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After line The textbook. M: the Pier. gv., 1989. P. 1	The Hero-writer in Dostoevsky's world 1 Already in itself abundance of similar heroes in Dostoevsky's art world speaks about much. Why the writer so entered often images-portraits of writers into a fabric of products? What problems excited him in this connection? Undoubtedly, the uniform through sight at gallery of images of writers will help to present more clearly Dostoevsky's aesthetic views, its creative credo as the writer and the publicist. In the images of writers represented by Dostoevsky its relation to modern was brightly expressed to it to the literature, and Dostoevsky's all character — the artist and the person was in this respect showed. It is possible to list Dostoevsky's those products in which absolutely there are no the heroes concerning the literature. Such in all creative heritage of the writer only five — "Double", "Mister Proharchin", "Toddlers", «Weak heart», «Another's wife and the husband under a bed». That all these early things occupy, except for "Double" is significant, rather insignificant place in Dostoevsky's creativity. In all other stories, stories and novels such heroes are, and some products it is possible to name figuratively literary salons — for example, in "Demons" seven heroes-writers operate, not considering the whole group of the anonymous writers participating in crowd scenes. Dostoevsky's concerning the literature all heroes, it is possible to subdivide into some groups formally: The first — professional writers. Them concern: Ratazjaev from «Poor people», the Vasja-poet from «the Uncle's dream», Ivan Petrovich from «Humiliated and offended», the writer-poet from the Germans, appearing in one of scenes of the novel "Idiot", Karmazinov, the schoolmate background Lembke and whole group «advanced writers» of "Demons", the employee of "Brand" from «the Nasty joke» and "journalist-exposer" from a "Crime and punishment". The second — the heroes trying the forces in literary creativity, frequently losers, grafomany or only still promising. It: Foma Opiskin and footman Vidopljasov («Village Stepanchikovo and its inhabitants»). Dissenters ("Crime and punishment"), general Ivolgin and Keller ("Idiot"), Bagautov («the Eternal husband»), Stepan Trofimovich Verhovensky, captain Lebjadkin, background Lembke ("Demons"), Rakitin («Brothers Karamazovy»). It is possible to carry Dostoevsky's those heroes who are authors of plug-in art texts in products of the writer to the third group: Varenka Dobrosyolova («Poor people»), Ippolit Terentyev ("Idiot"), Stavrogin (Demons »), Ivan and Alexey Karamazovy from Dostoevsky's last novel, and also authors of stories« Mild "," the Dream of the ridiculous person "and" Bobok "from" the Diary of the writer ». It is necessary to switch on In the same group and all heroes-story-tellers and authors of"notes", it: The unknown person who has written stories «Fair thief» and «the Fur-tree and wedding», the Dreamer in "White nights", netochka nezvanova and the Small hero in the products with the same name, the Reporter of "the Uncle's dream», Sergey-story-teller in "Village Stepanchikove", the Underground person («3аписки from an underground»), storyteller Simeon Semyonych in "Crocodile", Alexey Ivanovich in "Player", Anton Lavrentevich G-v — the reporter in "Demons", Arcady Dolgoruky ("Teenager"), Alexander Petrovich Gorjanchikov who has written «Notes from the Dead house», and the story-teller in «Brothers Karamazovyh». In the fourth group it is possible to unite those characters who dream of a literary field as Alyosha Valkovsky from «Humiliated and offended»; casual authors, like Dmitry Karamazov; the heroes trying, so to say, to stick to a rank of the writer (prince K from «the Uncle's dream» and Obnoskin from "Village Stepanchikova"); heroes, whose relation to the literature is doubtless, but something is difficult to tell about them defined, besides, that they somewhere write something or wrote, it: Ordynov from "Mistress", Bezmygin from «Humiliated and offended», "editor" from company Rogozhina in "Idiot", neighbour Arcady in a gambling table in one of episodes of "Teenager". Here it is formally possible to switch on heroes like Makara Devushkina from Dostoevsky, Peter Ivanovicha's first product with Ivan Petrovichem («in nine letters») which literally absolutely are not writers, however, heroes writing and their letters it is possible to consider the Novel in this case as the literary fact. Let's add, that at Dostoevsky's some unfulfilled plans there are images of writers about which it will be told in the place. Before to consider images of all heroes-writers, we will recollect at first in general, that is known about Dostoevsky as the writer, what requirements in the creative plan were shown by him to itself(himself) and that considered as the main thing in literary work, and also its sights at a role of the writer in a society life. 2 Dostoevsky had a true passion to the literature. Before sending on penal servitude he exclaims in the letter to the brother: «Yes, if it will be impossible to write, I will be lost. Better fifteen years of imprisonment and a feather in hands...» But, despite this almost painful relation to creativity, Dostoevsky marvellously has cautiously taken the first step in the