In order for the work of the enterprise to always have a positive trend, it is necessary ...
Italy of the 19th century. An aristocrat falls in love with a fiery 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, Duke de B. gave a ball to which the most beautiful women of Rome were invited. Vanina Vanini, a black-haired girl with a fiery gaze, was proclaimed queen of the ball. The young prince Livio Savelli courted her all evening. At about midnight the news spread at the ball that a young Carbonari had escaped from the fortress of the Holy Angel.
Prince Azdrubale Vanini was rich. Both of his sons entered the Jesuit order, went mad and died. The prince forgot them, and was angry with his only daughter Vanina because she rejected the most brilliant parties.
On the morning after the ball, Vanina noticed that her father had locked the door to the ladder that 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 Azdrubale visited her every day, and then left for 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 seriously wounded in the shoulder and chest, every day she got worse, and Vanina decided to send for a surgeon devoted to the Vanini family. Clementine didn't want that. Finally, she had to admit that she was not a woman, but Pietro Missirilli, a Carbonari escaped from prison. 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 Vanini's house.
Upon learning of the deception, Vanina called the doctor. She herself entered Pietro's room only a week later. Missirilli hid his feelings behind a mask of devoted friendship, and Vanina was afraid that he did not share her love. One evening she told him 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 desperation, Vanina offered Pietro to marry her, but he refused, believing that his life belongs to his homeland. Then Vanina decided to go to Romagna after her lover and there unite with him forever. She hoped that between her and her homeland, he would choose her.
In Romagna, at a meeting of the Venta, Pietro was elected its head. Two days later, Vanina arrived at her castle of San Nicolò. 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 a few days in San Nocolo. A few days later Missirilli learned of the arrest of ten Carbonari and himself surrendered to the legate.
Meanwhile, Prince Vanini promised the hand of his daughter 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 the help of Livio, she learned that Pietro was being held in the fortress of the Holy Angel. She secured the promotion of her confessor, the abbot Kari, who was the steward of the fortress.
The court took place. Carbonari sentenced to death penalty, which was later replaced imprisonment. Only for Missirilli, the sentence remained unchanged. Upon learning of this, Vanina entered Catanzar's house at night and, with the help of threats, flattery and coquetry, persuaded him to let Pietro live. The Pope 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 in Chita-Castellana. Abbot Kari, who was devoted to her, arranged a rendezvous in the prison chapel. On a date, Pietro returned Vanina her word. He could only belong to the motherland. In a frenzy, Vanina confessed to Pietro that it was she who betrayed the conspiracy to the legate. Petro rushed to her to kill her with the chains in which he was shackled, but he was restrained by the jailer. Completely destroyed, Vanina returned to Rome.
7. Stendhal's short story "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 during their entry into Berlin, Vienna, on a 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 Stendhal had loved since 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 various 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 struggles with the love of a woman (in the soul of Pietro Missirilli). Stendhal invented true dignity, which cannot be marked by any order bought for money - this is a death sentence for a fighter for the freedom of the motherland. All this will be developed later, in "Red and Black": in the image of Matilda, Julien Sorel, Count of Altamira, as well as in the "Parma Monastery": 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 features 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 the defeat he becomes religious and considers his love for Vanina a sin, for which he this defeat is punished. The social determinism of character convinces the hero - beloved and loving - to prefer his homeland to his beloved woman. Patrician Vanina's daughter values love above all else. She is smart, above her environment for spiritual needs. The "non-secularity" of the heroine 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 I say to myself: this person has acquired certain habits, going every morning to hunt for happiness, and then I give it a little more intelligence". His art is based on experience. S. I am convinced that there are "neither completely good nor completely bad people." A person is determined by what he understands by "happiness", i.e., his goal life and the means to achieve it.
