Folklore Tradition in the Art World of Chekhov: Part One
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Dudareva, M., Karpova, Y., Polyantseva, E. /Vol. 8 Núm. 21: 500 - 505/ Julio - agosto 2019 500 Artículo de investigación Folklore tradition in the art world of chekhov: part one Фольклорная традиция в художественном мире А. П. Чехова: часть первая La Tradición del folklore en el mundo del arte de A.P. Chekhov: Primera parte Recibido: 14 de mayo del 2019 Aceptado: 15 de julio del 2019 Written by: Marianna A. Dudareva158 SPIN: 5362-0507 Yulia V. Karpova159 ORCID: 0000-0003-1992-2307 SPIN: 8330-3207 Evgeniya A. Polyantseva160 Abstract Аннотация The article is devoted to the study of A.P. Статья посвящена изучению творчества Chekhov’s works in the context of folklore А. П. Чехова в контексте фольклорной tradition. The topic itself is interesting and традиции. Сама тема интересна и productive from the viewpoint of the folklore продуктивна с точки зрения проявления tradition manifestation in the work of the classic, фольклорной традиции в творчестве since Chekhov is often considered a “non- классика, так как Чехова часто считают «не folkloric” writer. More recently, the theme фольклорным» писателем. Сравнительно “Chekhov and folklore” began being referred by недавно исследователи стали обращаться к researchers. The article raises the question about теме «Чехов и фольклор». Поднимается various folklorism forms in poetics, stylizations вопрос о разных формах фольклоризма в and borrowings, and latent folklorism forms. The поэтике, о стилизациях и заимствованиях, о object of research is a later work, the novella латентных формах фольклоризма. Объектом “Steppe”. The subject of the article is folklorism исследования выступает позднее principles in poetics. произведение, повесть «Степь». Предметом статьи являются принципы фольклоризма в Key words: Chekhov, folklore, myth, tradition. поэтике. Ключевые слова: Чехов, фольклор, миф, традиция Resumen El artículo está dedicado al estudio de las obras de A.P. Chekhov en el contexto de la tradición del folklore. El tema en sí es interesante y productivo desde el punto de vista de la manifestación de la tradición folclórica en la obra del clásico, ya que Chekhov a menudo se considera un escritor "no folclórico". Más recientemente, el tema "Chéjov y el folclore" comenzó a ser referido por los investigadores. El artículo plantea la pregunta sobre varias formas de folklorismo en poética, estilizaciones y préstamos, y formas de 158 Candidate of Philology Senior lecturer Russian Language Department No. 2, the Russian Language and General Education Faculty RUDN University Build.3, 10, Miklukho-Maklaya st., Moscow, 117198, Russia Moscow, Russia. [email protected] 159 Senior lecturer Russian Language Department No. 2, the Russian Language and General Education Faculty RUDN University Build.3, 10, Miklukho-Maklaya st., Moscow, 117198, Russia 160 Assistant Russian Language Department No. 2, the Russian Language and General Education Faculty RUDN University Build.3, 10, Miklukho-Maklaya st., Moscow, 117198, Russian Moscow, Russia Encuent re este artículo en http://www.udla.edu.co/revistas/index.php/amazonia-investiga o www.amazoniainvestiga.info ISSN 2322- 6307 Vol. 8 Núm. 21 /Julio - agosto 2019 501 folklorismo latente. El objeto de la investigación es un trabajo posterior, la novela "Estepa". El tema del artículo son los principios del folklorismo en la poética. Palabras clave: Chekhov, folklore, mito, tradición. Introduction A researcher dealing with the issues concerning first of all, to folklore texts, to identify the books functioning of folklore tradition in literature the writer read (Terekhova, 2002). should bear in mind some points. First, folklore tradition is manifested in the text in different In these works, Chekhov’s works were analyzed ways: external forms, stylizations and internal from the point of view of mythopoetics and forms. The latter is due to the fact that a writer folklorism (less often) that allows raising the does not follow folklore but begins a dialogue question of the relevance of the topic. In addition, with folklore tradition. On the second hand, a much attention was paid either to early stories, question of “folklore” concept denotation arises. since they illustrate the connection with folklore What can we consider to be folklore? Is it only the most obviously, or the plays filled with texts, fairy tales, epic and riddles? Or else is it a symbolic meaning, to which the poetic complex of formations consisting of rites and symbolists turned their attention. Although, for rituals? O.M. Freudenberg, a famous ancient the sake of justice, it is worth noting that the step literature expert, demonstrated in her works how towards the comprehensive understanding of myths, folklore and literature interact folklore as applicable to Chekhov’s works on the (Freudenberg, 2008). Here in this article we are part of researchers has still been made – an also going to proceed from the same dialectical example of this is an article of M. Ch. Larionova triad, i.e. take into account the complex of pre- (2006). Mythopoethics was often given the first genre formations, the