literature that distinguishes it from many writers. Some years before the introduction on a way of the professional writer it only also were engaged in that wrote and destroyed the written. It is known from memoirs of contemporaries,  A.E.Rizenkampfa, for example, about its mysterious early tragedies, about numerous stories which were-existed but which nobody read, In details and in detail about the beginning of a creative way of the genius it is written in  V.S.Nechaevoj's book  «Early Dostoevsky», here we will underline only, that, despite all impulsiveness and fervour of character, Dostoevsky is literally from first minute of creativity was able to clamp the nature in rigid frameworks of a strict self-estimation. Perhaps, thanks to it to Belinsky's significant words — «so still nobody began from Russian writers», it is possible to add now — and after Dostoevsky has not begun. Then all life (excluding, of course, unbearable years) he lived the literature, breathed the literature, struggled for the literature and painfully reflected on the place in the literature. Hardly probable not Dostoevsky's all heroes constantly argue with the opponent frequently only imagined, but after all Dostoevsky argues, in effect, and in many cases such imagined opponent is the writer or a work of art. The great value in its judgements about writers had that circumstance, that he in the course of time more and more understood the feature, the dissimilarity on all other large writers of that epoch. Dostoevsky, eventually, has created the special kind of the novel sharply differing from typical Russian novel, created Turgenevym, L.Tolstym, Goncharov, Pisemsky. Here there is no place to assort, in what novelty and originality of a method of Dostoevsky-artist consisted, we will recollect only judgements and remarks of the writer on distinctive lines of the creative manner inherent in it, meeting in set on pages of its stories and novels. So, in «Weak heart» young Dostoevsky ironically grins: «the Author, of course, feels necessity to explain to the reader why one hero is named full, and another a diminutive <…> But for this purpose the rank, and a post, and, at last, even would be necessary to explain and describe preliminary both a rank, and summer, both characters of characters; and as many such writers who so begin the author prospective to lead, are unique not to resemble for this purpose on them (that is as some will tell, maybe, owing to unlimited vanity), dares to begin directly with action …» Certainly, the stone in kitchen garden Turgeneva, Nekrasov and other acquaintances from Belinsky's environment, containing in brackets, shows, that the judgement it is made by Dostoevsky in a heat and in passion of not finished dispute, but the stated credo became valid a rule in all creativity of the writer: descriptions occupy a scanty part in products, on the first place — action and dialogues. The aspiration to chain in a chain of words an escaping instant of the validity was Dostoevsky's characteristic line also hot. It full handfuls scooped a material for novels directly from a life «behind a window», changed newspaper feuilletons-something ephemeral in an art flesh, in general tried to explain so new and not settled, that contemporaries at times at all did not understand it, and it was necessary to it in «the Diary of the writer» and in letters to explain the products guessed and fixed by it types. It is more than that, Dostoevsky has been compelled and to insert explanations into a fabric of works of art and, even it is possible to tell, justifications of the creative method in a choice and material processing. For example, "Teenager" was still printed in "Contemporary", and, on responses of criticism and responses of readers, it was already clear to Dostoevsky, that it again not absolutely understand. Continuing to work over the novel, it brings for memory in a notebook: «In the ending the Teenager: ²ja allowed to read my notes to one person, and here that he has told to me ² (and here to result opinion of the author, that is my own) …» What is this opinion? On behalf of the hero, Sergey Semyonovicha, Dostoevsky, hinting, first of all, on L.Tolstoy, with the gained conviction ascertains: « If I was Russian novelist and had talent by all means took heroes of my of Russian patrimonial nobility because only in one this type of cultural Russian people it is possible though a kind of a beautiful order and the beautiful impression so necessary in the novel for graceful influence on the reader. <…> I Admit, I would not wish to be the novelist of the hero from casual family! Job ungrateful and without beautiful forms. And these types, anyway — business still flowing that is why cannot be artly finished. The important errors are possible, exaggerations, nedosmotry are possible. Anyway, it would be necessary to guess too much. But what to do, however, to the writer, doing not wish to write only in one historical sort and afflicted with melancholy on the flowing? To guess and... To be mistaken … » But, despite Dostoevsky's this "self-justification", reproaches of contemporaries in validity distortion, etc . In its address continued to be distributed. What was to Dostoevsky to understand this misunderstanding at firm confidence of correctness of the literary way, a creative method! At it involuntarily