Determining realistically bright, like those of romantics, characters, Stendhal builds the same complex plot, using surprises, exceptional events: escape from the fortress, the appearance of a mysterious stranger. However, the "grain" 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. Thus, the tendencies of realism and romanticism are intertwined in the short story, but the realistic principle of social and temporal determinism remains dominant. In this work, Stendhal shows himself to be a master of the short story: he is brief in creating portraits (we can 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 pointing to sparkling eyes and hair, black as a raven's wing). Stendhal confidently creates a novelistic intrigue full of sudden twists, and an unexpected novelistic ending, when the carbonary wants to kill Vanina for the betrayal of which she is proud, and her marriage fit in a few lines and become that obligatory surprise prepared in the psychological novel by the internal logic of the characters.
The worldview of the Stand was formed under the influence of the French Enlighteners. Rousseau was his first teacher. It was from him that, in his youth, the writer took admiration for naturalness, sensitivity and virtue. Helvetius had a great influence on the treatise “On the Mind”, he was close to the ideas of utilitarianism and sensualism, the reduction of all human actions to the satisfaction of selfish desires, to the search for happiness, the assertion of passions as the main driver of personality and the mind as its main charm. Helvetius taught him to test his judgments with sensations and experience. The epic system Stand., based on utilitarianism, at the same time turned out to be eminently humanistic. The idea of personal happiness is combined with the happiness of others. The writer perceived 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. Interested in politics. In the center of Stendhal's aesthetics is a person, a human character. I am convinced that there are neither absolutely good nor completely bad people. It is important for him to notice and explore not only the existing character itself, but also the ways and causes of its formation. Describes his principle of reflecting 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 determined, 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 are not accidental, where at best the eyes are outlined, and all the rest of the attention is paid to facial expressions, to the description of character traits and spiritual needs of the individual. The concept of spiritual beauty by Stendhal also includes energy, ambition, duty, will and the ability to experience passions. Satisfaction of passion - in various areas - can make a person happy. Considering that passion controls a person, Stendhal explored the topic of love with particular care. Offers a classification: "passion-love" and "passion-ambition". The first is true, the second is born of the hypocritical and ambitious 19th century. Madame de Renal experiences the first, Mathilde de La Mole knows the sufferings of the second. Julien's feelings for Madame de Renal are passion-love, with Matilda he is connected by passion-ambition. On the principle of correlating passions and reason, their struggle, Stendhal's psychologism is built.
Depicting a person and the world around him, Stendhal considers it necessary to pay attention to the details, but his details relate either to the process of thinking itself, or they are objects that suddenly pop up in the mind and are fixed in a state of extreme excitement. outside world. Details and action are important, but these details and action are always correlated with reality, with one's own life experience.
Novella "Vanina Vanini, or Some Details Concerning the Last Venta of the Carbonari Revealed in the Papal States" (1829). In the title itself, the writer combined what became the main sign of his novels: a political event (Venta Carbonari) and a human character (Vanina Vanini). The novel outlines conflicts of passion-love, passion-ambition (in Vanini's soul). The love of freedom here struggles with the love of a woman (in Pietro's soul); Stendhal portrayed true dignity, which cannot be marked by any order bought for money - this is a death sentence for a fighter for the freedom of the motherland. Creating an almost romantic halo around the protagonist Pietro, Stendhal, as a realist, strictly determines the features 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 the 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 her love above all else. She is smart in Stendhal, above her environment in terms of spiritual needs. However, all her originality is only enough to send 19 carbonari to death in the name of her love.
The trends of realism and romanticism are intertwined in the short story, but the realistic principle of social and temporal determinism turns out to be dominant. In this work, Stendhal showed himself to be a master of the short story: he is brief in creating portraits, he confidently creates a novelistic intrigue full of sudden turns, and an unexpected ending, when the carbonary wants to kill Vanina for the betrayal of which she is proud, and her marriage fit in a few lines and become that surprise, obligatory for the genre, prepared in the psychological novel by the internal 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, underlying the works of Stendhal, the period of the Restoration in France and Italy, the Italian campaigns of Napoleon, the movement of the Carbonari.
The realism of Stendhal in the depiction of major historical events.
Analysis of Stendhal's short story "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) the positive hero of Stendhal, the image of Pietro Missirilli.
Artistic originality of the novel.
LITERATURE
Fried Jan. Stendhal. Essay on life and creativity. - M, 1968.
Reizov B.G. French novel of the 19th century. - M., 1969.