ritual reality. place, but, for example, the work of N.I. Ishuk- Fadeeva also applies to systematic approach: the Materials and methods researcher refers to ritual tradition, analyzing the archetypal structures of “The Seagull” (Ishchuk- There are no evidence of any direct impact of Fadeeva, 2001). In our chapter, the later folklore and myth on the poetics, figurative Chekhov’s novels are considered in the context system of A.P. Chekhov’s works, but this does of folklore tradition, manifested mainly latently not prevent the researches from posing “Chekhov that is of particular interest. and folklore” question, which began to worry researchers in the 1930s-1940s. Let us mention The question of folklorism in Chekhov’s “The the method that we apply analyzing the classical Steppe” has already been raised. An article of texts of Russian literature. Literature can involve D.N. Medrish compares this complex Chekhov’s different types of folklorism. Of course, it is the work with the composition of a lyric song having most convenient to study the external forms of an open ending at the level of poetics, in sacral- folklorism, stylization, borrowings, direct ritual discourse (Medrish, 1978). But the essence orientations, folklore motifs sources of one or of this ending (in contrast to the classical ones, another writer, but there are other forms of which are more typical) consists in the ritual folklorism. The latters are usually called internal, transformation of the character, who must grow latent, intuitive. It seems that the hidden forms of into himself but new one. After traveling to the folklore tradition penetration are relevant to steppe Yegorushka, apparently, should be Chekhov’s work. The history of Chekhovian initiated to start a new life. M.Ch. Larionov also folklorism study shows that the researchers paid attention to the transitional ritual element of considered mainly the external forms: folklore the novella drew having compared the locus of and ethnographic elements, pronounced in the steppe with the place of “temporary death”, poetics, or archetypal structures associated with since the steppe for the Russian man and symbolic overtones. Of course, a number of Chekhovian characters is the place of “physical works attempts to examine a specific folklore and spiritual pilgrimage, formation, ordering, motif functions in the work (Rogovskaya, 1974), testing, liberation from the past and preparation but mainly early stories were the research object for the present” (Larionova, 2009). (Tumilevich, 1978), since they illustrate the connection between literature and folklore the Results most obviously. In contemporary articles and dissertations literary scholars also try to refer, This is what Chekhov himself wrote about his work, “I took a steppe, which has long been Encuentre este artículo en http://www.udla.edu.co/revistas/index.php/amazonia-investiga o www.amazoniainvestiga.info ISSN 2322- 6307 502 remained undescribed. Each separate chapter is a will see that the thing that Chekhov perceived as story ... I tried to write them so that they have a mere detail, an element of the steppe landscape general smell and general tone...” (Chekhov, (let us denote it so), Khlebnikov considered the 1974-1982a). This judgment, the intention core for the figurative system of the poem. In the expressed in the letters to D.V. Grigorovich, cognominal poem of Khlebnikov the main states one of the basic principles of poetics – the character is a stone woman. What is the reason writer’s immanent perception of his own works. for that? Let us turn to an ethnographic The third and fourth part of the novella make us commentary, without which it is difficult to think about the tradition in which Chekhov understand the poet’s works at all. Khlebnikov, continues to create: the description of the steppe who certainly knew myths and folklore, itself, of people described so fantastically and borrowed certain images from ancient culture, symbolically that the steppe performs the but he always created his own world, his own function of a special topic, that is, reality on the myth (Vykhortsev, 1983). Analyzing the so- verge of existential world, “Broad shadows move called “mythological poems” of Khlebnikov across the plain, like clouds across the sky and in researchers often come to the conclusion that this the inconceivable distance, if you look long and is a single but not finished “epic poem” (D. intently at it, misty, monstrous shapes rise up and Mirsky). The artistic fabric of the poem “The huddle against each other... It is rather uncanny” Stone Woman” is fastened by the image of a (Chekhov, 1974-1982b) [translated by C. stone maiden, an idol that connects two realities, Garnett]; “You go and suddenly see a silhouette, one of which is cosmic, leading to eternity similar to a monk in front of the road; he does not (combining lyric and epic), and the second one is move, he waits and holds something ... Is he a vernacular, profane: robber? The figure is approaching, growing, so she came up to the chaise, and you see that this is The stone women of the fields not a man, but a lonely bush or a big stone” are tales told in books of stone.