Since ancient times, various peoples of the world have used amulets and talismans for protection. Their...
Italy of the 19th century. An aristocrat falls in love with an ardent young revolutionary who has escaped from prison. Their feelings are mutual, but the young man has to make a choice between love and duty to the Motherland.
On a spring evening in 182 ... the banker, the Duke de B. was giving a ball to which the most beautiful women of Rome were invited. Vanina Vanini, a black-haired girl with a fiery gaze, was proclaimed the queen of the ball. The whole evening she was courted by the young prince Livio Savelli. About midnight at the ball, news spread that a young Carbonarius had fled from the Fortress of Saint Angel.
Prince Azdrubala Vanini was rich. Both of his sons joined the Jesuit order, went mad and died. The prince forgot them, and he was angry with his only daughter Vanina for rejecting the most brilliant games.
In the morning after the ball, Vanina noticed that her father had locked the door to the stairs, which led to the rooms on the fourth floor of the palace, whose windows overlooked the terrace. Vanina found a window in the attic opposite the terrace, and saw a wounded stranger in one of the rooms. Prince Azdrubal visited her every day, and then went to the Countess Vitelleschi.
Vanina managed to get the key to the door that led to the terrace. In the absence of her father, she began to visit a stranger who called herself Clementine. She was severely wounded in the shoulder and chest, every day she was getting worse, and Vanina decided to send for a surgeon devoted to the Vanini family. Clementine didn't want this. Finally, she had to admit that she was not a woman, but the escaped Carbonarian Pietro Missirilli. He fled, dressed in a woman's dress, he was wounded, and he hid in the garden of Countess Vitelleschi, from where he was secretly transported to the house of Vanini.
Having learned about the deception, Vanina called the doctor. She herself entered Pietro's room only a week later. Missirilli hid her feelings behind a mask of devoted friendship, and Vanina was afraid that he did not share her love. One evening she said that she loved him, and they gave in to their feelings.
Four months have passed. Pietro's wounds healed, and he decided to go to Romagna to avenge himself. In despair, Vanina offered Pietro to marry her, but he refused, believing that his life belonged to his homeland. Then Vanina decided to go to Romagna after her beloved and there to connect with him forever. She hoped that between her and his homeland, he would choose her.
In Romagna, at a meeting of the vents, Pietro was elected its head. Two days later, Vanina arrived at her castle of San Nicolo. She brought with her 2,000 sequins, with which Pietro bought weapons. At this time, a conspiracy was being prepared, thanks to which Pietro would be crowned with glory. Vanina felt that Pietro was moving away from her. To keep her beloved, she betrayed the conspiracy to the cardinal legate and persuaded Pietro to leave for San Nokolo for a few days. A few days later, Missirilli learned of the arrest of ten Carbonari and surrendered himself to the legate.
Meanwhile, Prince Vanini promised his daughter's hand to Prince Livio Savelli. Vanina agreed - Prince Livio was the nephew of Monsignor Catanzar, the Roman governor and minister of police, using him, Vanina hoped to save Pietro. With Livio's help, she learned that Pietro was being held in the Fortress of Saint Angel. She achieved the promotion of her confessor, Abbot Kari, who was the steward in this fortress.
The trial took place. The Carbonari were sentenced to death penaltywhich was then replaced imprisonment... Only for Missirilli the verdict remained unchanged. Upon learning of this, Vanina entered the Catanzar's house at night and, using threats, flattery and coquetry, persuaded him to leave Pietro alive. Dad himself did not want to stain his hands with blood and signed the decree.
Soon, Vanina learned that the Carbonari were being transported to the fortress of San Leone, and decided to see Missirilli at the stage to Chita-Castellana. Abbot Kari, devoted to her, arranged a meeting in the prison chapel. On a date, Pietro returned her word to Vanina. He could only belong to his homeland. In a frenzy, Vanina confessed to Pietro that it was she who had betrayed the conspiracy to the legate. Petro rushed to her to kill with chains, in which he was chained, but he was restrained by the jailer. Completely destroyed, Vanina returned to Rome.