Prevost J. Stendhal. - M.-L., 1967.
Reizov B.G. Stendhal. Artistic creativity. - L., 1978.
Topic 2. The story of O. BALZAC "GOBSEK" / The problem of social and temporal determinism of a realistic nature /
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1. The main features of Francisian realism / on the material of writing
F. Engels to M. Harkness/.
2. The main requirements of Balzac to art, set out in the "Preface" to the "Human Comedy".
3. "Human Comedy" by O. Balzac and the place in it of the story "Gobsek".
4. Features of the composition of the story, giving it a generalizing meaning.
5. Ways of creating a character in Balzac and the ideological content of the image of Gobsek:
a) a portrait;
b) environment, principles of description;
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 between the aesthetic principles of Balzac and the method of depicting reality in Gobsek.
LITERATURE
Balzac O. Sobr. op. in 15 vols. M. 1951-55. T.1
Engels F. Letter to M. Garkness. // K. Marx, F. Engels Sobr. op. T.37. pp.35-37.
Vertsman I.E. Problems of artistic knowledge. M., 1967 /Ch. "Aesthetics of Balzac" /.
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. Prosper Merimee's short story "Carmen" /genre problem/.
Prosper Merimee's short stories of the 1830s and 40s in the light of the genre.
Analysis of the short story "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 José/;
e) the function of a frame story /ethnographer's narration/;
f) romantic and realistic beginning in the short story.
Prosper Merimee is the founder of the realistic short story in French literature of the 19th century.
LITERATURE
Lukov V.A. Prosper Merimee. M., 1984.
Smirnov A.A. Prosper Merimee and his short stories // Merimee P. Novels. M-
L., 1947. pp.5-38.
Frestier J. Prosper Merimee. M., 1987.
History of French Literature. M., 1956. T.2. pp.407-440.
History of foreign literature of the 19th 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 English literature in the second half of the 19th century. The place of Dickens' creativity in the country's literary process. Evaluation of the work of the writer and English realists by Belinsky, Chernyshevsky, Turgenev, Tolstoy, Gorky.
The problems of Dickens' 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 realization in the system of images and composition of the work.
Characters:
The role of the objective world in describing the scene of action and in creating the character's character.
Peculiarities of Psychology.
Leitmotifs and how to create them.
The role of hyperbole and its connection with a fairy tale, a fairy tale element in the development of the plot and the development of the conflict.
The genre of the novel.
The role of a happy ending in the poetics of Dickens' novels.
LITERATURE
Anikin G.V., Mikhalskaya N.P. History of English Literature. M., 1998.
Katargsky L.M. Dickens. Critical bibliographic essay. M., 1969.
Ivashov. The work of Dickens. M., 1954.
Silman T.N. Dickens. M., 1970.
Michalskaya.N.P. Charles Dickens - M., 1959.
Topic 5. The satirical tradition in English literature of the mid-19th century and the work of W. Thackeray "Vanity Fair".
1. W. Thackeray. political views.
2. The concept of art and history (prefaces to the novels "Newcomes" and "History of Pendeniss" 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) system of images; social-typical capacity of the main images (Rebecca Sharp and Emily Sedley) and their individual psychological identity,
4. W. Thackeray's innovation in depicting the English reality of the 19th century. Irony and satire.
LITERATURE
Vakhrushev V.S. Thackeray's work. M., 1984.
Elistratova A.A. Thackeray // History of English Literature. M., 55. T.2.
Ivasheva V.V. Thackeray is a satirist. M., 58
Topic 6. The satirical work of G. Heine in the 1840s (the poem “Germany. winter fairy tale»)
Aesthetic Patterns 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 Tale” in the work of G. Heine in the 1840s.
Genre originality of the poem “Germany. Winter fairy tale.
political motives in the poem.
Duality in the perception of revolution and religion.
Life-affirming motives in the poem.
The peculiarity of satire and irony.
LITERATURE
Stadnikov G.V. Heinrich Heine. M., 1984.
Deutsch A.I. poetic world 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 Gustave Flaubert's novel Madame Bovary.