broke, maybe, not absolutely modest (and that at a sight of the inhabitant!) exclamations like the following: «But I all the same will state, that only the ingenious writer or very strong talent guesses type is modern and submits it in due time; and the ordinariness only follows on its heels, more or less rabski, and working on the templates prepared already …» In many respects because of it rupture between the relation to Dostoevsky of contemporaries and a worship for his name of descendants is so great, that similar was not in creative destinies of any of Russian classics. In effect, the present (and far yet full!) Dostoevsky's opening has occurred only in the XX-th century. This phenomenon has defined in due time one of its few contemporaries who have understood Dostoevsky quite — Saltykov-ShChedrin which wrote, that Dostoevsky costs in the literature independently and «not only recognises legality of those interests which excite a modern society, but even goes further, enters area of preimages and presentiments which make the purpose not direct, but remote searches of mankind». It is interesting to underline, that rupture in Dostoevsky's recognition existed not only between, so to say, last and present centuries, but also in that epoch — between criticism and a reader's audience. This paradox many reasons speaks, but the main thing was that irritated the "advanced" criticism of that time religious, "bogoiskatelskie" motives in creativity of the writer, its frank "nationalism" and aversion of revelry "besovstva" in then Russia and Europe. Essentially and that level of prose of Dostoevsky overtook critical thought of the epoch — the equal criticism on a creative power simply was not. One more characteristic detail: Dostoevsky repeatedly stated thought, that the validity always richer than an invention and imagination. «I know one true murder in hours, it already in newspapers. It the author let would invent – experts on a national life and criticism immediately would shout, what is it, improbably...» Dostoevsky has been convinced of inability of any talent including own, to display on a paper the validity in all its width and depth. However, it is possible to assume, that in one area he considered itself(himself) as the writer unique and distinct from others — in the description subconscious the human person which is shown, for example, in dreams. As a "Crime and punishment" in an author's reasoning directly affirms, that «them (dreams. — N. N) And not to invent in reality same most snovidtsu, be it the same artist as Pushkin or Turgenev », and in last novel of writer Ivan Karamazov states Alyoshe similar thought, having replaced only a name of literary authority:«... In dreams, and especially in nightmares <…> the person sometimes has such art dreams, such difficult and reality <…>, that, I swear to you, Lev Tolstoi will not compose... »And now we will recollect, that after an opening remark the description of dream Raskolnikova about the hammered horse, and after the second — a scene with chyortom, making tremendous impression on readers follows... It is thought, Dostoevsky fine understood the priority in the given area and was proud of it. Some more strokes in Dostoevsky's creative portrait, presence or which absence were underlined by him in the heroes-writers. Dostoevsky was the courageous artist. From the very beginning of the introduction on a literary field it has set for itself(himself) a problem — to tell, new, a word in art. And the understanding of problems, the purposes and literature means was ready to defend and defended before all light. It was not frightened by epithets "heavy", "gloomy", "sick", "severe" and similar to them, carried by readers and critics to his name. It defended the literary credo even before... Misters from III Branch, asserting on interrogations that it is impossible to hide gloomy aspects of life from the reader. Sincerity — one more line of an image of Dostoevsky-writer. Never in a life he has paltered in one line which has left from under its feather. If when was mistaken, was mistaken absolutely sincerely. He did not excuse absence of sincerity to anybody. Even Gogol which name admired, severely condemned in one of letters; «To be clouded in greatness clouds (Gogol's tone, for example, in« to Correspondence with friends ») — is even not most skilled reader learns insincerity, and insincerity a scent …» Dostoevsky's unusual passion proves to be true many contemporaries and its own products. Tone, intensity of a syllable of its prose played a considerable role that readers, as a rule, "swallowed" its novels we will start singing. And what stunning and bewitching influence was rendered by Dostoevsky on listeners during public readings of the products, – is fixed in many memoirs. Passionate conviction of the writer that he writes and says, hypnotised crowds of people as was, for example, on the Pushkin holiday of 1880, during Dostoevsky's well-known speech literally. Honesty and Dostoevsky's adherence to principles in literary creativity (and in a life!) well-known. Next lines from his letter to the wife (it is a question of the novel "Teenager" given in «Domestic notes») do not require comments: «Nekrasov can quite constrain me if there will be something against their direction: he knows, that in ²r <usskom> the bulletin ² now ( i.e., the next year) me do not take, as« Russian bulletin »is filled up by novels. But though to us this year would be necessary to ask alms, I will not concede in a direction lines!.» And it the person knowing declares, it is possible to tell, in literal sense that means – to beg (it is necessary to recollect only its desperate letters-entreaties from abroad the monetary help to such, for example, to people, as Turgenev). It was, probably, the most impractical and eternally requiring of all Russian writers of that time. And though it like would not have the direct relation to literary work, but in Dostoevsky's life had. Money played enormous dvizhitelnuju a role in its creativity: he always was in debt, always took away from editions the fee forward. Dostoevsky was oppressed with conditions of its job, but he even as though and was proud (absolutely in the spirit of the heroes!) special in this respect position. «I am convinced, that uniform of writers our, were and living, did not write under such conditions under which I constantly write, Turgenev would die of one thought …» And its eternal dreams of that though one novel to write not hurrying up, finishing... By the way, it is necessary to mention the most characteristic for the Russian validity and a literary life of XIX century paradox — the most requiring writer received also the lowest payment for the work in comparison with, maybe, not less talented, but incomparably more provided Turgenevym, L.Tolstym, Goncharov. How much bitterness and injustice comprehension in his letter to the wife from December, 20th »1874:« Lev Tolstoi has sold the novel in «Russian bulletin», in 40 sheets, and it will go since January, — on five hundred roubles at sight, i.e. For 20 000. 250 rivers could not at once dare to give to me , and to L.Tolstoy 500 have paid with readiness! No, too me low appreciate, and because, that job I live … »It is possible to add still, that for a"Crime and punishment "of Skating rinks for ten years before paid to Dostoevsky on... 125 roubles for sheet. It is necessary to live on something, it is necessary to get somewhat quicker money, it is necessary as it is possible to finish in more deadlines the next novel here pulse of creativity of Dostoevsky. But thus it always was and remained the exacting and strict artist to itself. Starving and suffering from a cold, it almost whole year finishes the first — small on volume — the novel «Poor people». Working over "Demons" and being late to term, Dostoevsky crosses out 15 (!) indexes of the ready text («All job of all year is destroyed», — he informs in the letter). He has been convinced, that «the greatest ability of the writer is an ability to delete». Long before Chekhov's known aphorism one of Dostoevsky's heroes has stated similar thought, that «the brevity is the first condition of artistry». However, at first sight, it is difficult to carry this statement to Dostoevsky's creativity, but look its draught records — how much ingenious lines and the whole pages remain in them! It strictly and frequently unfairly was judged by contemporaries, but he was the most strict judge to itself(himself) nevertheless. «I know, that in me as in the writer, there are many lacks because I, the first, is always dissatisfied with itself(himself) …» Now, having recollected Dostoevsky's creative shape, we will look, in what measure autoportrait lines in images of its some heroes, how much were showed and for what purpose Dostoevsky allocated the separate writers living in the world created by it, autobiographical lines. 3 As  M.M.Bakhtin is not right  , asserting, that Underground person Dostoevsky is self-portrait attempt so other not less dear scientist,  B.I.Bursov is not right also  , denying in general similar attempts at Dostoevsky: «Any person created by it, it has not written off from itself(himself), at least and in creatively processed kind». Just in «creatively processed kind» from itself Dostoevsky also has written off the author «Humiliated and offended» Ivan Petrovicha. We will not prove now, that it is a lot of character traits and even appearance the writer has passed the hero, it will distract us from a theme a little, us Ivan Petrovich as the writer and its affinity to Dostoevsky in this plan interests. In a magazine version «Humiliated and offended» had a subtitle «From notes of the unfortunate writer». It is precisely not known, why it has been removed at separate editions of the novel. Perhaps, Dostoevsky, openly having allocated the hero the literary biography and lines of the character, having made its author of the novel liked and highly appreciated by contemporaries «Poor people», has counted a similar subtitle if it is possible so to be expressed, as a coquetry? Here it is necessary to make a vast extract, reading which you forget, what is it Dostoevsky writes ostensibly not about itself, what is it Ivan Petrovicha's story: «Here during this time, shortly before them (Ihmenevyh. — N. N) Arrival, I have terminated my first novel, that with which my literary career, and as the beginner, at first did not know has begun where it to put. <…> I simply was ashamed to tell it, than I am engaged. Well how, really, to declare direct, that I do not wish to serve, and I wish to compose novels <…>. And here there was at last my novel. B was delighted as