTaBJieHHH 6wcTpo cMeHHiomnxcH HacTpoeHHH. Β pe3yjibTaTe: c ο λ η ο η CTopoHbi omymeHHe HenojmocTH β xapaKTepncTHKe ßeyx conepHHii; c apyroö CTopoHbi ycjiOÄHeHHe κοηΦιιηκτηογο y3Jia. KaTepHHa η TpymeHbica προτΗΒοοτοίΐτ #pyrflpyry,KaK 3aKJiHTbie BparH. 3jieMeHT pa3^opa BecbMa ycHjraBaeTCH peuieHHeM Λ μ η τ ρ η η 6eacaTb κ rpymeHwce β nopbiee BocTopra οτ ee "HHφepHaJ^bHOH" Hrpw KaTepHHoö. YcJIOÄHÄlOmHM φ3ΚΤθρθΜ ΠΟΤΟΜ HBJIHeTC« ρβΗΙβΗΗβ KaTepHHbl MßaHOBHbl He OCTaBHTb ^MHTpHH HeCMOTpH Ha 3Ty KpaifHe yHH3HTejibHyio H3MeHy. TyT ä b h o βο3ηηκ3ϊοτ naTOJioniHecKHe

101

'SUSPENSE' β "BPATbHX K A P A M A 3 0 B b I x "

ho TW β

"jiioöbh" κ

ee

^ M H T p n i o , KOTOpbie

ποητη cboäht

Ha Ηβτ

Bee, h t o o c T a j i o c b BejiMKo^yniHoro, Ö J i a r o p o j i H o r o β e e CTpeMjieHHHX Κ HeMy. Β

rjiaee

BMecTe",

bboastcä β

xemiwübi po^a

"Oöe

HaöJno^aTejib

paay

β

awajiorHHecKHX

cueH

o6e

p o M a H . A j i e u i a n p w c y T C T B y e T , KaK c e o e r o

πρκ

hx

pa3roBope:

TOHKa

3peHHa

ero,

tohkoh 3peHHH B c e e e a y m e r o p a c c K a 3 H H K a , K O T o p b i ö a a e T n o H a T b , hto oh npHHHMaeT Ha cboh c n e x τ ο , hto A j i e u i a βη,πητ. I T e p e w e HaöjiiOÄeHHa K a x c y T c a BBe^eHHeM κ AonojiHHTejibHbiM cbcachhjim ο MecTHocTH r p y i u e H b K H : " A j i e u i y n o p a 3 H J i o B c e r o 6 o J i e e β 3tom j i H u e e r o ß e T C K o e , n p o c T O A y u m o e BbipaaceHHe. O H a rcraAejia, KaK ahtji, paaoBaJiacb HeMy-το, KaK BnponeM, cjiHBaeTc« c

ΛΗΤΗ, OHa HMeHHo n o f l o u u i a κ CTOJiy, « p a y a c b » η KaK 6bi c e f i n a c n e r o - T o owMß,a.ii c c a M b i M

Β3γληλ

jnoöonbiTCTBOM.

actckhm

HeTepnejiHBbiM

e e BeceJiHJi ß y r n y , —

η

AoeepHHBbiM

A j i e m a 3το nonyB-

CTBOBaJI." OcOÖeHHO Β nOCJieflHHX CJIOBaX CJIbHIlHTCa o ö m H H c Ajiemeii

tojioc

paccKa34HKa.

Β

flajibHefimeM,

πρκ

nocpe^cTBe

KaTepHHbi HeaHOBHw, noflnepKHBaeTca ^ o ö p o f l e i e j i b H o c T b iueHbKH : " o H a , KaK a H r e j i floöpHH, c j i e T e j i a c i o a a

rpy-

η npwHecjia ποκοη

H p a ß O C T b . . . " Η Ί . Ά . OÖOJIbCTHTeJIbHOCTb HH Β He Μ He HCKJUOHaeT ^oöpoTbi:

"Λ

3 H a i o , KaK OHa o 6 o j n > c T H T e j i b H a , h o a 3 H a i o , KaK

OHa η ^ o ö p a , T B e p ^ a , ß j i a r o p o f l H a . "

βολητ

HOBbie oTpbiBOMHiie ^ a H H b i e

KaTepHHa MeaHoBHa

npeKHeö xh3hh

npn-

rpymeHbKH,

KOTopwe, KaxceTca, o ö b a c H a i o T e e a o ö p o a e T e j i b H o c T b , o6bacHaK>T, n o T C M y c T a p w i i K a p a M a 3 0 B cHHTaji e e H e n p H C T y i m o i i K p e n o c T b i o . "BbiJi

oähh,

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mu

ero nojnoÖHjm,

mm e M y

Bce

3to 6 w j i o , n a T b j i e T Ha3a^, a oh H a c 3 a ö b u i , oh »eHHJiCÄ. T e n e p b oh OBflOBeji, n a c a j i , oh βββτ c h w , — η 3HaftTe, hto μ η οληογο e r o , ο,αηογο e r o T0JibK0 jiio6hm ,υο chx n o p η jik>6hjih bck» JKH3Hb!" Majio-noMajiy, 0 A H a K 0 , o ß H a p y a c H B a e T c a , npHHecjra, AaBHo

h t o r p y m e H b K a n r p a e T K a T e p H H o ö ÜBaHOBHOH. 3 τ ο MejibKaeT β e e c j i a m a B b i x c j i o e a x , HanpHMep, K o r ^ a K a T e p H H a t i e a H O B H a

β

β ηη5κηκ>κ> r y 6 K y : " — H e a c n T e bw MeHa, MHjia« öapbiniHfl, a a , MoaceT, η B o e c e He ctoio JiacKH B a u i e H . " M y T b - i y T b 3aMeTHbiS ottchok H3fleBaTejibCTBa o n a T b cjibiuiHTca

ynoeHHH u e j i y e T e e

β

cjioBax

rpymeHbKH,

Kor^a

OHa OTBenaeT

Ha

BocTopaceHHoe

npeyMeHbineHHe c e a 3 H c KynuoM-cTapHKOM, κ ο τ ο ρ κ ϋ , n o c j i o e a M

102

JAN VAN DER ENG

otijom, a p y r o M Hani hm, o ö e p e r a T e j i e M " : " — OneHb yac bm 3 a m m i i a e T e MeHa, MHjiaa GaptiuiHa, oneHb yxc bw bo bcüm n o c n e m a e T e . " Β KOHije KOHiiOB r p y u i e H t K a ,nep3Ko n p e p t i B a e T komcahio. ^ o j i r o η KaK KaTepHHbi

HßaHOBHbi,

"6bui

cKopefi HauiHM

öy^TO c BocxHmeHHeM a e p a c a e p y r a y KaTepHHbi HßaHOBHbi c LcejibK) "cKBHTaTbCH noiiejiyaMH", OHa B ß p y r 03a^a^aeT KaTepHHy MßaHOBHy cjioßaMH: " —

A

3HaeTe m t o , aHren 6 a p b n i r a a ,

[...]

pyMKy η He n o i j e j i y i o [...] TaK η ocTaBaÖTecb c τβΜ Ha naMHTb, hto bw-to y MeHa pyHKy iiejioBajra, a a y Bac HeT." C u e ^ y i o m H e μομθητμ noKa3biBaioT, KaK KaTepHHa 3HaeTe ΐ τ ο , B03bMy a m

Bauiy

MßaHOBHa Bbiiiuia H3 c e ö a η r p y m e H b K a noßCTpeKHyjia ee pa3ÄpaxceHHe: " — H a r j i a a ! " —

" — [...] a Μ κ τ β cefinac nepecKaacy,

KaK b m μ He iiejioßajiH p y i K y " — " — M e p 3 a B K a , b o h ! " — a x , KaK

" —

[...]

CTbißHo [...] TaKHe c j i o ß a , MHjiaa ö a p b i u i H a " — " — Boh,

npoflaacHaa T B a p b ! " — " H y yac η npo^aacHaa. CaMH Bbi ^eBHueii

β cyMepKH xaacHBajiH, cboio K p a c o T y npo^aBaTb npHHocHJiH [...]·" κ K a e a j i e p a M 3a ÄeHbraMH

Flocjie

cijeH

β tocthhoh KaTepHHbi ÜBaHOBHbi,

jm^HocTb

r p y m e H b K H HHTparyeT ö o j i b u i e , neM Kor^a-JiHÖo. /l,eTCKoe n p o CTOÄyuiHe

KaaceTca

πο3οη,

xoTa

Hejn>3a coBceM

npeHeßpeib

nepBbiM BnenaTJieHaeM aeTCKofi npocTocepAe^HocTH: B e a t naTJieHHe A j i e u i H n o ß T B e p x y j a e T c a paccKa3HHKa.

Μ

πρπτοΜ nrpy

aBTopHTeTOM

rpymeHbKH

Ha^o

ßne-

BceBe^ymero B3BeuiHBaTb,

npHHHMaa β pacneT nonbiTKy KaTepHHbi PißaHOBHbi p a c n o p a ^ H T b c a eii KaK cpe^cTBOM "cnacTH ^Ι,μητρη»", τ ο ecTb oTBjieO» ο τ Hee ,ϋ,ΜΗτρκβ,

htoöm HcnwTaTb Ha HeM ceHTHMeHTaubHoe BocnHTa-

HHe. O^HaKo ace, c j i o ß a c T a p o r o

K a p a M a 3 0 B a Ha cjie^yiomHH

fleHb, K o r ^ a o h roßopHT c A j i e m e a y»ce He TaK npOTHBopeiaT e r o npeacHeö oijeHKe, K o r ^ a o h np0B03rjiacHJi ee AoöpofleTejibHOCTb η τ . β . BH£Ho, n o j i e

floöpo^eTejiH

cyacHBaeTca β nojn>3y n p o c T o p a

o6ojibCTHTejn>Hbix KanpH30ß. Ο τ ε ι ι x o T e j i 6biJio n o c j i a T b A j i e n i y κ r p y m e H b K e , ^ t o 6 m o h c n p o c a j i ee, K o r o OHa npeßnoHHTaeT:

oTiia hjih /^MHTpHa. Ho π ο τ ο Μ oh ocTaHaßjiHBaeT A j i e i n y cjie^yiomHMH cjioßaMH: " — H e T , ο Ha Te6e He cKaxceT, [...] OHa e r o 3 a . O H a T e 6 a itejioeaTb HanHeT η CKa»ceT, h t o 3a Te6a x o i e T . O H a oÖMaHmmja, oHa öeccTbmHima, HeT, Te6e Hejn>3a κ Heß

Hejn»3a!"

häth,

'SUSPENSE' β "bPATLÄX KAPAMA30BbIx"

103

CaMOBjiacTHaa HaTypa KaTepHHbi HßaHOBHbi cnepßa CKptiBaeTca 3a bojihoh HexcHHHaHHH, ho Kor^a npona^eT Haaexxa Bocnojib30BaTbca rpyiueHbKOH ηflaaceoKaaceTca, hto rpyuieHbKa arpajia eio η τοπικό inyra no,n;ajia eö Ha^eamy, htoöh ποτομ c Hacjia»c^eHHeM pa3pyniHTL· BcaKyio hjuiio3hio, — το oÖHaMcaeTca caMOBJiacTHocTb KaTepHHbi HßaHOBHbi. CaMbiM nopa3HTejn>HbiM 06pa30M 3Ta caMOBJiacTHocTb BbipaacaeTca β ee KpHKax yace nocjie Toro, KaK rpyuieHbKa yrnjia: " — Ee HyacHo njieTbio, Ha 3ΐπ3φοτβ, Hpe3 najiana, πρκ Hapo^e ...!" Β cjie^yiomefi rjiaee notfreepacaaioTca, Tax cKa3aTb, coäomckhh oöpa3 rpymeHbKH η caMOBJiacTHocTb KaTepHHbi HßaHOBHbi. Ajieiua BCTpenaeTca c ,Π,ΜΗτρκεΜ η paccKa3biBaeT eMy, ττο np0H30IIIJ10 Β TOCTHHOH. MhTÄ peaTHpyeT BOCTOpateHHblMH BocianmaHHaMH Ha OTKa3 rpymeHbKH iienoBaTb py*iKy ero HeBecTbi. Πρκ 3tom oh He cKynHTc« Ha noBTopeHHH öemeHbix B03rjiac0B KaTepHHbi MBaHOBHbi, KaK öyajo ohh noBbimaiOT ero BocTopr: " — TaK η He noiiejioßajia pynKy! TaK η He nouejioßajia, TaK η y6e»cajia! [...] TaK Ta KpHiajia, ττο 3το τκτρ! [...] TaK ee Ha 3inaΗΗΙΙ, KaKHX M03KH0 TOJIbKO Boo6pa3HTb Ha CBeTe! Β CBoeM po^e BocTopr!" CaMOBJiacTHocTb η 3γοτη3μ KaTepHHbi MeaHOBHW acHo BbipaaceHbi ^,ΜΗτρπεΜ: "Η iy Biiacy, bck> HacKB03b η Ty BH»cy [...] 3TaKHH mar! 3το hmchho Ta caivtaa KaTeHbKa, HHCTHTyroHKa, KOTopaa κ HejienoMy rpyöoMy oφH^epy He noöoajiacb H3 BeJiHKO^yniHOH H^ea cuacra oTija npn6e»caTb, pncKya cTpauiHo 6biTb ocKop6jieHHoio! H o ropaocrb Hauia, ho noTpeÖHoeTb pHCKa, ho bm3ob cy^böe, Bbi30B β öecnpe^ejibHOCTb! [...] OHa B3anpaeay BJHOÖHJiacb β rpymeHbKy, το ecTb He β rpyuieHbKy, a β cbok> ace Meqry, β cboh 6pea, — noTOMy-^e hto 3to MO Η Me^Ta, MOÜ 6pe^!" (Hane^aTaHO KypcHBOM). Β naTOH rjiaee MeTBepTofi khhth oÖHapyacHßaeTca β cjioeax caMoii KaTepHHbi HßaHOBHbi, AjieuiH η HeaHa, KaK stot 3ΓΟΤΗ3Μ η 3Ta caMOBjiacTHOCTb npoaejiaiOT ce6a β jhoöbh κ ^MHTprno (η κ MeaHy). KaTepHHa: "[...] ecjra aaace oh aceHHTca Ha toh ... TBapn [...] κοτοροΗ a HHKor,n;a, HHKoiyja npocraTb He Mory, το Λ ece-mwcu

104

JAN VAN DER ENG

He ocmaeAJo ezo\ (HanenaTaHo KypcHBOM) [...] Kor^a »ce oh CTaHCT c τοκ> HecnacTeH, [...] το nycn» πρΗ^βτ κο MHe, η oh BCTpeTHT apyra, cecrpy ... TojibKo cecrpy, kohchho, η sto HaeeKH TaK, ho oh yöeflHTCH, HaicoHeii, hto 3Ta cecTpa aeiicTBHTejibHo cecTpa ero, jnoöflmax η BCK) 5KH3Hb eMy noacepTBOBaBina«. Ά £o6biocL· τογο, Λ HacTOK) Ha tom, hto, HaKOHeu, oh y3HaeT mühä η öyzjeT nepeflaBau» MHe Bee, He cTbmacb! [...] Ά 6yay 6ογομ ero, K0T0p0My oh ÖyaeT MOJiHTbCH, — η sto no MeHbrneii Mepe oh aojmeH MHe 3a H3MeHy cboio η 3a το, hto η nepeHecjia npe3 Hero BHepa. Η nyCTb See OH ΒΗΛΗΤ BO BCK» XH3HL· CBOIO, HTO Λ BCK) 5KH3Hb MOK) öyny BepHa eMy η MoeMy ÄaHHOMy eMy pa3 cjioey, HecMOTp« Ha το, hto oh 6bui HeeepeH η h3mchhji. Ά 6yay ... 9L oöpamycb jiHiub β cpeacTBO ^jia ero cnacTHJi (hjih KaK 3το CKa3aTb), β HHCTpyMeHT, β MauiHHy äjiä ero cnacTHÄ, η 3to Ha bcio xhshb, Ha bcio »H3Hb, Η HTOÖ OH BH^ejI 3TO Blipeflb BCK) 3KH3Hb CBOK)!" Β 3tom h3jih«hhh nopaacaeT toh ee yBepeHHH β jik>6bh η t.ä., KOTOpMH paBeH TOHy rp03HbIX HJIH MCTHTeJIbHblX BbICKa3bIBaHHH ("[...] nyCTb 7KQ OH BBWHT BO BCK) )KH3Hb CBOK) [...]")· lIOJiyHaeTCH BnenaTjieHHe, hto .gejio ceHTHMeHTajibHoro BocnHTaHH« JiBJiaeTca cpe^cTBOM oöpeMeHHTb ero co6oö, MCTHTb eMy 3a ocKopöJieHHH, KOTopbie OHa npeTepnejia οτ Hero, He HcmnoHa« η nepBOHanajibHOH oÖHflbi: ero npHrjianieHHe 3aÖTn κ HeMy 3a fleHbra. Ajierna npe^nojiaraeT, hto ee jnoöoBb κ ,Ο,ΜΗτριπο c caMoro Hanajia coaepHcajia HaaptiBHbiH 3JieMeHT. Η oh npsMo roBopHT efi, hto OHa "öpaTa ,ΖΙ,μητρη«, MosceT öbiTb, coBceM He jiioöht [...] c caMoro Hanajia ... J\SL η ^μητρηη, MoaceT öbiTb, He jik>6ht Bac Toace BOBce ... c caMoro HanaJia ... a tojü>ko htht ..." Ποτομ oh npeanaraeT npHBecra κ Heft ^MHTpH«, htoöm tot b3«ji ee 3a pyKH, ποτομ B3HJI 3a pyKH öpaTa HßaHa "h coe^HHHT BaiiiH pyKH. IIoTOMy hto Bbi MynaeTe MeaHa, noTOMy TOJibKO, hto ero jnoÖHTe a MyHHTe noTOMy, hto ,Π,μητρη» Ha^pMBOMjnoÖHTe ... BHenpaB/ty jnoÖHTe ... HOTOMy hto yeepHJiH ceö« TaK ..." MHoro3HaHHTejibKbiM 06pa30M npepbiBaeT ero B^pyr KaTepHHa ÜBaHOBHa, noKa3biBaa cocTOJiHHe ncnxo3a, β κοτοροΜ OHa Haxoiurrc«, η cooTBeTCTByiomHH CTpax nepea npaBfloft: " — Bbi ... Bbi ... bm MajieHtKHH JOpOflHBblH, BOT Bbi KTo!" MßaH Β CymHOCTH ΓΟΒΟρΗΤ το ace, hto Ajierna: "OHa aepacajia Mena πρκ ce6e fljia 6ecnpe-

105

'SUSPENSE' Β "EPATbÄX KAPAMA30BbIx"

ρΜΒΗΟΓΟ MmeHHfl. O H a MCTHJia MHe Η Ha MHe 3a BCe OCKOpÖJieHHÄ, KOTOptie nOCTOHHHO Η BCflKyiO MHHyTy BbIHOCHJia BO Beet 3TOT epOK OT ^MHTpHÄ, OCKOpÖJieHH« C IiepBOH BCTpeHH HX ... IIOTOMy HTO Η c a M a « n e p B a « BCTpena HX ocTajiacb y Heft Ha cepaue, KaK ocKopÖJieHHe." KaK H3BecTHO, MeaH n p e p w e a e T T o n j a cesi3b c Hefi. HaflpMBHbm

ajieMeHT

β

JIIOÖBH

KaTepHHbi

MßaHOBHbi

κ

,Ζ^ΜΗτρΗίο 3ao^HO c rHÖejibHOH CTpacTbio ,ΖΙ,ΜΗΤΡΗ» κ rpyineHbKe Η π ρ κ τ ο Μ e m e yflpynaiomHe fleHeacHbie o6cTo«reJibCTBa, B036yacAaioT

β

HHTaTejie

scyTKHe

npeanoJioaceHHii.

C a M J3,MHTPHH

cnocoöcTByeT 3 τ ο η a τ M o c φ e p e CBOHMH HescHbiMH 3aMeHaHHHMH nocjie T o r o , xaK A j i e n i a OCBC^OMHJI e r o ο BCTpene Meacay AByMJi conepHHuaMH. CKa3aB, HTO OH 6 « Κ Η Τ κ rpyineHbKe, OH n p o ^ o j i »caeT

cjie^yiomHMH

ΟΤΡΜΒΟΗΗΗΜΗ

cooömeHHHMH,

κοτορωβ,

ΒΗΛΗΜΟ, ccwjiaioTCH Ha φaκτbI poKOBoro xapaKTepa: " T u CBoeio Λ ο ρ ο Γ ο ή , a λ CBoeio. fla Η BH^eTbca 6ojn>me He xony, AO KaKoftHHÖy^b caMoii nocjie^Heö MHHyTbi. l i p o m a « , AjieKcefi! [ . . . ] CTOH, AjieKcefi, e m e OAHO npH3HaHHe, Te6e oflHOMy! [ . . . ] C M O T P H Ha MeHJI, npHCTaJIbHO CMOTpH: BHAHIIIb, BOT TyT, BOT TyT —

ΓΟΤΟΒΗΤ-

c « CTpaniHoe öecnecTHe. ( Γ Ο Β Ο Ρ » "BOT TyT", ^ M H T P H H Φ β Λ ο ρ ο Β Η ΐ Y^APHJI ce6a KyjiaKOM n o RPY^H Η C TaKHM CTPAHHBIM BH^OM, KaK 6y^TO 6ecnecTne Jieacano η c o x p a m u i o c b HMCHHO T Y T Ha r p y ^ H e r o , Β KaKOM-το MecTe, β KapMaHe ΜΟίκετ 6biTb, HJIH Ha iuee BHcejio 3ainHToe) [ . . . ] Ά M o r y eme ocraHOBHTbca; ocTaHoeacb, λ M o r y 3aBTpa ace uejiyio nojioBHHy noTepHHHoü necTH BopoTHTb, HO « He ocraHOBJiiocb, a coBepuiy ΠΟΛΙΏ>ΙΗ 3aMbiceji, Η 6y,ab TW Bnepe^

CBH,a;eTejieM,

T a G e j i b Η MpaK!

HTO a 3apaHee

OöbHCHÄTb

Henero,

Η 3a3HaMo

roeopio 3το!

β CBoe BpeMii

y3Haeuib.

CMpa^Hbiii nepeyjioK Η HH, jxa. Η He HyacHo coeceM, COBCCM He HyacHo . . . He H y ^ a i o c b Boece! Π ρ ο Ώ » !

. . . " O T 3 M B A j i e i i m noAiepKHBaeT

TAHHCTBEHHOE, ρ ο κ ο Β ο ε 3HANEHHE CJIOB ,Ζ^ΜΗΤΡΗ»: " K a K ace, KAK ace « HHKor^a e r o He yBHacy, HTO OH τ ο Β ο ρ κ τ ? " Bbipa3HTejn>HocTb

MOTHBOB

noßbiiuaeTC«

CTHJIHCTHHCCKHMH

npneMaMH: AJΜ p e i H ΒΜΗΤΡΚΊΐ, HanpHMep, xapaKTepHbi Bee Te cneipi4)HHecKHe

nepTbi,

KOTOpbie

Mbi B

flpyrnx

cjiynaax

yace

OTMeTHJIH" 3JIJIHIICHCbI-MeTa(j)OpbI, ΠΟΒΤΟρβΗΗΗ, CHHTaKCHMeCKHe HHBepCHH, XHa3MbI, BOCKJIHIjaTeJIhHbie HHTOHaUHH, Η Τ.A- Β CTblHKe

106

JAN VAN DER ENG

RPYMEHBKH c KaTepHHoö ΜΒΕΗΟΒΗΟΗ COÄOMCKHH SJICMCHT, KAK Η

3ΓΟΤΗ3Μ, BtipaGaTbiBaioTCH yTOHieHHWM cnocoöoM: npexyje Bcero 3^;ecb nopaacaeT CTpoeHHe flHajrora c nepeMeHOH pojieö: KaTepHHa HeaHOBHa cnepea AOMHHHpyeT co CBOHMH oöpameHHHMH, κ KOHUY rocnoflCTByeT rpymeHbKa. Πρκ STOM KaTepHHa HßaHOBHa npeB03H0CHJia necTb Η floöpoßeTejibHocTb rpymeHbKH, Ta OT3biBajiacb Ha STO GyzjTo c yMHJieHHeM, HO Β EYMHOETH oTnapHpoBajia co CKpbiTbiM H3,u;eBaTejibCTBOM. ΠΟΤΟΜ 0Ha oöpaTHJiacb κ KaTepHHe MeaHOBHe c oTTeHKaMH ΜΗΗΜΟΓΟ y^HBJieHHH Η yacaca H3-3a rpyöbix penjiHK nocjie^Hefi. /Jpyroö 3φφεκτ BepoaTHo COCTOHT Β TOM, MT Ο KaK öy^TO ΟΠΗΤΒ flaeTCÄ nepeneHb Bcex KanecTB rpymeHbKH, nojioacHTejibHbix Η OTpHHaTejibHbix, zioöpoAeTejibHocTH Η KoeapHocTH. Ho Ha 3TOT pa3 OHH flaiOTca Β flpyroö 3MOUHOnajibHOH oijeHKe: yeepeHHa Β ßoöpoAeTejibHOCTH, npocToßyiiMH Η Τ.Λ. HBJMIOTCÄ CTpaTeraeö Β MCTHTejibHÖH 6opb6e 3a nepeeHCTBo. OpHeHTHpoBKa Ha o,n;HocTopoHHHe AonojiHeHHÄ κ xapaKTepnCTHKe ÄeHCKHx nepcoHaacefi «BJIHCTCH coMHHTejibHoii: OHA OCHOBaHa Ha Α^ΗΗΗΧ, cooömaeMbix nepcoHa>KaMH, Ha^HHaa c pa3roßopoB CTapHKa Β Kejibe ^o penjiHK conepHHij Β TOCTHHOH. CoMHHTejibHaH 4>opMa opneHTauHH pOÄ^aeTc» TaKxe οτ ycjioacHeHHH KOΗΦjiHKTHoro y3Jia Β CTbiHKe Aßyx acemuHH: Η 3^ecb npeoÖJiaAaeT sjieMeHT ßHajiora. Ho Β pa3roeope Me»c^y AjieKceeM Η ^MHTpneM, nocjie ci^eH Β TOCTHHOH, coMHHTejibHbiii xapairrep omymeHHH KaKHx-το ßy^yiHnx κaτacτpoφHHecκHx COÖWTHH, HMEET

CBOH

AßYCMBICJIEHHBIE

Η

OÖMAHHHBBIE

OTTCHKH.