7. Novella by Stendhal "Vanina Vanini". Features of the conflict.
Stendhal (real name - Henri-Marie Beyle) was born in Grenoble in 1783. In 1800-1802. served as a sub-lieutenant in Bonaparte's Italian army; in 1805-1812 - quartermaster; accompanied the imperial troops on their entry into Berlin, Vienna, in the campaign against Moscow. After the fall of Napoleon, he left for Italy, where he came into contact with the Carbonari movement, met with Byron, returned to France in 1821, and in 1831 settled as a French consul in the Italian town of Civitavecchia.
Italy, which had fallen in love with Stendhal from his youth, was perceived by him as a country of strong passions and beautiful art. The characters of the Italians have always been of particular interest to Stendhal. The Italian Chronicles reproduce different forms of passions. "Vanina Vanini", included in them, depicts the fate of two different, but strong natures. The writer combined what became the main feature of his novels: a political event (Venta Carbonari) and a human character (Vanina Vanini). This short story became, as it were, the prototype of Stendhal's novels. It outlines the conflicts of passion-love, passion-ambition (in Vanina's soul). The love of freedom here fights against the love of a woman (in the soul of Pietro Missirilli). Stendhal invented a true dignity that cannot be marked by any order bought for money - this is a death sentence to a fighter for the freedom of the homeland. All this will be developed later, in "Red and Black": in the image of Matilda, Julien Sorel, Count Altamira, as well as in the "Parma Cloister": in the images of Sanseverina, Fabrizio del Dongo, Clelia Conti, Ferrante Pala. Creating an almost romantic halo around the protagonist Pietro, Stendhal, as a realist, strictly determines the traits of his personality: passion is due to the fact that he is Italian, the author explains the nationality of the hero and the fact that after defeat he becomes religious and considers his love for Vanina a sin for which he punished by this defeat. The social determinism of character also convinces the hero - beloved and loving - to prefer his homeland to his beloved woman. The patrician daughter Vanin appreciates love above all else. She is smart, above her environment for spiritual demands. The heroine's “non-secularity” explains the originality of her character. However, her originality is only enough to send 19 Carbonari to death in the name of her love. Each of the heroes of Stendhal's novel understands happiness in his own way and sets out to hunt for it in his own way (“I take one of the people I knew and say to myself: this person has acquired certain habits, going every morning to hunt for happiness, and then I give him a little more intelligence. ”Experience is the basis of his art. S. I am convinced that there are“ neither perfectly good nor completely bad people. ”A person is determined by what he understands by“ happiness ”, that is, his goal life and the means to achieve it.)
Realistically determining bright, like those of romantics, characters, Stendhal builds the same complex plot, using surprises, exceptional events: the escape from the fortress, the appearance of a mysterious stranger. However, the "seed" of the plot - the struggle of the Venta Carbonari and her death - was suggested to the writer by the very history of Italy in the 19th century. So in the novel, the tendencies of realism and romanticism are intertwined, but the realistic principle of social-temporal determinism remains dominant. In this work, Stendhal shows himself to be a master of the novella: he is brief in creating portraits (we guess about Vanina's beauty by the fact that she attracted everyone's attention at the ball, where the most beautiful women, and its southern brightness is conveyed by the indication of sparkling eyes and hair, black as a raven's wing). Stendhal confidently creates a novelistic intrigue full of sudden turns, and an unexpected novelistic ending, when the Carbonarius wants to kill Vanina for betrayal, which she is proud of, and her marriage fits into a few lines and becomes that obligatory surprise prepared in a psychological novel by the internal logic of characters.