the child, having read my manuscript. No! If I was happy sometime it even not during the first delightful minutes of my success and when still I did not read and did not show anybody my manuscript: those ^long nights, among enthusiastic hopes and dreams and passionate love to work; when I have got used to my imagination, with persons whom itself has created as with native as though with really existing; liked them, rejoiced and mourned with them, and sometimes even cried the most sincere tears over simple my hero... » Then there is a reading of the novel of Ivan Petrovicha aloud, and slyshatsja-are resulted Natasha's judgement and her parents. Here the issue history of "Poor people», the first critical opinions (first of all — Belinsky), native Dostoevsky's fears for it who have solved irrevocably to become by the professional writer is recreated in an art kind... In those days was not in magazines and newspapers of headings of type: «As we write», «In a creative workshop» and other under which venerable writers generously would share trade secrets. Apparently, Dostoevsky the first of Russian writers has started talking about ordinary hidden from the reader of "an underwater part» creative activity. Here, for example, the interesting recognition made under a name of Ivan Petrovicha: «I have noticed, that in close apartment even thoughts is close. I, when considered the future stories, always liked to go back and forth on a room. By the way; it was always more pleasant to me to consider my compositions and to dream, as they at me will be written, than really to write them, and, the right, it was not from laziness. Why?.» And more otryvochek from the novel which if not to refer, it is possible, not doubting at all to count for endurance from Dostoevsky's letter: «... All the novel I write; yes it is heavy, it is not given. The inspiration has exhausted. Bluntly also it would be possible to write perhaps, and interestingly would leave, yes the good idea is a pity for spoiling. This from the liked. And to term by all means it is necessary in magazine. I even think to throw the novel and to think up the story more soon, so, something light and graceful and by no means without a gloomy direction...» Here this constant fear — to spoil remarkable idea, hurrying up to terminate to term, because of money — and Dostoevsky to the hero-author "has presented". More correctly, it has made it in his own image the poor writer and has allocated with all consequences following from here. Ivan Petrovich lives not in a room even, and in any "chest"; quite often it is necessary it, coming off the novel to be employed to entrepreneurs to write kompiljativnye articles for some unfortunate roubles; the manuscripts (which in hundred years on leaflets will search!) it, for the lack of a portfolio, transports from "chest" in "chest" in podushechnoj to a pillowcase; its suit is pity and it is bad on him sits; and it, under the art remark Valkovsky, eats half a year one tea... We will not do comparison to similar realities of Dostoevsky's life, because this well-known writer from the written biographies and its epistolary heritage. For Ivan Petrovicha, as well as for Dostoevsky, as a push to creativity not far-fetched thought, and impression real, validity event serves not born on an empty place. «I have shuddered. The outset of the whole novel and has flashed in my imagination …», – he exclaims, having seen old man Smith, and further in two lines designates a subject line «Humiliated and offended», connected with the old man and nelli. Let's pay attention to one general professional quality of these two writers — on their amazing working capacity. «I wish to make an unknown and eccentric thing: to write to 4 months of 30 quires, in two different novels from which one I will write in the morning, and another in the evening and to terminate to term...» — «... Today's evening will remunerate me for these last two days, whether in which I have written three quires with polovinoju …» a Lie, one hand? The first phrase belongs to Feodor Mihajlovichu, the second — to Ivan Petrovichu And, at last, Ivan Petrovich states in conversation with Natasha one of constant and sore thoughts: «– You only will be used up, Vanja, <…> will rape yourself and will be used up; but also and health you will ruin. With ***, that in two years under one story writes, and N* only one novel has written to ten all. But as at them it is rapped out, finished! Any negligence you will not find. – Yes, they are provided and write not for term; and I — a post jade … » Dostoevsky very painfully perceived reproaches in "negligence" of style, in "similarity" of language of the characters and constantly compared a difference of conditions of creativity at itself and at With *** ( L.Tolstoy?), N* (Goncharov?) and others modern to it of writers. Recollect — «uniform from our writers <…> did not write under such conditions». Along with Dostoevsky one more writer created under such conditions »— its literary double Ivan Petrovich. One of differences of the present talented writer from grafomana consists that even the deserved praises and delights do not excite the first before advantage loss, and and roughly composed flattery without a miss knocks the second down. Hardly it will be a question of an episode from "Demons" where "novelist" background