/JßY-

CMbicjieHHocTb COCTOHT Β TOM, «ITO HHTaTejib cnpaiHHBaeT ceöa: HaMeKaeT JIH ^MHTPHH Ha H/jeaji COAOMCKOH KpacoTbi HJIH Ha npe^cToamee yÖHHCTBo HJIH Ha το Η Apyroe? OÖMAHHHBOCTB oÖHapyÄHBaeTCH, Kor^a ΒΜΧΟΛΗΤ, ΗΤΟ BbipaaceHHii "rnöejib Η MpaK", "cMpa^HbiH nepeynoK", "npomaii, BH^eTbca 6ojn>me He xony KaKOH-HHÖyzjb caMOH nocjie^Heö MHHyTbi", OTHOCHTCÄ Κ ero pemeHHio IIOKOHHHTL· 3KH3Hb caMoyÖHiicTBOM nocjie ΤΟΓΟ, KaK pacTOMHji BMecTe c rpymeHbKoö ßTopyio nojioBHHy AeHer, nopyieHHbix eMy KaTepHHoii HßaHOBHOH.

'SUSPENSE' Β "EPATLÄX KAPAMA30BHX"

107

IX

JlaKeö CMepaaKOB npeßBocxHmaeT (brnecTOHrjiaee πητοη κηηγη) nojiojKeHHe, cocToamee öynjo H3 piwa coBna^emiH, cnocoöCTByiomnx OTiieyÖHÖCTBy nepe3 nocpeflCTßo ^MHTpH«: 3aBTpa c hhm npHKJKOHHTcafljiHHHaHnaaynaa, ΓρΗΓορκΗ 3a6ojieeT, a ero »:eHa HaMepeHa ero 3aBTpa JieHHTb κρεπκοκ HacTOHKOH, οτ κοτοροΗ 06a "TaK TyT η CBajurrca-c h crorr onem» ^ojiroe Bpe\w KpenKo-c". ΠρΗ 3tom JiaKeö oÖHapyacHBaeT, hto /Ι,μητρηη 3HaeT ο ceKpeTHWx 3HaKax-CTyKax, Ha 3ByK κοτορωχ oTeij οτοπρετ. JlaKeö npHÖaBJiaeT, mto Mhth 6e3 comhchhh — KaK oh 3to y»ce pa3 C^eJiaJI — BOpBeTCH Κ OTIty ΠΟ peBHOCTH Η MHHTeJIbHOCTH, jKejiaa yflocToeepHTbca, He npniujia jih rpymeHbKa. Η πρκτοΜ Haßo cHHTaTbca c τβΜ, hto οη χοπβτ β3ατβfleHbrw,κοτορι.ιβ CTapHK 0TJI03KHJI fljia rpyineHbKH, hto 6bi npHMaHHTb ee. CMepΛ«κοβ ynoMHHaeT, hto ^mhtphh KpaHHe HyacflaeTca β aenbrax, HTO OH CiHTaeT TpH TbICaHH, KOTOpbie CTapHK npnrOTOBHJI JXJW rpyuieHbKH, 3a cboh aeHbra: oh He pa3 cooömaji, hto CTapHK eMy ^ojraceH poBHo 3Ty cyMMy. Ποτομ JiaKeö HaMeKaeT Ha ΤΟ, hto rpymeHbKa, Μοχετ, Ha caMOMflejieBbiitaeT 3a crrapHKa, hto oHa xoHeT nepeeecTH Ha ceöa ero KanHTaji. Oh noacHaeT, Bbi3biBaa HeaHa, hto β TaKOM cjiynae Bce Tpoe chhobch HHHero He nojiynaT, Tor^a KaK KaamoMy H3 hhx nptmeTca no copoKa tmcäh pyöjiefi β cjiynae, ecjiH OTeu; Tenepb yMpeT; 3aBemaHHe Beflb He c^ejiaHo. Ha nocjieflHee 3aMenaHHe MeaH 0T3biBaeTca cjioßaMH, ^0Ka3biBaiouiHMH, hto oh noHJui 3aMbiceji yÖHHCTBa oTija. Oh B03BpamaeTca κ coBeTy, aaHHOMy eMy CMep^aKoββιμ β Hanajie pa3roßopa, HMeHHO noexaTb β ^epMainHio: "ητο τ μ 3thm χοτβΛ CKa3aTb? a yejiy, η y Bac bot hto πρ0Η30ΗΑβτ". TaK nojioaceHHe, npeABocxHiijeHHoe CMepflÄKOBWM, AaeT yace Ka öyATO AeTajm öy^ymeö κaτacτpoφbI: yÖHHCTBo OTu;a Hepe3 nocpeacTBo ^MHTpH«, πρκΒβββΗΗΟΓΟ Κ 3TOMy JiyKaBCTBOM CMepßÄKOBa Η 6e3MOJIBHbIM coynacTHeM HeaHa. OßHaKo JiaKeö 3a6oTHTca ο ABycMbicjieHHocTH cbohx cooömeHHH: Bce coBnaaeHH« mohcho npHnHcaTb ero crpaxy. ΡΪ3 cTpaxa oh CTaji iiraHOHHTb β nojib3y ^μητρη», H3 CTpaxa oh nepe,n;aji eMy 3HaKH, H3 crpaxa 3aBTpa npH^er na^ynaa η πρπτοΜ OH He TOJIbKO ÖOHTCÄ ^MHTpHH, HO Η Cyfla, KOTOpblH MOXCCT oÖBHHHTb ero β coyHacTHH, ecjm cTapuiHH cbffl yöbeT oTija. Ho

108

JAN VAN DER ENG

cTpax He oöbÄCHaeT Bce. OcTaeTca eonpocoM, noneMy CMepiMKOB CTapajica yroßopHTi» MßaHa yexaTb, noneMy OH, flpyraMH oioBaMH, He TOJibKo xoTeji oöecneHHTb caMoro ceÖH, HO cneji Η HyxcHbiM co3^aTb o^HOBpeMeHHO HaHJiynuiHe ycjioBH« ßjiH yÖHHCTBa π ρ κ nocpeacTBe ,Ο,ΜΗΤΡΗΑ. ΠρΗ 3TOM B03HHKaeT BTOpOH BOüpOC: BBirOßHa JIH flJIJI Hero CMepTb

Oe,aopa

ÜABJIOBHMA

KapaMa30Ba?

ΤρβτΗΗ

Bonpoc

BbiTexaeT H3 npe,nbmyiimx: He noKa3biBaeT JIH npe^BocxHineHHoe nojioaceHHe co BCCMH CBOHMH coBna^eHHHMH nonbiTKy £OKa3aTb CBoe ajmÖH Η BMecTe c τβΜ nocTaBHTb ΠΟΛ no^o3peHHe ^MHTPHH? HnTaTejib nojiynaeT nojiyoTBeT Ha 3TH Bonpocw Β Hanajie Η Β KOHite pa3roßopa Meac^y CWHOM Η jiaiceeM. TaM BceßejiymHH PAECKA3HHK JUAET CBOH KOMMEHTAPHH κ 3HAIEHHIO MHMHHCCKHX Η HHTOHaiiHOHHblX

ΚΟΜΠΟΗβΗΤΟΒ

COOÖmeHHH

CMep^flKOßa.

OH

AejiaeT 3TH HaÖJHoaeHHa Ha CBOH cneT, HO BMecTe c τβΜ, KaK öy^To Η nepe^aeT peaKUHH MßaHa. TaKHM o6pa30M OH ^aeT 3HaTb, HTO 3aMbiceji öbiji, HTO HEAH yiacTBOBaji

Β

aora^ajica

BO3MOJKHOCTH

06

BbinojiHHTb

3ΤΟΜ Η 6e3M0JiBHo 3a^yMaHHbifl

niraH

^eilcTBHH. Β caMOM Hanajie pa3roeopa, cefinac »ce nocne Bonpoca "3aieM Bbi, cyaapb, Β *JepMaiiiHio He e^eTe-c?", —

KOMMCH-

THpyeTca conpoßoacßaiomafl cjioea yjn.i6Ka Η »cecr: " « A HeMy a yjibiÖHyjica, caM, flecKaTb, ^ojraeH ΠΟΗΛΉ», ecjm yMHtifi HejioßeK», Kax 6w roBopHJi ero npHmypeHHbiö jieBbiii rjra30K." H a y^HBJieHHyio penmiKy HßaHa ( " — 3aneM Η Β MepManiHio noe^y?") cjie^yeT oTBeT

CMep^aKOBa,

κοτοριιβ

onaTb

Bbi3biBaeT KOMMeHTapHH

paccKa3HHKa: " — CaMH ,a,a»ce Φε^ορ Π&ΒΛΟΒΗΗ TaK Bac ο t o m yMOJiHjm-c, — nporoBopHJi OH, HaKOHeu, He cnerna, Η KaK 6w caM He QeHH coeero OTBeTa: TpeTbecTeneHHOio, ßecxaTb, ΠΡΗΗΗΗΟΗ oT^ejibiBaiocb, TOJibKo HTO6M HTo-HHÖyflb CKa3aTb." Kor^a MeaH Β KOHiie pa3roßopa cooömaeT, HTO OH 3aBTpa ye3»caeT Β MocKBy, CMep^HKOB oTBenaeT: " — CaMoe 3το Jiynuiee-c, [ . . . ] TOJIBKO pa3Be τ ο , HTO H3 MOCKBW Bac MoryT no τeJIeΓpaφy 0Ta0.ua oöecnoKOHTb-c, Β KaKOM-jraöo TaKOM cjiynae." Π ρ κ 3TOM paccKa3HHK onaTb ßejiaeT CBOH Ha6moaeHHÄ, κοτοριιβ Ha STOT pa3 c MaKCHMaJIbHOH CHJIOH OpHeHTHpyiOT HHTaTeJIH Ha 3aMbICeJI Η Ha ΠΟnbiTKy BTÄHyTb HßaHa Β 3TO ,aejio Η xiaace floÖHTbc« ο τ Hero caHKUHH Ha BbinojmeHHe ero: "MßaH Φε^οροΒΗΗ onsrn» ocTaHo-

'SUSPENSE' Β "EPATLÄX KAPAMA30BWX"

109

BHjicx η onaTL· 6wcTpo noBepHyjic» κ CMep^flKOBy. Ho η c TeM ΤΟΗΗΟ HTO CJiyHHJIOCb. Bca (J)aMHjn»«pHOCTb Η HeÖpeJKHOCTb ero COCKOHHJIH ΜΓΗΟΒβΗΗΟ; BCe JIHIIO βΓΟ BHpa3HJIO HpC3BbIHa.HHOe BHHMaHHe η oxHjaHHe, ho y»e ροβκοε η no^oöocTpacTHoe: «He cKaxceuib jih, aecKaTb, em,e nero, He npHÖaBHiiib jih», TaK η HHTaJiocb β ero npHCTajibHOM, TaK η βπηβιικμοη β MeaHa Oe^opoBHia B3rjiaae." CoynacTHe HeaHa β 3aMbnnjieHHOM CMep^flKOBbiM npeCTynjieHHH npOÄBJiaeTca Taoce β oT^ejibHbix npeaBocxHmeHHÄX öyzjymero 3M0ijH0HajibH0r0 coctohhhh MßaHa. TaK paccKa3HHK, HanpHMep, oÖHapyacHBaeT, hto HßaH cooßmnji CMep^JiKOBy ο noe3^Ke β MocKBy, "caM ceöe ποτομ y^HBJwacb, xaKHM 0Öpa30M noHa^oÖHJiocb eMy Toraa 3το CKa3aTb CMepflHKOBy". Β cjieayloiueH rjiaee npe^BocxHmeHHH BceBe^ymero paccKa3HHKa eme 6ojiee nopaacaiOT cbohm 3JioBemHM 3HaneHHeM no othouichhk) κ CTapowy oTuy η, πρκτοΜ, ohh coflep^caT sjieMeHT ηβηογο caMoOÖBHHeHH», B03Öy>KaaK)IHHH HeH3Öe»CHOe nozio3peHHe, HTO HeaH He npoib cnocoöcTBOBaTb yÖHHCTBy oTixa. PaccKa3biBaeTca, hto HeaH rjiy60K0H Honbio BCTaji, Bbimeji Ha jiecTHHuy η craji cjiymaTb, Kax oTeii BHH3y uieBejiHJica, noxaacHBaji no KOMHaTe. PaccKa3HHK npnöaBjiaeT: " s t o t «nocTynox» oh bcio »CH3Hb cbok> ποτομ Ha3bIBaJI «Mep3KHM» Η BCIO 2KH3Hb CBOIO CHHT3JI, TJiyÖOKO Προ ceöa, β TaöHHKax «nyuiH cßoeö — caMMM πολκημ nocTynKOM H3o Beeil cBoeft xuohh." Mto ycnoacHaeT coynacTHe HeaHa, 3το o,aep»cHMocTb ero nocTynKOB η cjiob. Y»e β Hanajie mecToö rjiaBbi, Koraa paccKa3 Ηχιετ ο Bcrpene HeaHa c CMepjjHKOBWM, paccKa3HHK oTMenaeT 3Ty HeoöbacHHMyio o^epacHMocTb. HeaH xoTeji 6biJio c 6pe3rjiHBocTbio npoHTH, MOJina η He rntmsi Ha CMepÄÄKOBa. BMeCTO 3TOrO OH THXO Η CMHpeHHO OÖpaTHJIC» κ jiaKeio "ceöe caMOMy HeoJKHjjaHHO, η Bapyr, Toace coeceM HeOÄHaaHHO, ceji Ha cKaMeHKy. Ha MraoBeHHe eMy CTajio HyTb He cTpaiiiHo, oh BcnoMHHJi 3το ποτομ". Β cjiejiyiomeH rjiaee, pacCKa3HHK npaMo no^nepKHBaeT oaepacHMocTb HeaHa: "CaM OH HyBCTBOBaJi, hto noTepaJi Bce cboh κοηφ>ι. MyHHJiH ero Toace pa3Hbie CTpaHHbie η ποητη HeoxcEwaHHbie coBceM äcejiaHH«, HanpHMep: ysc nocjie ποληοηη eMy B^pyr HacTo«TejibHo η HecTepnHMo 3axoTejiocb cohth bhh3, oTnepeTb flßepb, προκτΗ bo

110

JAN VAN DER ENG

jiHrejib η h 3 6 h t i » CMepAJiKOBa, HO cnpocHJiH 6 m b h , 3 a h t o , η c a M OH peniHTejibHo He c y M e j i 6 w h 3 J i o ä h t i , h h o a h o h ΠΡΗΗΗΗΗ β TOHHOCTH [ . . . ] " H e a H KaK ö y ^ T o Haxo^HTca β COCTOHHHH n c H X 0 3 a , OH He oco3HaeT, h t o OH a e j i a e T η x o n e T : Hejib35i CKa3aTi> π ρ ο ο τ ο , HTO OH Β 3arOBOpe C CMepflHKOBWM Η HTO OH OßOÖpHJI 3aMbiceji Hcn0Jib30BaTb ^ M H T p a a , KaK cpeACTBo A J i « coBepmeHHü yÖHHCTBa, HJIH h t o OH npeflocTaBHJi CMepßflKOBy pacnopHOTTbc«, KaK TOT χ ο π ε τ : yÖHTb TaKHM 0 6 p a 3 0 M , HTO ^ m h t p h h 6y.neT Ha n o ^ o 3 p e HHH. C o a h o h CTopoHbi, n o e 3 , a x a M e a H a β M o c K B y KaK öyzjTO n o c j i e ^ H e e c o B n a ^ e H a e , κ ο τ ο ρ ο ε OHHmaeT

flopory

ÄJIH y6HÖubi, c

flpyrofi CTopoHbi, 3Ta n o e 3 ^ K a oTHacTH o6i>«CHaeTca pa3pbiBOM c KaTepHHofi MeaHOBHOH, oTBpameHHeM e r o ο τ nojio»ceHHH £OMA, 0 T K a 3 0 M 6biTb cTopoaceM 6 p a T a Η OTua, Η t . Ä . H O Β CBOIO OHepe^b 3TH MOTHBbI OXa3bIBaK)TCH AOBOJIbHO IIiaTKHMHTaK IIOe3flKa Β MocKBy,

KaK

cjie^CTBHe

pa3pbiBa

c

KaTepHHofi

HeaHOBHofi

HBJiHeTca ÄOBOJibHo coMHHTejibHoö'. " [ . . . ] BHepa y T p o M , KOr^a OH T a x pa3MauiHCTo n o x B a j r a j i c H y KaTepHHW ÜBaHOBHbi, HTO 3 a B T p a y e ^ e T Β M o c x e y , Β # y m e CBoefi T o r ^ a »ce ruenHyji π ρ ο c e ö a :

«A

Be^b B 3 ^ o p , He n o e A e u i b , Η He Tax T e 6 e 6 y a e T JierKO O T o p e a T b c « , x a x ΤΗ Tenepb φaHφapoHHIIIb»." MHTeHt^Hxaima

opHeHTau,HH Ha 3 a r o B o p

Η

nocjiejiyioiuHe

COÖWTHH nOBbimaeTC« ΠΟΒΤΟρβΗΗβΜ MOTHBOB, KOTOpbie ÖOJIbUie

Bcero

no^epxHBaiOT

HepMauiHu,

xyzja

coyHacrae

CMep^axoB

MeaHa.

IToBTopaeTCH

yroeapHBaeT

MeaHa

MOTHB

noexaTb:

c

3THM ΜΟΤΗΒΟΜ CBH3aH, KaK H3BCCTH0, ρ SIR HaMeXOB Ha yÖHHCTBO o T i i a . TpeTHH p a 3 , HTO STOT MOTHB BBOÄHTCÄ Β pOMaH, p a c c x a 3 b i BaeTCH ο TOM, HTO MßaH Ha caMOM flejie peniHji e x a n > . y e 3 3 K a a , OH Bflpyr

cKa3aji

CMepxwxoBy:

" —

ΒΗΛΗΠΠ.

...

Β

MepMauiHio

e a y . . . " Paccxa3HHK oTMenaeT π ρ κ STOM, HTO 3TH c j i o e a Tax c a M o c o 6 o f i BbipeajiHCb y MEAHA.

flpyrofi

MOTHB

CMep^axoBa

o6pa3yeT

penjinxa

noBTopHbiö Η BapnaitHoΗΗΜΗ Ha T o j i b x o

ΗΤΟ

npn-

ee^eHHbie c j i o e a M e a H a : " — 3HaHHT, n p a e ^ y r o B o p a T .ΊΙΟΛΗ, HTO C yMHbIM HeJIOBeXOM Η HOrOBOpHTb JIIOÖOnblTHO." ^ΟρΟΓΟΗ 3TH c j i o e a B ^ p y r n p a x o ^ H j i H M e a H y Ha y M : " I l o H e M y c yMHbiM n e j i o ΒΒΚΟΜ TOBOpHTb JIIOÖOnblTHO, HTO OH 3THM XOTeJI c x a 3 a T b [ . . . ] Α Η 3 a n e M flOJioacHJi e M y , h t o Β H e p M a u i H i o eziy?" 3aMeHaTejn»Ho, h t o BapHaiiHH 3THX MOTHBOB yace n o n a p H o BBe^eHbi Β caMOM Hanajie

'SUSPENSE' Β "EPATTFLX KAPAMA30BLIX"

111

pa3roBopa Meac/iy AByMa MyacMHHaMH, τ ο ecn> Β KOΜMeHTapHH paccKa3HHKa κ MHMHKC CMep^aKOBa, Kor^A TOT cnpocnji "3aneM Bbi, cy^apb,

Β MepMauiHio

He e^eTe?" (npHiixypeHHMH JieBbifi

rjia30K ero HCTOJIKOBAJI CMBICJI conpoBoac^aiomeH cjioea yjibiÖKH: "A

ieMy

a yjibiÖHyjica, caM, AecKaTb, AOjraeH ΠΟΗΗΤΒ, ecjiH

yMHträ nejioBeK"). ΟΠΕΊΊΗΦΗΗΕΟΚΗΒ ΜΟΤΗΒΜ AaJibHeHiuero

pac-

CKA3A noanepKHBaioT ΠΟΤΟΜ TeMHoe CO3HAHHE BHHW y MEAHA Β CBH3H c NOE3JO(KOH.

Kor^a Ha cjieAyiomHii AeHb ΠΟΒ3Λ Bi>E3»caji Β

MocxBy, OH npomeirraji ΠΡΟ ceöa: " — Ά noAJieij!" ÜOBWiiieHHH HHTepeca κ npeACToameMy p0K0B0My COGMTHIO, AocTHraeTca Η KOHTpacTHbiM conocTaBjieHHeM ABYX pa^OB MOTHBOB: OAHH paA, KaK 6y^To ocymecTBJiaeT yxcac npeflBocxwmeHHoro nojioaceHHa co BceMH CBOHMH coBiia,aeHHiiMH; Apyroii paA noKa3MBaeT O e ^ o p a ITaBJiOBHHa,

npeÖWBaßuiero

Β

ΟΉΑΚΟΜ

oJKHAaHHH

rpyineHbKH,

KOTopaa Β 3TOT Benep HenpeMeHHo

npHxoAa

npn^ET, KaK

CMepfliiKOB ycneji eMy eme cooömHTb, AO ΤΟΓΟ, KaK OH ynaji Β npHna^Ke. IIocjieAHee cpeACTBO win poBKH

HBjiaeTca

noKa3biBaiomHH

npepbiBaroieM cTapHKa

ΗΗτεΗ0ΗφΗΚ3ΐΐΗΗ OPHCHTH-

paccKa3a

Β cjia^KOM

HMCHHO

oacHAaHHH.

Β MOMCHT, CjieayioiuHe

rjiaBbi coAepacaT paccKa3 ο >ΚΗ3ΗΗ Η yneHHH crapua.

Πο φορΜβ OpHeHTailHK) MO>KHO Ha3BaTb COMHHTeJIbHOH Ha ocHoee

N0BECTB0BATEJN>H0R0

ME^HYMA

nepcoHaaceß

Ha

cueHe.

OFLHAKO HAÖJNO^EHHH BceeeAymero PACCKA3MHKA NPNAAIOT OT^EJIBHbiM BbicKa3biBaHHaM 3HaneHHe ΦAΚΤA. 3TH Φ3ΚΤ« CO3AAK)T ABA p a # a coßbiTHH, HCKJNONAIOMHX Apyr Apyra. NPHXOAHTCA onpeAEJIHTB opweHTHpoBKy, KAK ABycMbicjieHHyio. HaMeiaioTca ABE B03M03KH0CTH! ,Π,ΜΗΤρΗΗ yÖbeT OTIia Η COBepilIHT CBOe npecTynjieHHe, KAK o p y A « e

HEAHA Η CMepAaKoea,

caM ΤΟΓΟ He

co3Haeaa; CMCPAHKOB YÖBET CTAPHKA c CAHKITHH HEAHA Η AOKA»CET cBoe AJRAÖH TAKHM OÖPASOM, MTO NOCTABHT ^ΜΗΤΡΗΗ ΠΟΑ NOA03PEHHE.

