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Master
student Smailova Zh.
Scientific adviser: c.phil.s., docent Sarsekeeva N.
Kazakh National University
named after al-Farabi
Mysticism in creativity N. Teffi
.
Mysticism – this is a very essential part of folklore, as
initially any phenomenon that people could not explain the usual positions
attributed supernatural properties. It arose from a conversation folklore and
mysticism in Russian literature.
Dictionary of Russian language S.Ozhegov and N.Shvedova
gives the following definition: "Mysticism – 1.
Belief in the divine, to the mysterious, supernatural world and the possibility
of direct communication with him. 2. Something enigmatic, inexplicable
"[1].
Mysticism in Russian literature – very ancient phenomenon. She is
so intertwined in the Russian consciousness that distinguish it from him almost
impossible. Mystical tradition of the people, often connected with pagan basics
- a most valuable and the most ancient layer of its culture.
Mystical motives long been widespread in Russian literature. However,
authentic bloom of mystical Russian literature was observed in the first half
of XIX century: the ballad of Zhukovsky, a story by V. Odoevskogo. Paid tribute
to the mystical and a prominent representative of Russian literature
abroad Nadezhda Teffi (1872-1952 gg.).
Russian writers are very fond of all sorts of mixed sciences such as
spiritualism and magic with mysticism, loved to ascribe to themselves the
secret skills. It is no coincidence Dostoevsky, as we know, called his creative
method of fantastic realism. Comparing Gogol and Dostoevsky, V.Maykov said:
"Gogol - the poet par excellence social, and Dostoevsky – mainly psychological. For one individual is important
as a representative of a certain society or a certain circle, for another
society itself is interesting for its effect on the personality of the
individual "[2, p.14]. In the 1930s. Teffi has prevailed in creativity
Dostoevsky began. Psychology combined with fiction, deep penetration into the
souls of heroes, elements of mysticism became a feature of her writing style.
The growing sense of frustration and nostalgia waged to increased the motives
of religiosity and mysticism.
Question: where Teffi has taken his magic? It turns out that the writer was
abilities by inheritance – her great-grandfather Conrad
Lokhvitskii (1774-1830) during the time of Alexander I wrote mystical poems.
Source of power is lost in the mists of time. Is said that there was a family
tradition of hereditary magical power to be transmitted through the male line,
while not gets hold gift of a woman who will pay for it with loneliness.
Loneliness Teffi with three children and a crowd admirers of talent was
obvious.
Teffi happened many times to show their magnetic and prophetic abilities as
opposed to those who actually not possess any abilities but merely dreamed
become famous the magician and fascinator.
Theme
of the mystical reaches at its highest manifestations Teffi in the book
"The Witch" (1936). Heroes of the book "The Witch" – vampire, brownie, mermaid, werewolves, witch,
water and, of course, a witch. In the preface Teffi explains: "In this
book, our ancient Slavic gods: they still live in the soul of the people, in
the traditions, superstitions and customs. All they met me in the Russian
province of childhood".
In
the book "The Witch" Teffi develops the theme of Russian past with
its inherent native folk images wood goblins, witches, goblins and other
characters. Sometimes it is given through the prism of childhood memories or
nostalgia of adults heroes. Teffi is constantly drawn in his stories to
folklore, to paganism and Christian religion to ancient Russian literature.
This is evidenced not only by the desire to preserve the traditions of the
past, what its mission seen the Russian Diaspora abroad.
In
the story "Goblin" the central character is Goblin (youngest daughter
of the graph Jadzia). Her mystique dissimilarity from others and detachment
from the world testify to the exactly is goblin Jadzia. In the story there are
specific reasons that would speak to the truth of this assumption. As for the
exterior of the heroines, then it was something a repulsive, frightening,
"too white and ruddy face at the same time", "too thick
eyebrows", "too black, almost blue hair, and mustache."