Lembke under the impact of false voshvaleny Peter Verhovenskogo has softened further. The similar scene is in «Humiliated and offended». Here too not without an ulterior motive the prince Valkovsky tries to approach on Ivan Petrovichu and with the fox intonations from a known fable throws up from the dirty lips the whole fountain of a syrup: «... Has developed your novel and it was read <…> After all this perfection! After all you do not understand after that! After all you at me tear istorgli!.» But Ivan Petrovich to whom Valkovsky has self-confidently taken away in the given scene a role ravens, does not react at all on these, taken in itself, in general, fair words. But how much to sincere pleasure delivers to the hero-author reaction small nelli, or the same Ihmenevyh at reading of its book. Their opinion, for whom he wrote, is the most expensive to it. … Ivan Petrovich dies and knows about affinity of death, After the first delightful success when heart is overflowed by grandiose creative plans, at consciousness of scantiness made and at thought that has not had time to tell still «a new word» hard to die Dostoevsky here again has managed to pass all depth of painful despair and grief of the doomed writer because also itself has gone through this expectation of death in the prime of life in terrible 1849 for it. It is possible to recognise Dostoevsky's other self-portrait easily in «Notes from the Dead house». It, so to say, does not make a secret. Having deduced in the foreword a conditional figure of the murderer of own wife Alexander Petrovicha Gorjanchikova, Dostoevsky soon at all "forgets" about him and starts to describe the four-year-old unbearable life. In several places of "Notes" he directly speaks about the author as about the political criminal as if having forgotten, that wished to act under a mask of the criminal. This product as a literary self-portrait interestingly first of all that Dostoevsky here appears at us as the person. From documents, memoirs of contemporaries and «the Diary of the writer» it is known, how nobly and with firmness the writer on a consequence behaved, with what hardness was going to accept a death penalty. We should consider «the Dead house» and we consider for a documentary narration about terrible test through which there has passed the great writer and has not lost belief in a life. Thirst of a life, interest to it, to people also supported its all four long years. «... Not unyt and not to fall — here in what a life, in what its problem...», — Dostoevsky has written to the brother after the sentence announcement, with this idea has gone on penal servitude and remained is correct to this idea up to the end. In «the Dead house» one of the pivotal sides of talent of the writer has most full revealed — ability behind appearance and the biography of the person to make out its present essence, to understand his life. Looking narrowly at the new fellow sufferers, Gorjanchikov (Dostoevsky) in chapter 1 concludes, that, despite them kazhushchee calmness, and sometimes and cheerfulness, at everyone «was the story, vague and heavy, as charcoal fumes from yesterday's hop». How much such stories we learn in following heads. We see, if it is possible so to be expressed, process of cognition by the writer of a life of the people, process of comprehension by it and the analysis of absolutely other parties of the validity, absolutely new material for creative judgement. « Notes from the Dead house »stand independently in Dostoevsky's art heritage, they sharply differ from novels and stories tone and subject receptions. This product it is possible to name a link between a fiction of the writer and its publicism, and in particular —« the Diary of the writer ». By the way, in «the Diary of the writer» by Dostoevsky the most volume literary self-portrait also is created. On the one hand, in this unique product Dostoevsky appears as the live concrete person in the memoirs on the past, in stories about today's affairs and cares, the present situation events which participant or the witness it became. «A diary of the writer» in this plan — a self-portrait of the citizen, the public figure, the thinker. Literary polemic, literary memoirs, the literary plans filling live dialogue of the writer with readers, — a material from which Dostoevsky's self-portrait in «the Diary of the writer» is executed. As to works of art in one novel there is if not an image, at least, a shade of an image of the Feodor Mihajlovicha. In a resulted episode from the novel "Demons" school days background Lembke and its first literary mischief are described: «This bent to rhymes has reduced it with one gloomy and the companion as though hammered by something, the son of any poor general, from Russian and which was considered as the great future writer in an institution. That has concerned it patronising. But there were so, that after an exit from an institution, already year three later, this gloomy companion who has thrown the office field for Russian literature and thereof already sporting in broken off boots and knocking teeth from a cold, in a summer coat in the late fall, has happened suddenly at Anichkova the bridge were ргоtégé...» Here Dostoevsky of the period of Engineering school, "Evgenii Grande" and «Poor people» clearly sees. However, it only the assumption