Β

OÖOHX cjiynaax

co3HaTejibHoe coynacTHe

NOFLJIEACHT COMHCHHIO, TAK KAK OH,

HEAHA

KaaceTca, BBepaceH Β cocToaHHe

ncHxo3a Η AEFICTBYET Η ΓΟΒΟΡΗΤ, KAK OAEPACHMBIÖ. X Β

BocbMoö Η AeeaTOH KHHrax pa3Hbie MOTHBW opHeHTHpyioT

HHTaTejia Ha yÖHHCTBO, coBepiueHHoe

^ΜκτρΗβΜ. Ho BMecTe c

112

JAN VAN DER ENG

TeM B M n J I b l B a i O T HHOr^a MOTHBhl, K O T O p w e c 3thm. ,ΙΙ,ο cepeAHHM HeTBepToö rjiaBBi

Hejlb3ft C O r j i a C O B a T t Bce

BBo^a

npaeMbi

OTpblBOHHblX MOTHBOB Η nOCJieflyiOlUeH OTCpOHKH ^ o n o j m H T e j i b -

paccKa3a, KaK ö y z u o , κλθημητ ^mhtphh, KaK OTiieyÖHfiny. AßTopHTeTHbrn, BceBe/iymHH paccica3HHK oTpHiiaeT, w o Mhth 3aMbicjiHJi npecTynjieHHe, ho sthm π ρ π κ ρ κ τ ο OTMenaeT, hto Horo

n p e c T y n j i e H a e Mo»ceT npoH3oÖTH 6 e 3 y M b i c j i a : HHTaTejn» β n p a ß e n p e A n o j i o « H T b , 4 t o o h y ö b e T OTu;a. ("HaMepeHHH o n p e a e j i e H H b i x

η T.fl.) Ποτομ 3JieMeHTbI H3 5KH3HH

y Hero He 6biJio, npecTynjieHHe o ö ^ y M a H O He 6 b U i o " BCeBeiiyiUHH paCCKa3HHK

ΒΒΟβΗΤ β

pOMaH

^MHTpHH, Ha KOTOpblX CMepflHKOB paHbUie OCHOBaJI CBOH nO^JIblH 3 a M b i c e j i : e r o KpaHHaa Hyaena

β ßeHbrax,

τρκ

tmcähh,

oh

KOTOpwe

3a^ojiacaji KaTepHHe. M b i c j i b , h t o o h T p a r a u ee a e H b r n Ha CB«3b c

rpymeHbKOH,

npHBejia

ero

κ

peineHHio,

«yÖHTb η o r p a Ö H T b Koro-HHÖyab, h o

flojir

"hto KaTe

Jiynuie

^aace

B03BpaTHTb».

« I l y c T b ynt j i y n m e α n p e A TeM, yÖHTbiM η orpaöJieHHbiM, yÖHHuefi Η BOpOM BblH^y Η n p e f l BCeMH JIIOflbMH, Η Β C n Ö H p b nOH/jy,

hto

ecjiH K a T H B n p a e e ö y ^ e T CKa3aTb,

Λ efi

h3mchhji η

y Hee xce

^eHbrH y x p a j i η Ha ee ace ^eHbrn c r p y u i e H b K o ö y ö e a c a j i [ . . . ] . » " . n p e ^ ß o c x H m e H H H o T p b i B o i H b i x MOTHBOB KaTacTpo(J)bi η c y z j e ö Horo

flejia

name

Bcero

noaBJiaioTca

β

paccica3e

ο

nonbiTKax

^ΜΗτρΗίΐ 3aHHTb ßeHbrw y Koro-HHÖy^b. K o r ^ a Kyneu; K y 3 b M a Ky3bMHH n a n eMy " c O B e T " , ^MHTpHH peiUHJI, ΗΤΟ CTapHK HJIH xoTeji n o M o i b eMy, 6aBJiiieT:

"Ybw!

BepHOK).

Ποτομ,

KaTacTpo(|>a,

hjih

Ha^

hhm

nocjie^Haa-To yace

CTapHK

λολγο

nocMeflJica. Paccica3HHK

Mbicjib

η

6bijia

CaMCOHOB

caM

Cjiobo

co3HaBajica "κaτacτpoφa"

ZteHer.

Run 3τογο oh

PaccKa3HiHK

aaeT

CaMcoHoea,

CMeflCb,

n p o ^ a e T Koe-Ητο, 3aHHMaeT jjeHer y

c j i e ß y i o m H H KOMMeHTapHÖ,

bc» hto

othochct», β coctohhhh

Mtoöm 6biTb /Ι,μητρηκ) HyacHo

KajKeTca, κ y ö n ö c T B y C T a p o r o OTua. "coeeTy"

e^HHCTBeHHo

c n y c r a , K o r ^ a yace c o e e p i i r a j i a c b

Tor^a ocMeaji «KanHTaHa»." cjie^oBaTb

npH-

3a6eraa

HeMHoro

κογο-το. BnepeA:

" [ . . . ] TaKHM 0 Ö p a 3 0 M 3anOMHHJICH Η o6o3HaHHJICJI φ3ΚΤ,

ητο

coömthh, β noji^eHb, y M h t h He öwjio hh η ητο oh, HToöbi ^ o c T a T b AeHer, n p o f l a j i n a c w η 3aHJLH

«HanaHyHe HeKOToporo KoneiiKH

τ ρ κ pyGjiH y xo3»eB, η Bce π ρ κ c B H ^ e T e j i a x » . O x M e n a i o 3 τ ο τ φ a κ τ 3apaHee,

ποτομ

pa3i»acHHTCii, ftiia Hero Täte ß e j i a i o . "

'SUSPENSE* β "ePATLHX KAPAMA30BbIx"

113

pa3a M e a y j y ο κ ο 6 κ ε μ η , BHyrpH npHBeaeHHoro n a c c a a c a , n e p e ΛaeT paccyxcaeHHe H3 c y a e Ö H o r o 3 a j i a . Y 6 h h c t b o ,

coBepmeHHoe

,Π,ΜΗτρΗβΜ, ^ e j i a e T C « HeoTBJOHHBOÖ M b i c j i b i o . P a c c x a 3 ο c j i e ^ y l o m e i i nonbiTKe flocTaTb ηθμηογο a e H e r conpoBo»c,aaeTCH πολο6-

h h m KOMMeHTapaeM; κ ρ ο Μ β τογο c o o ö m a e T C « , hto BHe3anHo oKa3ajiHCb y / Ι , μ η τ ρ η « ö o j i b i i m e a e H b r n : " [ . . . ] TaKHM 0 6 p a 3 0 M onHTb nojiyHHjicji φ a κ τ , h t o B c e r o 3 a τ ρ Η , 3 a HeTbipe Haca ΗεκοτοροΓο

npHKjnoHeHHH, ο κ ο τ ο ρ ο Μ 6 y ^ e T m h o i o

ao

r0B0peH0

HH»ce, y M h t h He 6biJio hh KoneÜKH fleHer, η oh 3 a a e c j r n » p y ö j i e ö 3ajioHCHJi jnoÖHMyio B e m b , T o r ^ a

KaK B ^ p y r ,

iepe3

τρκ

Haca,

oxa3ajiHCb β p y x a x e r o thchhh . . . H o a 3 a 6 e r a i o B n e p e ^ . " ® K o r ^ a

M h t h π ο τ ο μ p e i u n j i 3aH«Tb a e H b r a ( τ ρ κ thchhh p y ß j i e f i )

y

r o c n o a c H XoxjiaKOBOH η c T y n n j i Ha κρι>υπ>ΐίο e e AOMa, paccKa3HHK TaK n e p e ^ a e T x o a e r o Mbicjieii, OTHacTH pe3K)MHpya, o T i a c T H , KaK ö y ^ T O , 6yKBajn.HO iiHTHpya: " β 3Ty TOJibKO ceicyimy o h c o 3 H a j i B n o j m e η yuKC MaTeMaTHHecKH hcho, h t o TyT Be®» n o c j i e ^ H a a yxce Ha^eacAa e r o , h t o ja,ajibiue yace HHHero He o c T a e T c a β MHpe, e c j r a TyT o 6 o p ß e T c » , « p a 3 B e 3 a p e 3 a T b η orpaÖHTb Koro-HHÖyab H3-3a T p e x thchh, a 6 o j i e e HHHero . . . » . " I l o p a 3 H T e j i b H o , hto 3 ^ e c b o n a T b

bboahtca

3JieMeHT,

Ha

KOTopbiH CMep^ÄKOB,

H3Jiaraa

cboh

3aMbiceji, oöpaTHJi BHHMaHHe: cyMMa β τ ρ π tmcäHk p y ö j i e ö ( τ ρ κ TbICÄHH OTeii ßOJDKeH ^MHTpHIO, τ ρ π TbICÄHH O T d l 0TJI03KHJI flJIX rpyuieHbKH, τ ρ π tmchhh /Ι,μητρηη ^ojraceH KaTepHHe). O i r a c b r e a «

3MOIiHOHaJIbHOe COCTOHHHe ,Π,ΜΗΤρΗΗ 3a HeKOTOpOe BpeMH AO τογο,

KaK

tot

cneimui

κ

rocnoace

XoxjiaKOBOH,

paccKa3HHK

oTMeTHji y»ce e r o BocKJiHijaHHe: " H n o ß y M a T b , TOJibKO n o ^ y M a T b , hto

H3-3a

3thx

HHHToacHbix

Tpex

TbicHH

npona,a;aeT

cy,m»6a

HenoBenecKa«!" I l o c j i e H a n p a c H o ö n p o c b ö w κ r o c n o a c e XoxjiaKOBOH, peHb HßeT

ο Tom, hto ,ΖΙ,μητρηη rneji, KaK cyMacmeAUiHH, y ^ a p a a c e 6 « n o r p y ^ H , n o TOMy caMOMy MecTy r p y ^ a , n o KOTopoMy y a a p a j i c e 6 «

Pa3Hbic npHeMu BBO^a οτρωΒΟΗΗΟΓΟ MaTepaajia η otcpoikjh HyxHwx AonojmeHHÜ κ HeMy Μ. Γ . ,ΖΙ^βηαοβηη: 3aHHCJiaeT nofl pyöpmcy: npaeMw 3anHTepecoBbiBaHKH nrraTejiH. Β aaHHOM cjiy^ae oh γοβορητ ο npneMe "3a6eraHHa enepefl". Cp. "IlpoÖJieMa 3aHHMaTejn>HocTH β poMaHax AocroeBCKoro", β : TeopnecKuü nymb ffocmoeecKozo. C6opkhk crareH πολ peaaKmieii H. JI. BpoACKoro (JleHHHrpafl, 1924), crp. 105. 6

114

JAN VAN DER ENG

ßea flΗΛ TOMy Ha3aa nepea Ajiemeii. Cpa3y ΠΟΤΟΜ cjieayeT 3aMenaHHe Bceeeaymero paccKa3iHKa, πρκ HeM caMbie Baambie sjieMeHTBi ero 3aMeiaHH« HanenaTaHbi KypcHBOM: "Μτο o3Hanajio 3TO ÖHTte ce6« no rpymi no smoMy Mecmy Η HA HTO OH TEM χοτβΛ yKa3an,, — 3το 6wjia noxa eme TafiHa, KOTopyio He 3HaJi ΗΗΚΤΟ Β Mnpe, KOTopyio OH He οτκρι,υι Tor^a ßaace Ajieme, HO Β TaÖHe 3TOÖ 3aKjnoHajiCH ÄJIH Hero 6ojiee HQM πο3ορ, 3aKjnoiajiHCb ΓΗΒΒΠΙ» Η caMoyÖHficTBO, OH Tax yace peuiHJi, ecjin He aocTaHeT Tex τρεχ Twcfli, HTO6 ynjiaTHTb KaTepHHe HeaHOBHe Η TeM CHÄTL· C CBoefi rpyzjH, «c mozo Mecma epydu» πο3ορ, κοτορΜΗ OH HOCHJI Ha Hea Η KOTopwH TAXFLABHJIero coBecTL. Bce 3ΤΟ BnojiHe OÖIHCHHTCÄ iHTaTejiio BnocjieacTBHH [...]" Ceifaac »ce y»e JICHO, HTO OH nocjie κaτacτpoφL·I HaMepeH ΚΟΗΉΠΊ» HAREM» caMoyÖHHCTBOM. Πρκ 3TOM »iHTaTejib He Mo»ceT He npeanono»cHTb, HTO "rnöejib" Η OTHOCHTCH κ oTiieyÖHHCTBy. Β jtajibHefimeM paccica3HHK ΠΡΗΒΟΛΗΤ Bce 6ojn»ine MOTHBOB, κοτορωβ npeACKa3biBaioT, Tax cica3aTb, yÖHHCTBo, coBepmeHHoe #MHTpHeM. EpocHB rocnoacy XoxjiaicoBy, ^ΜΗΤΡΗΗ BopBajica Β ΛΟΜ rpymeHbKH, Η He 3acTaB ee aoMa, Bti6e»caji, Ha jieTy BbixeaTHB necTHK H3 CTynKH. Ha STO ropHHHHaa 0T03Bajiacb KPHKOM: "— Ax rocno^H, OH yÖHTb ΚΟΓΟ χοπετ!" CnyCTH HeCKOJIbKO MHHyT, /Ι,ΜΗΤρΗΗ HaXOflHTCH nepea ΟΚΗΟΜ OTiioBCKoroflOMa.Β 3τοτ MO MÜHT ero 6epeT HencTOBaa 3Jio6a, προ KOTopyio OH roBopan Ajieme. Torflaimme cjioBa ero B03BpamaK)TCH Β nepecKa3e paccKasiHKa, cjioea, K0T0pbie BBIpaacaKDT ero onaceHHe poKOBoro MOMeHTa, Kor^a OH y6beT MyHHTejia CBoeii 3KH3HH, OTita: "«... MoaceT, He y6bio, a MoaceT, yöbio. Boiocb, HTO HeHaBHCTeH OH Bflpyr MHe CTaHeT ceouM AitifOM β my caMyjo Mimymy. HeHaBH^cy a ero KaflbiK, ero HOC, ero rjia3a, ero GeccThrayio HacMeimcy. JlHHHoe 0Mep3eHHe nyBCTByio. Βοτ 3ΤΟΓΟ 6oK>cb, ΒΟΤ Η He y^epacycb ...»" ΠΟΤΟΜ paccKa3HHK coo6maeT, HTO "JIHHHOC 0Mep3eHHe Hapacrajio HecTepnHMo", HTO OH yace BbiHyji Me,zmbffl necTHK H3 KapMaHa. Ha STHX cjioeax, o^HaKo, nocjieflOBaTejibHocTb Teicymnx ΜΟΜΘΗΤΟΒ oöpbiBaeTca. ΜΗΟΓοτοΗΗβ o6o3HanaeT nponymeHHbie MOMeHTbi. ΠΟΤΟΜ pacCKa3HHK B0cnp0H3B0ÄHT cjioea, KOTopbie ,Π,ΜΗΤΡΗΗ cKa3aji ce6e no3»ee no noBofly 3Toro MOMeHTa: "Bor, KaK caM MHTÄ roBopHJi ΠΟΤΟΜ, CTopoMCHji MeH« Tor^a." Cpa3y ace nocjie npHBe^eHHH STHX

'SUSPENSE' Β "EPATI.HX ΚΑΡΑΜΑ30ΒΜΧ"

115

cjioB paccKa3biBaeTC» ο HeoxcH^aHHOM npoöyacfleHHH 6ojibHoro ΓρΗΓορΗΗ, Kax o h norneji β caa a n a ocMOTpa η τ . λ . Me»c,ay τβΜ HHTATEJIB ποητη BHAeji nepe^ RJIA3AMH oTiieyÖHÖCTBo. Μ η ο γ ο TOHne Morjio 6bi CHMB0jra3Hp0BaTi> HacHjibCTBeHHyio ciieHy, cjiHiiiKOM y>KacHyio, h t o ö m onncaTb, ecjra cjioea " B o r CTopoacHJi MeHH T o n j a " He HaMeKHyjiH Ha Kaxoe-το 06cT0HTejibCTB0, κοτοροβ Β CaMblH nOCJieflHHH MOMeHT nOMeniaJIO BtmOJIHeHHK) yÖHHCTBa. Ho cjioea 3 t h TaK μ η μ ο χ ο λ ο μ cKa3aHbi η πρπτοΜ TaK HeonpeAejieHHbi η Tax, KaK 6y^TO, 3arjiymeHbi cjie^yiomHMH aaHHbiMH, h t o ohh JUIX HHTaTejia, MO»ceT 6biTb, ποητη npona^aioT. OiejayloiHHe AaHHbie Bee β η β ο λ η τ / J m h t p h « , xaK yÖHrniy. O h h nepeceKaiOT ^paMaTHHecKHH οτπβτ paccKa3HHKa β φορΜβ BocKjnmaHHH, Mbicjieö η paccyacaeHHH nepcoHaaceß h j i h o h h βο3ηηκ3κ>τ β cpeHax cy^eÖHoro cjieacTBHH. 3 T a ycHJieHHaa opneHTaaHH HaHHHaeTca c KpHKa ΓρΗΓορκ», κοτορΗϊί β ca^y HanpacHo cTapacrca nperpaAHTb flopory yßeraiomeMy ,ΖΙμητρηιο : "H3Bepr-0TueyÖHBeu!" Β Tpaxrape CTajio h 3 b c c t h o , h t o y ,ΖΙ,μητρηλ onaTb noflBHJiHCb aeHbrn η h t o o h oiiHTb yxaTHJi KyTHTb β MoKpoe c rpymeHbKOH. Ilpe^nojioacHJiH β ο λ η η t o j i o c , h t o o h , MoaceT 6biTb, orpaÖHJi oTua η ynoMHHajra, h t o o h noxBajwjica BCJiyx yÖHTb OTija. C a M a a nopa3HTeJibHa« opaeHTHpoBKa Ha OTiieyÖHHCTBo, coBepuieHHoe ^,ΜΗτρκβΜ, aaeTCÄ β προτοκο-JibHbix cjioeax cy^eÖHoro cjie^oBaTejia, κοτορκή Bzipyr c npoxypopoM, ncnpaBHHKOM, nOHSTblMH Η T.ß. nOHBHJICÄ Β MoKpOM! " — ΓΟΟΠΟ^ΗΗ OTCTaBHOH nopyHHK KapaMa30B, Ά ßojmeH BaM o6i«BHTb, h t o b w oÖBHHHeTecb β yÖHHCTBe oTua Barnero, Oeflopa IlaBJioBHHa KapaMa30Ba, npoHcme^nieM β 3Ty HOHb . . . " Π ο τ ο μ HHTb pacCKa3a Ha BpeMH o6pbiBaeTca: HHTaTejib H3BemaeTca ο c o 6 m t h h x , KOTopwe npHBejra κ M0JiHHeH0CH0My cyqeÖHOMy cjieacTBHio. 3 τ ο ^eJiaeTca β nepBbix ^Byx rjiaeax nocjie^Heii (aeBÄTofi) κ η η γ η TpeTbeö HacTH. Π ο τ ο μ β paccKa3e ο cyueÖHOM c j i c ^ c t b h h π ο λ HepxHBaioTca flBa ryÖHTejibHbix oöcToaTejibCTBa, KOTopwe öyflTO ^OKa3bIBaiOT BHHOBHOCTb ^MHTpHfl I BO-nepBbIX, OÖCTOHTeJIbCTBO, h t o o h ao omeyÖHHCTBa 6 w j i 6e3 fleHer, a π ο τ ο μ pacnojiaraji TpeMH TblCaHaMH; BO-BTOpbIX, OÖCTOÄTejIbCTBO OTKpblTOH ABepH, Hepe3 KOTopyio ^ m h t p h h Bopeajica β KOMHaTy OTna, (J)aKT, Ha κοτοροΜ ΓρΗΓορΗΗ Tax ace TBepAO HacTaHBaji, KaK ,Π,μητρηη

116

JAN V A N DER ENG

o T p m j a j i e r o . 0 6 c T o a T e j n » C T B o , HTO

flBepb

CTomia οτπβρτοιο

eme

n p H ^ M H T P H H , K o r a a O H H a x o A H J i c a Β ca,ny oTu;a, Β S T O H NACRA ( T p e T b e ö ) p o M a H a H e BBIÄCHHCTCH. B o n p o c , o T K y q a O H B3HJI τ ρ π T B I C Ä H H p y ß j i e Ä p a 3 p e m a e T C H , HO o Ö b Ä C H e H H e # M H T P H H T a K M a j i o 3acjiy»cHBaeT

AoeepHS,

HTO

T0JibK0

TEKHC

nepcoHaacn,

KaK

R P Y M E H B K A Η Π Ο Τ Ο Μ A j i e r n a Η , Κ Ο Η Β ΐ Η Ο , H H T a T e j i b Β COCTOJIHHH noeepHTi» e M y . M e a t f l y τ β Μ 3 τ ο p a 3 p e m e H H e o6i>aCHHeT HHTaTejno (H no33Ke, BO B p e M H c y ^ e Ö H o r o aejia, A j i e r n e ) n o n e M y n p H BCTpene c A j i e m e f i Η nocjie n o c e m e H H » r o c n o x n

^MHTPHH,

XoxjiaKOBOH,

y ^ a p a j i ceöfl K y j i a K O M n o rpyzuf, ÖHTbe, H a κ ο τ ο ρ ο ε

paccKa3iHK

o ö p a T H J i B H H M a H H e K a K H a M H o r o 3 H a H ! H T e j i b H b i H acecT, o ö b H C H e H H e κ ο τ ο ρ ο Γ ο e i n e B n e p e f l H . O K a 3 b i B a e T c a , ΗΤΟ ^ M H T P H H n e p B b i ö p a 3 He pacTOHHJi Bee τ ρ π T b i c j m , a o B e p e H H b i e e M y noJiOBHHy:

flpyrae

nojiTopw

KaTepHHofi,

TMCHMH c o x p a H a j m c b ,

3aniHTbie

HO Β

M e u i K e H a m e e ; O H p e u m j i n p o M o x a x b H X Β HO H b y Ö H H C T B a O T u a . O H c a M , x B a c T a a c b , n y c T H J i c j i y x n , HTO yace n e p B t i i i p a 3 Β Μ ο κ ρ ο Μ n p o c o p H j i B e e τ ρ κ T b I C Ä H H . E C J I H H H T a T e j i b He Μ Ο ί Κ β Τ H e 3 T 0 M y , B e e ace O H o c T a e j i e H 6 e 3 o T B e T a He T O J i b K o H a

CTpaHHbiH

B o n p o c 0 6 ο τ π β ρ τ ο κ z i e e p H , HO B o o S m e H a B o n p o c : κ τ ο ,

^MHTpHa,

ΜΟΓ

6bl

COBepiHHTb

yÖHHCTBO.

CMep^aKOB.

H o

KaK

»ee p H C K H y j i

η

ΓρΗΓορκεΜ,

HTOöbi Β κ ο ρ ο τ κ Η Η

,Ζ^ΜΗΤρΗΛ

OCMOTpOM

ΠρκτοΜ

Η

zieTajibHoe

onncaHHe

ΓΟΤΟΒΜΗ

BOpBaTbCH

na^yie«

η

Meac/iy Β

MOMeHT,

Kor^a

C M e p ^ Ä K O B jiexcaji Β

ΓΡΗΓΟΡΚΗ

flpyroü

BCTaji

3a

CTapHKa.

BpaHe6Hbiii

OCMOTP

PaccKa3MHK,

KaK 6y^TO, KOHCTaTHpyeT oöbeKTHBHbifi φ a κ τ , K o r ^ a OH Β

οτΒβτ:

öercTBOM

flOM

ΠΟΗΤΗ yeepHJiH MHTaTejia Β HCTHHHOCTH n p n n a f l K a .

ΗΤΟ

κροΜβ

y c n e j i OH BLIHTH BCJie^

npoMeacyTOK

ΓρΗΓΟρΗ«

BepHTb

"pasÖHTbiH

cooömaeT, naayHeio

K a M o p K e 6e3 ABHaceHHa".

Η Η Τ β Η 0 Η φ Η Κ 3 Ι ί Η Λ nOBblUiaeTCft K O H T p a C T H b l M

COHOCTaBJieHHeM

flByx MOMeHTOB HaHBbicmero HanpiLJKeHHa; 3 τ ο M O M C H T H , Kor^a nocjie^oBaTejibHocTb paccKa3a oöpbiBaeTC«.7 IlepBbiH pa3 STO c j i y i a e T C H , K o r z j a 0Tii,ey6HHCTB0, 6 y n ; T O c o B e p u i e H H o e ^ Μ Η τ ρ κ β Μ , 7

K 0 M n 0 3 H U H 0 H H b i e npHeMJbl HHTeHCHiJjKKaUHH BbIpa3HTem>HOCTH OTpWBOHHUX ΜΟΤΠΒΟΒ Η n o c j i e a y i o m e ä ΟΡΗΒΗΤΗΡΟΒΚΗ HA ÄONOJIHHTEJNJHBIFI paccKa3 A A ß I M O B H 4 BHOCHT ΠΟΑ Ty »ce p y ö p H K y CPEACRE SAHHTEPECOBBIBAHHH WRATEJIN. Β ΠΟΙΙΟ6ΗΟΜ c n y n a e (HA n p H M e p e , npHBe^eHHOM HSMH Β n p c A R n y m e ü , B o c t MOÖ RJIABE Hamefi CTSTBH) OH ΓΟΒΟΡΗΤ Ο " n e p e p w e e Β ACHCTBHH". C p . ibid., c r p . 115.