Stand's outlook was formed under the influence of French educators. Rousseau was his first teacher. It was from him that, in his youth, the writer perceived admiration for naturalness, sensitivity and virtue. He had a great influence on Stand. Helvetius, with the treatise "On the Mind", he was close to the ideas of utilitarianism and sensationalism, the reduction of all human actions to the satisfaction of selfish desires, to the search for happiness, the assertion of passions as the main engine of personality and mind as its main charm. Helvetius taught him to test his judgments by sensations and experience. The epic system of Stend., Based on utilitarianism, at the same time turned out to be highly humanistic. The idea of \u200b\u200bpersonal happiness is combined with the happiness of others. The writer perceived the society in constant and revolutionary development. He put tyranny on a par with religion. The state of social inequality, in his opinion, corrupted the privileged strata of society, depriving people from the 3rd estate of the opportunity to realize their talents. He was interested in politics. At the center of Stendhal's aesthetics is man, human character. I am convinced that there are neither absolutely good nor completely bad people. It is important for him to notice and investigate not only the formed character itself, but also the ways and reasons for its formation. Describes his principle of reflection of reality, referring to the image of a mirror.
Stendhal, calling the new art romantic, essentially gives a program of realistic art. I am convinced that the ideal of beauty is historically conditioned; it develops along with the development of society. Beauty for him does not exist without spirituality. Therefore, the specific "portraits" of the characters in his novels, where, at best, the eyes are outlined, and all the rest of the attention is paid to the facial expression, to the description of character traits and spiritual needs of the individual, is not accidental. Stendhal's concept of spiritual beauty also includes energy, ambition, duty, will and the ability to experience passion. Satisfying passion - in many different areas - can make a person happy. Believing that passion rules a person, Stendhal explored the theme of love with particular care. Offers a classification: "passion-love" and "passion-ambition". The first is true, the second was born of the hypocritical and ambitious 19th century. The first is experienced by Madame de Renal, the suffering of the second is led by Matilde de La Mole. Julien's feelings for Madame de Renal are passionate love, passionate ambition connects him with Matilda. Stendhal's psychologism is based on the principle of correlating passions and reason, their struggle.
Depicting a person and the world around him, Stendhal considers it necessary to pay attention to the details, but his details concern either the thinking process itself, or these are objects of the external world that suddenly surfaced in consciousness and are fixed in a state of extreme excitement. Details and action are important, but these details and action are always correlated with reality, with their own life experience.
The novella "Vanina Vanini, or Some Details about the Last Venta of the Carbonarii, uncovered in the Papal States" (1829). In the name itself, the writer combined what became the main feature of his novels: a political event (Venta Carbonari) and a human character (Vanina Vanini). The short story outlines the conflicts of passion-love, passion-ambition (in Vanini's soul). The love of freedom here fights against the love of a woman (in Pietro's soul); Standal portrayed true dignity, which cannot be marked by any order bought for money - this is a death sentence to a fighter for the freedom of the homeland. Creating an almost romantic halo around the protagonist Pietro, Stendhal, as a realist, strictly determines the traits of his personality: the strangeness is due to the fact that he is Italian, the author explains the nationality of the hero and the fact that after defeat he becomes religious and considers his love for Vanina a sin, for which he is punished by this defeat. The social determinism of the character and beliefs of the hero makes him - beloved and loving - prefer his homeland to his beloved woman. Vanina Vanini values \u200b\u200bher love above all else. She is smart in Stendhal, above her milieu in spiritual demands. However, all her originality is enough only to send 19 Carbonari to death in the name of her love.
In the novel, the tendencies of realism and romanticism are intertwined, but the dominant principle is the realistic principle of social and temporal determinism. In this work, Stendhal showed himself to be a master of the novel: he is short in creating portraits, he confidently creates a novelistic intrigue full of sudden turns, and an unexpected ending, when the Carbonarius wants to kill Vanina for betrayal, which she is proud of, and her marriage fits into several lines and becomes that unexpectedness, obligatory for the genre, prepared in the psychological novel by the inner logic of the characters.
3.2 Practical (seminar) classes, their content and volume in hoursTopic 1. Problems of Stendhal's short story "Vanina Vanini"
Historical events, the basis for the works of Stendhal, the period of the Restoration in France and Italy, the Italian campaigns of Napoleon, the movement of the Carbonari.
Stendhal's realism in depicting major historical events.
Analysis of the novel by Stendhal "Vanina Vanini":
b) the problem of a young man in Stendhal's short story;
c) the image of Vanina, the hero and the social environment;
d) Stendhal's positive hero, the image of Pietro Missirilli.