based on similarity of biographic details of the anonymous writer and young Dostoevsky, But the plan of the writer is known also to put in the centre of the big work of art the literary destiny close own, to write image of the writer in many respects similar on. Interestingly that this plan has appeared in a note writing-book at the very beginning of job over "Demons" (in February, 1870 ) and is not excluded, that the above-stated fragment from this novel is a fragment of an unfulfilled plan on which it is quite possible to judge similarity degree between the author and the hero conceived by him. «The novelist (writer). In an old age, and the main thing from attacks has run into dullness of abilities and then in poverty. Understanding the lacks, prefers to cease to write and accepts on poverty. <…> all life wrote to order <…> how it many ideas have invented also literary and everyones. Tone as though sneers at self, but about itself: ²a after all it tak² …» Here plan fragments (it is detailed enough) are resulted only, but also on them it is visible, that Dostoevsky intended to show and explain the position by "private residence" in Russian literature, the aesthetic views, embodiment attempts in creativity of the treasured idea about «a new word», to show almost intolerable conditions of the life and activity... Many of the mentioned themes will find subsequently an embodiment on pages of "the Diary of the writer». Doing the biography and the person objects of art reconsideration, Dostoevsky has created images of truly talented, present writers. It were only self-portrait attempts. From whatever there was the reasons (from modesty?) the writer has not written the novel about itself though considered, that the life and its destiny can make interest for the reader. However, as well as at any other ingenious writer, Dostoevsky's all creativity creates representation about its image, and the strokes considered here, add to its portrait only бóльшую concreteness. In this plan it is possible to speak about obvious spiritual affinity to Dostoevsky still variety of heroes of its products. Also we will pay attention to those art details which characterise them from the relation to literary work and — an indispensable condition! — we will concern them as to live, real people. Somebody can be surprised: say, what writer Makar Alekseevich Devushkin? Really, he and itself like would admit Varenke, that is deprived by gift from above: «Both the nature, and different pictures rural, and all the rest about feelings – in a word, you all it have very well described. And here at me so is not present to talent. Though ten pages namaraj, in any way leaves nothing, you will describe nothing. I tried...» «I tried It» directly speaks about literary attempts Makara Alekseevicha. Probably, having been undeceived in the forces, it for self-complacency amuses itself(himself) rhetorical questions: «... If all to compose steels so who would began to copy?» But for us, readers, not a secret, that the hero of the novel obviously is over-modest. After all it to its feather, feather Devushkina, belongs a text good few of "Poor people»; after all and his letters, as well as letters Varenki of which Dostoevsky "has made" product, are a literary reality. It is necessary to recollect its description of tragedy of family Gorshkovyh full to the present artistry, or recreated by it on a paper a scene with the come off button during reception at its excellency... No, Makar Alekseevich the present author of "natural school», only on the excessive modesty and a habit to retire to the background not suspecting about it. However, he brightly imagines, what discomfiture it should to go through to it, appear to the public a book of "Poem Makara Devushkina». About Varenke Dobrosyolovoj and to speak there is nothing. It not only the author even more belletrizirovannyh letters, but also and the authentic author of the plug-in story about the poor student Pokrovsk. Dostoevsky resorted very often to similar creative reception: he hid for a mask of the hero, forced it to take in hands a feather and to write plug-in stories, stories or even entirely all product — the syllable, the style, it and can consider these heroes as writing. Them concerns, as it was already mentioned, and Alyosha Karamazov — co-author Dostoevsky on «to Brothers Karamazov». Its feather posesses plug-in product in a genre zhitijnoj to lead under the name «From a life in boze passed away ieroshimonaha aged man Zosimy, is made from own words by its Alexey Fyodorovichem Karamazov» which has occupied the whole chapter in the novel. It at all a stenograph of the story of aged man Zosimy, namely the composition, and the storyteller of the novel not without reason underlines, that Alyosha has made these records some time later. In the novel there is and more one fluent remark testifying to literary abilities of Alexey: in adolescence it and Liza Hohlakova «both dreamt together and composed the whole stories together». If not the writer anyway it is necessary to recognise as the author its big brother — Ivan. It is difficult to believe in it, knowing character and Ivan Karamazov's views, and even Alyosha is surprised in reply to a recognition of the brother, that that has composed a poem: «– You have written a poem? – About is not present, has not