'SUSPENSE' β "EPATbÄX KAPAMA30BbIx"

117

ποητη 3pHTejibHo npeACTaBjiaeTCii η cpa3y π ο τ ο μ μ η μ ο χ ο λ ο μ η KOCBeHHO rOBOpHTCÄ, HTO yÖHHCTBa He ÖfalJIO; BTOPOH pa3, Kor^a, HecMOTp« Ha pa3Hbie 3ηηκη, roBopamne, h t o He M h t h yÖHJi oTita, pa3flaiOTCH npoTOKOJibHbie cjioea cyaeÖHoro cjie^oBaTejia, oöbhHHIOUIHe /jMHTpHÄ Β yÖHHCTBe OTIia. ^ p y r n e cpe^cTBa ιΐΗτβΗ0ΗφΗΚ3ΐίΗΗ äbjiäjotcä naccaacaMH, HanenaTaHHbiMH KypcHBOM η β KaBbiHKax, KaK 3HaK npHMoro oxpaaceHHa Mbicjiefi # m h t p h « ο npeacToameM yÖHHCTBe c nocjießyiomHM orpaÖJieHHeM, πρκ HeM KocBeHHas penb β pe3K)MHpyiomeM, ^paMaTHHecKOM οτιβτε paccKa3HHKa coxpaHaeTca. 8 OpHeHTHpoBxa Ha npecTymieHHe ,ΖΙ,μητρηλ ycHJiHBaeTca η nOBTOpHbIM Β ΒΟΛΟ Μ MOTHBOB, OTMCiaKUIiHX OTBpameHHe βΓΟ Κ oTuy η 06cT0flTejibCTBa, KOTOpbie μ ο γ λ η 6 h npHBecTH ero κ OTueyÖHHCTBy: p a H b i u e 3TH oöcToaTejibCTBa öbiJiH TOJibKO BO3MO5KHOCTbK), Tenepb ohh CTajiH ßeöcTBHTejibHocTbio. Π ο τ ο μ npH ycHJiHBaHHH ορΗβΗτπροΒΚΗ HrpaeT pojib BapwauHfl onpe^ejieHHbix MOTHBOB Henocpe^cTBeHHO H3 >KH3HH ^ΜΗτρΗΗ flo Kaxoro-To ΡΟΚΟΒΟΓΟ COÖblTHH (ΠΟΠΗΤΚΗ ^Ι,ΜΗΤρΗΗ flOCTaTb ΛβΗβΓ). Β 3THX cjiynaax paccKa3iHK .nasce HHorzja HaBü3biBaeT iHTaTejiio cboh OTpblBOMHbie COOÖmeHHH Η npeflBOCXHmeHHH ("OTMenaiO 3TOT φ3κτ 3apaHee, π ο τ ο μ pa3bacHHTCfl, JUIH sero Taic aejiaio"). ÜHbie Bapnai^HH nopaacaioT η TeM, h t o ohh, TaK CKa3aTb, o6hobjihk>t ÄOBOAbI, KOTOpbie no CMepflHKOBy npHBeJIH 6 b l JJmhtph» κ yÖHHCTBy oTija (KpafiHaa Hyayja, p e B H o c T b , oTcyTCTBHe cropoxca npw aoMe oTita η τ.λ·)· OpHeHTHpoBKa Ha oTueyÖHHCTBo, coßepmeHHoe /^MHTpHeM, HHTeHCHBHpyeTC», KOHeiHo, η HaxonjieHHeM NOKA3AHHIF, HAMEKOB.

Β pa3Hbix cjiynaax φορΜ3 ορκβΗΤΗροΒκκ oÖMaHHHBa: Bbipaacehh« Bceee^ymero paccKa3*iHKa η caMoro ^ μ η τ ρ η η ο npejiCTo«meö κaτacτpoφe no-BHjciHMOMy npexcfle Bcero othocätch κ yÖHÖCTBy CTaporo oTua (zjo MOMeHTa nepejj okhom OTiiOBCKoro ÄOMa), ho Ha caMOM Äejie 3τογο yÖHHCTBa He 6wjio. Π ο Mepe τογο, 8

CrMJiHCTuqecKHe npHei*n»i Jina noBbiuteHH» Bbipa3HTe.ribHOCTH οτρωΒΟΐηογο MaTepaajia η nocjieayfomefi ορπβΗΤΗροΒΚΗ Ha ÄonojiHHTejn>Hbifi paccxa3, Toxce y /laennoBHia bxoäht β pa3p«Ä npaeMOB 3aHHTepecoBbraaHHfl. Tax oh roBopHT ο npHeMe HanenaTaTb xypcHBOM OT^enbUbie cjioea, xax 06 οληομ H3 epefleTB ans AOCTHseeHH» "MH0r03HaiHTeJibH0CTH". Cp. ibid., crp. 107.

118

J A N V A N DER E N G

KaK opHeHTHpoBKa 6om>ine Η 6 o j i b i n e ocHOBbiBaeTca Ha BbicKa3biBaHHJix nepcoHaaceii, oHa n p H o ö p e T a e T OTTCHOK COMHHTEJIBHOCTH (oTnepTaa

aeepb).

Bee

ace MOJKHO a o n y c T H T b

Η 3JieMeHT

CMbicjieHHocTH, HanpHMep, Ha o c H o e e ΤΟΓΟ »ce φ a κ τ a

flBy-

οτκρΜτοή

A B E P N (HJIH ^ϋ,ΜΗτριΐΗ, HJIH CMEPFLÄKOB BÖEJKAJI Β Hee κ OTity). πρκτοΜ,

Η

n o pa3Hi,iM npHHHHaM Tpyn,Ho c e ö e npe,u,CTaBHTb, KaK

CMep^HKOB MO Γ 6 H

COBepHIHTL· yÖHHCTBO: Η 3flecb HeCKOJIbKO

noHTH Hepa3peuiHMbix B o n p o c o B T p e 6 y i o T o6b»CHeHHa. Ο Π Μ Τ Η Μ Η HHTaTejib MOR 6 M npeanojioacHTb, HTO M H T H H a n e p e x o p BepOHTHOCTH BCe IKe COBepUIHJI yÖHHCTBO, HO HTO paCCKa3HHK nOKa TOJlbKO ΟΛΗΗ HeoßbJICHHMblH (JtöKT OCTaBJWeT Β ΤΘΜΗΟΤβ (flBepb), ryÖHTeJIbHblH flJI» ^MHTpHa, Η Β OCTajIbHOM (ΠΟBe^eHHCM ,Ο,ΜΗΤρΗ« βΟ Η BO BpeMii c y ^ e Ö H o r o pa36HpaTejibCTBa, noKa3aHH«MH Η SMOHHOHajibHbiMH peaKipiaMM A j i e u i H Η rpyiueHbKH), c T a p a e T c a oTHHTb y HHTaTeJiH BCHKoe n0fl03peHHe n o oTHomeHHio κ /Ι,ΜΗΤΡΗΚ).

Πρκ

3TOM HHTaTejib OCTaBJieH C BOnpOCOM Ο COynaCTHH Η OTBeTCTBeHHOCTH

Heara

Η CMEP^AKOBA.

XI Pa3Hbie opneHTHpoBKH Ha TaiiHoe corjiameHHe H e a H a Η C M e p a«KOBa yÖHTb C T a p o r o K a p a M a 3 o e a noaBJiaioTca Β ΠΛΤΟΗ, niecToii, Ce^bMOH Η BOCbMOH TJiaBaX OflHHHaAUaTOH ΚΗΗΓΗ.

CyTb

3THX

opHeHTaiiHH Β T p e x r j i a e a x , nocB«meHHbix τ ρ β Μ BH3HTaM H E A H A κ CMepflHKOBy. ΤρβτΗΗ BH3HT ß a e T pa3peineHHe ΟΛΗΟΗ CTopoHbi flejia,

τ ο ecTb, BHeuiHeii CTopoHbi 3aMbiinjieHHoro η c o B e p m e H H o r o

y6HHCTBa. H o Ha o c H o e e 3 T o r o pa3peineHHa o ö o c x p j i e T C f l 3araAKa BTOpOH CTOpOHbl

flejia,

TO eCTb, BHyTpeHHHH, nCHXOJIOrHieCKHH

BH,q c o y i a c T H a H e a H a Β y ö n f i c T B e c B o e r o oTu;a. I l o c j i e oTBeTa Ha BOnpOC, "KaK 3ΤΟ flejTO CJiyHHJIOCb?", B03HHKaCT C ΑΒΟΗΗΟΗ CHJIOH Bonpoc,

"KaK

BO3MO»CHO

6WJIO,

HTO

HeaH

TAK

ßojiro

He

ΜΟΓ

oco3HaTb CBoe ynacTHe?". # B y M r j i a e a M ο BH3HTax κ CMep,a;jiK0By n p e ^ u i e c T B y e T B c r p e i a AjieuiH c

HEAHOM:

OH 3acTaeT e r o

y

KaTepHHbi

HBaHOBHbi Η

ΠΟΤΟΜ roBopHT c HHM Ha yjiHite. Β rocTHHoö K a T e p a H a HeaHOBHa 03afla*ffiBaeT HHTaTeji» (H H e a H a c A j i e m e f i ) BHe3anHbiM c o o 6 m e ΗΗΒΜ, c j i e ^ y i o m H M 3a B o n p o c o M , oöpameHHbiM κ H ß a H y "yÖHJi JIH

119

'SUSPENSE' β "EPATLAX ΚΑΡΑΜΑ30ΒΗΧ"

β Μ Η τ ρ Η Η o T i j a " : " — Ά 6 t i J i a y C M e p ^ K O B A . . . 3 τ ο TBI, T H ySe^HJi M6HH, «ΪΤΟ OH [T.e.

^MHTpHÖ] oTijeyÖHHaa.

Ά

TOJIBKO T e 6 e Η

n o B e p H J i a ! " C ß o e ö ΒΗΧΟΑΚΟΗ, K a T e p H H a H B a n o B H a , KaK 6 y j r r o , flaeT noHaTb, HTO n o c j i e 3ΤΟΓΟ n o c e m e H H a , OHa n p r a m i a κ 3aKjiioHeHHK), HTO He MHTJI yÖHji oTixa H a n e p e x o p yBepeHHHM MEAHA. Β

pa3roßope

H3Bem,aeT A j i e r n y

Ha ο

yjiHtte,

cnycTa

noTpacaiomeM

HCCKOJIBKO φaκτe,

MHHyT,

κοτορπκ

HeaH

wraTejib

n o K a He 3Haji Η κ ο τ ο ρ π ή 6 o j i e e HJIH MeHee npoTHBope^HT c o o ö m e HHK>, TOJIBKO HTO flaHHOMy K a T e p H H o i i ÜBaHOBHOH: " Y pyKax

OAHH AOKyMeHT e c T b ,

co6cTBeHHopy I MI.IH,

Hee Β

MHTeHbKHH,

MaTeMaTHHecKH aoKa3biBaK>mHH, HTO OH yÖHJi O e ^ o p a

IlaBJio-

B H i a . " Kor,zi;a A j i e r n a Β ο τ Β ε τ TBEP^O OTPIMAET, FRO MHTH yÖHHija, M e a H HecKOJibKO p a 3 3 a a a e T B o n p o c , κ τ ο n o e r o MHCHHIO yÖHJi? A j i e r n a AAET YKJIOHTHBWE OTBCTBI, κ ο τ ο ρ π ε BMECTE c TEM CHJH.HO HHTpHryiOT HHTaTejiH 3HaHHeM n o K a e m e CKPWTWX φ a κ τ o B :

"Tbi

c a M 3Haeuib κ τ ο " [ y ö a j i ] , o T B e n a e T OH n e p B b m p a 3 . Β τ ο ρ ο κ

pa3

OH o T B e i a e T Ha HacToifaHBbiii B o n p o c H e a H a : 3 H a i o , [ . . . ] Y6HJI OTIIA

He mbiKorna

oxpao TOJIBKO

H e a H 3aMeHaeT, HTO OH 3TO

Η c a M 3HaeT, A j i e r n a B 0 3 p a » c a e T : " — Η ε τ , M e a H , Tbi c a M c e 6 e HecKOJibKO p a 3 r o e o p H J i , HTO yÖHHija Τ Η [ . . . ] T b l r o B o p i u i

3το

c e 6 e ΜΗΟΓΟ p a 3 ,

^ea

Kor^a ocTaeajica

ΟΑΗΗ Β STH C T p a n r a n e

M e c a i j a [ . . . ] T H OÖBHHÄJI c e 6 a [ . . . ] HTO y 6 H H i ; a HHKTO KaK T H . H O yÖHJi He TH, T H ouiHÖaeiiibCH, He TH yÖHÖua, cjibiiiiHiiib MCHH, He T H ! MeHH 6 o r n o c j i a j i T e 6 e 3ΤΟ CKa3aTb." H e a H o T 3 H B a e T c a Ha 3ΤΟ HeoacH^aHHbiM c o o ö m e H H e M ,

κοτοροβ

ΠΡΗΒΟΛΚΤ i H T a T e j i a Β K p a i m e e He^oyMeHHe H, KaK 6 y n T o , opHeHTHpyeT e r o Ha n o K a c o ß c e M HeH3BecTHoro coynacTHHKa Β yÖHHCTBe OTita: " — T H 6 H J I y MeHH [ . . . ] T b l 6 H J I y MÜH» HO«Ü»K>, K o r a a ΟΗ n p H x o ^ H J i . . . I I p H 3 H a B a ö c a . . . Τ Η e r o BH^eji, BHfleji?" H a B o n p o c n A j i e u i H H e a H He j a e T aonojiHHTejrbHoii ΜΗΦΟΡΜ3ΐΊΗΗ Η iHTaTejib n o K a ocTaBJieH c 3araflKOH, Ha K o r o H e a H HaMeKHyji Η HeM STOT HejioBeK CB«3aH c y6nficTBOM. H ß a H Η A j i e m a ΠΟΤΟΜ p a c x o ^ a T c a . M e a H ΤΟΓ,ΣΦ WJIFIT τ ρ β τ κ ή p a 3 κ C M e p a a K O B y . H o CBeaeHHa 3TOM TpeTbeM BH3HTe (BO BpeMH

κοτοροΓο

oÖHapyacHBaeTca,

06

κτο

yÖHJi) n o K a OTcpoHHBaioTca. C j i e a y i o m a a ( n i e c T a a ) r j i a e a OAHHHaAUaToö ΚΗΗΓΗ n o c B a m e H a nepBOMy BH3HTy HEAHA κ

CMep-

jWKOBy. H x p a 3 r o B o p BBOAHT Β p o M a H c T a p n e ΜΟΤΗΒΗ, opHeH-

120

JAN VAN DER ENG

T H p y i o m H e HHTaTejra 3 a H 0 B 0 H a c o y i a c T H e H e a H a Β n p e c r y i i H O M 3aMMCJie J i a K e a . I l e p B o e , HTO n o p a » e a e T H e a H a , K o r ^ a OH ΒΗΛΗΤ C M e p ^ H K O B a , 3ΤΟ e r o

Kaie 6 H H a HTO-TO H a M e K a i o m n f i

jieBbiii

r j i a 3 0 K : " « C yMHbiM HejioBeKOM Η n o r o B o p H T b j n o ö o n b i T H O » ,

—

TOTHac » e B c n o M H H J i o c b H B a H y O e j i o p o B H H y . " B e e t p a 3 r o ß o p cocpeflOTOHHBaeTCJi Ha B o n p o c e , Kaie CMCPA»KOB M O r n p e f l C K a 3 a T b TOHHHH MOMeHT n p a n a ^ K a n a ^ y n e « , T o r ^ a KaK 06

MeflMiHHCKaH H a y K a y T B e p x c a a e T , HTO H e j i b 3 a 3 a p a H e e 3 H a T b 3TOM.

CMep^ÄKOB

aaeT

noejie

ΜΗΟΓΗΧ

yeepTOK

oÖMCHeHHe,

κ ο τ ο ρ ο β OKOHiaTejibHO, K a a e e T c a , y ö e a c z i a e T HEAHA Β e r o HCBHHHOCTH: " [ . · . ] a BOT x o T b 6 b i 3ΤΟ c a M o e , HTO Λ Β n a f l y n e i i n p e f l CTaBjiiiTbC« M a c T e p : Hy c x a 3 a j i JIH 6 H a BaM H a n e p e a , HTO n p e j CTaBjiflTbCfl y M e i o , e c j i n 6 y MÜHÄ Β c a M O M a e j i e KaKofi 3 a M b i c e j i T o r , q a 6WJI H a p o f l H T e j w B a r n e r o ? K o j i b T a K o e yÖHBCTBo y»C « 3aMbICJTHJI, TO MOHFHO JIH 6 b I T b CTOJIb a y p a K O M , H T o 6 b I B n e p e j i H a c e 6 a T a K y i o yjiHKy c K a 3 a T b , a a e m e c b m y p o ^ H O M y , n o M H j i y i i T e - c ? ! " OH

ΠΟΤΟΜ EME p a c c y a c ^ a e T ,

HTO T a K o e

flypanecTBO

n o J i b 3 y o Ö B H H a e M o r o HeM Β y m e p ö e M y . 3 τ ο τ

CKopee

Β

ΑΟΒΟΛ HBJIHCTC»

YÖEFLHTEJIBHHIM ^ j i a P i ß a H a , HO He ÄJIÄ HHTATEJW, K O T o p o M y »cyTKO CTaHOBHTCÄ ΟΤ pa3HbIX HHCHHyHpyiOmHX 3aMeHaHHH CMepflÄKOBa. TaK Β Hanajie p a 3 r o e o p a flOJDKeH

ΜΗΟΓΟβ

Ü B a H r o B o p H T , HTO C M e p a » K O B

pa31»HCHHTb

Η HTO

Ü03B0JIHT. P e n j i H K a C M e p a a K O B a :

"—

OH A

eMy

C COÖOK) H T p a T b 3 a n e M 6 b i MHe

Ηβ

TaKaa

H r p a - c , K o r ^ a Ha B a c B c e M o e y n o e a H H e , e^HHCTBeHHo, KaK H a roenofla 6ora-c!" K o r ^ a H e a H c n p a i i r a e a e T , w w n e r o OH e r o T o r ^ a Β M e p M a i i i H i o nocbuiaji,

CMepAHKOB o T B e n a e T ,

HTO OH ÖOHJICÄ, HTO Ü B a H

M o c K B y y e ^ e T ; OH npeÄJKMKHJi H e p M a n m i o e^HHCTBeHHo HTo H e a H T o r ^ a Tpy^Ho

öyACT

6 y ^ e T n o 6 j r a » e e H, c j i e a o ß a T e j i b H o ,

HTO-to

npeanpHHHTb,

c^ejiaTb

Β

n0T0My,

/JMHTPHK)

CKaH^aji,

B3HTb

i i e H b r n , K O T o p w e OH n o H H T a j i 3 a CBOH Η Τ.Λ. K o r a a H e a H 3 a M e n a e T , HTO OH, K O H e i H o ,

ocTajicH 6 H ,

ecjiH 6 H

aora^ajicji,

HTO

TaK

OÖCTOÄJIO a e j i o , CMCPAHKOB τ ο Β ο ρ κ τ , HTO n o e r o MHCHHIO H e a H T o r ^ a Η3 e r p a x a y 6 e » e a j i . H a c e p A H T b i f t B o n p o c M e a H a : " —

Tbl

AYMAIR, HTO B c e T a K a e ace T p y c b i , KaK T H ? " c j i e a y e T OT3HB, n o j i H b i i i c K p b i T b i x HaMeKOB: " — ü p o c T H T e - c , n o a y M a j i , ΗΤΟ Η B H , KaK Η J L " CaMaa

flep3Kan

HHCHHyaiiH» 3 a K j n o H a e T c a Β n o c j i e ^ H H x

cjioeax

121

'SUSPENSE' Β "EPATbflX KAPAMA30BbIx" CMepflJIKOBa, KOTOpblMH Μ KOHHHJIC« nepBbifi pa3rOBOp.

ΠΡΟ-

CTHBÜIHCb C HHM, Ü B a H

[...]":

"—

Jlo

CBHflaHHÄ. JI,

"πρΟΓΟΒΟρΗϋ Bflpyr nOHeMy-TO

ΒΙΦΟΗΒΜ, Προ TO, HTO Tbl npHTBOpHTbCH

yMeeinb, He cxaacy ... a a Η Te6e coeeTyio He noKa3biBaTb." C M e p ΛΗΚΟΒ Β ο τ Β ε τ : " —

OneHHO noHHMaio-c. A

KOJIH BU 3Toro He

noKaaceTe, τ ο Η H-C Bcero Harnero c BSMH pa3roBopy T o r ^ a y Β ο ρ ο τ He o ö t H B j n o . . . " BceBeaymHH paccica3HHK oTMenaeT, HTO H e a H "BApyr

nonyBCTBOBaji,

HTO

Β

nocjieflHefi

φpa3e

CMepzwKoea

3aKJnOHaJICiI KaKOH-TO OÖHßHtlÖ CMblCJl", HO HTO OH cpa3y ΠΟΤΟΜ MaxHyji Ha 3To pyicofi "ycnoKoeH [ . . . ] τβΜ [...], HTO BHHOBaT He CMepA«KOB, a 6paT e r o ΜΗΤΗ, χ ο τ β , Ka3ajiocb 6 w , AOJDKHO 6biJio BbiiiTH HanpoTHB". HecKOJibKo He^ejib o h JKHJI Β yöeaqieHHH, ι τ ο CMEP^HKOB He yÖHji oTija Η OH aaace 3a6biJi ο HeM. H o

ΠΟΤΟΜ

onHTb HanajiH e r o MyHHTb cTapbie MMCJIH Η Bonpocbi. BceBeaymHH paccKa3>fflK oÖHapyacHBaeT ΠΡΗΗΗΗΜ B T o p o r o

BH3HTa Κ C\iep-

AÄKOBY. ü p e a m e Bcero e r o npHHy^HJiH ΠΟΗΤΗ Κ Jiaxeio Hepa3pemeHHbie Bonpocbi, x o T o p w e OH paHbine He pa3 3aflaeaji ce6e: Bonpocbi "flJia Hero OH T o n j a , Β nocjie^Hioio CBOIO HOHb [ . . . ] , n p e ^ OTbe3flOM CBOHM, CXOflHJI THXOHbKO, KaK BOp, Ha JieCTHHUy Η npHCjiyuiHBajiCÄ, HTO aejiaeT BHH3y OTEU? [ . . . ] noneMy Ha

flpyroä

fleHb [ . . . ] BI»e3»caa Β MocKBy, cKa3aji ce6e: « — Ά n o z u i e u ! » " HTO ΠΟΤΟΜ npHHy^HJIO MßAHA ΠΟΗΤΗ Κ CMepÄHKOBy, 3ΤΟ ΠΟΛΤΒβρΛΗTejibHbie oTBeTbi A j i e i i m Ha HecKOJibKO BonpocoB, 3a#aHHbix eMy MßaHOM. 3 T H M H BonpocaMH BBO^STca 3aHOBO CTapbie MOTHBM Β poMaH. PeHb H,geT 0 6 H3BecTHbix cjioeax H e a H a , HTO OH ocraBJiaeT 3a CO6OH " n p a e o xcejiaHHH" Η HTO "ΟΛΗΗ ra,a cbe^aeT

apyryio

r a ^ H H Y " . O H χοπετ y3HaTb ο τ AJKIHH, .ayMaji JIH TOT T o r ^ a , HTO OH acejiaeT CMepTH OTiia Η caM nocnocoöcTBOBaTb 3TOMy He npoHb? Β τ ο ρ ο ϋ p a 3 r o B o p c CMepAHKOBbiM HaHHHaeTca c n p o c b ö b i o6"b»CHeHHH

nOCJie^HHX HHCHHyHpyiOIUHX

CJIOB C M e p a » K O B a

06 Β

KOHiie n e p e o r o b h 3 h t e : n o n e M y OH He " B c e r o " cKaaceT cyzieÖHOMy cjieflOBaTejDO ο

ecezol

6ecefle

[...] Η τ ο »

c

HeaHOM

y

Βοροτ?

"Ητο

3το

Taxoe

Β COK)3, HTO JIH, Β K a K o ö c T060K) B C T y n a j i ,

6 o i o c b T e 6 a , HTO JIH?" C M e p a a i e o B o T B e n a e T 6 e 3 OÖHHHKOB, HTO π ο β 3THM OH n o f l p a 3 y M e B a j i pemeHHe P i e a H a o c T a B H T b Β a c e p T B y o T i i a , XOTH OH 3 a p a H e e 6MJI o c e e f l O M J i e H ο n p e ^ c T o a m e M CTBe.