The artistic originality of the novel.
LITERATURE
Fried Jan. Stendhal. Essay on life and work. - M, 1968.
Reizov B.G. 19th century French novel. - M., 1969.
Prevost J. Stendhal. - M.-L., 1967.
Reizov B.G. Stendhal. Artistic creativity. - L., 1978.
Topic 2. The story of O.BALZAK "GOBSEC" / Problems of social and temporal determinism of a realistic nature /
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1. The main features of Francis realism / on the material of writing
F. Engels to M. Garkness /.
2. The main requirements of Balzac to art, set forth in the "Preface" to the "Human Comedy".
3. "The Human Comedy" by O. Balzac and the place in it for the story "Gobsek".
4. Features of the composition of the story, giving it a generalizing meaning.
5. Ways of creating character in Balzac and the ideological content of the image of Gobsek:
a) portrait;
b) environment, description principles;
c) the evolution of the image;
d) Gobsek's philosophy, self-disclosure of the character;
e) romantic and realistic in the image;
6. Characters of the second plan in Balzac, the principles of their creation and connection with the main character.
7. Correlation of Balzac's aesthetic principles with the method of depicting reality in "Gobsek".
LITERATURE
Balzac O. Sobr. op. in 15 volumes. M. 1951-55. T.1
Engels F. Letter to M. Garkness. // K. Marx, F. Engels Sobr. op. Vol.37. S.35-37.
Vertsman I.E. Problems of artistic cognition. M., 1967 / ch. "Balzac's Aesthetics" /.
Oblomievsky D.D. Balzac: stages of the creative path. M., 1961.
Reizov B.G. Balzac. Sat. Art. Leningrad State University, 1960.
Puzikov Honore Balzac. M., 1955.
Muravyova N.I. Honore Balzac. M., 1958.
Topic 3. Novella by Prosper Merimee "Carmen" / problem of the genre /.
Prosper Mérimée's short storytelling of the 1830s-40s in the light of the genre.
Analysis of the novel "Carmen":
b) conflict in the novel;
c) two centers in the structure of the work and their functions;
d) clash of two national characters / Carmen and Jose /;
e) the function of a frame story / narration of an ethnographer /;
f) romantic and realistic beginning in the novel.
Prosper Mérimée is the founder of the realistic novella in 19th century French literature.
LITERATURE
Lukov V.A. Prosper Merimee. M., 1984.
Smirnov A.A. Prosper Merimee and His Novels // Merimee P. Novels. M-
L., 1947. S.5-38.
Frestier J. Prosper Mérimée. M., 1987.
History of French Literature. M., 1956. T.2. S.407-440.
History of foreign literature of the XIX century / ed. I.D.Solovyova. M., 1991. S. 460-470.
Topic 4. The originality of the work of Charles Dickens
/ based on the novel "Dombey and Son" /
Features of the development of literature in England in the II half of the XIX century. The place of Dickens' creativity in the literary process of the country. Assessment of the work of the writer and English realists by Belinsky, Chernyshevsky, Turgenev, Tolstoy, Gorky.
Problems of Dickens's novels in the light of the moral and aesthetic ideal of the writer.
"Dombey and Son" by Dickens - the meaning of the title and its implementation in the system of images and composition of the work.
Characters of the characters:
The role of the objective world in describing the scene and in creating the character of the character.
The originality of psychologism.
Keynotes and ways to create them.
The role of hyperbole and its connection with the fairy tale, the fairy element in the development of the plot and the development of the conflict.
The genre of the novel.
The role of the happy ending in the poetics of Dickens's novels.
LITERATURE
Anikin G.V., Mikhalskaya N.P. History of English Literature. M., 1998.
Kathargsky L.M. Dickens. Critical bibliographic sketch. M., 1969.
Ivashov. Dickens' creativity. M., 1954.
Silman T.N. Dickens. M., 1970.
Mikhalskaya N.P. Charles Dickens - M., 1959.