written, — Ivan has laughed, — and never in a life I have composed even two verses (we will remember Ivan's this statement! — N. N). But I have invented this poem … »this Poem, about« the Great inquisitor », plays extremely important semantic and ideological role in the novel. As to negation of former creative experiences by Ivan Fyodorovichem he has simply forgotten about them, considering for the absolute trifle. First, it after all in a student's youth earned additionally notes in newspapers. And then even has become famous in« literary circles »as the critic. And, secondly, in a scene of conversation with CHyortom when all subconscious depths of memory were stirred up, has emerged on a surface, that it is also the author of a utopian poem« Geological revolution »and deeply philosophical"joke"about kvadrillione the kilometres, composed in seventeen years. And, absolutely to finish with Karamazovymi, I will remind, what after all and the senior, Dmitry, too tried to compose. Once in conversation with Alyoshej he recites two lines and with pride admits authorship: «– Glory to the Higher on light, Glory to the Higher in me! This rhyme at me from soul was pulled out once, not a verse, and tear... Itself has composed... » In products of brothers as if in a mirror, their internal shape — is naive-enthusiastic and impulsive Dmitry, is gloomy-philosophic Ivan was reflected, mild and pure Alyoshi. Not casually Dostoevsky has awarded with their creative beginning. There are in Dostoevsky's world the heroes possessing doubtless literary abilities, recognised as associates for writers, however, in effect, nothing written. For example, Dissenters. It is known only, that he has written scientific-journalistic article, is unexpected for it the most published. Having seen it in the newspaper, it «has felt that strange and is venomous-sweet feeling what is tested by the author for the first time seeing printed...» (Dostoevsky Has recollected 1846 year!) but, look, Ilja Petrovich, "lieutenant-gunpowder", characterises Raskolnikova «the young writer»; mother Rodion dreams of how «its son will be in due course even the person state that its article and its brilliant literary talent …» proves; and inspector Porfiry Petrovich even, it is possible to tell, compares it with Gogol, finding in its product deep humour … Rodion Raskolnikov has not developed in itself literary talent because all intellectual and sincere forces has given to the idea. But that in one of draught variants the novel narration was planned on behalf of the protagonist is remarkable, in the form of notes. And unless in the initial text style and a manner of speech most Raskolnikova is not felt frequently? In Dostoevsky's world there are light images of poets and, probably, the present poets whom the talent, alas, does not relieve of poverty and sufferings. Such is teacher Vasja from «the Uncle's dream». We know about him a little. According to Mari Aleksandrovny Moskalyovoj, trying to blacken Vasju in the opinion of the daughter, it «the boy, the son of the sexton receiving twelve one rubles in month of the salary, kropatel worthless stishonkov which, with pity, print in ²biblioteke for reading ² and able only to interpret this damned Shakespeare...» Already in these, obviously unfair words something is heard sympathetic, something having in its advantage. vasja not simply poet, and — the enamoured poet and thereof he not simply dreams of glory, and about glory for the sake of liked (other question — whether it is worthy Zina Moskalyova such dream?): «I dreamt to become, for example, suddenly any greatest poet, to print in« Domestic notes »such poem what did not happen on light. Thought in it to give vent to all feelings, all my soul so, that where you were, I all would be with you, continuously would remind of itself my verses …» Poor vasja dares to admit the dreams only on the deathbed, dying from a consumption … «The death of the poet» conditionally is called and conceived in the end 1860th years, but and the story not written to Dostoevsky. From a draught sketch it is possible to understand, that the protagonist of product should become, as well as vasja, close to Dostoevsky on spirit the writer. «Corners. The poet, 26 years, poverty, has overworked, an inflammation in blood and nerves, pure heart, does not grumble, dies...» In Dostoevsky's world of poets it is less, than rhymers (as well as actually), and the life at all does not indulge them. However, we do not have possibility really to judge a measure of their talent as Dostoevsky, apparently, has not risked to compose for them verses worthy on level. In the human plan it, basically, kind, sympathetic, disinterested and self-denying people, in each of which are lines «really the perfect person». Dostoevsky allocated images of these heroes with autobiographical strokes, allocated with their qualities of soul, by its relatives own, but, strangely enough, did not do them, so to say, megaphones "capital" philosophical and propovednicheskih ideas, almost did not subcontract them the treasured polemic thoughts. From this party is closer to it there are its many heroes-story-tellers — storytellers and authors of confessions. (P. 2)>>>
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© Rosedkin Sergey Nikolaevich, 2001
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