PeaKqHH

MeaHa

onaTb

noKa3biBaK>T,

yÖHH-

HTO OH T o r ^ a

He

122

JAN VAN DER ENG

oco3Haji coBceM cboh HaMepeHHfl: "— fla pa3Be a

3ΜΛ

Tor^a προ

yÖHHCTBO?" [...] " — T a x Tbl, no&iieu, no^yMaji Toraa, h t o

a

3a0AH0 c #MHTpneM xony oTiia yÖHTb?" Ποτομ CMEPFLAKOB H3JiaraeT, h t o y ÜBaHa ecTb Äße npHHHHbi, KOToptie npHBejin κ HCn0JIb30BaHHK) ^MHTpH», KaK OpyAHa yÖHHCTBa OTLia: B03M05K-

ηηη öpaHHMH coio3 oTua c rpymeHbKoii η nocjieayiomaa noTepa HACJIE^CTBA; YMHOACEHHE HACJIEACTBA CYFLOM HA^ βΜΗτρπβΜ, κοτορΜΗ KaK yÖHÖiia jmmaeTca Bcex npae ßBopaHCTBa, ηηηοβ η HMymecTBa. PenjiHKa MeaHa η cjieayiomHii 3a Heß ot3mb CMepflflKOBa HBJIHIOTCH CaMbIMH MH0r03HaHHMbIMH MOMeHTaMH Β 3TOM pa3roBope: "— Hy Tepnjno »ce a οτ Teöa! Cjiyman, Hero^aö: ecjiH 6 a η paccHHTbiBaji Tor^a Ha Koro-HH6ym>, TaK yac kohchho 6bi Ha Te6a, a He Ha ,ΖΙ,μητρηλ, η, KjiHHycb, npe^Hy bctbo Baji naxe οτ Te6a KaKoii-HHÖyzib Mep30CTH ... Tor^a ... a πομηιο Moe BnenaTjieHHe!" Η ot3MB CMep^aKoea Ha 3th cjioea: "— H a Toace noayMan Tor/ja, MHHyTKy oßHy, hto η Ha MCHA Toxce paccHHTbiBaeTe, — HacMeuiJiHBo ocKJiaÖHJica CMepaaKOB, — TaK «rro τβΜ caMbiM eme 6oJiee Tor;ja ce6a npe^o mhoh oöjihhhjih, h6o ecjiH npejxHyBCTBOBüJiH Ha MeHa η β t o ace caMoe BpeMa ye3»cajiH, 3HaHHT Μ He ΤβΜ CaMbiM TOHHO KaK 6bl CKa3aJIH: 3TO Tbl MOJKenib yÖHTb po^HTeji«, a a He npenaTCTByio." riocjie

BToporo pa3roeopa MeaHy Ha yM πρκχοΛβτ τε »e CTapbie MynHTejibHbie Bonpocbi: 0Ka3biBaeTca, hto co3HaH»e ero coyiacTHfl β yÖHHCTBe oxua, co3HaHHe npeABapHTejibHoro 3arOBOpa C CMep£5IK0BbIM, 3aBHCHT ΟΤ Bonpoca, yÖHJI JIH CMepfl«kob? KaK 6yiiTO 6e3 3τογο φaκτa 3aroeopa He 6bi.no η coynacTHa He cocToajxocb. ΠρΗ stom nopa3HTejibHo, hto MeaH, KaaceTca, Bee eme coMHeeaeTca β yÖHHCTBe, coBepmeHHOM CMep^aKOBbiM, HeCMOTpa Ha yxc nepecnyp acHbie HaMeKH jiaKea, coBna^aiomHe ποητη c npaMbiMH BbicKa3biBaHHaMH. HBaH, KaaceTca, c yflHBjieHHeM npHineji κ 3aKjnoHeHHK): "B caMOM ^ene, ana Hero a Toraa noexaji β HepManiHio? Rjin Hero, Λ-fia Hero? [...] fla, kohchho, a nero-To oacHßaji, η oh npae ..." OnaTb eMy npHnoMHHJiocb, KaK oh β nocjieflHioio HOHb y OTaa noacjiyuiHBaji 3a hhm c JiecTHHUbi: " ^ a , a 3τογο Tor^a »yj,aji, 3το npae^a! Ά χοτβπ, a hmchho xoTeji yÖHHCTBa! XoTeji jih a yßHÖCTBa, xoTeji jih? ..." Ποτομ oh roBopHT KaTepHHe MeaHOBHe: " — Ecjih 6 yÖHJi He ^mhtphh, a

123

'SUSPENSE' β "ßPATbHX KAPAMA30BbIX" CMEPAHKOB,

τ ο , KOHCHHO, Λ Tor^a c HHM cojiH^APEH, H6O Η

no,n;6HBaji ero. üoflÖHBaji JIH a ero — eme He 3Haio. H o ecjm TOJIBKO OH

yÖHJi, a He ^MHTpufi, τ ο , κοΗβΗΗο, yÖHÖiia η η."

Β οτΒβτ Ha 3το Kojieöjnomeeca caMooÖBHHeHHe, KaTepHHa HeaHOBHa nepe^aeT eMy "MaTeMaranecKoe AOKa3aTejn»CTBo", HTO yÖHJi ^ M H T P H H : IIHCBMO, HanacaHHoe HM B nbJiHOM Buije κ KaTepHHe MeaHOBHe, Β κοτοροΜ TBICHHH Η

OH

KJIRHCTCH

aocraTb

τρκ

öpocHTb eö, "a He ^ocTaHy y jHO^eH, τ ο aaio Te6e

HECTHOE CJIOBO,

nofi^y κ oTiiy Η npoJioMjno eMy rojioey Η eo3bMy

y Hero ποΛ no^yuiKOH, TOJibKO 6bi yexaji HeaH. Β KaTopry nofitay, a TpH TbicaHH OTJIAM" Η Τ.Λ. 3 τ ο τ cÖHBaiomHH c TOJiKy aoKyMeHT uejibiö Mecau y6e»maeT HeaHa, HTO ^MHTPHH yÖHJi oTua, HO y6eaczjeHHe Tenepb ycjioacHHeTCH HyBCTBOM CTpaiUHOH TpyCTH Η CMymeHHH, KOTOpbie OH oßbHCHHeT ce6e τβΜ, HTO OH caM, MoxceT 6biTb, TaKofi *ce yÖHÄua. K o m a KaTepHHa ΠΟΤΟΜ o3a,aaHHBaeT ero cnoeaMH " 3 τ ο TM, TOJibKO TW οληη yeepHJi MeHH, HTO OH ( τ ο ecTb M H T Ä ) YÖHÖIIA!", ΧΟΤΛ

HMeHHo oHa BbiJioacHJia "^OKyMeHT" Η flOKa3ajia BHHOBHOCTB

6paTa, — η Kor^a OHa πρκτοΜ eme BOCKJiHuaeT, HTO 6biJia y CMepA«KOBa, τ ο HeaH peuiaeT ΠΟΗΤΗ τρετΗΗ pa3 κ JiaKeio. Β TpeTbeM pa3roBope Ta »ce nrpa. CMepAHKOB roßopHT HaMexaMH η He HaMepeH, KaaceTCfl, BbicKa3aTbca 6e3 OÖHHHKOB. TaK OH 06pamaeTCÄ κ HeaHy cjie^yioinHMH cjioeaMH: " —

HTO BH ece

6ecn0K0HTecb? [...] 3το HTO cy^-το 3aBTpa HaHHeTca? TaK BeAi» HHiero BaM He öyqeT, yeepbTecb ace HaKOHei;! CrynaiiTe AOMOH, jioacHTecb CÜOKOHHO cnaTb, HHHero He onacaHTecb." Ha 3TH npe3pHTejibHo-noKpoBHTejibCTBeHHbie cjioea HeaH pearnpyeT c BonpocoM

"nero

MHe öoflTbc« 3aBTpa?"

CMep^aKOB

ΠΟΤΟΜ

Bbi3bieaeT ero cjioeaMH, KOTOpbie JIBJIJUOTC» BapnaitHeH CTaporo MOTHBa ( " c yMHbIM HeJlOBeKOM Η ÜOrOBOpHTb JIK)6onbITHo"): "oxoTa »ce yMHOMy HejioBeKy 3TaKyn> KOMe^i» H3 ce6a npeacTaßjiflTb!" CMepa«KOB npHÖaBJiaeT τβΜ *ce npe3pHTejibHbiM, HrpHBbiM TOHOM, KaK 6y^To noKpoBHTejibCTBya HBaHy-coynacTHHKy H, TaKHM 0Öpa30M, ΠΟΗΤΗ no^pbiBaa nrpy HaMexoB η HHCHHyau,HH: " — ΓοΒοριο BaM, Henero BaM 6o«Tbc«. Hnnero Ha Bac He noKaacy, HeT yjiHK. [...] ϋ α κ τ β ΛΟΜΟΗ, ue eu y6mu"

Ha

penjiHKy HeaHa: " — Ά 3Haio, HTO He Λ [...] ΓοΒορκ Bee, ra^HHa!

124

JAN VAN DER ENG

Γοβορη Bee!" cjie,nyeT, HaKOHea, np«Moe oÖBHHeHHe CMep^KOBa: " — Ah bot bli-to η yÖHjra [...] Bm yÖHjm, bm rjiaBHbifi y6HBeii η ecTi», a Ά TOJibKo BauiHM npHcneuiHHKOM 6biji, cjiyroö JlHiapAoii BepHBiM, η no cjioey BameMy AeJio sto η coBepiimji." 3thm HaiHHaeTC« paccKa3 προ yÖHHCTBO oTua. Pa3pemaiOTc« Bce Bonpocbi, KOTopwe η fljia HHTaTejiH aejiajiHCb hctohhhkom COMHeHHÖ: BOIIpOC OTKpLITOH flBepH (HCKaXCeHHOe BOCnpHHTHe ^eöcTBHTejibHocTH rpHropaeM); Bonpoc, Kaie CMepAflKOB ycneji BOHTH β αομ η yÖHTb CTapHKa (He Meayjy ποητη coBna^aiomHMH MOMeHTEMH paCCyHCAeHH« rpHrOpHH 06 OTKpblTOH ABepH Η öercTBa ^Ι,ΜΗτρΗ», ho ao Toro, xaK xeHa ΓρκΓορκ« npocHyjiacb, Tor^a xaK crapbiii cjiyra, noBepaceHHbm ^ΜΗτρκβΜ, jiescaji 6e3 HyBCTB β caay), xaKOH mothb jiaKefi HMeji ajih yÖHHCTBa (τρκ TbiCHiH, oTjioaceHHbie aji» rpyuieHbKH He ποα tkxJmikom, a 3a o6pa3aMH, MecTo, H3BecTHoe TOJibKo CTapHKy Aa CMepahkoBy). PemeHHe HeaHa cjieAOBaTb ero coeeTy η noexaTb β HepMauiHio, 6wjio ajih CMepAÄKOBa AOKa3aTejibCTBOM, ττο t o t xoTeji CMepTH OTu;a, hto oh xpniea He noAbiMeT 3a noTep«HHbie τρκ tmcjuih, Aaace ΠΟΤΟΜ, HacjieACTBo noJiyHHB, eme HarpaAHT ero, η 3am,HTHT ero nepeA HanajibCTBOM β cjiynae, ecjiH CMepA«KOB 6yAeT ποα nOA03peHHeM.

OÖHapyaceHHe xoAa AeJi πρκ yÖHHCTBe OeAopa ITaBJioBHHa KapaMa30Ba, cnepea HaMeieaMH η BbObieaHHAMH, ποτομ npjiMbiM paccKa30M CMepAHKOBa, conpoBoacAaeTca B03HHKH0BeHHeM p«Aa BonpocoB ncHxojiorHHecKoro xapaKTepa: KaK bo3mohcho öbijio, hto MßaH TaK aojito He noHHMaji HaMeKH, a HHorAa ποητη npnMbie oÖBHHeHHH CMepAiiKOBa η KaK oh HecKojibKO pa3 6biJi β coctohhhh coßceM yBepHTbca β hcbhhhocth CMepAHKOBa η cjieAOBaTejibHo β coöcTBeHHoμ HecoyiacTHH β stom Aejie? Eme β caMOM κοηη£ pa3roßopa, KorAa Cmcpahkob otmcthji, hto corjiacne MeaHa Ha noe3AKy β MepMauiHio ajm Hero öbijio 3HaKOM »caacAbi CMepTH oTi;a ero η caHKimefi yÖHTb, HeaH cnpaiiiHBaeT ceöa: "— TaK HMeji, TaK HMeji η 3Ty »aacAy, hmcji?" Μ β pa3Hbix Apyrnx cjiynaax H3 ero BonpocoB Η 3aMeHaHHH ÄCHO, HTO OH He COBCeM 0C03HaBaJI 3aMbiceji CMepAHKoea η ποπμτκη jiaKea BTHHyTb ero β sto Aejio, Kax cßoero poAa 3aKa3HHKa. Mw yace npHBejra cjioea, KOTopwe ÜBaH BbicKa3aji bo BpeM« BToporo pa3roBopa: "— ,3,a pa3Be a

125

'SUSPENSE' Β "ΕΡΑΤΒΗΧ KAPAMA30BbIx"

3ΗΟΛ T o r ^ a π ρ ο yÖHÖCTBo?" η e m e : " — T a K τ η , n o & n e i j , n o ^ y M a j i T o r ^ a , h t o Ά 3a0AH0 c

flMHTpneM

x o n y o T i j a yÖHTb?" ß a x e n o c n e

npH3HaHH» CMepflHKOBa β yÖHHCTBe, β KOHiie T p e T b e r o p a 3 r o e o p a , M e a H , K a x 6 y a T o , e m e He β c o c t o a h h h n o e e p H T b e M y : " — C o B e p -

iiihji? J\?L pa3Be t w yÖHJi? — n o x o j i o ß e j i H ß a H . Ητο-το KaK 6w c o T p a c j i o c b β e r o M 0 3 r y , η B e c b o h 3 a a p o » c a j i M e j i K o i o xojioähoio i i p o a c b i o . T y T yac CMep^HKOß c a M yjiHBJieHHo n o c M O T p e n Ha H e r o : BepoaTHo

ero,

HaKOHeu;, n o p a 3 H J i C B o e i o HCKpeHHOCTbK)

Hcnyr

HeaHa", η τ.λ. Β AajibHeHineM J i a K e » c r o p b K o i i HpOHHeii HanoMHHaeT MßaHy

ο e r o φκΛοοοφΗΗ, K y j i b M H η H p y l o m e ö β paccyameHHH, e c j m B o r a Ηβτ,

το

HejioßeKy

yHHJiH-c [ . . . ]

Bce

no3ßojieHo:

"3το

bm

enpaß^y

MeHH

kojih B o r a ö e c K O H e i H o r o Ηβτ, τ ο η h c t ηηκεκοη

Ä o 6 p o , 5 e T e j i H . " H o o h a e M a c K H p y e T e r o yneHHe, KaK n p o ß a j i H B -

ihhhc« a M o p a j i H 3 M η H e a H a , KaK T p y c a : " — B b i bot caMH T o r a a Bce

roßopHJiH,

Bce

hto

n03B0JieH0,

BCTpeBOJKeHbi, c a M H - T o - c ? " J l a K e i i H e j i e n o c T b ( c o CBoefi

a

Tenepb-To

noneMy

TaK

π ο τ ο μ o ö p a m a e T BHHMaHHe Ha

t o h k h 3peHH«) no3HQHH H e a H a : " I I o K a 3 b i -

B a T b Ha c e 6 a a a a c e χ ο τ κ τ β η λ τ η . . . T o j i b K o H H i e r o τ ο γ ο He 6 y a e T !

noH^eTe noKa3bieaTb [ . . . ] H e 3 a x o T H T e bm xcH3Hb HaseKH HCnopTHTb, TaKOH CTblfl Ha CyHQ npHHHB. B b l , KaK ΦβΛΟρ I l a B J I O bhh, H a H 6 o j i e e - c , H3o B c e x ,π,βτεΗ HaHÖojiee Ha H e r o π ο χ ο χ η He

BbllHJIH, C OflHOJO C HHMH ßyillOH-C." H ß a H Ha CaMOM flejie npHHaJI T B e p a o e pemeHHe " 3 a B T p a " n o K a 3 b i e a T b Ha c e 6 a η Ha C M e p a a K O B a . Β c j i o ß a x CMepAflKOBa n p o 3 B y n a j i a T a K a a »ce T ß e p f l a » y e e p e H H o c T b , h t o 3 τ ο γ ο He 6 y a e T . IIpejUBocxHmeHHH 3 t h n o j i y n a t O T 6 o j d > i i i h h

β c j i e / i y i o m e H r j i a e e . B M e c r e c TeM bbo^«tcä mothbw p e j m r H 0 3 Horo η Φ η λ ο ο ο β ο κ ο γ ο x a p a K T e p a , KOTopwe flenaiOT öojiee

Bee

HanpaaceHHhiM ß o n p o c , 6 y ^ e T j i h o h n o K a 3 b i B a T b Ha c e 6 a h j i h Ηβτ.

ΗΗΤβΗ0ΗφΗΚ3ΐι;Η« opHeHTaiiHH Ha pa3Hbie, e m e

He

Bnojme

paccKa3aHHbie, HacTH TeMbi AOCTHraeTCJi ποΒτορβΗΗβΜ η

Bapaa-

IJHefi MOTHBa " c yMHbIM HejIOBeKOM Η nOTOBOpHTb jnOÖOÜblTHO", ποΒτορβΗΗβΜ

mothbob " o ä h h ra,a c b e ^ a e T ^ p y r y i o r a f l H H y " , " a

nojujieii;" η τ . λ . Β

n o j n > 3 y ycHJieHH« opHeHTHpoBKH,

HeKOTopbie

HJieHbi npe^Jio»ceHHH He p a 3 HanenaTaHbi KypcHBOM: "ne mu oTiia",

"κτο

OHV,

"aa

pa3Be

"ΗΛΗτβΛΟΜοή, ne ebiyöuAu",

η 3ΗΟΛ T o r ^ a

προ

yÖHJi

yÖHHCTBO?",

η t . ä . ^CyTKHe napajuiejiH noßbimaioT

126

JAN VAN DER ENG

CHjiy opueHTaiiHH: Ajierna τ ο Β ο ρ κ τ "we mbi yÖHJi o m a " , CMepAjikob roBopHT "we 6bi yöuAii". fljM τ ο π »ee n;ejm chmbojim HHoraa ciein» fleöcTBeHHW. K o r ^ a MeaH τρετΗΗ pa3 Η,αετ κ CMep^aKOBy, o h AoporoH BCTpe^aeTCH c ntaHHiiefi, noioiimM: " A x , noexaji BaHbKa β Π κ τ ε ρ , Λ He 6 y a y ero smaTb!" K o r j a CMep^HKOB Ha3bmaeT MeaHa rjiaBHbiM yÖHHuefi η CHHTaeT caMoro ce6a ero npHcneuiHHKOM, Tor^a omm> HeaHy πρκχοΛ«τ Ha yM cjioBa nbimmiM. /Jjiji HHTaTeira o h h BepoaTHo c caMoro Hanajia Bbipa3HJIH pOKOByiO CHMBOJIHKy Β CBS3H C noe3flKOH HeaHa η cjieayiomHM 3a Hen yÖHHCTBOM.

COBCeM HeOÄHflaHHWe OÖOpOTW Β TeMaTHHeCKOM pa3BHTHH (cxaaceM: ciopnpH3w) noBbimaiOT He pa3 3φφεκτ opHeHTHpoBKH: Tax, BHe3anHoe B03HHKH0BeHHe b pa3roBope HeaHa c Ajieineii KaKoro-To HejioBeKa, nocemaiomero ero η oTMen:eHHoro cjiobom:

oh, ero. TaKHM ci0pnpH30M η HBJiaeTca Hejienoe cooßmemre KaTepHHbi HeaHOBHW, κ KOTopoMy HHTaTejia HHiero He ΠΟΛTOTOBHJIO: " t m yöeflHji MeH», τ τ ο o h oineyÖHHija". Pa3Hbie cjiynan oTCpoiKH H3jioaceHHfl BHeniHHX 06cT0HTejibCTB yÖHHCTBa cTaporo KapaMa3oea mohcho xapaKTepH30BaTb, KaK cjioacHbie

φορΜΜ OTCpOMKH. CjIOÄHOCTb 3Ta CüepBa COCTOHT Β HeKOTOpblX φaκτax, KOTOpwe, KaaceTca, HeonpoBepacHMo ycTaHaBJiHBaiOT BHHOBHOCTb ^ΜΗΤρΗΗ, XOTH 3Ta BHHOBHOCTb Β CBeTe ,ΖφγΓΗΧ φaκτoB «BJweTca KpaöHe Heeepoλτηοη. Π ρ κ s t o m pjm npe,m>iAymHX ßaHHblX npOTHBOpeHHT naCCHBHOH POJIH CMepflHKOBa Η MßaHa Β 3TOM aejie. Pa3 ^HTaTejib ocße,aoMJieH 06 yÖHHCTBe η bhhobhwx, cjioÄHaa φopMa

opneHTaiiHH

Ha

^onojiHHTejibHbie

^aHHbie

KacaeTca

Bonpoca, KaK HßaH TaK flojiro He oco3HaBaji CBoero ynacTH« β npecTynjieHHH η no^eMy o h , co3HaBaa cboio OTBeTCTBeHHOCTb, oöbhhhji caMoro ce6a h, HanepeKop aMopajni3My cßoeö φκΛοοοφΗΗ, xoTeji noxa3aTb Ha ceöa. XII I l o c j i e rjiaBbi ο TpeTbeM BH3HTe PieaHa KapaMa30Ba κ CMep-

'SUSPENSE' Β "EPATbHX KAPAMA30BbIx"

127

ΛΑΚοΒγ cjiejiyeT rjiaea, Β κοτοροκ 6ojiee HJXH MeHee o ö t a c H a e T c a Bonpoc, KaK MeaH TaK ziojiro He oco3HaBaji ceoero yiacTHH Β yÖHHCTBe. BMecTe c TeM aeJiaeTca 6oJiee ΠΟΗΛΤΗΗΜ, noneMy OH, c oflHofi CTopoHbi, peuiHji noKa3aTb Ha c e 6 » H, C .npyrofi cTopoHti, 3aTpyaH«Jica Β BbinojiHeHHH CBoero peuieHHa. Bee pe3He o6o3Ha^aeTca HenpHMHpHMocTb TaKoro noCTynxa c ero φΗΛοοοφκβΗ, HO Η 0TKa3 στ Hero «BjiaeTc« coeceM HCMHCJIMMMM Ha ocHoee TOH ace

ΦΗΛΟΟΟΦΗΗ.

Β

pe3yjitTaTe

HHTaTejib

opHeHTHpyeTC»

Ha

3aBTpaimniH AEHB cy^a He T0JibK0, KaK Ha ^em», Β κοτορΜΗ HEAH HJIH noKaaceT Ha c e 6 a HJIH oTKaxceTC» οτ 3ΤΟΓΟ, HO Β κοτορΜΗ Taxace — HTO OH HH cflejiaeT — OÖOCTPHTC« TparHHecKHH napa^oKC Β MbllHJieHHH Η Β 5KH3HH 3ΤΟΓΟ IiepCOHaHCa. CnrHajibi 3TOH öyaymeii flpaMbi noaBJiflK>TC5i B flHajioraHecKOM co3HaHHH HßaHa, 06i>eKTHBHp0BaHH0M Β pa3roBope e r o c a b x BOJIOM. P a 3 r o B o p STOT pacna^aeTCH Ha cepnio aHeKflOTOB Η aφopHCTHiecKHx MyapocTeH c o CTopoHbi ^bHBOJia. MeaH 0T3biBaeTca Ha HHX 6ojn>me Bcero Hero^oBamieM, He pa3, Bnpo^eM, npH3HaBaa BbIXOÄKH flbHBOJia 3a

CBOH COÖCTBeHHbie npeXHHe

MblCJIH Η

paccyxcfleHHH. 3TH MMCJIH Η paccyac^eHH« 6biJiH β KaKOM-TO oTHomeHHH HeBHHHbi. ITpaB^a,

OHH Bbi3biBaiOT AbflBojia

(T.e.

3aMyHeHHoe co3HaHHe HeaHa) Ha Kojncne 3aKJiioHeHHa β CBH3H C HacToamHM nojioaceHHeM HßaHa, HO caMH n o c e 6 e OHH noKa3biBaiOT HpaBCTBeHHyio cyTb e r o ToraauiHefi JIHMHOCTH. ßep3KHH BLIBOA aMopajiH3Ma 3H»flHJica Ha OTHasHHH H3-3a npecTynHoro nopa^Ka JKH3HH, H3-3a oTcyTCTBHH 6 o r a , npHHUHna # o 6 p a Η 3Jia. Β 3TOM oTHomeHHH A l b e r t C a m u s x o p o m o IIOHHJI "HeBHHHocTb" MBaHa: " C e t t e innocence est redoutable. « T o u t est p e r m i s » s ' & r i e I v a n K a r a m a z o v . Cela aussi sent son absurde. Mais ä condition de ne pas l'entendre au sens vulgaire. Je ne sais si o n l'a bien r e m a r q u ä : il ne s'agit pas d'un cri de delivrance et de joie, mais d'une constatation amdre."9 ^bÄBOJI HpOHHieCKH OCBemaeT "HeBHHHOCTb" HßaHa,

HpaB-

CTBeHHoe Hanajio e r o HMMopajra3Ma. ΠρΗ 3TOM, KOHC^HO, ΠΟΛpa3yMeBaeTca, KaK ycjioxcHHiomHH φaκτop, c o y ^ a c m e HßaHa Β YÖHHCTBE O M A :

"[...]