In the story "The
Mermaid" and two story lines: the first – the life story of maid of
Cornelia and her death. In the image of heroines is intertwined mythical and
real (on the one hand, the image of Cornelia pervaded vital realities on the
other - there is a constant comparison of her with a mermaid. Even her death
acquires peculiar mythical folklore character). Entire plot of the story is
built on the disclosure between the world of real and unreal, the earthly and
otherworldly. The second line story does not disprove first, but rather
complements it - it's a love story that same maid of mermaid with the groom
Fedko. Without this line, we could not talk about the first one. Their
relationship introduced by the author for to nudge Corneille to the selection. In the final story of
mermaid chooses world allusions and commits suicide.
One of the earliest
writers of short stories "The Island" reflects the decadent
atmosphere that prevailed in the art of the early twentieth century, with its
"artificiality" increased attention to everything supernatural,
abnormal, ugly. Teffi would later recollect while commemorate "fascinator."
"All sorcery, conjured was studied medieval witch processes, wrote poems
and stories about witches, vampires and werewolves.
In another work Teffi
describes of the then fashionable cabaret literary and artistic bohemia
"Stray Dog", which gets the heroine of the story: "Harry had his
own retinue, your yard ..." abnormal, green and ugly. "Green maiden –
some kind Yura, "which everyone knows," consumptive Lyceum student,
and a hunchback, wonderfully played the piano. All were associated with some
secrets, hints talking about something suffered somewhat were worried and, as I
now understand, sometimes is racked in empty space. Lyceum student loved muffle
up in a Spanish shawl and ladies wore high-heeled shoes, green girl was
dressing as a cadet" (" Dog ").
"Mysticism" Taffy was deprived befitting genre
coloration grim. Taffy explained his understanding of the differences between
fiction and extravaganza:
"Extravaganza –
good. Pursuit of happiness. Life. Fiction – evil. Death. Extravaganza
– light sleep.
Fiction – nightmare.
Seventeenth century crosses between fiction and extravaganza – similar to our twentieth century.
Especially in the years that we now have to worry about. Fiction and
extravaganza are diametrically opposed. "Extravaganza" comes from the
fairies, it all light, it tends fortunately there are good forces. In magic – dark forces. It wants death,
to destruction life. Magic and extravaganza – as two sides of the same coin wonderful. One side of
the dark – death. Another
bright - life ... "[3, p.19].
Mystic Taffy, reflecting the essence reveals depth of its meaning is not
self evident truth. The thought of the writer, referring to the phenomena of
reality, life, objectively knows the world in multidimensional, interdependent
relationships. With the help of mysticism writer makes the reader look at the
well-known, familiar differently, unconventionally, and see in the usual – an anomaly, ugliness of social life. Fantastic,
apparent in the stories Taffy unpredictable - mobile, sometimes disappears, as
if losing its fantastic flavor, puts the reader into confusion and at the same
time it creates a sense of ownership of the fantastic world. Mystic Taffy,
shifting real proportions, not reveals the mysterious veil of the beyond, but
rather in its entirety and immediacy characterizes the world daily, unlimited.
Mystical theme in the
literature is complex and multifaceted. Interest in it is not quenched, and
this is understandable. The rapid development of science and technology still
cannot drive out of interest in the beyond. And let for most modern readers
mystical motifs seem to be something frivolous, they are inherently a very
important and integral part of Russian and world literature.
References
1. Ozhegov S., Shvedova N.
Dictionary of Russian language - 4th
ed., M .: Iti Technology, 2003
2. 2. Spiridonov L. Resistance to evil laugh //
Creativity NA Teffy and Russian literary process the first half of XX century.
- M.: Heritage, 1999. - 348 p.
3. Nitraur E. "Life laughs and cries ..."
The fate of the creativity Teffy // Teffy - L.: Nostalgia, 1989. - 19 p.
4. Kuprin A. about literature. Minsk: BSU Lenin,
1969. - 456 p.