Topic 5. Satirical tradition in English literature of the mid-19th century and the work of W. Tekkerey "Vanity Fair".
1. W. Tekkerey. Political views.
2. The concept of art and history (prefaces to the novels "Newcomes" and "History of Pendenissa" as a reflection).
a) problems: socio-political and moral problems in the novel, the problem of snobbery,
b) the originality of the genre and the problem of a "novel without a hero",
c) composition,
d) the system of images; the socio-typical capacity of the main images (Rebecca Sharp and Emily Sedley) and their individual psychological identity,
4. The innovation of W. Teckeray in the depiction of the English reality of the 19th century. Irony and satire.
LITERATURE
Vakhrushev V.S. Thackeray's creativity. M., 1984.
Elistratova A.A. Thackeray // History of English Literature. M., 55. T.2.
V. V. Ivasheva Thackeray satirist. M., 58
Topic 6. Satirical creativity of G. Heine in the 1840s (poem "Germany. Winter's Tale")
Aesthetic laws of the development of Germany in the middle of the 19th century: romanticism as an indispensable component of German realism.
G. Heine. Periodization of creativity.
Place of the poem “Germany. Winter's Tale ”in the works of G. Heine in the 1840s.
Genre originality of the poem “Germany. Winter's Tale ".
Political motives in the poem.
Duality in the perception of revolution and religion.
Life-affirming motives in the poem.
The originality of satire and irony.
LITERATURE
G.V. Stadnikov Heinrich Heine. M., 1984.
Deich A.I. Poetic world of Heinrich Heine. M., 1963.
Gijdeu S.P. Heinrich Heine. M., 1964.
Schiller F.P. Heinrich Heine. M., 1962.
Topic 7. Problems and system of images in the novel by Gustave Flaubert "Madame Bovary".
Aesthetics of G. Flaubert. The meaning of the image of the "ivory tower". The contradiction between aesthetics and artistic practice of the writer.
Flaubert's polemic with romantics of the second half of the 19th century and tendentious literature. The satirical image of pseudo-romantic literature in the novel and its role in the drama of the fate of the main character.
The problem of the ideal in the aesthetics and creativity of G. Flaubert and its solution in the novel "Madame Bovary".
The fate of Emma Bovary. Duality of the image.
Criticism of philistinism and spiritual squalor of the philistine environment in the novel.
The image of the pharmacist Ome, his social significance.
LITERATURE
Reizov B.G. Flaubert's work. M., 1955.
Ivaschenko A.F. Gustave Flaubert. M., 1955.
Reizov B.G. 19th century French novel. M., 1969.
Topic 8. Problems, themes and ideas of the collection of S. Baudelaire "Flowers of Evil"
Place of the collection of poems "Flowers of Evil" in the work of Baudelaire.
Basic provisions of Baudelaire's aesthetic program.
The structure and cycles of the collection.
Addressees of Baudelaire's poems.
Correspondence theory. The history of the idea of \u200b\u200bcorrespondences. Connection with the mystical philosophy and aesthetics of German romanticism.
The theme of nature and the city in "Flowers of Evil".
Baudelaire's point of view on religion and its reflection in the collection.
LITERATURE
Baudelaire S. Flowers of evil. M, 1970.
Baudelaire S. Flowers of evil. Poems in prose. Diaries. M., 1993.
Baudelaire S. About art. M, 1986.
Balashov N.Y. Legend and truth about Baudelaire // Baudelaire S. Flowers of evil. M "1970. S. 233-288.
Bibikov V. Three portraits. Stendhal. Flaubert. Baudelaire. SPb., 1890.
Valerie P. The position of Baudelaire // Valerie P. About art. M., 1993.S. 338-353.
Levik V. “We have a beauty that is unknown to the ancients” // Baudelaire S. On art. M., 1986.S. 5-16.
Nolman M.L. Charles Baudelaire. Fate. Aesthetics. Style. M, 1979.
Nolman M.L. Baudelaire-style coordinates. (The poem "L" amor du mesonge) // Stylistic problems of French literature. L., 1974. S. 165-174.