TBL [ . . . ]

Β OTHM NY(ΠΉΗΗΗKH Η Β ACEHBI

HenopoHHbi noxcejiaeuib BCTynHTb; H6O T e 6 e OHCHHO, OHCHHO ΤΟΓΟ

• Albert Camus, Le my the de Sisyphe (Paris, 1942), cTp. 94.

128

J A N VAN DER ENG

BTaHHe xoneTca, aKpHAbi KyrnaTb öyaeuib, cnacaTbca Β nycTbimo noTamHiiibCJi!" riofloÖHaa Hpointa conpoBoacAaeT B c e MOMCHTM, KOrflaflbHBOJIΓΟΒΟΡΗΤ Ο CBOHX COÖCTBeHHblX HCeJiaHHHX BepHTb Η KpHKHyTb "OcaHHa!": ee^b OH BoimomeHHe caMoro HeaHa. Ποτομ jjbiiBOJT cKpbiTO aTasyeT HpaBCTBeHHOCTb HBaHa, Kor^a OH öy^TO x ß a j i H T e r o pemeHHe noKa3aTb Ha ce6a; xeajia προπκτΗBaeTca aojieii HPOHHH Ha φοΗβ npexcHero BbiBoaa aMopajra3Ma: "[...] c'est noble, c'est charmant, TBI H^euib 3amHmaTb 3aBTpa 6paTa Η npHHOcnuib ceöa Β »cepTBy ... c'est chevaleresque." CaMyio ocTpyio HpoHHK), HO Η caMyio HecnpaBeanHByio, £baBOJi npoaBjiaeT Β HHCHHyauHH, HTO MbiiiiJieHHe MEAHA Β cymHocTH TOJH>KO HMejio a e j i b i o onpaBßaTb BcaKHe n a K o c T H : "[...] «Bce n03B0JieH0», Η rnaöaiu! Bce 3το oneHb MHJIO; TOJibKo ecjiH 3axoTeji MorneHHHHaTb, 3 a n e M 6w eme, KaaceTca, caHKijna HCTHHM? H O y»c TaKOB Ham pyccKHH coBpeMeHHbiii HejioBeK: 6e3 caHKiiHH Η cMoiueHHHHaTb He peuiHTca, ΛΟ T o r o yac HCTHHy BO3JIIO6HJI . . . " Β flajibHefimeM 0Ka3bieaeTca, HTO PleaH TOJibKo 3th nocjieAHHe cjioea, HJIH, TOHHee, HHCHHynpyiomee coaepjKaHHe hx, η 3&ΠΟΜΗΗΛ. 3 τ ο Bbixo/iHT H3 ero pa3roßopa c Ajiemeö, κοτορκΗ 3anieji κ HeMy c noTpacaiomeii BecTbio: caMoyÖHiicTBo CMepflaKOBa. Β pa3roßope c 6paTOM MeaH ΒΟΟΙΡΟΗ3ΒΟΛΗΤ MHHMbie cjioea ^baeojia, KOTopwe τοτ β caMOM ^ene He ynoTpeÖHji, ηο β CKpbrroM BH^e OHH 3aKjnoHajiHCb β nocjie^HHx ero 3aMeiaHHHX, npHBeAeHHbix HaMH. BOT MHHMbie cjioea flbHBOJia, KOTopbie ÜBaH BocnpoH3BO^HT: "«[...] Tbi nopoceHOK, KaK Oeaop ΠΛΒΛΟΒΗΗ, η HTO Te6e ^oöpo^eTejTb? .ZJjia Hero ace Tbi Tyo;a noTamaiiibca, ecjiH acepTBa TBoa HH κ neMy He nocjiyacHT? A noTOMy HTO Tbi caM He 3Haeuib, .zjjia nero H^euib! O, Tbi 6bi ΜΗΟΓΟ flau, HTO6 y3HaTb caMOMy, ana Hero H^euib! Η 6y^To Tbi peiimjica? Tbi eme He peiimjica. Tbi BCIO HOHb öy^eiiib CH^eTb Η pemaTb: H^TH HJIH HeT? Ho T H Bce-TaKH noH^enib Η 3Haeuib, HTO noi^eim», caM 3Haeuib, HTO KaK 6w Tbi HH peuiajica, a pemeHHe yac He οτ τε6» 3aBHCHT. ΠΟΗ^ΠΠ», noTOMy HTO He cMeeuib He ΠΟΗΤΗ. IIoHeMy He CMeeuib, — 3το y»c caM yra^aft, BOT Te6e 3ara^Ka!» BcTaji Η ymeji. Tbi npauieji, a OH yiueji. O H MCHH TpycoM Ha3Baji, Ajierna! Le mot de l'enigme, HTO a Tpyc! « H e TaKHM opJiaM BocnapaTb Ha^ 3eMjiefi!» 3 τ ο OH npHÖaBHJI, 3ΤΟ OH IipHÖaBHJl!" Η Τ.β. 3 Τ Ο Γ Ο OH He npH6aBHJI, HO

'SUSPENSE' Β "EPATBÄX KAPAMA30BHX"

129

HMeHHO TOT φ&ΚΤ, ΊΤΟ ÄbHBOJI ΠρΛΜΟ θ6 3TOM He TOBOpHJI, noKa3HBaeT, KaKofi AHJieMMofi hbjihctch AJISI H e a i i a ero pemeHHe noKa3aTb Ha ce6a. BbinojraeHHe ero perneHH«, KaK 6y^To, ymiTroacaeT ero, KaK MHCJiamyio jiH*mocn>. H o , c .apyroH CTopoHM, TaKoii nocTynoK cooTBeTCTByeT HpaBCTBeHHofi cymHocra

ero

jihhhocth. T a n HCH3Hb MeaHa noKa3i»iBaeT pjm napaßOKCOB: HpaBCTBeHHwe paccy»meHH« πρηβολητ κ hhhhhcckhm 3aiunoHeHHHM TeopeTHHecKoro aMopajni3Ma. Τ ο τ xce caMtifi HpaBCTBeHHtifi

hcxo^hmh nymcT ero aM0pajiH3Ma aojito npenaTCTByeT oco3Hahhk) ero ynacTHH β y6nöcTBe oxna. Μ ποτομ KopeHHaa HpaBCTBeHHa« CTpyirrypa ero cyTH 3acTaBjweT HßaHa noKa3aTb Ha ce6a HanepeKop

ero

MtiimieHHio.

3ßecb

cjiobo " r p y c "

nojiyiaeT

napaflOKcajibHbie

ottchkh 3Ha«mM0CTH: xpaßpoe noKa3amie necTHoro qejioeexa äbjmctcä TpycjmBocTi>K> c tohkh 3peHH« aMopajm3Ma.

IIapa,zioKcajii>HocTL·

eme

yrjiyÖJweTCJi

oijemcoH

Ajienm, KOTOpMH CHHTaeT, hto TaKOH hccthwh nocrynoK BonpeKH φευιοοοφοκοro aMopajm3Ma ecTi> cBoero po,na Bepx xpaöpocTH: " M y K H ropfloro perneHH», rjiyöoxa« coBecTt!" M e a y i y τβΜ opneHTHpoBKa HHTaTejia Ha noKa3aHHe HeaHa

CHJibHo ycjiOÄHHJiaci». npeAnojioiKeHHe ο npH3HaHHH β npecrynh o m coy^acTHH crajio ΗβΜ-το Tax xce Heoöxo^HMbiM, xax

η

HeMLicjEBMbiM. HyBCTByeTCH B03M0ÄH0CTL· Hero-To napaflOKcajn»Horo, Hejienoro: " O , 3aBTpa a nofi^y, CTaHy πρβΛ ηημη η mnoHy

hm

BceM

β

rjia3a!", roBopHT

HßaH Ajieme β KOHne CBoero

pa3-

roBopa c hhm. M l i c j i h A n e n m (BtipaxceHHtie β caMoM Koime rjiaBti) BpSM jih cbo^ät Ha Ηβτ onaceHH« napaßOKcajn>HocTH:

"Hjih [HeaH] BoccraHeT β CBeTe npaBAM, hjih ... noraÖHeT β HeHaBHCTH, mcta ce6e η BceM 3a το, ητο nocjiyacan TOMy, βο hto He BepHT." HHTeHCHHKaQpa opHeHTaiyia 3fleci> noßtimaeTC» 3JieMeHTOM "Spannung". HepeayiOTC« £Be ajn>TepHaTHBi>i: npH3HäeT jih MeaH ce6« BHHOBHbiM HanepeKop ceoeMy MtmuieHmo, hjih OTKaxceTC« OT CBOefi BHHbl Β COOTBeTCTBHH CO CBOHM MblHIJieHHeM. O o p M a opneHTaoHH aBjmeTca CJIOXCHOH. CJIOÄHOCTI» 3Ta B03HHxaeT Β CBJI3H C pa3HLIMH pHflaMH MOTHBOB, KOTOpwe npeflCTaBJUBOT, KaK napaaoKcajn.Hi.ie BemH Η npH3Hamie β coßcTBeHHofi BHHe, TaK Η 0TK33 OT TaKOrO npH3HaHHH.

130

JAN VAN DER ENG

XIII

Β BupaxceHnjix, ύγο6μ He CKa3aTb "ββικρηκηβεηηαχ", KaTepHHW Ρϊβ3ηοβηβι, β KOMMeHTapHJtx HeaHa η Β 3aMeHaHHHx Bceeejiymero paccKa3HHKa nrraTejn» 3apaHee cöhbhhbo opneHTHpyeTCJi Ha ee pojTL· CBHAeTejn>HHiQ>i β pa36ope flejia .ZJmhtphä cyaoM. Πρπ stom He öespasira^iHbi ee hhthmhwc oTHomemia c βΜΗτρπβΜ, KaK η c ÜBaHOM. Ο ee jho6bh κ ^MHipmo no ροκοβογο αηλ yönficTBa mm ^OBOJibHO roBopnjm. £e cB»3b c ÜBaHOM yace β 3Kcno3Hium poMaHa KOMMeHTapyeTCH λβηο KJieBeTHHHecKHM oöpasoM npn nocpeACTBe ceMHHapncTa PaKHTHHa. Π ο ero mhchhio PieaH χοτβΛ OTÖHTb HeeecTy y /Ι,μητρηη H3-3a ee 6oraTCTBa. Crapbra KapaMa30B ποτομ BbipaxaeT το »e yöe^eHHe. CaM Mean β Hanajie ceoero λπηηηογο pa3roeopa c Ajiemeö npH3Hajica β CBoefi jikjöbh, KOMMeHTHpya CBoe peineHHe 6pocnTb ee: "[...] en HyxeHo, MoaceT 6biTb, jieT rorrHajmaTb ajn> OTafluaTb, htoöh aoraflaTbc», τγο /Jmhtphji ο Ha BOBce He jik)6ht, a jhoöht tojh>ko Me ha, κοτοροΓο My^aeT [...] H y η Jiyrnie: BCTaji WL η ymeji HaBeKH." 3 t o 6buio nepea TeM, KaK coBepmraiocb yömicTBO, 3a aeHb äo on»e3fla HeaHa β MocKBy. Ilocjie npecTymiemia HeaH onsrn» BoccTaHOBHji CBJI3L· C KaTepHHOH ÜBaHOBHOH. OG 3ΤΟΗ OÖHOBJieHHOH JHOÖOBHOH crpacTH κ Hen oh γοβορητ, BnponeM, KaK ο HeM-το npHHyacfleHHOM: Hejn>3A nopBan. c Hen, noKa cya He npomeji; OHa Morna 6w OTOMCTHTb ^MHTpmo 3a npeKpameHHe cbh3h η noryÖHTb ero. 3thm MeaH nepenjieTaeT o6cToarejn»CTBa CBoeä jhoöbh c jtojiobHbiM ^ejioM, aaace oöycjioBjmBaeT hx öy^ymHM npon,eccoM. Ποτομ y»ce oh HaMepeH OKOHHaTejn>HO öpocHTb ee: "Ecjih λ pa3opey c Hen Tenepb, OHa H3 MmemiH κο MHe 3aBTpa »ce noryÖHT 3τογο HeroflÄÄ Ha cyjje, noTOMy ΐ τ ο ero HeHaBHAHT η 3HaeT, hto HeHaBH^HT. Tyr Bee jioacb, jioao» Ha jdkh! Tenepb xce, noKa Ά c Heß He pa3opBaji, OHa Bee eme HaweTca η He craHeT ryÖHTb 3τογο H3Bepra, 3Han, KaK a xony BbrramHTb ero H3 6e^bi." OKa3biBaeTca H3 paccnpocoe ÄJienm, hto MeaH HaMeKHyji Ha 3JionojiyiHHö MaTeMaTHHecKHH flOKyMenr, κοτορυκ β pyxax y Hee. Β Komje cjie^yiomeH rjiaBbi, oAHaKo, paccKa3HHK oÖHapyscHBaeT, hto HßaH "crpacrHo jiraji" roeopa, hto oh χοπετ nopBaTb c KaTepHHOH HeaHOBHOH: "oh 6e3yMH0 jüoöhji ee, xoth npaB.ua η to, hto BpeMeHaMH HeHaBHAeji ee ρ,ο τογο, ητο μογ flaace yÖHTb".

'SUSPENSE' β "EPATbflX ΚΑΡΑΜΑ30ΒΜΧ"

131

COMHHTeJIbHO nOCJie 3ΤΟΓΟ, h t o ö h crpax ποτβρ«τι» jhoöobi. HeaHa npHBeji ee κ ποκηο yoioHCHJieT opneHTaiiHK) HHTaTejia, 3Το το, h t o KaTepHHa MßaHOBHa, HecMOTpa Ha "MaTeMaTHHecKHH ^OKyMeHT", κοτορκΜ OHa pacnoJiaraeT, ÄBJiaeTca coßceM HeyBepeHHoii β BHHe ^MHTpaa. 3 τ ο He MeinaeT efi το η aejio BbipascaTb cBoe rjiyßoKoe npe3peHHe no oTHoineHHio κ ^ΜΗΤρΗΙΟ; πρκ 3TOM OHa yHOTpeÖJMeT TepMHHbl, KOTOpbie HanoMHHaioT cjioea HeaHa, xoraa oh nepe# Ajiemeii roeopHT ο flMHTpHH, xaK 06 oTijeyÖHfiije Ha ocHoeaHHH 3JionojiyHHoro AOKyMeHTa. Mo»eeT nojiyHHTbca TaKoe BnenaTJieHHe, h t o KaTepHHa Ü B a H O B H a HeHaBHAHT ^MHTpHH, nOTOMy HTO OH HeBHHeH Η noTOMy h t o OHa 3HaeT, h t o HeaH, κοτοροτο OHa jik>6ht, He 6e3 OTBeTCTBeHHOCTH βflfisiQyÖHHCTBa o m a . KaaceTca, hto OHa η ce6« η HeaHa CTapaeTC« yße^HTb β tom, h t o ^ m h t p h h yÖHJi, ho h t o OHa M e H b i u e β coctoähhh oÖMaHyTb ceöa, HeM MßaHa. B o t ee cjioBa, BtipBaBuiHec« y Hee β μομθητ HaApbraa. OHa oTBenaeT Tor^a Ajierne, κοτορκή npeflnojiaraeT, h t o OHa 3aBTpa, kohchho, necTHo noKaaceT: " — B h He 3HaeTe eme mchji, AjieKceö ΦβΛοροβπΗ [...] «a η * eme He 3Haio ceÖH. MoaceT 6bm>, Bbi 3axoTHTe mchh pacTonTaTb HoraMH nocjie 3aBTpauraero aonpoca [...] ^Kemmma nacTo öecnecTHa [...] Ά eme nac TOMy ayMajia, h t o MHe CTpaumo ^oTpoHyTbca flo 3τογο H3Bepra ... KaK ao raaa ... Η b o t Her, oh Bce eme λπη mchh HejioBeic! ß a yÖHji jih oh? Oh jih yöwji? [...] Ά 6buia y CMepÄHKOBa ... 3 τ ο τ η , τ η yöe^Hji mchh, h t o oh oTueyÖHHHa. Ά T0JibK0 Te6e η noBepajia! — npoflOJDKajia OHa, Bce oöpamaacb κ HßaHy OejjopoBHHy." H3BecTHO, h t o HeaH He yöeamaji ee β BHHe ÖpaTa, hto, HanpoTHB, OHa floxa3ajia eMy, h t o Λμητρηη y6HJi: "[...] 3το ona, OHa eMy BbuioxcHjia Toraa «AoxyMeHT» η flOKa3ajia bhhobhoctL· 6paTa! Η ß^pyr OHa » e

132

JAN VAN DER ENG

Tenepb BocKjiHiiaeT: «Ä caMa öbijia y CMep^aKOBa!» Kor^a 6tuia? MeaH HHHero He 3Haji 0 6 stom. 3HaHHT, oHa coeceM He TaK yeepeHa Β BHHOBHOCTH MHTH!" HHTeHCH(J)HKaLtfIfl O p H e H T H p O B K H yCHJIHBaeTCJI Η 3^ecb 3JieMeH-

t o m " S p a n n u n g " : npeflCTaBjwioTCji £ße ajibTepHaTHBM, ^ ß a Bonpoca HHTparyioT MHTaTeji«: cnaceT jih OHa .ZJmhtphä hjih noryÖHT? JIio6oBb κ HeaHy, H3MeHa ^ m h t p h ä , ^OKyMeHT y Hee β pyicax opneHTHpyioT Ha naryÖHwe nocjie^CTBHH. ^BycMticjieHHoe oTHomeHHe κ ,Ο,μητρηιο, 3aTaeHHoe co3HaHHe ero hcbhhhocth, r o p a a a ÖJiaropoflHOCTi, ee xapaKTepa AejiaioT coMHHTejibHHMH naryÖHbie noKa3aHHH προτΗΒ npeacHero »ceHHxa. CÖHBHHBOCTb opHeHTaitHH Ha öy^ymne φ3κτΜ cooTBeTCTByeT cjiojkhoh φορΜε OpHeHTHpOBKH. XIV Β flBeHajwaToii KHHre xpoHHKep (κοτορΜΗ τ ο η aejio cjiHBaeTCH c noßecTBoBaTejibHWM Me^nyMOM, npeTeHflyiomHM Ha BceBeaeHHe) npe^ßocxHmaeT 6e3 oöhhhkob npnroBop ^[μητρηλ. E r o npeflBocxameHHe npe»we Bcero 3aKjiioHaeTca β 3arjiaBHH, Kax η β noß3arojioBKe ^BeHa^maTOH κηηγη (Cy^eÖHa» oniHÖKa. Ροκοβοη ^eHb). TaKoe xce npe^ßocxHiueHHe co^epacHTca η β 3arjiaBHH πητοη rjiaßbi (BHe3anHaa κaτacτpoφa). KpoMe τογο, xpoHHKep npeflBocxHmaeT npnroBOp β cbohx paccyac^eHHJix, npe^mecTByioiuHx oTHCTy ο npouecce. TaK, προκ,αε *ieM η ρ κ ΐ π Ή κ penaM npoKypopa η 3amHTHHKa, oh 3aMenaeT: "[...] 3th ßße 3aMe*iaTejibHbie penn « [ . . . ] nepe^aM β cßoe BpeMJi, paBHo Kaie η οαηη ipe3BbiHa0HbiH η COBCeM HeOÄH^aHHblH 3ΠΗ30Λ npOIjeCCa, pa3birpaBUIHHCH BHe3anHo eme λο cyaeÖHbix npeHHH η hccomhchho ποβληλβιηηη Ha rpo3Hbiö η ροκοβοη Hcxofl e r o . " 3^ecb onaTb noHBjiaeTca cjiobo "Ροκοβοη" η Tenepb moäho flora^aTbc«, hto e r o 3Ha*ieHHe 3aKjnoHaeTCH β ocyacAeHHH HeBHHHOrO. H3BCCTHO, ητο β ΗΗτροayKTHBHOH HacTH poMaHa 3HaieHHe 3τογο cjioBa He ycTaHOBJieHo η ητο ycMaTpHBajiH β ηθμ npeayne Bcero oiteHKy tcmhoh κοηηηημ CTaporo KapaMa30Ba. CooömeHHe, hto cobccm HeoJKHßaHHbiö 3ΠΗ30Λ npHBeji 6w κ φ 3 Τ 3 ^ Η ο ι ^ KOHity, MoaceT Bbi3BaTb y^HBjieHHe β HHTaTejie: λλη Hero Beflb ποητη ycjioBHo cyflböy /I^mhtphä

133

'SUSPENSE' Β "BPATLHX KAPAMA30BbIx"

p e i u a i o T flBa niaBHbie CBH^eTejiii. Kaica» Heo»CH,ijaHHOCTb MoaceT 6biTb Β 3 T O M ? Η τ ο e m e nopaxcaeT Β npeflBapHTejibHbix 3aMeHaHH«x

Η ΠΟΤΟΜ

Β OTHeTe XpOHHKepa, 3TO TO, HTO OH npHMO HH p a 3 y

ΠΟΜΗΜΟ

npe^BocxHmaeT p o j i b KaTepHHbi HBaHOBHhi Η HßaHa. HeCKOJIbKHX ynOMHHaHHH O rHÖeJIH

^ΜΗΤρΗΗ

(Β

οβίΙΙΗΧ

He

TepMHHax)

OH cocpeßOTOHHBaeTCJi Ha ceHcauHOHHbix oacH^aHHflx nyöJiHKH.

κοτοροε

I T p e a c A e B c e r o OH ΓΟΒΟΡΗΤ o 6 3M0im0HajibH0M 3pejrame,

nyßjiHKa

OÄH^aeT

οτ

BCTpeHH

ßßyx

conepHHii;

nepe^

"ÖJiaropoAHofi ^eBHUbi" Η "npoflaacHOH »ceHmHHbi".

cy^oM,

ΓΙρκ

STOM

HHTHMHbie OTHOLueHHH ^ Μ Κ Τ Ρ Η Η c ΟΑΗΟΗ Η ß p y r o f i noflCTpeKaioT jnoßonbiTCTBo

Β

npe^BKyiueHHH

ApaMaTHiecKHX

ciieH.

ΠΡΒΛ-

nojioaceHHe ceHcaiiHOHHbix COÖWTHH Bbi3biBaeT Taxace CTOJIKHOBCHHe MeHCfly 3HaMeHHTbIM 3aiHHTHHKOM Η HeH3BeCTHbIM n p o K y p o p o M ye3ÄHoro c y n a . Ο noBeaeHHH 3amHTHHKa xpoHHicep npHBOßHT KOMMeHTapHH nyöJiHKH n o c j i e n p o u e c c a , lomHM

06pa30M

cMeuiHBaeT

c

ee

KOTopbie OH HHTpHry-

paccyac^eHHHMH

bo

BpeMJi

n p o u e c c a . O H 3TO aejiaeT, HHKaKHM 0Öpa30M He a a e a a nonyBCTBoBATB

HECNPABE^JIHBOCTB

STHX

pacneTOB:

"C

HacjiaacaeHHeM

paccica3hiBajiH [ . . . ] ΠΟΤΟΜ, icax OH B c e x n p o x y p o p c x H x C B H ^ e T e j i e ö cyMeji

BO-BpeMH « n o ß ß e c T H »

ÄejiaeT 3 τ ο ΜΗΟΓΟ-ΜΗΟΓΟ

[...] ü o j i a r a j i H BnponeM, HTO OH

HTO J X J I Ä nrpbi, Tax CKa3aTb ZUIJI He-

κ ο τ ο ρ ο Γ ο lopH^HHecKoro ÖJiecxa [ . . . ] H6O Bce öbijiH yße>x,aeHbi, HTO K a K O H - H H ß y f l b ß o j l b i u o i i Η OXOHHaTeJIbHOH nOJIb3bI OH B C e M H

3THMH «nOAMapblBaHHflMH» He ΜΟΓ flOCTHHh H, BepOHTHO, 3TO CaM jiyniiie

Bcex

xaxoe-To

noHHMaeT,

eme

noxa

ΗΜΘΛ x a x y i o - T o

npHnpaTaHHoe

B^pyr Η oÖHapyacHT, x o n j a npn^eT ECJIH

Bce

3TH

npe^BocxHmeHHa

CBOK) Hßeio Β

opyacne

3amHTbi,

3anace, κοτοροβ

cpoK." caMH

no

ce6e

HHTpHryioT

HHTaTejia, OHH H e 3acTaBJiaiOT ero

3a6biTb ο caMOM rjiaBHOM.

Hao6opoT:

ΟΧ^ΗΗΑΜΗ

yBjieneHHe

xpoHHKepa

nyöJiHXH

ΛΟ

n p o u e c c a Η ee xoMMeHTapHSMH n o c j i e Hero, TOJibKo ycHjiHBaeT 3aHHTepecoßaHHocTb w r a T e j r a Β Hbi Η HßaHa.

noxa3aHH«x

KaTepHHbi HßaHOB-

IlpeflBapHTejibHoe ycTaHOBJieHHe

cTBo, KaK npHHHHy rHÖejiH, ho TeM c a M H M η noflCTpeKaeT e r o a c e j i a H n e

KaTacTpo4>e, HaMeieaeT Ha

AajibHeHineH ΗΗφορΜαιίΗΗ ο noKa3aHHHx Aßyx JIHQ.