Aesthetics G. Flaubert. The meaning of the image of the "ivory tower". Contradiction between aesthetics and artistic practice of the writer.
Flaubert's controversy with the 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 main character's fate.
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. The duality of the image.
Criticism of philistinism and spiritual poverty of the philistine environment in the novel.
The image of the pharmacist Ome, its social significance.
LITERATURE
Reizov B.G. Flaubert's work. M., 1955.
Ivashchenko A.F. Gustave Flaubert. M., 1955.
Reizov B.G. French novel of the 19th century. M., 1969.
Topic 8
The place of the collection of poems "Flowers of Evil" in the work of Baudelaire.
The main provisions of the aesthetic program of Baudelaire.
Structure and cycles of the collection.
Addressees of Baudelaire's Poems.
Correspondence theory. History of the idea of correspondences. Connection with 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 Sh. Flowers of evil. M, 1970.
Baudelaire Sh. Flowers of evil. Poems in prose. Diaries. M., 1993.
Baudelaire Sh. About art. M, 1986.
Balashov N.Y. The legend and the truth about Baudelaire // Baudelaire S. Flowers of Evil. Moscow, 1970, pp. 233-288.
Bibikov V. Three portraits. Stendhal. Flaubert. Baudelaire. SPb., 1890.
Valerie P. Position of Baudelaire// Valerie P. On Art. M., 1993. S. 338-353.
Levik V. “We have beauty that the ancients do not know” // Baudelaire Sh. About art. M., 1986. S. 5-16.
Nolman M.L. Charles Baudelaire. Fate. Aesthetics. Style. M, 1979.
Nolman M.L. Baudelaire coordinates. (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 novel-parable.
Problematics and ideological sounding of the novel.
Image system.
Combination of romantic and realistic beginnings.
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.
Romantic Traditions of 19th Century American Literature and Modernity. M., 1982.
Stendhal's interest in strong, inflexible personalities, in whose souls there is a conflict between "red" and "black", was also expressed in his works on the Italian theme. In parallel with "Red and Black", at the end of the 20s, 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 on the Italian character - observations that add up to a whole system. But it was all prose of a memoir, cultural-historical and journalistic nature. In 1829, Stendhal gives the first artistic sketch of the Italian character in the wonderful short story "Vanina Vanini".
This short story is almost a one-of-a-kind work in terms of the dynamics of characters and plots. In it, as if in each line, an unusual, huge energy of explosive power is accumulated. Here, everything is energetic and passionate to the limit - the character of the characters, the development of events, and the construction of phrases. All this with great acceleration tends to a denouement, and, of course, this denouement is an explosion. Two equal and passionate characters oppose each other here, but the passions that control them are different in their direction.
The young commoner Pietro Missirilli is a man whose main passion is love for an oppressed homeland, therefore, a civil passion. He is the leader of the secret society of the Carbonari - fighters for the liberation of Italy from Austrian rule.
The girl - Vanina Vanini - is an aristocrat, the daughter of one of the noblest patricians of Italy. 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 clash, and neither will give way. 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 command of love and the command of civic duty, she does not hesitate to choose the first. She, with full consciousness of her right, betrays the Carbonari to the authorities, hoping that now Pietro will belong to her undividedly. But with an equally 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 classic tragedy - and at the same time, the problem of "duty and feeling" is far from being solved so unambiguously.
Undoubtedly, Stendhal's spiritual sympathy is on the side of Missirilli. But it is easy to see 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 is getting into when she commits a heinous betrayal. In the scene of her last meeting with Pietro in prison, she, telling him about all her fantastic efforts to rescue him and thereby trying to convince him of the strength of her love, finally resorts to the last, most weighty argument from her point of view: "But everything is still so 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 victim of love. And this, of course, is also logic - the logic of reckless, albeit selfish, albeit immoral, passion.
The novel "Vanina Vanini" was written by Stendhal while working on Red and Black. And both of these works - a big novel and a small short story - are united by the spirit of the revolt of the revolution. The short story, like the novel, even with a tragic outcome, does not leave a feeling of hopelessness, faith, heroic animation also soars above it.