Oblomievsky D.D. French symbolism. M., 1973.
Etkind E.G. About external and internal space in Baudelaire's poetry // Stylistic problems of French literature. L, 1974.S. 189-208.
Topic 9. Philosophical novel-parable by G. Melville "Moby Dick, or the White Whale"
G. Melville as a representative of the philosophical trend in American literature. Aesthetic views of the writer.
Genre originality of the novel "Moby Dick, or the White Whale" as a philosophical parable novel.
Problems and ideological sound of the novel.
System of images.
A combination of romantic and realistic principles.
The influence of Melville's work on American writers of the twentieth century: E. Hemingway, W. Faulkner and others.
LITERATURE
Melville G. Moby Dick (any edition).
Kovalev Yu.P. Herman Melville and American Romanticism. L., 1972.
Nikolyukin A.N. American Romanticism and Modernity. M., 1968.
The romantic traditions of 19th century American literature and modernity. M., 1982.
Stendhal's interest in strong, unbending personalities, in whose souls there is a conflict between "red" and "black", was expressed in his works on the Italian theme. In parallel with "Red and Black", in the late 1920s, Stendhal turned to the artistic embodiment of the theme of "Italian passion". By that time he had already written the books "History of Painting in Italy", "Walks in Rome". Already here Stendhal expresses his observations of the Italian character - observations that add up to a whole system. But all this was prose of a memoir, cultural, historical and journalistic nature. In 1829 Stendhal gave the first artistic sketch of an Italian character in the remarkable short story "Vanina Vanini".
This short story is almost a unique work of its kind in terms of the dynamics of characters and plots. It is as if in each line an unusual, enormous energy of explosive force is accumulated in it. Here everything is energetic and passionate to the limit - the character of the characters, the development of events, and the construction of phrases. All of this is tending with tremendous acceleration to a denouement, and, of course, this denouement is an explosion. Two equal and passionate characters are opposed to each other here, but the passions that own them are different in their direction.
The commoner young man Pietro Missirilli is a man whose main passion is love for an oppressed homeland, therefore, a civic passion. He is the head of the secret society of the Carbonarii - fighters for the liberation of Italy from Austrian rule.
Girl - Vanina Vanini - aristocrat, daughter of one of the most noble patricians in Italy. The chance brought her to Pietro, and she fell in love with him. But she fell in love as uncompromisingly as Missirilli loves her homeland. These two Italian passions have clashed, and neither will yield. When Missirilli is faced with the need to choose between love for Vanina and love for the Motherland, he does not hesitate to choose the latter. When Vanina is faced with the need to choose between the dictates of love and the dictates of civic duty, she does not hesitate to choose the first. She, with full awareness of her right, hands over the Carbonari to the authorities, hoping that now Pietro will belong to her undividedly. But with the same full consciousness of his right, Pietro rejects Vanina's love when he learns of her betrayal, and chooses death. Both passions remained true to themselves and exhausted themselves to the limit. Almost an outline of a classicist tragedy - and at the same time, the problem of "duty and feeling" is not solved so unambiguously.
Undoubtedly, Stendhal's heartfelt sympathy is on Missirilli's side. But it is easy to notice that even in Vanin he admires precisely the strength and integrity of passion, regardless of its fatal and morally reprehensible consequences. Vanina, after all, also knows what she goes to when she commits a vile betrayal. In the scene of the last meeting with Pietro in prison, she tells him about all her fantastic efforts to rescue him and thus trying to convince him of the strength of her love, finally resorts to the last, the most compelling argument from her point of view: “But all this is still a little! I did more out of love for you. " And she told about her betrayal. You see, she perceives her fall as the highest sacrifice of love. And this, of course, is also logic - the logic of a reckless, albeit selfish, albeit immoral, passion.
The novel "Vanina Vanini" was written by Stendhal while he was working on "Red and Black." And both of these works - the big novel and the small novel - are united by the spirit of the revolt of the revolution. The novella, like the novel, even with a tragic outcome, does not leave a feeling of hopelessness; faith, heroic animation, also hovers above it.