OpHeHTaiiHH Ha noKa3aHHa Heara MaKCHMajibHo hhtchchBHpyeTca He tojibko 3aMOJiHaHHeM ero pojra CBHßeTejM (b npe^BapHTejibHbix 3aMenaHHHx x p o H H K e p a ) , ηο η ero noaBJiemieM onaTb β poMaHe nocjie CBnqeTejibCTBa KaTepHHbi HeaHOBHti β nOJTb3y flMHTpHH Η IlOCJie CJie^yiOmHX 3a 3THM COOÖmeHHH xpoHHKepa ο npeflCToameii κaτacτpoφe, "pa3pa3HBineficfl BHe3 a n H o " . T a K c MaKCHMajibHbiM 3 φ φ ε κ τ ο Μ B03HHKaeT H ß a H β jiaim^apHOM nocjieflHeM npeÄJioHceimH ΗβΤΒερτοκ rjiaeti: "Ποηbhjic« CBHfleTejieM HeaH Φ ε , α ο ρ ο Β Η Η " . BaacHtiö φaκτop npa ΗΗΤβΗΟΗφΗ^ΗΗΗ ΟρΗβΗΤΗρΟΒΚΗ HHTaTeJIH Ha pOJIb rjiaBHMX CBHmeTejieö HBJiaeTCa pacna^eHHeM hx CBH^eTejibCTBa Ha flßa MOMeHTa, n p H ieM oiepe^Htie φa3H noKa3aHHH H e a H a nepeceKaioT flBa 3Tana noKa3aHHH KaTepHHbi HeaHOBHbi. IlepBbiH 3Tan β Ka»moM Cjiynae, KaK βγατο ocymecTBjmeT o,n;Hy H3 ajibTepHaTHB opHeHTauHü HHTaTejia: KaTepHHa HeaHOBHa paccKa3biBaeT HCTOpHK) CBoero n e p ß o r o 3HaKOMCTBa c ^MHTpneM η hphhocht c e 6 a β »cepTBy äjiΆ e r o c n a c e H H » ; l i e a H π ρ κ ^ o n p o c e c n e p e a o T B e i a e T Ha H3BecTHhie B o n p o c b i , KaK H a n p H M e p " 3 H a j i j i h o h π ρ ο

CHeTbl OTIia C ,ΖΙ,ΜΗΤρΗβΜ Η τ.α." η n p H 3Τ0Μ o6l»JIBJIHeT, ΗΤΟ OH HHiero ocoöeHHoro He HMeeT cooömHTb, y»ce coÖHpaeTca βμητμ c n03B0JieHHH npe,a;ce,ziaTejia. H o hotom oh B ^ p y r B03BpamaeTca η a a e T n o K a 3 a H H e Ha c e 6 a , n o K a 3 a H n e p a c c T p o e H H o e , n a T O J i o r a n e c K o e , jiHHieHHoe

bchkoh y ö e a H T e j i b H o c T H .

C e n n a c »ce n o c j i e

τογο,

KaK e r o y B o j p r r , K a T e p H H a MeaHOBHa n p o c H T n03B0JieHHa a a T b B T o p o e n o K a 3 a H n e η T o r ^ a o H a npe,m»aBjiaeT ρ ο κ ο Β ο β n n c b M o .

κοηοτρ>πκτηβηογο

T a K a B T o p (B KanecTBe cnacHTejibHbiMH Ha

caMOM

η

aejie

npHHiiHna)

ryÖHTejibHbiMH ajibTepHaTHBaMH Bee

ajibTepHaTHBbi

noKa3aHHii.

n00Hepe,n;H0

flejiaioTca

MarneT p y K o S Ha n o K a 3 a H H e ,

ποτομ

n o K a 3 b i B a e T Ha c e 6 a , KaK yÖHÄuy; K a T e p H H a H e a H O B H a

cnepea

fleöcTBHTejibHocTbK): CBH^eTejibCTByeT

HeaH

nrpaeT

β noJib3y

^MHTpHH,

ποτομ

ryÖHT e r o n p e ^ M B J i e -

ΗΗβΜ DHCbMa. Π ρ Η 3ΤΟΜ rHÖeJIb ,ΖΙ,ΜΗΤρΗΛ HH p a 3 y He nOAJieaCHT coMHeHHio. 3 j i e M e H T HeoacHAaHHocTH e e noaBJieHHa K p o e T c a Hepe^oBaHHH a j i b T e p H a T H B : β KaMcymHHca ÖJiaronpHHTHbiH

β

mo-

135

'SUSPENSE' β "EPATfeÄX KAPAMA30Bblx" MeHT

(nocjie

nepBbix

TporaTejibHbix

CBnaeTejibCTB

KaTepHHti

ΗΒΕΗΟΒΗΜ Η n o c j i e npH3HaHHA Β BHHOBHOCTH H ß a H a ) p a 3 p a 3 K a e T c a öeaa

Ha/i

ΓΟΛΟΒΟΗ

.ZJMHTPHJI.

Hrpa»

ajibTepHaTHBaMH,

aBTop

a o j i r o 3 a ^ e p » C H B a e T BHHMaHHe HHTaTeji« η n o B M i i i a e T HHTepec κ ^HJieMMe

noKa3aHHH.

Η

πρκτοΜ

OH

HcnoJib3yeT

xporawcepa,

HTOÖbl C j e J i a T L · BeCbMa 3φφϋΚΤΗΜΜΗ Β CTHJIHCTHHeCKOM OTHOuieHHH

3Tanbi

κ

oKOHHaTejibHOMy

pa3peiueHHK).

Koma

PieaH

n o K a 3 b i B a e T Ha c e ö a , KaK Ha yÖHÖny, x p o H H K e p H a x o ^ H T B b i p a 3 H T e j i b H w e c p e ^ c T B a , HTO6m o n H c a n » n o T p a c a i o m e e B n e n a T J i e H H e y nyöJiHKH Η c y ^ e ö : " I I p o K y p o p Β ΒΗΛΗΜΟΜ ΟΜΑΤΘΗΗΗ H a r H y j i c « κ n p e f l c e ^ a T e j i i o . MjieHbi c y j n a c y e u m B o i n e n T a j i H C b M e a c ^ y c o ö o i i [...] 3ajia 3aMepjia Β Ο ^ Η ^ Η Η Η "

Η Τ.Λ. T a K a a

CTHJincTH^ecKa*

ΗΗΤβΗΟΗφΗ^ΙΙΗίΙ COnpOBOÄ,aaeT Η BTOpHTHbie 3JieMeHTW OpHeHTHp o B K H , T e 3JieMeHTbi, KOTOpbie B b i p a a c a i O T ceHcaiiHOHHbie o s c s w a HH)i nyöJiHKH λ ο n p o i i e c c a : " . . . He n p e f l C T a B j w j i H c e ö e , HTO OHO [3TO

flejio]

ΛΟ T a K o ö yace a c r y n e f i ,

CTeneHH n o T p a c j i o

flo

Bcex Η Kaayjoro,

TaKofi

pa3^pa»cHTejibHoif

« a Η He y H a c TOJII»KO,

n o B c e M e c T H o " Η Τ.Λ* PaccKa3HHK n o ^ Ö H p a e T o n p e a e j i e H H J i

a

ranep-

ö o j m i e c K o r o x a p a i r r e p a : " H a HX j r a q a x H H T a j i o c b n c T e p H ^ e c K o e , aca^Hoe,

6ojie3HeHHoe

ΠΟΗΤΗ JIIOÖOIIBITCTBO."

BTopocTenemibie

opneHTaiiMH Ha B c r p e H H c o n e p m m , n p o x y p o p a η 3amHTHHKa η τ . Λ . ABJIÄIOTCJI HecjioacHbiMH π ο φ ο ρ Μ β . ΟρΗβΗΤΗροΒΚΗ Ha n o x a 3 a H H H rjiaBHbix

CBHaeTejieii

coxpamnoT

CBOH CJIOÄHMH x a p a i c r e p

ΛΟ

KOHIJA: CHMDTOM 3ΤΟΓΟ Β TOM, ΤΤΟ B c e a j n . T e p H a T H B W p e a j i H 3 y K ) T ca.

CjiOÄHocn»

ocraeTca

ncHxojiorHrtecKOMy pa3MtimjieHH«MH noBTopHbiM

πο

ΟΤΗΟΠΙΘΗΒΙΟ

κ

3HaHeHHK> CBHÄeTejibCTB.

ΦΗ,ΠΟΟΟΒΟΚΟΪ^ üapaflOKc

Mexmy

Η NOCTYNKAMH Β 2KH3HH MEAHA BBIPA»CAETCH

ΒΒΟΛΟΜ

NPEBOCXO^HTEJIBCTBO,

MOTHBOB

He

πο

6pe,AA:

φορΜε

" —

öy^ET!

C

XBOCTOM,

Le diable

Banie

n'existe

p o i n t ! H e o ö p a m a i h r e BHHMAMM, APJIHHOH, MEJNCHÖ HEPT [ . . . ] EMY CKA3AJI: HE x o n y MOJNATB, a OH π ρ ο r e o j i o r a i e c K H H

Βοροτ

...

3aneji,

3το

Η

rjiynocTn! noTOMy,

Hy,

OCBOÖOFLHTE « E

HTO e M y

jienco!

Bce

H3Bepra paBHO,

...

a

nepe-

OH ΓΗΜΗ

HTO

nbaHaa

K a H a j i b a 3 a r o p j i a H H T , KAK « n o e x a j i B a m > K a Β Π π τ β ρ » , a a 3 a A ß e CEKYHFLW PAFLOCTH OTRSÜI 6 M KBAßPHJUMOH KBA^PMUIHOHOB . . . " Η Π ο OTHouieHHio κ K a T e p H H e MeaHOBHe, x p o H H K e p o c r a e j i a e T 6 e 3 OTBeTa e o n p o c ,

B e p H J i a JIH o H a Β BHHOBHOCTH ^ , μ η τ ρ η η Η

JAN VAN DER ENG

136

roßopHJia

oHa npae^y, OÖBHHHH ero? B E ^ B AOKyMeHT He HMCJI AJIÄ Hee 3HaHeHH« HeonpoBepacHMoro flOKa3aTejibCTBa. HUTATEJIB MoasceT npeanojio»CHTb, ιτο Β μομθητ oKOHHaTejibHoro Bbiöopa Meac^y ^ΜΗτρκβΜ η HßaHOM, Jioscb, Koxopaa rHÖejibHa AJIÄ ,Ζ^ΜΗτρΗ«, ee y x e He ocTaHaßjraBaeT. C Apyrofi cTopoHbi, Kpairae 3aTpyÄHHTejn»H0 npHMHpuTb Jioacb, npHBOÄamyK) κ rHÖejm HeBHHHoro, c ee xapaKTepoM. OmyniMocTb eme He pa3pemeHHHx BOnpOCOB Β ee OTHOUieHHH Κ ^ M H T p H K ) npOCHT AOnOJIHHTeJIbHOrO H3jio»ceHH». 3 T O HMeeT MecTO Β snHJiore. Pa3Öop 3THX ΛΟΠΟΛΗΗTejibHbix cBeAeHHH cocTaejiaeT nocjie^HHii npe/jMeT aHaJiH3a Β eepHH OpHeHTaiiHÖ Ha OTpblBOHHbie HaCTH HHiJjOpMaiiHH. JM

XV

üapaAOKcajibHbie HHTHMHbie oTHomeHHH Me»my ^ΜΗτρκβΜ η KaTepHHOH ΗΒΕΗΟΒΗΟΗ ΠΡΗΧΟΛΗΤ Κ KOHuy BO BpeMH npoaecca. Πρκ 3TOM OHH nojiynaioT, xaxeTca, nojiHoe oceemeHHe Β noKa3aHHHX KaTepHHbl MeaHOBHbl Η Β KOMMeHTapHHX Κ HUM "eceBe^ymero" xpoHHKepa. OflHaxo, BceBeaeHHe xpoHHKepa orpaHHHeHo. riocjie nepeoro noKa3aHH« KaTepHHbl ÜBaHOBHbi OH oÖHapyacHBaeT, HTO 6ojibine 3 H a e T , HeM npe,nnojiaraeTCH ÄJIH xpoHHKepa. 3το «BCTByeT, HanpHMep, H3 cjieflyiomHx 3aMenaHHH: "OHa Bee paccKa3ajia, eecb 3τοτ 3ΠΗ3ΟΛ, noBeflaHHbiH Μπτεπ Ajierne, Η «3ΒΜΗΘΗ ΠΟΚΛΟΗ», Η npHHHHbi, Η προ oma CBoero, Η NOHBJIEHHE CBoe y Μ Η Τ Η , Η HH CJIOBOM, HH EßHHBIM HaMeKOM He ynoMHHyjia ο TOM, ΗΤΟ M H T J I , nepe3 cecTpy ee, caM npefljioacmi «npncjiaTb κ HeMy KaTepHHy MeaHOBHy 3a AeHbraMH»." Ho, OTBeia« Ha Bonpoc, nonewy KaTepHHa MeaHOBHa npHHecjia ceöa Β «epTBy CBOHM noKa3aHHeM, xpoHHKep HH^ero Apyroro He MoaceT cooömHTb, K a K : "HTOÖM c n a c r a c e o e r o H3MeHHHKa Η o Ö H A H H K a " . ß o K a K O H C T e n e H H OH CK0JIb3HT ΠΟ nOBepXHOCTH MOÄHO onpe^ejiHTb, conocTaßjwa ero KOMMeHTapmi c BocKjmuaHHeM ^mhtphh nocjie n e p e o r o CBHfleTejibCTBa K a T e p H H b l M ß a H O B H b i : " —

KaTH,

3aneM MeH« noryöajia! [...] Tenepb a nparoBopeH!" ITocjie ee ΒΤΟρΟΓΟ nOKa3aHHa x p o H H K e p , HOBHflHMOMy, C ÖOJIblHOH npo3opJiHBocTbK> Η OHÄTb c npeTeH3HeH Ha BceeeAeHHe flaeT oiieHKy ee CBH^eTejibCTBa Η Bcero ΤΟΓΟ, ΤΓΟ oHa cooßmiuia ο cBoeö

'SUSPENSE' β "bPATb»X KAPAMA30BWX"

137

CJI03KH0H CB»3H c ^ΜΗτρΗβΜ: "Ηβτ, Ηβτ, OHa HE KjieeeTajia HAMEPEHHO, KPHIA, HTO M H T Ä npe3Hpaji ee 3a 3CMHOH DOKJIOH! OHa caMa Bepnjia Β STO, OHa 6btna rjiy60K0 yöeameHa, c caMoro, MoaceT 6wTb, 3ΤΟΓΟ noKJioHa, HTO npocTOAymHbiii, oöoHcaBnraii ee eme Tor^a M H T Ä CMeeTca Ha^ Heß Η npe3HpaeT ee. Μ TOJIBKO H3 rop^ocTH OHa caMa npHB5i3ajiacb κ HeMy Toraa jnoöoßbio, HCTepaiecKOK) Η HaflopeaHHoio, H3 ya3BjieHHoii ropaocni, Η 3Ta jnoöoBb noxoÄHJia He Ha jnoöoBb, a Ha MmeHHe." He MynpeHo npHÖTH κ TaKHM BWBOflaM nocjie, HanpHMep, cjie^yioumx CJIOB KaTepHHbi HeaHOBHbi: "CKOJibKO pa3 a hhtsüisl β rjia3ax ero: «Bce-TaKH Tbl caMa Toraa ΚΟ MHe npHimia» [...] OH BCIO 5KH3m> 6bui yeepeH, ΗΤΟ Η BCIO >KH3HL· 6yay npeß HHM TpeneTaTb ΟΤ CTbwa 3a το, ΎΓΟ Tor^a npnxo^HJia, Η ΗΤΟ OH MOÄCT BCIHO 3a 3το npe3HpaTb MCHJI, a noTOMy nepeeHCTOBaTb, — BOT noneMy OH Ha MHe 3axoTeji »ceHHTbc»!" JIioöoBb, KAK CPE^CTBO MMEHHH 3a rjiyöoicyio o6iwy, JHOÖOBB, KaK TOHKHH cnocoö THpaHCTBOBaTb, Kax nyrb κ HpaBCTBeHHOMy NEPBEHCTBY, «BJIÄCTCH OCHOBOH, KAACETCA, Bcero noBe^eHH« KaTepHHbi MßaHOBHbi no oTHomeHHio κ ^ΜΗτρκιο. Bee ace KaKoe-To noao3peHHe Β OAHOCTOPOHHOCTH TaKofi TOHKH 3peHHJi npoKpaAbieaeTCH κ HHTaTeiuo. HecK0jn»K0 HaHBHa« η ceHTHMeHTajrbHaa JIHHHOCTL· xpoHHKepa He «BJweTca coBceM Ha^eacHofi: KaTepHHOH PleaHOBHOH, KaK noBecTBoeaTejibHbiM Me^uyMOM, Β AaHHOM cjiyiae oBJiaaeeaeT Hpe3MepHa» 3MoimoHajn>HocTb (Be,m> HeaH TOJibKo HTO noKa3aJi Ha ce6ά Η 3THM Bbi3Baji ee BTopoe noKa3aHHe); Hejib3H 3a6biBaTb, HTO 3a #eHb AO npoitecca OHa eme OKA3AJIACB CIIOCOÖHOH BHAETB HEJIOEEKA Β /Ι,ΜΗΤΡΗΗ, BBICKA3ATB COMHEHHE Β ero BHHOBHOCTH: "[...] OH Bee eme AJW MCHH LEJIOBEX!

/Ja yÖHJi JIH OH? OH JIH y6nji? [...] Ά 6biJia y CMepÄÄKOBa ..." 3muior ^0Ka3biBaeT, hto HHTaTejn» 6HJI npaB, Koraa He χοτβπ ycMOTpeTb Β ee CBH3H C ^ΜΗΤΡΚΒΜ TOJibKO cjiynafi yroiweHHOH MecTH ΠΟΑ ΒΗΛΟΜ JHOÖBH. BTopan rjiaea annjiora o3arjiaeeHa: Ha MHHyTKy Jioacb crajia npaBflofi. HirraTejib, MoxceT 6brrb, 3anoMHHJi cjioBa HßaHa: " T Y R Bee Jioao», JIOHO» Ha JDKH." Hepe3 TpHHaOTaTb CTpaHHHH Bceee^yiiiHH paccKa3*FFIK oÖHapyacHBaeT, ΗΤΟ HeaH nocjie B03BpameHHa H3 MOCKBM O6HOBHJI moöoBHyio CB«3b c KaTepHHOH MBaHOBHOH, 6jiaroroBeji nepe^ Hen, HO BMecre

138

JAN VAN DER ENG

c TCM He pa3 Kimen ο τ Hero^oßaHH«, TaK KAK 0Ha MyHHJiacb öecnpepbiBHo pacKaaHHeM, HTO H3MCHHjia Μ κ τ ε , Η Β rpo3Hbie, ccopHue MHHyTBi c MEAHOM (a HX ÖLIJIO ΜΗΟΓΟ) npaMo BbicKa3biBajia 3TO eMy. 3 τ ο - τ ο Η Ha3Baji OH, roBopa c AjieuieH, "jioxcbio Ha JDKH". TyT, KOHCHHO, 6biJio Η Β caMOM ^ejie ΜΗΟΓΟ JDKH, Η 3TO Bcero öojiee pa3Apaxcajio HeaHa Oe^opoBHHa ΠΟΤΟΜ."

3το

"ΠΟΤΟΜ"

cjie,nyeT npn

...

HO Bce 3το

noKa3aHHax

KaTepHHbi

HßaHOBHbi Β cyfle, r^e 3JieMeHT JIJKH Β JDOÖBH Κ #ΜΗΤΡΗΚ> nojiynaeT cßoe caMoe apxoe BbipaaceHHe: cHjrra MacKa, 3a κοτοροΗ cKpwBaiOTca

noHyac^eHHfl

MmeHHa,

THpaHCTBOBaHHa

Η

τ.,η.

CKpMTWH HaM6K BceBe^ymero paccKa3HHKa, HTO TaM He 6buia TOjn»KO 3IIHJI0re.

jioacb, TaM

nojiynaeT

cßoe

H3 COÖCTBeHHblX

0K0HHaTejibH0e CJIOB

ocBememie

KaTepHHbi

Β

HBaHOBHLI

CTaHOBHTC« acHbiM, HTO oHa He TOJIBKO oÖHflejiacb Ha ero πρε,π,JioaceHHe JIHHHO noaBHTbca Κ HeMy Η Τ.Λ·, HO HTO OHa Η jnoÖHJia Β ΗΒΜ ero

BejiHKOflyiirae, Η eme JDOÖHT. 3 T O

BEJIHKO^yniiie Η

CKa3biBaeTCH ΟΠΗΊΊ> npH HX BCTpene Β TiopbMe. J^MHTpHa " —

Ha

Bonpoc

IIpocTHjra HJIH Ηβτ?" OHa 0T3biBaeTca cjioeaMH:

" — 3a τ ο Η JnoÖHJia Te6a, HTO Τ Η cep,zweM BejniKojiyiHeH!" Π Ο Τ Ο Μ OHa HbrraeTca BbiacHHTb, noneMy OH onapoB&JI ee Η eme njieHaeT. IIojiyHaeTca

pa,n

npoTHBopeHHBbix

BbiCKa3biBaHHH,

KOTopbie

coieTaK)T jno6oBb Η He-jno6oBb, OAHOBpeMetraoe ΠΟ/ΓΤΒepac/ieinie Η oTpnqaHHe JIIO6BH, peajiH3aiiHio JIIOÖBH "Ha OFLHY MHHYTKY" Η "Ha BeiHocTb": " — Ά ÄJIA Hero npmiuia? [...] ΗΟΓΗ ΤΒΟΗ Ο6ΗΗΤΒ, pyKH cacaTb [...] onaTb CKa3aTb Te6e, HTO T H 6or MOH, pa^ocTb MO«, CKa3aTb Te6e, HTO 6e3yMHo jnoöjno Te6a [...]

JIioöoBb

npoinjia, M H T H ! [ . . . ] HO floporo a o 6OJIH MHe τ ο , HTO npomjio. 3 τ ο y3Hafi HaeeK. H o Tenepb, Ha OAHy MHHyTKy, nycTb 6y,n;eT τ ο , HTO Morjio 6M 6biTb ... H Tbi Tenepb jnoÖHiiib apyryio, Η Η ßpyroro jnoöjno, a Bce-TEKH Te6a BeHHo 6 y « y jnoÖHTb." Β snHJiore oöbacHaeTca TaKxce, noneMy OHa BO BpeMa npoiiecca OÖBHHHJia ^MHTpHfl

Β OTHeyÖHHCTBe3TO

6bIJIO

BpeMeHHOe

yBepeHHe caMon ce6a, BHymeHHoe HeHaBHCTbio: "YBepHJia, Η BepHjia ... a Kor^a KOHHHjia noKa3biBaTb, TOTHac onaTb nepecTajia BepHTb!" T y ^ a BXOÄHT Η pa3o6jianeHHe (BO BpeMa pa3roBopa ee c

Ajieraefi)

ee CJIOB HEAHY 3a ^eHb ΛΟ npoiiecca ( " 3 τ ο TM, TOJibKO

Tbi ΟΛΗΗ yeepaji Mena, HTO OH [TO ecTb MHTH] yÖHilixa!"): OHa

139

'SUSPENSE' β " ß P A T b Ä X K A P A M A 3 0 B i I x " oKJieeeTajia

HeaHa

H3 » e J i a H H «

peBHOBaji ee κ ^ m h t p h i o ,

ττο

HßaHy,

3jiocti>

njiaHy

η

HCTOJiKOBaji

^oJütcHa

ötuia

ee

HaKa3aTb

ero

3a

το,

o h He π ο η λ λ e e j i i o 6 b h

6e»caTb

3a

c

rpymeHbicy

/Jmhtphcm

ckhmh

npneMaMH

ΟρΗβΗΤΗρΟΒΚΗ

3a

xapaKTepa.

κ HeMy,

rpaHHuy)

nOBWUiaeTCH

3\^aTH*recKoro

oh

(icoTopaÄ

^oKa3aTejn»CTBo τ ο γ ο , η τ ο peBHyeT κ " s t o h TBapH" ΗΗΤβΗ0ΗφΗΚ3ΙΪΗίΙ

hto

no KaK

^mhtph«. CTHJIHCTHHe-

3το

ocoöchho

6 p o c a e T C H β r j i a 3 a π ρ κ Β τ ο ρ ο Μ noica3aHHH K a T e p H H b i MeaHOBHW. OHa

ΓΟΒΟρΗΤ BOCKJIHUaHHÄMH ( " Ο ,

nOBejIHTeJIBHblMH BHHMaTejibHo,

o6pameHHHMH

noacajiyiicTa

3ΤΟ 3 B e p b ! " ) , ("Ho

nOBTOpHbIMH

npOHTHTe,

BHHMaTejibHee"),

npO^THTe

rjiarojibHbiMH

no-

BTopeHHHMH c r p a f l a i i H e i i β o n p e ^ e j i e H H H x η c o c o o T B e T C T B y i o m e H HapacraiomeH

ηητοη3Ιιηοηηοη

jihhhch

("HanHcaji

MHe

HHCbMO, HanHCaJI übaHLIH, [ . . . ] HanHCaJI H3 3 J I 0 6 b l " ) ,

3το

npÄMbIMH

3M M e p a 3 H b I X BHflOH3MeHeHHH OCHOBHblX iwth

npaeMOB

nepeneHb

oTcpoHKH j o n o j i H H T e j i b H o r o

cthjihcthhcckhx

η

paccKa3a,

κομπο3ηηηοηημχ

hh

ßan»

cpe^CTB

rjih

ΗΗΤβΗΟΗφΗ^ΙίΗΗ φ p a Γ M e H T a p H O Γ O IIOBeCTBOBäHHX. IIocTapaeMCH onpe^ejiHTb 3κστ6Η0ΗφΗ^ιυικ> η

#ηη&μη3&ιιηκ)

OTpblBOHHOH Η Η φ θ ρ \ « Ι Ι ί Η Η Η φ 3 Κ Τ θ ρ Μ , T . e . ΤΗΠΜ IIOBeCTBOBaHHÄ, o ö y c j i o B J i H B a i o m H e HX B 3 a n M o ^ e H C T B H e . Πόα

3Κ0Τ6Η0ΗφΗΚαΗΗ6Η

pa3yMeeaeM

OTpblBOHHOH

Hamia^biBaHHe

ΗΗφθρΜ3ΗΗΗ

oT^eJibHbix

cjiynaeB

Mbl

ΠΟΛ-

HenoJiHoro

JAN VAN DER ENG

140

ΗΗφθρΜΗρθΒΕΗΗΗ Ha CBJI3aHHbIX φρ3ΓΜβΗΤΟΒ, COieTaHHe 3JieMeHTOB pa3HLix pa^oB β cjioacHLix TeMaTHHecKHx y3Jiax, cjiyaceÖHyio pojib pa.ua hjih coneTaHH» 3JieMeHTOB HecKOjibKHX p j m o B n o oTHoineHHio κ oßuiHpHOMy TeMaTHHecKOMy m i a c T y .

ΠοΛ AHHaMH3aUHeÖ OTpblBOHHOH HHOpMaiiHH Mbl nOflpa3yMeBaeM cKonjieHHe Bce öojiee HanpaaceHHbix mothbob κoHφJIHκτa, npoTHBope^H«, KOHTpacTa, napa^OKca β paMKax οληογο pH^a, CTOJIKHOBeHHe MeK^y pa3HbIMH ypOBHÄMH 3HaHHMOCTH φpaΓMeHTOB ΟΛΗΟΓΟ pjwa, KOJIJ1H3HH MeHCfly "COnepHHHaiOmHMH" paH.aMH, HeCOrjiaCOBaHHe MCHCfly MOTHBaMH OTpblBOHHOIO Η 6β30ΤρΜΒ01ΗΟΓΟ pflflOB. Π ρ Η o6cy»meHHH oTflejibHbix cjiyiaee OTCponeHHoro noBecTBO-

BaHHA Mbi ^aJiH y»ce npeAsapHTejibHoe npeacraBjieHHe ο ληη3μη3aUHH OTpblBOHHblX MOTHBOB t OHa 3aKJIK>*iaJiaCb Β onpeaeJieHHÄX

pa3Hbix φορΜ oTcpoHKH ^onojiHHTejibHOH ΗΗφορΜ3ΐρΐΗ (npocTaa, cjioacHaa, coMHHTejibHaa, flBycMbicjieHHaa η HeHaaexcHa« φορΜΜ). 3ΚΟΤ6ΗΟΗΦΗΚΕΙΙΗ« :

KaK

ΒΗΑΗΟ

H3

npHBe^eHHtix

npHMepoB,

npneMbl OTCpOHKH AOnOJIHeHHH Κ φρ3ΓΜβΗΤ&ρΐΠ>ΙΜ 3JieMCHTaM H3 npoiiuioro, H a c T o a m e r o hjih öyflymero nepcoHaaca, othocätcä κ rjiaBHbiM panaM poMaHa. 3 t h pa^bi oxeaTbieaioT ero GÖJibinyio HacTb. TaK, HenojiHocTb CBe^eHHH 06 hhthmhmx οτΗοιπβΗΗκχ Mexmy KaTepHHoö HeaHOBHOH η ^MHTpneM omyTHMa ao κοηπ#: TOJibKo β 3HHJiore ocBeinaeTca cyTb «ejia. TaKHM » e 00pa30M aaHHbie ο cbh3h HeaHa c KaTepHHoii PieaHOBHOH TOJibKO 3a HecKOJibKO CTpaHHu, ^o paccKa3a ο BH3HTax κ CMep,nflKOBy o6pa3yioT uejioe. Χολ α^ηοτβηή Π ρ Η yßHHCTBe CTaporo KapaMa30Ba oÖHapyacHBaeTca He paHbrne, ΗβΜ β nocjieAHeM pa3roBope H e a H a C CMepflHKOBblM. BaacHbiM φ a κ τ o p o M ajw λολγογο coxpaHeHHa 0 T p w B 0 H H 0 r 0 xapaKTepa 3jieMeHT0B TeMaTH^ecKoro p«Aa He pa3 HBJweTC« hx xaMejieoHTHHecKoe KanecTBO. T a x , π ο οτηοπιθηκιο κ κ a τ a c τ p o φ e Hepe^yiOTCH pa3Hbie opHemrauHH. To ace c a M o e moxcho CKa3aTb 06

HHTHMHblX OTHOUieHHÄX MCÄfly

KaTepHHOH

HeaHOBHOH Η

^ΜΗΤρΗβΜ. BJIH3KO Κ 3TOMy HaXOflHTCÄ npOÄJieBaHHe OTpblBOHHOH CTaAHH ΗΗφθρΜ3Ι1,ΗΗ 6 j i a r O f l a p H AByCTOpOHHOCTH φρ3ΓΜβΗ-

TapHoro

M a T e p n a j i a : coöbiTHHHaa η n c H x o j i o r H i e c K a «

n o OHepej^H

λοποπηλιοτο»

cTopomj

HyscHbiMH C B e a c h h h m h . ΟτρΜΒθ«ππΛβ

141

'SUSPENSE* β "bPATbJIX KAPAMA30BMX"

ßaHHbie HecKOJibKHx panoB He pa3 coneTaioTca Β cjioacHbix κοϋφJinKTHbix y3Jiax ΠΟΤΓΗ BO BCK) niHpHHy poMaHa: TaK, CKpemeHHe JII060BHHX, .HCHGMCHblX Η npeCTyUHMX OTHOUieHHH npOHCXOAHT, HanpHMep, Β Kejibe CTapua BO BpeMa pa3roBopoB Me»cny COÖpaBUIHMHCH ^yXOBHblMH Η CB6TCKHMH JIHIiaMH, Β ΗΟΠΟΒΒΒΗ ^ΜΗτρίΜ, Β pa3roBopax CTapaxa c Ajieuieii, Β HHCΗHyanjuix CMep^HKOBa, Η Τ.Λ· TeMaTHHecKHe ΚΟΜΠΟΗ^ΗΤΒΙ, KOTopbie coxpaHÄioT CBOK) oTpbiBOTOocTb noHTH BiuioTb flo Komja poMaHa (saraßica ynacTHa HeaHa Β y6nficTBe Η 3ara^Ka oTHomeHM KaTepHHbi HßaHOBHbi κ ^MHTPHIO, aa η CBH3b ee c HeaiiOM) BbinoJiHHioT cjiyaceÖHyio pojn. Β cociaee eme 6ojiee iimpoKoro TeMaTHHecKoro miacra: OHH NPNCNOCOÖJMIOTC» κ xaMeneoHTHlecKHM c^BHraM 02KH^aeM0H KaTacTpoaKTbi H3 npeflCTOHmeä 5KH3HH cBoero ITpaB^a, o^HaKo, h t o

3th

oöme-

nepcoHa>Ka.

npeflBocxHmeHHÄ Bceraa CB«3aHbi c

hjih nocTynKaMH HacToamero nepcoHaaca. Bce umbi noBecTBOBaTejibHoro Me^nyMa mohcho cwraTb

MbicjwMH, 3MOQH5IMH

CBoero

pofla

npHHiuma. 1 1

MacKaMH

Oh

aBTopa

MammyjiHpyeT

β

ero

pojrn

cbohmh

KOHCTpyKTHBHoro

MacxaMH,

hto6w

cono-

CTaBHTb Η npOTHBOnOCTaBHTb pa3Hbie KOMnJieKCbl OTpblBOHHblX Β. E. BernoBCKaa H3ynaeT Ha MaTepaaJiax poMaHa Epambn KapaMcuoebi creneHb aocToeepHocTH nepcoHaacefi, "corJiacne η Hecornacae aeropa c CBOHMH nepCOHaxaMH, ΠρβΛΠΟΤΓβΗΗβ CJIOB ΟΛΗΟΓΟ CJIOBaM Apyroro". Cp. "OTHomeHHe aBTopa κ penn nepcoHaaceä (Epamhn KapaMcaoevi Aocroee10

CKoro)", Hseecmun ΑκαόβΜίαι Ηαγκ CCCP.

Cepun jiumepamypbi u Λ3Μκα,

TOM X X V n i , BMnycK 4 (MocKBa, 1969), CTp. 316-329. 11 ΠοΗΗΤΗβ aBTopa/KOHCipyKTHBHoro npHHn,raia, MeHHioinero pa3Htie noBecTBOBaTeJibHue msckh, pa3pemaeT npo6jieMy paccKa3MHKa Epambee ΚαραΜθ3θβ bix η co3^aeT bo3moschocti> He tojibko paajrawn» paccKa3MHKa (narrator, Erzähler) η BceBeaymero aBTopa (omniscient author, allwissender Autor), ho η Ä0c})epeHiiHpOBaTL· pa3Hhie creneHH 3HaHHH xpoHHKepa η BceeeÄymero paccKa3Hraca. Cp. Ralph E. Matlaw, The Brothers Karamazov.

'SUSPENSE' Β "BPATbÄX KAPAMA30BMX"

143

Η 6e30TpbIB0«iHJ»IX MOTHBOB ΠΟ ΟΤΗΟΙΗβΗΗΙΟ Κ OflHOMy TeMaTHHecKoMy piwy hjih κ coneTaHHio κομποηθητοβ p a 3 H b i x ρηλοβ. Oh flHHaMH3HpyeT hx. TaK HepeßOBaHHe komiuickcob, coctojuuhx H3 MOTHBOB, nepemieTaiOmHX ΚΟΜΠΟΗβΗΤΗ jnOÖOBHMX, φΉΚΗΟΟΒΗΧ Η HaCHJIbCTBeHHblX ρ«ΛΟΒ, C03^aeT BOCXO^ÄmyiO JIHHHK) CTpaCTH η CTOJiKHOBeHHH, Beflymyio κ KyjibMHHamioHHOMy nyHKTy, κ MOMeHTy yÖHÖCTBa. Μ ποτομ pacim^poBtiBaHHe npecryiuieHH« onHTb co3^aeT bo3moähocti» noBTopeHHH 3THX nepenjieTeHHbix κοΜποΗβΗτοΒ β 3ΤΜοοφερε Bee HapacraiomeH acyTKocra (npH3HaHHe CMepa»KOBa, npeaeapHTejibHoe cyaeÖHoe cjie^CTBHe). ^HHaMHsauHJi CKa3WBaeTC« TaKace β npoTHBopeHHHx η HecomaCyeMBIX npOTHBOnOJIOXCHOCTHX

Me5K^y MOTHBaMH pa3HtIX

OT-

pblBOHHMX PHÄOB, KOTOpbie BMeCTe C03flaiOT ej^HHOe CJIOXCHOe uejioe

(njiaH

yÖHÖCTBa,

3auH^ npoBoflHTca, KaK

BbinojiHeHHe, bhhobhhk). 3Ta ληηεμηβ npe^ejiax e^KHofi φορ\α>ι noBecTBo-

BaHHii, Tax η πρκ CMeHe pa3Hbix noßecTBOBaTejibHbix Me^HyMOB.

Bo BCTynHTejibHofi nacTH poMaHa bo3moäho conocTaBHTb npeaBapHTejibHbie BbiCKa3biBaHiw xpoHHKepa ο tcmhoh cMepTH CTaporo KapaMa30Ba, ο κaτacτpoφe, nocTHraiomeH /Ι,μητρηη β pe3yjn>TaTe Φη^ηοοβοη ccopw c otiiom, ο pokobmx nocjieflctbhhx npne3aa HeaHa. 3 t h φρ3ΓΜβΗΤΐ>ι nopoamaioT ^eyCMMCJieHHbie npeanoJioaceHH* ο npHHHHe kohhhhm oTua, ο bhhc 6paTbeB. Ποτομ, πρκ nocpeacTBe pa3Hbix τηποβ noßecTBOBaTejibηογο Me^HyMa, Bbi^BHraioTC« τ ο ,ΙΙ,ΜΗΤΡΗΗ, Kax rjiaBHHH bhhobHbiH, to HeaH, KaK "3Jioii reHHÜ" CMepaaKOBa. Η ^ β τ ceoero p o ^ a copeBHoeaHHe MOK^y AByMK ajibTcpHaTHBaMH yÖHÖCTBa CTapmca. HanOMHHM TOJIbKO, KaK BbmBHraiOTCH Π0Λ03ρβΗΗΛ Ha ÜBaHa "cocTaBHbiM MeflHyMOM", cocTo«mHM H3 HeaHa, CMepfl«KOBa η

BceBe^ymero paccKa3*iHKa, κοτορυκ cbohmh BepHbiMH HaöjnoAeHHHMH η npe^BocxHiyeHKHMH y^ocTOBepaeT 3aMbiceji yÖHÖCTBa η cKpbiToe yiacTHe HeaHa β hcm. CjieayiomHe rjiaBbi, β κοτορυχ 3aHOBO flMHTpHH HaXOflHTCH ΠΟΛ Π0Λ03ρβΗΗβΜ, paCCKa3bIBaiOTCft c tohkh 3ρβΗΗ» BceBe,aymero paccKa3HHKa co cyaceHMM, KaK mm

Novelistic Technique ('s-Gravenhage, 1957), KAy ^MHTpneM η otiiom, MeacAy A M H T P H e M

H

KaTepHHoii

MBaHOBHOH.

0^HOCTOPOHH«H ne^ajiH3auHH φpaΓMeHτapHbIX cße^eHHÖ npoHCXOAHT Η Β OTHOUieHHH KaTepHHbi ÜBaHOBHbl Η flOJIIO npeA" craBjiaeT, KaK h t o - t o 3araaoHHoe η Hejienoe, ee cBH3b c ,ΖΪ,ΜΗτρΗβΜ. O^HocTopoHHocTb 3Aecb HacHHTWBaeT HecKom»Ko φa3 ποηχολογηnecKH ycjioacHeHHbix TpaeecTH ee jihhhocth η ocHoeaHHoe Ha hhx ncHxo-aHajiHTHHecKoe ynpomeHHe. CnepBa OHa npeflCTaBjiaeTCH, KaK KaKOH-το aHreji Ao6poTbi η caMonoacepTBOBaHH« (β penjiHKax ^ Μ Η τ ρ κ » bo BpeMH pa3roßopoB β Kenbe CTapua). Π ο τ ο μ , KaK 6y^TO B03HHKaeT repoHH« ä la George Sand, ocymecTBJMiomaji Tax Ha3biBaeMoe ceHTHMeHTajibHoe BocnHTaHHe (no HcnoeeflH ^MHTpna). Β flaJibHefiineM cTpeMJieHHH ÖJiaropoflCTBa, BejimcoAyiiiH«

η

caMonoacepTBOBaHHH

KaK-το

npeACTaBJi«K>Tca

CKpbiTbie BbipaxceHHH caMOBjiacTHOCTH η xtaace KaK

KaK

ποπμτκη

145

'SUSPENSE' Β "EPATbÄX ΚΑΡΑ MA30BbIX" OTOMCTHTb Τ^ΜΗΤΡΗΙΟ ΠΟ BHAOM JIIOÖBH 3 a KOTOpwe OHa n p e T e p n e j i a

οτ

BCe OCKOpÖJieHHfl,

Hero. 3 T H 3aTaeHHbie

HaMepeHHa

H H o r ^ A B b i n j n > i B a i o T Β τ ο HE e e CJIOB ; M e a H Β CBOHX KOMMEHTAPNAX iuyTjiHBO

HaMexaeT

Ha

HHX;

xpoHHKep

BO

BpeM«

cy^a

HaA

/ j M H T p n e M n p e T e H ^ y e T H a 3 H a H H e c y r a e e n p o f l O J i a c e H H O H CBJHH c

^ΜΗτρκβΜ:

acaacfla

MmeHHK

ΠΟΑ

MacKoii

JHO6BH.

AHHaMH3aUHH C OflHOH CTOpOHbl CKa3bIBaeTCJI Β (HTO6M

He

cxa3aTb

KOTOpblH T p y ^ H O

CHHHCCHHH)

3φφεκτ

ynpomeHHocTH

ncHxojiorHHecKoro

C O r j i a C O B a T b CO CTpeMJieHHHMH

aHajiH3a,

HeCTHOCTH

Η

B e j m K O f l y u i H » , n p o p b i B a i o m H M H c a e m e 3 a fleHb ΛΟ c y ^ a b e e p a 3 ApaXCeHHblX

CJIOBaX

Ο

,ΖΙ,ΜΗΤρΗΗ

Η

ο

BHe3ailH0M

nocemeHHH

C M e p f l H K O B a , — c a p y r o f i C T o p o H b i BO B e e 6 o j i e e acyTKOM OTHOQieHHH Κ ^ Μ Η Τ Ρ Η Κ ) , K O T O p o e , HeCMOTpfl H a npOTHBOBeC NOJIOXCHTejibHbix HepT e e x a p a K T e p a , o c o ö e H H o n o p a s c a e T π ρ κ npHßjiHHceHHH YßHHCTBA Η c y f l e Ö H o r o ^ e j i a . Μ 3 ^ e c b 3JieMeHTbi ΟΑΗΟΓΟ p s w a , T.e.

ee

OTHOIIICHHÄ

flpyrHX

p»AOB

Η

κ

/JMHTPHK),

pa33KHraiOT

CONETAIOTCA HX

c

3JIEMEHTAMH

KOHJIHKTHbie

CTOpOHbl.

IlcHxojiorHHecKa« ycjioacHeHHocTb Η β κ ο τ ο ρ κ χ p j m o B «BjiaeTca CaMbIM

HHTpnryiOmHM

AHHaMH3aUHH

Η

CaMbIM

OTpblBOHHOTO

OpHTHHajIbHblM

MaTepHaJia,

φ3ΚΤθρθΜ

KOTOpblH

OCOÖeHHO

x a p a K T e p H 3 y e T p o M a H ^OCTOCBCKOTO. Β KOHiie p o M a H a o m y m e H H e HenOJIHOTbl ΗΗΦΘΡΜ3ΗΗΗ IjeJIHKOM COCpeßOTOHHBaeTC« H a NCHXOJIOTHHeCKHX 3JieMeHTaX Β CBH3H K a T e p H H b l M ß a H O B H b l C /^ΜΗΤΡΗΒΜ Η Β y n a c T H H M e a H a Β yÖHHCTBe. Β OÖOHX c j i y n a a x

npHpoaHbie

H A e a j i b H b i e C T p e M J i e H H » n o f l a B J i i i i o T C J L MTO K a c a e T c a

KaTepHHbi

Ü B a H O B H b i , 3TO n o j i y i a e T c a Β p e 3 y j n > T a T e H3MeHbi JJMHTPHH, ΜΤΟ KacaeTCH M e a H a , STO NPOHBJWETCH, KaK CJIE^CTBHE p a 3 J i a f l a ME»CFLY HpaBCTBeHHOH n 0 3 H U H e f i Η n p a K T H K O H C06CTBeHH0H 5KH3HH. E c J I H y KaTepHHbi

HBaHOBHbi nepeayiOTCH p a 3 H b i e φ 3 3 Μ

ncHxojiorH-

n e c K o r o T p a e e c T H , CBo^HMbie

Ha T e »ce caMbie n e p T b i e e JIHHHOCTH

(3ΓΟΤΗ3Μ,

Η T.FL.),

caMOBJiacTHOcTb

HO He c o B c e M

3aTymeBbi-

B a i o m H e A p y r w e 6 o j i e e ceeTJibie KaneTBa e e x a p a K T e p a , τ ο ,

ΗΤΟ

KacaeTCH H ß a H a , aHTHHOMH» M e a c ^ y HpaBCTBeHHOH Η n p e c T y i m o f i C T o p o H a M H e r o JIHHHOCTH «BjiaeTCÄ a ö c o j n o T H o f i .

ΟΤΡΜΒΟΗΗΜΗ

M a T e p n a j i n o K a 3 b i B a e T 3 ^ e c b , KaK MM C K a 3 a j i H , p a 3 H b i e

ypoBHH

3HaHHMOCTH, y p o ß e H b c o ß b i T H H H o r o x a p a K T e p a Η y p o e e H b IICHXOjioraHecKoro

xapaKTepa,

06a

3ara,aoHHbie

Β

paBHoö

Mepe

Η

146

JAN VAN DER ENG

B33.HMHO HecorjiacyeMMe. 3araflo*mocn> othochtch KaK κ eonpocy ο HajiHHHH 3aMi»icjia, Taie η κ eonpocy, oco3Haji jm HßaH cßoe ynacTHe β yÖHHCTBe. 3φφβκτ flHHaMH3aiiHH CKa3HBaeTCH, HanpHMep, β Tom, i T o πρκ ΠΟΛΗΟΜ ocBemeHHH BHeuraero x o a a Λβπ, BABoe

cHJibHee

BbiacHeHH«

omymaeTc»

POKOBOÖ

pojiH

ncHxojiorHiecKHH HeaHa

β

φaκτop:

3aMbimjieHHH

nocjie

yÖHHCTBa

CMepflÄKOBbiM, B03HHKaeT CHJibHee, ^eM Korfla-jmöo, Bonpoc

—

noneMy o h TaK ßojiro He oco3Haßaji cßoe yiacTHe β hcm. Π ρ Η 3TOM aHTHHOMHH Me»CÄy IIpeCTyilHblM nOBe^eHHeM Η 3THHeCKHφκΛοοοφοκΗΜ

MbiiiiJieHHeM

/l,HHaMH3auHii

oTphiBoHHoro

HeaHa

oöocTpaeTca

MaTepHajia

flo-Hejib3a.12

onpe^ejineTca

xaKHM

0Öpa30M Β 60JIbUI0H Mepe 6e30TpbIB0HHbIMH paflaMH HpaBCTBeHHoro MbiiiiJieHHH MeaHa (rjiaBbi: EyHT; BejiHKHH h h k b h 3 h t o p ,

η

Τ.λ·)· A o pa3o6jiaHeHHa 3aMbicjia flaHHbie 3THHecKoro MbiniJieHHH

M. Bachtin η Johannes Holthusen pa3JimaioT β poMaHax ßocroeBCKoro ÄBa ypoBHH: ypoeem» tojiocob (BHyipeHHHä jmajior η aHajior, BH3HBaK>mH& coöeceÄHHKa Ha eonpocbi ero BHyTpeHHero anajiora) η ypoeeHb aoHcenaoro ynopHfloieHHH φαθγπ^ρΗΟΓΟ MaTepHajia. Πο MHeHmo Holthusen nepebifi yposeHb oöycnoBJiHBaeT apyrofi: (Cp. "Pinzipen der Komposition und des Erzählens bei Dostojewskij" in Arbeitsgemeinschaft für Forschung des Landes Nordrhein-Westfalen, Heft 154 [Köln und Opladen, 1969], crp. 9; Bach tin γοβορητ, ιτο $wpo «aajiora Haxofljrrca BHe cioaceTa [fJpoÖAeMbi nosmwu JfocmoeecKozo], H3flaHne 2-e, nepep. η λοπ. IMocKBa, 1963], CTp. 339). MHe KaaceTc«, mto Ha HameM MaTepnaJie He Tpy^HO HJunocTpHpoeaTb 3το nojioaceime. BMecre c τβΜ 3τοτ MaTepaaji noacKa3braaeT cneayiomHe 3aKjnoTCHHH, KOTopbie He ocnapHBaioT Toncy 3peHHK Bbime ynoM«HyTbix HccneAOBaTeJieä, hofleMOHCTpnpyioT,ιτο npaeM φρ3ΓΜβΗΤ3ρΗθΓθ noeecTBOBafnm saxBaTbiBaeT aea ypoBH« η nepenneTaeT hx: 1. HHoraa pe